May 1993 1 William Hunt...... Editor RuthC. Butler...... Associate Editor Robert L. Creager...... Art Director Kim Nagorski...... Assistant Editor Mary Rushley...... Circulation Manager Mary E. Beaver ....Assistant Circulation Manager Connie Belcher...... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Profes­ sional Publications, Inc., 1609 Northwest Bou­ levard, Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 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, Post Office Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, announcements, news releases, photographs, color separations, color transparencies (including 35mm slides), graphic illustrations and digital TIFF images are welcome and will be considered for publication. Mail submissions to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines: A book­ let describing standards and procedures for sub­ mitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. These ser­ vices are also available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sug­ gestions and Questions columns, is available for $ 1.50, postpaid, from the CeramicsMonthlyBook Department, Post Office Box 12448, Colum­ bus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Univer­ sity Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1993 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY May 1993 3 4 CERAMICS MONTHLY Volume 41, Number 5 • May 1993

Feature Articles

Lenny Goldenberg ...... 24

Gail Weissbergby Anne Telford...... 27 within Transit by Gail Weissberg ...... 28

Phil Rogers: An Autobiography ...... 31

Rookwood’s Glorious GambleA major Rookwood’s Glorious Gamble ...... 37 part of the success of Cincinnati’s Rookwood Pottery was its one-of-a-kind approach. Even though many shapes were mass pro­ Sun Chao: A New Way with Crystalsby Tobie Meyer...... 38 duced, decorators, such as Lena Hanscom (above), were encouraged to create indi­ Fletcher Challenge: Takamori’s Choicea review by Leo King...... 41 vidual glaze paintings; see page 37. Debra Cherniawski’s Eco Ebba review by Paula Gustafion...... 48 Phil Rogerslives and pots in central Wales amid “mile after square mile of secluded upland hill country and isolated farmsteads with their centuries-old farmhouses.” His Up Front autobiography begins on page 31. Anne-Bridget Gary ...... 12 Ian Godfrey Retrospective ...... 12

Olympic Odyssey by Bruce Odell...... 14 James Watral...... 16 Contemporary Ceramics at Sotheby’s ...... 16 Grace Bakst Wapner...... 18 Corrections ...... 20 Matt Nolen...... 20 Sandra Blain Retrospective ...... 20 Kohoutov Ceramics School and Studio by Claude Cahn...... 22

Departments

Letters ...... 8 Solo Exhibitions ...... 58 Fletcher Challenge: Takamori’s Choice Group Ceramics Exhibitions ...... 58 Reviewer Leo King was not surprised to see New Books ...... 50 Ceramics in Multimedia Exhibitions ...... 60 that most of the prizewinners in this inter­ Call for Entries Fairs, Festivals and Sales ...... 63 national competion, juried by Washington Workshops ...... 64 artist Akio Takamori (above), referred to International Exhibitions ...... 54 International Events ...... 65 the human being; see page 41. National Exhibitions ...... 54 Regional Exhibitions ...... 54 Suggestions ...... 68 The coverSculptor Gail Weissberg’s search Fairs, Festivals and Sales ...... 54 Classified Advertising ...... 70 for stimulating environments has taken her Questions ...... 56 from New Zealand to the United States and Comment: now to France. Recent work (see the article Calendar The Spirit of the Pot by Steve Casagranda ...... 72 beginning on page 27) combines American Conferences ...... 58 and Oceanic influences. Photo: Lee Hocker. International Conferences ...... 58 Index to Advertisers ...... 80

May 1993 5

Letters better things to do with their time than bad- we didn’t also point out that it is possible to mouthing others. work safely with glazes incorporating raw Jerry Crimmins should spend more time (white or red) lead, provided that the ceram­ in the studio and less time creating personal ist is well informed and practiced in glaze Clayton Bailey Responds disputes with faculty and students at Califor­formulation, materials handling, firing and The publication, without comment or nia State University-Hayward. studio hygiene.” rebuttal, of a slanderous and unsubstantiated Lew Carson, Professor of Art Well, I qualify, and I would not use raw personal attack on me in the March 1993 California State University, Hayward lead in any glaze recipe. Why should I? Letters column [see “Perfidious Perfor­ Someone solved the problem for me, the mance?”] was grossly irresponsible and un­ Biased Coverage maker, many years ago. Why should anyone professional. No attempt was made by CM I enjoy the magazine, mostly. Sometimes at any level of competence use such a toxic to check the facts before publication, nor wasoveremphasis of certain styles and techniquesmaterial when a safer alternative is available? I given a fair and timely opportunity to (and oversight of others) is boring. (Frits are also less volatile in kiln atmo­ respond to this malicious attack. But when coverage is biased—and so spheres.) Alan Tratnyek, a California State Univer- obviously—then I write. The March issue To print glaze recipes using raw lead is sity-Hayward (CSUH) student at the time, has Syd Carpenter, a woman, and her work like going back to the Dark Ages. Those invented and demonstrated the first “geyser on the cover—good—along with a story on recipes should have been converted from bottle” in 1972. After heating the bottle to her and what she does—wrong! It’s about herusing raw lead to a lead frit; CM should not 1500°F in our raku kiln, he quenched it in a and her partner, Steven Donegan, a man. have printed them otherwise. The ultimate bucket of water; as intended, it aspirated Okay, I can handle that. Why not? Wrong irony here is that McWhinnie is touting his water and ejected a “geyser” of superheated again. Robin Rice wrote about two-thirds of computer-based glaze program, which should steam and water into the air. the article on Donegan and his ideas, devot­ make conversion a snap. This is sloppy work “Geyser bottle performance raku” began ing roughly only one-third to Carpenter. Not for a small truth with a big risk. 15 years later at CSUH; during the winter only is that unbalanced, but the article begins Jean Lang, Toronto, Ont., Canada quarter of 1987,1 described Tratnyek’s bottle and ends with him (with the very last para­ to a group of students and proposed a con­ graph a generalized comment about their Just because you use lead bisilicate or other test. The original group included about six communal space). frittedforms of lead does not necessarily mean students (including Jerry Crimmins) and As a matter of fact, from page 59, column that you have solved the problem of safely han­ myself. We addressed ourselves to such issues3, through page 62, column one, it’s all dling lead. You might want to test a sample of as: how to squirt water highest into the air; about Donegan and his technique: 16 para­ your lead bisilicate for solubility to see if it was how to generate the most steam; how to graphs in all. Carpenter gets the next 8 para­ manufactured to the high standards you assume. pump the most water out of the bucket; and graphs and then—yup—back to Donegan. In her new book, Keeping Claywork Safe and how to create kinetic and sound effects. And please don’t give me a phony dis­ Legal, Monona Rosso I (ofArts, Crafts and The use of valves, siphons, the venturi claimer about the author being female. CM’s Theater Safety) states: “Lead frits are often effect, orifice sizes, etc., was obvious from theeditors make the decisions on what gets inaccurately touted as being nontoxic and beginning. Videotapes made collaboratively printed and how. insoluble.... Although some frits are acid in­ by the group and shown in the National Here’s to a better job in the future—and soluble, frit solubility varies greatly. There are Council on Education for the Ceramic Arts happy Women’s History Month. even some frits which are more soluble than raw (NCECA) exhibition “Raku—Transforming Toby Z. Liederman, City Island, N.Y. lead compounds. Acid tests...have confirmed the Tradition” clearly show this technology that a frit’s solubility is dependent on its chemi­ being used simultaneously by at least three More on Lead cal composition, how well it is manufactured, individuals in 1987. No individual can claim With reference to Daniel Mehlman’s and its particle size. ” ownership of geyser bottle technology be­ letter (March 1993), I too was disappointed Additionally, it cannot be categorically cause it was developed and shared in a group to see McWhinnie’s article (January 1993) stated that frits are less volatile in kiln atmo­ setting at CSUH. More than 50 students and listing raw lead in glaze recipes. But the spheres, since heat work, atmosphere and overall faculty members have been involved in the editor’s response shocked me. glaze composition are the determinants of lead many geyser bottle events that I have orga­ We know lead has been used for hun­ volatility. nized and promoted since 1987. All of them dreds of years to make beautiful glazes. Un­ Finally, please reread the full text of the have made contributions to the success of thisfortunately, gastric juices digest lead readily editors note in the March Letters. You 71 see that activity. In my opinion, Crimmins’ contribu­ and the cost to human life has been high. the opening sentence states: “CM would rather tions are no greater than others. The ceramics industry worked to solve that lead not be used in glazes. ”—Ed. Clayton Bailey, Port Costa, Calif. this problem because lead is such a valuable ingredient. Eventually, they succeeded by Yoder Kudos Crimmins Attack Unwarranted combining lead and silica in a frit and ren­ Thanks so much for the “Royce Yoder” I am puzzled about why Ceramics Monthly dered the lead virtually insoluble. One of the article (March 1993). As a production potter, decided to publish a vicious, unsubstantiated frits familiar to us is lead bisilicate with a 1:2 working on a much smaller scale than Mr. personal attack in its Letters column. I know ratio of lead to silica. This great technologicalYoder, I was fascinated and inspired by it. Clayton Bailey and Fernando Hernandez advancement converted lead to a safe form toThe next day, while wandering about in my quite well. Each is exceptionally talented and protect the maker. studio in search of a tool (again), I compared possesses a great deal of integrity. They have That was step one. Step two involves the my inefficient flow of motion to his maker paying attention to glaze formulation, smoother and more productive one; there Share your thoughts with other readers. All letters pigments, firing, testing, etc., to protect the was much room for improvement! must be signed, but names will be withheld on user of the ceramic item. This is a whole I have questions related to an entirely request. Mail to The Editor, Ceramics Monthly, separate problem. First, we have to get step different topic, however. Now and then I Box 12448, Columbus, Ohio 43212; or fax to one right. read what I believe to be disparaging remarks (614) 488-4561. CM stated: “It would not be truthful if (see E. Higgins’ letter, February 1993) about

8 CERAMICS MONTHLY May 1993 9 Letters the respiratory system (CM, March 1993). I believe that she should have consulted the Merck Index before making such a claim. potters who work in the basement. Some of The LD/50 (lethal dose that will kill 50% of us are driven hard enough by our love of claymice and rats) is 2-5 parts per 100,000. to work in dark and spider-infested base­ While not in the same category as HCN or ments for years, until our work is profitable mustard gas, any chemical that kills living enough to allow us to build a beautiful stu­ cells must be regarded as toxic. As a pharma­ dio. Is a pot made in a basement inherently ceutical research chemist for 35 years, I worth less than one made in a studio? Can treated this chemical with great respect, as anyone tell the difference just by looking? one should all chemicals. How can there be masters without beginners? I am also concerned about her claim that We must cherish both. this kiln is pollution free. Has an analysis of Ruth Hansen, Cropseyville, N.Y. the gases coming off the stack been done and what is the pH of the effluent from the Sage Advice neutralizing tower? The scrubbing tower is Edward Higgins (Letters, February 1993) only 7.87 feet high, which is very short for has an individual, observational frame of removing the HC1 gas generated by 9 pounds mind. The ceramics field is indeed lucky to of NaCl. She does not indicate how much have people like him around to remind it of water flows through the tower per minute. A the flaws and casual ways that some of us slow flow will not trap all the gas and a fast have sloppily adopted. I sure appreciated his flow will result in [only] partial neutralizing sage advice about the usefulness of recipes of the liquid HC1 by the limestone chips. adding up to 100, and will endeavor to put it The large volume of CO^ blowing out the into practice as soon as possible. It beats scrub tower will carry a certain percent of me—I just never thought of it his way. HC1 gas with it. Also, what about the Cl2 gas John Chalke, Calgary, Alta., Canada generated in the kiln? The scrub tower will not handle this. Cold Fingers from Throwing? I raise these concerns and questions be­ I wonder if CM or its readers has ever runcause I do not want potters who do not have across a problem similar to mine. A “week­ any chemical background to develop a false end potter,” I produce about 500 functional, sense of security from this article. I would wheel-thrown stoneware pots a year for sale. also recommend to the editors of CM that Most are flower containers that require 1 ½ tothey have such articles refereed by qualified 4 pounds of clay, although I have used aboutpeople, as is done by many other journals. 10 pounds on occasion. I have been produc­ Ernest Nicolaides, Ramona, Calif. ing pots like this for 15 years. A problem with my left hand recently Emerging Talent developed and became more severe. That I am a very young potter (13), and I hand’s fingers are significantly colder than would like CM to publish an article or port­ those on the right hand. Extensive (and folio on kid potters. I do not mean kids who expensive) testing revealed significant narrow­have little experience. I mean kids who are ing of the blood vessels across the palm of theextremely involved at a young age. I have hand within an inch of the base of the taught a number of classes and have studied fingers. My doctor describes the condition asthrowing with Malcolm Davis, Ellen Shank- “consistent with someone who uses a jack- in and Ragnar Naess. I also studied wood hammer,” and has ruled out both carpal firing with Mark Shapiro. I specialize in raku. tunnel syndrome and nerve damage. I do hope CM decides to do this project. Weekdays I have a desk job, so he has There are a lot of serious young artists who focused on pottery as a possible cause. How­are not recognized. ever, a review of wedging, centering and Jon Berger, New York City throwing did not reveal the sharp, repetitive pounding he was looking for. He admits to Lighten Up, Readers being stumped. In response to “Too Wordy” (Letters, Has anyone run into a similar problem? February 1993)—now everything has been Could it be caused by throwing? Is there a criticized in the Letters column. First, it was way to avoid it? too much of this info, not enough of that— I’d be happy to learn if anyone has any finally readers are turning into junior editors ideas or has had similar experiences. Thanks and literary critics. I bet someone will criti­ for the help, and keep up the good work. cize my punctuation. Lighten up, James— Joe Wujcik, Fountain Valley, Calif. spring is just around the corner. Wallie H. Festa-Hammer, Guilford, Conn. HC1 Not Nontoxic I take exception to Janet Mansfield’s Too Wordy 2 statement that hydrochloric acid (HC1) is a CM covers many areas of interest to most nontoxic substance and is only irritating to Please turn to page 52

10 CERAMICS MONTHLY May 1993 11 Up Front Japanese and Italian landscapes, together with images of a cemetery explored as a child, are, Gary explained, “memories in my work. Each is a story, evolving out of my respect and love for craft traditions and the decorative objects that surround us, Anne-Bridget Gary making for a beautiful, living environment.” “Beauty,” an exhibition of sculpture by Anne-Bridget Gary (Stevens Point, Wisconsin), was on display recently at Artemisia Ian Godfrey Retrospective Gallery in Chicago. “One of the great qualities of Ian Godfreys art is its intensity of In part constructed within large press molds, then assembled, feeling; every pot is so cherished and personal, the product of a surfaced with slips and fired in oxidation (or sometimes wood concentrated mind,” noted David Whiting in his introduction for an exhibition of 65 works spanning Godfreys career that was on view recently at Galerie Besson in London. Recognized as an indepen­ dent voice in British ceramics, Godfrey trained at Camberwell Art School (where his teachers included Ian Auld, Hans Coper and Lucie Rie), then set up a pottery in an Islington basement. Five years later, in 1967-68, he worked at the Royal College of Art on a pottery fellowship. Anne-Bridget Gary press molding and slab building forms in the “Beauty” series. During the late sixties and early seventies, Godfrey concen­ fired), Gary’s sculpture is based mainly on abstractions of the trated on developing his own style, adopting such techniques as human figure, while “including in composition an acknowledg­ carving nearly dry clay with a penknife to meet his aesthetic ment of‘formal’ beauty in the decorative arts. needs. Then, in 1975, Godfrey moved to Denmark to establish “Traditions inherent in the ceramic medium cannot be a pottery in Jutland. After five years on the Continent, he denied for any artist working in clay,” Gary commented. “Clay and the process involved can be persuasive, evocative and subtle. I want my work to contain these elements and to go beyond what is already known to something unnamed. Surface and form refer to age and ancientness. I desire to reflect ‘ideal’ values, with opposites poised and balanced, coexisting in equilibrium.”

