March 1991 1 William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Robert L. Creager...... Art Director Kim S. Nagorski ...... Editorial Assistant Shawn R. Hiller...... Staff Assistant Mary Rushley...... Circulation Manager Mary E. Beaver...... Circulation Assistant Connie Belcher...... Advertising Manager Spencer L. Davis...... Publisher

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 FAX (614) 488-4561

Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to:Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid­ ered for publication. Information may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ com­ puter system. Mail submissions toCeramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce­ dures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) indexing are available through Wilsonline, 950 University Ave., Bronx, New York 10452; and from Information Access Co., 362 Lakeside Dr., Forest City, Califor­ nia 94404. These services are available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sugges­ tions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Co­ lumbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 North ZeebRoad, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1991 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly March 1991 3 4 Ceramics Monthly V olume 39, N umber 3 • March 1991

Feature Articles

The Ceramic Work Center of Hollandby Nancy Frommer LaPointe.... 22

Photographing Ceramics Revisitedby Glenn Rand...... 26

Ann Roberts...... 29

Janet Mansfield Australian potter/au- Stenciled Imageryby Patrick Siler ...... 30 thor/editor Janet Mansfield wants her wood-fired and salt-glazed pots “to depict Crystal Glazes in Reduction!by Thomas S. Carroll...... 35 all the turbulent forces of the firing, en­ riched by the heat and vapors”; see Jane Hamlyn’s profile of Mansfield on page 44. Biennale Orlandi...... 38 Philadelphia Clay...... 40 The Ceramic Work Center of Holland Backed by the Netherlands government, this expanding facility provides space andLow-Fire Highlights...... 42 materials for ambitious projects by ceram­ ists from around the world; see page 22 for Janet Mansfield a look at this international gathering place. Toward an Australian Aestheticby Jane Hamlyn...... 44 with The Full Flavor of Salt by Janet Mansfield...... 46 Red Firecracker Glazes Reduction firing usually inhibits crystal growth, but cooking Blending Intuition and Logicby Nan Smith ...... 49 oil dripped into an electric kiln after it has cooled to 1500°F produces reduced crys­ talline glazes; see page 35 for process in­ Secure Wall Hangingsby Thomas Hubert...... 80 formation (complete with recipes). Cone 6 Casting Slips Slip Casting, Part 3 by Gerald Rowan...... 82

Up Front

Sandra Johnstone, 1936-1991 ...... 12 Porcelain by Six...... 16 Endowment’s Loss Is States’ Gain...... 12 Federal Protection for Art...... 16 Treasure Boxes...... 12 Susan Low-Beer...... 16 Figurative Clay...... 12 Curtis and Suzan Benzie...... 18 Pipe Sculpture Symposium Charitable Deductions...... 18 by Sandra Johnstone...... 14 Moscow Treasures...... 18 Stenciled Imagery Working with paper stencils gives Pullman, Washington, ce­ ramist Patrick Siler the ability to try various arrangements before applying thick slip imagery to stoneware walls, plates and geo­ Departments metric sculpture; page 30. Letters ...... 8 Suggestions...... 78 The cover Florida mixed-media artist Call for Entries ...... 54 Classified Advertising...... 84 Nan Smith provides an intimate view of her current work, from its forming and Questions...... 59 Comment: Reviving Craftsmanship decorating processes to its reason for be­ Calendar ...... 60 by William Hunt...... 86 ing, in “Blending Intuition and Logic”; see page 49. Photo: Allen Cheuvront. New Books ...... 72 Index to Advertisers...... 88

March 1991 5

Letters ics. I believe this is already clearly indicated. a special appreciation for the differences in People are beginning to ask for soup bowls. politics, culture and technical problems as Constance Berdan Sherman seen through the eyes of a potter. Garrison, N.Y. Also, the article on building a heat ex­ changer into the kiln is a truly exciting CM’s Format Changes concept. Thanks. As a frequent contributor to News and Stephen Plant Editor’s Fault Retrospect, let me congratulate CM on Revelstoke, B.C. The review of Nobuo Mitsunashi’s work moving the personal achievements of artists Canada by Derek Jones in the December issue is by Up Front where they belong! far the worst example of fustian that I’ve Linda Mau In-depth Profiles Inspiring seen in many years. Such phrases as “con­ Saratoga, Calif. I often feel that CM does not probe its crete imagery upon abstract forms,” “geo­ subjects with enough depth—sparking my logic and architectonic,” “form dichotomies,” Just wanted to say I love the new layout. avid interest, but not satisfying my curiosity. “objects of meditative study,” “escape the Could never figure out why CM put what’sI am highly educated and CM is the only analytic mindset,” “lose his objective andgoing on in the back of the magazine. monthly magazine of its kind (to my knowl­ subjective individuality and tap into a more My only suggestion: In Calendar, list the edge) available to me. I feel that more detail universal psyche,” “point out dualities thatartists’ names in bold, and the state andand thorough treatment in your articles exist about us and within us,” etc., as well astown in regular type. I read those listings to would benefit everyone. the unbelievably pompous reference in see who is doing what, and that’s hard to I appreciate efforts to minimize subscrib­ which Jones sniffs haughtily that the spot the way it is. ers’ costs. However, I feel that the majority “uninitiated viewers are perhaps less able to Jolyon Hofsted of CM’s readers would be willing to pay up appreciate,” make the whole piece laugh­ Shady, N.Y. to $10 more per year for articles that were able in its pretentiousness. twice as long and juicy! I’m not even talking As bombastic as this writing is, I fault the The new format with the short articles technical information (although this is good, responsible editor more than the author. Up Front is refreshing. It’s nice to read too)...simply more details about featured Proper editorial control should never letabout individual potters, their shows, andpotters’ lives and work habits. Small details such a self-important piece be published. ceramic news at the beginning of the maga­ are not only interesting; they can be inspir­ The relative merit or lack thereof of the zine, before being fed by the main articles. ing. artist’s work is lost in the clutter of the Up Front is a tasty appetizer, rather than a Pamela Merritt claptrap. Surely readers ofCeramics Monthly stale leftover. North Egremont, Mass. deserve better than this. I’ve been readingCeramics Monthly for Please, in the future, give us more sub­over 15 years and look forward to receiving No More Styrofoam stance than form, or at the very least, don’t it in the mail each month. I especially enjoy It is very important to stop using Styro­ let substance be suffocated by form. articles about ceramic art history and studio foam peanuts for shipping and handling. ArthurS. Cagle potters, like “Accidental Potter” (January Our environment is hurting enough. There Port Allen, La. 1991). I would like to read more about are other ways of packing fragile things. For potters working within the figurative tradi­ example, small chunks of cardboard, cut-up Infuriating Intellectualizing tion, too. Thanks for doing such a greatjob. pieces of newspaper in large quantity, even Why not sack some of the people who Linda Ganstrom popcorn, if storage is not required. These write such bullshit criticisms? Some of the Great Bend, Kans. three examples are all biodegradable; Styro­ intellectualizing is so infuriating, and has foam is not. nothing to do with the “pots.” I’m sure some New Goods and Prices Robyn Giarla Giannozzi “artists/potters” get a surprise when they CM has been taking subscribers’ sugges­ Holliston, Mass. read a critique that tells them what they are tions to use new material—good! Love those doing/feeling at the time. price quotes after the artwork. No Place for Anonymity B.J. andD. M. Woods Helen Gorsuch After the anonymous poison-pen letter Takaka Altoona, Pa. in one of last year’s issues about my work, I New Zealand would still never like to see letters signed Historical Perspective “Name withheld by request” published. They More How, Less Why Please push articles toward a more infor­ do more harm than good. Do more on technical information: clays, mative look into the place in art history that Alexandra McCurdy glazes, especially decorative techniques. Less,ceramics fits into. Notjust history, but a look Halifax, Nova Scotia much less on “artspeak,” soul searchings, into the evolution of thoughts, imagery and Canada “criticism.” who at what time were the major contribu­ More on how, less on why. tors. Thumbs Up on Anonymity Mark and Mary Mantuani Kim Johnson Having written under my name, as Name Amherst, Mass. Lincoln, Neb. Withheld, and under pseudonyms, I protest the use of “cowardly” and “craven” to de­ On the Money Soldner Ad Letters scribe Name Withhelds [NWs]. More William Hunt articles. They are I appreciated CM’s willingness to pub­ A famous rabbi once said that command­ always well written, insightful and usually lish letters protesting Soldner’s sexist ads. ments often also command their reverse: right on the money. Lisa Howard-Hoffman the one to honor one’s father and mother Frank Neef Santa Barbara, Calif. Highlandville, Mo. Share your thoughts xvith other readers. All letters Travel and Heat Exchange must be signed, but names mill be withheld on Recession Ware I have especially enjoyed the insights request. Mail to The Editor, Ceramics Monthly, It will be interesting to see if the reces­ shared this last year in CM by “travel” ar­ Box 12448, Columbus, Ohio 43212; or fax to sion stimulates a return to functional ceram­ticles. It gives those of us in the “clay world” (614) 488-4561.

8 CERAMICS MONTHLY

Letters

also commands that fathers and mothers behave in such a way that it is easy for their children to honor them. In the same spirit, NW (in the case of Alex McCurdy) may be reflecting not a personal gutlessness, but a vindictive, com­ bative, angry spirit within the Halifax art community. Certainly, neither Hector Mclnnes nor Chris Tyler invite risk-taking in the field of criticism! Moreover, NW may be someone with great power in the community, who wants to avoid doing McCurdy harm, who does not wish to hamper a career because as a Big Cheese he/she would be quoted, and a negative opinion of McCurdy be used against her. Or NW may be an employee of an art gallery that handles McCurdy, who might be fired for disloyalty to a client. NW also might be the art teacher of a McCurdy child, and would not want that child teased (although not every household in Halifax subscribes to CM, I expect, word gets around) by some­ one saying, “Ha! Ha! Mr. So-and-so hatesyer mum’s work!” What makes NW policies so good is that the editors know the true identity of the writer. About ten years ago, when I wrote the first of the two NW letters I’ve sent to CM over the years, a person wrote to the maga­ zine for follow-up information. By having my real name and address on hand, CM was able to forward the query to me; I was able to call the inquirer (giving my name, thank you) and be of some help. Lili Krakowski Constableville, N.Y.

Demo Meticulous Finishing Go back to some regular demonstration articles, especially in the areas of meticulous finishing techniques. So many of us have ways of handling differing aspects of our works. Some well-photographed summaries of various techniques for solving those irk­ some problems that differentiate between well-done work and that which misses the mark would be helpful to many of us, what­ ever the level of experience. The Suggestions column is interesting sometimes, but more organized informa­ tion comparing various people ’ s approaches would be more easily utilized. Give those innovators and inventive souls a chance to shine by being published. M. Thompson Arial Lexington, S.C.

Student Aid I am a grad student at Edinboro Univer­ sity in Pennsylvania. I love the magazine, and it cheers me up. When I receive it, all plans for the day are delayed by one or two hours. Steven Dark Edinboro, Pa.

10 Ceramics M onthly March 1991 11 Up Front known for her salt-glazed work (both func­ however, allocations to the six regional or­ tional and sculptural), which was presentedganizations that also offer fellowships in internationally. Two of her plates were visual arts are expected to increase by sev­ among works selected for exhibition in last eral $100,000 each. year’s “Fletcher Challenge,” New Zealand’s But only Arts Midwest (which serves art­ annual international competition (see pageists/ craftspeople in Illinois, Indiana, Iowa, 46 of the November 1990 CM). Michigan, Minnesota, North Dakota, Ohio, Sandra Johnstone, 1936-1991 “Many years ago,” recalled Oregon pot­ South Dakota and Wisconsin) will be Studio potter/educatorSandra Johnstone of ter Frank Boyden, “I saw a show of Sandra awarding fellowships in crafts this year. The Los Altos, California, died from a cerebral Johnstone’s large, powerfully thrown, salt- deadline for application to that agency is hemorrhage on January 10. A native of glazed pots at a small gallery on the Ore­ March 29. For further information, con­ gon coast. I had never seen pots quite like tact: Arts Midwest, 528 Hennepin Avenue, these and I wrote her a letter to tell her Suite 310, Minneapolis, Minnesota 55403; how much I liked them. The next summer, (612) 341-0755. she came to visit in her big black van filled with hundreds of pots. Many will remem­ Treasure Boxes ber such visits. They were part of a sort of Works in all media by approximately 50 annual migration that took Sandra on tripsartists/craftspeople from across the coun­ to visit potters, supply galleries and trade try were featured in the annual “Treasure work. Her visits were always fun, especially Boxes” exhibition at Ferrin Gallery in the trading part. I can remember unpack­ Northampton, Massachusetts. The show was ing her van and looking at everything. inspired by the tzedakah, a box once kept “Sandra believed that her work should in Jewish temples and homes to receive be used. She had a very clear vision of whatdonations for charity. It was said that the her pots were about. She made pots that inspirational beauty of the box would, in people wanted to use and had to thinkturn, encourage generosity. about while they used them. That is a In keeping with this tradition, 10% of significant accomplishment.” the proceeds (5% from the artist; 5% from Sandra Johnstone also was strongly in­ terested in documenting events in ceram­ ics, and wrote a number of articles for the NCECA (National Council on Education for the Ceramic Arts) Journal and forCeramics Sandra Johnstone. Monthly; we will publish her remaining ar­ ticles in future issues.

Southern California, Johnstone did under­ Endowment’s Loss Is States’ Gain graduate work at Scripps College in Clare­ In the 1990 reauthorization of the National mont (BA., 1959) and graduate work at Endowment for the Arts(NEA) , Congress Berkeley (1959-60), followed by both an adopted a provision that nearly doubles M.A. (1978) and an M.F.A. (1981) at San the amount of federal funds channeled di­ Jose State University. rectly to state and local arts agencies by In addition to teaching ceramics (at fiscal year 1993. The outcome of this con- Foothill Community College, San Jose City gressionally mandated “reprogramming” College, Sun Valley Center for the Arts and will be significant cuts in national grants Humanities, University of California at and the elimination of five programs at the Santa Cruz, Australia’s Darling Downs In­ financially weakenedNEA. (While the total stitute of Advanced Education and most “Tie Box,” approximately 6 inches in height, appropriation for 1991 will be $175 mil­ wheel thrown and wire faceted, salt glazed, recently San Jose State University), John­ lion, up almost $4 million from the preced­ by studio potter Byron Temple, Louisville. stone conducted a number of workshopsing year, that figure represents a decrease in the United States and Australia. Overin endowment spending power of almost the years, she taught throwing, glaze calcu­ 50% over the past ten years.) the gallery) of each box sold was donated lation and kiln building; but she was best According to theNEA, “in general, the to a cause or charity designated by the art­ endowment will make every effort to con­ ist. Many chose to donate to the Craft Thrown and altered porcelain cup, with tinue support for all recommended grant­Emergency Relief Fund(CERF), an organi­ oxides and slips, salt glazed,2V 2 inches in width, by Sandra Johnstone. ees, but at reduced grant award levels, ratherzation that offers assistance to craftspeople than to drop support for organizations or who suffer career-threatening disaster, such individuals.” as Hurricane Hugo and the 1989 San Fran­ At this time, it appears that funds for cisco earthquake. the Visual Arts Program will be reduced by 12.7%, down to $5,325,000 from $6,100,000; Figurative Clay Figurative sculpture by seven women ce­ You are invited to send news and photos ramists (Lauren Grossman, Martha Shade, Tip about people, places or events of interest. Toland andPatti Warashina, all of Seattle; We will be pleased to consider them for Marilyn Lysohir, Moscow, Idaho; Judy publication in this column. Mail submis­ Moonelis, New York City; and Debra Sherwood, sions to Up Front, Ceramics Monthly, BoxYonkers, New York) was featured in a re­ 12448, Columbus, Ohio 43212. cent exhibition at William Traver Gallery in Seattle. While some of these works were

12 CERAMICS MONTHLY March 1991 13 Up Front record 90 participants watched ceramists Federighi usually ships by common carrier. Christine Federighi andRon Nagle at work An individual packing crate is made for during the symposium. They alternated dayseach sculpture, which is wrapped in bubble demonstrating, but both worked through­ pack and surrounded with Styrofoam pea­ inspired by ancient deity and fertility figures,out the two days of the event, even in thenuts. Her most recent shipment, however, the majority addressed the foibles of con­ off hours. While Federighi was the princi­ was completed by an art-shipping service. temporary society. In Patti Warashina’s pal demonstrator on Saturday, Nagle Some routes served by art shippers can be work, for example, Seattle critic Regina worked to one side, preparing the form he less expensive than common carrier. Hackett says “barely repressed hysteria is the would finish on Sunday. During Nagle’s During the second day of the sympo­ driving force, humor on the verge of pain, Sunday session, Federighi made a chair sium, Ron Nagle completed the monu­ mental cup form he had started the day before. He had assembled large pieces on the first day with the aid of a forklift. “I decided to go with what I’ve been doing. This is about a thousand times bigger than I’ve ever worked before,” Nagle stated. The 18-inch-diameter pipe extrusion called for tools in keeping with its scale. An 8-foot section of plywood was used as a straight edge; huge calipers, a carpenter’s square and level were used for measure­ ments; and a large compressor created the pressure needed for consistent color appli­ cation. A forklift was necessary to hoist one pipe section onto another and to move the piece to the work area. The two sections of pipe had been cut and joined together to form a parallelo-

“Caught on Red Rock,” 62 inches in length, whiteware sculpture with fired underglazes and fluorescent paint, by Patti Warashina, Seattle. “ The more strung out her figures are, the more successful...”

fun about to turn into mob action. Thecarved with relief decoration characteristic more strung out her figures are, the more of her sculptures. successful....”Photo: Roger Schreiber. Though the extruded pipe commonly made at the factory is different in composi­ Pipe Sculpture Symposium tion from a standard sculptor’s clay body— by Sandra Johnstone much shorter and far less wet in the Mission Clay Products, a sewer pipe factory extruded state—the resulting form was in Fremont, California, was the site of the similar to Federighi’s coil-built columnar fourth “Pipe Sculpture Symposium” at works. As she formed the head to be at­ which invited artists gave a series of tached to a figure made from a tall section demonstrations. The factory was built in of 10-inch pipe, she noted, “[I was] adapting 1907 to produce bricks for the rebuilding my technique to the pipe.” Standing on a of San Francisco after the 1906 earthquake. ladder to put the figure’s head in place, Today, huge beehive kilns are loaded with Federighi attempted trial positions several forced-air-dried, extruded pipe, using fork-times, making changes before finally at­ Unfired chair carved from an 18-inch pipe lifts, and fired in oxidation with natural gastaching the head with slip. Half way through extrusion by Christine Federighi. Artists to Cone 1. the procedure, she commented dryly, “It’s hold a relatively untapped source of ideas for ceramic industries that have lost their The clay body is prepared at the plant— sort of like surgery, right now.” competitiveness or are seeking to overcome low-fire clay can be found in the surround­ When in her Florida studio, she works shrinking demand for their products. ing hills of the Niles River canyon; it is dugwith “a Cone 6 stoneware, underfired to up and trucked in every day in a hugeCone 03 to prevent warping. I used to usegram. “What I’m concerned with is the tractor trailer, then ground, screened,ceramic stains and go back to paint if the profile,” Nagle said. A small form repre­ mixed with 35% Lincoln fireclay and wa­color wasn’t right; now I use all paint. It’s senting a handle was attached to the cup, ter, then fed by conveyor belt to the pow­ like velvet painting.” and two sharp-edged squares were inscribed erfully mechanized pipe extruders. About her imagery, Federighi explained,on opposite sides. When asked about these, Diameters range from 4 to 18 inches. An “I don’t worry about accurate perspective. I Nagle responded, “It’s just a motif I’ve been 18-inch-wide extrusion in a standard lengthwork out a composition. I work in a series using for a long time.” weighs over 1500 pounds, and thus mustand, as it evolves, there is a certain amount Texture on this scale required mixing be handled with care. you can do with it, and then you move on.large amounts of thick “slop,” which was Symposium artists used this raw material I’m not sure where it’s going next.” then smeared on the surface in carefully to make their own ceramic sculpture. A Because of her sculpture’s large scale, defined areas. Though on a huge scale,

14 Ceramics M onthly March 1991 15 Up Front works that have been distorted or altered. The artist can also sue anyone who destroys or modifies his/her work without permis­ sion. This applies not only to the original this mimicked Nagle’s much smaller studio artwork, but to copies as well. work, typically cups only a few inches high. Sponsored by Senator Edward M. Finally, the giant cup was finished with Kennedy (D-Mass.) with Representatives sprayed slips in pastel shades also reminis­ Robert W. Kastenmeier (D-Wis.) and Ed­ cent of his small-scale work. ward J. Markey (D-Mass.), the act was writ­ ten specifically to protect painters and Porcelain by Six sculptors, as well as printmakers and pho­ A touring exhibition of sculpture and func­tographers who create limited editions of tional ware by Martye Allen, Donna Getsinger, 200 or less. But the law will also cover art­ JanelJacobson, ShirleyJohnson, Monica Rudquistwork attached to a building, such as murals andDenise Tennen opened at the Bloom­ or wall sculptures. Before the owner of the ington Art Center in Bloomington, Minne­building can destroy the artwork, the artist sota, then appeared at the Tweed Museum must be notified and be given 90 days to of Art in Duluth (through February 25). remove the work. To ensure that the artist Each of these six Minnesota potters takes can be contacted, the U.S. copyright office advantage of the inherent properties of will establish a national registry for artists. porcelain (fluidity, whiteness, translucency, This federal law does not take the place etc.) in her work. For example, Monica of state legislation, which is in effect

“In the Hands of Memory and Experience,” approximately 31 inches in height, handbuilt white clay and encaustic.

tion at Prime Canadian Crafts in Toronto, the figures were handbuilt from white sculpture clay, low fired, then surfaced with encaustic (dry pigment mixed with melted wax). Among the works on view were “In

“Me Is Too Narrow ” approximately 28 inches in height, clay and encaustic, by Susan Low-Beer, Toronto.

