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

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid­ ered for publication. Information may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ com­ puter system. Mail submissions to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce­ dures for submitting materials is available upon request. Indexing:An index of each year’s articles appears in the December issue. Addition­ ally,Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) indexing are available through Wilsonline, 950 University Ave., Bronx, New York 10452; and from Information Access Co., 362 Lakeside Dr., Forest City, Califor­ nia 94404. These services are available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sugges­ tions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Co­ lumbus, Ohio 43212. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1991 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly May 1991 3 4 C eramics Monthly Volume 39, Number 5 May 1991 Feature Articles Magdalene Odundo ...... 30 Feats of Clay III ...... 36 Bruce Taylor by Paula Gustafson ...... 37 Jean Linard by Virginia Hillhouse...... 41 American Arts & Crafts Ceramics ...... 44 Magdalene Odundodraws from diverse cultural influences to produce distinct, Polynesian Paradise by Peter Owen ...... 48 coil-built vessels. Twelve pots, ranging in price from $5600 to $7200, sold out at a A Low-Cost Spray Booth by Lawrence Blazey ...... 52 recent New York exhibition; see page 30. Portfolio; Jean Linard French ceramistjean Linard is using found objects and gifts, as well as Creative Business by Marianne Cole ...... 53 his own artwork, to create architectural sculpture—an open-air cathedral sur­ Iron-Bearing Casting Slips rounding his home near the potters’ vil­ Slip Casting, Part 5 by Gerald Rowan ...... 80 lage of La Borne; page 41. How to Buy Supplies by JeffZamek ...... 82

Up Front Mud-Slinging Stars...... 16 Juried Whimsy...... 24 14th Czech Symposium Philip Eglin ...... 24 by Georgette 7Jrbes ...... 16 Corazon Watkins ...... 24 Joy Hanken...... 20 Karen Karnes ...... 26 Judy Glasser...... 20 Seth Cardew Workshop Potters Guild of New Jersey...... 20 by Sandra Johnstone...... 26 Units: New Ceramic Sculpture Jeri Hollister...... 26 by Robert Raczka ...... 20 Peter Gourfain...... 28 Handmade in the U.S.A...... 22 Chick Schwartz Annette Corcoran ...... 22 by Ron Wild...... 28 Creative Business Marianne Cole’s 20 years of successful daywork are the result of setting attainable goals, careful market­ ing and promotion, production discipline, Departments and allowing time for professional develop­ ment through travel, workshops and busi­ Letters ...... 8 New Books ...... 78 ness seminars; her story begins on page 53. Call for Entries ...... 62 Classified Advertising ...... 86 The coverCanadian ceramist Bruce Questions ...... 66 Comment: Taylor in his Halifax, Nova Scotia, studio; New Challenges for Studio Profits this artist’s sculpture draws from varied Calendar ...... 68 by Ernest Fair...... 88 sources, from pottery and architecture to engineering design. See page 37. Suggestions...... 76 Index to Advertisers ...... 88

May 1991 5

reduce funding levels in three of our organi­ matter. Though this has been mostly true, it Letters zational categories, including significant cuts is a stultifying observation. Lately, even we in Special Projects. Rather than increased have begun to believe what we were saying, allocations for Regional Fellowships, fund­ and we’re in grave danger of running to ing will be reduced slightly this year. ground, like the farmer’s horses. We would Susan Lubowsky surely do ourselves a big service if we could Director, Visual Arts Program start chanting affirmation over and over, More on Reduced Crystals National Endowment for the Arts something like: “We are important, and I read with much interest the March Washington, D.C. whatwe do matters.” We mightderive enough article by Thomas Carroll, “Crystal Glazes in energy from really believing this to get up Reduction!” I started experimenting with Whipping a Nearly Dead Horse and once again commit good craftsmanship reduced crystalline glazes in February 1989, This business of craft as a human en­ (craftsmanship being defined not as perfec­ having independently discovered the effect deavor is just about dead. William Hunt’s tion of technique, but as that magical human while trying to obtain lusters on previously comment in the March issue about getting quality that goes into and shines out of high-fired, crystalline-glazed porcelain craftsmanship back reminds me of the De- things that are pleasing to humans). pieces, smoking them at relatively low tem­ pression-era story of the farmer crying, “Whip Perhaps exhorting western craftspeople peratures—Cone 020 to 04—see the Ceramics those horses one more time and get ’em to learn to care for ourselves—in whatever Monthly article, “Beatrice Wood,” April 1983. back on their feet; then we’ll plow this field.” stage of the process we find ourselves—and I simply place pieces of wood in the sealed Sounds like we’re being whipped with then to love and care about the materials we kiln or pour small amounts of used motor perfection again. But if machines can’t save use, so that we don’t use ourselves or our oil through a pipe into the kiln, reducing the world with perfect technique (and that’s materials wastefully (without feelings of re­ heavily for fifteen minutes to one hour, what they’re good at), how are craftspeople gard and respect), may actually result in a while holding the kiln at a specific tempera­ supposed to do it? We must stop telling each sustainable craft revival that could spread ture, which varies from firing to firing. I use other to get more perfect (perfection being and infect everybody else. a digital pyrometer for this purpose. a sliding scale designed not to be reachable). The business of service works its way in What resulted was not only subtle lusters, Only machines can achieve any measure of here, too. People who care about them­ but also a startling variety and color range of perfection and, indeed, only machines can selves and their materials as inherently good reduced glazes depending on the tempera­ appreciate it when it is reached. And in and important are more likely to regard ture of smoking; the length and intensity of perfection does not lie redemption—of their customers and students as good peo­ reduction; the proportion of copper, man­ anything. ple, deserving good treatment, too. And, ganese and other metals; and the base glaze I’m no expert on other cultures, but almost always, people who get treated well used. Red, mauve, pink, gray, orange, gold, when I find something in the stores that don’t mind paying for the service. They’re yellow, brown, tan, blue and purple reduced- reeks of real craftsmanship, it almost always often grateful, besides. crystalline glazes were obtained. I have ex­ comes these days from China, Micronesia, Western civilization, and possibly most hibited and sold many signed and dated Ghana, Korea or Thailand. And I don’t of the rest of the earth, is in a mess, and reduced and lustered crystalline-glazed think “perfect” is the word to define any­ could use some good examples of how to pieces since May 1989 in southern and thing from China. Digging through a waist- live better, how to deal with other people northern California. deep box of brightly colored silk pincushions, better—all that. Craftspeople are, for many I generally combine frits P-283 [Pemco] I was struck by the out-of roundness of each reasons, the best group of people in place to and 3110 [Ferro] in various proportions of them—no two alike—each tiny item in provide those examples. Though most of us with 20%-30% zinc oxide, 15%-25% flint this huge box has its own personality. Each are still casting about in the dark fishing for and sometimes 5%-10% titanium oxide. is magical, well crafted, not perfect. I suspect answers, I’m convinced that the rock we can Deliberately introduced impurities—such that these not-perfect-but-absolutely-magical stand on while we do this is the fierce knowl­ as tungsten, magnesium, clay and feldspar— items are being made still by people who edge that we and our kin (everything else on alter the character of the finished glazes. value themselves and love their materials; the planet, including the planet) are inher­ Those who like experimenting will find there maybe they even think that they and their ently wonderful and important, and deserve is an infinite and subtle range of expression materials exhibit some form of divinity, just to be put to good use. in a glaze type many potters have thought of in being. Possibly, these are people not Jeanine Mankins as too flashy for most forms. I fire most of my required yet to revere perfection and revile Houston work in a35-cubic-foot, downdraft, propane any state of mind or matter that falls short; kiln in strict oxidation to Cone 10, then a people who instead hold dear the process The Disposable Cup select pieces to be reduced and refire them of becoming full and mature and expres­ It is common to see, time and again, the in a small electric kiln, a seemingly contra­ sive; a people who revere the process of humble and insidious, disposable, plastic dictory procedure, but a very successful one learning to thoroughly understand them­ cup at conference activities on tables next to for me. selves and their materials in order to express the master craftsperson and craft/art crit­ Ray West themselves clearly, use themselves wisely, ics. This kind of cup exists primarily in Camp Nelson, Calif. and show off their understanding of and western cultures that have, through tech­ connectedness to their chosen materials. niques of mass production, produced virtu­ NEA Budget Clarification Western artists since the industrial revo­ ally worthless objects. Regarding “Endowment’s Loss Is States’ lution and, more lately, western craftspeople, To use the “DC,” you must believe in its Gain” [page 12, March 1991]: I would like to have been (rightly enough) telling the world disposability. The fact that it could be washed take this opportunity to clarify the budget that, under the rule of machines, humans and reused must be denied. In disposing of priorities of the Visual Arts Program at the aren’t important and what we do doesn’t the cup, one must believe that the time/ National Endowment for the Arts. Although energy/value it takes to wash the cup for Visual Arts, like all programs, is sustaining Share your thoughts with other readers. All lettersfuture use is not worth the T/E/V it takes to significant budget cuts this year, these cuts must be signed, but names will be withheld on produce or dispose of it. One idea that will in no way affect the national fellowship request. Mail to The Editor, Ceramics Monthly, supports the disposability of an object is the program—our highest funding priority. Box 12448, Columbus, Ohio 43212; or fax to “continuum theory”: there will always be The decision was made, instead, to slightly (614) 488-4561. another object to take the place of the most

8 CERAMICS MONTHLY May 1991 9 Letters tained from a variety of sources including: Solar Box Cookers International, 1724 11 Street, Sacramento, California 95814. recently disposed—which is why one never Solar ovens, originally designed for use buys disposable products one at a time but in higher latitudes, were constructed of in groups of 25, 50, 100. Ironically, if there cardboard or wood, and had to be moved is only one DC left, it is often washed and during the day as the sun moved. However, reused. the angle of light in the tropics allows these There is also the belief in disposal or, ovens to be built as stationary structures. simply, the relinquishing of responsibility. They can be made of locally available mate­ Somehow we believe that in disposing of rials such as adobe, and can be as aestheti­ the cup it goes away, and we are no longer cally pleasing as the Lorena stoves. responsible for this object. For several years we have done almost all As we enter the 21st century, we are cooking for about eight months of the year discovering that nothing goes away. This is in one of them. becoming a focus of our present-day envi­ Anne Funkhouser ronmental struggle. As we gain understand­ William Funkhouser ing, I believe that responsible consumers O. Boyd Mathias will desire items that will last longer, may be University of the Pacific repaired, or give a stronger sense of self- Stockton, Calif. worth. As craftspeople, I believe we must educate No Clay on Them the general public on the real costs of an The March issue sat around for a week object. We can help to move our culture because the cover clearly showed another toward long-term vision and better solu­ dilettante with another version of the tired tions to problems. and talentless “art” of direct body casting, There is a story surrounding the first assembled in yet another boring form, to disposable cup—it took the inventor longer display the “inner vision” of yet another to find backers than to come up with the person who thinks he/she is an “artist” or a product because no one in the financial “sculptor” sector believed Americans would buy a Give us a look at someone doing some­ product that was made to be thrown out. thing new, from the heart, a real artist with J. Paul Sires real talent. Is it because of CM’s misguided Charlotte, N.C. policy of allowing people to write their own stories of their important achievements? Solar Stoves Are Superior Nan Smith’s picture on the cover of the In regard to the article on the Lorena magazine will go straight into a slick portfo­ stove (February 1991), we would like to lio conning new galleries into believing her remind readers that there is a way to im­ “art” is somehow important. Those of us prove fuel efficiency 100% rather than the who have spent our lives developing hand 50% of the Lorena stove. This is by using the and eye, and allowing the interior human energy of the sun in solar ovens. Artistically experience to come forth in our work, can only shake our heads at this sort of promo­ tion of people who are basically moldmakers, stencil cutters and assemblers of crap of­ fered to the public as “art.” The accompa­ nying intellectual mumbo^umbo attempts to legitimize the so-called “art,” but this, too, has no relation to what is shown in the photographs. CM does us all a disservice by these re­ peated views of spick-and-span studios, and smiling egomaniacs without a speck of clay or paint on them. Sonya Magill Santa Cruz, Calif. Larger or More Issues I’m so glad to receive CM every month, beautiful as Lorena stoves can be, they still but the thought of getting June, July and require a scarce commodity—wood. In many August in one issue is something that my deforested areas of the world—and Guate­ brain can’t take. I subscribe to other ce­ mala is only one of a multitude—solar en­ ramic magazines, but none compares to ergy is abundant. The use of simple solar CM. One magazine is half the size and ovens, made of nothing more than two another is three times the price. I thought I boxes with insulation between and a sheet of knew everything there is to know about glass covering, allows cooking complete pottery, but when CM comes around, it meals without the use of scarce fuel. Direc­ seems there is always something to learn. tions for construction of these can be ob­ Continued

10 CERAMICS MONTHLY May 1991 11 Letters stored in a large iron drum. I cook with a lot of garlic so it’s on my hands as well as coming through my pores. Though the British test I can understand that the staff needs a suggested poorly metabolized sulfides of break once ayear, but those three months in garlic, which would be hard to monitor, I one issue don’t compare to the rest of the wondered what effect garlic would have if year. Maybe in the futureCeramics Monthly placed directly on a test tile and fired. I could make that issue, June/July/August, conducted a series of experiments with off- three times as big, or maybe even do 12 the-shelf “hobby clay” (Cone 06-02 range), issues a year. bisqued at Cone 06, clear glazed, fired to Ralph Kimball, III Cone 06. Then a partly peeled clove of garlic Concord, N.H. was rubbed onto the glazed clay, the re­ maining bits left on, and the whole was fired Blemish Cause Revealed again to Cone 06. The chunks of garlic left For years I have been plagued by a gray raised welts of glaze, though the garlic speckling on my work. This would appear burned away, and there were visible gray unpredictably on raw porcelain that had areas where the garlic was. This gray will even been fired to Cone 10, which made me tend to darken in low-firing atmospheres doubt that its cause was organic. Where where metallics and lusters abound. speckling had not been present in bisque or I don’t know if this is a common prob­ Cone 10, it might appear during the china lem, but for those who have it, it is very paint firing of my work, especially in certain frustrating. For my low-fire work, I now colors such as violet. As the work was sculp­ bisque to Cone 04-03, which is said to “de­ tural, various surface treatments could be gas” the clay. Then I glaze and fire to Cone used to mask the blemish. 06. I can still get a gray rim on the border When I began doing production work where the glaze meets raw clay, on the bot­ using low-fired clays and glazes, the prob­ tom of a piece for instance. And at worst, the lem seemed to get worse. Whereas I had gray produces a stubble that goes through mixed my own clays and glazes for the por­ the glaze and feels rough and looks porous. celain work (opening myself up to all sorts of This is after multiple firings, particularly possible contaminants), using “store-bought” china paint firings; a kind of glaze fatigue materials should have solved the problem. may be a contributing factor. With repetitive production work, I was able Other sulfides, such as those found in to observe that each gray marking was shaped wine or in ingredients at salad bars, also may like a fingerprint and was often at the same not be fully metabolized by everyone. The location. This indicated that it was coming presence of iron in the water or studio from something on my hands, as I handled environment seems to be a factor, too. If I each piece in more or less the same way. have helped solve anyone’s problem, I’m After years of test firing clay in association happy. It took me over ten years to get this with various contaminants such as hand close to an answer. creams, metallic dusts, etc., to no conclusive Henry Cavanagh result, I found the answer in Charlie Panati’s Kingston, N.Y. book, Extraordinary Origins of Everyday Things (published by Harper and Row): Once Firing Dos and Don ’ts “The solution unfolded when a 16-year- I had problems similar to Susan Far­ old British girl, who made reproduction rington (Letters January 1991) when I first antique China dolls, noticed that if she started once firing—blisters forming during touched the dolls’ heads when painting the glazing process; and bloating during them, black speckles appeared after the firing. ceramic was fired. She took her problem to The solutions were as simple as a change a doctor, who enlisted a team of scientific of glazing and firing techniques: Allow the detectives. That the problem disappeared if pots to dry completely, then glaze the inside. the girl wore gloves suggested sweat from Allow the pots to dry completely again, then her hands as the source of the trouble. glaze the outside. (Any cracking or handles “X-ray fluorescence showed that the and other appendages detaching means a black speckles consisted not only of normal bad pot, not a bad technique.) Fire the first body salts found in sweat, but also of sul­ 1800°F (1000°C) slowly, as you would for a fides. The girl’s diet was scrupulously stud­ bisque, then complete the firing as you ied and found to contain small but regular normally do. Bloating during once firing quantities of garlic—in sauces, soups and occurs when the kiln is heated too fast to meat dishes. Garlic is high in sulfides. When allow the gases to escape through the glaze she abstained from garlic, the problem layer. ceased. For comparative information, I use a fine “A small percentage of humans do not white stoneware (120 mesh) fired to Cone 9 sufficiently metabolize sulfides, and certain or 10, either oxidation or reduction, in a ceramic-doll makers literally [leave] fin­ low-thermal-mass kiln. gerprints of their deficiency.” M.J. Bennett The water I use in my studio probably has Grafton, New South Wales an average to high iron content, and is Australia