Ian Godfrey’s “Village Teapot,” approximately 5 inches in height, slab-built, matt-glazed stoneware, circa 1969; at Galerie Besson, London.

returned to London, setting up a studio in Highgate, where he continued to work until his death in 1992. “Being mercifully free of ceramic fashion—a truly indepen­ dent artist—can in some ways work against you,” Whiting stated. “In our uneasy visual culture, dogged by labels and Detail of “Beauty” series, handbuilt floor and wall sculptures; at Artemisia Gallery in Chicago. categories, figures like Ian Godfrey do not fit in that easily. Attempts to read direct references into his work can be reduc­ tive, for Ian had an ability to absorb and assimilate ideas from You are invited to send news and photos about people, places or events of such a wide range of sources (he was drawn to a number of interest. We will be pleased to consider them for publication in this disparate cultures, from northern Europe to the ancient Medi­ column. Mail submissions to Up Front, Ceramics Monthly, Box 12448, terranean and Far Eastern civilizations) and to reassemble them Columbus, Ohio 43212. into his own inventive vocabulary. To acknowledge the intricate

12 CERAMICS MONTHLY May 1993 13 Up Front Aldeo Dolcini, a former mayor of Faenza who now leads the pottery Olympics, helped me register and explained the rules as best he could, given his broken English and my minimal Italian. sorting and ordering process of the maker and approach these To determine technical prowess, there was to be a tallest cylinder objects with an open mind is so much more fruitful.” and widest platter competition just like before, but the amount of clay (6, 7 or 8 kilos) was to be determined by a drawing. This Olympic Odyssey concerned me somewhat, as I was afraid of getting the smaller by Bruce Odell amount while my competitors got 8 kilos. This fear turned out Last spring, my wife Tami and I embarked on a wild ride when to be unfounded, however, as the drawing amount applied to all she entered me in the United States Pottery Olympics in Cam­ competitors equally. bridge, Wisconsin. (See page 10 in the November 1992 CM.) The aesthetics part of the competition was to begin at 9 A.M. Since my brother lives near Madison, she thought the trip and last all day. We could make anything we wanted with any would be a great way to combine a craft fair and competition amount of clay. with a family visit. Little did I know where this brainstorm Because we had another day before the competition, we would lead. decided to visit Florence. My family and I took the morning The Pottery Olympics began with a round in which 35 train and spent the day immersed in museums, cathedrals and potters vied to see who could throw the tallest cylinder from 5 gelati, then returned to our base hotel in Bologna that night. kilos (11 pounds), the widest During the travel time, I drew 35 platter from 6 kilos (13.2 pounds) different forms and surfaces, and the largest sphere from 10 intending to show the full depth kilos (22 pounds) of clay. Then an and breadth of my skills for the aesthetic competition, which called aesthetic competition. for throwing three pots in 25 The next morning, shortly after minutes, was judged on form, our return to Faenza, I learned that function and mastery of the craft. the aesthetics day would actually After this initial round, we went consist of five heats of 45 minutes to the dance, where I got the word each, with nine potters competing that I had made the finals, along at a time. So much for my plan to with four others, including my make 35 pots. assistant, E. J. Windholtz. The next Watching the first heat, I began day as we prepared to compete, I In Faenza (Italy), potters from Denmark and Italy attempt to to worry about the type of wheels knew that no matter what else throw “the widest plate in the world” from 7 kilos of clay. being used. The wheel head was happened I had to finish ahead of located to the left, so you throw E. J., or he would razz me about it for the rest of the year. sidesaddle. Seemed strange, but okay. I also learned that most of The combined points from my cylinder and platter thrown the competitors planned to make just one, very perfect form. I that day were enough to win the grand prize—$500 and the decided to do as many great pots as I could in the time allotted. chance to compete in the International Pottery Olympics in I began my heat throwing a deeply textured, expanded- Italy. At the same time, sales at the fair were good enough to finger-ridge form that seemed to excite the judges (art critics make the trip a financial success. from Rome, professional potters from Faenza and distinguished Back home in Louisiana, we found out the world tourna­ scholars from ceramics schools across Europe). While I made my ment was to be held in Faenza on September 4 and 5. We second piece, a chatter-decorated plate, they began to congregate immediately began to scramble for financing and airline tickets. around my wheel, virtually ignoring the other competitors. (I also began a weight-lifting program designed to help with the Meanwhile, I noticed people working on the pots made during physical aspects of the competitions. As it turned out, this was the first heat. As I was making my third deeply textured, most helpful in my duties as chief baggage handler—we had torqued piece, I learned that after the first 45 minutes of throw­ decided early on to take our kids and my mother along.) ing, I could bring in my design team to finish manipulating and Fortunately, we live in the best small town in the South and decorating my pots. The other potters were using groups of four enjoy enthusiastic support from the community. A letter sent to to ten helpers to transform cylinders into trees with birds and the Ruston Chamber of Commerce members requesting spon­ squirrels or adding baroque handles, flowers, snails and other sorship donations drew a truly amazing response. Local televi­ embellishments to Etruscan vases, Greek amphoras, medieval sion and newspaper coverage was also overwhelming. pitchers and other traditional forms. I finished my heat with a Our trip began on a plane with several hundred smoking traditional pitcher shape. Italians returning to their homes in Milan. It was an all-night While the third heat was underway, I recruited Tami as my party for them, so jet lag took its toll. On arrival, we were “design team.” She in turn borrowed our six-year-old son’s surprised to learn that everything was closed. It seems that all of homework pencil to use as a carving tool. While Tami incised Italy goes on vacation in August, so the whole country virtually the pitcher I had thrown, I squared the platter. Her nautical shuts down. Unable to do much in Milan, we took a train to carvings effectively bridged the gap between my radical, deeply Bologna, then went on to Faenza the next day to register for the textured pieces and the European tradition-inspired work. We competition. wrapped everything up with just seconds to spare. A small city devoted to pottery making since the 13th Even before anyone knew we had won, we were treated like century, Faenza is known around the world for its majolica. royalty. Because it was the 500th anniversary of the discovery of Over 40 potters are members of ENTE Ceramica de Faenza, the America by Christopher Columbus, the olympic events in­ local potters’ co-op. cluded an international ceramics exhibition in honor of the

14 CERAMICS MONTHLY May 1993 15 Up Front At the close of the competition, our hosts honored us even further with an invitation to Tami. As it turned out, each year they choose a woman to represent Maria Medici, the 15th- century patron of Faenza. Asked to be Maria, Tami donned a bejeweled 15th-century gown and presented all the awards. Usai Effizio from Sardinia was crowned World Prince of Technique, then I was crowned World Prince of Aesthetics. There were champagne toasts and a delightful surprise for me. I had won a million lira! That was only about $1000, but a big help with trip expenses. We cashed the check and spent my first million in three days. Afterward, we spent two weeks touring Italy, storing away inspiration for this year when we hope to return to Faenza for the 14th International Pottery Olympics.

James Watral The Dallas Museum of Art recently commissioned one of the city’s ceramists, James Watral, to create a terra-cotta sculpture as the centerpiece of “Dallas Collects,” an exhibition featuring crafts from local collections and the museums holdings. The Bruce Odell and family—back row: Kathryn Odell (Bruce’s mother), Tami Odell (dressed as Maria Medici), Bruce show was intended to challenge viewers’ concepts of craft: by (wearing the ceramic crown of the “World Prince of Aesthet­ visually asking such questions as: Just what is craft? Does a true ics”); front row: Jessica, Julie and Christopher Odell.

Genovese sailor. Our arrival as the first Americans to enter this competition tied in perfectly with their celebration of Colum­ bus’ discovery. That night, at the annual banquet (in a medieval castle lit by 10-foot Venetian glass chandeliers and decorated with ancient tapestries and frescoes), every few minutes someone would toast our health, our country, our family and many other things we couldn’t understand. Course after course of the local cuisine was served in special bowls made only in Faenza. Between each course, we were served the tastiest peaches, apricots and melons. There were special cheeses that go with certain cakes, and crackers and wines available nowhere else in the world. But the final dish, duroni e polenta, was gizzards and grits to my South­ ern family. Our nine-year-old daughter smiled politely when she was served, then turned to her mother and me with that “You can’t be serious!” look. Our six-year-old son shuddered involun­ tarily, and our three-year-old daughter gave her usual hold-the- nose salute. The next day, the technical competition was divided into four timed heats, then a final round. Our three-year-old daugh­ ter was asked to set the clay weight by drawing a number from an envelope; she chose 7 kilos. I made the finals by 2 millimeters, edging out a Danish potter I had become friends with. Thinking he was through with the competition, he left for lunch, ate a huge meal, drank a bottle of wine, took a nap, then returned minutes before the James Watral with “Personal Elements #1,” unglazed terra final heat to discover the judges had decided to allow him to cotta; at the Dallas Museum of Art. compete after all. I did well in the platter competition, finishing with the craftsperson have to be both designer and maker, or can produc­ largest of the day, 781 millimeters (nearly 31 inches). However, I tion be done by other people? Does everything have to be done was completely blown away in the cylinder competition. The by hand or can machines be used? When does a craft become other finalists were primarily from Faenza, at least 52 years old sculpture? Is function necessary? (I’m 35) and had competed in the olympics for 10 to 13 years straight. Their families have generally been potters since the Contemporary Ceramics at Sotheby’s Renaissance, and they demonstrated licks on the wheel that I’ve Collectors walked away with some good buys (considering the never even dreamed of. While my cylinder was about 650 artists’ prices for current work) at Sotheby’s second auction of millimeters (over 25 inches), theirs were more than 850 millime­ contemporary art made of clay, fiber, glass and wood held in ters (over 33 inches) in height. And their arms were shorter than New York City. Even so, several lots went for thousands over mine, too! their catalog estimates—notably a larger-than-life figure by Viola

16 CERAMICS MONTHLY May 1993 17 Up FrOVlt throughout the sale, function-oriented pots did not seem to draw as much interest as decorative or sculptural ceramics. Reportedly, only about 20 of the 100+ in attendance were Frey that sold for $43,700 bidding, and most purchases were made by absentee or tele­ (presale estimate $20,000- phone bidders. In all, 118 (70%) of 168 lots offered were sold $30,000) to a dealer, and a for a total of $629, 913—this figure includes the 15% buyer’s Grecian-style urn by premium that is added to the hammer price of each item sold Michael Frimkiss that sold for less than $50,000; above that, the buyer’s premium is re­ for $24,150 (presale esti­ duced to 10%. mate $10,000-$ 12,000) to Despite the grumbling of some sellers—not such an uncom­ a private collector. That’s mon event in the auction world—Sotheby’s was happy with the because the catalog esti­ outcome. “The successful results of our second sale in contem­ mates are basically whole­ porary works of art demonstrate a building marketplace, as well sale prices, or so says at least as signs of demand for further sales in this category.” one of the dealers who are beginning to take advantage Grace Bakst Wapner of such auctions to sell off A solo exhibition of porcelain and bronze sculpture by Wood- some “archival” works. stock, New York, artist Grace Bakst Wapner was presented Galleries have an ongo­ recently at Bernice Steinbaum Gallery in New York City. The ing love/hate relationship with auction houses in the world of art or craft sales. Both auctioneers and dealers sell to the top collectors, and both have a Viola Frey “Grandmother” stake in price appreciation figure, 87 inches in height, for the works they offer. glazed earthenware; sold for $43,700 at Sotheby’s There are always some “Contemporary Works of Art” gallery owners included in auction in New York City. auction audiences, and they’re not there just to meet new collectors (although that’s not such a bad idea). Instead, they may go to bid on worlcs of interest, which may seem to suggest that bargain prices for “name” ceramics can be found on the most promi­ nent auction blocks in New York and London. But sometimes a dealer bids to make sure that a work by an artist he/she represents will be sold at an appropri­ ate price. Even if helshe is the high bidder, at least any underpriced work is off the market and can be resold for more from the gallery. On the other hand, some galleries use auction houses to move works that have been around a little Grace Bakst Wapner’s “Shall Be as Numerous as Grains of too long or simply to Sand II,” 78 inches in height, porcelain and bronze; at Bernice improve cash flow by Steinbaum Gallery in New York City. reducing inventory. Add to this the diverse bronze elements were used to “draw in space” and as casings for motives of museum and porcelain forms. impulse buyers and it’s no Michael Frimkiss’ “The Marriage of Auntie Susanna,” Intended to explore connections between personal and wonder that auction prices approximately 32 inches in collective history, the sculpture may seem both foreign and can be confusing and height, earthenware, $24,150. familiar, ancient and contemporary. One of her goals is a sense misleading. But as imper­ of dislocation, as the past overlaps the present; another is a sense fect as they are, auction prices still are important benchmarks for of displacement, as line supports mass. determining actual values for works by contemporary artists. Asserting that life is sustained through replication and Held on March 6, the Sotheby’s auction started off slowly, as transformation, works such as “Shall Be as Numerous as Grains several pieces of wheel-thrown pottery were passed. In fact, of Sand II” focus attention on the insistence of life and its

18 CERAMICS MONTHLY May 1993 19 Up Front

Matt Nolen’s "Enrich Ewer,” 24 inches in height, thrown porcelain, with underglaze, slips and stains, clear glazed, Wapner with “Nomads, Lovers, Artists and Thieves,” fired to Cone 6; at Artspace, John Michael Kohler Arts Center, approximately 58 inches in height, porcelain and bronze. Sheboygan, Wisconsin.

extension through our children and their childrens children. ation for the sense of pleasure that users feel on handling the (“Shall Be as Numerous as Grains of Sand I” appeared on page piece. For Nolen, use represents the “completion of a cycle”; 74 of the November 1989 CM.) wear marks and coffee stains are the “patina.” “Function serves a dual purpose in my work,” Nolen ex­ Corrections plained. “It exists literally as utility and also as idea. I integrate Vessels commissioned from New Hampshire potter Tia Pesso for the conceptual sense of function with the surfaces that bear texts National Organization for Women (NOW) awards were fired at and imagery relating to political social issues. The results are Cone 10 in reduction, not Cone 1 as stated on page 22 of the vessels that comment on contemporary values.” February issue. In the March issue, two of the recipes in Jonathan Kaplan’s Sandra Blain Retrospective “Low-Fire Redware Bodies” were mislabeled; CDG 2 and CDG To celebrate Sandra Blain’s 25 years of service, Arrowmont 2A are casting bodies. The water constituent for all of Kaplan’s School of Arts and Crafts in Gatlinburg, Tennessee, presented a casting recipes is approximately 4½ gallons of water, adjusted as retrospective of her work dating from 1967 to 1992. Included in necessary for the correct specific gravity. the exhibition were 60 stoneware and earthenware pieces from Also in the March issue, a Suggestions column item about private collections, as well as stoneware cups dating from 1975 “Sealing Reduced Surfaces” incorrectly identified a liter as to 1978 and earthenware cups from 1982 to 1984. slightly less than a quart; the volume of a liter is actually 10% Blain’s work illustrates that the traditional vessel form can be more than a quart. used to express personal aesthetic ideals. “Through history,” she explained, “the vessel has acquired a capacity to symbolize Matt Nolen accrued human experiences, the exploration of inside and “Time Ladders,” an exhibition of porcelain urns, teapots and outside surfaces and space.” candelabra by New York ceramist Matt Nolen, was presented Surfaces, and their manipulation, have been of primary recently at Artspace, a gallery at the John Michael Kohler Arts concern. After assembling wheel-thrown and handbuilt pieces, Center in Sheboygan, Wisconsin. Trained as an architect, Nolen she impresses them with organic and inorganic materials; the thinks of his wheel-thrown porcelain forms as small pieces of patterns created serve as metaphors for the change and/or architecture. At the same time, all are designed with consider- control of the face of our environment. Each piece goes through

20 CERAMICS MONTHLY May 1993 21 Up Front she really had no interest in farming. She then turned to ceram­ ics, pursuing first an apprenticeship, then a course of external study. Finally in 1991, she enrolled in the country’s Union of Creative Artists and received her diploma in 1992. Of course, by that time, she was already a respected working artist who had sold pots through shops and galleries all around Prague. She and Radek bought the 140-year-old schoolhouse just over a year ago. At that point, it had been abandoned for 20 years, but the structure was pretty much intact. Still, the speed and scope of the school’s repair were remarkable. Radek, who is co-owner of a construction company, started by rebuilding the kitchen area, clearing out the classroom and putting in plumbing. In April, only one burner on the stove was heated by a generator. By July, the first class was underway. Things have come a long way since then. Now the whole building has electricity. There are two flush toilets, a shower, a kiln, four wheels, two telephones, a fax machine and frenetic activity, including week-long courses for beginners, three week­ end-long courses before Christmas for gifts, seminars on deco­ rating techniques, and every fourth weekend a practicum for apprentice potters. Flags hanging from the second floor proudly proclaim the existence and purpose of the school. Here, in the peaceful hills of northern Bohemia, is an island apart from the crazy land of postrevolutionary business ardor that characterizes the new Czech Republic. Here, people can flee their cities, their families and the ever-present fretting over money. Here, there is space and time to think and breathe. Today, Rita from northern Moravia is putting a handle onto a mug, while the ubiquitous Kalimero is at a wheel, throwing one of his mad creations. (The apprentices just left on the morning bus.) Meanwhile, Jarmila comes and goes, preparing Sandra Blain’s “Solitude,” 18½ inches in height, earthenware, for next week’s class. slab and wheel constructed, impressed with organic and inorganic materials in clay, slip and glaze; at Arrowmont School of Arts and Crafts, Gatlinburg.

multiple firings. Between them, slips and glazes are brushed, stamped, stenciled and airbrushed onto the surfaces. About her way of working, Blain observed, “A sense of depth is the result of layering techniques, ideas and images.” Kohoutov Ceramics School and Studio by Claude Cahn There is an apartment downstairs in back. Upstairs are the workshop plus Jarmila and Radek Tyrnerovas apartment. We are in the Kohoutov Ceramics School and Studio, a recently reno­ vated 19th-century schoolhouse in the foothills of the Krkonose (Giant) Mountains of the Czech Republic. I came most of the way by bus; because it was Saturday, none went directly to Kohoutov, so I asked the driver to let me off at the crossroads and hitched a ride into town. I was picked up by the husband of the mayor. “You’re going to the school?” he asked. “Yes.” “Student or guest?” “I was a student; now I’m a guest.” “You were here last summer?” “Yes.” “We’re very glad to have Jarmila here. Before, nobody knew about Kohoutov. Now, every weekend, people come from all over to visit. The school is the pride of the town.” Jarmila originally studied to be an agricultural engineer, but Jarmila Tyrnerova demonstrating for students at her school in after finishing a two-year apprenticeship in 1979, she discovered the Czech Republic.

22 CERAMICS MONTHLY May 1993 23 Lenny Goldenberg

For the past couple of years, Lenny “I started by doing ceramic books The letters are arranged in the stick; Goldenberg, Bornholm, Denmark, has about ceramics, then cookbooks, books then, with even pressure from left to combined daywork with an interest in of statistics and, lately, books about my right, rolled onto the page. writing, developing a series of ceramic erotic misadventures...more people When dry, the book is sprayed with books imprinted with actual lead type. should be able to identify with them,” porcelain slip colored with 10%—20% Born in Montreal and educated at the Each book is made by pressing slabs commercial stain. After a bisque firing, Vancouver School of Art, Goldenberg into a plaster mold, allowing the clay (a the printing is highlighted by brushing went to Denmark for a years study in mixture of Dutch and English ball clays over it with contrasting slip and spong­ 1962 and has lived there since. and fine grog) to stiffen, then inverting ing away the excess. In some cases, where Most of his former work was with the piece onto a wooden bat. Next, re­ a significant amount of text is required, sculpture based on functional stoneware. lief imagery and impressed text are added transfers are used for the type. Clear This series of books grew out of his to the open books pages. Goldenberg commercial glaze mixed with 5%—15% desire to write and, “at the same time,” uses type from a local printshop and a stain is then sprayed onto the visible Goldenberg wryly observes, “avoid the special, curved composing stick (made parts of the cover, and the book refired disappointment of rejected manuscripts. by a silversmith) for each line of type. to Cone 9. A

Lenny Goldenberg (above) uses a curved Once the letters have been arranged (upside down and backward) in the stick, composing stick for each line of type. he impresses the type by rolling it from left to right across the clay page.

24 CERAMICS MONTHLY Above: “Ceramic Materials Fired to 1280°C ” illustrates results achieved by firing various glaze materials (alone and in combination) to 2336°F, approximately 12 inches in lengthy press molded, with slip-enhanced type impressions, from the “Keramisk Handbog” series.

Right: “Foot-Sole (pages 675-677), ” approximately 12 inches in length, a press-molded book with transfer type, from the “EroticMisadventures”series.

May 1993 25 Above: “Throwing on the Wheel, ” approximately 12 inches in length, a press-molded and handbuilt tutorial, from the “Keramisk Handbog” series.

Left: “Ear (pages 674—675), ” approximately 12 inches in length, from the illustrated stories in “The Cello Suites, ” part of the “Erotic Misadventures”series, by Lenny Goldenberg, Bornholm, Denmark.