“Saucer Spiral,” 4 feet in diameter, 23 variations on similar wheel-thrown and manipulated porcelain forms, by Monica Rudquist, Minneapolis.

Rudquist exploits the fluidity and whitenessthroughout 11 states. Instead, it extends of porcelain in “Saucer Spiral,” wheel- these rights to the rest of the country. thrown and manipulated functional forms The Visual Artists Rights Act will apply assembled as a wall piece. only to artwork that is sold after early May “Porcelain by Six” will appear next at 1991, six months after the law was enacted. the Northfield Arts Guild in Northfield, This aspect of copyright protection will be Minnesota (March 28-April 27). in effect for the lifetime of the artist, instead of the standard copyright protection of a Federal Protection for Art lifetime plus 50 years. With the passage of the Visual Artists Rights Act of 1990, an amendment to the Susan Low-Beer copyright law, artists have gained “moral Male, female, child and animal elements rights” to protect work after it has left their were combined to form disparate, seg­ hands. These include the right to claim mented figures in the latest series of ce­ attribution for works and to challenge false ramic sculpture by Canadian artistSusan attribution; and the right to disclaim anyLoiv-Beer. Featured in a recent solo exhibi-

16 Ceramics M onthly March 1991 17 Up Front allowed tax deductions on what was actually paid for the work. The 1986 law substantially decreased in­ the Hands of Memory & Experience” andterest in giving major gifts of art to muse­ “Me Is Too Narrow,” assembled cross sec­ ums; such works often had appreciated in tions of personality as well as people, repre­ value well beyond their purchase price, and senting contemporary human dynamics. couldn’t have been donated without sub­ stantial losses. Consequently, many major Curtis and Suzan Benzie works were sold at auction, helping to drive During their recent exhibition of porce­ up prices. The new law virtually returns lain vessels, sculptural lighting and jewelrydeductible gifts to pre-1986 standards. at Akasaka/Green Gallery in Tokyo, Curtis The catch? As worded now, the act will andSuzan Benzie (Hilliard, Ohio) were fea­ be effective only in 1991. On the brighter

Inkstand with cossack motif, about 8 inches in height, porcelain, with overglazes and lusters, Popov Factory, 1820s.

Russian aesthetic even after Peter the Great decided to move the imperial court to Saint Petersburg in the 18th century. Without court patronage, support for the decorative arts moved from the city to aristocratic estates surrounding Moscow. At the same time, the Moscow School of Painting was established and became known for portraits of patrons and landscapes. Almost 80% of Moscow was burned dur­ ing the War of 1812. What once was a city of log houses was rebuilt with brick and stone, and appreciation for the decorative arts flourished. Nerikomi porcelain necklaces, 24 inches in length, with 22K gold, bone, antique glass, serpentine, agate and camelian, $98-$ 109, by Curtis and Suzan Benzie. By the middle of the 19th century artists had turned away from the academic tradi­ tured on Japanese television—as guests onside, any donations that can not be de­tions of Saint Petersburg and began look­ Asahi’s “Prestage,” a popular late-night talk ducted this year (the limit is 30% of the ing to everyday life for inspiration. show; in interviews on TBS’s morning fea­ donor’s adjusted gross income) can be fully The end of the 19th century saw a re­ ture and news shows, and on NHK’s “To­subtracted in following years. vival of interest in Russian history, which kyo Entertainment,” which covers trends in launched a new tradition focusing on his­ culture, education and entertainment. In­ Moscow Treasures torical designs and realist imagery. terviewers were interested in why the work More than 200 works of art dating from the When artists of the early 20th century looks the way it does, as well as the fact that 15th to the 20th century were featured in rebelled against tradition, new movements this husband and wife team works together. the exhibition “Moscow: Treasures & Tra­ were born. It was “to liberate from the bal­ Concurrent with the Tokyo show, their ditions” at the Smithsonian’s Internationallast of the representational world” that jewelry was featured at Kntetsu Department Gallery in Washington, D.C., through Feb­ Moscow artist Casimir Malevich founded Store in Kyoto. To mark the occasion, the ruary 3. The State Kremlin Museums, the suprematism, the Russian abstract art Benzles designed a commemorative brooch State History Museum, the State Tretyakov movement, in 1913. that could be autographed with gold lusterGallery and others collaborated with the on request at the store—like an author’s Soviet Ministry of Culture and the Cup and saucer with suprematist design, book signing. These brooches were fired at Smithsonian’s traveling exhibition service porcelain with overglazes, Dulevo Factory, a local pottery and could be picked up the to bring these icons, paintings, engravings, painted by N. Suetin, 1923. next day.Photo: Jerry Anthony. gold and silver works, costumes and porce­ lains to the United States. Charitable Deductions In the eyes of the Russian people, the Museums, nonprofit and charitable orga­ present-day capital, Moscow, symbolizes the nizations may see an increase in donationsheart of the country. This city emerged as a of artwork in the coming year. Congress political and spiritual center late in the has passed a bill that will allow donors to 13th century. Much of the art and craft again deduct the full “fair market value”made during the next 200 years was for for contributions of works of art. This re­ nobility. This work defined a national style verses a much-criticized 1986 act that only that would remain synonymous with the

18 Ceramics M onthly March 1991 19

Currently the hottest place in Europe for international ceramists to work: Holland’s Ceramic Work Center provides space, materials and expertise for qualified individual artists.

The Ceramic Work Center of Holland by Nancy Frommer LaPointe

HOUSED in three traditional brick Since 1980, some 300 Dutch and The center is supported by the buildings in a picture-postcard Dutch40 international artists have worked Dutch Ministry of Cultural Affairs. village is the Keramisch Werkcentrum at KWH; however, the mission of the This allows for generous individual Heusden (KWH). Not a school, it is center has evolved dramatically overgrants to cover studio and materials. primarily a workshop where profes­ the past few years. Once the center Comfortable living accommodations sional artists can create work that de­ prided itself in providing facilities forwithin the complex are available for a mands generous space and expertiseDutch emerging talent. Today, only token fee. The usual period for work in ceramic technology. one or two spaces are held for these is three months, with possible exten­ Nine private studios and largeyoung artists. In fact, the focus today sions up to a year. communal spaces provide all the state- is moving away from promotion of You may wonder how I know about of-the-art equipment and materials the individual artist toward the morethis wonderful place. Recently, my necessary for visual artists and design­internationally altruistic promotion of work was included in a traveling show, ers working with clay. In addition, ceramics as an art. Conspicuous are which opened at the Gallery De three technicians are available daily the ever-increasing standards for ac­Keerder Kunstkamer in Holland. The to give advice and assistance. Nearbyceptance. “Artists are chosen on the other Americans invited to participate is a library of over 1150 international basis of visual quality, plan of work were California sculptors Roberta ceramic books, 134 periodicals and and history of motivation,” explainedLaidman, John Toki and Peter Van- thousands of easily accessible slides. director Adriaan van Spanje. denBerge. Because she was familiar

22 CERAMICS MONTHLY with its operation, Roberta recom­ mended that we apply to the center for support in preparing work for the upcoming show. I followed her ad­ vice, and six months later hopped off the bus in the land of dikes and ca­ nals, never dreaming of what personal growth was in store. Let me now give you a glimpse of what it’s like to work at the center by introducing you to some of the artists I met: Frank Asnes, Wessel Holleman and Vilma Henkelman were working to­ ward a common goal—to individually throw massive sculptural forms, each weighing (wet) between 600 and 1000 pounds and reaching up to 9 feet in height. After two weeks, Vilma, the For her project, Dutch ceramist Vilma Henkelman threw massive sculptural forms, leader of the team, had made and reaching up to 9 feet in height and weighing (wet) 600-1000 pounds. destroyed two full-size works, and was beginning a third. She “didn’t like the first two. They had no power.” She says that she destroys most of her work. “It gets easier as you do it. It is impor­ tant for me to show the others that your work is not always so precious.” Three other artists, Josje Van Doom, Monika Kaden and Moniek Zijp, were working on individual projects at the center. Josje was doing a commission for a Muslim mosque under construction in Waalwijk, Hol­ land. The four monolithic panels, each 5 inches thick, symbolized the four aspects of Allah. Monika com­ pleted a sculpture using clay, steel pipe and sheet metal; and Moniek built a 400-pound, 6-foot-tall abstract sculp­ ture, which required $500 worth of materials, the use of a forklift and a Ten artists, including designer Marion Herbst, worked with slip and molds computerized car kiln. provided by two factories during the six-week “Contemporary Delftware” project. For all the KWH artists I spoke with, commitment to the essence of the work is everything. The motto for one project was, “It’s the journey, not the destination.” Desire for commercial acceptance seems to play a less signifi­ cant role. Perhaps this is true because of the country’s unique history. Holland has a tradition of supporting its artists. Starting in the 1950s, purity of artistic vision was economically encouraged by the state. At that time, artists who were juried into the government- sponsored Visual Arts Arrangement (BKR) were supported automatically. This controversial program ended in 1987 after the jury system was abol­ ished in the 1970s. The subsequent collapse was due to the sheer numbers Josje Van Doom took advantage of center facilities to complete four large panels of artists who simply depleted the commissioned for a mosque in Waalwijk, Holland.

March 1991 23 funds. However, even today, for theof clay on massive forms by Peter artist. I knew her to be keenly aware talented few, generous grants plus theVoulkos has inspired a large number of contemporary art history. She said, living allotment available to all out-of- of today’s Dutch artists. By contrast, “I speak only for myself, but I know work Dutch citizens, make the life of there are still many followers of a long­ my opinion is widely shared here in an artist in Holland quite comfort­ time ceramic leader in Holland, Johan Holland. I choose ajapanese point of able. Though younger artists strad­ Van Loon. He popularized the gentle view about material. I like a material I dling the BKR era refer to themselves handling of material on small-scale can touch, which responds immedi­ as the “lost generation” many agree vessels that speak of clay’s tensile ately to that touch. A balance must be that today’s renewed competition has qualities. found to know when to handle and had a revitalizing effect on Dutch art. My second clue to understandingwhen not to handle. I watch for the As I looked at the work around a quite different contemporary Dutch material to offer answers.” She went on me, I kept searching for some distinc­ ceramics attitude came from a con­ to say, “I am a ceramist, not a clay tion to separate the younger Dutch versation with Anton Reijnders. Heartist. I say that because I care deeply ceramists from their counterparts in spoke of the prevalent constructivist for traditional values of firing, slips America. It was after talking with point of view in Europe, with its roots and glazes. I am not a potter, though, Marcella Van Zanten, a painter by in the work of De Stijl or Piet Mon­ because I use the pot only for its training, that I got my first clue. She drian. Anton reminded me of Hol­sculptural values. Unlike England, we said that the art she saw while a post­ land’s ceramic artist Jan Van Der Vaart, in Holland have no tradition in pot­ graduate student in America was morewho became the leader of abstract tery. That frees many of our artists to conceptual. Her work is very expres- geometric forms in clay. The connect­ go beyond pottery tradition.” sionistic. Like her neighbors at the ing concept for all these schools of For me, the 12-foot-square kitchen work center, she seemed motivated by thought, be it large or small, soft or table was the heart of the center. Each the intangible spirit of developing hard, is formalism. As I searched Eu­ morning, rich coffee was served processes to challenge the natural ropean journals and galleries, I dis­promptly at 10:00. As the group chat­ qualities of the clay and pigments. covered that provocative imagery, ted in Dutch, my mind wandered to Their goal was to create abstract plas­ based on narrative content, seemedthe many elbows that had rested, just tic shapes with a great concern for conspicuously absent compared to like mine, on the table’s wooden top. movement. However, unlike most clay work in America today. So many ideas and plans had been artists, Marcella’s work was about line, Were my observations correct? I shaped there. not mass. questioned Yvette Lardinois, the daily One idea put into action in 1989 Admittedly, the aggressive handlingmanager of the center and a ceramic was the “Project on a Plate.” Nine na-

During his residency, Peter Kruger, (East) Germany, produced Moniek Zijp discussing the firing of her sculpture “Polar monolithic forms embedded with shards. Dream” in the computerized car kiln.

24 Ceramics M onthly Vilma Henkelman and Wessel Holleman assembling Height was no problem for Wessel Holleman; he simply monumental sculpture from wheel-thrown sections. stood at the top of a stepladder to throw the last section tionally acclaimed painters came to Two recent programs were dedi­ technical assistance to a larger com­ Heusden, sponsored by Mourik Gal­ cated to exploring a specific theme in munity of international artists. Smaller lery in Rotterdam, to leave a record depth, with artists-in-residence, work­ centers are being organized as re­ of their individual style on 25 platters.shops and lectures. During a three- gional support stations for local ce­ Anton Reijnders was the only ceramic month period, up to eight guest ramic artists. artist to show at that gallery. The Bel­ teachers presented unique points of Holland is an open-minded coun­ gian painter Eric Verhal expressed the view on the subject. For example, dur­try that looks to the world. Amsterdam challenge facing the other painters ing the program on architecture with has always been known as the gateway when he said, “If you paint, you know Harry Boon in residence, the discus­to Europe. Rotterdam is the largest what will happen. When working with sion topics included space as material, port in the world. Dutch children are these platters, the form is clear, but as behavior and architecture, photogra­ opened to the world from an early far as the painting is concerned, youphy as the art of installations, glazing age, by learning two to four languages. just have to wait and see whether the of monumental clay, exhibition con­More than ever, there seems to be a oven gives birth, so to speak, to a boy cerns and the need to avoid gettingnatural restlessness and curiosity alive or a girl.” lost in incidentals. In the program in the nation’s contemporary ceram­ Another brainchild of the center entitled “Body,” with Jose Vermeirsch ics, and the work center is acutely was the project “Contemporary Delft- as artist-in-residence, the support aware of the timely role it must play. ware,” which drew together art and professionals included an industrialAs director Adriaan van Spanje noted, industry. Ten artists worked for two designer, a dancer, a photographer “It is not a culture-bound country and weeks in two Delftware factories, then and a jeweler. holds no self-limiting philosophy con­ they returned to the center for six In spite of the innovation and ex­cerning ceramics used only for applied weeks with gallons of slip and an as­ citement generated by past projects, art. So as the ceramic work center sortment of traditional molds fur­ the center’s staff believes that its vi­ reaches well beyond the borders of its nished by the factories. The molds sion has been somewhat narrowed by country, it is helping ceramics to reach included fluted tea jars and platters,the limited space. For growth, a larger well beyond the boundaries of con­ cow-shaped creamers, and rows of space in an urban center has beenvention” Dutch townhouse salt shakers. The secured. Soon, the Europees Ke- painters, sculptors, jewelers, wood­ ramisch Werkcentrum (EKWC) will The author A former contributor toCe­ workers and other artists all aggres­ open its doors in s’Hertogenbosch ramics Monthly (see her comments in the sively cut, manipulated and painted(right in the center of Holland). This October 1987 and 1989 issues), Nancy the slip-cast forms, freely transform­ move will allow for more ambitious Frommer LaPointe teaches ceramics at the ing tradition. ceramic projects and even greater University of Massachusetts, Amherst.

March 1991 25 Photographing Ceramics Revisited by Glenn Rand

DURING the past decade, the impor­ this “professional” look is by creating If you decide to take the photo­ tance of good photographs [see visual excitement. That is what a pho­ graphs yourself, you should first give “Photographing Ceramics,” Parts 1 tograph needs to overcome its two some thought to equipment and ma­ and 2, in the January and Februarydimensionality. But what is really re­ terials. Most of you probably use a 1982 CMs] for marketing and docu­ quired? 35mm, single lens reflex (SLR) cam­ mentation has grown steadily. Now, First determine the purpose of the era to produce slides and negatives galleries and magazines prefer large- proposed photographs. If you need for prints in either black-and-white or format “transparencies” over slides; a insurance photos, then very likely that color. But the results in all reproduc­ ceramic artist can’t feel comfortable instant camera will work fine. If your tion techniques are improved by us­ just popping film into an Instamatic, hope is to have the work reproduced ing the largest size film possible. The pointing it at the piece and submit­ in color on the cover of a magazine, 2/4-inch (also called a medium-for- ting the results for publication or as a you may need some help. Unless you mat) camera may be used to make show entry. are willing to go to the expense of slightly larger and more controlled Today, there is a need to produce purchasing or renting a view camera, images than the 35mm, but the 4x5- photographs on a more “professional” lighting equipment and a studio, itinch view (also called large-format) level. This doesn’t necessarily mean will probably be better to hire a pro­ camera is the workhorse of commer­ the photographs must be shot by pro­ fessional. cial “tabletop” photography. It gives fessional photographers, but that the If that is your choice, first ask to the photographer the most control. same care in photographic technique see samples of work similar to what You will need a tripod regardless of is taken. Part of this technique involves you expect. Let’s face it, you may make the type of camera you use. Just be how a photograph creates a success­ silver-lustered constructions unlikesure it will give steady support. Unless ful illusion of three-dimensional formanything else on the market, but your you are photographing at speeds less from a two-dimensional image. The work photographs very much like than Vi25 of a second, there is little photographer controls how an object polished chrome. If the professional chance of holding still for maximum will be seen by selecting an appropri­ has not shot ceramics before, it doesn’t sharpness. ate vantage point and the lightingmean that he/she has not photo­ Lighting equipment is also impor­ under which the object will be photo­ graphed something similar. But don’t tant, even if you are utilizing the sun graphed. assume that because a photographer as the main light source. If you choose If you are competing (for a gallery takes good portraits or has work in to work in a studio, which I recom­ slot, acceptance to a show, a teaching the “Museum of Esoteric Art” that he/ mend, you will want two or more lights. job, etc.), and your photos do not look she can produce the types of photo­ The type of film will also make a as good as those of other hopefuls, graphs you expect. If you have an ideagreat difference. Just keep two things then you obviously have a problem. of what you want, be sure to tell the in mind: lighting (color shifts will oc­ Ceramists are forced by the fragility, photographer. (You can always show cur if the light and film are not size and weight of their work to rely pages from magazines you want to be matched) and use (negative film for on photographic reproductions to seen in.) prints and transparency film for slides make their efforts readily accessible Expect to pay for photographic or reproduction in all print media). to a large audience. And, for better or services. Remember, the work you are The three example photos suggest worse, the person whose work is best having shot probably took some time suitable techniques for different translated to photographic form will and effort to make it good. It will lighting circumstances. tend to win in photo image-based most likely take a similar effort to make competitions, regardless of the three- the photograph represent what you The author A frequent contributor to CM, dimensional realities. have created. And you expect to beGlenn Rand teaches at Lansing Commu­ Perhaps the best way to provide paid for your efforts, don’t you? nity College in Lansing, Michigan.