12 CERAMICS MONTHLY May 1991 13

You can also catch a little potter’s wheel in Bechyne and various factory sites Up Front action in the film Once Around. The char­ throughout the country, whichever is most acter played byDanny Aiello is given a pot­ appropriate to that year’s theme. ter’s wheel for his birthday. Some armchair Kostelec (as it is locally called), the site critics say, however, that the scenes in which of last year’s symposium, was an active ce­ the wheel and a resulting pot are featured ramics center as recently as the first half of are the only reasons for seeing the movie. Mud-Slinging Stars If pottery continues its meteoric rise to Priscilla Presley is slinging mud, but don’t “reel” popularity, will Hollywood branch look for a new book on Elvis. This time, she’s out to handbuilding or even firing? actually got her hands on the stuff, along with costar Leslie Nielsen, in the soon-to-be- 14th Czech Symposium released-yet-already-hyped Paramount by Georgette Zirbes movie, Naked Gun 2 ½: The Smell of Fear. The “14th International Symposium of That’s right, clay hits the big screen again. Ceramics” was held in Kostelec nad Cemymi Last summer, clay set the mood in the Lesy, a small town with a 600-year pottery blockbuster movie Ghost, starring Demi tradition about 35 kilometers from Prague, Moore and Patrick Swayze [see “Pottery Goes capital city of the Czech and Slovak Federa­ Production at the Keramo Factory in tive Republic (previously called Czechoslo­ Kostelec, Czechoslovakia. vakia). A joint effort of the Czechoslovak Union of Artists, the Intersymposium Pre­ this century, when this town of about 3500 paratory Committee and the Ministry of people supported 17factories. Butin 1948, Culture of the Czech Republic, the sympo­ collectivism forced the factories to choose sium offers artists from various parts of the between state ownership or a state-con­ world an opportunity to work together in a trolled cooperative. Those that chose the school or factory situation for about a state-owned option have virtually disap­ month. During this time, artists, organizers peared. The one surviving factory, Keramo, and factory workers experience substantial became a cooperative for which the state interaction and connection through cross- controlled the nature of production and cultural exchange. the range of prices; however, the coopera­ The symposium is also known as “Inter- tive controlled voting on the chief adminis­ symposium Bechyne” because of its origins trative position and on the use of profits. in the town of Bechyne in 1966. Since then Now, with the shift to a market-oriented Leslie Nielsen and Priscilla Presley in it has developed from an annual event pri­ economy and private ownership, Keramo Naked Gun 2'A, spoofing the throwing scene marily for regional artists to a biennial is looking forward to a truly cooperative from the blockbuster movie Ghost. international gathering. Bechyne is located situation, where members have more voting in South Bohemia, an area with tree-lined, power as well as more personal responsibil­ narrow roads; mushroom-laden forests; fish- ity for production. Hollywood” on page 69 of the September stocked ponds; and mustard yellow build­ Artists are invited to participate in this 1990 issue of Ceramics Monthly]. Their sen­ ings. It is also the home of the State School symposium based on the professionalism sual throwing scene became so famous that of Ceramics—a professional middle school of their work and their overall geographic it’s already being reprised in Naked Gun founded in 1884. Some of its students go distribution. In the past, the Preparatory 2½, with Nielsen and Presley replacing the on to various careers in industry and a few Committee dictated that approximately original Ghost stars. Insiders inform us that have portfolios accepted into the studio one-third of the participating artists come this version will be somewhat messier than program at the Higher School of Applied from Czechoslovakia, one-third from East­ the original, though. Arts in Prague (a path that usually leads to ern Bloc countries and the remaining third an independent professional art career). from the West. Last year, as the political Danny Aiello in Once Around, a movie from Also located in and around Bechyne divisions between East and West became Universal Studios. are several ceramic factories that, over the less relevant, those proportions became years, have produced items ranging from more flexible, allowing for participation by roof tiles to sanitary wares. In addition, a more artists from the West and more young ceramics branch of the Mikolas Ales South Czech and Slovak artists whose careers Bohemian Art Gallery was established in a might benefit from contact with the world restored former castle brewery during the art community. The foreign artists were late 1960s; this museum houses a fine col­ Bingul Basarir, Izmir, Turkey; Solange Du- lection of Czech and Slovak ceramics, as chardt, Strasbourg, France; Rosario Guillermo, well as an expanding collection of interna­ Merida, Mexico; RenateHahn, Bad Laasphe, tional work. Germany; Dennis Parks, Tuscarora, Nevada; Within this context, ideas for the sym­ John Paxie, Napier, New Zealand; and me, posium were born. Now, though, its loca­ Georgette Zirbes, Ann Arbor, Michigan. From tion alternates between the ceramics school Czechoslovakia were Jan Benda, Bechyne; Rudolf Malacky, Bratislava; ZAenek Manina, Kladno-Krocehlavy; and Petra Stastna, You are invited to send news and photos Prague—all former students of Otto Eckert about people, places or events of interest. at the College of Applied Arts in Prague. We will be pleased to consider them for The Keramo cooperative has two loca­ publication in this column. Mail submis­ tions in Kostelec. The large factory, at the sions to Up Front, Ceramics Monthly, Boxcenter of town, produces common house­ 12448, Columbus, Ohio 43212. hold wares (from flowerpots to beer pitch-

16 CERAMICS MONTHLY May 1991 17 Up Front and the ceramics community, were the helpers, town dignitaries, organizers and brothers Jiri and Zdenek Hula. They both are interested artists from Czechoslovakia. The artists, craftsmen, collectors, promoters and opening events were punctuated by the ers) year-round. The forms (mostly slip cast, long-time residents of Kostelec; they and surprise arrival of two ceramists from some jiggered and a few thrown) are made their families live and work in a historic Beijing —Feng Mei and Zhang Kuo Fan. They from a white clay and fired in electric kilns compound of buildings just off the main had been invited to participate in the sym­ to 2150°F (1180°C). Some ware is made of town square. Their collections of old ce­ posium, but visa and travel problems pre­ chamotte (a heavily ramics and reference vented their arrival until then—an grogged body) and materials (catalogs, appropriately jarring reality to the ubiqui­ fired in a coal-burning, work images, etc.) cre­ tous presence of political and cultural events beehive kiln. ate a virtual working li­ throughout the symposium. The smaller factory, brary or museum of After premiering in Kostelec, the exhi­ commonly called the Czech and Slovak work. bition traveled to Prague for display at the Fabrik, is located just They challenged the Museum of Decorative Arts, then to outside town. Produc­ symposium artists to a Bechyne where the works became part of tion includes slip-cast special exhibition, to the permanent collection of the Mikolas cups, pitchers and parts be held in their own Ales South Bohemian Gallery. for elaborate smokers’ gallery. Each artist was Why would one give up the familiarity, pipes often embel­ asked to produce an comforts and support system of studio, lished with decals, original work from a home, family, friends and colleagues to go which are exported to kilo of clay, which they halfway around the world to make art in an Western Europe. It was provided and prepack­ unfamiliar setting, among total strangers in this smaller factory aged with a ceramic and in a material that renders the finished that the 11 symposium frog for good wishes. work unportable? The answers may be as artists came together to Some of the artists re­ varied as the individuals, but the common work and exchange ceived this challenge theme may have to do with the opportunity their experiences. with enthusiasm, while for living and working with artists of di­ The factory was others considered it a verse backgrounds and experiences. The open to the artists any burden. making of ceramics can truly be a universal hour of the day or The rhythm of work vehicle for bridging differences in language, Symposium participant Rosario Guillermo, night. Some chose to Merida, Yucatan, Mexico, adds slabs to one was varied by excur­ culture and history. Perhaps those who are rise early, walk to the of her complex, large-scale ceramic forms. sions to historical and visually experienced have a responsibility Fabrik at 5 A.M. or so clay-related sites, such to practice this visual language in the and get a good day’s as the town ceramic broadest possible setting, that of the inter- work done in relative privacy. Others chose museum, local ceramics collections and the cultural community. The symposium in to work during the dark hours, which dur­ Kostelec castle. There was also a two-day Czechoslovakia provided such a commu­ ing summer do not begin until about 10 excursion to Bechyne to see important his­ nity—a diverse mix of artists coming to­ P.M. Usually, though, the studio was buzz­ torical and architectural sites, plus a visit to gether in a studio environment set in the ing with activity by 11 A.M. Prague to tour the historical ceramics col­ The result was a layering of working lection of the Museum of Decorative Arts processes, with a steady stream of curious and the Higher School of Applied Arts. (‘Kostelec Conversations #3,” 25 inches in visitors coming to see how the ceramics The atmosphere in the Fabrik became height, by Georgette Zirbes, made at the were progressing. Workers from the larger electric as the work cycles approached full 14th International Symposium of Ceramics. factory came by regularly at the end of speed and the opening date for the final their shifts to see and evaluate the transfor­ exhibition crept closer. Pressure on the mation of clay and precast forms they had artists caused longer working hours, shorter prepared for the ceramists. The guest art­ slide presentations and group gatherings— ists’ friends and colleagues also came to see even abbreviated meals together. Tension just what a central European symposium was particularly high on the day some large entailed. Former residents of Czechoslova­ and fragile works were loaded in a van for kia came to reconnect with their pasts. the trip across town to be fired in a beehive Among them was a businessman from Cali­ kiln. The four electric kilns in the Fabrik fornia (who was the 11th generation to were fired continuously; everyday, sched­ operate a sanitary ware pottery in Kostelec ules were renegotiated to put work into a before it became state owned in 1949), re­ bisque or glaze kiln sooner. turning to reclaim ownership of the family The pressures of exhibition deadlines business and pursue its possible reopening. have a way of positively motivating the col­ Conversations with the townsfolk often lective and individual forces to acts of en­ revolved around the rapid political and durance. Symposium participants and economic changes. But one custom that workers, who just weeks earlier had been was not interrupted was the ritual of Friday strangers, handled these pressures with afternoons and evenings at the local pub. mutual respect and personal dignity. And, The artists were particularly interested in yes, some of the work did arrive at the the tradition of going out for pivo (beer) museum for installation still warm. with a ceramic pitcher in hand, often bal­ The 60 works made during the sympo­ anced on the handlebars of a bicycle with sium were first presented at the Muzeum balloon tires. Hrncirstvi (Potters Museum) of Kostelec, Two special visitors, who represented a with a gala opening and dinner for all those direct connection with the town of Kostelec involved, including the artists, factory

18 Ceramics Monthly May 1991 19 Up Front this exhibition included vase forms explor­ This division between potters and ceramic ing the classic Greek amphora; some of her artists (usually denoting producers of non­ sculptures even incorporated the profile of functional vessels or sculpture) is partly context of a culture in the midst of creative an amphora in the context of the African theoretical, in their respective privileging renewal. Photo: Susanne Coles. headrest (which traditionally was made of function and aesthetics, and partly prac­ from stone). Photo: Ralph Gabriner. tical, arising from competition for oppor­ Joy Hanken tunities and awards in the institutions that Functional objects, including wedding cups, Potters Guild of New Jersey serve ceramics (National Endowment for candlesticks, birdbaths and menorahs, by Works by members of the recently orga­ the Arts and state art council fellowships, Boston ceramist Joy Hanken, were exhibited nized Potters Guild of New Jersey were pre­ exhibitions at the American Crafts Museum sented in a show at the First Mountain and other such venues, coverage in ceram­ Crafters Gallery in South Orange, New Jer­ ics and crafts magazines, etc.). This division sey. Both functional and decorative works has been exacerbated by the ambition of in stoneware, earthenware or porcelain, many ceramic artists to attain recognition were on display through April 14. Among in the fine arts world; in the pursuit of the exhibited functional vessels were these which, many divorce themselves from func­

“Birdbath,” approximately 46 inches in height, coil and slab built from low-fire clay, with underglazes, stains and glazes. recently at Pacchetto Gallery in Newton, Massachusetts. Looking almost as if they were thrown and assembled, each was in­ stead coil and slab built. Made from low- fire clay, the work was surfaced with underglazes, stains and glazes. Judy Glasser Form-fitted porcelain bowls, thrown and altered, 12 inches (background) and 13 inches (foreground) Vases and sculpture by Judy Glasser were in width, by New Jersey potter Bonnie Cooper. among works featured recently in a three- person show at Ferrin Gallery in North­ form-fitted bowls, thrown and altered (with tional potters who themselves see no need ampton, Massachusetts. A native of New thrown-spiral decoration) by Bonnie Cooper, for the validation of fine arts collectors, York City and studio manager of Baldwin Belleville. Photo: Frank Gensheimer. curators and critics. Place Pottery for over ten years, Glasser Rather than perceive the functional and draws inspiration from various historical Units: New Ceramic Sculpture aesthetic positions in ceramics as a dichot­ and cultural sources. The works shown in by Robert Raczka omy, one can view these positions as points Ceramic sculptures by Mitchell Messina on a continuum because, aside from the Stoneware sculpture with slip, glaze and (Rochester, New York), Brent Oglesbee clear extremes, most ceramics fall some­ oxides, 12 inches in length, based on an (Boalsburg, Pennsylvania), Virginia Scotchie where in between as ceramists arrive at a African headrest, by Judy Glasser. (Bloomington, Indiana) and Megan Sweeney way of working that suits their own temper­ (Cleveland) were on display recently at aments. Most ceramists, including clay art­ Penelec Gallery of Allegheny College in ists, utilize or make reference to the vessel Meadville, Pennsylvania. These four artists as the archetypal ceramic form. This refer­ were brought together in “Units: New Ce­ ent and its attendant metaphorical associa­ ramic Sculpture,” an exhitition organized tions connect virtually all ceramists, even around the theme of creation from parts. though the use of the vessel as source yields Ceramists are not a unified community a wide range of results, from the function­ in purpose or in practice, and there cur­ ality of container to the abstraction of form rently is a pronounced rift between those as nonverbal communication. who produce functional ware and those The history of ceramics consists over­ who pursue more exclusively aesthetic goals. whelmingly of functional vessels and deco-