26 CERAMICS MONTHLY Gail Weissberg by Anne Telford

Gail Weissbergs sculpture, shown at Winfield Gallery in Carmel, California, is mystical, contemplative and animistic. Utilizing balance and space, some of her forms incorporate figures scaling biomorphic shapes—tiny, perfectly realized people on a dream quest. Seemingly unafraid to fall, they appear as if they are climbing after knowledge. “Nearly all my work relates to the human condition,” Weissberg explains. Other pieces, with egg shapes and oval openings, appear to be about birth. “They do often deal with...procreation, or just a hint of eroticism, but I don’t really see them as being outwardly erotic in any way,” she says.

Working from preliminary sketches and maquettes, Gail Weissberg builds her large-scale sculptures solid, then hollows them out, cutting off and reattaching segments as necessary.

May 1993 27 In Transit by Gail Weissberg

I was born in Los Angeles, but grew up and was educated Artaud to Kandinsl

28 CERAMICS MONTHLY Weissberg was born in the United Weissberg was moved by the Native then it would be too much in this time States but moved to New Zealand as a American work she saw on a visit to the frame,” Weissberg says. “It’s just not child. On returning to the U.S. eight Pacific Northwest. “I thought, okay, what I aim for in my work.” years ago, she began to recognize her that’s what I’d like to aim for, that kind She does preliminary sketches and aesthetic roots. “My work has Poly­ of feeling, which was to me something maquettes to get a better technical idea nesian, Maori, African, Oceanic influ­ mysterious, unknown and maybe a litde of how to approach a sculpture; these ences. Its almost as if you have to step bit dangerous.” maquettes often grow into much larger away from something before you can It’s no wonder that she appreciates pieces. come back to see it,” she says. “Its some­ such indigenous art, since a sense of Weissberg builds her ceramic sculp­ thing to do with clinging to the security timelessness, the ability to create art that tures solid, then hollows them out and of your past. Its so easy to lose your doesn’t fit specifically into a time pe­ segments them. If she’s working on a identity and follow the trend in a place riod, is very important to her. “If I was, piece with figures, she sometimes has to like America. I’ve made a concerted ef­ for instance, thinking about some issue cut off a limb then reattach it. fort, even [trying not to lose] my ac­ like pollution, I would definitely not To achieve a subtly colored matt cent, to make sure I am who I am.” try to say anything too literal, because finish, she applies a white slip after the

“Totem, ” approximately 72 inches in height, handbuilt, bisqued, accented with white slip and splattered stains, fired in oxidation, sanded.

Right: “Tapu, ”38 inches in height. Bom in the United States, but educated in New Zealand, Weissberg appreciates indigenous art and recognizes Polynesian, Maori, African and Oceanic aesthetic influences in her work.

May 1993 29 Untitled sculpture, 80 inches in height, Person in the Moon, approximately 30 inches in height, by Gail Weissberg; built solid, then hollowed, surfaced with prices for her sculpture shown at Winfield Gallery in Carmel, California, slip and stains, sanded. ranged from $2000 to $3000.

bisque firing, then splatters it with dif­ “I’d really like to be someone like That’s very much what the Maori people ferent stains. Flicking on the colors Matisse,” she says. “If you walk into a aim for.” “achieves a more random, painterly ef­ room of his work at a museum, its just Additionally, she aims “for something fect.” For darker pieces, she uses black incredibly peaceful. And that was his that has dignity, power and harmony; slip and rutile to get that “ancient and aim; he even specifically said that he dignity is very important to me. There weathered” look. wanted his work to be so relaxing that are so many bad things to say about our After the glaze firing, the surfaces are when you looked at it you would feel society; there’s so much trash around. sanded. She may do three different glaze like you were sitting in a wonderfully You could do things that reflect that, firings, sanding the surface each time. relaxing chair. like Andy Warhol did. But I would “I like a not-too-slick look. When “I think my nature isn’t that peace­ rather not. you fire in an electric kiln, it’s hard to ful. I’m much much more violent in the “I want to do work that has a lot of get something that looks like it’s had a way that I approach work. Obviously harmony. I don’t feel that negativity is a bit of guts to it, hence the grinding,” what you aim for has to fit in with your good thing to be spreading around. You Weissberg explains. “I just sand ’em off personality; for me, that would be some­ suffer enough just being alive,” Weiss­ wet and dry. thing that has power and harmony. berg concludes. ▲

“Its so easy to lose your identity andfollow the trend in a place like America. Ive made a concerted effort, even [trying not to lose] my accent, to make sure I am who I am. ”

30 CERAMICS MONTHLY

wildlife has the chance to live unhin­ that, despite my teaching commitment, child’s Primavera Gallery also in Cam­ dered by civilizations insanities. For in­ what I really wanted was my own work­ bridge. Ash-glazed pots by Richard stance, this is the only site in Great shop and the challenge of making it on Batterham and Walter Keeler sat next Britain where the red kite (a small hawk) my own. It took five years before this to salted wares by John Maltby and the retains a foothold on existence. notion finally floated to the surface and domestic range from Winchcombe pot­ After graduating from Swansea Col­ I moved back to Wales. tery. All these people unknowingly be­ lege of Art, I taught pottery for almost Almost from the very beginning of came my absentee tutors; some of them, five years in England, but by 1977 it my pottery making I can remember I am pleased to say, have since become was becoming increasingly clear that a being drawn to a very particular kind my friends. studio career was really what I wanted. of pot. My first real contact with 20th- If I were asked to explain the es­ Rhayader seemed the obvious choice, century work had been Bernard Leach’s sence of what I try to achieve as a as my family was from here and my pots, closely followed by those of such potter, I would have to say that I am mother owned a small cottage where potters as Shoji Hamada, Michael Car- primarily concerned with form. I am we could live until we were on not a natural decorator. I always our feet. This is also a tourist area conceive a pot in terms of its and therefore a ready market for form, and any subsequent deco­ pots. My first workshop (opened ration that may or may not ap­ in time for Easter 1978) was in a pear is always subordinate to it. shop at the town center. Often I allow the form itself to The old shop had been suggest decoration. cramped, and having my kiln In determining shapes, I am some 500 yards away in the gar­ willingly governed by certain in­ den of our cottage meant carry­ fluences. My job as a potter is to ing boxes of bisque-fired pots take those influences and reshape through the town only to have to them into something that is, in glaze them outdoors. In winter essence, mine. this was a miserable affair. The I hate fuss and overstatement. farm presented a whole new range My objective is to make pots that of possibilities with its old stone attract people’s attention. At the and slate outbuildings and 500- same time, I know that there ex­ year-old house. isted a simplicity in the making After nine months of very hard that belies the finished form. I work and a grant from the Mid want buyers of my work to be Wales Development Agency, the able to discover new things about large stone cow barn became the their purchase each time they pick main workshop and showroom. it up. A pot that shouts at you Built around 1800 on the site of and tells its whole story at first an older timber-framed barn, the Welsh potter Phil Rogers taughtfor five years before meeting is a poor investment. building gave me a studio that realizing that he really wanted his own studio and The vast majority of my work measures 35x20 feet and show­ “the challenge of making it on my own” is thrown. Only recently have I rooms of 20x10 feet, both up­ started making some press- stairs and down. There is also a large dew and Katherine Pleydell-Bouverie. molded bottles, and I have purchased storage area upstairs that measures the Leach’s forcefully argued aesthetics an extruder to help make large square same as the studio. Clay is stored and found in me a sympathetic ear, and I dishes that are assembled from extruded blended in another barn, while the kilns strived to produce work that I thought sections. are in the stables. At last I had the space he might have approved. Many of the thrown pieces are al­ I craved; the possibilities were endless. Later, when living near Cambridge, tered in some way. I often square off Its fair to say that I am a self-taught I visited the Fitzwilliam Museum where bowls or facet bottles. Pots are some­ potter. While at college I learned the I saw early ash-glazed Chinese pots, times squared while still soft, then very basics of throwing as required for together with pots from Korea and beaten with a flat or textured paddle to my specialist art teacher’s diploma and, Thailand, along with medieval English emphasize form. with the help of Bernard Leachs A jugs. Their directness and deceivingly I am constantly searching for new Potters Book, began to understand glaze simple yet wholly successful decora­ ways to treat the surface of a pot so that making. Although I didn’t know it at tion had a profound effect on me. fluid ash glazes can run and pool to the time, A Potters Book gave me some­ I felt that same sense of complete work their magic. I may cover pots thing far more significant than mere satisfaction when I looked at certain with a thick white slip, then use a bunch technical assistance; it fostered the idea contemporary work at Henry Roths­ of pine needles to create a “hakeme”

32 CERAMICS MONTHLY Above: Salt-glazed stoneware teapot, 9 inches in height, £45 (approximately US$69). Leaving the damper open during salting resulted in fast-moving gases depositing a heavier, orange-peel coating of salt on the handle side of the pot; the smooth, rich orange on the leeward side is the product of much less salt. Right: Rogers established his pottery on a farm with a 500-year-old house and assorted stone and slate outbuildings. A former cow bam (background) provided space for studio and showrooms.

May 1993 33 surface. It is fortuitous that many of (US$32). The contents of an average ered three golden rules that are neces­ the decorative treatments I developed glaze firing are currently worth around sary for true oranges rather than tan for use with ash glazes are also suitable £1600 (US$2432), so the economics browns: on salt-glazed work. are quite good. 1. Light reduction for the greater At present, production time is di­ Both kilns work very well. The larger part of the firing. vided between making pots for the 35- has less than a cones difference from 2. Slips made with clays containing cubic-foot, catenary-arch salt kiln and top to bottom and front to back. Fir­ high proportions of alumina. the 75-cubic-foot, sprung-arch reduc­ ings take about 13 hours in either kiln. 3. Only light salting is necessary. In tion kiln. I built both, the a 35-cubic-foot kiln, I use larger one with the help of 10 pounds, with the a Welsh Arts Council re­ damper open throughout search grant, which I was the firing. awarded to implement a Wood ash has domi­ system of pre-heating some nated my potting almost of the secondary air. since the beginning. Ini­ Both are oil fired with tially, it seemed to me a Swirlamizer injector burn­ good idea to use a material ers (manufactured by Austo that was readily available Combustions, Division of and essentially free. How J.T. Wade & Son, Fairfield wrong I was! The gather­ Works, West Wycombe ing and preparation of ashes Road, High Wycombe, more than outweigh any Buckinghamshire HP 11 cash considerations. Their 2LJ, Great Britain). With great attraction lies in a this type of burner, air is unique and matchless supplied to the injector by beauty. No other material a rotary compressor that, can begin to create glazes in turn, atomizes the oil with that special depth of into a fan-shaped jet. character or subde variation Swirlamizers are simple to of color like wood ash. My use, powerful and control­ objective in writing Ash lable. Glazes [see New Books in Each kiln has injector the February 1992 CM]

burners at the front with a Medieval-stylepitchersy to 18 inches high, wheel-thrown stoneware, was to encourage more pot­ central checker closed over decorated with clay pellets pushed onto the surfaces with a carved ters to use wood ash as a at the back to encourage stamp, salt glazed, £130 (US$198) and £90 (US$137). glaze material and to dis­ the flame toward the front. cover the satisfaction gained By “checker” I mean the open spaces When salt glazing, I begin reduc­ in making glazes from local materials. between the firebricks in the floor of tion around 900°C (1650°F), heavy I tend to use four or five glazes, the Idln that allow the exhaust gases to for an hour, then lighter until Cone 8 which are all variations of a basic recipe enter the flue leading to the chimney. I is over and light salting begins. Ten mixed with different ashes: think the term derives from the old pounds of salt and an hour later, I bottle kilns in Staffordshire, where the boost the kiln up in oxidation until Basic Ash Glaze (Cone 9, reduction) floor was an arrangement of bricks Cone 9 is over, then rapidly cool to Whiting...... 4.04% placed in criss-crossed layers. 1000°C (1830°F) before clamming up. Twenty-five percent of the second­ I always keep the damper open during Wood Ash (washed)...... 50.87 ary air to each burner enters the kiln at salting to encourage flashings of or­ Cornwall Stone...... 13.87 Potash Feldspar...... 15.03 the opposing end of the firebox, then ange and pink contrasting with areas of travels in a duct and through baffles to heavier orange peel. Hyplas 71 Ball Clay ...... 3.47 Kaolin...... 5.78 enter the kiln just in front of the burner. Having spent much of my potting Flint...... 6.94 In theory, this preheated air requires life working with cool green ash glazes, 100 00 less fuel to heat, therefore resulting in a I felt a desire to produce something . % savings. The amount, however, is diffi­ with the glowing warmth of Cardews Ashes from beech, pine, oak and cult to quantify as I have never fired early Winchcombe slipware. I decided elm plus a mixture of different hard­ the kiln without this system. Suffice it that in my salt-glazed pots I would woods will give slightly different greens, to say that a stoneware firing takes about seek those elusive oranges and pinks. all fairly light in color, except for the 35 gallons, which cost about £21 Many a poor firing later, I have discov­ pine because of its greater iron content.

34 CERAMICS MONTHLY

The variations are limitless, using Stoneware Body 0.2, MgO 0.4, Kfi 2.4 and Na20 0.4, these five wood-ash glazes and another (Cone 9, reduction) with LOI 6.8. made from straw ash together with three Potash Feldspar...... 1.00 part Salt-Glaze Stoneware Body slips—a white made from ½ Molo- Dobles Fireclay...... 2.00 (Cone 9, reduction) chite and ¾ SMD Ball Clay (which is AT Ball Clay...... 25.00 Kaolin...... 1.0 part low in iron); an iron slip made from 50 Hyplas 71 Ball Clay ...... 25.00 Hymod SMD Ball Clay.... 25.0 parts kaolin and 50 parts ball clay with Dobles Sand...... 2.00 N6 Fireclay...... 2.0 an addition of 8 parts red iron oxide; White Silica Sand...... 2.00 Sand...... 2.5 and a slip made from ocher- or iron- 57.00 parts Grog...... 1.0 bearing earth I dig in the woods above Add: Red Iron Oxide...... 0.25 part 31.5 parts the pottery. The ash is taken from wood-burn- This recipe can be adapted to pro­ N6 Fireclay is a Staffordshire clay ing stoves in our house and washed duce a darker firing body suitable for high in iron pyrite nodules, which cause two or three times over a two- or three- brushing white slip over (so that a heavy spotting in reduction. week period, depending on how rich greater contrast exists between slip and The clays are mixed in the dough in soluble alkali I think it is. I never try exposed clay) by doubling the red iron mixer and set aside for as long as pos­ to dry sieve the ash before washing. oxide content. sible before use—at least six weeks. I This is a particularly sometimes add vinegar nasty chore, as the fine or yogurt to the batch (and caustic) dust finds to assist aging. Some its way into eyes and of the slop from the hair; besides, it is to­ previous mix is always tally unnecessary. included as the basis Eventually, the water for the new batches. from the final wash­ Our large, ancient ing is decanted and the house and the out­ remaining slurry is buildings that became ladled into bisqued the pottery are expen­ bowls to dry. sive to operate and To weigh out ash maintain. The govern­ for batch recipes, I sim­ ment in this country ply take the dry ash as makes sure of that. A it comes, mix a mea­ new system of Business sured amount with Taxes is crippling to water and sieve this on small concerns such as its own. Copious Phil Rogers throwing in his studio, which is lined with shelves of ware in ours, but we knew amounts of water are various stages of production, making the most of available space. when we moved here required to thoroughly that we would have to wash all the usable ash through the The Dobles fireclay is not a true maximize the earning potential of these sieve. fireclay, but rather a sand of various facilities, as pottery sales alone would The residue (grit and charcoal) can grain size up to approximately 3 milli­ not cover the outgoings. be thrown away; it is accounted for in meters, combined with a small fraction We put a lot of energy and expense my recipes and is the reason why the of high-silica, nonplastic clay from Saint into publicizing our existence, as we ash content often appears to be a little Agnes in Cornwall. I sieve it through a are about a half mile off the main road. high. The other ingredients for the glaze 20-mesh screen before adding it to the We have legitimate local authority road batch are then added to the sieved ash body mix. signs and a full-color leaflet, which is and the whole lot is passed through an Dobles sand is from the same pits as distributed throughout Wales. Still, we 80-mesh sieve once more. the fireclay; it is a pure silica sand up to only sell around 50% of what we make My clays are bought direct from the 1 millimeter in diameter. directly to the general public. The other mines; they are much cheaper this way, AT Ball Clay is a Dorset clay high in half goes to galleries and shops all over

as much as half the price! But it does iron and alumina: Si09 54.0, A1203 the U.K., and for special exhibition. mean I have to buy 10 tons at a time, 29.0, Fe 203 2.3, Ti02 1.2, CaO 0.3, A major factor that keeps us solvent which lasts me about three years. MgO 0.4, K,0 3.1 and Na20 0.5, is the popularity of week-long work­ I use a dough mixer to prepare the with LOI 8.5. shops that we run in May and August. three clay bodies currently used. All are The clay body for salting is based on I enjoy this contact with potters from

based on ball clay. The standard reduc­ Hymod SMD Ball Clay: Si02 65.0, around the world, and many of them tion body is: A1203 23.0, Fe203 1.0, TiQ21.4, CaO have become firm, lasting friends. ▲

36 CERAMICS MONTHLY Rookwood vase with Tiger Eye glaze, 17 inches in height, wheel-thrown Vellum-glazed vase, approximately 10 inches in height, red clay, decorated by Matthew Andrew Daly; Grand Prix winner at the wheel-thrown white clay, with peacock feather Paris Exposition Universelle in 1900. decoration by Sara Sax, 1907.