26 CERAMICS MONTHLY This pot was photographed at the studio of Kioshi Morioka reflected in the surface from the lighting. (With view camera in Kyoto, Japan, using the sun as the main light source. The movements, this is easier to handle.) So, gold foil added to a problems created by sunlight are twofold. First is the white fill card placed in front allows the gold luster to read brightness. To expose for the highlight detail and still hold properly in a color image. detail in the shadow areas, you need to use fill cards to The first part of the photographic process was to support bounce light into the shadows. Second, the sun gradually the piece so that it could be shot against the background. changes position relative to the work (as the world rotates), This was accomplished by hanging it with black button so you must be prepared to make adjustments in fills. thread. Thread was used because it reflects little light and the Naturally, filling the shadows of a spherical form is not black color blended into the background. Many people think as much of a problem as it would be if the object was that monofilament fishing line would be better because it geometric in shape. looks transparent, but the material reflects light rather than The jar was photographed on a white, seamless background letting it pass through. Threads were also used to keep the because the white naturally reflects light into shadows. To work from rotating. lessen the impact of the white, I allowed the shadow of a A medium gray background was used to produce tones nearby tree to fall on the background. A fill card was also from light to dark. This gradation is created by holding back used to open up the shadow on the side away from the sun. direct light from the background material, and allowing the long sweep of seamless paper to drop off in illumination. above right In doing photographs of work by Madeline Primary lighting was electronic flash. The work was also Ricks, I ran into two problems. The first was she wanted the illuminated by a Hazylight (softbox) above, with a small work shot on 35mm film because she uses the images mainly Boxlight (small rectangular light) passing through a diffuser for exhibition entries. But, due to her use of bright glazes and panel as fill. Because the majority of the sculpture’s surface lusters, it would have been easier to photograph with a view was brightly glazed, the broad diffuse lights gave reflected camera. For a shiny surface to show color, the color must be shape to the piece.

March 1991 27 Photographic Recommendations

Special Purpose Medium (Camera) Lighting

Insurance any color print (35mm) no Documentation slide (35mm) no Lecture Support slide (35mm) yes* Show Entry slide (35mm**) yes Magazine (small-size, black& white editorial) 5x7 glossy print (35mm) yes*

1 Magazine (med-large, black & white editorial) 8x10 glossy print (2 /4) yes*

1 Magazine (color editorial) transparency (2 /4 or 4x5) yes* Magazine (black & white illustration) 8x10 glossy print (35mm) yes* Magazine (color illustration) transparency (4x5) yes* Poster transparency (4x5) yes*

*ln some cases available light will have to suffice. But this may restrict usage in publications. They generally require better quality than is typically achieved with this technique. The range of tones in printed photographs is less than in the film form, and this normally requires lighting control to gain proper photo tones for printing purposes. **Many shows require entries to be in 35mm slide form. This does not mean that the original photographs must be that form, but if you do plan to duplicate from larger images, use duplicating film.

Equipment

Type Use Effect

The concept behind photographing this salt-glazed porcelain Floodlight broad light large amount of light for the cost; bottle by Anne Bracker of Lawrence, Kansas, was to make an shadows are somewhat soft, but still image that would enhance the work’s color and pattern. This distinct was accomplished by building a set with black pebbles on a tray and a painted sunset backdrop. The painting covered Fresnel Light collimated light focused, and directional light; shadows about one-third of a white posterboard, which also served as are sharp and distinct a light diffuser/reflector. The lighting of the image was by a Soft Box diffuse light very broad and soft light; shadows are floodlight aimed at the board, with “bam doors”(adjustable nondistinct light-blocking panels) controlling the illumination so that no direct light struck the bottle. This was important, as the Fill Card add soft light shows detail/color in shadow areas; glaze would have caused a “hot spot” on the pot in direct flattens contrast range light. A large white fill card was positioned in front of the Diffuser diffuse light can be used with any kind of light bottle. The camera was positioned over the fill card, shooting down into a field of black pebbles. Water was added to just Seamless background allows for controlled, uncluttered look below the level of the base of the bottle to reflect the colors of Barn Doors blocks light attached to the lights to control the size the abstract painted sunset. and shape of light on the subject

Suggested Films

Type Light Film

Black & White Print any T-Max 100 Color Prints D/S Ektar 25 Slides D/S Kodachrome 25* Slides D/S Ektachrome 100 (EPN) Slides T Ektachrome 64T (EPY) Slides D/S Ektachrome 100 Plus (EPP)* Transparencies D/S Ektachrome 100 Plus (EPP) Transparencies T Ektachrome 64T

D/S = Daylight or Strobe T = Tungsten lights *Kodachrome 25 is a good material for both color and stability. Where a slide must be submitted in the absence of a larger transparency, it is a superior medium for publication; but it is not as good as Ektachrome for projection. There is also a tungsten version of Kodachrome. **Ektachrome 100 Plus (EPP) is designed to improve color satura­ tion, while maintaining good neutrals.

28 Ceramics M onthly Ann Roberts

“RIVER RIDERS,” an exhibition of figurative sculpture by Canadian ceramist Ann Roberts (Conestogo, Ontario), was on view recently at Dexterity Gallery in Toronto. Incorporated in this series are images of “women, animals and vegetative forms to portray the interaction of life forces.” Currently an associate professor at the University of Waterloo, Roberts was born in South Africa and emigrated to Canada in 1960. Eventually she moved home and studio to the banks of the Grand River, which has since become an integral element in her visual vocabulary. “Folklore usually portrays the river as female, with fish as the male life force, dependent upon the nurturing, life-sustaining river. “The boats, as they float, drift or speed down the river, are the containers for...dramas. They personify our present shifting populations, unwitting migrations, brave escapes and personal traumas ” ▲ “River Riders #7,” approximately 19 inches long, handbuilt from “River Riders #6,” approximately inches17 in length, a ball clay/talc body mixed with 12% grog, covered with white handbuilt whiteware, with low-fire white matt glaze matt glaze, fired to Cone 02, brushed with overglaze mixtures of and brushed overglaze striations, by Ann Roberts, 2 parts stain and 1 part Ferro Frit 3134, refired to Cone 06. Conestogo, Ontario.

March 1991 29 Stenciled Imagery by Patrick Siler

Over THE YEARS, I have developed the drawing on butcher paper is the first a lot more than what’s cut into them. habit of interpreting everyday experi­ step. The subject may be drawn many Sometimes they must be elaborate and ences through drawn images. Some­ times in the process of trying to get it challenging. But it’s equally possible times the direct observation of people right. Only then are the stencils cut that the stencils will be quite sponta­ or events seems to stamp indelible out (with a utility knife). neous. Ceramics can incorporate what mental impressions; or the words and I’m neither interested in realism looks like several drawing styles: some phrases of popular music may be nor a particular style. But movement, carefully, tightly executed images; transposed into potent visual passages. humor, the real essence of something, some freely done, even cartoonlike. I keep a journal, so when struck by should be clear. You’ve probably heard After all the paperwork (initial an idea, I jot it down immediately. Ifof visual shorthand—that magical stuffdrawings and stencil cutting), it’s time in bed, I get up, turn on the light andfound in the works of great artists, to mix clay. I like this step—a medita­ do a sketch. If driving, I pull over andfrom the understated masterpieces of tive, thoughtful process of beginning. put it down, doodle, sketch, draw theOriental brushwork to expressionist Whether making 15 loads or just one, idea out to capture its essence. paintings. That is what I want. I can think about what I’m going to When I get an idea for a clay piece, Flat paper stencils have to suggest create while the clay is mixing.

30 CERAMICS MONTHLY above Stencils cut from butcher paper cover the walls and ceiling in Siler’s home studio in Pullman, Washington. left Patrick Siler with “Pastoral #1,” a 14-foot-long mural constructed from fist-beaten slabs, with stenciled-slip imagery, fired to Cone 5 in oxidation. right Greenware with stencils removed “to reveal the whole picture...the most gratifying part of the making process”; note the depth achieved by two layers of brushed slip.

March 1991 31 above Back view of a wheel-thrown stoneware plate, 19 inches in diameter, with vitreous slips brushed over stencils (cut from butcher paper with a utility knife), fired to Cone 5 in slightly “dirty” oxidation.

left “The Muse of Ceramics Visits Two Carousing Potters,” 19 inches in diameter, slip-decorated stoneware (back view).

OPPOSITEpage : top left “Jivin9 Man Jim Comes to the Bar #1,” slab-built stoneware obelisk, with stenciled slips, Cone 5 oxidation fired, 55 inches in height.

top right “Jivin9 Man Jim Comes to the Bar #2,” slab-built stoneware with vitreous slips applied over paper stencils, 38½ inches in height.

bottom “Pillars of Enterprise,” approximately 12 feet in length, assembled from 72 stoneware slabs, each 2 inches thick, with vitreous slips, Cone 5 oxidation fired.

32 CERAMICS MONTHLY March 1991 S3 Six wheel-thrown, slip-decorated stoneware plates from the “Making a Piece Series” diameters range from 19 to 20 inches, from top left: “Making the Clay”; “Wedging the Clay”; “Putting the Parts Together”; “Watching the Cones Fall”; “Kiln Firing Debauchery ”; Admiring the Results.”

Plastic clay is earth meat. I like a is more to these images than will fit contrast well with the sharp-edged heavy, coarse clay with a lot of tooth, on the piece. stencil shapes. so usually the recipe is an old standby: When you paint an image directly When the third layer of slip is dry 2 parts Lincoln 60 Fireclay, 1 part onto clay, that’s where it stays, unless to the touch, the stencils are removed Kentucky Ball Clay (OM 4), and a lot you brush it out and start over. With ato reveal the whole picture. This is the of sand and grog. If possible, I use paper stencil, you can move the im­ most gratifying part of the making coarse homemade grog—ground-up age all over the piece—trying it here process. After all the previous steps, bisqueware. and there (holding it temporarily in you finally can see whether everything The slabs are beaten out with my position with straight pins), until you is going to work. I usually say at this fists and hands on pieces of plywood,find the most dynamic placement. point that, if the piece comes out of then left to “cure” for one or two days I usually use three layers of slip to the kiln looking this good, I’ll be do­ until they are firm, but still somewhat develop imagery on the piece. The ing pretty well. flexible. The piece is built horizon­ first is a dark color brushed on pretty After the pieces dry slowly (for tally—on one of its sides. After the thick. When it’s dry to the touch (a about two weeks) under plastic, they slabs are all put together, and the joints few minutes after application), the are fired in oxidation. The slip colors have had a chance to set up, the form paper stencils are positioned. I use are delicate and the effect of full is raised upright. If I stick to hollow Once placement is right, the sten­ reduction is generally not good. How­ volumes that are simple and strong, cils are dipped into water (so they will ever, I do favor a slightly “dirty” atmo­ there will be plenty of surface area on stick) and patted gently onto the piece. sphere. The presence of a hint of which to express ideas. A second layer of slip, probably one reduction seems to give the colored Traditionally, images on pots are of a contrasting value, is then applied. slips a little more depth and variety. meant to integrate harmoniously with While the second slip is still wet, a But I do mean a little reduction. the form, to enhance and agree with third slip is brushed into some areas. it. But I like to develop imagery that This third layer provides most of the The author Patrick Siler is an associate creates tension, conflicts with the color on the piece. Also, because they professor at Washington State University form, and possibly suggests that there are soft edged, these colored areas in Pullman.

34 CERAMICS MONTHLY Crystal Glazes in Reduction! by Thomas S. Carroll

The SHORTEST DISTANCE between two Glazes” by David Snair, inCeramics of the kiln. The pinch valve is adjusted ideas is not always a straight line of rea­ Monthly, December 1975.) to allow oil to enter the kiln at approxi­ soning. The following quick, easy re­ It is extremely difficult to create red mately one drop per second. duction method for crystalline glazes crystals, as reduction usually inhibits Oil dripping into the kiln immedi­ resulted from a chain of experimentscrystal growth. But Leon Bush, past ately ignites, creating a smoky reduc­ involving three ceramists in Southernpresident of the Design Chapter, tion atmosphere. The oil is introduced California. Had their paths not crossed, Southern California Section of the starting at 1500°F, and is allowed to drip creating reds within the exacting disci­American Ceramic Society (ACS), continuously until 1000°F. “The oil is pline of crystalline glazes fired in elec­ formed the first link in the chain by introduced after the maximum tem­ tric kilns might never have happened. detecting a method to achieve glaze re­ perature has been reached and the ele­ Typically, crystal formation is en­ duction in an electric kiln. ments have been turned off, so any couraged by additions of zinc and iron Bush earned a master’s in engineer­ effect on the elements is minimal,” ac­ or titanium (including rutile). Boraxing physics from Cornell University in cording to Bush; however, the room and soda (preferably in a fritted form) 1951, and now works in the field of and kiln should be well vented. are also used. The alumina content mustglobal navigation satellites. But he also “The glaze I first tested included a be very low and is in fact absent from is fascinated by glaze technology, and number of standard copper red formu­ some crystalline recipes. The silica con­ satisfies his passion for ceramics by ex­ las, plus two copper crystal glaze mixes. tent is also lower than in most glazes. perimenting in his workshop in Tarzana, Results were spectacular, with colors Rate-of-cooling control is essential for California, and taking classes at local ranging from pink to mauve, and bright proper macrocrystalline (large crystal) colleges. red to copper lusters,” he added. “Since development. The temperature of the “When Richard Keit, a specialty tile the process was stopped while the tem­ kiln should be allowed to drop about maker, visited the class I was taking at perature was above the flashpoint of 300°F after the glaze reaches maturity, Valley College,” Bush recalled, “he the oil, the smoky residue burned out then held there between three and fivementioned that cooking oil would pro­ and the kiln was remarkably clean.” hours. The magic zone for crystal vide effective, easy reduction in an elec­ Bush forged the second link in the growth seems to be between 2100°F and tric kiln. He showed the class samples chain when he met Julie Brooke, a pot­ 1850°F. Thereafter, the kiln must be of red tiles that had been reduced byter from San Diego, at an ACS Design cooled very slowly. this method. Since Keit’s method called Chapter meeting. Because crystalline glazes are quite for introducing the oil when the kiln “Leon mentioned to me that crystal­ fluid, a pedestal should be thrown towas cooling, I felt it should also work line glazes were first developed in the exact diameter of the piece’s foot; with crystal glazes. China,” noted Brooke. “They called attaching the pedestal to the foot with a “After the seminar I learned from them ‘firecracker glazes’ because the mixture of equal parts kaolin and alu­Keit that the hardware requirements crystals looked like explosions of light mina hydrate keeps glaze from enter­ are simple: a container connected to a within the pot.” ing the joint and makes the pieces easier hollow ceramic tube by a length of rub­ During a portion of the meeting, to separate after firing. The pedestal, ber hose. A simple pinch valve on the Brooke showed slides of her crystalline- or catch-basin, collects any glaze run­ hose regulates the flow of oil.” glazed porcelain. She distinctly remem­ off, preventing damage to kiln shelves. The tube is inserted through a hole bers her conversation afterward with (See “Making and Firing Crystalline in the softbrick plug at the lower port Bush. “Leon said, ‘I’ve been working

Oil enters the kiln (approximately one drop per second) The burning oil creates a smoky atmosphere, but after firing, through a refractory tube attached to a container by a hose the kiln interior walls and elements remain clean—there is regulated with a pinch valve. only some soot settled on the bottom shelf.

March 1991 35 on crystal glazes for ten years, and we Crystalline Glaze Recipes have to get together and talk. No one else seems to know what I’m talking about.’” An information pipeline on crystal glazes soon developed between Hopper Base Bush Base II the two. (Cone 9) (Cone 10) In addition to reds, Bush found that Frit 3110 (Ferro)...... 66.67 % Frit 283 (Pemco)...... 90.18 % using the oil-drip technique on other Flint...... 33.33 Flint...... 9.82 copper recipes produced a pure cop­ 100.00 % 100.00 % Add: Zinc Oxide...... 33.33 % pery glaze; while Brooke’s experience Add: Copper Cobalt Carbonate...... 0.40 % with these glazes has produced “flashes” Carbonate...... 1.32-4.61 % Copper Carbonate...... 4.67 % of pure copper. They disagree about Zinc Oxide...... 31.80% the cause. “I feel that iron within the Bush Base I glaze enhances the copper reduction For better glaze suspension, add 2% (Cone 10) bentonite. effect,” said Bush. However, Brooke has Frit 3110 (Ferro)...... 68.26 % “obtained a coppery reduction effect Edgar Plastic Kaolin...... 2.02 Brooke Base II with glazes that have no iron content at Flint...... 29.72 (Cone 9) all. I believe that pot placement near 100.00 % Frit 3110 (Ferro)...... 73.53 % the oil source may be the cause of in­ Add: Titanium Dioxide...... 8.44 % creased reduction.” Flint...... 26.47 Zinc Oxide...... 41.08% 100.00 % The linked chain now serves as the Copper Carbonate...... 5.23 % basis for a chain reaction of experimen­ Add: Titanium Dioxide...... 11.76 % tation and discovery about the proper­ For better glaze suspension, add 2% Zinc Oxide...... 36.76 % ties behind reduced crystalline glaze bentonite. Copper Carbonate...... 2.94 % technology. A

“Fiery Lotus,” 13 inches in diameter, wheel-thrown porcelain, with reduced crystalline glaze, $650, by Julie Brooke, San Diego.

36 CERAMICS MONTHLY “Liquid Amber ” 16 inches in height, thrown, altered and assembled porcelain, with Cone 9 crystalline glazereduced, with oil, $800, by Julie Brooke. A metallic surface is one of the qualities possible with reduced crystalline glazes.

March 1991 37 Biennale Orlandi

THE SECOND international design Lukez, Yugoslavia. The fourth through bottom left Second-place tile design contest for ceramic tiles, sponsored ninth place prizes (each SFr2000, ap­ by Bruno Wiese, Hamburg, Germany; by the Swiss manufacturer Andre proximately $1380) were awarded to variation in installation could produce Orlandi, drew 1298 entries from 36 Mimmo Castellano, Italy; Remy horizontal rows of monochromatic countries. Of these, 90 designs were Lemoine and Nathalie Koemptgen, stripes or contrasting color combinations aligned vertically selected by a panel of ten artists, cura­ France; Frederic Herreras, Switzer­ (OPPOSITE PAGE, BOTTOM). tors, designers and journalists for ex­land; Flavio Polloniato, Italy; Jacques

hibition at the Orlandi factory in Kaufmann, France; and Carmenbottom center Third-place design by Meyrin, Switzerland. Estremera Sales, Spain. Evita Lukez, Ljubljana, Yugoslavia; Jurying required several ballots to Each of the first three prizes in the the geometric pattern is made more choose the nine prizewinners. First “Biennale Orlandi” included com­complex by rotating the tile’s design place (SFrl2,000, approximately mercial reproduction prospects, but orientation (below). US$8280) went to Susanne Weilen- some of the other designs submitted bottom right First-place design by mann, Switzerland; second (SFr8000,to the contest caught the eye of sev­ Susanne Weilenmann, Lausanne, approximately US$5520) to Bruno eral ceramic tile manufacturers, who Switzerland; inverting every second tile Wiese, Germany; and third (SFr6000, are investigating marketing and pro­ (opposite page, top) creates a sense of approximately US$4140) to Evita duction. ▲ motion from just one tile pattern.

38 CERAMICS MONTHLY March 1991 39 Philadelphia Clay

MEDIA CENSORSHIP or discrimination Marge Goldwater, curator, Walker Art tinued. “Although a case might be was purposely avoided in “Contempo­Center, Minneapolis; Doug Hall, San made for the stylistic influence of cer­ rary Philadelphia Artists: A Juried Ex­ Francisco video artist; Phillip tain schools—academic realism asso­ hibition” at the Philadelphia Museum Johnston, director, Carnegie Museumciated with the Pennsylvania Academy of Art. According to exhibition coor­ of Art, Pittsburgh; Howardena Pindell, of Fine Arts, for example, or a certain dinator Alice Beamesderfer, the mu­ printmaker and former curator at the biomorphic vocabulary in use among seum “wanted to give all of the artists Museum of Modern Art, New York; affiliates of Tyler School of Art—this in the region’s burgeoning art com­ and Allan Stone, New York dealer. show does not evince a single or even munity an equal opportunity to have Paula Marincola (director of Bea­ dominant regional Took.’ [Today], their work seen” Of the 129 objects ver College Art Gallery) noted: “This regionalism is an anachronism. shown, 14 (more than 10%) were exhibition is the first large-scale re­ Awareness of national and interna­ made entirely of clay or incorporated gional juried survey of work in all tional trends/issues is the prevailing ceramic elements. media at the Philadelphia Museum of rule for today’s artists, not the excep­ Selections were made from over Art since the First Philadelphia Art tion; and this community’s practitio­ 2000 entries in a two-stage jurying Festival Exhibition of 1955.... ners are actively engaged in exploring process, the first involving a standard “‘Contemporary Philadelphia Art­ a variety of ideas in aesthetic currency. review of slides and the second, judg­ists’ can certainly be examined, how­This artistic heterogeneity finds ex­ ing actual works. Jurors for the sec­ ever, against the backdrop of this city’s pression in diversity of styles, genres ond stage were Martha Chahroudi, artistic heritage and traditions, its nu­and media—from realism to abstrac­ Philadelphia Museum associate cura­ merous art schools and teaching insti­ tion; from landscape to portraiture; tor of photography; Anne d’Har- tutions, its museums and collections,from handbuilt clay vessels to high- noncourt, the museum’s director; and its lively gallery scene,” she con­ tech video installations.”A

“Bricolage Series #946 inches high, “Long Table II with Vase” 30 inches in height, glazed, painted, by Mitchell Messina. salt-glazed stoneware, by Robert Winokur.