20 C eramics Monthly May 1991 21 their ties to the pottery/vessel traditions. Inc. Set up in 14,000 square feet of space at Up Front While the term “ceramic art” does in­ the Passenger Ship Terminal’s Pier 90 in clude nonfunctional vessels or vessels that New York City, the handmade-only show defy use, “ceramic sculpture” designates drew buyers representing craft shops, gal­ ceramics that are meant to be understood leries, interior designers and architects. as part of the fine arts tradition of sculp­ While the location precluded anything near ture in a variety of media. Contemporary the crowds seen at the Javits Convention ceramic sculpture is usually a reconciliation Center, where the majority of the gift show of crafts history (of vessel, obsessive surface, was held, the pier apparently attracted a and the labor and imprint of the human number of cross-over buyers (for depart­ hand) and various modernist approaches ment and specialty stores, boutiques, gift (expressive gestural marks from abstract shops, jewelers, mail-order catalogs, im­ expressionism, pop art humor and surreal porters and distributors of home products). juxtaposition via funk, and the nonspecific The ACE show brings new blood to the evocation oflate modernism). Underlying more static gift fair, a good sign, even if these sources in the work of most contem­ much of this year’s new talent was driven to “Molecules,” glazed, handbuilt clay on steel porary ceramic sculptors is a fascination this show by the ongoing recession. shelf, 18 inches in width, by Virginia with the material properties of formed and Among the ceramic objects featured at Scotchie, Bloomington, Indiana. fired clay and applied glaze. This disposition the show were an array of both functional on the part of ceramists has led critic Donald and decorative or sculptural forms. Func­ rative arts, though it also includes sculp­ Kuspit to conclude that “because the cera­ tionality spanned from sturdy wood-fired tural examples. Ceramic vessels, particularly mist’s touch is so visible in both the surface pots to intricately glazed, special-occasion those decorated with glaze, painting or and the substance of his objects, his art is serving dishes. Decorative/sculptural items carving, attained a high level of artistic ac­ perhaps the most self-evidently modernist ranged from raku vessels to whimsical masks complishment in many cultures. By con­ of all.” and abstract wall plaques. trast, in 20th-century America, which was The artists represented in “Units: New Plans are underway for next year’s show, infatuated with the industrial revolution, Ceramic Sculpture” share a common ap­ which will take place February 22-26, again ceramics and other crafts occupied a more proach in producing work that is assembled at Pier 90. For further information, write problematic place: celebrated for their from and emphasizes its construction in Lynn White, Show Manager, George Little handmade artisanry, “elevated” out of the parts or pieces. The work of some is Management, Inc., 2 Park Avenue, Suite realm of utility by virtue of expense and grounded in its constructedness, yielding 1100, New York, New York 10016; or tele­ preciousness, and yet largely dismissed as an association of manufacture; while oth­ phone (212) 340-9249. fine art. The mixed blessing bestowed upon ers attain an organic unity that evokes mol­ ceramics through 1950 was that it was cel­ ecules or bodily organs. In all cases, the Annette Corcoran ebrated as a decorative art in a society that constructing units coalesce into a whole, “New Work by Annette Corcoran” was pre­ increasingly disdained decorative arts. The suggesting the directed purpose of body, sented recently at Dorothy Weiss Gallery in machine purity of the Bauhaus, and the machine or toy, rather than a surrealistic San Francisco. “My entire clay experience intellectual and emotional strategies of assembly of differences. These works offer has been riddled with problems to solve Dada and surrealism left handcrafted ce­ a reassurance that the world makes sense, and risks to be taken, both aesthetic and ramics in the unenviable position of repre­ or that we can make sense of it. technical,” says Corcoran. “In the begin­ senting a premodern aesthetic. ning, my work was described as ‘organic’; Emerging from World War II and con­ Handmade in the U.S.A. then it was ‘funky.’ Later the work became temporaneous with the ascendency of the The opportunity to open new wholesale ‘feminine’; then it was ‘whimsical.’ My work New York School in the international art accounts encouraged 170 craftspeople to has changed again, and I’m not sure how market, the potter/artist ceramics split de­ participate in last February’s “Handmade it’s best described. veloped, with most potters turning to the in the U.S.A.,” a new segment of the annual “The teapot bird forms I have been do­ production of Japanese-inspired wares “New York International Gift Fair ,’juried by ing for the last seven years are not precon­ glazed with Zen and mysticism, while more American Craft Enterprises (ACE) and ceived; about halfway through the forming fine-art-oriented ceramists, such as Peter produced by George Little Management, Voulkos, were drawn to the spontaneous as­ process it ‘becomes evident’ what bird each pects of Japanese ceramics that they com­ bined with influences of Picasso and abstract From “Handmade in the U.S.A.”: Honey pot,$14; teapot, $50; teabowl, $8; and pitcher, $25 (prices are expressionism. The other major movement retail); all wood fired, by Todd Piker’s Cornwall Bridge Pottery, Cornwall Bridge, Connecticut. in postwar American ceramic art was funk, led byRobert Ameson in adapting surrealism and pop art to develop irreverent ceramic sculpture in the late fifties and early sixties. The success these movements brought to ceramics was as “sculpture,” which was usu­ ally seen as being above craft, thereby heightening the insecurity of many ceramic artists toward ceramic history, and who in response began to refer to vessels and ves­ sel referents as “forms,” playing down sources in pottery and linking themselves to the formalism oflate modernism. By the late seventies, due to a growing support system in education, exhibition and pub­ lishing institutions, most ceramic artists were confident enough to acknowledge

22 Ceramics Monthly May 1991 23 Up Front through March 13. Originally inspired by to the source of the imagery) on each piece Staffordshire figurines, Eglin now works at is a decorative rather than an identifying a larger scale and often borrows images statement. from the work of such painters as Cranach or Giorgione, whom he admires—in a sense Corazon Watkins stepping into a painting and producing M.F.A. candidate Corazon Watkins recently the central figures in three dimensions. By received a University of Oklahoma Museum emphasizing a gesture or the angle of a of Art purchase award for a sculpture from head, he adapts the figures to free-standing her series of works about the lifestyles of form and invites the viewer to reconsider a Philippine villagers. Each year, the museum familiar composition. buys an outstanding example of student Glazes are poured, dripped and painted work to add to its permanent collection. like graffiti. The painting of a title (relating Her thesis show was on view at the museum

“Adam,”approximately 3 feet in height, coil and slab built, with slips, oxides and lead glaze poured, dripped and painted like graffiti, by British ceramist Philip Eglin.

“Stonechat,” approximately 7 inches in length, thrown and altered porcelain, with successive layers of underglazes, glazes and china paints, $2300, by Annette Corcoran, Pacific Grove, California. will become. The necks and heads are usu­ ally fairly accurate, but then again, may be altered to complete the functional aspect of a teapot. It is interesting how many changes from reality can be made in the form without losing the bird’s identity.” Working on 6 to 12 at a time, Corcoran begins each teapot as a closed thrown form, which is then “paddled, cut, added to and subtracted from.” After a bisque firing, “successive layers of underglazes, glazes and china paints are applied. I use an airbrush in every step,” she says, “but rely on a brush for most of the fine detail and delicate shading. Normally, each bird is fired from 15 to 20 times; firings range between 1300°F and 2100°F ” Juried Whimsy A juried national exhibition exploring the whimsical side of clay was recently on view at the Clay Studio in Philadelphia. Featured were works byMark Derby, Tucson; Alice

“Untitled #43,” 8 inches in height, glazed terra cotta, with gold leaf, by Mark Derby. Federico, New York; Dana Goodman, Athens, Ohio; Robin Leventhal and Lisa Naples, both from Philadelphia; Anita Powell, Ellerfeld, Indiana; and Bruce Winn, Jersey City. Philip Eglin “Figurative Ceramics,” an exhibition of sculpture by British artist Philip Eglin, was on view at Oxford Gallery in Oxford, England,

24 Ceramics Monthly May 1991 25 Up Front series of vessels assembled from wheel- imates a human figure. When you pick up thrown parts, incised, cut and manipulated. ajug, it should feel lighter than you expect. Subsequent firing with wood yields subtle The illusion of lightness comes from the surface variations. shape of the shoulder.” As he finished the pouring spout, Seth Seth Cardew Workshop noted that “a sharp edge on it prevents by Sandra Johnstone capillary action and dribbling down the Recently, British potter Seth Cardew, son of front.” Michael Cardew, was in California to give a In addition to throwing examples of the workshop sponsored by De Anza Commu­ traditional forms produced at Wenford nity College and the Association of Califor­ Bridge Pottery, Seth demonstrated finishing nia Ceramic Artists. Seth is the master potter and decorating techniques during the day­ at Wenford Bridge Pottery, which is in its long workshop. third generation of Cardews—Seth’s son Ara being the youngest member of the Jeri Hollister The expression of movement and gesture is the primary concern of Michigan ceram­ ist Jeri Hollister, whose abstract horse figures were featured in recent exhibitions at the Detroit Gallery of Contemporary Crafts, and at America House Gallery of Contempo­ rary Crafts in Piermont, New York. “Move­ ment in any stationary medium is embodied in contour, mass and gravity,” Hollister ex­ plained. “Combined, these elements imply gesture. This implied gesture then takes on a character as interpreted by the viewer. “Throughout history, the horse has been “An expression of respect for those people who still live a simple life in the village,” a symbol of strength, prosperity and free­ untitled figure, 45 inches in height, dom. The horse embodies both fierceness handbuilt, with twigs, by Corazon Watkins. and beauty. Even when serving humans, it is powerful and should be respected. “Originally, I chose the horse as a sym­ through December 16,1990. With this work, bol for Latin American solidarity. As the Watkins sought “to express the ‘down-to- work evolved, the focus has shifted from an earth’ quality, the gentleness and romantic abstracted expression, with emphasis on character that village people impressed anger, toward a figure that emphasizes the upon me as a child growing up in the Phil­ Seth Cardew at De Anza College in grace and beauty of the animal. That is not ippines. They are hospitable, hardworking; Sunnyvale, California. to say that the power associated with the they take pride in their heritage. horse is absent. Certain physical focal points “Upon returning to the Philippines two family to carry on the tradition begun by are important to me as vehicles for expres­ years ago, I found tremendous changes that his grandfather. sion. The head and mouth, the round the country has undergone with the advent The pottery at Wenford Bridge is on 3 masses of the flank area and the gesture of of political and economic turmoil. This acres next to the River Camel; it includes a work is an expression of respect for those museum and sales gallery, as well as facili­ people who still live a simple life in the ties for live-in students who come to take ^Rearing Horse, 88-2,” handbuilt, 25 inches village and have retained their cultural classes lasting from one to two weeks. Stu­ in height. identity, in spite of the ever-growing influ­ dents who stay for longer periods not only ences of the modern world.” make pots under Seth’s direction, but also have the opportunity to participate in firing Karen Karnes the wood-burning kiln. New work by Vermont potter Karen Karnes The Cardews carry on an English was featured at Joanne Rapp Gallery/The “country pottery” tradition—some of the Hand and the Spirit in Scottsdale, Arizona, processes date to medieval slipware pot­ through March 10. Interested in investigat­ ters. An aspect of this is the practice of ing sculptural geometry within the tradition making certain pieces from specified of pottery, Karnes has been working on a amounts of clay. If a country potter makes a mug weighing ¾ pound, the capacity of the mug is standard and does not have to “Winged Vessel #63,” 9Vi inches in height, be calculated. The traditional weights are wood-fired stoneware. ¾ pound, 1½ pounds, 2/4 pounds, 3½ pounds, 5 pounds, 7 pounds and 10 pounds. Once, when Ara was making mugs from 1- pound weights, Michael told him it was “not a proper weight for a pot ” During his workshop at De Anza Com­ munity College, Seth spoke about the aes­ thetics and functions of the forms he makes. “When you make a jug [pitcher], it is no ordinary cylinder. The shape most approx­

26 C eramics Monthly May 1991 27 Up Front pointed messages about political and social concerns. He also weaves the themes and songs of author James Joyce into his art. Like an intricate novel, it functions on several lev­ els. Some pieces are divided into panels, with secondary scenes surrounding a larger picture, as subplots intertwine within a story. Variety in language, including charac­ ters communicating by means of hand signing, inscribing and his own cryptic hi­ eroglyphics, is also Joyce inspired. “We Need More Power” (below left) was shown in a recent solo exhibition at Ob­ jects Gallery in Chicago. Chick Schwartz by Ron Wild At first glance, Vermont ceramist Chick Schxvartzs work appears simple; but this is “Large Horse, 89-19-2,” 42 inches in height, deception. On closer scrutiny, we realize by Jeri Hollister, Ann Arbor, Michigan. the artist is considerably more than the technician he hides behind (i.e., when the the stance combine to express anger, sen­ lights in the gallery are turned off, the street suality and beauty.” lamps in his pieces give off an eerie glow). Cluttered throughout the action in his Peter Gourfain street scenes, crime is never far from oblivi- When people ask what he does, New York artist Peter Gourfain says, “I tell stories.” But his are not easy-listening narrations. Many of Gourfain’s terra-cotta sculptures, draw­ ings, wood carvings and paintings deliver

“We Need More Power,”2OV 2 inches high, carved terra cotta, by Peter Gourfain.

“A Nanosecond During Marilyn’s Finest Hour,” approximately 25 inches in height, glazed stoneware and bird’s eye maple. ous cops, and scavengers are often found near people lounging in sidewalk cafes. One of the more controversial pieces in a recent show at Columbia University’s Postcrypt Gallery was made in collabora­ tion with cabinet maker Niels Jensen. “A Nanosecond During Marilyn’s Finest Hour” is full of truths. Through the forlorn fe­ male silhouette in the bird’s eye maple, we note that of all the people in the ceramic scene only two are male, and they are both being served by women. Similarly, only two of the people are Black, and they are seen washing a curb and walking a child. The other figures are women doing what women were “supposed” to do during Marilyn Monroe’s time. There are beauty contes­ tants, a grocery shopper, a nursing mother, teachers, window washers, sweepers, flower and apple vendors, gossipers, and major­ ettes. However, tucked away, barely visible in a corner, one woman can be seen spreading a message among her sisters.

28 CERAMICS MONTHLY May 1991 29 Magdalene Odundo

TWELVE handbuilt terra-cotta vessels (more than a year’s pottery where some part of the work has not been carried work) by Magdalene Odundo were featured in a sold-out out to achieve characteristics that are unrelated to utility. exhibition at Anthony Ralph Gallery in New York City Attaining an abstract excellence in artifacts seems deeply through March 30. Seven were purchased by museums, rooted in the human psyche. One could argue that this is with two going to the Smithsonian in Washington, D.C. the origin of art. Prices ranged from $5600 to $7200. “The qualities in Magdalene’s work are conditioned by Born in Nairobi, raised in India, then schooled in art in the way she makes her pots, and the materials and processes Kenya and England, Odundo draws inspiration from di­ that she uses, particularly the way her work is fired.” verse cultures, but remains “firmly rooted in the vessel- Odundo’s pots are coil built, then scraped smooth, slip making tradition,” says David Queensberry, a partner of coated and burnished. Color depends on the firing atmo­ Queensberry Hunt Design Consultants and formerly sphere. Her orange/rust pots are once fired in oxidation Odundo’s teacher at the Royal College of Art. “It is impor­ in a gas-fueled fiber kiln; the blackware is the result of a tant to her that her pots are containers; in this respect they second firing—each piece packed with combustibles in a seem to have a function, but they can not be said to be saggar (made for her by Wedgwood) for reduction. utilitarian.... Her work, like that of many contemporary “Magdalene exploits the possibilities inherent in this studio ceramists, must be seen as an aesthetic quest. way of working—with skill and sensitivity,” Queensberry “There is a paradox for a potter like Magdalene— concludes. “Her pots prove that it is quite possible to making containers destined to remain empty when the make statements in clay with forms that, while not being references are mainly ceramics from the past, which were overtly sculptural, have the same purity that one finds in utilitarian. Nearly all pottery, though, shows signs of being the work of sculptors like Brancusi. It is not necessary for a made with two purposes in mind: utility and aesthetic potter to cut the umbilical cord with the vessel to make pleasure. Indeed, it is quite difficult to find examples of work that can be taken seriously as sculpture.” A

Magdalene Odundo (Bentley, Hants, England) with simple tools for making burnished ware in her studio.