Rook woods Glorious Gamble

Some 100 examples of Rookwood pot­ From the 1880s to the 1930s, Rook­ its identity and was used as the market­ tery, drawn from public and private col­ wood Pottery in Cincinnati, Ohio, was ing device in advertising,” Ellis says. A lections throughout the United States, the leading art pottery in the United glaze line referred not only to the domi­ are featured in the touring exhibition States. During these glory years, “Rook­ nant glaze on the form, but also to “the “Rookwood Pottery: The Glorious wood never fired a kiln without experi­ type of body and decoration used, and a Gamble.” Having premiered at the menting with new glazes or bodies” and given parameter of dates for its use.” Nelson-Atkins Museum of Art in Kan­ was “always on the cutting edge of deco­ The exhibition includes pots from sas City, Missouri, the show is appear­ ration technique,” notes Cincinnati Art all eight major glaze lines (Cameo, Dull ing at the Cincinnati Art Museum Museum curator/exhibition organizer Finish, Standard, Aerial Blue, Sea Green, through June 6, then will travel to the Anita Ellis. Iris, Mat and Vellum), plus examples Clark Institute in Williamstown, Mas­ While Rookwood developed more from rarer lines, such as a vase from the sachusetts, for exhibition from July 3 than 500 glazes, it was the “more broadly Tiger Eye glaze line made for the 1900 through September 12. defined glaze line that gave the product Paris Exposition Universelle. ▲

May 1993 37 38 CERAMICS MONTHLY Sun Chao, a Chinese ceramist living in Taipei, has explored the possibilities of aesthetic expression through the medium of crystalline glazes for more than 20 years. He likens the continual evolution of the crystals inside the kiln to the ongoing personal changes that take place over an individuals lifetime, seeing his vases, plates and glaze paintings as visual metaphors for the human experience. Typically, crystalline glazes are char­ acterized by the beauty of the crystals themselves, but Sun endeavors to bring more to his glazes. By spraying, brush­ ing, pouring, layering and scraping, he manipulates the results. Consequently, he can improve upon the typical crystal­ line glaze by overcoming the tendency of crystals to cover the entire surface. Having moved beyond an exclusive focus on crystals, Sun has opened a broader range for ceramic expression, sometimes incorporating the sense of freedom, depth and fluidity found in Oriental ink paintings, and at other times incorporating elements resembling forms found in Western abstract painting. During the 1970s, Sun played a ma­ jor role in the establishment of the Con­ servation Division at the National Palace Museum in Taipei. He has since de­ voted much time to researching ancient Chinese glazes, including Neolithic; Tang-dynasty (618-906) tri-color; Song- dynasty (960-1279) celadon and tem- moku; and Ming-dynasty (1368-1644) copper-red and blue-and-white glazes. This long-term study provided him with a breadth and depth of knowledge that, combined with his artistic abilities, al­ lowed him to pursue his new vision of crystalline glazes. A recent solo exhibition at the Taipei Gallery at Rockefeller Center in New York City included Suns latest work with modern forms and collage. ▲

May 1993 39 “Return from Paris #7, ” approximately 28 inches in length, with sprayed, brushed, poured, sprinkled and scraped crystalline glazes, fired to 2370°F, then soaked at 2010°Ffor five hours.

“Return from Paris #5, ” approximately 28 inches in length\ layered and manipulated crystalline glazes on ceramic board, by Sun Chao, Taipei.

40 CERAMICS MONTHLY Handbuilt stoneware vessel with iron wash, approximately 15 inches in length, NZ$1146 (US$619), by Lara Scobie, Edinburgh, Scotland;premier award. U.S. dollar conversions in this article are based on the average exchange rate during the exhibition.

While the selection of a single winning even more difficult to submerge per­ prizewinners (five NZ$1000 awards of piece from the works submitted for the sonal preferences in an attempt to assess merit) refer to the human being. “Fletcher Challenge Ceramics Award” which of 648 works from 38 countries For example, Hungarian Laszlo is no less demanding than that required should receive the accolade. Feketes “Burial and Birth Monument” for other international shows, the pres­ Looking at the 166-piece exhibition, features a nude figure exquisitely decaled sure placed upon a lone juror is always one cant help but wonder if, and by to enhance her classic beauty and linked higher, as he/she has no support from how much, Takamori s own perceptions by a placentalike mass to the enshrined other opinions. Given the emotional colored his judgment. It is perhaps not remnants of an aged figure. The pain of strength of 1992 juror Akio Takamoris surprising that—apart from the work of procreation and ugliness of death are own work, with its figurative and erotic Lara Scobie of Scotland, winner of the balanced by fragile and fractured beauty. content [see “Vessel Concepts” in the NZ$ 10,000 (at that time, approximately In “Girl II,” Marlene Miller of the February 1988 CM], it must have been US$5400) premier award—the other United States monumentalizes an al­

May 1993 41 “Burial and Birth Monument, ” approximately 14 inches in height , commercial figurines and handbuilt elements, with decals and paint, NZ$4000 (US$2160), by Laszlo Fekete, Budapest, Hungary; award of merit.

most life-size figure of a child by mount­ and their presence in the other. This that her work had many levels of asso­ ing it upon an even larger plinth, which idea of inversion also encompasses the ciation and meaning; while having a with its imitation of carefully ordered figure of the boy, carefully modeled in structure like a basket, it looked both random stone shapes recalls suburbia one panel but deconstructed in the other, like a boat and architecture. Apart from and its malaise. This in turn is reflected with his bodily attitude reflected by an formal relationships, Scobie s vessel man­ in the bodily attitude and resigned be­ arrangement of wooden slats. Broad aged to maintain a continual level of wilderment on the face of the child. translations of the title include “play­ visual interest from all angles, including In a related theme with a different thing” or “toy,” also “jest” or “joke,” all inside, achieved by the intricately objective, the simple joys of childhood of which seem entirely appropriate. scrolled, coiled and patterned pieces from are reflected in “El Juguete” by Argen­ The employment of form, embody­ which it was assembled. The colors of tinian Vilma Villaverde. A timber­ ing and displaying the technical skills of unglazed fired clay and iron oxide washes framed diptych, it features a Victorian the maker with the ability of the work invited perceptions of age and of mate­ child, complete with knickerbockers and to symbolize and support meaning— rials, which were very different. sailor collar, with his favorite nursery also a feature of Takamori s work—is Overall, forms in the 1992 show were horse. What might have been a simple more apparent in those works recog­ diverse, with our planet and its people but elegantly toned relief work has been nized with certificates of merit, as well being subject matter for several pieces, enlivened by the omission, in one panel, as in Lara Scobie s award-winning, hand- including the delicate white construc­ of certain parts of the horses anatomy built stoneware vessel. Takamori noted tion of Lithuanian Valerija Liaugaudiene.

42 CERAMICS MONTHLY Her “Existence” used contrasting ele­ wear displayed both artistic control of a deep conflict between aesthetic sensi­ ments of the same simple geometry to form and a very high technical standard bility and conscience. However, the im­ refer to the origin of civilization and to of decoration. pact of personal predilections has been the fragility of its containment. While the predominating mood of accepted and, as supported by the esca­ German Beate Kuhn, whose “Se­ color was softer and more subtle than lating quality of the work that is sub­ quence Wall” employed the spherical/ that of last years show, it was given mitted, appears to justify the precept of hemispherical forms upon which she brilliance with the resonating blue of the single juror. has worked for several years, may have “Navicular,” a flying/floating form, as This does, however, place a heavy been offering a sardonic comment on its name implies, by Barbara Nanning burden upon those who decide who is the enduring strength of fragile natural of the Netherlands. to be the juror, and in this respect the forms as opposed to human construc­ Even with the aid of preselection from “Fletcher Challenge Ceramics Award” tions, such as that which has been po­ slides (new to the 1992 competition), organizers have been either extremely litically symbolic in her country. Takamoris task as Fletcher Challenge lucky or very wise. The 1992 exhibi­ Life and energy were imparted by juror, in common with those who have tion, set in black-draped auditoriums Kay Babineau-Rectors “Cowgirls Just preceded him, was at the same time with the works displayed on glowing Wanna Have Fun.” This glazed and lus- creatively satisfying and onerous. There islands of soft pastel color, certainly con­ tered cartoon group of American foot­ are indeed some jurors who experience doned the selection of Akio Takamori. A

“Image, ” approximately 31 inches high, NZ$2813 (US$1519), by Kazunori Takeoka, Shigaraki, Japan; merit certificate.

“Girl II, ” approximately 19 inches high, stoneware, NZ$12,859 “Existence, ” approximately 14 inches high, porcelain, NZ$1125 (US$6944), by Marlene Miller, Chicago; award of merit. (US$608), by Valerija Liaugaudiene, Kaunas, Lithuania.

May 1993 43 Above: “Navicular,” approximately 22 inches in length, handbuilt stoneware, NZ$4275 (US$2309)y by Barbara Nanning Amsterdam, Netherlands; merit certificate.

Left: “Sequence Wall” approximately 22 inches in lengthy matt-glazed stonewarey NZ$4630 (US$2500)y by Beate Kuhn y Dudelsheimy Germany.

44 CERAMICS MONTHLY Right: “Stages," approximately 11 inches in height, NZ$7200 (US$3888), by Grace Nickel, Winnipeg Manitoba, Canada.

Below: “ElJuguete, ” approximately 4 feet in length, earthenware and wood, NZ$1389 (US$750), by Vilma Villaverde, Capital Federal, Argentina; award of merit.

May 1993 45 Left: “Enshrined Whelk, ” approximately 8 inches in length, NZ$1212 (US$654) by Leah Hardy, Huntsville, Texas.

Below: “Mosquito Jar, ”approximately 24 inches in height, NZ$3713 (US$2005), by Hanne Matthiesen, Hojbjerg, Denmark; merit certificate.

CERAMICS MONTHLY Above: “Garden Pot, ”approximately 26 inches in height,thrown , wood- fired stoneware, NZ$2391 (US$1291), by Svend Bayer, Devon, England.

Right: “Cowgirls Just Wanna Have Fun, ” to approximately 15 inches in height, brushed and airbrushed with underglazes, clear glazed and lustered, NZ$3241 (US$1750), by Kay Babineau-Rector, Boulder Creek, California.

May 1993 47 “Ecological Ebb, ” a mixed-media installation featuring anthropomorphic ceramic forms floating in water-filled glass tanks. Debra Cherniawski’s Eco Ebb a review by Paula Gustafson

I had the good fortune to see Debra taining floating, anthropomorphic ceramic The notion of floating clay contradicts Cherniawsky’s “Ecological Ebb” installa­ forms. However, “the bridge was so pow­ its inherent qualities of density and weight. tion during its developmental exhibition erful and overwhelming, it needed to be Buoyancy, which is marginally possible in the interior mall—a dreadful red-brick- toned down considerably,” Cherniawsky for a thin-shell, closed form, is doubly and-tile display area of football-field di­ noted. Her assessment of other necessary elusive when the clay is perforated. mensions and the ambience of the average improvements included eliminating the Enter modern slip-casting techniques hospital washroom—at the Alberta Col­ visual distraction of the aquariums’ metal and injectable insulating foam. Explain­ lege of Art in Calgary. Tentative work legs, more effective lighting of the 15- ing the process, Cherniawsky noted that doesn’t survive exposure inside this hostile panel drawing and the water environ­ the casting and flotation of ceramics “pre­ atmosphere, but this Canadian artist wasn’t ments, and increasing the number of tanks sented the most technical difficulty, but attempting a sotto voce message. from three to six. each step had its hazards. For instance, I Designed as an ecological statement, Several months later, when “Eco Ebb” deformed and cut the cast shapes before “speaking of the exploitation of world re­ was installed at the Works in Edmonton, they were leather hard, and all of them sources and the resulting environmental Alberta, Cherniawsky had softened the were sandblasted and sometimes carved devastation,” this first incarnation of “Eco drawings impact through layered washes again before the first firing. Ebb” held its own against the cavernous of color and pastel “breathlike strokes,” “For the eroded appearance I wanted, architecture, but was less than entirely which conveyed “a polluted, fog-filled, I had to carve through the ½- to ½-inch- successful in its own assertions. mystical environment.” With this moodier thick (6- to 8-millimeter) walls, exposing Originally, a 47-foot-long, mixed-me­ background—and a less intimidating gal­ the interior cavity. As you can imagine, dia drawing of bridge gridwork loomed lery space—the artist could center atten­ the pieces became extremely fragile and over three water-filled glass tanks con­ tion on the floating “biomorphs.” difficult to handle.

48 CERAMICS MONTHLY “I made my own tools out of thin steel artist, the fossil association “speaks of banding and bamboo, sharpening them stored energy and the exploitation of rap­ to function with as little resistance as pos­ idly diminishing resources.” The “decay­ sible. Nevertheless, I lost a lot of castings ing” color of the crumbly glazes and stains during the carving stage. is intended to reinforce a sense of vulner­ “Another technical difficulty occurred ability and destruction. with the insulating foam that was injected “Eco Ebb” reached its final phase when inside the pieces. I discovered that some shown in the Justina Barnecke Gallery, brands are so dense, perhaps because of Hart House, Toronto. Unlike the presen­ shelf life, they didn’t float. I had to discard tation in Edmonton, which permitted a approximately 20 sinkers.’ And there is a U-shaped arrangement, the Toronto gal­ subtle ratio between insulating foam vol­ lery was narrow and long, forcing the ume and the weight of the cast pieces. installation to stretch across a 47-foot ho­ The smallest of the forms failed because rizon. Instead of spatial intimacy, viewers of this.” walked into fading perspective. Chained together by hand-forged links, The original design of lighting from the 60 spiral “artifacts,” in 12 progres­ Canadian artist Debra Chemiawsky below the tanks had proved annoying to sively smaller sizes from about 24 inches with works in progress. viewers’ eyes. Now lit from above by halo­ (60 centimeters) to 6 inches (15 centime­ gen lights and blue gels, the glass and ters), create a diminishing scale matrix chains linking the biomorphic figurative water suggested a series of incubators “for inside metaphorical wombs “surrounded structure of the organism reflect the mi- an organism unable to adapt to our dev­ by amniotic, life-sustaining fluid.” Set crocosmic damage caused by upsetting astated earthly environment.” against the sweeping backdrop of a man- the delicate balance of the ecosystem.” If “Eco Ebb” didn’t quite reach the made bridge, “the organism dissected and Cherniawsky explained that her choice potential of Cherniawsky’s vision—the divided among six glass tanks represents of nonspecific ceramic forms allowed view­aquariums, though oversized, were sim­ the struggle for preservation of a delicate ers to freely interpret them as seed pods, ply too gallery sized—it pushed the limits species on the verge of extinction. The fossils or other natural entities. To the of clay, and realized a gutsy dream. ▲

Detail of “Ecological Ebb un vitrified, slip-cast and carved forms were injected with insulating foam and chained together with hand-forged links.

May 1993 49 New Books ing information. Clear station identification ing and the antisocial behavior of artists. needs less intricate design and better place­ These myths have interfered with the realiza­ ment than they achieved in some....In later tion that the hazards stations, emblems are large, more colorful fiith fertsrt »«! At**** MKien artists face are real and Subway Ceramics and generally less high on the wall. that some of their un­ A History and Iconography “But Heins’ and LaFarge’s basic idea of usual behavior may be by Lee Stookey using art to carry information was sound. traced to the fact that A photographic study of the tilework iden­Critics laughed at the idea that beavers.. .could the materials they have tifying and decorating 38 New York City help those who had trouble with English. used over a long pe­ subway stations, this book begins with a briefWhat immigrant would know about Astor’s riod of time might history of the system’s beaver trade?.. .But they would, and did, learn have made them ill or construction, then fo­ to recognize the symbols....You knew you might have produced cuses on the two ma­ were at Astor Place.” bizarre psychological jor periods of ceramic Mosaic plaques installed after 1907 were effects....I have seen, for example, lead poi­ installations. designed by several artists under the directionsoning diagnosed as psychosomatic,” writes For the bas reliefs of Squire Vickers, the designing architect of the author of this guide to the safe use of art/ installed in the origi­ the Public Service Commission. Set flush craft materials. nal subway and its ex­ with the wall, they are smooth and colorful. An updated, expanded and reorganized tension to Brooklyn, “But among stations, there is less variety of version of the 1979 release, the text is divided the architectural firm approach than in the earlier work of Heins into two sections. The first is an overview that of George Heins and Christopher Grant and LaFarge. A Vickers station, generally, hasaddresses the chemical and physical hazards LaFarge was consulted; they ordered tile froma less distinctive ‘signature.’” 95 pages. 48 ofworldng with common art and craft mate­ several art potteries, the most well-known color photographs; 1 map. $15 (softcover), rials; how artists/craftspeople are affected by being Grueby of Boston and Rookwood of plus $1.75 shipping; New York State orders gases, vapors and dust; safe handling and Cincinnati. “It is not entirely certain which must add $1.25 tax. Lee Stookey, 94Joralemon disposal; as well as what to do if you actually details of the designs were provided by the Street, Brooklyn, New York 11201. become ill. Part 2, which includes a chapter architects and which were left to the potter­ on ceramics, discusses medium-specific haz­ ies,” explains the author. Artist Beware ards and suitable precautions. 564 pages, Though “artistically dignified and elegant,”by Michael McCann including bibliography and index. $29.95. the Heins and LaFarge tilework “was perhaps “In the past, many myths have developed Lyons & Burford, 31 West 21st Street , New less successful in its second function: convey­concerning the mental instability, the suffer­ York, New York 10010.

50 CERAMICS MONTHLY May 1993 51 Letters Continued from page 10

ceramists, but lately everything has been too wordy! I wish the editors would eliminate the mind-boggling sentences that go on forever; most thoughts, ideas and emotions could be expressed in three words or less. I would also like to see more sculptural vessels. Not the smashed-then-reassembled blobs of clay, but formed vessels with sculp­ tural aspects. I make coil-built sculptural vessels based on traditional forms. I would like to see other works in this vein. But, for all the complaining, arguing and browbeating, CM is the ceramics bible to most of us. Keep up the good work! CarolJackaway, Parkside, Pa.

Fake Handmade Pottery Quality craftsmanship is my highest priority. My love is for the essence of hand­ made. I respect the ingenuity of the designer who uses molds or a hydraulic press, but I resent the use of these tools to imitate and market fake handmade pottery. Perhaps the hydraulic press would be best advertised in industrial ceramics magazines. Tyler Hannigan, Nokomis, Fla.

Focus Coverage on Pottery This is my 20th year [as a subscriber]. I have a few comments to make regarding the direction I would like the magazine to go. Since it is supposed to be a magazine for potters, let it become more technical—less from academics. Personally, I would like to see more work from the good, solid potters and less self-serving articles written by artists themselves. I could care less whether they pray over their wheels before throwing or that the sun god blesses their work while the clay is still a lump. The articles devoted to exhibitions are excellent; they give a person a chance to see what is going on in the world. More effort should be made to cover European ceram­ ists—people like Pompeo Pianezzola, Jan de Rooden, etc. All in all, I do enjoy receiving the publica­ tion each month, in spite of some irritations. William Armstrongy Corrales, N.M.

Sculpture Coverage Appreciated I have taken Ceramics Monthly over the years because I work in clay. And for some years there was nothing on sculpture. But now the magazine gives us a lot of attention; it’s good to know I’m not working alone. Dorothy Brown, Fairmount, 111.

CM’s Gone to Pot The magazine sits in a pot (ceramic) in the bathroom. So while we’re on the pot, we can read about pots. Nothin’ better! Dorene Lalonde, Glendale, Calif.