40 CERAMICS MONTHLY Burnished vessel, 10V2 inches wide, pinched, pit fired, by Jimmy Clark.

“ Verdant Sea,” 17 inches wide, glazed stoneware, by Ken Vavrek.

March 1991 41 Low-Fire Highlights

PRESENTED RECENTLY at Contempo­ pigments “are cobalt oxide, copper patterns are carved into the surface. rary Images Gallery in Sherman Oaks, carbonate, iron oxide and a variety ofEach color is carved separately, the California, was an exhibition featur­commercial underglazes; these work incised area to be filled” with vari­ ing low-fire vessels by eight ceramists well for painting over the glaze as long ations of the following slip: who have worked together for several as they are thinned to a wash consis­ Mishima Slip years. Seven of these artists (Randall tency. The glaze firing is to Cone 04, (Cone 06) Bruce, Elaine Fuess, Clare O’Callag- with a one-hour soak.” han, Mark Poore, David Roesler, The reflective surfaces of Randall Talc ...... 50% Nepheline Syenite...... 10 Cynthia Sellars and Ric Wiley) were Bruce’s lustered earthenware “catch Ball Clay...... 40 formerly students of Robert Kibler the light and color of their surround­ 100 (the eighth member of the group) at ings,” according to the artist. “I enjoy % Add: Glaze Stain...... 2-20% Glendale College. “Low-Fire High­ throwing large, simple shapes that can lights” was their first show as a group. act as canvases for glazes,” such as: Once slip is inlaid, “the surface is While related by firing tempera­ scraped to reveal the pattern. After Luster Glaze ture, their works are diverse in deco­ bisque firing, the patterning may be (Cone 08, reduction) rating techniques—ranging from continued with underglazes and/or a Frit 3110 (Ferro)...... 90% majolica and luster glazes to inlaid Cone 06 transparent satin glaze.” Ball Clay...... 10 slip and handbuilt colored clays. Ric Wiley prefers to work with 100% Robert Kibler’s majolica-style ware nerikomi (handbuilt colored clay) Add: Bismuth Subnitrate...... 2 % is wheel thrown from red earthenware, techniques “for the intense colors and Silver Nitrate...... 1 % bisqued, then surfaced with the fol­ the sharp delineation I can achieve in lowing lead-free opaque white base: “Producing lusterware is a tricky patterns. My nerikomi clay is prepared endeavor, requiring experimentationby adding different metallic oxides White Base Glaze and accurate record keeping,” Bruce and commercial stains to a white (Cone 04) noted. “My pieces are bisque fired to earthenware body. The colors are then Barium Carbonate...... 5.7% Cone 08, then the glaze is applied arranged into a pattern and formed Zinc Oxide...... 2.3 with a brush. Glaze firing is to Cone into a slab. This is compressed to half Zircopax...... 14.4 08 in an electric kiln, followed by its original thickness, draped over a Frit 3124 (Ferro)...... 53.1 postfiring reduction with sugar cubesmold and ribbed smooth. At the dry Edgar Plastic Kaolin...... 16.4 until color is gone from the kiln.” greenware stage, I use fine steel wool Flint...... 8.1 David Roesler uses the mishima to remove surface film. After the piece . % 100 0 (inlaid colored slip) technique to has been bisqued to Cone 04, a clear “This glaze is best applied by dip­ “create patterns under a transparentglaze is applied and it is again fired to ping,” Kibler explained. His on-glazeglaze. After the shape is handbuilt, Cone 04, with a one-hour soak.”A

42 CERAMICS MONTHLY above “Vomo-A-Go-Go,”3 A 10 inches in diameter, handbuilt colored earthenware, with clear glaze, oxidation fired to Cone 04, by Ric Wiley, La Crescenta, California. far left “Blue Bolts,” 12 inches in height, slab-built earthenware box, with inlaid colored slip, underglazes and Cone 06 transparent satin glaze, by David Roesler, Los Angeles. left “Golden Glow,” 20 inches in height, wheel-thrown red earthenware, with luster glaze fired to Cone 08 in an electric kiln, then reduced with sugar cubes, by Randall Bruce, Los Angeles. right “Peacock Box,” 7 inches in diameter, wheel-thrown earthenware, with majolica-style oxide and underglaze decoration on white glaze, fired to Cone 04 in oxidation, by Robert Kibler, Los Angeles.

March 1991 43 Toward an Australian Aesthetic Janet Mansfield by Jane Hamlyn

IT HAS BEEN 200 YEARS since Australia was grant enabled her to continue research into colonized. Time enough for at least some of salt glazing using indigenous materials. its immigrant families to think of it as truly Australia is a good country for potters, home. Their roots gain nourishment from geologically speaking, with ample clay and the land itself and their creative work re­ mineral deposits. There is a feeling that by flects their sense of Australianess. using indigenous materials (clays, calcites, Janet Mansfield is from such a family: “I feldspars and limestones) and readily avail­ am an Australian, several generations so, and able timber (eucalyptus, box- and blackwood, I have a strong feeling for my Australian stringybark), particular and essentially Aus­ background. I am involved in this country. tralian qualities may be discovered. Whenever I go out to Gulgong (a small min­ For Janet, the type of clay body is impor­ ing town about 185 miles west of Sydney), tant, as she uses few surface slips for color. near where I have a studio, I see wonderful She regularly visits the local clay pits to in­ wide open spaces and can admire the pio­Australian potter/author/ spect new seams being mined and to re­ neers who first went to that area to win a editor Janet Mansfield. quest variations of her clay body mix. living from the land. I would like to repro­ Of course, the use of local raw materials duce some of that pioneer feeling in my own work.” and the process of wood firing are not the prerogatives of It was at Gulgong, at an old homestead and sheep farm,Australians; potters have used them since the beginning. close to a good source of clay, that Janet became fully This sense of belonging to a tradition also contributes to involved with wood firing and salt glazing, a technique Janet’s she sense of identity and her place in the scheme of was introduced to at the Anderson Ranch Art Center inthings. “I’m drawn to old pots of all cultures. Potters have Snowmass Village, Colorado. In 1976, a government arts been supplying people’s needs for 6000 years.”

Wheel-thrown stoneware mug, wood fired, salt glazed, fumed with stannous chloride as the kiln cooled (between 1650°F and 1830°F).

44 CERAMICS MONTHLY Thrown stoneware platter with incising, approximately Flower vase, approximately 14 inches in height, wheel- 10 inches in diameter, wood fired, ash wind glaze. thrown and strongly ribbed stoneware, anagama fired.

She has always wanted to make useful objects that would whole bank of kilns, including a 5-meter-long (approxi­ add quality to everyday living. Her kitchen is full of won­mately 16-foot-long) climbing kiln, under the large kiln derful bowls, cups and plates, with no surface decorationshed roof at Gulgong. other than throwing rings or evidence of wood firing or There is an apparent dichotomy between wishing to salt glaze. The forms are soft and engaging, a delight to make functional pots and possessing an undeniably strong explore as you hold and use them. desire to explore the extremes of heat and endurance, Her pots celebrate life by their generosity—like strong which anagama firing seems to embody. It is the action of figures, wide shouldered but not aggressive, full and steady,fire upon the pots that is of vital importance. Janet wants swelling, yet graceful. They are made very directly, with no her pots to show that they have been through fire. But her fuss. Usually the surface is left unadorned before themeaning is not simply literal; it also refers to those mysteri­ firing, but sometimes there may be a few, almost cursory ously compelling allusions to the human condition that incised marks, suggestive of flowers or indecipherable pots can express. handwriting. It is no accident that the names potters use to describe “I like making large pieces even though I have to throw their pots are those that also refer to human form: body, them in three or more parts: foot, shoulder and neck. It is throat, waist, belly, lip, neck, shoulder, foot. Such meta­ not strength that is so important, but technique. I can onlyphors are full of meaning. Similarly, for Janet, the trial by throw about 8 kilograms [about 18 pounds] of clay at a fire that her pots must endure reflects those experiences time. Other potters tend to buy my to which life subjects us and by which pots; I think they can understand the our human clay is shaped and tem­ struggle to express ideas.” pered. Her pots emerge scarred, al­ This commitment to “domestic tered, marked by the fire, bearing ware” seems to echo her sense of the honorable wounds and noble scars. past. It is connected with a work ethic, Furthermore, the exhausting toil her admiration for the early pioneers of a long, slow wood firing seems to who could make useful things out of be an inextricable part of the creative whatever they could find, and her de­ act. It is as if the experience of the light and pride in the rich earth of firing is a kind of catharsis, purging Gulgong. She says, “Some of the best the effects of pent-up emotions by meals I’ve ever eaten have been from bringing them to consciousness. It is Bizen-type pots, but that is tableware an extraordinary concept but, for me that doesn’t come into contact with at least, the only one that begins to knives and forks.” explain the relationship between the The more useful of her pots are pots and the potter in this aesthetic— likely to have been fired in one of the both simultaneously suffering. salt kilns; the less function-oriented in Vase, approximately 14 inches high, Not all the pots will survive; some an anagama-type kiln. She now has a anagama fired for three days. will be spoiled by their ordeal. Select­

March 1991 45 ing those pieces that have been ennobled by fire must befour books: The Art of the Potter (Cassells), Support Yourself as undertaken with a strong will and a ruthless eye. It is ata Potter (Collins) andA Collector's Guide to Modem Austra­ this stage that the true caliber of the potter asserts itself. lian Ceramics (Craftsman Press). Her latest, Salt-Glazed Ce­ For it is the potter who, with all passion spent, must decide ramics, is due to be published in 1991. Recently, she which pots to keep and which to smash. launched an international ceramics magazine,Ceramics: Art The criteria governing such decisions are unknown toand Perception. me. Bizen-type wares have never been to my taste. I have Janet Mansfield has always set new challenges. The new always, I admit, been deeply prejudiced against them. Andmagazine’s offices in Paddington, Sydney, also incorpo­ yet, when I look at the pots that Janet has chosen, I am rate a workshop, a salt kiln, plus a small gallery. Although convinced of their validity, credibility and beauty. still making frequent visits to the Gulgong kilns, she will Until very recently, half of Janet’s income was derivedbe working mostly in an urban environment. Her neigh­ from writing. Making pots has always been of primary bors there range from dealers in Oriental antiques and importance, but she has never thought of it as a prime ceramics to upscale fashion, zany haircutters and boutiques source of income. This has enabled her to be freer andselling highly decorated imports. It will be interesting to more ruthless in the way she makes pots. As editor (from see the effects of this environment upon her pots. 1976 to 1990) of the magazine Pottery in Australia, she found writing about potters and their pots to be an interestingThe author Jane Hamlyn, an English potter who produces and quite separate activity that never confused her ownsalt-glazed wares, was profiled in the April 1989 CM. She recently sense of self-expression through clay. She also has writtenvisited Australia to give a series of lectures and workshops.

The Full Flavor of Salt by Janet Mansfield

Anyone familiar with the sight of the made with the aesthetic potential of salt inside of a well-used salt kiln will recog­ glazing and wood firing in mind. nize that tremendous forces have been Every firing is an experiment with so at work here. The salt has melted the many variables possible. The firing takes refractory brick lining, causing the hot my complete involvement. I fire to over face to flow down the sides of the walls; 2370°F (1300°C) to vitrify the clay body, glassy stalactites hang from the ceiling and to ensure that the salt and ash sit waiting for the next firing so that they richly on the surface. I usually com­ can bless or ruin, with large, glossy, mence salting when Cone 9 is half down, green “tears,” those pots that lie under­ taking two hours to throw in enough neath; the fireboxes and bagwalls re­ salt to coat the ware, about 1 pound per semble volcanic rock formations and cubic foot (15 kilograms per cubic the walls of the kiln have taken on a meter) of the kiln capacity. convexity as if blown out by violent in­ Some potters wrap dampened salt ternal pressure. This description fits an into parcels for throwing into the old kiln of mine. Like the axe that served fireboxes; others blow salt in or fill small, its owner well over 30 years with five long-handled shovels or pieces of angle new handles and three new heads, this iron, which are then pushed into the kiln has been revived with two new kiln and turned over. But I have always arches, one new side wall and severalThrown, salt-glazed jar, 17-inch height. found that the simplest and most effec­ firebox rebuilds over 15 years of use. tive way is to throw the dry salt, from a I have been involved with salt glaz­whole style of working, the forms and cup, directly into the firebox. The im­ ing and wood firing for many years, their attachments, the decoration and portant thing is to throw the salt where wanting the pots to depict all the turbu­ firing methods should all make a co­ the kiln is the hottest. Then the vapor­ lent forces of the firing, enriched by herent statement of intent. ization will be rapid and forceful, espe­ the heat and vapors. I enjoy all the ac­ I use clays and minerals from my cially if there is a small pool of molten tivities of making pots, from the physi­ local area, blending them slightly dif­ salt already there from previous cal effort of preparing the materials, ferently for darker or lighter results, “charges.” I use draw trials or rings to making and firing the work, to the im­ using more fluxing materials or, con­determine the amount of salt buildup. portant consideration of aesthetic ideas versely, a higher percentage of gritty, When satisfied, I clam the kiln up tightly. and their development. It is from the unwashed clays, depending on the in­ The brown, red and yellow colors activity that challenges come, or that tended firing and style of work. Clay is come, I believe, from the slow cooling new ideas are explored. the major consideration in determin­ of the iron crystals melted in the glaze This personal, conscious input ing color, texture and throwing quality.layer. My kilns are all made from local, should be visible. So much that hap­ I make a range of vessels; in particular, I dense, refractory, white, building bricks. pens in the firing process, although not like to make large jars in three or more While they take more fuel to heat, they under strict control, can be anticipatedpieces and assemble them while the retain the heat and are slow to cool. and encouraged. The materials, the parts are still soft. All these forms are They withstand many firings, possibly

46 CERAMICS MONTHLY PHOTOS: SANDY EDWARDS

Basket for flowers, approximately 12 inches in height, wheel-thrown stoneware, wood fired for three days in an anagama.

March 1991 47 Anagama firings last for three or more days to encourage glaze effects possible with natural ash at high temperature.

Three wood-burning kilns are under Visual fireworks take place as opposingJanet Mansfield (right) with the helpers roof at the Gulgong pottery. ports are stoked simultaneously. in her firing team.

because I brush (wash) the insides of (900°C and 1000°C), I often fume with only enough salt into the kiln to pro­ them with a mixture of zircon and wall­ tin or iron chlorides to give a metallic vide the desired effect. Also, the kiln paper paste. This coating, learned about and lustrous surface to the salt glaze. should be well sealed so that all the during an inspection of a salt-glazedThese are thrown into the glowing kiln; fumes go through the flue system, and tile factory, does not prevent the buildupas they vaporize, they settle as a thin the area around a salt kiln should be of salt and ash on the walls, but hinderslayer on the salt glaze. It takes some well ventilated. The firing chamber the fumes from penetrating the bricks. experimentation to discover the rightshould not be charged with salt until The salt buildup on the walls then helps temperature and the right amount of the ware has reached vitrification. Then in promoting an even salting in subse­chlorides to use. Too much can result all the salt in the kiln will be effective, quent firings, with the result that less in dulled, creased-clothlike surfaces, working on the pots’ surfaces instead of salt is needed. while too little has no effect at all. going solely into the atmosphere. In 1988, to further explore wood Constantly seeing and learning are Although I work mostly in the wide- firing possibilities, I built an anagama. necessary for any artist, particularly a open spaces of the countryside, I also Firings have lasted for three or more potter working with the somewhat un­ operate a small workshop in the city. days in the hope of discovering particu­predictable process of salt glazing. You Here, my gas-fired salt kiln is fitted with lar qualities of clay, and the glaze ef­ have to keep looking at the work you a fume-washing system at the chimney. fects possible with natural ash. Small make; it should be relevant to the time The gases are directed into a stainless- crucibles (cups) of salt have been placed and place in which you live. steel flue, which has a swirl-jet spray inside to enhance the ash vapors and to Along with many other salt-glazing head attached near its highest point so flash the sides of work where the ash potters, I share concerns about the pol­ that most of the acid and effluent are will not fall. luting possibilities of salt. It is impor­ washed out. The acid run-off water from My most recent kiln is a trolley or tant for all ceramists using this process the flue is then neutralized by running car kiln, about 80 cubic feet in capacity to realize the potential of salt fumes to it over limestone chips. that has proved both economical and corrode galvanized iron and to burn If salt glazers are careful, as they effective. It is easy to fire, taking about the lungs if inhaled. The effluent com­should be with every aspect of the prac­ 14 hours, and gives even and consis­ing from the kiln chimney combines tical application of ceramic technology, tently good results. Adapted from a with water vapor, both from the air and there should be no danger or toxic im­ German design, it has two fireboxes andfrom the combustion process, to form pact on the environment. Heat from a uses hardwood as the fuel. a dilute form of hydrochloric acid. Steps kiln’s chimney may damage nearby During cooling of this kiln, at tem­ should be taken to minimize any harm­ trees, but the vapor from the salt fumes peratures between 1650°F and 1830°F ful effects of these fumes by throwing will not.

48 CERAMICS MONTHLY Blending Intuition and Logic by Nan Smith

CHANGES OF DIRECTION can result free-standing works are shell-like, con­ So, processes for making large-scale wall from intuitive response to the work itself, trasting the interior void with a detailed,reliefs had to be developed anew. from intellectual evaluation or from ex­realistic exterior. The wall pieces also At first, a low-shrinkage earthenware ternal stimuli. No matter what the cause, incorporate hollow, shell-like figurative clay body was formulated. When fired artists must remain receptive to change elements (faces and hands). to Cone 05, the clay color was fleshlike. in order to increase possibilities. Illusionistic paintings on the reliefs Its workability allowed for minute de­ A new chapter in my work began allude to imagined realities layered ontotail from molds. when I decided to add color and paintedor set into the clay’s surface. Some of For some relief elements, I investi­ imagery to figurative sculpture. While the airbrushed patterns are reminiscent gated specialized mold-making pro­ exploring the potential of airbrushedof kimono fabric designs, while others cesses. Alginate, a nonpermanent dental underglaze colors on three-dimensionalrelate to “new wave” aesthetics. The most casting material, is capable of achieving forms, I also developed a series of wall recent wall reliefs incorporate patterns extremely detailed molds. For complex reliefs related to platters and illusionis- generated from fractals, which are geo­ and highly undercut forms, layered tic paintings. After having spent six yearsmetric structures having an irregularflexible latex molds are reinforced with on large-scale, mixed-media installa­or fragmented shape at all scales of sectional, plaster, mother molds. tions, working on wall forms seemed measurement. “In the mind’s eye, a Hands and faces are made by press­ quite divergent; but, surprisingly, paral­fractal is a way of seeing infinity,” wrote ing soft clay slabs into the plaster and lels could be drawn. James Gleick in Chaos: Making a New latex molds. The surface plane onto Both the installations and the wall Science. which these are attached is made by reliefs attempt to represent the human As my approach changes, often a pressing sausagelike clay coils with a figure in nonconventional ways. Thenew technical repertoire is developed. homemade tamping tool. These large

Florida artist Nan Smith uses an airbrush with stencils to “Friend of Spirit ” installation, 14 feet in height, clay with apply complex color images to press-molded sculpture. wood, plaster and fabric.