30 CERAMICS MONTHLY May 1991 31 “Angled Terra-Cotta Piece” approximately 15 inches in height, coil built, scraped, slipped, burnished, once fired in oxidation.

32 CERAMICS MONTHLY May 1991 33 “Mixed-Color Reduced Symmetrical Piece ” 14V2 inches in height, coil-built terra cotta, smoked with combustibles inside a saggar.

34 CERAMICS MONTHLY May 1991 35 JUST OVER three years ago, Lincoln studio, thus contrasting contemporary sented forjudging,” Earl thought “the Arts (a nonprofit, volunteer organiza­ work with the old and new architec­ search for the new and different has tion) and Gladding, McBean & Com­ tural ornaments—gargoyles, cherubs, begun to wane. There seemed instead pany (a 115-year-old architectural clay decorative friezes, etc.—that were to be a turning inward to ceramics, factory in Lincoln, California) began made in the factory for buildings away from painting and sculpture, for working together to host an annual around the world. the work’s source of inspiration. Our national competition for ceramic The 1990 edition of the show in­ young artists may have come to recog­ sculpture. The resulting “Feats of Clay” cluded 70 works selected (from a field nize that contemporary ceramics, both exhibitions have been housed inside of436 entries) by Lakeview, Ohio, stu­ pottery and sculpture, has the depth, an old, 35-foot-diameter beehive kiln dio artist Jack Earl. Although “there power and maturity to sustain the and the factory’s architectural design was a great variety in the work pre­ building of a tradition ” ▲ Feats of Clay III

above “Passage X” handbuilt stoneware, 16 inches high, $500, by Paul McCoy, Waco, Texas.

right “The Birth of Venus,” 17 inches in diameter, thrown earthenware with underglazes, $425, by David Brigman, Abilene, Texas.

far right Porcelain teapot, 18 inches high, with low-fire glazes, $1200, by L. Luis Ortiz, Penryn, California.

36 CERAMICS MONTHLY Bruce Taylor by Paula Gustafson

Now A LECTURER in ceramics at the Nova Scotia College informational interactions, and the reward or aesthetic of Art and Design in Halifax, Bruce Taylor never talked experience comes from the quality of the relationship much about himself or his work when I first knew him at between the two categories,” Taylor has written. the Alberta College of Art. Even now he chooses words Do we need names? We have eloquent objects. Objects carefully. Most of his work is untitled, but this isn’t vague­ that “speak” for themselves. Objects with visual impact, ness on Taylor’s part. Omitting names is deliberate. He capturing our attention, communicating not only intrin- leaves it to the viewer to resolve the piece’s intention. “When looking at an object, the mind first selects as­ “Untitled (Vessel)” 21 inches in length, pressed into a pects it can classify, then balances that against its novelty wooden mold, surfaced with terra sigillata, stain and glaze, or innovation. The aesthetic potential resides in complex single-fired to Cone 1, by Bruce Taylor, Halifax, Nova Scotia.

May 1991 37 sic form and presence, but also conveying emotion and better not to see the inside. As this work reminded me of social history. that coffin of 20 years ago, it was the work that attracted “Ceramics...is accessible to everyone by virtue of its me most.” close connection with human experience. It is lodged in Another judge, Yoshiaki Inui, expressed similar feel­ our minds as memory-traces, based on our accumulated ings about Taylor’s work. “The Grand Prize piece, which sensory encounters. These encounters become archetypal reminded me of a ceramic coffin of ancient times, su­ images that are accompanied by the emotions of the origi­ perbly expressed a warm material touch and retained a nal event.” magnificent presence.” If we believe there is a universal imagery, as Taylor By contrast, to judge Rudolf Schnyder, of Switzerland, does, then it is not surprising that his prizewinning entry Taylor’s entry was “a heavy old-looking chariot, left behind at the “2nd International Ceramics Competition” in Mino on a long journey in the wind.” [see page 53 in the May 1990 issue of Ceramics Monthly] “The concept of a sculpture may be abstract, but in looked Japanese to the Japanese judges. trying to keep within the confines of a metaphoric func­ Juror Osamu Suzuki drew on his memory to explain tion, the object stays recognizable. The recognition trig­ why Taylor’s work held special appeal. “Lead-covered gers a variety of references that the viewer can connect,” wheels installed on a large coffinlike box, looking simple Taylor says. and rough, but with a power that gradually overcomes Knowing his personal history, I can also see in this work you—this is the impression I had upon viewing the entry the density and mass of the Rocky Mountain environment that won the Grand Prize. I recalled having had a similar surrounding the Banff Centre for the Arts where he worked impression sometime in the past. It was over 20 years ago, and studied between 1983 and 1985. when an international ceramics exhibition was held for Taylor continues, “If a sculpture has a sufficient amount the first time in Japan under the joint auspices of the of mass, it can convey many of the same aesthetic sensations Modern Art Museum and a newspaper company. I was as a larger scale sculpture. The perceived mass creates an strongly impressed by a large ceramic coffin made by an impression of inertia that opposes any variation in its American artist. The coffin had a charming color of soil, movement or inaction. In my work, mass is suggested by like that of an old Japanese clay image. When I opened it physical bulk. The physicality of the clay’s mass, coupled slowly, there was nothing unusual in its whitish inside. The with the implied movement, causes the work to be per­ inside was so open and ordinary that I felt cheated. ceived as confrontational or resistant. “I still recall that impression. The Japanese ceramic “It is important that my sculpture be perceived as diffi­ box [Taylor’s entry] was too heavy to open, but I felt it was cult in the sense that no single person could easily change

38 CERAMICS MONTHLY Bruce Taylor in his studio with works in progress; all his clay sculpture is constructed solid (up to 18 inches thick) and subsequently must be fired slowly, taking as many as seven days to reach Cone 1. 9 above “Untitled (Barrel),’ 4 feet long, clay with lead sheet. far left and LEFT Two views of “Untitled (Rocker),” 39 inches in height, single-fired clay and lead sheet.

May 1991 39 its motion or perceived motion,” Taylor explains. “My works, like the machines of our time, are difficult to oppose in their progress or advancements. It is no longer easy to just turn them off.” Other influences are less obvious in Taylor’s work, but reflected in his technical approach to structure and tex­ ture. For example, following his graduation in 1983 from the four-year, studio-based program at the Alberta College of Art, where he majored in ceramics and glass, Taylor worked for four years as a ceramics, glass and sculpture technician. He has also produced a considerable body of functional ware. “My recent work is the outcome of a variety of influ­ ences, from functional pottery and architecture to engi­ neering the design. These influences play varied roles in my sculpture and each one performs a different function. above and top Two views of “Untitled (Ballls)” [sic], As a result, the work has layers of intent and implication. 18 inches in height, press molded from recycled clays, “All the work is built in wooden molds; it is always surfaced with terra sigillata, stain and glaze, single fired constructed solid, as opposed to hollow, from a body to Cone 1, by Bruce Taylor, Halifax, Nova Scotia. made up of about 50% scrap and discarded clay. Up to 18 inches thick, it must be fired slowly, sometimes taking they are animated by an ambiguous function and movable seven days to reach temperature. It is all once-fired to parts that have no apparent purpose.” about Cone 1. The surface is a combination of terra There is an elegant unpretentiousness about both the sigillata, glazes and stains. man and his objects, manifested in his use of recycled “Efficiency plays an important role in my work. It allows materials, patience with process and refined vocabulary. for expressive and simplistic forms that can be digested quickly, unadulterated by irrelevant decoration and orna­ The author A frequent contributor Ceramics to Monthly (see mentation. This leaves the viewer free to study the abstract “The Art of Packaging” in the October1990issue), Paula Gustafson and symbolic aspects. Though the sculptures are static, is a Calgary-based writer specializing in the visual arts.

40 CERAMICS MONTHLY Jean Linard by Virginia Hillhouse

THERE IS A SAYING among the resi­ status quo is not for Linard. The gate sky and the trees, at times catching dents of La Borne (a thriving center is painted red, yellow and black, and and reflecting the sun, at times hid­ for some of France’s finest potters): fantastic figures greet visitors at the ing in the thick fog that often snakes ‘Jean Linard lives near La Borne, but blue front door. Yet, all this is dwarfed itself around La Borne. one day people will say ‘La Borne is by the enormous cathedral he is Typically, Linard and his students near Jean Linard’s house.’” building beside the house. (of which he usually has two or three) Situated on the rolling pastureland Linard came to La Borne in 1961. work on the cathedral every morn­ in the Berry district near the Loire He freely admits that his knowledge ing, moving to the pottery in the af­ River, the house proclaims that an art­ of the local clay brought him to the ternoon. There are close to 30 abstract ist lives here. A low-roofed brick area, but he answers a question about spires, triangular structures, some as structure, it is typical of a prosperous its exact qualities with another ques­ tall as 20 feet. When asked for an French farm, but any semblance to tion: “Why is French wine good? It is exact accounting of the spires, Linard the usual ends there. No ordinary roof one of the mysteries of the earth.” answers evasively: “I won’t know even would do for Linard; ceramic pots and Construction of the cathedral be­ on the day I die.” round-faced heads are interspersed gan in 1984, and he continues to add Round forms decorated with tiles, among the handmade tiles. The fence something every day. “I am drawing mirrors and sometimes bottles are posts are adorned with ceramic finials, my soul in the forest,” he explains. certainly the rose windows. There is a recent additions, and visual proof that There is no roof. It is open to the chair (the bishop’s?) with a grinning

French artist Jean Linard with a round “window” made from bottles and mirrors, to be mounted between the shard-encrusted spires of his cathedral (background).

May 1991 41 Ceramic tile finials top fence posts surrounding the entrance to Linard’s property near La Borne, France. feline face for the seat. The cathedral random shades of black and brown, the mirrors in his mosaics, which are covers an area of nearly 1200 square the result of works being submerged so effective in trapping and reflecting feet, but Linard plans for it to sur­ in sawdust. bits of images, were first brought to round the house one day. Linard also works with metal, ce­ him years ago by Jean Cocteau. The cores of the spires are con­ ment, bronze and paint. “I first con­ He also praises Picassiette (Ray­ crete blocks, each covered with a ceive the idea and then decide which mond Isidore) of Chartres, an artist plaster stucco of the quality used for media can best express it.” He moves who deals with an entire area. Picas­ frescoes. To this surface, he adds bits easily from one medium to another, siette, as Linard is doing with his ca­ of broken tiles and mirrors. “I must from sculpture to vessels. thedral, creates environments. work very fast, for the plaster dries Ceramic bowls and plates share Linard has a strong sense of quickly. I am like Charlie Chaplin in space equally with the metal masks humanity’s relationship to the earth. Modern Times!” and figures in the three gallery show­ He tends his own vegetable garden, Originally, he produced blue-and- rooms attached to the house. “I see produces about 40 liters of wine from white glazed tiles for the cathedral. no difference in the useful object and his grapes and, of course, takes from Later, he made arrangements with a the art object,” he states. “The diffi­ the earth the clay for his work. Wood ceramic business to take any tiles it culty is to place in each work a little for the kilns is cut from his land; discards, so the project now incorpo­ piece of my heart.” smaller branches are gathered from rates more color. It is not surprising to learn that the forest floor and neatly tied into When firing his own tiles and other Linard greatly admires folk artists, that bundles. works of art, he chooses between four he likes what he calls les singuliers de I’art Although Linard’s works are sold kilns: two primitive ones, a Danish gas (the bizarre/unusual in art). In par­ around the world and even collected kiln and a wood-burning kiln. “Kilns ticular, he talks about Le Facteur Che- by museums, his greatest work is in La are as different as women. I trust my val, the postman on horseback, who Borne—the cathedral, his chief focus. intuition.” built his house with stones collected It suggests his feeling of oneness with To achieve the brilliant blue glaze while he delivered mail. the earth, yet also reflects a sense of on his tiles and, indeed, on many of Like Le Facteur Cheval, Linard uses humor and demonstrates his ability his other works, Linard fires the gas what he finds, what is given to him, as to let us know that great things can kiln. From his primitive kilns, he gets well as what he makes. For instance, make us smile. ▲

42 CERAMICSMONTHLY PHOTOS: VIRGINIA HILLHOUSE, MARALYN WII SON

Ranging from 5 to 25 feet in height, the cathedral spires are composed of broken tiles and mirrors embedded in stucco covering concrete-block cores.

Even the roof of Linard’s house is adorned with handbuilt pots, round-faced heads and tiles.

May 1991 43 American Arts & Crafts Ceramics

LATE 19th- and early 20th-century ceramics were among terized by pictorial and decorative applications to forms the objects featured in “American Arts & Crafts: Virtue in ... [each] treated as a canvas for embellishment. Design” at the Los Angeles County Museum of Art. Drawn “In the second approach, also influenced by Euro­ from the Max Palevsky and Jodie Evans collection and pean examples, sculptural possibilities of the form itself the museum’s holdings, the exhibi­ are emphasized. Such works have tion included over 100 ex­ no applied decoration; deco­ amples of works produced rative appeal rests on the by well-known and not- manipulation of form. so-well-known art pot­ “In the third ap­ teries and individual proach, the unity of artists/potters. form and glaze is ex­ Begun in England tolled, to the exclu­ as a reaction to the sion of any additional threatened extinction decoration. This Ori­ of time-honored craft ental philosophy was skills and techniques by favored and taught by industrialization, the arts Charles Binns at the and crafts movement “sup­ New York School of Clay- ported enormous develop­ working and Ceramics. ments in art ceramics between 1880 “Many of the body and glaze and 1930,” notes Leslie Green Bowman, the museum’s formulas and firing procedures had to be devised by curator of decorative arts, in the accompanying catalog. Americans through tedious experimentation. Oriental “The remarkable achievements of Americans within this and European examples provided precedents, but it is short period are exemplified by the results of the 1910 important to realize that ceramics artisans and firms closely Turin International Exposition, in which a New Yorker, guarded their methods. The success of art potters in the Adelaide Alsop Robineau, took the coveted grand prize. United States is one of the most important chapters in “Three different approaches are discernible in Ameri­ the history of ceramics, and it paved the way for the can art pottery. The first, European in nature, is charac­ subsequent development of studio ceramics.” A

Glazed porcelain doorknobs, each just over 2 inches in diameter, by Adelaide Alsop Robineau, circa 1904. Initially a china painter, Robineau began producing her own porcelain wares in 1903. These doorknobs were part of her plan to recoup studio-building expenses through the sale of utilitarian objects, but she apparently abandoned the plan within a year or so. Although she also experimented with crystalline and multiple-matt glazes, she is perhaps best known for intricately carved ware, such as the famous “Scarab Vase” that won the grand prize at the 1910 International Exposition in Turin; now part of the Everson Museum collection, the vase (valued at a half million dollars) was stolen but recovered intact in 1989.