52 CERAMICS MONTHLY May 1993 53 Joan Lisi, 16 Ridgewood Parkway, East, Denville, Call for Entries New Jersey 07834; or telephone (201) 625-9649. Exhibitions\ Fairs, Festivals and Sales July 15 entry deadline Manchester, Vermont*Tea Party” (September 3- October 18). Juried from slides. Send SASE to the Vermont State Craft Center, Frog Hollow at the Equinox, Route 7A, Manchester 05254; or tele­ International Exhibitions phone (802) 362-3321. July 31 entry deadline August 15 entry deadline New York, New York* 1993 Art/Craft Competi­ Baltimore, Maryland “Selected Pottery” (Fall). tion” (December 8-26). Juried from slides. Awards: Juried from slides or photos and resume. For further $25,000. Location: Art 54 Gallery, Soho. Contact information, contact 819 Gallery, 817 South Broad­ Artfolio, Dept. CM5,500 Summer St., #206, Stam­ way, Fells Point, Baltimore 21231; or telephone ford, Connecticut 06901; telephone (203) 359- (410) 732-4488. 4422 or (800) 359-9531; fax (203) 975-0266. September 10 entry deadline University Park, Pennsylvania “Clay National” National Exhibitions (January 10-February27,1994). Juried from slides. Juror: Wayne Higby, Alfred University, New York. May 7 entry deadline Fee: $20 for 3 entries. Awards: $2000. For prospec­ Wichita, Kansas “The Wichita National” (Au­ tus, send SASE to Clay National, Zoller Gallery, 102 gust 7-September 19). Juried from up to 3 slides per Visual Arts Building, Penn State University, Uni­ entry. Fee: $15 for up to 3 entries. Juror: Paul versity Park 16802; or telephone (814) 865-0444. Soldner. Commission: 30%. Awards: minimum of October 31 entry deadline $3000. Contact the Wichita Center for the Arts, New Orleans, Louisiana “National Juried Exhi­ 9112 East Central, Wichita 67206; or telephone bition” (Spring 1994, coinciding with NCECA con­ (316) 634-2787. ference), open to ceramists working on issues/agen- May 15 entry deadline das unrelated to historical/traditional ceramic con­ Stephenville, Texas “First Annual Contemporary cerns; expanded ceramic media and installation work Crafts Exhibition” (October 4-29). Juried from encouraged. Juror: Robin Levy. Juried from slides, slides, up to 3 views per work. Entry fee: $5 per work; resume and artist’s statement. Send SASE to Visual minimum of 3 works. Juror: Christine Westerfield, Arts Department, Contemporary Arts Center, Box artist/director of Plano Cultural Arts Center, Dallas. 30498, New Orleans 70190. For prospectus, send large SASE to Mixed Media, First Annual Contemporary Crafts Exhibition, Box T-39, Fine Arts Department, Tarleton State Uni­ Regional Exhibitions versity, Stephenville 76402. May 15 entry deadline May 30 entry deadline Chester Springs, Pennsylvania “Studio Days ’93” Philadelphia, Pennsylvania “Animal, Vegetable, (September 24-October 3), open to craft artists Mineral” (November 3-28). Juried from slides. For residing in Delaware, Washington, D.C., Mary­ application form, send SASE to the Clay Studio, 139 land, New Jersey, New York, Pennsylvania, Virginia North Second Street, Philadelphia 19106; for infor­ or West Virginia. Juried from slides of 5 works; up mation only, telephone (215) 925-3453. to 2 slides per work. Entry fee: $10. Cash awards. June 14 entry deadline Send SASE to Studio Days ’93, Chester Springs Tampa, Florida“T oys as Art” (July 17-Septem- Studio, Box 329, Chester Springs 19425. ber 20). Juried from slides. Send SASE to Artists October 2 entry deadline Unlimited, 200 North Edison Avenue, Tampa Eugene, Oregon “Le Petit” (November 2—De­ 33606; or telephone (813) 253-6055. cember 31), open to objects no more than 12 inches June 23 entry deadline in any dimension by artists residing in Alaska, Ari­ Milwaukee, Wisconsin “Not Just Another Fur­ zona, California, Colorado, Hawaii, Idaho, Mon­ niture Show...Over the Door Mat” (August 27- tana, New Mexico, Oregon, Utah, Washington or October 22). Juried from slides. Contact A. Wyoming. Juried from slides or actual works. Fee: Houberbocken, 230 West Wells Street, Suite 202, $5 per entry; maximum of 3. Jurors: Carol Bauman, Milwaukee 53203; or telephone (414) 276-6002. Oregon Arts commissioner; Jim Daly, author; and July 1 entry deadline Michael Whitenack, director, Visual Arts Resources. New Haven, Connecticut “The Celebration of Awards: $2000 in purchase prizes. Send SASE to American Crafts” (November 12-December 24). Alder Gallery, 160 E. Broadway, Eugene 97401. Juried from slides. For prospectus, send SASE to the Celebration, Creative Arts Workshop, 80 Audubon Fairs, Festivals and Sales Street, New Haven 06510. Chicago, Illinois “Anticipations 93” (October 7— May 7 entry deadline 10, in conjunction with Chicago International New Tampa, Florida “ACC Craft Fair Tampa Bay” Art Forms Exposition), open to emerging, unrep­ (December 3-5). Juried from 5 slides. Entry fee: resented artists and craftspersons. Juried from slides. $15. Jurors: Tregea Bevan, fiber; John Reed Fox, Fee: $25. Awards: $4000. For prospectus, send SASE furniture; Paula Garrett, sculpture/jewelry; Robert to Anticipations 93, Rte. 10, Box 106, Upper Mt. Levin, glass; Sang Roberson, ceramics; and Akiko Vernon Rd., Evansville, Indiana 47712. Sugiyama, collage. For further information, contact Livingston, New Jersey “A Celebration of the the American Craft Council, 21 South Eltings Cor­ Cat” (October 2-30). Juried from slides. Entry fee: ner Road, Highland, New York 12528; or telephone $ 15. Send #10 SASE to First Mountain Crafters, c/o (800) 836-3470. May 15 entry deadline Send announcements of juried exhibitions, fairs, Havre de Grace, Maryland1130th Annual Havre festivals and sales at least four months before the de Grace Art Show” (August 21-22). Juried from event’s entry deadline (add one month for listings in slides or photos. Fee: $60, includes 10 feet of fence; July and two months for those in August) to Call for $120, includes 20 feet of fence; students 18 and Entries, Ceramics Monthly, Box 12448, Colum­ under, no charge. Awards: over $ 1500. Send # 10 or larger SASE with 90<£ postage to Havre de Grace Arts bus, Ohio 43212; or telephone (614) 488-8236. and Crafts Show, Box 174, Havre de Grace 21078; Fax announcements to (614) 488-4561. Regional or telephone (410) 879-4404, (410) 939-9427, exhibitions must be open to more than one state. 939-0121 or 939-3303. Please turn to page 67

54 CERAMICS MONTHLY May 1993 55 percentage, that it too must be multiplied by raku bodies, low-fire and mid-range stoneware Questions the same number as the rest of the recipe. bodies, thermal-shock-resistant ovenware bod­ Answered by the CM Technical Staff Thus, when John Fassbinder recommends add­ies, and porcelain. To illustrate, the following ing 1% cobalt carbonate and 1% talc to the are typical batch recipes representing these cat­ first recipe in order to get a purple glaze, the egories: second recipe requires 20 grams cobalt car­ White Slip for Bisqueware Q I have recently become interested in using bonate and 20 grams talc to achieve the same (Cone 6-11) overglaze colors. In consulting my back issues of effect. CM, I found an interesting article on John Borax...... 5.26% Because teaspoons are volume designations,Frit 3134 (Ferro)...... 5.26 Fassbinder (November 1979). The photos show a weight-designated recipe cannot be directly some lovely overglazes and you even gave some Nepheline Syenite...... 5.26 translated into volume (although if you mea­ Georgia Kaolin...... 5.26 formulas... or did you? The quantities are given in sure the volume of each of the specified weights percentages, but percentages of what? Is it possible Custer Feldspar...... 21.05 of each material, you will determine the right C&C Ball Clay...... 15.80 that the percent sign was a mistake? Could it be volumes to make the same glaze by teaspoons, that the numbers referred to grams or even tea­ Pyrophyllite...... 29.48 buckets, boxcars, etc.). However, volume Flint...... 12.63 spoons? Help!—L.R. batched glazes are potentially faulty because 100.00% Recipes are commonly misnamed “formu­materials may settle in shipmentlhandling, ren­Add: Opax...... 5.26% las,” even though the latter is another way to dering more or less material per volume mea­ express glaze constituents entirely (empirical surement than expected. Raku Body molecular formulas or molecular formulas). A. P. Green Fireclay...... 40% CM typically lists few formulas, because theseQ I have been told that calcined aluminum oxide Ball Clay...... 20 first must be recalculated as a recipe to followmakes a good kiln seal when wet, and can be XX Sagger Clay...... 20 when measuring out glaze ingredients. brushed on the inside of lids of top-loading kilns Pyrophyllite...... 10 CM uses a standard “percent by weight” that are cracked and crumbling. It is said to Grog...... 10 designation for glaze recipes. The percent signtolerate high firing, too. The aluminum oxide is 100% in a recipe can be changed to any weight desig­mixed with something else, perhaps kaolin or flint. nation, provided all ingredients are expressedDo in you know anything about this?—N. W. Nasisse Low-to-Mid-range Body that same designation—pounds, ounces, grams, Firebrick on the last course of top-loading (Cone 06-2) kilos, tons, etc. What’s more, you can multiplykilns has to take a lot of abuse, and it’s amazingSpodumene...... 20% percent listings by any number to come up withthat kiln manufacturers haven’t come up withTalc...... 10 a reasonable batch size, provided all ingredienta more durable top course or don’t sell a tempo­A.P. Green Fireclay...... 30 percentages are multiplied by the same num­ rary protective device to defend these bricks 6 Tile Clay ...... 10 ber. Thus, the following recipes will produce against normal wear and tear during loading. Kentucky Ball Clay (OM 4)...... 20 the same results: Product inventors, take note. Pyrophyllite...... 10 100% Fassbinders Off-White Semigloss Glaze It would be much better for you to loosen the stainless jacket that holds these bricks in Add: Grog or Sand...... 5 % (Cone 10, reduction) Nylon Fiber...... 5 % Dolomite...... 5.00% position, remove them gently, replace them with new ones and retighten the jacket, because Gerstley Borate...... 6.25 Ovenware Body that will restore both the good seal and the Talc...... 5.00 (Cone 9, oxidation or reduction) insulation the bricks provide when in the proper Whiting...... 5.00 Spodumene...... 30% condition. Barring that, filling or gluing with Nepheline Syenite...... 18.75 Custer Feldspar...... 10 any high-temperature refractory cement is the Potash Feldspar...... 18.75 Cedar Heights Fireclay(12 Mesh)..... 30 next best option for walls or lid. Be sure to keep Kentucky Ball Clay (OM 4) ...... 6.25 Tennessee Ball Clay (#7) ...... 20 this filler away from element grooves and ele­ Flint...... 35.00 Pyrophyllite...... 10 ments because the latter may overheat if refrac­ 100.00% 100% tory materials trap or overinsulate them. Add: Zircopax...... 2.50% Add: Bentonite ...... 3% The mix you refer to is probably calcined Fassbinders Off-White Semigloss Glaze alumina (or alumina hydrate) and kaolin (or (Cone 10, reduction) Fergusons Porcelain Variation ball clay). This is a good kiln wash for shelves (Cone 10-11, oxidation or reduction) Dolomite...... 100 grams but not a great filler for broken refractories. Gerstley Borate...... 125 Custer Feldspar...... 19% Bentonite...... 2 Talc...... 100 Q Do you know of any slips or bodies that contain Whiting...... 100 Grolleg Kaolin...... 53 pyrophyllite? I have some Td like to use up.—L.K. Pyrophyllite...... 13 Nepheline Syenite...... 375 Pyrophyllite can be found as a natural con­ Potash Feldspar...... 375 Flint...... 13 stituent of many clays (according to Robert 100% Kentucky Ball Clay (OM 4)...... 125 Fournier’s Illustrated Dictionary of Practical Flint...... 700 Place the ingredients in hot water and stir with Pottery). Thus, you may have been using this 2000 grams an electric-drill mixer for five minutes. material all along without realizing it. Add: Zircopax...... 50 grams A variety of slips and clay bodies throughoutSubscribers’ questions are welcome and those of gen­ It’s just that the second recipe has been multi­the typical firing range of studio ceramics useeral a interest will be answered in this column. Due to plied by 20 and the designation changed frompyrophyllite (Al203- 4Si02) addition as an in­ volume, letters may not be answered personally. Ad­ percent by weight to grams. Remember, ert filler for its stability and for its resistance todress the Technical Staff, Ceramics Monthly, Box though, when you add a colorant listed as a thermal shock. These include noncracking slips,12448, Columbus, Ohio 43212.

56 CERAMICS MONTHLY May 1993 57 ciation, Suite 204, 80 Spadina Avenue, Toronto, 4 Warren MacKenzie; at the Clay Place, 5416 Calendar Ontario M5V 2J3. Walnut Street. Conferences, Exhibitions, Fairs, Workshops Russia, Saint Petersburg August 7-30“Russia/USA Wisconsin, Sheboygan through May 9 Ann Agee, Ceramics Symposium,” hosted by the Russian Union “Industry”; at John Michael Kohler Arts Center, and Other Events to Attend of Artists of Saint Petersburg. Participants will work 608 New York Avenue. with 15 Russian artists; exhibition of symposium work will tour Russia. Fee: $500, includes lodging in Group Ceramics Exhibitions artists’ homes, meals, materials and firing. No knowl­ Conferences edge of Russian language is needed. Entries will be California, Lincoln May 26-June 26“ Feats of Clay D.C., Washington October 1-2 “Women and the reviewed by Steve Reynolds, artist/professor of ce­ VI”; at Gladding, McBean &C Company, reserva­ Craft Arts.” Location: National Museum ofWomen ramics, University of Texas at San Antonio. Send tions only: (916) 645-9713. in the Arts. Contact the Hand Workshop, 1812 resume and slides to Lill Street Gallery, Attention: California, Riverside through May 7 “California West Main Street, Richmond, Virginia 23220; or Bruce Robbins, 1021 West Lill Street, Chicago, Collegiate Ceramics Competition”; at Riverside telephone (804) 353-0094. Illinois 60614. Community College Art Gallery. Florida, Orlando October 3— “Society of Glass and California, San Diego through December 31 “Rain- Ceramic Decorators 30th Anniversary Seminar and Solo Exhibitions gods, Owls and Animalitos”; at the San Diego Exhibition.” Contact Society of Glass and Ceramic Museum of Man, 1350 El Prado, Balboa Park. Decorators, 888 17th Street, Northwest, Washing­ California, Beverly Hills June 7-July 5 Stefani California, San Jose June3-July 11 “Contemporary ton, D.C. 20006. Gruenberg, porcelain animals; at Tiffany and Co., California Ceramics 1993”; at Rosicrucian Con­ New York, Syracuse May 22 “History and Its Role 210 Rodeo Drive. temporary Art Gallery, Naglee Avenue. in Contemporary Ceramic Art: Criticism, Scholar­ California, Davis June 12-July 11 Robert Arneson; Connecticut, New Haven through May 22 “New ship, Education” will include presentations by Takako at John Natsoulas Gallery, 140 F Street. Ceramics,” juried national; at the Creative Arts Araki, ceramist, Aimoto Sanda City, Japan; Dawn California, Los Angeles May 1—June 2 Ah Leon. Workshop, 80 Audubon Street. Bennett, project director, Institute for Ceramic His­ June 5-July 7John Rohlfing; at Garth Clark Gallery, D.C., Washington through November 28 “Joined tory; Leopold Foulem, ceramist, Montreal, Quebec, 170 South La Brea Avenue. Colors: Decoration and Meaning in Chinese Porce­ Canada; Paul Greenhalgh, head of art history, California, San Francisco through May 22 Peter lain”; at Arthur M. Sackler Gallery, Smithsonian Camberwell College of Arts, London; Mitchell Voulkos, sculpture; at Braunstein/Quay Gallery, Institution. Merback, art historian, De Pauw University, 250 Sutter Street. Florida, Miami Beach May 21-June 75“ClaySpace Greencastle, Indiana; and Margaret Carney Xie, May 1-June 27 “Face to Face: Clayton Bailey and Invitational ’93,” works by Bill Burke, Elmer Craig, director, Museum of Ceramic Art at Alfred, New Traditional Southern Face Vessels”; at the San Fran­ Ron Fondaw, John Foster, Pete Kuentzel, John York. Registration limited to 100 participants; pref­ cisco Craft and Folk Art Museum, Landmark Build­ McCoy and Beryl Solla; at the South Florida Art erence given to educators, curators, writers and ing A, Fort Mason. Center’s ClaySpace, 1035 Lincoln Road. critics. Fee: $75; members of Everson Museum, Florida, Saint Petersburg May 7—29 Grady Kim- Georgia, Macon May 27—August 21 “The jhwebb $65. For further information, contact the Seventh sey; at Florida Craftsmen Gallery, 235 Third St., S. Gallery’s Pots IV”; at the jhwebb Gallery, 2476 International Ceramics Symposium, Everson Mu­ Florida, Tallahassee June 4—August 20 Nan Smith Vineville Avenue. seum of Art, 401 Harrison Street, Syracuse 13202; installation, “Observer; Searching for the True Self’; Idaho, Boise June 26-August 22 “American Art or telephone (315) 474-6064. at the Capitol Gallery, North Monroe Street and Pottery from the New Orleans Museum of Art”; at Washington, Kirkland September 17—19 “North­ Apalachee Parkway. the Boise Art Museum, 670 South Julia Davis Drive. west Clay Symposium” with keynote speaker Todd Kansas, Lindsborg June 19—July 77 Inga and Bob Illinois, Chicago through May 11 “Soviet Propa­ Gitlin, sociologist, novelist, cultural commentator; Bow, “Kansas Clay”; at the Forsberg Gallery, 125 ganda Porcelain from the Collection of Craig H. and lectures and panels on the vessel, ceramics in public North Main. Kay A. Tuber”; at the Art Institute of Chicago, art and architecture, and quality versus convenience Maine, Portland through May 15 Paul Heroux; at Michigan Ave. at Adams St. for the studio potter; workshops with Mark Burns, Nancy Margolis Gallery, 367 Fore Street. Louisiana, New Orleans through May 31 “Porce­ Steve Reynolds and Sandy Simon; plus exhibitions. Maryland, Baltimore through May 9 Beth Car- lain,” including work by Amy Ataei, Janel Jacobson, Fee: $75 before September 1; $90 after September 1. ruthers, functional porcelain; at the Baltimore Clay- Peggy Schoen and Marsha Silverman; at Ariodante For further information, contact the Kirkland Arts works Gallery, 5706 Smith Avenue. Contemporary Craft Gallery, 535 Julia Street. Center, 620 Market Street, Kirkland 98033; or Massachusetts, Belmont through May 7 Kevin Maryland, Baltimore through May 15“ATea Party”; telephone Susan Purves or Alison Gooding (206) Coakley; at Landau Gallery, Belmont Hill School, at the National Museum of Ceramic Art, 250 West 822-7161. 350 Prospect Street. Pratt Street. Massachusetts, Worcester May 2—16 Vivian Ni- Massachusetts, Ipswich May 8—June 30 “In and International Conferences gro, “Afternoon Tea”; at Atrium Gallery, Worcester Around the Garden”; at Ocmulgee Pottery and Center for Crafts, 25 Sagamore Road. Gallery, 263 High Street, Route 1A. Australia, Adelaide July 11-17 “7th National Ce­ Michigan, Farmington Hills through May 8 Michael Michigan, Detroit May 1—June 26 “On the Sur­ ramics Conference: Celebrating the Maker.” Regis­ Lucero, “The New World Series.” May 22-June 12 face,” works by Ann Agee, George Bowes, Bruce tration fee: Aus$320 (approximately US$230)/stu- John Glick, “Landscapes”; at Habatat/Shaw Gal­ Gholson, George Johnson, Andy Nasisse, Greg Pitts, dents, Aus$205 (approximately US$147). Contact lery, 32255 Northwestern Highway, #25. Farraday Sredl; at Pewabic Pottery, 10125 East the Registrar, 7th National Ceramics Conference, New Mexico, Albuquerque through August 15 Mia Jefferson. Box 234, Stepney, South Australia 5069; or tele­ Blocker, coiled stoneware vessels; at Hi Slade Fine Michigan, Grosse Point Shores through May 9 phone (08)410 1822. Arts, 11200 Montgomery, Northeast, Suite 10. “Creative Clays: American Art Pottery from the Canada, Ontario, Hamilton May 28-30 “Coming New York, New York through May 75Paul Heroux; New Orleans Museum of Art”; at Edsel and Eleanor Home,” Fusion: the Ontario Clay and Glass at Nancy Margolis Gallery, 251 West 21st Street. Ford House, 1100 Lake Shore Road. Association’s annual conference will include a de­ May 4—June 5 Lidya Buzio. Kim Dickey. Chris Minnesota, Minneapolis through May 15 Exhibi­ sign workshop with Denise Goyer and Alain Staley. June 8-July 9 Kohei Nakamura. Richard tion of tile/wall pieces by Malcolm Kucharski and Bonneau, developing a personal statement with Ann Notkin; at Garth Clark Gallery, 24 W. 57th St. vessels by Philip Williams; at Anderson and Ander­ Roberts, and mold making with Keith Campbell. May 12-July 10 Michelangelo Marchi; at Vissi son Gallery, 414 First Avenue, North. Fee: Can$285 (approximately US$227); members, d’Arte Gallery, 20 West 20th Street, Suite 300. Minnesota, Saint Paul through June 2 “Architec­ Can$245 (approximately US$ 196); students/seniors New York, Rock Tavern May 2-30 Annie Chere, tural Use of Terra Cotta: Historical Examples, Pro­ members, Can$170 (approximately US$136); stu­ “Wayfarer,” ceramic/mixed-media sculpture; at the cess and New Uses”; at the Northern Clay Center, dents/seniors nonmembers: Can$190 (approxi­ Unitarian Society, Vance Lane. 2375 University Avenue, West. mately US$152). Location: McMaster University. New York, Syracuse June 21—August 6 Eva and New Mexico, Santa Fe June 4—26“The Otis Con­ Contact Fusion: the Ontario Clay and Glass Asso- Milan Lapka, sculpture; at Eureka Crafts, 210 Walton nection,” works by Ralph Bacerra and former stu­ Street. dents; at LewAllen Gallery, 225 Galisteo. Pennsylvania, Philadelphia May 7—30 Simona New York, Alfred through June 11 “Asian Ceramics Send announcements of conferences, exhibitions, juried Alexandrov, “... Because the World Is My Cradle and at Alfred”; at the Museum of Ceramic Art at Alfred, fairs, workshops and other events at least two months before the month of opening (add one month for listings in My Grave Is the World”; at the Clay Studio, 139 New York State College of Ceramics at Alfred July and two months for those in August) to Calendar, North Second Street. University. Ceramics Monthly, Box 12448, Columbus, Ohio 43212; Pennsylvania, Pittsburgh through June 2 George New York, Bridgehampton through May 31 Daniel or telephone (614) 488-8236. Fax announcements to Carter Smyth, crystalline-glazed porcelain. May 30— and Marcelle TolkofF; at Clayton and Liberatore (614)488-4561. June30Lou Ann Gallanar, sculpture. June 4—August Gallery, 2173 Montauk Highway.