March 1991 49 Detail of “Friend of Spirit : rear view of intricate, life-size,Detail of “Friend of Spirit”: fabric tail of kite and raku-fired hooded figure’s head. feet; the mind’s eye fs asked to fill the voids.

clay slabs (32x28 inches or 32 inches in stage, they are lifted from the tires, and face. This fluxes the underglaze color diameter) are tamped 1 inch thick over wooden inserts in the backs removed. in the glaze firing and gives a selective a cloth-covered wooden bat. The reliefs are then placed on a corru­ surface treatment ranging from matt to So that the hanging bracket is hid­ gated foam rubber mattress until com­ satin to glossy. den and the finished wall relief appearspletely dry (approximately 45 days). The airbrushed reliefs are then to be a floating curved plane, two For the bisque firing, they are loaded loaded into the kiln on a bed of grog wooden inserts are taped onto the cloth- into a 90-cubic-foot, gas-fueled, down­with bisqued clay supports placed un­ covered bat. When removed, they leavedraft, car kiln, and gently warmed for der the edges. The glaze firing is com­ rectangular hollows measuring 1x3x>2 24 hours with the pilot on and the door plete at Cone 05, and the kiln slowly inches. Specially fabricated metal open 3 inches. On the second day, the cooled. brackets are later secured in these hol­ kiln is slowly fired to Cone 09 in ap­ After careful measurements, metal lows with “2-ton epoxy.” proximately 16 hours. angle brackets are welded and fitted to After tamping, the surfaces of the Meanwhile, stencils for airbrushed each form. The clay pieces are carefully rectangular slabs are smoothed by mist­ patterns are cut with small scissors from turned over and supported so that the ing with water and compressing with a 8½ xl 1-inch, press-ply, label paper. Waxy rectangular recessions are horizontal rolling pin. The round wall pieces are stencil paper is also used for repetitive when the epoxy is poured in. Metal smoothed at the potter’s wheel, then designs. Tapes are used where linear brackets are then inserted and left to additional coils of clay are attached to elements are desired, and to block off dry overnight. the edges and thrown to complete the areas. Stencils for the complex colored Next, measurements for metal wall base form. patterns and for multicolored scenesbracket sleeves are taken. Four holes For both round and rectangularare worked in much the same way as are drilled into the face plates. Each slabs, the next step is the same. As soon printers’ color separations. As many as sleeve can be screwed onto the wall and as surfaces are no longer tacky, they are 18 separate stencils have been cut for a bracketed relief can be inserted for removed from the wooden bat, usingone piece prior to airbrushing with easy and secure installation. the cloth as a support, and carefully commercial underglazes—light colors As I continue to logically evaluate slung across truck tires to establish the first. Black is utilized to create contrast. ideas for larger reliefs and installations, final curve. Duncan Thin and Shade is used as intuition a tells me that they will continue Once press-molded hands and facesmedium and extender for the under-to synthesize and change in the future. (with carved details and inlaid zippers)glazes. It facilitates an unfired bond with have been attached to their concave the surface. Mixed in a 50:50 ratio with The author Nan Smith is an associate pro­ bases, the reliefs are allowed to dry Ferro Frit 3134, it is applied in varying fessor of ceramics at the University of Florida slowly. When well into the leather-hard thicknesses by spraying it onto the sur­ in Gainesville.

50 CERAMICS MONTHLY “Icarus ” 41 inches in height, earthenware, with underglazes airbrushed through stencils.

March 1991 51 “Underwater Vision ,” 36 inches in diameter, tamped and press-molded earthenware, with airbrushed underglazes and acrylic paint.

“Martyr ” 13 inches in height, “Reaching Four,” 14 inches high, “Torso #3,” flesh-colored earthenware, with press-molded earthenware, earthenware with under glazes, airbrushed under glaze, 25 inches in height, Plexiglas and cardboard. Plexiglas and mat board. by Nan Smith.

52 CERAMICS MONTHLY The press-molding process begins The pounded slab is then thinned to Sprayed with water and smoothed with with a ball of wedged clay flattened a thickness of3 /s inch by flinging it a rolling pin, the slab is pressed gently with a rubber mallet. down on the worktable. into the plaster face mold.

Three-piece wooden inserts reserve Two inserts are positioned and taped to A cloth-covered block of wood space for mounting brackets in the the cloth covering a wooden bat, then a is used to tamp the spiraled coil backs of tamped wall slabs. sausagelike coil is laid down. approximately 1 inch thick.

Somewhat smaller coils are Tamping the added coils inward Adding coils and tamping continue arranged over and around the two assures a good join with first until the entire bat is covered and wooden inserts. tamped coil. excess clay drapes over the edges.

Excess clay is cut from the edges Irregularities in the surface are Still supported by the cloth, the tamped using the rectangular bat smoothed by misting with water and slab is removed from the bat and slung as a guide. compressing with a rolling pin. over a mold (truck tire).

March 1991 53 of Radford University Galleries. Entry fee: $15. SendSASE to Clay U.S.A., Flossie Martin Gallery, Call for Entries Box 5791, Radford University, Radford 24142. Exhibitions, Fairs, Festivals and Sales March 31 entry deadline Lenexa, Kansas “Dimensions ’91” (June 7-9). Juried from slides. Fee: $20 for up to 3 works. Contact Dimensions ’91, c/o Parks and Recre­ ation, 13420 Oak, Lenexa 66215; or telephone Mark Hall Dunlap (913) 541-8594 or fax (913) International Exhibitions 492-0374. April 1 entry deadline March 19 entry deadline Milwaukee, Wisconsin “Under the Big Top” Golden, Colorado “North American Sculpture (June 7-July i3). Juried from 5 slides. Fee: $10. Exhibition” (May 12-June 25), open to artists Send resume andsase to A. Houberbocken, 230 residing in Canada, Mexico and the United States.West Wells, Suite 202, Milwaukee 53203; or tele­ Juried from 8x10-inch, black-and-white photo­ phone Joan Houlehen (414) 276-6002. graphs. Jurors: Bill BarrettandWilliamNetdeship. April 5 entry deadline Entry fee: $10 per entry; up to 3 entries. Awards: Lincoln, California “Fourth Annual Feats of $6000. Contact the Foothills Art Center, 809 15 Clay” (June 1-29) .Juried from a maximum of 3 Street, Golden 80401; or telephone (303) 279- slides; works should not exceed 24 inches. Juror: 3922. Rudy Autio. Entry fee: $10. Over $4000 in place, April 12 entry deadline purchase and merit awards. Sendsase to Dick New York, New York “International Art and Ketelle, Lincoln Arts, Box 1166, Lincoln 95648; Craft—10th Anniversary Competition ” (May 29- or telephone (916) 645-9713. June 15). Juried from a minimum of 3 slides.April 13 entry deadline Entry fee: $8 per slide. Awards: $30,000. Jurors: Mesa, Arizona “Hold Everything!” (Septem­ Nadine Grabania, Frick Art Museum, Pittsburgh; ber 6-October 5), competition for vessel forms. Marla Price, Modern Art Museum, Fort Worth; Juried from slides. Awards: $1000. For prospec­ Roger Selby, Boca Raton Museum of Art, Florida; tus, contact Galeria Mesa, Box 1466, Mesa 85211; and Lynn Zelevansky, Museum of Modern Art,or telephone (602) 644-2242. New York. Location: Art 54 Gallery. For further April 15 entry deadline information contact Art Horizons, Department Middlebury, Vermont “The Ubiquitous Bowl” RCM, Box 1533, Ridgewood, New Jersey 07450; (July 26-September 3). Juried from 3 slides. Ju­ or telephone (201) 487-7277 or fax (201) 488- ror: Julie Mansfield. For further information 4004. send sase to Director, Vermont State Craft Cen­ April 22 entry deadline ter, Frog Hollow, Middlebury05753; or telephone Ann Arbor, Michigan “World Peace Monu­ (802) 388-3177. ment International Design Award” (permanentApril 26 entry deadline site). Juried from a maximum of 3 slides, draw­ University Park, Pennsylvania “Crafts National ings or photographs of the design itself or of a 25” (July 6-28). Juried from slides. Juror: Carol model of the design. Entry fee: $12. Awards: Sedestrom Ross, founder/developer of Ameri­ $2500. Send SASE for prospectus to Design Com­ can Craft Enterprises. Entry fee: $20 for 3 entries. mittee, Monument to World Peace, 317 South For prospectus, sendsase to Crafts National 25, Division #80, Ann Arbor 48104. Zoller Gallery, 102 Visual Arts Building, Penn May 3 entry deadline State University, University Park 16802; or tele­ Onehunga, Auckland, New Zealand “1991 phone (814) 865-0444. Fletcher Challenge Ceramics Award” (opening April 30 entry deadline summer, dates tentative). Juried from actual Chicago, Illinois “The 5th Annual Great Lakes works. No entry fee. Awards: premier award, Show” (June 15-July 21). Juried from slides of up NZ$10,000 (approximately US$5870); plus up to to 2 entries. Jurors: Richard Hensley and Donna 5 merit awards, NZ$5000 (approximately Polseno. Entry fee: $20 for up to 2 pieces. Awards: US$2935) each. Con tact Fletcher Challenge, Box firstplace, $500; second, $300; third, $150; fourth, 13-195, Onehunga, Auckland; or telephone (09) $50. For further information contact Lill Street 643-622. Gallery, 1021 West Lill Street, Chicago 60614; or telephone (312) 477-6185. National Exhibitions May 1 entry deadline Harrisonburg, Virginia “National Art Review” March 8 entry deadline (January 1992), open to all media. Juried from 6- Goldsboro, North Carolina “11th Annual Na­ 12 slides. Send self-addressed, stamped postcard tional Fine Arts Exhibition” (March 16-April andSASE to Director, Sawhill Gallery, Art Depart­ 26). Juried from up to 2 actual works. Juror: ment, James Madison University, Harrisonburg Linda Roscoe-Hartigan, National Museum of 22807; or telephone (703) 568-6407. American Art, Washington, D.C. Entry fee: $15 Milwaukee, Wisconsin “Vessels” (July 19-Sep- for up to 2 entries. Cash awards. Commission: tember 7). Juried from 5 slides. Fee: $10. Send 25%. For prospectus, contact Community Arts resume andsase to A. Houberbocken, 230 West Council, 901 East Ash Street, Goldsboro 27530; Wells, Suite 202, Milwaukee 53203; or telephone or telephone (919) 736-3300. Joan Houlehen (414) 276-6002. March 15 entry deadline June 20 entry deadline Dexter, Michigan “Farrington-Keith National Wichita, Kansas “The Wichita National” Juried Exhibition” (April 13-May 15). Juried (September 12-October 27) .Juried from slides. from slides. Juror: Robert Bailey. Entry fee: $10, Juror: Marcia Manhart, executive director, $5 for each additional entry; up to 5 entries. Philbrook Museum, Tulsa, Oklahoma. Entry fee: Awards: best of show, $1000; plus merit awards. $20 for up to 3 entries. Awards: $3000 cash plus Send sase to Farrington-Keith Creative Arts Cen­ purchase prizes. Commission: 30%. For prospec­ ter, Box 8418, Ann Arbor, Michigan 48107; or tus, send first-class stamp to Wichita Center for telephone (313) 426-0236. the Arts, 9112 East Central, Wichita 67206; or Radford, Virginia “Clay U.S.A.” (October 10- telephone (316) 634-2787. November 21). Juried from up to 3 slides of noJune 30 entry deadline more than 2 works.Juror: Anna Fariello, director Richmond, Virginia Place setting exhibition (January 10-February 28,1992) .Juried from 10- Send announcements of juried exhibitions, fairs, festi­20 slides. Send resume andsase to Place Settings, vals and sales at least four months before the event’s Hand Workshop, 1812 West Main Street, Rich­ entry deadline (please add one month for listings inJuly mond 23220; or telephone (804) 353-0094. and two monthsfor those in August) to Callfor Entries, July 6 entry deadline Ceramics Monthly, Box 12448, Columbus, Ohio Gatlinburg, Tennessee “From All Directions” 43212; or telephone (614) 488-8236. Fax announce­(October 17-December 14). Juried from slides ments to (614) 488-4561. of up to 3 works. Juror: John McGuire, Geneva,

54 Ceramics M onthly March 1991 55 Call for Entries

New York; and John McQueen, Alfred Station, New York. Entry fee: $15. Cash awards. Contact Arrowmont School of Arts and Crafts, Box 567, Gatlinburg 37738; or telephone (615) 436-5860.

Regional Exhibitions March 10 entiy deadline Baltimore, Maryland “National Museum of Ceramic Art First Regional Juried Exhibition” (June 25-September 22), open to residents of Delaware, District of Columbia, Maryland, New Jersey, New York, Pennsylvania, Virginia and West Virginia. Juried from up to 4 slides. Jurors: Frederick Brandt, curator, 20th-century art, Vir­ ginia Museum of Fine Arts; and William Daley, artist/teacher. Entry fee: $20 for up to 4 slides. Send SASE to the National Museum of Ceramic Art, 250 West Pratt Street, Baltimore 21201; or telephone (301) 837-2529. April 30 entry deadline Chester Springs, Pennsylvania “Studio Days ’91 ” (September 21-29), open to artists residing in Delaware, District of Columbia, Maryland, New Jersey, New York, Pennsylvania, Virginia and West Virginia. Juried from 5 slides (up to 2 views per piece). Juror: Ruth Snyderman, the Works Gallery, Philadelphia. Entry fee: $10. Cash awards. Send SASE to Studio Days ’91, Chester Springs Studio, Box 329, Chester Springs 19425; or tele­ phone (215) 827-7277. May 1 entry deadline Manitou Springs, Colorado “Sculpture in Manitou” (July 12-14), open to artists residing in Arizona, Colorado, Kansas, Nebraska, New Mexico, Oklahoma, Utah and Wyoming. Juried from slides of at least 2 but no more than 6 works. Entry fee: $20. Cash awards. For prospectus, contact Darpino, Alliance of Professional Artists Association, 513 Manitou Avenue, Manitou Springs 80829; or telephone (719) 685-1861. May 3 entry deadline State College, Pennsylvania “Images ’91” (July 8-26), open to artists residing in the mid-Atlantic region. Juried from slides Juror: Faith Ringgold. Fee: $20 for up to 3 works. Cash, purchase, best of show and merit awards. Sendsase to Central Pennsylvania Festival of the Arts, Box 1023, State College 16804. May 17 entry deadline Sioux City, Iowa “50th Annual Juried Com­ petitive Exhibition” (October 19-December29), open to residents of Iowa, Kansas, Minnesota, Missouri, Nebraska and South Dakota. Entry fee: $20 for up to 3 entries. Contact Sioux City Art Center, 513 Nebraska Street, Sioux City 51101; or telephone (712) 279-6272.

Fairs, Festivals and Sales March 8 entry deadline Shaker Heights, Ohio “Craftfair” (June 14-16). Juried from 4 slides. Entry fee: $5. Booth fee: $135-$240. Awards: Ten $150 awards for excel­ lence. Contact Ohio Designer Craftsmen, 2164 Riverside Drive, Columbus, Ohio 43221; or telephone (614) 486-7119. Upper Arlington, Ohio “Midsummer Fair” (July 12-14) .Juried from 4 slides. Entry fee: $5. Booth fee: $95-$ 180. Awards: Ten $150 awards for excellence. Contact the Ohio Designer Crafts­ men, 2164 Riverside Drive, Columbus, Ohio 43221; or telephone (614) 486-7119. March 15 entry deadline Clinton, Iowa “Art in the Park” (May 18-19). Juried from 5 slides. Entry fee: $5. Booth fee: $50 for a 10x10-foot space. Sendsase to the Clinton Art Association, Box 132, Clinton 52733; or tele­ phone Carol Glahn (319) 259-8308. Birmingham, Michigan “Art in the Park 1991” (September 14-15). Juried from 5 slides. Entry fee: $15. Booth fee: $180 for a 10x10-foot space.

56 CERAMICS MONTHLY Awards: six best-of-show awards of $400 each. Contact Art in the Park/Common Ground, 751 Hendrie Boulevard, Royal Oak, Michigan 48067; or telephone (313) 543-3050. Madison, Wisconsin “Art Fair on the Square” (July 13-14 ). Juried from slides. Entry fee: $20. Booth fee: $200. Cash, invitational and purchase awards. For prospectus, contact Art Fair on the Square, Madison Art Center, 211 State Street, Madison 53703; or telephone (608) 257-0158. March 28 entry deadline Spokane, Washington “Artfest: Spokane 91” (May 31^June 2), open to Northwest and Cali­ fornia artists. Juried from slides of 10 works. Juror: Susan Biskeborn, author ofArtists at Work: Twenty-Five Northwest Glassmakers, Ceramists and Jewelers. Booth fee: $10-$ 15. Awards: $700. Send sase to Artfest: Spokane 91, Cheney Cowles Mu­ seum, West 2316 First Avenue, Spokane 99204; or telephone (509) 456-3931. March 29 entry deadline Staten Island, New York ‘‘Jewelry and Wearables Show” (October 4-6), open to artists designing jewelry, wearables, leather and small decorative objects. Juried from 5 slides, plus 1 of display. Send sase to Sara Cogswell Wells, Visual Arts, Snug Harbor Cultural Center, 1000 Richmond Terrace, Staten Island 10301; or telephone (718) 448-2500. Salem, Oregon “Salem Art Fair and Festival” (July 19-21) .Juried from 6 slides. Booth fee: $60 for a 10x10-foot space. Commission: 20%. Send sase to 1991 Prospectus, Salem Art Fair and Festival, 600 Mission St., SE, Salem 97302. April 1 entry deadline Mount Vernon, Illinois “15th Annual Cedar- hurst Craft Fair” (September 7-8) .Juried from 5 slides. Entry fee: $5. Booth fee: $125 fora 10x15- foot space. Contact Ann Peart, Director, Mitchell Museum, Box 923, Mount Vernon 62864. Morristown, New Jersey “15th Annual Morris­ town CraftMarket” (October 11-13) .Juried from 5 slides. Jurors: Albert Green, S. Ann Kruppa, Steven Mackintosh, Dick Muller, Susan Neal, Sybil Robins and Craig Zweifel. Entry fee: $15. Contact the Morristown CraftMarket, Box 2305, Morristown 07962; or telephone (201) 263-8332. Garrison, New York “22nd Annual Arts and Crafts Fair” (August 17-18). Juried from slides. Entry fee: $5. Booth fee: $175 for a 10x10-foot space. Send sase to the Garrison Art Center, Box 4, Garrison 10524; or telephone (914) 424-3960, Monday-Friday. Canton, Ohio “Hall ofFame Artfest 1991” (July 13-14). Juried from 3 slides, plus 1 of display. Entry fee: $5. Awards. Send legal-sizedsase to Hall of Fame Artfest, 4275 Fulton Road, Northwest, Canton 44718; or telephone (216) 493-4130. Spring Green, Wisconsin “22nd Annual Spring Green Arts and Crafts Fair” (June 29-30) .Juried from slides. Entry fee: $60. Awards: $3000, cash; $6000, purchase. Contact John Hess, Cochair- man, Arts and Crafts Fair, Box 96, Spring Green 53588; or telephone (608) 588-7082. April 10 entry deadline Layton, New Jersey “Peters Valley Craft Fair” (July 27-28) .Juried from 5 slides. Entry fee: $12. Booth fee: $175 for a lOxlO-foot outdoor space, $250 for a 1 Ox 10 tented space. Contact the Peters Valley Craft Fair, Layton 07851; or telephone (201) 948-5200. April 12 entry deadline Vail, Colorado “Vail Arts Festival 8” (July 13- 14). Juried from 4 slides, plus photo of booth. Entry fee: $12. Booth fee: $125 for a 10x10- or 8x12-foot space. 10% commission. Cash awards. Send 52£sase to Pamela Story, Box 1153, Vail 81658; or telephone (303) 476-4255. April 17 entry deadline Greensburg, Pennsylvania “Westmoreland Arts and Heritage Festival” (July 4-7). Juried from slides. Entry fee: $10. Booth fee: $125. Cash awards. Send legal-sizedSASE to WAHF-CM, RD #12, Box 203, Greensburg 15601; or telephone (412) 830-3950. April 20 entry deadline Mayville, New York “Chautauqua Crafts Festi-

March 1991 57 Call for Entries

val, ’91 ” (July 5-7 and August 9-11) .Juried from 4 slides. Entry fee: $5. Booth fee: $ 100/show. Send sase to Gale Svensen, Director, Chautauqua Crafts Festival ’91, Box 89, Mayville 14757. May 1 entry deadline Philadelphia, Pennsylvania “15th Annual Phil­ adelphia Craft Show” (November 7-10). Juried from 5 slides. Entry fee: $20. Cash awards. Con­ tact Philadelphia Craft Show, Box 7646, Philadel­ phia 19101; or telephone (215) 787-5448. May 10 entry deadline Beaver Creek, Colorado “Beaver Creek Arts Fes­ tival 4” (August 17-18) .Juried from 4 slides plus photo of booth. Entry fee: $12. Booth fee: $95 for a 10x10- or 8x12-foot space. 10% commission. Cash awards. Send 52£sase to Pamela Story, Box 1153, Vail, Colorado 81658; or telephone (303) 476-4255. May 15 entry deadline New York, New York “20th AnnualWBAI Holi­ day Crafts Fair” (December 6-8, 13-15 and 20- 22). Juried from 5 slides. Entry fee: $25. Booth fee: $735-$780. Send SASE to Matthew Alperin, WBAI Crafts Fair, Box 889, Times Square Station, New York 10108; or telephone (212) 279-0707. May 23 entry deadline Las Vegas, Nevada “KNPR, Public Radio’s 10th Annual Craftworks Market” (September 28-29). Juried from slides. Entry fee: $15. Booth fee: $175 for a lOxlO-foot space. Awards. For further information contact KNPR, Public Radio, 5151 Boulder Highway, LasVegas89122; or telephone (702) 456-6695. June 1 entry deadline Gaithersburg, Maryland“\6th Annual National Craft Fair” (October 18-20) .Juried from 5 slides. Entry fee: $10. Booth fee: $225, $290 or $350. For further information contact National Crafts Limited, Noel Clark, Director, 4845 Rumler Road, Chambersburg, Pennsylvania 17201; or tele­ phone (717) 369-4810. Richmond, Virginia “16th Annual Richmond Craft and Design Show” (November 15-17). Ju­ ried from slides. Booth fee: $250 for a 10x10-foot space, $375 for a 10x15-foot space, $500 for a 10x20-foot space. Contact the Hand Workshop, 1812 West Main Street, Richmond 23220; or telephone (804) 353-0094. June 30 entry deadline Mobile, Alabama “27th Annual Outdoor Arts and Crafts Fair” (September 28-29) .Juried from slides. Entry fee: $10. Booth fee: $75. Awards: up to $6500 in purchase, distinction and merit awards. Contact the Fine Arts Museum of the South, Outdoor Arts and Crafts Fair, Box 8426, Mobile 36698. July 5 entry deadline Auburn Hills, Michigan “Golden ’90s Exposi- tion-Auburn Hills” (October 11-12 and/or November 15-16). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michi­ gan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Port Huron, Michigan “Golden ’90s Exposi- tion-Port Huron” (November 1-3). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Rochester, Michigan “Golden ’90s Exposition- Rochester” (November 29-30). Juried from 3 photos, 1 of display. Booth fee: $195 for a 10x11- foot space. Contact Michigan Cultural Associa­ tion, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Taylor, Michigan “Golden ’90s Exposition- Taylor” (October 18-20). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258.