44 CERAMICS MONTHLY Rookwood vase, 3 5/s inches in height, earthenware, with glaze decoration (by Kate C. Matchette) and silver overlay, circa 1892-93. Perhaps the most influential art pottery in America, Rookwood Pottery of Cincinnati was established in 1880. Unlike other potteries, which produced art wares as a sideline, Rookwood was conceived as an art pottery, with facilities for hand production and decoration. Commercial success during the next 80 years was in part because of the pottery fs adaptability to changing tastes. Between 1892 and 1900, Rookwood collaborated with Gorham Manufacturing Company (Providence) to produce pottery with silver overlay. An electroplating process was used to apply the silver, which was then engraved.

May 1991 45 Batchelder sample fireplace, 28 inches in length, glazed industry in Southern California and across the country. earthenware, circa 1920-30. Ernest Allan Batchelder studied Marketing samples such as this were shown in company at the School of Arts and Crafts in Birmingham, England, display rooms in New York, Chicago and San Francisco. then taught at the Harvard Summer School of Design, the Twice the business was expanded, with the largest site Minneapolis Handicraft Guild and Throop Polytechnic occupying6 acres in Los Angeles; then the Depression put Institute in Pasadena, California, before establishing his Batchelder Tile Company out of business in 1932. However, own business in 1909. With the help of former students, he Ernest Batchelder continued to produce pottery, first at produced decorative tiles for the booming construction home, then at a small shop in Pasadena, until the 1950s.

Grueby tile trivet, 6V2 inches square, glazed earthenware responsibility for designing art wares, while Grueby with bronze mount attributed to Tiffany Studios (Corona, remained in charge of glazes, the most famous of which was New York), circa 1905. The Grueby Faience Company of a thick , often green, matt glaze perfected in 1898. Kendrick Boston was one of the most productive of the American art left the pottery in 1901, but his designs were made long potteries. Founded in 1894 by William Henry Grueby, the afterward. A fire in 1913 marked the end of pottery company at first produced architectural tile and brick. When production, but the tile operation continued successfully George Prentiss Kendrick joined the firm in 1897, he assumed until Grueby sold the company in 1920.

46 CERAMICS MONTHLY PHOTOS: COURTESY OF THE LOS ANGELES COUNTY MUSEUM ART

“Norweta” vase, approximately 5 inches in height, earthenware with crystalline glaze, circa 1907-20. The major output of the Northwestern Terra Cotta Company (Chicago, 1888-1956) was architectural claywork; however, the success of the “Teco” ware produced by crosstown rival Gates Potteries encouraged the development of a line of “Norweta ” crystalline-glazed vases. With the acquisition of the Chicago Crucible Company in 1920, the “Norweta ”ware was discontinued in favor of new items with the Chicago Crucible mark.

May 1991 47 IT ALL STARTED in the spring of 1969 the arts and crafts center to watch was spending all my free time; they when my mother broke her leg ski­ artists working, and found myself par­ wondered if there was any future in it. ing. She had a hard time getting ticularly fascinated by the potters. Finally, I ran away from home to live around after the accident, so my fa­ When I was 13,1 saw an ad for some­ in the dusty loft of the pottery shop, ther decided that a couple of weeks one to sweep and dust the pottery managing to scrape by on $5 a week, on the beaches of Tahiti would relax shop in exchange for use of the facili­ plus free lunches at school. her. Little did I know this would ties; I jumped at the chance. Fasci­ I remember the excitement of my change my life forever. nated with clay, I loved every spare first firing; the resulting planters were As I am the youngest of four chil­ minute in the studio. purchased by a nursery and I cel­ dren, my parents often took me on My parents couldn’t understand ebrated with a real meal in a restau­ vacations with them. But this was dif­ this and we often fought over how I rant. But these were hard times. My ferent; I had never seen a interest in school waned. place so idyllic, never Perhaps the teachers lost in­ dreamed people could fish, terest in me too. So I took gather food and live in small the G.E.D. test and left high grass huts without doors or school at the age of 15. windows because the climate That summer I took a was so mild. I fit so well into University of California- the lifestyle that I wanted to Santa Cruz extension class stay forever, but the hotel with my sister and her hus­ where we were staying didn’t band, who are also potters. seem to have a job for a 12- We learned throwing accord­ year-old boy. As I boarded the ing to Marguerite Wilden- plane with a sarong around hain’s technique. This gave my waist and a flower behind me much greater control my ear, I dreamed of coming over the clay and my confi­ back one day, perhaps as dence rose. In the fall, a some kind of an artist. friend and I went to Men­ In the small town of Los Peter Owen at the wheel in front of his studio (shown docino, where we had se­ Gatos, California, where I top—a grass hut without doors or windows) located on cured jobs as apprentices with grew up, I would often go to a small island near Tahiti in French Polynesia. Mayer Schacter [see his port­

48 CERAMICS MONTHLY folio “Reappearing Themes” in the nurse) decided to give a party for all homesick for Tahiti. Nor had I forgot­ December 1986 CM]. At first there the foreign students at the high school. ten my dream. So we decided to relo­ were days of my work that he returned She asked me if I was willing to pick cate, becoming the first potters on an to the wedging table. When he finally up Ghislaine, a student from Tahiti, island where there isn’t any decent told me I was throwing his pots as well and bring her to the party that clay. With the help of family and as he, I decided it was time to start my evening. I jumped at the request. friends, we crated up 3 tons of clay, own studio. That afternoon, I told my sister I glaze materials, a wheel, two small Accepting that I wasn’t going to be would probably fall in love with kilns, and left for paradise. a doctor or a lawyer, my parents helped Ghislaine and move to Tahiti. And We rented a small house in a beau­ me set up a studio in their garage in that’s just what happened. We dated tiful valley where there was no one Los Gatos. My first pottery teacher during the next nine months. Two else but us—and 200 pigs. Most of the loaned me the money to buy a wheel. weeks after she returned to Tahiti, I time the wind blew toward the pig All my greenware was transported to called and asked her to marry me. farm, but when it didn’t, we knew it. a rented kiln across town, and the One week before my 18th birthday, I Having never built my own studio, I bisqueware was brought back to the arrived in Tahiti and we were married. hired a local man who assured me he studio for glazing and decorating. Returning to California, we set up would be there the following week to Then it went back across town for house and studio. We even managed help. After three weeks, my wife finally glaze firing. As difficult as this was, it to buy a small kiln with savings. Life asked him about the delay. He ex­ was a step up from sweeping the wasn’t easy because we were very plained that he was fiu, which means floor—I was making progress. young and from different cultures. he was bored or just didn’t feel like it. Prior to and during this time, my That year, Ghislaine learned to Little did I know the importance of parents often had foreign students work in the studio. She has a real this word, which we were to hear many living at their house. That year, they talent for decorating pots, and I was times in the future. His father (a man had a young man from El Salvador, happy we were together. She was not with a heart of gold) felt bad about and my mother (who was the school so happy, though, as she was truly the whole situation and came over to

Lidded jar, 6V2 inches in diameter, thrown porcelain, with sgraffito decoration, high fired in reduction. A small, glazed porcelain form that Peter Owen cemented inside the wall of a living oyster’s shell produced the unusually shaped pearl that is inlaid at the lid’s center. May 1991 49 help. We built a small, open-air studio could borrow a hammer. The reply without doors or windows. When I was, “Sure, do you have some nails? offered to pay him, he refused and Would you like a saw?” Asking a simi­ simply said, “Friend.” lar question in a city might get quite a Our pottery making generated different response. Our neighbors much interest on the island. People helped with construction, but when seemed to show up from everywhere we tried to pay them, they would just to see the magic. Even the local news­ walk away and say, “Friend.” What paper and television station came to great teachers these people are! report on this mysterious method of We soon realized, though, that we shaping and cooking dirt. had a problem in paradise. Every In six months time, we managed to evening a cloud of mosquitolike bugs get together enough work to have a would come and eat us alive. The itch show at the island capital, Papeete. from the bites of these “no seeums” is Many people came (including the enough to make a grown man cry. President), several made purchases, One evening while fishing, we real­ and for us there was great relief, as we ized there were no bugs in the middle worried what Tahitians would think of the lagoon. I reasoned that building of our pottery. a house out over the water might be In Tahiti, our work underwent Bottles cast from scrap-clay slip are the solution to our bug problem. That many changes. Ghislaine started do­ used to package honey from20 hives. way we could work on the land in the ing wax-resist patterns using old daytime and sleep, bug free, over the Polynesian symbols in a new way. She food and are willing to help each other water at night. also did sgraffito drawings of land­ with the many chores of living off the So our thatch-roofed house was scapes and people through slips. We land. They hadn’t made money their built on the edge of a coral reef, in 3 even worked with other artists and priority as had many of the new gen­ feet of water, about 100 yards from had a great exchange of ideas and eration in Tahiti. shore. The front deck is cantilevered techniques. The Polynesians truly en­ We acquired 5 acres on a motu (a past the edge of the reef, which then joyed decorating pots, but they didn’t small island) in the lagoon; only one drops off to an 80-foot depth. The seem interested in making them. other family lived there. People water is so clear, it is very much like Then our peaceful valley began to thought we were crazy to move so far living on the edge of an aquarium as change. Development and neighbors away from the capital, but we didn’t, we constantly see schools of colorful overwhelmed us, so we started to in­ as we were realizing our dream of liv­ fish; there is even an eel living under vestigate the outer islands, especially ing close to nature. our deck. The water between the stu­ Huahine. It wasn’t too far from Ta­ The people on Huahine are won­ dio and the house is shallow, so we hiti, and the people there still live derful. When we started to build our simply wade back and forth to work. close to nature. They freely exchange first house on the motu, I asked if I Sometimes it is a chore when the kilns

“Drinkingfrom Coconut” approximately 10 inches in Wheel-thrown porcelain jar, 7 inches in height, with diameter, porcelain, with sprayed glaze and incising. sgraffito decoration, high fired in reduction.

50 CERAMICS MONTHLY PHOTOS: CHRISTIAN DUROCHER

To avoid the clouds of mosquitolike bugs that come out at night, Owen built the family house in a bug-free spot, just 100 yards from shore in 3 feet of water on the edge of a coral reef overlooking an 80-foot drop-off. fire late and I need to use a flashlight farm in the nearby Tumotue Islands. new bees being born. This brings life to wade across. Her father taught us how to graft oys­ just a little closer. Our power is solar and we pipe ters to make maba, which are half I’ve never enjoyed worldng up scrap rain water from the roof of the studio. pearls. I asked him if it would be pos­ clay (who does?), so I recently made We bring all of our supplies from the sible to make these half pearls in the some slip molds of honey bottles. The mainland—about 5 minutes away by shape of dolphins, whales, turtles, etc., scrap is made into slip, cast, then fired. boat, then 15 minutes by car to the and he said, “Give it a try.” Straight from the kiln, the bottles are little town of Fare. Our clay comes Ceramic animal figures are pressed filled with honey, corks inserted and from California—3 tons at a time, in plaster molds, then glazed and fired the tops dipped in hot beeswax. enough to last for 3 years. with the rest of our porcelain to Cone People really enjoy these and I don’t We have a show every six months 10. We then glue them to the insides have to work up my scrap clay any­ at the Galerie Winkler in Papeete. Two of the living oysters’ shells. After six more. Perhaps I’m getting too laid years ago, we included other aspects months in the ocean, these porcelain- back in paradise, but I don’t think so. of our lives when we put together a pearl forms are ready to be harvested. Enjoying life for the Polynesians is family show; along with the pots, we They turn out well, in the black, green as important, if not more important, sold sculpture, porcelain-pearl jewelry and yellow shades typical of the than working. Although we work very and honey from our bees. I was par­ Polynesian black lip oyster. hard, we also find great joy in life on ticularly proud when people compli­ For our first show including these the islands. We fish, dive, canoe and mented the small sculptures, because porcelain-pearl figures, most were attend local gatherings. Ghislaine es­ they were made by my 8-year-old son,mounted in gold jewelry, but ten black pecially loves to fish, and can usually Manutea. ones were embedded in jewelry jars. tell what kind of fish she’s hooked by I have been making sculpture for The jewelry jars were an afterthought the feel of the line in her hands. the last nine years. My interest started and, as often happens in these cases, The most important thing Ghis­ with a pipe sculpture workshop at they were the first things to sell. laine and I have created is a harmony Mission Clay in Fremont, California, When the weather is right, I work in blending our cultures, our lives and where Jerry Caplan taught me how to outside with the bees. We have 20 hives our art. This hasn’t been easy, but work with those giant, intimidating at different locations on the island, well worth the effort. Every time we extrusions. This past year, I have done but my favorite is an observation hive see another dimension of our art, as much sculpting as potting and this in the studio. When there’s a spare watch the sunset from the deck or interest continues to grow. moment, I watch the bees dancing, spend time with our neighbors, we Ghislaine’s parents have a pearl the queen laying her eggs, even the know it was the right choice for us. ▲

May 1991 51 A Low-Cost Spray Booth by Lawrence Blazey At THE START of my ceramic career in About the fan: It is best to use a Hose, Middlesex, New Jersey 08846. the late 1930s, I acquired a spray booth propeller-blade type, which can be The cost will range between $7 and that had been used at Cowan Pottery cleaned easily, rather than a squirrel- $15, depending on the size you select. in Rocky River, Ohio. It was equipped cage type. The fan housing is attached From the same source, buy a threaded with a large compressor, a 5-foot-high to the sheet-metal cabinet by four brass fitting with a ½-inch-diameter air tank and a standard spray gun with screws so it also can be removed to end to replace the one supplied; then a stainless-steel needle. After a move, scrape off the glaze that collects in­ solder a mouth atomizer (purchased however, I decided to use a smaller, side. at any art supply store) to this fitting. portable compressor and a smaller The spray booth exhaust is directed An old record player or a plastic tank. The spray gun was exchanged outdoors. Providing a hinged cover lazy susan (sold in kitchenwares) can for a blow gun on which I had sol­ will prevent cold air from entering be used as a turntable. Whatever kind dered an inexpensive mouth atom­ the studio during the winter, and pro­ of turntable you use, insert about six izer to the fitting at the end. tect the fan from precipitation as well. sheet-metal screws along the rim to Today, a major deterrent to spray­ Building supply stores stock air aid in turning it, as you likely will be ing glazes for the studio potter is the compressors. Select a portable unit holding the glaze container in one high cost of equipment, as compared rated up to 60 pounds. A compressor hand and the blow gun in the other. to the significantly lesser cost of dip­ that is not too noisy is an advantage; To operate, plug the compressor ping into a container. But with spray however, an alternative is to locate the into a 110-volt outlet, then allow a few application, small amounts of glaze compressor a distance away and pipe minutes for the tank to build enough can be applied through stencils, var­ the air to the tank via a long hose. air pressure before spraying. You may ied by overspraying or combined with To maintain continuous pressure, have to increase the water content of dipping and brushing. Reglazing a you will need a tank at least 2 feet in your glazes to improve discharge; piece that doesn’t look right after the length. The bigger the tank, the more however, too much water will cause first firing is also very easy. continuous the air supply when doing the glaze to run down the piece. I use You can set up a low-cost spraying a lot of spraying. It would be conve­ a fine kitchen sieve to strain glazes, system with the following equipment: nient to have an air gauge with an thus avoiding spray gun clogs. a glaze booth, a compressor and tank, automatic regulator attached that Clogging is probably the most an­ and a spray gun or airbrush. Any local turns the compressor on and off when noying aspect of applying glazes with heating and sheet metal shop or a the pressure is too low or high enough a spray gun. Keep a container of clean roofer with sheet metal capability can respectively. water handy to blow through the gun make the spray booth by following The spray gun is probably the most should this occur. the drawing published here. important unit of your system. If there The function of the layered baffle is no local source, you can purchase a The authorLanrrence Blazey maintains panels (sheet metal with five vertical Model 600S-DL blow gun from Coil a studio in Bay Village,Ohio. slots over sheet metal with six offset vertical rows of holes) is to facilitate recovery of sprayed glazes that are An effective, yet inexpensive spray booth may be constructed from available drawn toward the fan. The 1-inch-wide materials with the services of a heating shop or roofer for sheet metal fabrication. slots should be made with about a ½- inch flange on the back to strengthen the metal; the holes should be 1½-2 inches in diameter. Because of the offset openings, much of the overspray will collect on these removable baffles, thus minimizing the amount of glaze that will reach the fan housing. The overspray scraped from them can be used inside pots or mixed with any metallic oxide to change its normally neutral color into one that is more pleasing. When loading my kiln, I sometimes include a chip of the scrapings to determine what colorants might be added and the temperature at which the glaze will mature. Any recovered glaze should be ground and sieved to prevent large particles from clogging the blow gun.