58 CERAMICS MONTHLY May 1993 59 Calendar Arizona, Tucson May 8-June5Four-person exhibi­ tion with ceramics by Reed Keller; at Obsidian Gallery, Saint Philips Plaza, 4340 North Campbell Avenue, Suite #90. New York, New York through May 15 “A Teacher’s Arkansas, Little Rock May 2-June 7 “National Influence: Toshiko Takaezu and Students”; at Elsa Objects Invitational”; at the Arkansas Arts Center, Mott Ives Gallery, YWCA, 610 Lexington Avenue at MacArthur Park, Ninth and Commerce Streets. 53rd Street. California, Davis May 8—June 1 Two-person exhi­ through July 4 “Sixties Ceramics”; at the American bition with Peter VandenBerge; at John Natsoulas Craft Museum, 40 West 53rd Street. Gallery, 140 F Street. May 5-26 “Artists-in-Residence,” works by Ann California, La Jolla May 1-June 12“S piritual Imag­ Agee, Miriam Bloom and A1 Preciado. June 2-30 ery,” includes ceramics by Carole Aoki, David Benge, “Annual Student Exhibition”; at Greenwich House Melissa Greene; at Gallery Eight, 7464 Girard Ave. Pottery, Jane Hartsook Gallery, 16 Jones Street. California, Los Angeles June 6—August 15 “The May 5-June 26 Exhibition of ceramics by gallery Ancient Americas: Art from Sacred Landscapes”; at artists; at Archon, 31 East 31st, Suite 1 IB. the Los Angeles County Museum of Art, 5905 May 19-June 5 “Watershed,” works by alumni of Wilshire Boulevard. Watershed Art Center in Maine; at Nancy Margolis California, Oakland through May 23 and June 12- Gallery, 251 West 21st Street. August 15 “The Arts and Crafts Movement in Cali­ New York, Syracuse through August 29 “Four Que­ fornia: Living the Good Life”; at the Oakland Mu­ becers in Syracuse,” with works byjeannot Blackburn, seum, 1000 Oak Street. Leopold Foulem, Paul Mathieu and Richard Milette. California, Sacramento through June “What in the May 21-August29“29th. Ceramic National Exhibi­ World? A Weird and Wild Exhibition”; at the tion”; at Everson Museum of Art, 401 Harrison St. Crocker Art Museum, 216 O Street. Ohio, Cincinnati through June £T“Rookwood Pot­ May 8-23 “29th Annual Religious Art Festival”; at tery: The Glorious Gamble”; at the Cincinnati Art Saint John’s Lutheran Church, 1701 L Street. Museum, Eden Park. June 5-July 2 “Matrix International ’93”; at Matrix Oregon, Portland through May 28 “Clay in Higher Gallery, 1725 I Street. Education”; at Made with Clay Gallery, Georgies California, San Francisco May 1—June27“Art Deco Ceramic and Clay Company, 756 N.E. Lombard. in San Francisco”; at the San Francisco Craft and Pennsylvania, Lancaster May 1—June 12 “First An­ Folk Art Museum, Landmark Building A, Fort nual Strictly Functional Pottery National”; at the Mason. Market House Craft Center, Queen and Vine Streets. May 6-29 “Teapot Invitational”; at Dorothy Weiss Pennsylvania, Philadelphia May 7-30 “The Clay Gallery, 256 Sutter Street. Studio Resident Artists”; at the Clay Studio, 139 May26-October31 “T eotihuacan: City of the Gods”; North Second Street. at M. H. De Young Memorial Museum, Golden Pennsylvania, Pittsburgh May 7-June 26 “Con­ Gate Park. temporary East European Ceramics”; at the Society California, Walnut Creek June 22—August 15 for Contemporary Crafts, Wood Street Galleries, “Bedford Biennial II: The Art of Craft”; at Bedford downtown. Gallery, 1601 Civic Drive. May 7—July 31 “Contemporary East European Ce­ Colorado, Golden May 9-June 20 “North Ameri­ ramics”; at the Society for Contemporary Crafts, can Sculpture Exhibiton 1993”; at the Foothills Art 2100 Smallman Street. Center, 809 15th Street. May 7-July 31 “Contemporary East European Ce­ Colorado, Snowmass Village through May I5Two- ramics”; at the Society for Contemporary Crafts, person exhibition with ceramic sculpture by Sam One Mellon Bank Center Gallery, downtown. Harvey; at Anderson Ranch Arts Center. Rhode Island, Providence May 20—27Exhibition Connecticut, New Haven June 20—July 31 Annual ofworks by Pascal Chmelar, Janet Frankovic, Michael j uried exhibition of works by members of the Society Hough, Cynthia Jeppson and Robert Rustermier; at for Connecticut Crafts; at the Creative Arts Work­ the Roitman Gallery, 161 South Main Street. shop, 80 Audubon Street. Texas, Arlington through June 19 “Texas Clay II Florida, Coral Gables June 18-July 29 “The 41st Exhibition,” works by 24 artists; at the Arlington Florida Craftsmen Exhibition”; at the New Gallery, Museum of Art, 201 West Main Street. University of Miami. Texas, San Angelo through May 23 “Eighth Annual Florida, Miami through May 17 “Spring Interna­ San Angelo National Ceramic Competition”; at the tional Art Competition and Exhibition”; at the San Angelo Museum of Fine Arts. Florida Society of Fine Arts, 191 N.E. 40th St. Utah, Logan through May 9 “Beasts and Birds: Florida, Panama City through May 20 “The 41st Forms and Images for Ceramic Vessels”; at Nora Florida Craftsmen Exhibition”; at the Visual Arts Eccles Harrison Museum of Art, Utah State Univer­ Center of Northwest Florida. sity. Florida, Saint Petersburg May 7—29 “The All- Virginia, Richmond June4— August ^“Contempo­ Florida Spring Juried Show”; at the Arts Center, 100 rary Taiwanese Ceramics”; at the Hand Workshop, Seventh Street, South. Virginia Center for the Craft Arts, 1812 West Main Georgia, Athens June 5—July 4 “Six Sense,” with Street. ceramics by master of fine arts students; at the Virginia, Virginia Beach through August 1 “How Georgia Museum of Art, University of Georgia. Does Your Garden Grow”; at Vincent’s Fine Art, Georgia, Atlanta through July 3 “African Reflec­ 4429 Shore Drive. tions: Art from Northeastern Zaire”; at the High Museum of Art, 1280 Peachtree Street, Northeast. Ceramics in Multimedia Exhibitions Georgia, Columbus through June 13“ Art that Works: The Decorative Arts of the Eighties, Made in Alabama, Birmingham through May 8 Four-person America”; at the Columbus Museum of Art, 1251 exhibition with ceramics by Steven Forbes-deSoule; Wynnton Road. at Maralyn Wilson Gallery, 2010 Cahaba Road. Illinois, Rockford throughJune4“ 2x2x2.” June 18- Arizona, Scottsdale May 1-June 30 “Southwest July 23 “Botanies”; at Gallery Ten, 514 E. State St. Contemporary Craft.” “Garden Show”; at Joanne through June 25 “Women’s Work”; at 317 Market Rapp Gallery/The Hand and the Spirit, 4222 North Street Gallery, 317 Market Street. Marshall Way. Kentucky, Louisville through May 8 “Contempo­ Arizona, Tempe May 21—July 18 “Tempe Tea rary Crafts: The National Scene,” with ceramics by Party”; at Tempe Arts Center, Mill Ave. and First St. Brent Oglesbee and Chris Staley. May 7—July 3

60 CERAMICS MONTHLY May 1993 61 Calendar

Two-person exhibition with raku work by Maryanne Bona; at the Kentucky Art and Craft Gallery, 609 West Main Street. Massachusetts, Northampton June 3—July 25“ Then and Now: Ten Years of Gallery Artists”; at Ferrin Gallery, 179 Main Street. Massachusetts, Pittsfield through June 13 “The Domestic Object: Articles for Everyday Living.” May 1—23 “A Berkshire Feast: Antiques for the Table”; at the Berkshire Museum, 39 South Street. Massachusetts, Worcester July 10-August 21 “The Domestic Object”; at the Worcester Center for Crafts, 25 Sagamore Road. Michigan, Dexter June 5-July 10 “Sixth National Juried Exhibition”; at the Clara Kott Von Storch Gallery, Farrington-Keith Creative Arts Center, 8099 Main Street. Michigan, Mount Pleasant June 8—July 76^“Call It the Blues”; at the University Art Gallery, Central Michigan University. Minnesota, Bloomington through June 12 “Time­ less Perspectives,” with ceramics by Theresa Puffer; at Bloomington Art Center, 10206 Penn Ave., S. Missouri, Saint Louis May 7-June 26 “National Teapot Invitational”; at the Craft Alliance Gallery, 6640 Delmar Boulevard. New Jersey, Millburn through May 22 “Spring Showcase 1993,” featuring ceramics by Sang Rober­ son; at Sheila Nussbaum Gallery, 341 Millburn Ave. New Jersey, Newark through June 20 “Sumptuous Surrounds: Silver Overlay,” ceramics and glass with silver overlay; at the Newark Museum, 49 Washing­ ton Street. New Mexico, Los Alamos through May 16“Que Pasa: Art in New Mexico”; at the Fuller Lodge Art Center and Gallery, 2132 Central Avenue. New York, New York May 19—June 19 “Tran­ scending Boundaries”; at Elsa Mott Ives Gallery, YWCA of the City of New York, 610 Lexington Ave. New York, Utica May 22—August 29“ River of Gold: Pre-Columbian Treasures from Sitio Conte”; at the Museum of Art, Munson-Williams-Proctor Insti­ tute, 310 Genesee Street. North Carolina, Asheville through May 19 “Built, Thrown and Touched.” through May 23 “Contem­ porary Expressions of Traditional Crafts”; at the Folk Art Center, Blue Ridge Parkway. North Carolina, Charlotte through June 6 “1992- 93 North Carolina Arts Council Fellowships,” with ceramics by Arlene Burke Morgan and Michael Sherrill; at the Mint Museum of Art, 2730 Ran­ dolph Road. May 3-June 17“ In Celebration of Craft: A North Carolina Heritage”; at the First Union Bank, 301 South Tryon. North Carolina, Winston-Salem through May 13 “Touch: Beyond the Visual”; at Sawtooth Center, 226 N. Marshall St. Ohio, Akron through June 6 “Ohio Perspectives: Five Sculptors,” with ceramics by Eva Kwong; at the Akron Art Museum, 70 East Market Street. Ohio, Athens through May 16“The Fragile Envi­ ronment: Artists’ Reactions”; at the Dairy Barn Cultural Arts Center, 8000 Dairy Lane. Ohio, Toledo May 5-June 21 “The Best of 1993,” Ohio Designer Craftsmen works; at the Owens- Illinois Corporate Gallery, One SeaGate. June 13-July 3 “Toledo Area Artists 75 th Annual Exhibition”; at Canaday Gallery, Toledo Museum of Art, 2445 Monroe Street. Oregon, Portland May 3—29 Two-person exhibi­ tion with ceramics by A1 Bain; at Blackfish Gallery, 420 Northwest Ninth Avenue. Pennsylvania, Jenkintown through March 1994“An­ cient Sources: Contemporary Forms,” sculpture

62 CERAMICS MONTHLY garden exhibition with an adobe structure by Nicho­ las Kripal; at Abington Art Center, 515 Meeting­ house Road. Pennsylvania, University Park June6—July25“C,V2.hs National 27”; at Zoller Gallery, 102 Visual Arts Building, Penn State University. South Carolina, Columbia through May 31 “Hand­ made: The Year of American Craft in South Caro­ lina”; at the South Carolina State Museum, 301 Gervais Street. Tennessee, Gadinburg through May 15 “Pattern: New Form, New Function”; at Arrowmont School of Arts and Crafts, 556 Parkway. Tennessee, Nashville through July 5 “More than One: Studio Production Now”; at Cheekwood, Tennesse Botanical Gardens and Museum of Ait, 1200 Forrest Park Drive. Texas, El Paso May 16-June 30 “Works in Wood and Clay,” with ceramics by Alan Day and Ferne Schrier; at Galeria Las Vigas, 9173 Socorro Road. Virginia, Norfolk through June 27 “D’Art Center Third Annual Mid-Atlantic Art Exhibition”; at D’Art Center, 125 College Place. West Virginia, Huntington through June 13 “Exhi­ bition 280: Works off Walls”; at the Huntington Museum of Art, 2033 McCoy Road. Wisconsin, Milwaukee through June 11 “Vessels.” June 25-August 13 “Over the Edge...Again”; at A. Houberbocken, 230 W. Wells, Suite 202. May 21-June 25 Two-person exhibition with por­ celain figures by Susan Evans; at Tory Folliard Gallery, 233 North Milwaukee Street. Wisconsin, Racine June 13—September 15 “PETS: Artists and an American Obsession”; at Charles A. Wustum Museum of Fine Arts, 2519 Northwestern Avenue. Wisconsin, Sheboygan through May 16 “JMKAC Permanent Collection”; at John Michael Kohler Arts Center, 608 New York Avenue.

Fairs, Festivals and Sales California, Oxnard May 15-/^“California Straw­ berry Festival’s Fine Arts and Crafts Show”; at College Park, Strawberry Meadows. California, Santa Monica June 11-13 “Contempo­ rary Crafts Market”; at the Santa Monica Civic Auditorium, Main Street at Pico Boulevard. Colorado, Manitou Springs June 7j?“Third Annual Clayfest and Mud Ball”; along Canon Avenue, downtown. Connecticut, Hartford May 21-23 “All-American Crafts Expo ’93”;atMain Street Market, downtown. Florida, Boca Raton May 7-9 “Florida Atlantic University Potters Guild Spring Show and Sale”; at Patch Reef Community Center, Yamato Road. Illinois, Chicago June 12-13 “19th Annual Wells Street Art Festival”; in historic Old Town. Illinois, Palos Hills June 12—13 “International Fes­ tival Art Show”; on the grounds of the Moraine Valley Community College. Indiana, Evansville May 8-9 “24th Annual Ohio River Festival for the Arts”; downtown. Indiana, Indianapolis June 12-13 “Talbot Street Art Fair”; along Talbot Street. Iowa, Clinton May 15-16“Art in the Park”; at Four Square Park, Main Avenue and Roosevelt Street. Kentucky, Louisville July 2-4 “Waterside Art and Blues Festival”; at the Louisville Visual Art Associa­ tion, Water Tower, 3005 Upper River Road. Massachusetts, West Springfield June25—27“The Original Rhinebeck Fair”; at the Eastern States Exposition. Michigan, Midland June 5—^“Summer Art Fair”; on the grounds of the Midland Center for the Arts, 1801 West Saint Andrews Street. Michigan, Rochester June 19-20 “Meadow Brook Gallery Art Fair”; on the Meadow Brook Music Festival grounds, Oakland University.