58 CERAMICS MONTHLY weather given enough exposure to freezingclay during natural geological processes? I’m Questions and thawing cycles). particularly interested in how this happens chemi­ Nevertheless, reasonablynonporous ware cally.—A.L. Answered by the CM Technical Staff (or porous ware with a tightly packed sur­ Geologists believe that it takes millions of face), and ware that lacks places for water to years to turn the products of feldspar ero­ pool, typically last a substantial number of sion to clay. While (surprisingly) such a years without any effects from weathering. reaction has not been reproduced artificially Note that unglazed earthenware roofing in a laboratory, it is supported by substantial Q We make pottery for decoration, and for tile,gar­ if installed on a roof with sufficient evidence. The simplified chemical theory dens and pools. Could you tell us what testpitch, can be can be successfully used in northern for this can be stated as: CaOAl2O3*6SiO 2 + done to determine the frost resistance of ourclimates prod­ because of its tightly packed sur­ 2H2O -> Al2O3 2SiO2 2H2O + CaO ucts? Are there any physical changes we could face and lack of places for water to remain. (SiO2)+3SiO2. This formula states that a initiate to make our ware more durable— ?C.E. The best test to determine weather sur­ feldspar (CaOAl2O3-6SiO 2) containing a When it comes to surviving weathering,vival rate of any ceramic work is a physical potentially soluble alkaline oxide (CaO, for here are some important generalities: simulation of expected weathering. Soak a this example, but it also could be the oxide smooth is better than rough, a tightly packed shard of your fired clay body in water over­ of K or Na) when exposed to water, yields surface is better than porous (a completely night, then place it in a standard refrigera­ kaolinite (Al2O3-2SiO2-2H2O), plus soluble vitreous body is even better), flat is better tor freezer during the day, remove, let thaw, calcium silicate (or potassium silicate or than cupped, convex is better than concaveplace in water again overnight, refreeze, etc. sodium silicate), plus other free or dissolved and glazed is better than unglazed. If time is of the essence, you can shorten this silica. In actuality, this reaction never occurs Both porosity and form can be said to cycle as needed, provided there is sufficientso purely, but rather includes a variety of determine survival rate. The pores of a firedtime for a hard freeze to apply pressure to other common ingredients, most often ceramic body allow water to enter the clay; the ware. The proper number of cycles can compounds of iron, magnesium, potassi­ when that water freezes, expansion causesbe determined by calculating how manyum, sodium and titanium. physical damage to the piece’s internal cycles your ware might experience in the The causes of feldspar degradation are structure. Thawing and subsequent refreez­course of a winter, then repeating that num­ wind and water erosion along with expan­ ing continue the extent of damage. ber of cycles times the number of years you sion/contraction fracturing caused by cycles The form of the work can also encourage feel the products should survive withoutof freezing and thawing. damage from freezing and thawing cycles. visible or structural defects. Crevices allow water to pool and freeze, Subscribers’ questions are welcome and those of putting substantial pressure on surround­Q The textbooks I’ve seen state that clay comes general interest will be answered in this column. ing clay. This can cause even vitreous ceram­mostly from the decomposition of feldspar, Due but to volume, letters may not be answered person­ ics to break down over time (in the same none that I’ve seen explains how that occurs.ally. Can Address the Technical Staff, Ceramics manner as igneous rock degrades in theyou describe how it is that feldspar erodes to formMonthly, Box 12448, Columbus, Ohio 43212.

March 1991 59 Pennsylvania, DoylestownApril 12-13 “The Arts and Crafts Legacy of Henry Chapman Mercer,” a Calendar tile symposium with slide lectures, panel discus­ Conferences, Exhibitions, Fairs, sions, demonstrations and tours. For further information contact the Tile Heritage Founda­ Workshops and Other Events to Attend tion, Box 1850, Healdsburg, California 95448; or telephone (707) 431-8453.

International Conferences Conferences Australia, Queensland, Broadway July 1-5 “Arts: Arizona, Tempe April 3-6 “NCECA 25Years: Past- Industry Interface—Sixth National Ceramics Present-Future,” National Council on Educa­Conference” will include seminars, panel discus­ tion for the Ceramic Arts annual meeting, will sions, workshops and gallery tours. Location: include panels, lectures, demonstrations andGriffith University. Fee (US$ equivalents ap­ workshops. Locations: Arizona State University proximate): Aus$335 (US$250), students and Sheraton Mission Palms Hotel. Contact Aus$200 (US$150); on-site Aus$360 (US$270), Regina Brown, Executive Secretary, Box 1677, students Aus$220 (US$165). Contact the Bandon, Oregon 97411. National Ceramics Conference, Box 231, Broad­ California, Davis April 11-14 “California Con­ way, Queensland 4006; or telephone (07) 358 ference for the Advancement of Ceramic Art” 5121 or Phil Greville, Conference Manager (07) will include lectures, demonstrations, tours; with553 4419. an emphasis on the making, teaching and col­ Canada, Alberta, Calgary May 17-19 “Ceramics lecting of ceramic art. Participating artists in­ International” will include keynote speech by clude Rudy Autio, Robert Brady, David Gilhooly,Jennifer Opie, curator of 20th-century ceramics, Jim Melchert, Richard Notkin,Jeff Perone, Rose Victoria and Albert Museum, London; studio Slivka, Paul Soldner, Peter VandenBerge anddemonstrations by Susan Baslov and Pat Patti Warashina. Send SASE for prospectus to Matheson; plus ceramic exhibitions throughout Natsoulas/Novelozo Gallery, 140 F Street, Davis the city. Guest artists will be Ralph Bacerra, 95616; or telephone (916) 756-3938. Jeannot Blackburn, Nina Borgia-Aberle, Ann D.C., Washington April 20-21 “Craft Weekend” Cummings, Lindsay Dumas, Torbjorn Kvasbo, will include “Uncommon Attitudes: FlexingRonna Neuenschwander, Matthias Osterman Media Boundaries” with mixed-media artistsand Bruce Taylor. Location: Alberta College of Garry Knox Bennett, Gaza Bowen, Tony Art. Contact Kirsten Abrahamson, Leisure Hepburn and Susan Stinsmuehlen-Amend; andLearning Services, Third Floor, Dr. Carl Safran John Perrault, senior curator, American Craft Centre, 930 13 Avenue, Southwest, Calgary T2R Museum. Also includes “Lenore Tawney: A Ret­ 0L4; or telephone (403) 245-4944. rospective” exhibition, and studio and galleryCanada, Ontario, Mississauga May 24-26“Out of tours. Contact James Renwick Alliance, 6801 the Fire” will include clay workshops by Curtis Winterberry Lane, Bethesda, Maryland 20817; and Suzan Benzie, and Susan and Steven or telephone (301) 229-2148. Kemenyffy; lectures and demonstrations; as well Florida, Tampa March 22-24 “Florida Crafts­ as the Fusion (Ontario Clay and Glass Associa­ men 40th Anniversary Exhibition and Confer­tion) annual meeting. Fee (includes meals and ence” will include workshops in clay with Don accommodations, before March 1): $195-$225; Reitz and Patti Warashina, as well as speeches by Fusion members, $190; Glass Art Association of Dennis Barrie, Marcia Manhart and Wendy Canada members, $170; students/seniors, $125. Rosen. Locations: Tampa Museum of Art and Location: Erindale campus, University of the University of Tampa. SendSASE to Florida Toronto. Contact Fusion, 140 Yorkville Avenue, Craftsmen, 235 Third St., S, Saint Petersburg, Toronto M5R1C2; or telephone (416) 923-7406. Florida 33701; or telephone (813) 821-7391. New Zealand, Rotorua June 14-16 “Clay AZ Art Mississippi, Jackson March 14—17 “American International Conference: Ceramics, Weaving, Crafts Council Southeast Regional Conference” Spinning” will include preconference salt-glaze will include seminars, panel discussions, slidefiring with Barry Brickell; demonstrations by lectures and demonstrations. For further infor­Brickell, Don Reitz and others; plus lectures and mation contact Andrew Young, Conference Co­tours. In New Zealand, contact Mark Chadwick, ordinator, 142 Millsaps Avenue, Jackson 39202; 100 Town Point Road, Maketu, RD 9, Te Puke; or telephone (601) 353-2497. or telephone 0164 753 2102. In the U.S.A., con­ New York, New YorkMarch 15 “The Art of Col­ tact Northern Arizona University Art Gallery, lecting” will include “Strategies for Survival” andBox 6021, Flagstaff, Arizona 86011; or telephone “Search for New Talent” with Ken Ferguson, Joel Eide (602) 523-3471; Donald Bendel 523- Wayne Higby and Ron Nagle; as well as local 2398; or Paula Rice 523-2622. gallery shows. Location: Asia Society, Park Ave­ nue. Contact American Ceramics magazine, 9 Solo Exhibitions East 45 Street, New York 10017; or telephone (213) 309-6868. Arizona, PhoenixMarch 20-April 12 Lois Gress North Carolina, Winston-Salem April 12-14 Neal, “Dedicated to Distinction: In Retrospect”; “Color Symposium” will include hands-on orat the Visual Arts Gallery, 214 East Moreland. technical instruction in clay, glass, photography, Arizona, Scottsdale through March 10 Karen fibers and painting; slide lectures; demonstra­Karnes, wood-fired stoneware.March 1-31 Janel tions; panel discussions and round-table ex­Jacobson, carved porcelain boxes. Eddie changes. For further information contact Color Dominguez, multimedia installation; at Joanne Symposium, Sawtooth Center for Visual Art, 226 Rapp Gallery/The Hand and the Spirit, 4222 North Marshall Street, Winston-Salem 27101; or North Marshall Way. telephone (919) 723-7395. March 7-14 Richard Zane Smith. March 14-21A1 Ohio, Columbus April 27-28 “Midwest Craft Qoyawayma. March 21-28 Nancy Youngblood. Conference” will include workshops with Karen March 28-April 4 Nathan Youngblood; at Gallery Karnes. Contact Ohio Designer Craftsmen, 2164 10, 7045 Third Avenue. Riverside Drive, Columbus 43221; or telephone California, Davis March 8-April 7Lisa Reinertson, (614) 486-7119. sculpture; at Natsoulas/Novelozo Gallery, 140 F Street. Send announcements of conferences, exhibitions, California,ju­ Oakland through March 31 Linda Mau, ried fairs, workshops and other events at least two containers for ikebana flower arranging and months before the month of opening (add one monthmeditation; for at the Collector’s Gallery, Oakland listings in July and two months for those in August)Museum, to 1000 Oak Street. Calendar, Ceramics Monthly, Box 12448, Columbus, California, San Francisco through March 9 Peter Ohio 43212; or telephone (614) 488-8236. Fax an­ Voulkos, new anagama-fired work; at Braunstein/ nouncements to (614) 488-4561. Quay Gallery, 250 Sutter Street.Continued

60 Ceramics M onthly March 1991 61 Nevada, Las Vegas March 8-April 27 Deborah California, Claremont through March 31 “47th Calendar Masuoka, “Rabbit Heads,” sculpture; at Mark Scripps Ceramic Annual”; at the Lang Gallery, Masuoka Gallery, 1149 S. Maryland Pkwy. Claremont College. New Jersey, GlassboroMarch 8-25 Bob Duca; at California, Los AngelesMarch 2-April 3 “The Westby Gallery, Glassboro State College. Gold Show”; at Garth Clark Gallery, 170 South La March 7-30Yoshio Taylor, sculpture; at Dorothy New York, New Yorkthrough March 23 Stephen Brea Avenue. Weiss Gallery, 256 Sutter Street. Fleming, sculptures and paintings; at NancyCalifornia, Monterey through April 21 “The D.C., Washington March 3-April 14Val Cushing; Margolis Gallery, 251 West 21 Street. Quiet Eye: Pottery of Shoji Hamada and Ber­ atFarrell Collection, 2633 Connecticut Ave., NW. March 5-30 Magdalene Odundo; at Anthonynard Leach”; at Monterey Peninsula Museum of Florida, Bay Harbor IslandsMarch 22-April 13 Ralph Gallery, 43 East 78 Street. Art, 559 Pacific Street. Christine Federighi; at Gloria Luria Gallery, 1033 New York, RochesterMarch 23-April 20 Nancy California, West HollywoodMarch 8-30 “Third Kane Concourse. Jurs; at Oxford Gallery, 267 Oxford Street. Anniversary Exhibition, ” works by Otto and Vivika Florida, Miami Shores through March 26 Angi New York, Syracusethrough April 14 George Ohr, Heino and Kazuko Matthews; at MOA Art Gal­ Curreri, clay and drawings; at Barry University “Modern Potter.” through April 29 Margie Hugh- lery, 8554 Melrose Avenue. Library Gallery, 11300 N.E. Second Ave. to, ten-year survey; at the Everson Museum ofColorado, Goldenthrough March 30 “Colorado Georgia, Atlanta March 22-April 26 Diane Art, 401 Harrison Street. Clay”; at Foothills Art Center, 809 15 Street. Kempler; at Connell Gallery/Great American Ohio, Columbus through April 3 Joseph Davis, Florida, MelbourneMarch 1-April 14 “Clay Invi­ Gallery, 333 Buckhead Avenue. pottery; at Waldo’s on High, 755 N. High St. tational”; at Brevard Art Center and Museum, Georgia, ClarkstonMarch 24-31 Lori Mulherin, Oregon, Ashlandthrough March 10 “Strong Tea: 1463 Highland Avenue. “Changes”; at Dekalb College Art Gallery. Richard Notkin and the Yixing Tradition”; at theFlorida, Saint Petersburgthrough March 9 “Clay Illinois, Chicagothrough March 22 Ann Agee; at Schneider Museum of Art, Southern Oregonas Utilitarian Object,” with works by Steve Davis- Objects Gallery, 230 West Huron. State College. Rosenbaum, Alec Karros, Geoff Pickett, March 22-April30 Tony Hepburn, sculpture andTexas,Houston through March 2

62 Ceramics M onthly March 1991 63 Calendar

Tony Marsh and David Regan.March 23-April 20 John Gill, vessels; and Gregory Zeorlin, sculp­ tural mantel pieces; at Swidler Gallery, Washing­ ton Square Plaza, 308 West Fourth Street. Minnesota, Northfield March 28-April 27 “Por­ celain by Six,” works by Martye Allen, Donna Getsinger, Janel Jacobson, Shirley Johnson, Monica Rudquist and Denise Tennen; at Northfield Arts Guild, 411 Division Street, South. Minnesota, Saint Paul March 15-April 27 “Stu­ dent Bodies,” works by 30 students from 6 area colleges and universities; at Northern Clay Cen­ ter, 2375 University Avenue, West. New Mexico, Albuquerque through March 15 “2000 Years of New Mexico Ceramics,” including works by 15 contemporary artists; at the Jonson Gallery, University of New Mexico Art Museum, 1909 Las Lomas, Northeast. New Mexico, Las CrucesMarch 3-25 “From the Ground Up X,” juried regional exhibition; at Branigan Cultural Center, 106 W. Hadley Ave. New York, New YorkMarch 7-April 7 “Fifth An­ niversary Watershed,” with sculpture by Karon and Louis Doherty, Raymon Elozua, Micheline Gingras, Peter Gourfain, Judy Moonelis and Arnold Zimmerman; at the Wheeler-Seidel Gal­ lery, 129 Prince Street, Soho. March 12-April 6 Exhibition of works by Phillip Maberryjeff Oestreich and Anna Silver; at Garth Clark Gallery, 24 West 57 Street. New York, Oswegothrough March 20 “NCECA Juried Members’ Exhibition”; at Tyler Art Gal­ lery, S.U.N.Y. College at Oswego. Ohio, Daytonthrough April 7 “17th-Century Chi­ nese Porcelain from the Collection of Sir Michael Butler”; at the Dayton Art Institute, Forest and Riverview Avenues. Pennsylvania, Philadelphia March 8-31 “Louisi­ ana State University Ceramics” and “Contempo­ rary Pueblo Pottery”; at the Clay Studio, 139 North Second Street. Utah, Loganthrough March 10 ‘Walls: Large-Scale Ceramic Sculpture, Eight Variations,” with works by Stephen DeStaebler, Ruth Duckworth, Viola Frey, Deborah Horrell, Jun Kaneko, Elizabeth MacDonald, Don Reitz and Robert Sperry; at the Nora Eccles Harrison Museum of Art, Utah State University, 650 North 1100, East. Utah, Salt Lake City March 4-27 “California Ce­ ramics 1991”; at Alvin Gittins Gallery, University of Utah. Washington, Spokanethrough March 24 “Ashen Beauty: Wood-Fired Ceramics,” with works by Frank Boyden, Peter Callas, Paul Chaleff, Chuck Hindes, Karen Karnes, Eric Nelson, Jeff Oestreich, Carol Roorbach, David Shaner and Jack Troy; at Cheney Cowles Memorial Museum, West 2316 First Avenue.