52 CERAMICS MONTHLY

AFTKR 20 years of working with clay, the world. During a year spent work­ awareness and acceptance of a craft my enthusiasm has not waned. I ea­ ing in an Arizona hospital, I was intro­ movement that was new, cohesive and gerly seek knowledge of and enjoy duced to various ceramic traditions of exciting. Potters and other crafts­ working with a range of techniques at the Southwest Indians. I was entranced people were banding together, discuss­ my studio in the Mount Lofty Ranges, by this work. Before returning to Aus­ ing the prospects of setting up studios which has sweeping arboreal views tralia, I purchased some Indian bowls and making a full-time commitment down to the city of Adelaide, capital as a memento of my American so­ to their craft, now made possible by of South Australia. journ. These are still with me. Little the public’s burgeoning response. Fol­ I was born in Holland, but in 1959 did I know that they would inspire my lowing a two-year ceramics course, a my family emigrated to Australia. Af­ career as a potter. decision was made to say farewell to ter training then working as a labora­ The years of travel had an unset­ my previous career and cautiously tory technician for several years at tling effect and so I sought diversion launch into pottery. Adelaide University, I embarked on from regular employment. My inter­ After renting studio space for a year, an extensive overseas tour, visiting and est in ceramics began to develop seri­ I took a position as a thrower in a working in various countries around ously in the early 1970s when, like so small production pottery at Paris many, I was infected by an enthusiasm Creek near Adelaide. There I was able radiating from a mowing public to focus on one aspect of the studio process—making—without having to be involved in design, glazing or firing. My throwing skills improved rapidly. Work discipline was learned by play­ ing the numbers game: each day I would try to improve on the previous day’s tally. I realized that to be confi­ dent about expressing ideas in clay,

Detail of stoneware bowl with gold luster and polychrome enamels on black gloss glaze, multifired in oxidation, 9 inches in diameter.

PORTFOLIO COVER Bowl, 20 inches in diameter, thrown stoneware, with intricate luster/enamel decoration. one had to be totally at ease with both In addition to regular wholesaling, material and technique. Valuable galleries have responded well by knowledge was gained from observing awarding me contracts to make series how a small production pottery was of pots as corporate gifts. These are run, meeting deadlines and assessing not only bonus income, but they public response when work was sold double as free publicity. Recently, I from the studio. was pleased to win commissions for a Leaving Paris Creek, I felt more series of pots to be used as diplomatic confident about setting up my own gifts by the Australian Prime Minister studio in the Adelaide Hills. It was and Defense Department heads on important to set attainable goals—my overseas trips, as well as an ongoing studio income would have to finance agreement to provide other politicians a one-parent family and a mortgage. with a supply of similar gifts. My attitude from the beginning was Professional assistance was sought based on a no-frills, professionally run from the outset to set up the studio business that would have to survive a business, taking care to allow a per­ perilous embryonic period. Marianne Cole, Crafers, South Australia. centage of available funds, however The goal was to design a range of small, for promotion, advertising and ceramics based on a sound concept Over the years, I have established a photography, as well as professional that would appeal to the public and network of galleries throughout Aus­ development by way of travel—at­ that could be produced with high tralia and overseas. The work is bought tending summer schools, workshops, craftsmanship. Strong emphasis would outright, except for exhibitions, in study tours and business seminars. be placed on reliability. This studio which case specific contracts are drawn Production discipline is very im­ line would always be readily available up. One advantage of selling in a vast portant, although sometimes difficult and consistent. country such as Australia is the fact to achieve when working in a studio Careful thought and planning went that slow periods in southern states at home. Hours must be strictly ad­ into marketing. I worked closely with can be counterbalanced by supplying hered to, ensuring that time spent is galleries handling my work and sought markets in the northern states where, productive and uninterrupted. There their advice. Through them, public due to climatic differences, selling must be a clear distinction between response was assessed. seasons are to some degree reversed. work and leisure time.

“Minoan Memories I,”8 inches in diameter, thrown, glazed stoneware fired to Cone8 , with gold luster and enamels multifired to Cone 018.

A Ceramics Monthly Portfolio The commercial success of Cole’s “Australian Outback Landscape” series (right) has allowed time and money to explore other avenues of expression, such as intricate onglaze decoration (left) and wood firing. The backbone of my production I constantly use this medium for wanted firing variables. Also impor­ has been a very recognizable “Austra­ sketching. A series of Outback photo­ tant were the consistency of glaze col­ lian Outback Landscape” series whose graphs showed the brilliant oranges ors, and no naked flame or dirty inspiration came while attending my and blues as stark blocks of color, like chimney, which could be hazardous first exhibition at Alice Springs in serigraphs, with the horizon as a sepa­ in this high-risk bushfire zone. The central Australia. I had wanted to rating point. My interpretations of decision to use electric kilns was met break away and step outside the main­ those landscape images were com­ with skepticism from fellow potters at stream to create work that was indi­ bined on simple forms, thrown from a time when gas kilns and subtle Ori­ vidual, positively designed, decorated a white stoneware body, then sprayed ental wares dominated. My admira­ and colored to thematically relate to with glazes that allowed for a subtle tion for the oxidation-fired work of the Australian environment. I felt color gradation. The rims were gold Hans Coper, Lucie Rie and Australian there was room for a ceramic sensibil­ lustered—the color of the omnipres­ ceramist Peter Travis helped give me ity away from the Oriental. ent sun. confidence to pursue the use of elec­ In the few days preceding the exhi­ Besides the fact that it is well suited tric kilns; I was determined to explore bition opening, I drove out into the for producing strong bright colors, oxidation possibilities to the fullest. so-called Dead Center, or Outback. the decision to fire in oxidation was In 1984, I met Terry Davies, a lec­ Alone in this vastness, I felt over­ governed by a desire to eliminate un- turer in ceramics. His knowledge of whelmed by the sense of space and and passionate interest in contempo­ knew at once that here was the an­ rary and historical ceramics were in­ swer to my need for individual ex­ fectious. In the years that followed, we pression. The natural colors were took several trips around the world, uncompromising. Electric blue skies visiting archaeological sites and ce­ formed a giant canopy over a land­ ramic collections (historical and con­ scape of ocher-colored sands, which temporary) in the United States, were dotted here and there with veg­ Central America, Europe, the Orient etation. There was no clutter of civili­ and Crete. Seeing these works in their zation here, only an eerie feeling of own environment, I felt inspired by emptiness perpetuating the sense of each culture’s compulsion for deco­ timelessness. ration, albeit on the most humble ves­ Being a competent photographer, Studio/home in the Mt. Lofty Ranges. sel. The collection of Minoan ceramics Thrown bowl, Limoges porcelain,6 inches in diameter, wood fired to Cone 13-14 in an anagama. at the Heraklion Museum in Crete work. The communal activity, which An invitation for Terry Davies and was especially exhilarating, and reas­ is so much a part of large-scale wood me to take up residencies at the Sitka sured my belief that humankind has firing, is stimulating, refreshing and a Center for Art in Otis, Oregon, in an innate need to be surrounded by welcome change from working in iso­ 1989, provided an excellent chance beautifully made and decorated ob­ lation. Wood-influenced surfaces to extend the wood-firing experience. jects. I took numerous photographs strongly attract me as an adjunct to Quietly working in the peaceful set­ wherever we went, and an abundance my production, because they are so ting overlooking Cascade Head and of ideas has emanated from their in­ far removed from the carefully or­ the Pacific Ocean—with no distrac­ terpretation. chestrated, predictable glazes of elec­ tions or concerns about orders or In every Chinese museum we vis­ tric kilns. Wood firing demands a production deadlines—I thoroughly ited to see ceramics, I could not avoid different approach in the making, but enjoyed making a body of work in­ noticing the many bronzes on view, I purposely avoid relying solely on the spired by and based on Shang and primarily from the Shang and Zhou firing process to make a piece suc­ Zhou bronzes. dynasties. At various times, I have at­ cessful. Nevertheless, I am captured Various local clays were used; how­ tempted to recapture the beauty of by the uncertainty of the final result. ever, the seductive quality of the these ancient vessels, while incorpo­ French Limoges porcelain was irre­ rating modern aesthetics. I have ex­ sistible. Although difficult to handle, perimented with various vessel types, like most true porcelains, it stood up often pedestailed or legged to imbue to the abuses of a three-day firing, a votive ambience, taking those ele­ reaching temperatures of 2550°F ments and concerns that appeal to (1400°C), its delicate appearance be­ me, and rejecting the obvious power lying an inherent strength. As my and cruelty inherently bequeathed in confidence in this clay grew, pieces the originals by the Shang rulers. I became more elaborate, with pulled have suggested their surfaces with salt handles and additions of mythical glaze, dry turquoise glaze, bronze creatures. The porcelain responded metallic glaze and wood firing. brilliantly, capturing the nuances of Recent opportunities to participate an anagama firing—appendages, in anagama firings here in Australia asymmetry of form, and drawn and have produced new directions in my Entrance to the studio. etched surfaces catching the flame’s

A Ceramics Monthly Portfolio flashing, and ash deposits bestowing lia, boosted by the American experi­ of the culture’s architecture, dress, rich surfaces. ence, I launched into a new series of jewelry and other artifacts. I have no desire to dispense with these highly decorated wares. This Using a black, shiny surface pro­ electric kilns, but certainly see wood glamorous, high-style extravaganza vides me with a perfect canvas for firing as a valuable supplement to my aims to combine three essentials: decoration. After the initial stoneware repertoire, and intend to spend many sound technology; visual and tactile firing, the pieces are lustered and more enjoyable hours stoking an insa­ appeal; and harmony of form with enameled in a separate room, the stu­ tiable Idln, sharing the experience with decoration. Each vessel’s form is pur­ dio being far too dusty for this proce­ colleagues, both here and overseas. posely made giving consideration to a dure. It is a precise process, requiring For several years, I had been ex­ cultural influence, a conscious and a steady hand to outline the initial perimenting with onglaze decorations, subconscious intermixing to produce design with a fine gold pen. Gold lus­ resulting in one-of-a-kind pieces for something personal. Not only are ce­ ter liquid, being brown, is extremely exhibitions. On returning to Austra­ ramic echoes present, but also those difficult to see on the black surface.

Detail views of a 14-inch-diameter bowl, right, and “Royal Palenque,” far right, 22 inches in diameter, both thrown stoneware with Cone8 black glaze, gold luster and enamels. Therefore, after the linework is com­ ing, most of these vessels—especially pleasant memories of accomplish­ plete, I fire these pieces to 1330°F larger bowls—are set on small chunks ments, events, travel and meeting (720°C) to make the design more vis­ of firebrick to allow for even heat circu­ many national and international fel­ ible. Any flaws in the gold linework lation beneath each piece. low clayworkers. I realize the success can then be touched up. Many hours Production is slow, due to the time- of the “Australian Outback Land­ are then spent building up the enamel consuming decoration. I prefer to make scape” series, the mainstay of my colors before final firing, again to this work in winter when, after working production, has allowed me time and 1330°F (720°C). in the studio in the morning, I can money to explore and expand my Technical problems involved in the retreat to the warmth and comfort of horizons, thus avoiding being be­ multiple luster and enamel firings the house and quietly let my mind wan­ guiled by complacency. There are have gradually diminished over time. der during hours of peaceful painting. still myriad avenues of creative pos­ Kilns are well ventilated, firings are Writing about my 20-year involve­ sibilities to pursue. There is only one relatively slow and, to prevent crack­ ment with ceramics has brought back enemy: time.A above “Minoan Splendor ,” 24 inches in diameter, stoneware, with gold luster and enamels on black glaze, multifired in oxidation. left Detail of “Mayan Eulogy II” glazed, lustered and enameled stoneware, 6 inches in diameter, by Marianne Cole. Decoration of this series is “a precise process, requiring a steady hand to outline the initial design with a fine gold pen” After a luster firing, “many hours are then spent building up enamel colors”