May 1993 63 Calendar Ohio, Peninsula June 25-27and July 2-5 “Boston Wisconsin, Spring Green June 26—27 “24th An­ Mills Artfest”; at Boston Mills Ski Resort, Riverview nual Spring Green Arts and Crafts Fair”; downtown. at Boston Mills Road. Ohio, Shaker Heights June 18—20 “The Craftfair at Workshops New Jersey, Livingston June 25—27 “Arts Week­ Hathaway Brown”; at the Hathaway Brown School. end”; at Riker Hill. Ohio, Toledo June5-6“ 1993 Old West End Fair”; Arizona, Little Rock May 15 “Clay Extruder Work­ New York, New York July 3—4 and July 10-11 across from Toledo Museum of Art. shop” with Cecil Persons. All skill levels. Fee: $35. “ 17th Annual American Crafts Festival”; at Lincoln Oregon, Portland May 14—16 “Showcase ’93,” Contact Gina Sipes, Museum School Registrar, Center for the Performing Arts. works by members of the Oregon Potters Associa­ Arkansas Arts Center, Box 2137, Little Rock 72202; New York, Valhalla June 19-20“ Clearwater’s 1993 tion; at the Oregon Convention Center. or telephone (501) 372-4000. Great Hudson River Revival”; at Westchester Com­ Pennsylvania, Greensburg/ul)/2-5“Westmoreland California, El Cajon weekends through September munity College. Arts and Heritage Festival”; at Twin Lakes Park, off “Clay Works: Biogenic-fired Earth Home” with North Carolina, Asheville June 12 “Clay Day ’93,” Route 30. Joseph Diliberti. Fee: $250, includes lodging and demonstrations of throwing, handbuilding, glazing Pennsylvania, Manayunk June26—27“Fourth An­ meals (all proceeds go to charity). Contact the and firing; at the Folk Art Center of the Southern nual Manayunk Arts Festival”; along Main Street. Village Gate, Joseph Diliberti, 1154 Dehesa Ranch Highland Handicraft Guild, Milepost 382 on Blue Tennessee, Nashville May 7-9“22nd Annual Ten­ Road, El Cajon 92021; or telephone (619) 287- Ridge Parkway. nessee Crafts Fair”; at Centennial Park. 0181. Ohio, Columbus June 2—6“Columbus Arts Festi­ Wisconsin, Cambridge June 12-13 “Second An­ California, Grass Valley June 17-20 or June 24-27 val”; along the river, downtown. nual Cambridge Pottery Festival”;at West Side Park. “Earth Air Fire Water” with Richard Hotchkiss and Thomas Orr, wood firing in a 6-chamber, hill- climbing kiln. Fee: $100. Limited enrollment. Con­ tact Thomas Orr, 980 Normal Avenue, Chico, California 95928; or telephone (916) 896-0909. California, La Jolla July 6—August 30 Six-week ses­ sion on throwing with Ron Carlson, Kathy Gruzdas, Scot JafFe, Paul Linsley, Richard Meyer, Gween Truax and Pat Yockey. Beginning through advanced. July 10-August 7^“Kilnbuilding” with Ron Carlson. July 31 “Chinese Brush Painting on Ceramics” with Scot Jaffe. August 7 “Photo Images on Clay” with Ron Carlson. August21 “Ceramic Tools” with Paul Linsley. Contact University of California, San Di­ ego, Crafts Center, La Jolla 92093; or telephone (619) 534-2021. Colorado, Boulder June 10—12 “A Context for Making Useful Pots” with Joseph Bennion, slide discussion, demonstration, lecture. Fee: $3, slide discussion (June 10); $50, demonstration (June 11- 12). Contact Danni Bangert, Boulder Potters’ Guild, 107 Deer Trail Road, Boulder 80302. Connecticut, Brookfield May 75—7 6“ Creative Clay Workshop” with Siglinda Scarpa. Contact Brookfield Craft Center, Box 122, Brookfield 06804; or tele­ phone (203) 775-4526. Florida, Saint Petersburg May 22—23“Kilnbuilding” with Jack King. Location: Boyd Hill Nature Park Pioneer Settlement. Fee per workshop: $55. Con­ tact the Arts Center, 100 Seventh Street, South, Saint Petersburg 33701; or telephone (813) 822- 7872 or (813) 821-5623. Florida, Sopchoppy May24-29“Creating Pottery, Business, An Expression, A Life” with George Grif­ fin, includes fast-fire wood firing, single-fire oxida­ tion, individualizing functional ware. Fee: $350, includes lodging/camping materials and some meals. Limited enrollment. Contact George Griffin Pot­ tery, Route 1, Box 30, Sopchoppy 32358; or tele­ phone (904) 962-9311. Michigan, Kalamazoo May 17-28 “Alternative Surfaces in Salt Firing” with Marie Woo. Interme­ diate through professional. Fee: $160, includes ma­ terials and firing. Contact Tom Kendall, Kalamazoo Institute of Art, 314 South Park Street, Kalamazoo 49080; or telephone (616) 349-7775. Michigan, Midland May22-23 “Pottery and Vessel Making Workshop” with Val Cushing. Fee: $40. Contact Midland Art Council, Midland Center for the Arts, 1801 West Saint Andrews Drive, Midland 48640; or telephone (517) 631-3250. Minnesota, Duluth August 8-14 “Creating Ce­ ramic Tiles” with Siglinda Scarpa. August 15—21 “Ceramics: Raku” with Thomas Kerrigan. Contact the Split Rock Arts Program, 306 Wesbrook Hall, 77 Pleasant Street, Southeast, University of Minne­ sota, Minneapolis, Minnesota 55455; or telephone (612) 624-6800. Minnesota, Saint Paul May 76^‘Drawing and Paint­ ing on Clay” with Susan Spencer. Fee: $40; mem­ bers, $30. May 22“Mold Making” with Tom Lane.

64 CERAMICS MONTHLY Fee: $30; members, $25. Contact the Northern Clay Center, 2375 University Avenue, West, Saint Paul 55114; or telephone (612) 642-1735. New York, Cazenovia June 19 A session with Eva and Milan Lapka. Location: Art Park, Stone Quarry Road. Contact Eureka Crafts, 210 Walton Street, Syracuse, New York 13202; or telephone (315) 471- 4601. New York, Scarsdale June 7-9 h session with Gloria Sherman, colored clay, millefleurs, patterning, col­ lage and painting with clay. Fee: $170, includes materials. Contact Carol Stronghilos, YM-YWHA of Midwestchester, 999 Wilmot Road, Scarsdale 10583; or telephone (914) 472-3300. North Carolina, Brasstown May 9—15“Terra Sig- illata” with Barbara Joiner. May 16—22*Raku” with Yerger Andre. Contact John C. Campbell Folk School, Route 1, Box 14 A, Brasstown 28902; or telephone (800) FOLKSCH or (704) 837-2775; or fax (704) 837-8637. North Carolina, Durham May 21-23 “The Altered Pot: An Exploration of Functional Form” with Ellen Shankin. Locations: Durham Arts Council and Duke Craft Center. Fee: $75. Contact Leonora Coleman, 117 West Seeman Street, Durham 27701; or tele­ phone (919) 683-3193. Oklahoma, Norman May 1-2 Slide lecture and demonstration with Seth Cardew. Limited registra­ tion. Contact the Firehouse Art Center, 444 South Flood, Norman 73069; or telephone (405) 329- 4523. Oregon, Portland May 19 “Ceramic Tilemaking.” Fee: $ 15. Contact Georgies Ceramic and Clay Com­ pany, 756 Northeast Lombard, Portland 97211; or telephone (503) 283-1353 or (800) 999-2529. Pennsylvania, Chester Springs May 15—16*Func­ tional Earthenware” with Lisa Naples, handbuilding and working with slip. Fee: $70; members, $60; winter students, $30. Contact Chester Springs Stu­ dio, Box 329, Chester Springs 19425; or telephone (215) 827-7277. Pennsylvania, Mill Hall May 10-14 “Pipe Sculp­ ture Workshop,” creating sculpture from industrial extrusions, pipe and flue linings with Jerry Caplan. Intermediate to professional skill levels. Fee: $282; includes materials and firing. Location: Mill Hall Clay Works. Contact Pennsylvania Craftsmen’s Guild Workshops ’93, Box 820, Richboro, Pennsyl­ vania 18954; or telephone (215) 860-0731. Texas, Farmers Branch May 14-28 “Idea to Ob­ ject” with Lisa Ehrich and artist-in-residence Anne Currier. All skill levels. Fee: resident of Dallas County, $75; out-of-county, $164; out-of-state, $226. Con­ tact Lisa Ehrich or Fahimeh Vahdat, Brookhaven College, 3939 Valley View Lane, Farmers Branch 75234; or telephone (214) 620-4732. Texas, Mesquite May 21—22 “Kiln Maintenance Seminar.” Fee: $65, includes lunch/dinner. Contact Paragon Industries, 2011 South Town East Boule­ vard, Mesquite 75149; or telephone (800) 876- 4328 or (214) 288-7557. Vermont, Bennington August 1—7“Ceramics: Raku” with Makoto Yabe. August 15—21 “Tilemaking” with Farley Tobin. Location: Bennington College. Contact Art New England, Summer Workshops, 425 Washington Street, Brighton, Massachusetts 02135; or telephone (617) 232-1604.

International Events Australia, Gulgong May 1—7 “Fire-up Gulgong,” making pots for wood firing; plus, participants may also bring up to 20 pots for firing in paper, salt, luster, floating, Bourry box and trolley kilns. In­ structors: Stephen Harrison, Chester Nealie, John Neely, Alan Peascod, Duncan Ratcliffe, Owen Rye, Carol and Arthur Rosser, and Patrick Sargent. Fee: Aus$l40 (approximately US$97). Contact Janet Mansfield, Ceramics: Art and Perception, 35 William

May 1993 65 Calendar

Street, Paddington 2021, Australia; or telephone (02) 361-5286; or fax (02) 361-5402. Canada, Ontario, Hamilton May 25-31 “Fire­ works 1993,” works by members of Fusion: The Ontario Clay and Glass Association; at Theatre Aquarius. Canada, Ontario, Toronto through August 1 “In the Land of the Rainbird: Pueblo Pottery of the Amer­ ican Southwest”; at George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. June 1—26 Exhibition of pottery by Greg Payee; at Prime Gallery, 52 McCaul Street. England, London through June 11 Exhibition of ceramics by Pompeo Pianezzola; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. May 28-June “Domestic Pottery,” works by 20 potters; at Contemporary Applied Arts, 43 Earlham Street, Covent Garden. June 8-July 9“Early Chinese Art from Tombs and Temples”; at Eskenazi Limited, Foxglove House, 166 Piccadilly. June 9-19“The Grosvenor House Antiques Fair”; at the Grosvenor House, Park Lane. June 9-July 4 “New Faces ’93,” with ceramics by Susan Halls; at the Crafts Council Shop at the Victoria and Albert Museum, South Kensington. England, Oxford through A/ay26Burnished ceram­ ics by Siddig El ’Nigoumi, Gabrielle Koch and Duncan Ross; at Oxford Gallery, 23 High Street. England, Portsmouth June 12—July 18 “Pots Plus ’93,” works by members of the Southern Ceramic Group; at Portsmouth City Museum and Art Gal­ lery, Museum Road. England, Selmeston May 28—30 Salt-glaze work­ shop with Sarah Walton. Intermediate through professional. Fee: £105 (approximately US$150); includes materials, firing and light refreshments. Contact Sarah Walton, Keeper’s, Bo Peep Lane, Selmeston, near Polegate, East Sussex BN26 6UH; or telephone (323) 811517 or 811284. France, Mulhouse through June 12 Exhibition of works by Camille Virot; at Maison de la Ceramique, 25, rue Josue Hofer. France, Paris through May 31 “Egypt’s Dazzling Sun: Amenhotep III and His World”; at the Grand Palais, Avenue Eisenhower 75008. Germany, Koblenz June 19—July 18 “Salzbrand ’93”; at the Electoral Palace. Netherlands, Deventer May 16-June 13 Ceramics by Vincent Potier. June 20-July 24 “Salt-glazed Ceramics,” with works by Monique Duplain- Juillerat, Jane Hamlyn, Bente Hansen, Janet Mans­ field, Peter Meanley, J oel Nugier and Paulien Ploeger; at Kunst and Keramiek, Korte Assenstraat 15. Netherlands, Oosterbeek through May 7 “Danish Ceramics II,” with works by Lis Ehrenreich, Gutte Eriksen, Anne Floche, Ulla Hansen, Kim Holm, Inger Rokkjaer, Kirsten Sloth, Inge Trautner and Hans Vangso; at Galerie Amphora, Van Oudenal- lenstraat 3. New Zealand, Auckland May 28-June 26“Fletch­ er Challenge Ceramics Award”; at the Auckland Museum. Sweden, Stockholm through May 9 Exhibition of works by Lis Ehrenreich; at the Lejonet Galerie. Wales, Gwent May 28-31 “Get Back to Grass Roots—Firing Clay Using Local Fuels” with Mark Boon, Lexa Lawrence and Steve Mills. All skill levels. Fee: £50 (approximately US$72), includes materi­ als, firing and camping facilities. Participants should bring tent and cooking equipment. For further information, contact Michelle West, Education Li­ aison Officer, Llantarnam Grange Arts Centre, Saint Davids Road, Cwmbran, Gwent NP44 1PP; or telephone (63) 348-3321.

66 CERAMICS MONTHLY Call for Entries Continued from page 54

May 20 entry deadline Auburn Hills, Michigan “Art One Fall Fair” (November 6—7). Juried from 5 slides. Entry fee: $15. Booth fee: $180 for an 8x10-foot space, $215 for a 10x10-foot space. Send SASE to N2 Produc­ tions, Box 228, Birmingham, Michigan 48012; or telephone (313) 645-5108 or (313) 540-4141. May 25 entry deadline Chicago, Illinois1130th Annual LCASummerfest” (June 26-27). Juried from 5 slides. Entry fee: $10. Booth fee: $ 100. Contact Elaine Leksa, Promotions, 517 North Wood Street, Chicago 60622; or tele­ phone (312) 829-4544. May 29 entry deadline New York, New York “WBAI Holiday Crafts Fair” (December 3-5, 10-12 and 17-19). Juried from slides. For prospectus, send SASE to WBAI Holiday Crafts Fair, Box 889, Times Square Station, New York 10108. June 1 entry deadline Manitou Springs, Colorado “Third Annual Clay- fest and Mud Ball” (June 19), competition in throw- ing/handbuilding open to amateurs and profession­ als. Awards. Send SASE to Clayfest, 20 Ruxton Ave., Manitou Springs 80829; telephone (719)685-5795. Gaithersburg, Maryland “18th Annual Nation­ al Craft Fair” (October 15-17). Juried from 5 slides. Entry fee: $10. Booth fee: $275, outside booth; $350, roofed; or $390, inside. No commissions. Contact National Crafts Limited, Noel Clark, Di­ rector, 4845 Rumler Road, Chambersburg, Penn­ sylvania 17201; or telephone (717) 369-4810. Herkimer, New York “18th Annual Herkimer County Arts and Crafts Fair” (November 13-14). Juried from 5 slides. Entry fee: $5. Booth fee: $110 for a 10x6-foot, indoor space. No commission. Awards. Send SASE to Herkimer County College Foundation Arts and Crafts Fair, Jacqueline Shaul, Reservoir Road, Herkimer 13350; or telephone (315) 866-0300, extension 259. Millbrook, New York “Millbrook Crafts Fair” (November 26—27). Juried from slides or work. Booth fees vary. For application, send #10 SASE to the Artisans Group, Box 468, Pine Plains, New York 12567; for further information, telephone (914) 985-7409 or (518) 398-6678. Richmond, Virginia “29th Annual Richmond Craft and Design Show” (November 19—21). Juried from slides. Booth fee: $250 for a 10x10-foot space; $375 for a 10x15; $500 for a 10x20. Contact the Hand Workshop, 1812 West Main Street, Rich­ mond 23220; or telephone (804) 353-0094. June 15 entry deadline Saint Louis, Missouri “Historic Shaw Art Fair” (October 2-3). Juried from slides. Jurors: Lloyd Herman and others. Entry fee: $10; $5 for each additional category. Booth fee: $ 150. Awards: $3500 plus $7500 in purchase prizes. Contact Historic Shaw Art Fair, 2211 S. 39th St., Saint Louis 63110; or telephone (314) 772-1766 or (314) 771-3101. June 16 entry deadline Pittsburgh, Pennsylvania “24th A Fair in the Park” (September 10-12). Juried from 5 slides. Entry fee: $5. Booth fee: $125 for a 10x10-foot space. Contact A Fair in the Park, 340 Bigbee Street #2, Pittsburgh 15211. September 20 entry deadline White Plains, New York “ 11 th Westchester Art Workshop Fine Art and Craft Fair” (October 30- 31). Juried from 5 slides or photographs. Booth fee: $200 for an 8x10-foot space or $240 for a 10x10. For prospectus and application, contact Carol Herd, Craft Fair Coordinator, Westchester Art Workshop Craft Fair, Westchester County Center, White Plains 10606; or telephone (914) 684-0094.