Ceramics in Multimedia Exhibitions Alabama, Huntsville March 22-May 3 “Pathways to Change,” exhibition in conjunction with Ten­ nessee Valley Women’s Conference; at Univer­ sity of Alabama, Huntsville Church Gallery. Arizona, Mesa March 1-30 “E-I-E-I-O,” juried na­ tional of barnyard themes in contemporary art; at Mesa Arts Center, 155 North Center. California, San Diegothrough June “All3 Is More Beautiful,” including clayworks by Nathan Begay, David Groat, Lucy Leuppe McKelvey, Thomas Natseway and Richard Zane Smith; at San Diego Museum of Man, 1350 El Prado, Balboa Park. California, San Francisco through April 21 “Highlights from the Permanent Collection: A Fifteenth Anniversary Exhibition”; at the Mexi­ can Museum, Fort Mason Center, Building D. California, Walnut Creek March 1-April 6 Exhi­ bition featuring clayworks by Larry Halvorsen and Jeff Margolin; at Banaker Gallery, 1373 Lo­ cust Street. Connecticut, BrookfieldMarch 10-April 16 “Liv­

64 Ceramics M onthly ing with Fine Crafts...A Celebration”; at Brookfield Craft Center, 286 Whisconier Road. Connecticut, New Haven March 24-April 20 “Gilding the Lily”; at Creative Arts Workshop, 80 Audubon Street. D.C., Washington through March 31 “Paper and Clay from Modern Japan”; at the Smithsonian Institution, International Gallery and Arthur M. Sackler Gallery. Florida, Gainesvillethrough April 21 “Next Gen­ eration: Southern Black Aesthetic”; at Samuel P. Harn Museum. Georgia, Atlanta March 8-May 4 Dual exhibition featuring clayworks by Joseph Emery; at Alias Gallery, 75 Bennett Street, Northwest, Suite F-2. Illinois, Chicagothrough March 19 Multimedia show with ceramics by Jeff Irwin, Susanne Stephenson and Vicki Stone.March 22-April 30 Exhibition featuring ceramic sculpture by Val Cushing and Ron Gallas; at Schneider-Bluhm- Loeb Gallery, 230 West Superior Street. throughJune 23 “A Selection of Masterworks from the Asian Collection”; at the Art Institute of Chicago, Michigan Avenue at Adams Street. Kansas, Topeka March 30-April 28 “Topeka Competition 15”; at the Gallery of Fine Arts, Topeka Public Library, 1515 West Tenth. Louisiana, New Orleans through March 24 “Yoruba: Nine Centuries of African Art and Thought”; at the New Orleans Museum of Art, City Park. Massachusetts, Bostonthrough April 14 “Collect­ ing American Decorative Arts and Sculpture, 1971-1991”; at the Museum of Fine Arts, 465 Huntington Avenue. Massachusetts, Lincoln through April 7 “Playing Around—Toys by Artists,” with clayworks by Frances Hamilton, E. Joan Horrocks, Victoria Sacks and Marcella Stasa; at DeCordova Mu­ seum, Sandy Pond Road. Mississippi, Jackson March 1-April 14 “Spotlight 90/Southeast Crafts”; at the Mississippi Museum of Art, 201 East Pascagoula Street. NewJersey, Montclair throughJune 23 “Signs and Symbols in Native American Art”; at the Montclair Art Museum, 3 South Mountain Avenue. New Jersey, Newark March 23-February 1992 “Tradition and Innovation in Contemporary Native American Art, 1976-1986.” March 30- January 19, 1992 “Teapots and Coffeepots”; at the Newark Museum, 49 Washington Street. New York, Albany through March 31 “Art That Works”; at the Albany Institute of History and Art, 125 Washington Avenue. New York, New Yorkthrough March 13 “Asian Studies,” with clay vessels by Laura Wee Lay Laq; at Bellas Artes, 584 Broadway. through March 31 “Sacred Mountains of China”; at the Metropolitan Museum of Art, Fifth Ave­ nue at 82 Street. through April 27 “Design 1935-1965: What Mod­ ern Was”; at the IBM Gallery of Science and Art, 590 Madison Avenue. New York, Piermont-on-Hudsonthrough March 16 “Ancient Origins,” featuring daywork by Dina Angel-Wing, Norman Bacon, Susan Eisen, David Norton, John Shedd and Barbara Takiguchi; at America House Gallery of Contemporary Crafts, 466 Piermont Avenue. Ohio, Cincinnati through March 9 “MKutano,” works by African-American artists; at Tangeman Fine Arts Gallery, University of Cincinnati. Ohio, ColumbusMarch 31-May 13 “The Best of 1991”; at the Columbus Cultural Arts Center, 139 West Main Street. Ohio, Mansfield March 16-31 “All-Ohio Juried Art Exhibition”; at the Ohio State University at Mansfield, Pearl Conard Art Gallery, 1680 Uni­ versity Drive. Oklahoma, Tulsa through March 20 “Westart, 1991,” with clay vessels by Kevin Osborn; at Art Collectors Gallery, 3517 South Peoria. Pennsylvania, Philadelphia through March 31 “Contemporary American Crafts”; at the Phila­ delphia Museum of Art, Parkway at 26 Street. South Carolina, Spartanburgthrough March 15 “Tri-State Sculptors,” works by 15 sculptors, in-

March 1991 65 Calendar

eluding ceramists, from North Carolina, South Carolina and Virginia; at Spartanburg County Art Association, 385 South Spring Street. Tennessee, Gatlinburg through May 1 £ “Regional Selections: Defining Ideas,” including ceramics by Jim Connell arid Roddy Reed; at Arrowmont School of Arts and Crafts. Tennessee, Nashville through March 10 “Rituals and Primitive Origins”; at Vanderbilt University Sarratt Gallery, 402 Sarratt Center. Virginia, Alexandria March 8-31 “Inspiration,” craftworks by members of the Kiln Club of Wash­ ington; at Scope Gallery, Torpedo Factory Art Center, 105 North Union Street. Virginia, Richmond March 8-Aprii 26 “Shrines and Icons”; at the Hand Workshop/Virginia Center for the Craft Arts, 1812 West Main Street. Washington, Seattle March 20-April 8 Dual ex­ hibition including ceramic portrait busts by Patty Detzer; at Foster/White Gallery, 31134 Occidental Avenue, South. West Virginia, Huntington March 17-May 19 “Works off Walls 1991”; at the Huntington Mu­ seum of Art, Park Hills. Wisconsin, Madison through March 24 “Irish Decorative Arts from the National Museum of Ireland”; at the Elvehjem Museum of Art, Uni­ versity of Wisconsin, 800 University Avenue.

Fairs, Festivals and Sales Illinois, Highland Park March 16-17 “31st An­ nual Festival of the Arts”; at North Suburban Beth El Sisterhood, 1175 Sheridan Road. New York, New York March 13 “Collect New York,” benefit auction for the Empire State Crafts Alliance; at the Fabbri Mansion, 7 East 95 Street.

Workshops Arizona, Mesa April 1-2 Demonstration and slide lecture with Wayne Higby. Fee: $30; students/ senior citizens, $25. Location: Mesa Arts Center. For further information contact Arizona De­ signer Craftsmen, c/o Jane Metzger, 136 East Voltaire, Phoenix, Arizona 85022; or telephone Jane Metzger (602) 863-1212. Arizona, Phoenix March 23-24 Demonstration, discussion and slide presentation with Robin Hopper. Fee: $30; C.L.A.Y. workshop members, $20. Contact Sue Abbrescia, C.L.A.Y. Workshop Chairman, 5110 North 73 Street, Scottsdale, Ari­ zona 85253; or telephone (602) 949-9165. Arkansas, Little Rock May 11 and 25 A session with Gayle Batson, applying painting techniques to produce clay wall hangings, murals, table surfaces or small paintings using tiles for the structure; includes participation in the stacking and firing processes. Beginning through advanced skill levels. Fee: $70, includes firings. For further information contact Gina Sipes, Arkansas Arts Center, Box 2137, Little Rock 72203; or tele­ phone (501) 372-4000. California, Santa Ana March 11 Slide lecture with Les Lawrence. No fee. March 14 Slide lecture with Elaine and Tom Coleman. No fee.March 16 Pottery workshop with Elaine and Tom Coleman. Fee: $35 pre-registration, $40 at door (includes lunch). March 18 Slide lecture on contemporary ceramics with Martha Drexler, assistant curator of 20th-century decorative arts, Los Angeles County Museum of Art. No fee.March 19 “How to Deal with Hazardous Art Materials” with Joyce Van Ert. No fee. Preceding lectures and work­ shop in conjunction with the art week festival, “Craft Currents: Beyond Tradition” (March 11- 22). Contact Patrick Crabb, Art Department, Rancho Santiago College, 17th at Bristol Streets, Santa Ana 92706; or telephone (714) 667-3000. California, SunnyvaleMarch 25 Slide lecture with Neil Tetkowski. Contact Barbara Brown, Asso­ ciation of California Ceramic Artists, 1225

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Manzano Way, Sunnyvale 94089; or telephone (408) 736-3889. California, Walnut Creek March 10 “Low-Fire Glazing Methods” with Sherry Karver. Fee: $30, seniors $25. March 23-24 “Images in Clay and Raku” with Susan/Steven Kemenyffy. Fee: $70. Contact Civic Arts Education, Box 8039, Walnut Creek 94596; or telephone (415) 943-5846. Connecticut, Guilford March 16-17 and 23-24 “Slip Casting: The Third Frontier” with Ellen O’Sullivan. Fee: $212. Contact Guilford Handcrafts, Box 589,411 Church Street, Guilford 06437; or telephone (203) 453-5947. Florida, Miami March 23-24 A session with Toshiko Takaezu. Contact the Ceramic League of Miami, 8873 Southwest 129 Street, Miami 33176; or telephone (305) 233-2404. Georgia, Atlanta March 23-24 “Pottery” with Cynthia Bringle. Fee: $100. Contact the North Arts Center, 5339 Chamblee Dunwoody Road, Atlanta 30338; or telephone (404) 394-3447. Massachusetts, Hadley March 9 “Kiln Firing Workshop: Electric, Gas, Wood, Soda/Salt” with Jeff Zamek. Fee: $35, advance registration $30. April 27 “Raku Workshop” with Jeff Zamek. Fee: $35, advance registration $30. Contact Amherst Potters Supply, 47 East Street, Hadley 01035; or telephone (413) 586-4507. Massachusetts, Worcester March 9-10 A session with Karen Karnes. Contact the Worcester Cen­ ter for Crafts, 25 Sagamore Road, Worcester 01605; or telephone (508) 753-8183. NewJersey, MoorestownMarch 16 “The Painted Surface/Porcelain”with Linda Shusterman. Fee: $20. April 13 “Altered Forms” with David Wright. Fee: $20. Contact the Perkins Center for the Arts, 395 Kings Highway, Moorestown 08057; or telephone (609) 235-6488. New York, New YorkApril 24 Slide lecture on raku. April 28 and May 5 “Studio Practices for Intermediate and Advanced Students.”May 19 Raku workshop. Contact the YWCA of the City of New York, 610 Lexington Avenue, New York 10022; or telephone (212) 735-9731. New York, West NyackMarch 9 “Colored Clay.” Fee: $80; materials, $15. April 23 “Ceramic Handbuilding” with Susan Eisen. Fee: $90; ma­ terials, $10. Contact the Rockland Center for the Arts, 27 Greenbush Road, West Nyack 10994; or telephone (914) 358-0877. North Carolina, RaleighApril 8-12 “Clay Por­ trait Sculpture” with Daisy Grubbs. Fee: $175. Contact Sertoma Arts Center, 1400W. Millbrook Rd., Raleigh 27612; or telephone (919) 782-7583. Ohio, OxfordMarch 5 “Ceramics from the World of Islam” with Esin Atil, curator of Islamic art, Arthur Sackler Gallery, Freer Gallery of Art, Smithsonian Institution. Contact the Department of Art, Miami University, Oxford 45056; tele­ phone (513) 529-2900 or 529-2232 or 529-6010. Ohio, WoosterApril 18-20 A session with Wayne Bates, William Daley and Lenore Vanderkooi. Contact Wayne Center for the Arts, 237 S. Walnut St., Wooster 44691; or telephone (216) 345-7576. Oregon, PortlandMarch 9-10 A session with Frank Boyden. Fee: $98. Contact the Oregon School of Arts and Crafts, 8245 S.W. Barnes Rd., Pordand 97225; or telephone (503) 297-5544. Pennsylvania, Lancaster April 13-14 “Smokeless Raku”withJerry Caplan. Location: Market House Craft Center. Contact the Pennsylvania Guild of Craftsmen, Box 820, Richboro, Pennsylvania 18954; or telephone (215) 860-0731. Pennsylvania, LemontApril 21-22 “Philosophy of Clay” with Seth Cardew. Fee: $110. Location: Art Alliance of Central Pennsylvania. Contact the Pennsylvania Guild of Craftsmen, Box 820, Richboro, Pennsylvania 18954; or telephone (215) 860-0731. Pennsylvania, Philadelphia March 15 “Clay and the Environment,” lecture by Paulus Berensohn. March 1 7 “Offering and Receiving, with Clay,”

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hands-on workshop with Paulus Berensohn. Fee: $40; Clay Studio members, $35. Contact Clay Studio, 139 N. Second St., Philadelphia 19106; or telephone (215) 925-3453. Pennsylvania, RichboroMarch 16-1 7 “Thrown and Altered Forms” with Ron Meyers. Fee: $85. April 5 “Airbrush for Ceramics” with Barbara Bauer. Fee: $75. Contact Pennsylvania Guild of Craftsmen, Box 820, Richboro 18954; or tele­ phone (215) 860-0731. Pennsylvania, WyomissingMarch 24 “Craft Show Booth Construction and Marketing Techniques” with Bruce Baker. Fee: $30. Location: the Inn at Reading. Contact the Pennsylvania Guild of Craftsmen, Box 820, Richboro, Pennsylvania 18954; or telephone (215) 860-0731. Tennessee, Gatlinburg March 4-8 “Functional Porcelain” with Peter Beasecker. March 11-15 “Inlaid Colored Clay/Handbuilding Tech­ niques” with Virginia Cartwright. March 18-22 “Eccentric Pottery: Form and Color” with James Lawton. March 25-29 “Pottery and Salt Glaze” with Michael Simon. Fee: $160/week. Room and board: $ 130 and up. Contact the Arrowmont School of Arts and Crafts, Box 567, Gatlinburg 37738; or telephone (615) 436-5860. Texas, San Antonio April 13-14 “Constructing Multiple Forms” with Tim Mather. Fee: $145; lab, $20. April 26-28 “Objects of Virtue” with Byron Temple. Fee: $170; lab, $20. Contact the Southwest Craft Center, 300 Augusta, San An­ tonio 78205; or telephone (512) 224-1848. Virginia, Front RoyalMarch 8-10 “Skyline Potter’s Weekend,” with Anne Fournier-Ander- son and “The How-to of Wholesale Craft Shows.” Fee: $175. Contact B. Blauvelt, Northern Vir­ ginia 4H Educational Center, 400 Harmony Hollow Road, Front Royal 22630; or telephone (703) 635-9909.

International Events Belgium, Brussels through March 9 “Kimono,” exhibition by Odile Frachet, ceramics and paint­ ing; at Gallery Atelier 18, Rue du President, 18. Canada, British Columbia, Vancouver through March 24 “Choosing Clay,” works by 14 British Columbia ceramists; at the Canadian Craft Mu­ seum, 1411 Cartwright Street. Canada, Ontario, North YorkMarch 5-April 18 “4th National Biennial of Ceramics”; at the Koffler Gallery, Jewish Community Centre of Toronto, 4588 Bathurst Street. Canada, Ontario, Torontothrough March 31 “Chinese Treasures of the ROM: 4000 B.C-A.D. 907.” through May 26 “Art Nouveau-Art Deco: Selections from the Bernard and Sylvia Ostry Collection.” March 28-August 4 “Porcelain Box­ es: Miniature Masterpieces of the 18th Century”; at Royal Ontario Museum, 100 Queen’s Park. England, Londonthrough March 9 Exhibition of new works by members; at Contemporary Ap­ plied Arts, 43 Earlham Street, Covent Garden. through March 14 “A Selection from a Private Collection 1960-1990”; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. England, Oxfordthrough March 13 “Figurative Ceramics,” solo exhibition by Philip Eglin; at Oxford Gallery, 23 High Street. Netherlands, Amsterdam March 16-April 17Solo exhibition of clayworks by San dor Kecskemeti; at Galerie de Witte Voet, Annemie Boissevain, Kerkstraat 149. Netherlands, Deventer March 3-30 “Terres Ver- nissees,” earthenware by French potters Frangoise Dufayard, Marie Pierre Duru-Mehaust, Patrick Galtie, Jean Nicolas Gerard, DanyJung, Gerard Lachens and Catherine Vanier; at Kunst and Keramiek, Korte Assenstraat 15. New Zealand, Auckland through April 7 “Mau Mahara: Our Stories in Craft”; at the Auckland Museum, Private bag.

70 Ceramics Monthly March 1991 71 across the backyard.... Although she knew New Books many of the artists, Mary did not become involved in the aesthetic and social preoccu­ pations of the ‘Tenth Street School.’ Nor did she participate in the heated conversa­ tions about freedom, finish, abstraction and meaning that engaged abstract expression­ ists and their hangers-on at the Cedar Bar. Mary Frank Then, as now, Mary went her own way, by Hayden Herrera finding her sources in ancient and Oriental More than any living artist who works art and pursuing figuration even when it was with clay, Mary Frank has succeeded in es­ clearly out of fashion. ‘I was working in a very tablishing a solid reputation within the fineisolated way,’ she recalls. ‘I didn’t know, nor arts world. Recognition has been sustainedwas I interested in, whatever contemporary longer and at a higher level than Peter movements were going on.’” Voulkos, Bernard Leach or any of the other Although her objective sometimes falls luminaries of ceramic art. This was accom­ short of her ideal, “Mary has always had a plished in part because of two loopholes in sure sense of what she wants her art to be. In the fine art world’s discriminatory laws of notebook entries she complains that it is too survival: 1) Frank re­ ‘lyrical,’ too ‘tight’ or too ‘soft’; or it needs mained independent‘more risk, more edge.’ Again and again she of all movements in despairs at her scatteredness. ‘I am like one fine art or ceramics of the dogs who barks up manywrong trees, during a period when it seems whole forests. Somewhere when the affiliation made a work is good, I know that the inner feeling positive difference, connects through my hand to the work and particularly to deal­ maybe beyond—when the feeling is strong ers. 2) While clay was enough and clear.’ decidedly out, drawing has always been in; “The part of herself that she protects in fact, Frank’s first critical acclaim (in the most fiercely is her creative drive: without early 1960s) was for drawings on paper, but that, everything else collapses. ‘For me,’ she it was her ability to draw with clay that pried says, ‘making art seems to be just the normal open the fine art world door, which is usu­thing. I can’t imagine not working unless I ally closed to sculptors whose primary me­ were crazy or dying.’” 148 pages, including dium isn’t wood, bronze, steel or stone. chronology, exhibition history, selected “Mary is largely self-taught and whatever bibliography and index. 45 color plates; 97 formal training she had was in drawing, notduotones. $49.50.Harry N. Abrams, Inc., 100 in sculpture,” writes the author of this Fifth Avenue, New York, New York 10011. monograph (which documents Frank’s ca­ reer to date, often quoting her thoughts Porcelain for Palaces about work and critical events in her life). The Fashion for Japan in Europe, “Even when she is making sculpture, she 1650-1750 thinks partly in terms of drawing. Speed andby John Ayers, Oliver Impey and J. V. G. immediacy are more essential to her inven­ Mallet, with contributions by Anthony du tive process than deliberation, analysis andBoulay and Lawrence Smith construction. Indeed, she is almost allergic When huge quantities of Chinese porce­ to conventional notions of composition andlain (mostly blue-and-white) were imported design. She does not try to balance shape into Europe during the first half of the 17th against shape or volume against volume century, the upper- within a given space, nor is there a strong class developed “chi­ pivotal point to structure form’s unfolding. na mania,” wherein Rather, she molds clay as if she were drawing entire rooms were de­ out a narrative, inventing as she goes along, signed for its display. finding the edges and giving them the free- However, the fall of flowing rhythm of a drawn line.” the Ming dynasty in Now 58, Frank has lived in New York City 1644 disrupted ex­ most of her life, but has always remained ports from China, and independent of aesthetic trends and move­ the colorfully enam­ ments. She even had an apartment on Third eled porcelain from Avenue between Ninth and Tenth, whenJapan soon gained favor. It’s no wonder, “Tenth Street was the center of New York’s then, that European ceramic producers increasingly vital art world. The painter (particularly after the discovery of the secret Alfred Leslie, for example, lived next door.of porcelain at Meissen in 1709) frequently Milton Resnick had a studio close by, andimitated and adapted Japanese styles. Willem de Kooning, perhaps the most influ­ ‘Japanese export porcelain has been ac­ ential painter of the New York School, lived cumulated and collected, displayed and

72 CERAMICS MONTHLY March 1991 73 New Books used on red and white earthenware, stone­ ware and raku.” Like glazes, slips maybe dipped, poured, brushed, sprayed and sponged, but the neglected, copied, sold, stolen, broken, technique most often associated with slip mended and loved for three centuries anddecoration is trailing. Because trailed slip is more,” writes Oliver Impey. “Prized first for usually applied to greenware (whether its color and then for its vigor of decoration,leather hard or dry), “there is little scope for it was the height of fashion for some 80 fudging, and part of the attraction of good years, until economic realities forced it out slip trailing is to see how the skill and deft­ of the European market. So much were first ness of the potter have been displayed in Kakiemon and then Imari copied andexecuting the design.” adapted that it was not long before their The key to success is practice: “Fill up Oriental origin was all but forgotten. Japa­ your slip trailer with a plain slip, and prac­ nese design had become so much a part of tice on a table top or one newspaper doing the European world that it was accepted as long straight lines, parallel lines, curves and vaguely 18th-century taste (and thereforeswirls, thick and thin lines. Generally the ‘good’ taste), with no one bothering about most effective are those that are drawn its derivation.” quickly—the vigor and sense of purpose This book/catalog (of the 372 objects become evident.” shown in the exhibition of the same name at Also explained are slip resist, stencil, the Japanese Galleries of the British Mu­ sgraffito, feathering and marbling, and in­ seum) documents the major impact Japa­ lay techniques. nese style had on European wares produced The text concludes with a “showcase” of during the 17th and 18th centuries. 328works by 11 British potters who use different pages, including bibliography and index.techniques to decorate their ware with slip. 354 color plates; 64 black-and-white illustra­ Descriptions of their materials and work tions. $70. Rizzoli International Publications, methods include recipes. 96 pages, includ­ Inc., 300 Park Avenue South, New York, New ing bibliography and index. 22 color plates; York 10010. 47 black-and-white photographs. £12.95, plus £2.50 for postage and handling. American Slips and Slipware Express and Visa accepted.Batsford Books, 4 by Anthony Phillips Baker’s Mews, London, England W1M 1DD. From the Complete Potter Series edited by Emmanuel Cooper (of England’sCeramic Animal Forms and Figures Review magazine), this guide to decorating by Rosemary Wren with slips begins with a look at slipware Also from the Complete Potter Series traditions throughout the world, then de­edited by Emmanuel Cooper, this anec­ scribes the properties of the necessary raw dotal “how-to” guide to handbuilding clay materials: figures discusses sources for ideas, the ben­ “Slip is any mixture of clay and water thatefit of sketching ideas, the properties of has been sieved to a smooth consistency.... various clays, and necessary tools and equip­ The main difficulty a potter faces when ment before addressing technique: “Sculp­ using slip is its ‘fit’ to the surface of a pot. As tural ceramics, based clay dries, as well as when it is fired, it shrinks. on the use of thin- Some clays shrink more than others, de­ walled forms, can be pending on their capacity to contain water fairly flat or three-di- (more water means higher shrinkage in mensional and hol­ drying), and on the low. They can be firing temperature constructed carefully (the higher the tem­ into a thought-out shape from the start, with perature, the greater round or flattened, with torn, pinched or the shrinkage during pressed-out pieces of clay, or by using molds firing). If the clay and patterns. Alternatively, a simple basic used for the slip has a extruded tube, rolled sheet or wheel-thrown significantly different shrinkage rate to the pot can be altered by pushing from inside, clay used for the body, there is a serious risk adding from outside or cutting apart and that the slip will flake off at some point reassembling when either quite firm or during drying, firing or even months after (moreit exciting) soft.... There are two reasons has been glazed.” for thin walls: firstly, drying and firing are While the best clay with which to make much more straightforward and, secondly, slip is the one used for the pot itself, “a good they make for greater sensitivity of form.” all-purpose and almost white slip can be Along with examples of the author’s ani­ made with a combination of 40% china clay mal figures, the text is illustrated with prepa­ [kaolin] and 60% ball clay. For such a simple ratory drawings and photographs of works recipe it is surprisingly versatile. It can be by 12 other British ceramists. Accompany-