A Ceramics Monthly Portfolio May 1991 61 West Main Street, Richmond 23220; or tele­ phone (804) 353-0094. Call for Entries July 5 entry deadline Ingram, Texas “Counterpoint” (August 25- Exhibitions, Fairs, Festivals and Sales September 29), open to fine crafts, graphics and photography. Juried from slides. Fee: $22 for up to 3 entries. Awards: $2200. Send sase to Hill Country Arts Foundation, Box 176 CM, Ingram 78025; or telephone (512) 367-5121. July 6 entry deadline International Exhibitions Gatlinburg, Tennessee “From All Directions” July 22 entry deadline (October 17-December 14). Juried from slides Toronto, Ontario, Canada “6th Annual Inter­ of up to 3 works. Jurors: John McGuire, Geneva, national Exhibition of Miniature Art” (Novem­ New York; and John McQueen, Alfred Station, ber 1-December 30).Juried from up to 4 actual New York. Entry fee: $15. Cash awards. Contact works. Entry fee: Can$34 (approximately US$30). Arrowmont School of Arts and Crafts, Box 567, Awards: over $8000. Contact Del Bello Gallery, Gatlinburg 37738; or telephone (615) 436-5860. 363 Queen Street, West, Toronto M5V 2A4; or August 15 entry deadline telephone (416) 593-0884 or fax (416) 593-8729. Wichita Falls, Texas “Works in Clay VII” (Oc­ tober 20-December 1). Juried from slides. Juror: Mary Roehm. Entry fee: $20 for up to 3 works. National Exhibitions Awards: approximately $2000. For prospectus, May 24 entry deadline send sase to Polly Cox, 2609 Amherst, Wichita Mesa, Arizona “Night Screams” (October 15- Falls 76308. November 27), open to all media depicting per­ sonal nightmares. Juried from slides. Jurors: Mayme Kratz and Benton Peugh. Awards: $900. Regional Exhibitions For prospectus, contact “Night Screams,” Galeria May 17 entry deadline Mesa, Box 1466, Mesa 85211; or telephone (602) Sioux City, Iowa “50th Annual Juried Com­ 644-2242. petitive Exhibition” (October 19-December29), May 30 entry deadline open to residents of Iowa, Kansas, Minnesota, Oxford, Ohio" The Miami University Outdoor Missouri, Nebraska and South Dakota. Entry fee: Sculpture Competition” (October 18-Decem- $20 for a maximum of 3 entries. Contact the ber 18). Juried from a typed vita and slides of 3 Sioux City Art Center, 513 Nebraska Street, Sioux sculptures, limit of 15 slides. Winning sculptor City 51101; or telephone (712) 279-6272. will be invited to campus as artist-in-residence to install sculpture and make public presentation; also $500 honorarium, per diem, room and board. Fairs, Festivals and Sales Send sase to the Miami University Outdoor May 10 entry deadline Sculpture Competition, Miami University, De­ Beaver Creek, Colorado “Beaver Creek Arts Fes­ partment of Art, Oxford 45056; or telephone tival 4” (August 17-18). Juried from 4 slides plus (513) 529-2900. photo of booth. Entry fee: $ 12. Booth fee: $95 for June 15 entry deadline a 10x10- or 8xl2-foot space. 10% commission. New Haven, Connecticut “The Celebration of Cash awards. Send 520 sase to Pamela Story, Box American Crafts” (November 11-December 23). 1153, Vail, Colorado 81658; or telephone (303) Juried from slides. For prospectus, send sase to 476-4255. the Celebration, Creative Arts Workshop, 80 May 15 entry deadline Audubon Street, New Haven 06510; or telephone FairviewHeights, Illinois “Midwest Salute to the (203) 562-4927. Masters” (September 27-29), limited to award- Chicago, Illinois “Anticipation ’91” (Septem­ winning artists. Juried from 4 slides. Awards: ber 19-22, in conjunction with the International $17,400 in cash, plus purchase awards. For pro­ New Art Forms Exposition), open to emerging, spectus, contact Susan Burgess, 10025 Bunkum unrepresented artists and craftpersons. Juried Road, Fairview Heights 62208; or telephone (618) from a maximum of 3 slides. Jurors: Edward 397-7743 or (800) 782-9587. Cooke, Jr., associate curator of American Deco­ New York, New York “20th Annual WBAI Holi­ rative Arts and Sculpture, Museum of Fine Arts, day Crafts Fair” (December 6-8, 13-15 and 20- Boston; Wayne Higby, artist/professor, New York 22). Juried from 5 slides. Entry fee: $25. Booth State College of Ceramics at Alfred University; fee: $735-$780. Send sase to Matthew Alperin, andjoanne Rapp, owner,Joanne Rapp Gallery/ WBAI Crafts Fair, Box 889, Times Square Station, The Hand and the Spirit, Scottsdale, Arizona. New York 10108; or telephone (212) 279-0707. Entry fee: $20. Awards: $4000. Contact Antici­ May 23 entry deadline pation ’91, 600 North McClurg Court, Suite Las Vegas, Nevada “KNPR, Public Radio’s 10th 1302A, Chicago 60611; or telephone (312) 787- Annual Craftworks Market” (September 28-29). 6858 or fax (312) 787-2928. Juried from slides. Entry fee: $15. Booth fee: June 20 entry deadline $175 for a 10x10-foot space. Awards. Contact Wichita, Kansas “The Wichita National” KNPR, Public Radio, 5151 Boulder Highway, Las (September 12-October 27). Juried from slides. Vegas 89122; or telephone (702) 456-6695. Juror: Marcia Manhart, executive director, May 25 entry deadline Philbrook Museum, Tulsa, Oklahoma. Entry fee: Monroe, Connecticut “Strawberry Festival Craft $20 for up to 3 entries. Awards: $3000 cash, plus Show” (June 15-16). Juried from slides or pho­ purchase prizes. Commission: 30%. For prospec­ tos. Booth fee: $40 for 1 day only; $70 for both tus, send first-class stamp to Wichita Center for days. Send SASE to Nancy Fishell, 34 Church Street, the Arts, 9112 East Central, Wichita 67206; or Monroe 06468. telephone (316) 634-2787. May 31 entry deadline June 30 entry deadline Fair Hill, Maryland “Fair Hill, Maryland Richmond, Virginia Place setting exhibition Country/Bluegrass and Crafts Festival” (August (January 10-February 28,1992). Juried from 10- 10). Juried from 5 slides. Jurors: Shirley Brown, 20 slides. For further information, send a resume National Ceramics Museum, Baltimore; Steven and SASE to Place Settings, Hand Workshop, 1812 Glassman, Art and Architectural Design, Balti­ more; and Shirley Koteen, art consultant, Wash­ Send announcements of juried exhibitions, fairs, festi­ington, D.C. No entry fee. Booth fee: $50. Con­ vals and sales at least four months before the event’s tact Carl Hyden, Governor’s Office of Art and entry deadline (please add one month for listings infulyCulture, 34 Market Place, Suite 325, Baltimore, and two months for those in August) to Call for Entries, Maryland 21202; or telephone (301) 333-4793. Ceramics Monthly, Box 12448, Columbus, Ohio June 1 entry deadline 43212; or telephone (614) 488-8236. Fax announce­ Gaithersburg, Maryland"! 6th Annual National ments to (614) 488-4561. Craft Fair” (October 18-20) .Juried from 5 slides.

62 C eramics Monthly May 1991 63 Call for Entries

Entry fee: $10. Booth fee: $225, $290 or $350. For further information contact National Crafts Limited, Noel Clark, Director, 4845 Rumler Road, Chambersburg, Pennsylvania 17201; or tele­ phone (717) 369-4810. Richmond, Virginia “16th Annual Richmond Craft and Design Show” (November 15-17).Ju­ ried from slides. Booth fee: $250 for a 10x10-foot space, $375for 10x15, $500for 10x20.For fur­ ther information contact the Hand Workshop, 1812West Main Street, Richmond 23220; or telephone (804) 353-0094. June 15 entry deadline Pittsburgh, Pennsylvania “A Fair in the Park” (September 6-8). Juried from 5 slides. Entry fee: $5. Booth fee: $120. Contact A Fair in the Park, Box 10128, Pittsburgh 15232; or telephone (412) 361-8287. June 29 entry deadline Manitou Springs, Colorado “Commonwheel Artists 17th Annual Labor Day Arts and Crafts Festival” (August 31-September 2). Juried from 3 slides. Entry fee: $5. Booth fee: $55 for a 1 0x10- foot space. Commission: 10%. For further in­ formation contact the Commonwheel Fair, Box 42, Manitou Springs 80829; or telephone (719) 685-1008. June 30 entry deadline Mobile, Alabama “27th Annual Outdoor Arts and Crafts Fair” (September 28-29). Juried from slides. Entry fee: $10. Booth fee: $75. Awards: up to $6500 in purchase, distinction and merit awards. Contact the Fine Arts Museum of the South, Outdoor Arts and Crafts Fair, Box 8426, Mobile 36689. July 1 entry deadline Eureka Springs, Arkansas “15th Fall Art Fair” (October 11-13). Juried from 5 slides. Entry fee: $10. Booth fee: $65 or $95. Awards. For further information contact Lynn Williams, Uptown Gallery CM, 123 Spring Street, Eureka Springs 72632; or telephone (501) 253-8313. Herkimer, New York “16th Annual Herkimer County Arts and Crafts Fair” (November 9-10). Juried from 5 slides. Fee: $100 ($5 non- refundable). Awards. Send sase to HCC Foun­ dation Arts and Crafts Fair, Jackie Baggetta, Reservoir Road, Herkimer 13350. July 5 entry deadline Auburn Hills, Michigan “Golden ’90s Exposi- tion-Auburn Hills” (October 11-12 and/or November 15-16). Juried from 3 photos, 1 of display. Booth fee: fl35 and up. Contact Michi­ gan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Port Huron, Michigan “Golden ’90s Exposi- tion-Port Huron” (November 1-3). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 87/, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Rochester, Michigan “Golden ’90s Exposition- Rochester” (November 29-30). Juried from 3 photos, 1 of display. Booth fee: $195 for a 10x11- foot space. Contact the Michigan Cultural Asso­ ciation, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Taylor, Michigan “Golden ’90s Exposition- Taylor” (October 18-20). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. August 15 entry deadline Nashville, Tennessee “Tennessee Fall Crafts Fair” (October 11-13). Juried from 5 slides. En­ try fee: $ 10. Booth fee: $225 for a 1 Ox 10-foot space, $335 for 10x15, and $445 for 10x20. For further information contact Tennessee Fall Crafts Fair, Box 120066, Nashville 37212; or telephone Alice Merritt (615) 665-0502.

64 C eramics Monthly May 1991 65 Warp- and Crack-Resistant Clay Body II*The filler in this recipe consists of 1½ Questions (Cone 6) parts vermiculite and 1 part sawdust. The Feldspar...... 20% sawdust burns out during the first few Answered by the CM Technical Staff A. P. Green Fireclay...... 30 firings, leaving voids that help increase the Ball Clay...... 10 refractory’s insulation. Cedar Heights Goldart ...... 30 The kiln walls should be rammed a thick­ Flint...... 5 ness of 4 inches minimum for appropriate Grog (40-80 mesh) ...... 5 support, and should be allowed to dry very 100% slowly; the kiln’s first firing should also be Q I’m working on some large-scale sculpture that Slow and even drying is as important as quite slow, allowing both physically and has both thick and thin areas, so I need a clay bodyformulation in achieving warp and crack chemically held water plenty of time to es­ that minimizes both cracking and warping. Do resistance. Keeping work covered with thin cape without the production of steam, which you have any suggestions?—D.P. plastic sheeting, and allowing the clay to dry might destroy the refractory’s structure. You didn’t give a firing range for your under wrap at its own rate is a very effective Other castable refractories we published sculpture, so we assume that the cone range way to reduce or eliminate warping and include the following by W. Lowell Baker: isn’t a limitation. If that’s not the case, you cracking of all bodies. Castable Refractory I can substantially underfire any “open” clay Lumnite Cement...... 2 parts by volume body for improved results. Fire a Cone 9 Q Vm looking for a castable refractory that can beKaolin ...... 2 body to Cone 6, a Cone 06-04 clay to Cone made from common ingredients for use in kiln-Grog...... 4 09, for example. Or, try one of the following building. Do you have any suggestions S.?— W. 8 parts by volume recipes formulated especially for the pur­ The following recipe is attributed to Dick poses you seek; they were published in the Leach. It makes a fine castable refractory for Castable Refractory II September 1975 issue of Ceramics Monthly: ramming into plywood forms, and can be Lumnite Cement...... 2 parts by volume Warp- and Crack-Resistant Clay Body I used to build kilns firing at stoneware tem­ Alumina Hydrate...... 1 (Cone 9-11) peratures: Grog...... 4 Feldspar...... 10 parts Kilnbuilding Castable 7 parts by volume A. P. Green Fireclay...... 40 Alumina Hydrate...... 0.5 part Ball Clay...... 10 Portland Cement ...... 1.0 Subscribers’ questions are welcome and those of Cedar Heights Goldart ...... 6 A. P. Green Fireclay...... 2.0 general interest will be answered in this column. Flint...... 5 Coarse Grog ...... 2.0 Due to volume, letters may not be answered person­ Grog (40-80 mesh) ...... 5 Filler*...... 2.5 ally. Address the Technical Staff, Ceramics 76 parts 8.0 parts Monthly, Box 12448, Columbus, Ohio 43212.

66 CERAMICS MONTHLY May 1991 67 as the Fusion (Ontario Clay and Glass Associa­ tion) annual meeting. Fee (includes meals and Calendar accommodations): $250; Fusion members, $215; Glass Art Association of Canada members, $195; Conferences9 Exhibitions, Fairs, students/seniors, $140-$165. A $25 late fee ap­ Workshops and Other Events to Attend plies for registrations received after May 1; regis­ tration closes May 11. Location: Erindale cam­ pus, University of Toronto. For further infor­ mation contact Fusion, 140 Yorkville Avenue, Toronto, Ont. M5R 1C2; or telephone (416) Conferences 923-7406. New York, New YorkMay 7 7 “Multicultural and New Zealand, RotoruaJune 14-16 “Clay AZ Art Regional Sources: Craft Revivals: 1919-1945.” International Conference: Ceramics, Weaving, Speakers include Ralph Coe, curator/author of Spinning” will include preconference salt-glaze “Lost and Found Traditions”; Douglas DeNatale, firing with Barry Brickell; demonstrations by South Carolina State Folk Arts Coordinator, Brickell, Don Reitz and others; plus lectures and McKissick Museum, University of South Carolina; tours. In New Zealand, contact Mark Chadwick, William Ferris, director, Center for the Study of 100 Town Point Road, Maketu, RD 9, Te Puke; Southern Culture, University of Mississippi; or telephone 0164 753 2102. In the U.S.A., con­ Rayna Green, director, American Indian Pro­ tact Northern Arizona University Art Gallery, gram, National Museum of American History, Box 6021, Flagstaff, Arizona 86011; or telephone Smithsonian Insti tution; Janet Kardon, director, Joel Eide (602) 523-3471; Donald Bendel 523- American Craft Museum; Eugene Metcalf, asso­ 2398; or Paula Rice 523-2622. ciate professor, Interdisciplinary Studies, Miami University; Barbara Perry, curator of ceramics, Everson Museum of Art; William Rhoads, pro­ Solo Exhibitions fessor of art history, State University College, Arizona, ScottsdaleMay 1-31 Annette Corco­ New York at New Paltz; Jeffrey Stewart, assistant ran, porcelain; at Joanne Rapp Gallery/The professor of history, George Mason University; Hand and the Spirit, 4222 North Marshall Way. Marcia Tucker, director, New Museum of Con­ Arizona, Tempe through May 19 Don Bendel, temporary Art; and William Wroth, editor/cura­ “Ceramic Musical Instruments”; at the Arizona tor of “Hispanic Crafts of the Southwest,” Taylor State University, University Art Museum, Nelson Museum. Fee: $75; American Craft Museum Fine Arts Center. members, $65. Contact Linda Craighead, Cen­ California, Los AngelesMay 4-29 Ruth Duck­ tenary Project Coordinator, American Craft worth; at Garth Clark Gallery, 170 South La Brea Museum, 40 West 53 Street, New York 10019; or Avenue. telephone (212) 956-3535. California, Sacramentothrough May 19 Richard Wisconsin, MadisonOctober 16-19 ‘Vision: To­ Notkin, “Strong Tea: Richard Notkin and the ward the 21st Century,” 55th annual conference Yixing Tradition”; at Crocker Art Museum, 216 of the Mid-America College Arts Association. O Street. Contact MACAA 1991, Department of Art, Uni­ California, San FranciscoMay 2-June 1 Michael versity of Wisconsin-Madison, Humanities Lucero; at Dorothy Weiss Gallery, 256 Sutter St. Building, Madison 53706; or telephone (608) D.C., WashingtonMay 7-June 22 Otto Natzler, 262-1660 or fax (608) 262-2150. including collaborative vessels with his late wife Gertrud; at Susan Conway Carroll Gallery, 1058 Thomas Jefferson Street, Northwest. International Conferences Florida, Belleairthrough May 31 Chris Staley; at Australia, Queensland, BroadwayJuly 1-5 “Arts: the Pilcher Gallery, Florida Gulf Coast Art Cen­ Industry Interface—Sixth National Ceramics ter, 222 Ponce de Leon Boulevard. Conference” will include seminars, panel discus­ Illinois, SpringfieldMay 7-June 2 Tom Brewer, sions, workshops and gallery tours. Location: ‘Works of ’91 ”; at the Prairie House, 221 South Griffith University. Fee (US$ equivalents ap­ Sixth Street. proximate): Aus$335 (US$250), students Maine, Portland through June 30 Paul Heroux, Aus$200 (US$150); on-site Aus$360 (US$270), “Perspectives”; at Pordand Museum of Art, Seven students Aus$220 (US$165). Contact the Na­ Congress Square. tional Ceramics Conference, Box 231, Broad­ Massachusetts, Bridgewater through May 20 way, Queensland 4006; or telephone (07) 358 Colette Shumate-Smith, “The Domino Effect”; 5121 or Phil Greville, Conference Manager (07) at the Rondileau Campus Center, Bridgewater 553 4419. State College. Canada, Alberta, CalgaryMay 17-19 “Ceramics Michigan, Detroitthrough May 25 Gail Kendall; International” will include keynote speech by at Pewabic Pottery, 10125 E. Jefferson Ave. Jennifer Opie, curator of 20th-century ceramics, Michigan, Rochesterthrough May 24 Priscilla Victoria and Albert Museum, London; studio Hollingsworth, ceramic sculpture; at the Artspace demonstrations by Susan Baslov and Pat Gallery, Paint Creek Center for the Arts, 407 Matheson; plus ceramic exhibitions throughout Pine Street. the city. Guest artists will be Ralph Bacerra, Minnesota, Minneapolisthrough May 11 Attila Ray Jeannot Blackburn, Nina Borgia-Aberle, Ann Dabasi; at the Minnetonka Art Center, 2240 Cummings, Lindsay Dumas, Torbjorn Kvasbo, North Shore Drive. Ronna Neuenschwander, Matthias Osterman Missouri, Saint LouisMay 1-June 30 Virginia and Bruce Taylor. Location: Alberta College of Scotchie; at Pro-Art, 1214 Washington. Art. For further information contact Kirsten New Mexico, Portalesthrough May 25 Greg Senn, Abrahamson, Leisure Learning Services, Third “Singularities,” ceramic sculpture; at the Art Floor, Dr. Carl Safran Centre, 930 13 Avenue, Gallery, Runnels Room, Golden Library, Eastern Southwest, Calgary T2R0L4; or telephone (403) New Mexico University. 245-4944. New York, New Yorkthrough May 3IJennifer Lee; Canada, Ontario, MississaugaMay 24-26“Out of at Graham Gallery, 1014 Madison Avenue. the Fire” will include clay workshops by Curtis New York, SyracuseMay 17-June 8 Angelo di and Suzan Benzie, and Susan and Steven Petta; at Eureka Crafts, 210 Walton Street, Ar­ Kemenyffy; lectures and demonstrations; as well mory Square. Pennsylvania, PhiladelphiaMay 3-26 Bill Grif­ Send announcements of conferences, exhibitions, ju­fith; at the Clay Studio, 139 North Second Street. ried fairs, workshops and other events at least two Pennsylvania, Pittsburghthrough June 2 “Warren months before the month of opening (add one month forMacKenzie, Potter,” retrospective; at Carnegie listings in July and two months for those in August) Museumto of Art, 4400 Forbes Avenue. Calendar, Ceramics Monthly, Box 12448, Columbus, through June 12 Kyle Hallam, “Painted Clay.”May Ohio 43212; or telephone (614) 488-8236. Fax an­ 17-July JOJerry Caplan, “Reduction Stenciling”; nouncements to (614) 488-4561. at the Clay Place, 5416 Walnut St. Continued