May 1993 67 Suggestions pour off the clear water at the top and add more throwing slop. This is repeated until the From Readers bucket is about two-thirds full. I then add dry trimming scraps, stirring after each addition, until the bucket is full of very thick slurry. Vacuuming Dust from Ware A plastic garbage bag is then laid on top of For quite a while, we have used a vacuum a wooden tray, plastic storage container lid, cleaner with a narrow nozzle to remove dust etc. The bag, in turn, is covered by an over­ from green- and bisqueware. But when we lapped layer of thick newspaper sections, needed to get several hundred filigree pots arranged with the cut edges on the outside. that were full of dust ready for glazing, the Next, the thick slurry is spread over the vacuum hose proved too heavy and awkwardnewspapers and left to dry overnight. Then for the task. We solved the problem by insert­another plastic bag and newspaper bed is ing a length of garden hose between the prepared, and the drying slurry flipped over vacuum hose and the nozzle, and binding it inonto it. The top bag and wet newspaper are place with strong adhesive tape. Suction was removed (slowly) and the clay is again left to still powerful, and the pots were cleaned out dry overnight. in a short time. The process is repeated once or twice, To reach very small or awkward areas, onewhatever it takes to bring the clay to a work­ could further refine the appliance by attach­ able consistency. Then it’s ready to wedge ing a smaller nozzle, such as a rubber tap and rethrow.—Marsha Fischer, Bloomfield extension—whatever works best for your Hills, Mich. needs. Just remember to wear a respirator.— Susan Bennett and Earl Hyde, London Cleaning Wax from Brushes If you’re like me, from time to time the Universal Bottle Holder brush you use for wax resist has been left out Luster is so expensive, one can’t afford to uncleaned. Even if it has been rinsed in water, waste a drop, let alone lose a great quantity byit may stiffen as it dries. inadvertently knocking over an open con­ Hot water is the usual solution to this tainer. I have reduced this risk almost entirelyproblem, but what if you don’t have any in by simply sticking the bottle into a lump of your studio? Just put some paint thinner in a plastic clay, which in turn should stick to any container and soak the brush for a few min­ work surface, providing double indemnity. utes. It will soon be flexible again, and ready Taking the idea further, one can even stickto use.—Dwain Naragon, Lssaquah, Wash. the handle end of individual brushes into the appropriate clay lump to avoid confusion.— Leather Ribs Susan Bennett, London Smoothing ribs can be made by cutting appropriate shapes from old leather bags, Low-tech Glaze/Clay Mixer then sanding the edges. The resulting ribs are For uniform blending of glazes or clays, stiff, yet flexible, perfect for smoothing leather- try using an Odjob—a 12-inch-diameter hard clay.—Kathryn Thomas, Philadelphia barrel designed to mix concrete, paint, com­ post, fertilizers, etc. Its internal baffles provideA Trimming Scraps Chuck the stirring action (for up to 60 pounds of dry My commercially prepared clay comes materials or 5 gallons of liquid) as you roll thepackaged in plastic bags. I use the empty bags barrel on the ground. to hold slop and trimming scraps (secured Manufactured in Canada, it has recently with twist ties) until I have enough to recycle. entered the U.S. market and should be avail­ These bags sit on the floor next to my wheel. able at major hardware stores and lumber­ When I need a chuck for trimming a large yards nationwide. But I got mine for $40 bowl or platter, I put a partially filled bag on from Scepter Company, 170 Midwest Road, the wheel and pat it into the required shape. — Toronto, Ontario M1P 3A9; (800) 387- Richard Kupstis, Meriden, Conn. 6018.—Elizabeth Drachman, Bethesda, Md. Dollars for Your Ideas Reclaiming Slurry Ceramics Monthly pays $10for each sugges­ Living in a suburban neighborhood with tion published; submissions are welcome indi­ my studio in the basement, I have tried severalvidually or in quantity. Include an illustration methods to reclaim throwing slurry, and haveor photo to accompany your suggestion and we finally settled on one that is both economical will pay $10 more if we use it. Mail ideas to and efficient: At the end of each day, I pour Suggestions, Ceramics Monthly, Box 12448, my throwing water into a 5-gallon bucket (I Columbus, Ohio 43212; or fax to (614) 488- usually have two or three in use at any given 4561. Sorry, but we can’t acknowledge or return time). After this has settled for a day or so, I unused items.

68 CERAMICS MONTHLY May 1993 69 70 CERAMICS MONTHLY May 1993 71 Comment

The Spirit of the Pot by Steve Casagranda

For nearly three years, I’ve been haunted too; I was often tapped on the shoulder by the letter from Tia Pesso published in and asked for advice. CM’s May 1990 issue. She wrote: “I’m There was no third-year ceramics class. embarking on my second year at selling However, an exception was made for me and have yet to take in more than I spend. to continue as the ceramics teacher’s assis­ How long does it take?” tant. I was to a very small degree put in The question I used to ask myself was charge of demonstrating elements of very similar: “How long does it take to throwing, trimming and glazing. make a decent living as a potter?” I don’t I also demonstrated how to stand by think any one potter has the answer to the door after roll call and slip out of the such a broad question, but if I may, I’d room unnoticed by the teacher. In my like to share some views on that subject. senior year, I got straight As in ceramics, I’ve loved clay and pots since I was a except for the last quarter when I got a child. My first exposure to the clay world B—I must have been noticeably absent was when my father brought me along from class. on a visit to a friend in Denver. I was After graduation, I couldn’t wait to get probably five or six years old at the time. I out into the real world and get started remember a narrow stairway led down to with life. At that time, some of my friends a small room that we had to walk through had great jobs as lawn mowers at the local to get to a slightly larger, earthy-smelling cemetery and steelworkers at a factory. I room where Mark Zamantakis sat at his never could get a job at the cemetery, potter’s wheel. which was my first choice, but I did man­ I was invited to have a seat on a bench age to get a job at the factory. That lasted right in front of his wheel where I had the about two years. best vantage point from which to watch Then, for about a year and a half, I Mark throw pots. Shortly thereafter I be­ drove a construction company’s delivery came thoroughly mesmerized. truck until I could no longer afford to As the pots turned on the wheel, they work for the wage I was being paid. I had the appearance of being alive and searched around for another job, but vibrant because of the spiraling finger finally returned to the factory. In the steel marks. At the same time, they appeared business, I learned how to run all lands of to be perfectly still and silent because, machinery, welded, assembled, painted, even though they were spinning, they loaded and unloaded trucks. But most of were so symmetrical. Within a few min­ all I learned two important lessons about utes Mark could create a bowl, a jar with running a successful business. a lid or maybe a bottle—never working The first (so eloquently conveyed by feverously but rather with slow, sure and the foreman as he puffed cigar smoke in knowing movements. my face) was: “If you see something that Over the years, we made several trips needs to be done, do it.” to Mark’s house. Each time I learned a After a five-year stint at the steel com­ little something about pottery. But I was pany, I developed a hernia, had surgery, in the ninth grade before I had the op­ was excused from work for four weeks to portunity to take an art class that in­ recover and, when allowed to return to cluded ceramics. We didn’t have any work, was restricted to lifting a maxi­ wheels to work with, so we coil built all mum of 6 pounds as instructed by the our pots. WTien the teacher opened a bag company doctor. Thirty minutes before of clay, I smelled Mark’s basement. Deja the end of my first week back at work, I vu! I couldn’t wait to get my hands into was laid off. At age 25, I had learned yet the stuff. another important lesson—it’s not that In tenth-grade ceramics, I got some difficult for employers to treat workers as pretty high marks, which offset my less- something to fill a void or to be pushed than-desirable grades in math, science and around, stepped on and/or swept up and English. Eleventh-grade ceramics was fun put out with the garbage.

72 CERAMICS MONTHLY May 1993 73 Comment those problems. If you made a lid that fired too small, then logically there would be only one thing to do: counter that Before I was laid off, I had been taking reaction by making the lid slightly larger a pottery class at night at a local high so as to have a shrink-to-fit effect during school. The instructor just happened to firing. It might seem strange to make a lid be on a membership drive for a pottery that’s too large, but that’s what it takes to co-op in Boulder, where I soon became a get a near-zero tolerance. But exactly how member. It made sense to give the pottery much larger is “slightly larger”? business a try. You learn this from doing. Much as in Like most, I struggled for years trying the real world, changes in the clay world to make ends meet. The life of a starving come about slowly. It takes kilnload after artist might be a romantic notion, but is kilnload to make changes. After making in fact a cruel reality. Maybe things didn’t hundreds of lids, you become intuitive go so well for me financially because I enough to know how much larger “slightly made things difficult for myself. From larger” is by “feel.” the very beginning, I chose to produce Feel is sort of like a hunch. However, works of quality rather than quantities of the difference between a hunch and feel is produced work. the difference between something uncer­ In order to produce quality work, you tain and something sure. Intuition is like might penalize yourself by spending more an unknown guiding force that is not time than the next potter—doing things likely to mislead, deceive or disappoint. like seating lids. In case you’re not famil­ It took me months to learn how to iar with what seating lids is all about, let make good lids that fit with near-zero me explain. When I worked at the steel tolerance. I found that the difference be­ company, my primary job was running a tween making a lid that fit well and one band saw. When I cut parts from stock that didn’t fit well was only a matter of a lengths of steel, there was always a toler­ few extra minutes of working time. ance measurement. If something had to Years later, I found out that there was a be cut to 3 feet 4 inches, there might be a way to make lids fit even better. After the tolerance measurement of +½ inch. This glaze firing, a small amount of water- means that the part could be cut to 3 feet soluble valve-grinding compound (used 3% inches or 3 feet by mechanics to 4½ inches and still Feel is sort of like a hunch. However, seat engine valves) pass inspection. is applied to the lid Other parts had to the difference between a hunch and or jar where the be cut with zero feel is the difference between some­ two pieces meet. tolerance. Then the lid is ro­ Tolerance of a thing uncertain and something sure. tated in place until lid can be mea­ the two surfaces sured by how much play there is when wear together, creating a perfect fit. After­ you slide it from side to side. Too much ward, excess compound is recycled and play makes lids seem unprofessional, and the pot rinsed clean with water. could send the message that I don’t care if Potters are not obligated to perform lids fit well or not. But I do. So my lids this procedure. Some would never con­ had to fit with near-zero tolerance. Any­ sider seating lids for every jar they make thing less was unacceptable. because of the extra time involved. One At first I made lids that matched ex­ of the written-in-stone, successful busi­ actly before the glaze firing. Afterward, ness commandments is: Do what makes however, there was some play in the lid, the most money for the lowest cost in the leaving a fit that wasn’t appealing. There’s shortest time possible. nothing that can be done if the lid doesn’t If you had 40 jars with lids to seat and fit after the firing, short of making a new it took three minutes to fit each lid, then lid. Problems like these are commonplace you would spend an additional two hours in the clay world, and you either do some­ of work time—time that might be well thing about them or you endure those spent on creating more new jars or other eventualities. work. So, you tend to ask yourself some Being in business for yourself puts you hard-to-answer questions like, do you in the position of being obligated to solve choose between the process of refining

74 CERAMICS MONTHLY May 1993 75 Comment what was right for me. It wasn’t as hard a decision to make as it was to keep. Desir­ ing to produce quality work is admirable, lids or take the time to produce new but producing quantities of work usually work? Its one or the other, not both, pays better. because only two hours time is allotted. You may wonder “Is it worth it?” or When I look to the clay world for an “Who cares?” But something that is just answer, it appears to me that those deci­ as important to consider, friends, is how sions are made independently, based on you feel about the work you produce. It several contributing factors that range might be the only question you need to from economics to ethics. To each his or answer. Whether one tries to or not, a her own, which is the way it should be. I reputation is made right along with the chose to seat the lids for my pots for work produced. You cant see it, but it’s several reasons. One was that I felt I had a there. And just like the family dog, it will more refined product after the process follow you wherever you go—good, bad than before, so by all rights it should fetch or somewhere in between. a higher price. But does that additional It matters how people view you and profit margin from seating lids exceed, your work, but it shouldn’t matter more fall short of or match the profit margin to someone else than it does to you. My based on two hours work spent on some­ work reflects who I am, so I care about it. thing else, like throwing pots, for example? When people view my work, I hope they Well, to be successful, you need to are capable of looking beyond the glaze find out the answers to questions like or design of the pot. I want them to see these by performing a detailed analysis. right through to the quality, which is the Let’s say you have 40 jars with lids, and it spirit of the pot. takes three minutes and one penny’s worth Shooting for quality does have its set­ of grinding compound to seat each lid,. backs. I really did suffer from choosing it, You end up spending two hours and 40<£ a problem that was resolved in a rather in materials. If the pots were valued at unusual way. If I spent a couple of hours $20 each in the beginning, and after the seating lids, I knew I got away with two process of refinement each pot was val­ hours of easy work. Too easy. So I would ued at $25, you would profit $199.60 for spend two hours producing new work the two hours of work. If you spent the later on that same day, usually that evening same two hours producing 18 new pieces after dinner. This made for a long day, that sold for $ 12, that would yield a profit but I wasn’t comfortable with not seating of $216, minus $4.50 for materials. lids or producing new work; so I did So which do you choose? The differ­ both. When you’re in business for your­ ence in profit is nominal. Hardly worth self, if you get away with an eight-hour considering. Both ways of spending the work day, you get off cheap. I spend a lot same two-hour work period sound profit­ of time refining my work, trying to build able and wise. the spirit of quality into every pot I make. Sometimes the difference between At one point, I wondered if spending making it and not making it is based on extra time refining pots was having a nega­ the quantity of work, not necessarily the tive effect on my income, because money quality, which makes the effort of going was in short supply. With the exception through what you need to do to produce of part of November and most of De­ quality seem not only unnecessary but cember, retail business can be sluggish. unprofitable. I knew I was going to have money However, the real reason I seat lids for problems during the post-Christmas the jars I make is because it adds quality months, but somehow I managed. When to every pot. Through the years, I realized expenses outdistanced income, I did what­ that these small, mostly unnoticed touches ever I had to do, legally, to make ends make all the difference between a good meet without getting another job. I sold pot and a better one. My decision—striv­ the personal belongings that didn’t really ing to make a better pot—was practically play a relevant part in my life, and when I made for me. got down to the point where I was going I didn’t make up my mind viewing the without food, I would apply for a loan, situation as cost in either time or money grant or care package from the Parent but rather on how I felt inside. I chose Foundation (Mom and Dad). Continued

76 CERAMICS MONTHLY May 1993 77 Comment

Those cold winter months of my sec­ ond year as a potter were well spent mak­ ing pots and firing the kiln. Being broke and with spring around the corner, I had an idea: why not make a lot of planters and sell them to florists? So I spent weeks making three different sizes of planters: small, medium and large. After a while one of the co-op members asked, “Why so many planters?” I explained that I was going to take them around to flower shops and hopefully make up for some lost in­ come. “That will never work” was the uncalled-for response. Undaunted, I completed my task. It was late April or early May when I priced and boxed the planters. I loaded up the truck, grabbed a list of addresses from the telephone book and set out to meet every florist in the Denver/Boulder area. Slowly, I made my rounds. If I just happened to drive by anything that even remotely resembled a flower shop or nurs­ ery, I would stop in and pay a visit. I’d take a box of planters in with me along with my sales receipt book and a pen. I asked to see the buyers and offered to show them my work if they were inter­ ested. I had priced the pots retail and sold them by the box wholesale for about $66. This was a fair deal, I thought. It took a few days to complete my rounds. During this field trip I learned a lot about making sales. Having a good product for a reasonable price is of ut­ most importance. My pots were the best they could be at that time. Although I felt I offered a good deal, it was rejected more than it was accepted. I started off with 10 or 12 boxes of planters. I probably dropped in on at least that many stores that first day, mak­ ing only one sale. Not very encouraging. The next day I visited four or five shops before I made a sale. Two boxes at once! Two more boxes sold at the next place I stopped by, but nothing more sold the rest of the day. The third day, possibly 15 visits were made, netting only three single-box sales. The fourth day was like the third day all over again. Eventually, though, every planter I had made over the past several weeks had been transformed into cash. I’ll never forget the bank tellers response: “Steve, a deposit?” Continued

78 CERAMICS MONTHLY May 1993 79 Comment one grossed a total income of $660, that 1. Never give up. Giving up is the figure would be reduced to $542 after fastest way to an undesirable end. If you subtracting costs. can eliminate the thought of quitting, I then had enough time to catch my The exact hourly wage doesn’t need to you will almost assuredly be successful. breath and ponder what had been learned. be calculated to know it’s a joke. It works 2. Every move you make costs you I was glad what I had done was the right out to about $2.40 an hour. Even though money. Be efficient. thing to do despite what other people that figure is profit, because it goes above 3. When you see something that thought. I knew I could sell ten boxes of the overhead costs, $2.40 an hour is barely needs to be done, do it. planters in a city the size of Denver. If I enough to keep a small animal in food, 4. Produce quality work. Spend a few hadn’t been able to, I would have gotten much less a working potter. minutes making improvements instead out of the business. If you can’t make a decent living at of cutting corners. I really feel people accepted my prod­ what you’re doing, you wonder if you 5. Don’t penalize yourself by selling uct because it was honest work. The plant­ should go on. You not only wonder if you your work in a centralized area, i.e., one ers were made of wholesome materials, should be in business but if you can stay state. Branch out. Get one, maybe two, were attractively decorated and were rea­ in business. Like choosing between qual­ reliable, dependable outlets for your work sonably priced in both wholesale and re­ ity or quantity, you must make your deci­ in several states (or even countries). tail respects. I soon realized the importance sion from deep within. The profit per 6. WTien doing business in conjunc­ of making my own decisions. Being in hour shouldn’t be and isn’t necessarily an tion with other people, follow these three business for yourself allows you to control indicator of success. rules: Get it in writing. Get it in writing. your own destiny to a large degree. You I learned a lesson in prosperity through And most importantly, get it in writing. are free to make the choices—right or this experience: I alone was responsible 7. Experiment. That one word (from wrong—for you and your business. for attaining a desirable end result. This Tom Coleman) was some of the best ad­ But perhaps we should evaluate what marked the beginning of my acceptance vice ever given to me. occurred by calculating just how much of the fact that I was responsible for it all. 8. Do what you think is right. time and money were spent on making I didn’t become discouraged because this 9. Be a leader, not a follower. the planters, up to and including the pric­ experience could be viewed in a negative 10. Learn to recognize and trust your ing, boxing and loading. Let’s say they way, as established by the dollars-per-hour feelings and intuition. took 4 weeks at 48 hours each week with figure. To the contrary, I chose to be en­ 11. Realize the importance of making a materials cost of $70 for clay, glaze, couraged, because I viewed it in a positive decisions. firing, tags, boxes, etc. Let’s also estimate context. Two dollars and forty cents per 12. Become totally involved and im­ how much time and money were spent hour isn’t an hourly wage that I could mersed in your pottery business. Remem­ on marketing. Let’s say 4 days at 8 hours survive on, but life can be temporarily ber, half an effort is never enough. each day, for a total of 32 hours, and $12 sustained with a cash deposit in the bank. gas each day for the truck. That gives a In the years since, I’ve come up with The author Steve Casagranda currently combined total of224 hours and $ 118. If the following tips for success in pottery: resides in Koloa, Hawaii.

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