74 CERAMICS MONTHLY March 1991 75 New Books usually fall into these categories,” Queens­ berry continues. “In order to calculate the volume, it is necessary to divide them up into component parts such as cones or cylinders ing statements explain their approach to or break them down into slices in the way basic concept and techniques. that salami is cut in a delicatessen. It is In the final chapter on earning a living,possible to calculate the volume of any three- the author notes that “to get to the top, dimensional object with reasonable accu­ inspiration must first be translated into real­ racy by establishing the sectional area of ity through hard work and experience.... Myparallel slices at regular intervals. The more own way of earning my living came about slices, the greater the accuracy.” through asking Ladi Kwali, maker of tradi­ The examples shown in this guide are tional Nigerian handbuilt pots, how she hadintended to help anyone determine the learned. Her reply was that her mother had volume of any designed object. Also in­ shown her that for a cooking pot you must cluded are a three-dimensional volumetric make a certain series of movements with scaling table (to determine dimensions of your hands, for a water pot another series. greenware), a list of useful capacities for Each time the result was different, but ac­ tableware in most markets, and blank calcu­ ceptable for its purpose; the repetition was lation sheets for photocopying. 45 pages. through the hands rather than the eyes. £10, postpaid. Mastercard and Visa accepted. “Thinking in this way—developing a Potterycrafts Limited, Campbell Road, Stoke-on- procedure for each type of creature—I have Trent, England ST4 4ET. found it possible to use my original drawings again and again, but each clay creature, like Moorcroft the Nigerian cooking pots, has a life of its A Guide to Moorcroft Pottery 1897-1990 own. There is no intention of making them by Paul Atterbury the same or of making them different; each Of interest to collectors, this history is is an individual. based on the 1987 book Moorcroft Pottery, “This way of working within a deliberate which illustrated all the designs produced limitation has also made it possible to pro­ by this Stoke-on-Trent art pottery that were duce a list so that galleries and individualsknown at that time. Since its publication, can order specific creatures with some idea however, information about the early work of what they are likely to receive.” 96 pages, of founder William Moorcroft has been including index. 23 color plates; 53 black-uncovered, and his and-white illustrations. £12.95, plus £2.50elder son Walter has for postage and handling. American Ex­retired from the fam­ press and Visa accepted.Batsford Books, 4 ily business. (Wil­ Baker’s Mews, London, England W1M1DD. liam) John Moor­ croft, the younger Volumetric Calculations son, is now the For Designers and Craftspeople pottery’s managing by Queensberry Hunt Design Consultants director, and is intro­ As more studio potters eye the signifi­ ducing new designs. cantly larger piece of the marketplace pie Subsequently, the enjoyed by commercial manufacturers, the first text was rewritten to add historical in­ ability to produce ware to specific volumes formation, and the number of illustrations increases in importance. If a vessel already were increased to document the works that exists, determining its volume is a simplehave recently been attributed to Moorcroft, matter of “filling it as well as the designs introduced since 1986. with water from a Decorating methods established by Wil­ graduated cylinder or liam Moorcroft are still in use today (see by weighing the wa­ “Moorcroft Pottery” in the December 1988 ter that is needed to CM). “Moorcroft would adapt each design fill it. If the design, to fit a particular shape, using a purple ink however, exists only on tracing paper. The decorators would as a drawing or solid then rest the paper against the green (un­ model, other meth­ fired) ware and rub on the design, leaving a ods have to be used,” pale outline to be followed by the slip trail­ notes David Queens­ ers.” The design is then filled in with brushed berry (founder of one of England’s leadingpigments, and a clear glaze applied overall. design groups) in his introduction to this190 pages, including index. 339 color plates; calculation guide. 50 black-and-white illustrations. £40, post­ While calculating the volume of a cube, paid. Mastercard and Visa accepted.Richard cylinder or sphere is relatively simple for Dennis Publications, The Old Chapel, Middle “people with a modest knowledge of math, Street, Shepton Beauchamp, Somerset, England the objects we are concerned with do not TA19 OLE.

76 CERAMICS MONTHLY March 1991 77 Suggestions wooden handle to coincide with the existingals’ dissimilarities]. But for just 250 a gallon, hole in the blade. Then use a miter saw to one can get purified water from vending From Readers cut a slot in the handle, insert the blade andmachines located in grocery stores [or off secure it with a screw and nut.—Donald the store shelves for somewhat more]. Such DuBose, Albion, Calif. water is a reasonable constant for glazes.— Barbara Hummel, Tampa Cooling Hot-Waxed Pots Jigsaw-Blade Trimming Tool A horizontal bed of vertical nails works Tool Takes the Cake A great, inexpensive trimming tool cangreat for placing cooling pots that have been This plastic, cake-icing tool (obtained in­ be made from a used jigsaw blade: With a dry footed by dipping in hot wax. Just ham­expensively at kitchen supply stores) makes bench grinder, grind off the teeth of the mer finishing nails through a board in a ¾-a great decorating rib for clay as well. It inch grid.—Jeff Diehl, Lockbridge, W.Va.

Easy Majolica Decoration Applying a thin layer of glycerin over the dry base glaze makes decorating on the sur­ face with majolica pigments much easier. Glycerin allows the brush to glide smoothly across the surface.—Sandy Closs, Marietta, Ga. leaves interesting marks when pulled straight Carpet Pad Brushes across clay, when arced or swirled, and the When waxing pots with melted paraffin,finest serrations even can be used as a scoring try applying it with a wedge cut from Oma- tool.—BillBracker, Lawrence, Kans. lon System 500 brand carpet pad. Any car­ pet store should have scraps available. Use Dollars for Your Ideas the top of the wedge as a handle; this gives Ceramics Monthly pays $10 for each suggestion blade, and sharpen to a cutting edge. Hold­better control than a foam brush.—Kay published; submissions are welcome individually ing the end of the blade with the hole in it Herbold, Denver or in quantity. Include an illustration or photo with vise-grip pliers or in a vise, heat the to accompany your suggestion and we will pay blade to red hot with a propane torch. Consistent Glazes $10 more if we use it. Mail ideas to Suggestions, Shape the blade around a pipe (or other Swapping glaze recipes often doesn’t Ceramics Monthly, Box 12448, Columbus, Ohio desired form), reheat and quench in water.work because of the different mineral con­ 43212; or fax to (614) 488-4561. Sorry, but we Drill a ½-inch-diameter hole through a tent in the water [along with other materi­ can’t acknowledge or return unused items.

78 CERAMICS MONTHLY March 1991 79 Secure Wall Hangings by Thomas Hubert

A RECENT COMMISSION for a sponding interlocking hang­ ceramic mural presented an ers were bolted to the wall, installation problem. Pre­ and T-shaped screws inserted viously, my wall pieces had and aligned. Then the panel been hung using a system of was hung and the T-shaped galvanized wire laced screws turned with a special through an application of wrench, thus locking the thick epoxy; the clay was bracket to the hanger. The gouged during the green­ “Rhythm in Blues ” 10feet in length, 11-panel whiteware paper template was easily re­ ware stage to increase adhe­ mural, with brushed and airbrushed underglazes. moved after final installation. sion. These could then be A similar project called for hung like any picture. This new com­ board. Unlike most wood, it has low a variation in hanging; this six-panel mission, however, called for a more shrinkage and expansion when prop­wall piece was more compactly de­ permanent installation. erly sealed. signed. A plywood support, slightly Chosen from a series of drawings To attach the particleboard to the smaller than the clay perimeter, was was an 11-panel, geometric arrange­ clay, I researched industrial adhesivesused to simplify its hanging. In the ment, with shapes ranging from a 26- and their applications, and found studio, a the ceramic panels (backed inch square to an 18-inch-diameter single-pack, moisture-cure urethane with particleboard and 2x4 wood semicircle. Each piece overlapped at adhesive called Tyrite® 7602 (made blocks) were mounted onto the ply­ least one other piece, yet remained a by Lord Corporation, Box 10038, Erie, wood using Secure-T brackets. The separate element. Pennsylvania 16514). As with most piece could be quickly disassembled Because there was no access from quality adhesives, it is potentially toxic, for transportation and reassembled on behind the wall, I investigated lock­ requiring ventilation, a fume respira­ site once the plywood was attached to ing wall brackets, and settled on a tor and rubber gloves. Tyrite 7602 is the wall. mounting system called Secure-T (a also slightly flexible when cured. Full These methods are less than fool­ product of Art Materials Service, 700 cure takes 1-5 days. proof or theftproof; but, they do fa­ Joyce Kilmer Avenue, New Brunswick, The brackets were attached to the cilitate high-quality and speedy Newjersey 08540), used in hotels and particleboard-backed pieces with installation in an indoor setting. restaurants to prevent theft and acci­screws. Then their positions were dental displacement. But these brack­ marked on the wall by chalking each The author An instructor at Mercyhurst ets were designed to be screwed into bracket and pressing the piece against College in Erie, Pennsylvania, Thomas picture frames, so each piece of the a paper template. With the paper Hubert maintains a studio in Fairview, mural had to be backed with particle- template still in place, the corre­ Pennsylvania.

Mural panels marked for the placement of particleboard Blocks of wood attached to the backing vary the distances backing to be attached with urethane adhesive. that the separate panels will project from the wall.

80 CERAMICS MONTHLY Prior to chalking, the brackets had been screwed to the particleboard backing.

Appropriate hanger positions are determined by pressing chalked Once the corresponding hangers and T-shaped screws are positioned on the wall, brackets against a paper template. each panel is locked in place by slipping the brackets over the hangers and the heads of the T-shaped screws, then turning the screws 90° with a special wrench.

March 1991 81 Slip Casting, Part 3 Cone 6 Casting Slips by Gerald Rowan

BECAUSE of many common casting- duce slip of low viscosity that will pour High-Tech Porcelain Casting Slip slip variables, every recipe should be and cast well. (Cone 5-7) tested before adopting for studio use. The soluble salts found in second­Frit 3110 (Ferro)...... 5.0% With that in mind, the slip recipes ary clays can also cause scumming. To Nepheline Syenite...... 30.0 listed here may be considered as a prevent this, it may be necessary to Kaopaque 20 ...... 20.0 starting point for developing cast add 0.5% barium carbonate to a cast­ Kentucky Ball Clay (OM 4) .... 5.0 bodies suitable for your situation. ing slip. Fortunately, these Cone 6 slips 6-Tile Clay ...... 20.0 Remember, porcelain at Cone 6 is are fired vitreous enough to fuse anyFlint...... 20.0 really a contradiction in terms. The soluble salts within the clay body. This 100.0% alumina/silica ratio necessary for vit­ means the salts usually will not leach Add: Darvan 7...... 0.8% rification at Cone 6 precludes the out after firing. In unvitrified ware, a Water...... 39.0% possibility of true porcelain. It may be white scum may appear at a later date; comforting to know, however, that be­ when the piece is saturated with water, Grolleg Casting Slip cause casting bodies can be much evaporation carries the salts to the (Cone 6) “shorter” (less plastic) than throwing surface, depositing a white salt scum. Frit 3110 (Ferro)...... 5.0% bodies, casting slips may be much Here are some good casting slip Nepheline Syenite...... 30.0 closer to true porcelains than is pos­ recipes to use as starting points for Edgar Plastic Kaolin...... 20.0 sible in throwing clays. your own slip recipes, or to suggest Grolleg Kaolin...... 20.0 In order to produce slips that are directions for your own casting trials: Kentucky Ball Clay (OM 4) .... 5.0 vitreous at Cone 6, it is necessary to Flint...... 20.0% introduce materials that lower the White Porcelain Casting Slip 100.0% maturity temperature of the slips. This (Cone 6-7) Add: Darvan 7...... 0.8 % can be done in several ways: LeadlessBone Ash...... 15.00% Water...... 41.0% frits, such as Ferro Frit 3110, can be Custer Feldspar...... 21.00 added as a body flux, thus loweringGeorgia Kaolin...... 54.00 Brown Stoneware Slip the maturation temperature. Softer Kentucky Ball Clay (OM 4) .. 10.00 (Cone 6) feldspars, such as Kona F-4 Feldspar 100.00% Nepheline Syenite...... 10.0% and nepheline syenite, will also melt Add: N-brand Sodium Cedar Heights Goldart Clay... 20.0 at temperatures lower than the pot­ Silicate...... 0.20% Cedar Heights Redart Clay .... 24.0 ash feldspars traditionally used in por­ Soda Ash...... 0.15% Foundry Hill Creme...... 30.0 celain slip bodies. Other natural Water...... 39.00% Flint...... 4.0 fluxes, such as whiting and bone ash, Fine Grog...... 12.0 can also be used as body fluxes for Porcelain Casting Slip 100.0% porcelain. True bone china relies on (Cone 6-8) Add: Darvan 7 ...... 0.8 % substantial quantities of bone ash as a Water...... 42.0% body flux. Whiting...... 3.50% Kona F-4 Feldspar...... 44.00 The porcelain slip recipes offered Light Brown Stoneware Slip Georgia Kaolin...... 33.00 here should be considered proto- (Cone 6) porcelains, not true porcelains. They Flint...... 19.50 Custer Feldspar...... 20.0% may look like porcelains and they are 100.00% Cedar Heights Goldart Clay... 15.0 vitreous, but do not fire as high as Add: N-brand Sodium Cedar Heights Redart Clay .... 5.0 true porcelains. Silicate...... 0.20 % Georgia Kaolin...... 29.0 The warm tan and brown hues of Soda Ash...... 0.17% Kentucky Ball Clay (OM 4) .... 15.0 many castable stoneware slips are usu­ Water...... 40.00% Flint...... 16.0 ally caused by the presence of iron- 100.0% bearing clays. But the iron oxide, as Bone Ash Porcelain Casting Slip Add: Darvan 7...... 0.7% well as organic materials found in iron- (Cone 6-7) Water...... 40.0% bearing secondary clays, often causes Bone Ash...... 36.0% casting problems. Usually, tan and Custer Feldspar...... 14.0 Editor’s note:This is the third article in a brown stoneware slips are harder to Kaopaque 20 ...... 29.0 series on slip casting by Pennsylvania pot­ deflocculate than white stoneware or Flint...... 21.0 ter Gerald Rowan. The first (January, page porcelain slips. Typically, higher per­ 100.0% 84) discussed the properties of slip and centages of water and larger quantities Add: Darvan...... 7 0.4% deflocculation; the second (February, of deflocculant are necessary to pro­ Water...... 40.0% page 82), making and using plaster molds.

82 CERAMICS MONTHLY

84 Ceramics Monthly March 1991 85 Comment

Reviving Craftsmanship by William Hunt

About a year ago, over a cup of coffee market economic system would restore cently “made in America” quality items at the Chef-O-Nette in Columbus, Ohio, craftsmanship to their nation. While I when nearly all the old U.S.-made items I opened the morning paper, scanninghaven’t heard of any such rallies in thewere so well crafted? What about the the day’s news. The coffee kicked in by U.S., craftsmanship, as anyone can see, much-degraded craft of service—why page 3A, when I found myself staring at isn’t what it used to be here, in the has it sunk so low? one of those astounding stories aboutheart of free-marketville. Could these It could be argued that we did this events in Eastern Europe. In bold typeGermans have been barking up the to ourselves by demanding price, price, across the top of the article, the head­ wrong tree, or is there a message for us price before craftsmanship; but if that line read “Artisans Demand Changes,”in this? It has intrigued me ever since. were the case, then the well-crafted and the Associated Press wire story went I don’t have to define craftsmanshipJapanese products would not have sur­ on to tell about a gathering of about for anyone. You know when something vived. They, after all, provide quality at 10,000 “craftspeople” rallying in what has it, and you certainly know when it’s what we feel are good-enough prices. was then East Berlin. They were there missing. Some say it’s coming back in Okay, so these are gross generalizations, to denounce “communism for killingAmerica, but look around your own but don’t they get you right in the gut? East German craftsmanship.” apartment, condo or house, with the That usually means there must be a I thought I had been exposed toidea of identifying craftsmanship, and Icore of truth in them. every possible variation on the issue of suspect you’ll come to the same con­ If you’ll forgive another gross gen­ craft, but here was something I hadn’t clusion as I did recently: nearly every­eralization: nearly all the world’s ills considered. The ralliers (the equiva­ thing that is well crafted is either old, can be explained by lack of craftsman­ lent of five NCECA conferences meet­ made by a studio craftsperson or comes ship. When things aren’t going well, ing in one place) believed that a free from Japan. Why are there so few re­ craft isn’t present. Marriage troubles?

86 CERAMICS MONTHLY

Comment how—from cleaning the studio to Van Gogh method certainly can and firing, from mowing the lawn to walk­ does produce great works, too, but ing the dog—and, if good craft is notleaves the artist’s survival poorly crafted. A poorly crafted relationship. Interna­ there, seeking education (sometimes Craft is the key to the revival or de­ tional disputes? Poorly crafted politics. called help) from associates, neighbors mise of your job, your lifestyle, your Bad products? Bad craft. Conversely,and friends on how to do it well. Itsociety. Craftspeople already have been good products mean good craft; low­ includes continuing the creative per­vaccinated against the disease of pro­ ered crime rates are the result of well- fection of both what we do well and ducing bad quality—at least in their crafted social programs, enforcement, what we wish we did well. professional work. If they can vaccinate education and prevention policies. Profit can not be ignored as an issue the rest of society, I suspect we will see Craft is not a frivolous side issue ofof craft, but craft comes before profit our collective problems melt away. Just society. It is central to every endeavor. in this system. A well-crafted profit is imagine everyone expecting a great job And the craftsperson, devoted to a lifejust part of the equation. Further inter­ from themselves and everyone around of making things well, has them. The mind boggles. a major role in the drama, So spread the word of the outcome of which Craft is not a frivolous side issue of society. It is central craft. This means not only might just determine the praising quality, but also shape and the survival of to every endeavor. And the craftsperson, devoted to a lifevoicing disapproval for our civilization. the poorly crafted. For, Interestingly, the con­ of making things well, has a major role in the drama, when push comes to cepts behind the Ameri­ shove, the most impor­ can craft movement (or the outcome of which might just determine the shape tant thing you can do to folk craft worldwide), if promote craft is to make adopted by society at and the survival of our civilization. it very clear when it’s large, could positively done well and when it’s change the direction of not done well enough, be any society. This has been a corner­ woven here is service to society. Making it pots, services, or everyday products. stone of the Japanese economic miracle. whatever you feel like is fine, provided Let us raise our voices for the good of That should come as no surprise in a that at some point, even after the fact, good craft. We have an obligation to society where craft has been revered you check it out with those you serve. If ourselves, to the craft movement, and for so long, in a nation where crafts­ they love it, then onward. If not, then to each other to be heard on this im­ people can be Living National Trea­ make something else you feel like until portant issue. sures. Good craftsmanship obviously you find something that serves both means everyone attempting to do your interests and society’s. It’s so simple The author William Hunt is the editor of whatever they do as well as they know and so difficult all at once. The Vincent Ceramics Monthly.

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