68 Ceramics Monthly May 1991 69 Adrian Saxe and Jan van der Vaart; at Garth Calendar Clark Gallery, 855 Rockwell Lane. New York, CatskillMay 4-June 16 Exhibition of works by Janet Corrigan, Milly De Angelo, Lillian Dodson and Betty MacDonald; at Greene County Washington, SeattleMay 29-June 7Debra 1 Norby, Council on the Arts Mountain Top Gallery, 398 “Bait and Tackle Series”; at Foster/White Gal­ Main Street. lery, Frederick and Nelson, Seventh Floor, Fifth New York, New YorkMay 7-June 1 “Artists in and Pine. Residence,” with works by Black and Hispanic Wisconsin, Sheboyganthrough May 79 Farraday artists Raul Acero, Dina Bursztyn, Ada Cruz, Newsome Sredl, majolica vessels and tableware; Eddie Dominquez, Steven Mayo, Sana Musasama at John Michael Kohler Arts Center, 608 New and Dhara Rivera; at Greenwich House Pottery, York Avenue. 16 Jones Street. May 7-June 1 Works by Roseline Delisle, Geert Lap and Amy Sabrina; at Garth Clark Gallery, 24 Group Ceramics Exhibitions West 57 Street. Arizona, Flagstaffthrough May 10 Exhibition of May 7-June 9“Personal Approaches to Clay,’’with works by Soviet artists Vladimir Eliseev, Vladimir works by Carole Aoki and Barbara Takiguchi; at Gorislavstev, Anatole Gromov, Mai Jaermut, Wheeler-Seidel Gallery, 129 Prince Street, Soho. Violetta Jatniece, Michael Kopylkov, Peteris North Carolina, Charlottethrough August 25 “So Martensons, Inna Olevskaya, Vladimir Petrov, Proudly We Hail: The Evolution of American Vladimir Tsivin and Alexander Zadorin; at Ceramics”; at the Mint Museum of Art, 2730 Northern Arizona University Art Museum. Randolph Road. Arizona, Scottsdalethrough May 31 “NCECA Ohio, Dennisonthrough August 31 “Molded Conference 1991: An Exhibition Celebrating Whimsies: Sewer Pipe Folk Art”; at the Dennison Ceramists from the Gallery’s First Twenty Years”; Railroad Depot Museum, 400 Center Street. and “Quebec Impressions in Clay,” work by Kent Oklahoma, NormanMay 4-June 30 “Platters: Benson, Jeannot Blackburn, Leopold Foulem, Functional and Decorative”; at the Firehouse Paul Mathieu and Richard Milette; at theJoanne Art Center, 444 South Flood. Rapp Gallery/The Hand and the Spirit, 4222 Rhode Island, KingstonMay 9-25 “19th Rhode North Marshall Way. Island Earthworks”; at the South County Art Arizona, Tempe through June 9 “Contemporary Association, 2587 Kingstown Road. Ceramics from the Collection of Stephane Texas, San Angelothrough May 26 “Sixth Annual Janssen and MichaelJohns”; at the Arizona State Monarch Tile National Ceramic Competition”; University Art Museum. at the San Angelo Museum of Fine Arts, 704 Arkansas, Pine Bluff May 3-June 1 “Ashen Burgess Street. Beauty: Wood-fired Ceramics,” works by Frank Vermont, Benningtonthrough September 2 “Red- Boyden, Peter Callas, Paul Chaleff, Chuck ware and Stoneware: The Bennington Museum Hindes, Karen Karnes, Eric Nelson, Jeff Collection”; at the Bennington Museum, West Oestreich, Carol Roorbach, David Shaner and Main Street. Jack Troy; at the Southeast Arkansas Arts and Virginia, RichmondMay 10-August 16 Tiled Sciences Center, 220 Martin Street. furniture, wall forms and platters by Laurel Izard, California, DowneyMay 23-July 7 “Ceramics Now Susan Maye and Gordon McVay; at the Hand 1991”; at the Downey Museum of Art, 10419 Workshop/Virginia Center for the Craft Arts, Rives Avenue. 1812 West Main Street. California, Ontariothrough May 19 “The Clay Washington, Seattlethrough May 28 “Northwest Continuum: A Community College Perspective,” Convergent Zone,” approximately 150 clayworks teacher-student invitational; at the Museum of from the Washington Potters Association and History and Art, 225 South Euclid Avenue. the Oregon Potters Association; at the North­ California, West HollywoodMay 3-25 Dual ex­ west Craft Center, Seatde Center. hibition with clay, painting, sculpture and pho­ West Virginia, Charlestonthrough May 30 “Old tography by Michael Javier and Sawako Shin tan i; Masters and Young Turks: Pots of West Virginia,” at MOA Art Gallery, 8552 Melrose Avenue. exhibition of clayworks by Joe Lung, Pam and Illinois, Chicagothrough May 27 “Soviet Propa­ Ren Parziale, and Brian Van Nostrand; as well as ganda Plates from the Tuber Collection”; at Art antique, traditional pots; at the Governor’s Re­ Institute of Chicago, Michigan Ave. at Adams St. ception Room, West Virginia Capitol. Indiana, IndianapolisthroughJune 9 “Yixing Ware from the K. S. Lo Collection in the Flagstaff House Museum of Teaware, Hong Kong”; at the Ceramics in Multimedia Exhibitions Indianapolis Museum of Art, 1200 West 38 Street. California, Sacramentothrough June 6 “66th An­ Maine, Brunswick May 29-Juty 6 “Watershed nual Crocker-Kingsley Open Art Exhibition”; at ‘Artists Invite Artists’ Exhibition,” with works by the Crocker Art Museum, 216 O Street. Linda Arbuckle, Mary Barringer, Linda California, San Diegothrough June 3“All Is More Christianson, Barbara Diduk, Scott Goldberg, Beautiful,” including clayworks by Nathan Begay, Jeremy Jernegan and Ron Meyers; at the Ele­ David Groat, Lucy Leuppe McKelvey, Thomas ments Gallery, 56 Maine Street. Natseway and Richard Zane Smith; at San Diego Massachusetts, Ipswich through May 15 “Toward Museum of Man, 1350 El Prado, Balboa Park. Translucency,” works by Nancy Howard, Bar­ California, Walnut Creekthrough May 18 Exhi­ bara King and Margaret O’Rorke; at the bition including clay vessels by Anne Goldman Ocmulgee Pottery and Gallery, 263 High Street. and Dennis Meiners. May 24-July 6 Exhibition Michigan, Detroitthrough May 25 “Table for Two,” with clayworks by Skip Esquierdo and Barbara with works by Bill Broulliard, Diana Kulisek, Takiguchi; at Banaker Gallery, 1373 Locust St. Patrick Loughran, Andrew Martin, Angelica Pozo Colorado, GoldenMay 12-June 25 “North and Michael Simon; at Pewabic Pottery, 10125 American Sculpture Exhibition”; at the Foot­ East Jefferson Avenue. hills Art Center, 809 15 Street. May 19-July 21 “The 28th Ceramic National: Clay, Florida, Saint Petersburgthrough June 2“Crafts for Color, Content”; at Flint Institute of Art, 1120 the Senses,” hands-on exhibition; at the Florida East Kearsley Street. Craftsmen Gallery, 235 Third Street, South. Michigan, Royal Oakthrough May 25 John Neely, Georgia, Atlantathrough June 16 “Yoruba: Nine vessels; and Susanne Stephenson, plates; at Centuries of African Art and Thought”; at the Swidler Gallery, Washington Square Plaza, 308 High Museum of Art, 1280 Peachtree St., NE. West Fourth Street. Illinois, Chicagothrough June 23 “A Selection of Minnesota, Saint Paul May 9-June 22 “Fire!” Masterworks from the Asian Collection”; at the primitive and low-tech works by Dale Bryner- Art Institute of Chicago, Michigan Avenue at McMillan, George Kokis and Nancy Liedl; at the Adams Street. Northern Clay Center, 2375 University Ave., W. May 3-June 5 Exhibition featuring ceramic Missouri, Kansas Citythrough May 17 Works by sculpture by Brian Fiorentino and vessels by

70 Ceramics Monthly May 1991 71 Calendar

Karen Karnes; at Schneider-Bluhm-Loeb Gal­ lery, 230 West Superior Street. Iowa, Mason CityMay 19-July 14 “26th Annual Area Show”; at Charles H. MacNider Museum, 303 Second Street, Southeast. Maryland, EastonMay 24-June 29 “27th Annual Juried Exhibition”; at the Academy of the Arts, 106 South Street. Massachusetts, Bostonthrough August 4 “Witness to America’s Past: Two Centuries of Collecting by the Massachusetts Historical Society”; at the Museum of Fine Arts, 465 Huntington Avenue. Michigan, Dexterthrough May 15 “Farrington- Keith National Juried Exhibition”; at the Clara Kott von Storch Gallery, 8099 Main Street. Minnesota, Saint Paulthrough June 16 “Art that Works”; at Minnesota Museum of Art, Land­ mark Center, Fifth at Market. Missouri, Saint Louisthrough May 25 “Tabletop Design Exhibit”; at the Craft Alliance, 6640 Delmar Boulevard. New Jersey, Millbum through May 18 “Spring Showcase,” featuring clayworks by Judith Motzkin; at the Sheila Nussbaum Gallery, 358 Millburn Avenue. New Jersey, Montclairthrough June 23 “Signs and Symbols in Native American Art”; at the Montclair Art Museum, 3 South Mountain Avenue. New Jersey, Newark through January 19, 1992 “Teapots and Coffeepots.” through February 1992 “Tradition and Innovation in Contemporary Native American Art, 1976-1986”; at the Newark Museum, 49 Washington Street. New Jersey, Red Bankthrough May 11 Exhibition featuring ceramics by Sarah Mott and Wendy Williams; at Art Forms, 16 Monmouth Street. New York, Long IslandMay 12-28 “Long Island Craft Guild Annual Juried Members’ Show”; at the Chelsea Mansion, Mutton Town. New York, New Yorkthrough May 11 Three- person exhibition featuring ceramics by Andra Ellis and Xavier Toubes; at Helen Drutt Gallery, 724 Fifth Avenue, Ninth Floor. through May 17 “Renewing Rituals: A Passover Celebration in Contemporary Crafts,” with ce­ ramics by Susan Garson, Robert Lipnick and Tom Pakele; at the Joseph Gallery, Brookdale Center of Flebrew Union College, Jewish Insti­ tute of Religion, 1 West Fourth Street. New York, Piermont-on-Hudsonthrough May 19 “High Tea,” works by 30 craft artists; at America House Gallery of Contemporary Crafts, 466 Piermont Avenue. New York, RochesterMay 4-June 9 “50th Roch- ester-Finger Lakes Exhibition”; at Memorial Art Gallery, 500 University Avenue. North Carolina, Ashevillethrough May 15 “Bringle and Bringle: Fiber and Clay Exhibit,” includes functional daywork by Cynthia Bringle. through August 4 “New Members Exhibit”; at the Folk Art Center, Blue Ridge Parkway. Ohio, Columbusthrough May 13 “The Best of 1991”; at the Columbus Cultural Arts Center, 139 West Main Street. Pennsylvania, BethlehemMay 4-June 9 “Water/ Life”; at the Luckenbach Mill Gallery, 459 Old York Road. Tennessee, Gadinburgthrough May 18 “Regional Selections: Defining Ideas,” including ceramics byJim Connell and Roddy Reed. May 24-August 9 “Summer Faculty and Staff Exhibition,” fea­ turing ceramics by Linda Arbuckle, Sandra Blain, MaryJo Bole, Patrick Crabb, Bill Griffith, Patrick Horsley, Ron Meyers, Walter Ostrom, Pete Pinnell, Rob Reedy and Owen Rye; at Arrowmont School of Arts and Crafts, 556 Parkway. Texas, BeaumontMay 11-31 “Art Studio Inc. Members Juried Art Exhibition”; at the Art Stu­ dio, 700 Orleans. Texas, San Antoniothrough August 4 “Mexico: Splendors of Thirty Centuries”; at the San Anto­ nio Museum of Art, 200 West Jones.

72 Ceramics Monthly Washington, RichlandMay 12-June 7 “Annual Juried Multimedia Show”; at the Allied Arts As­ sociation, 89 Lee Boulevard. West Virginia, Huntingtonthrough May 19 ‘Works off Walls 1991”; at the Huntington Museum of Art, Park Hills. Fairs, Festivals and Sales California, Oxnard May 18-19 “California Strawberry Festival”; at the Strawberry Meadows, College Park. Florida, Boca RatonMay 10-12 “Florida Atlantic University Potters’ Guild Show and Sale”; at Patch Reef Park, Yamato Road. Illinois, ChicagoMay 9-14 “12th Annual Chi­ cago International Art Exposition”; at Donnelley International Hall. Illinois, EvanstonMay 11-12 “Pottery Show and Sale”; at Evanston Art Center, 2603 Sheridan Rd. Iowa, ClintonMay 18-19 “21st Annual Art in the Park”; at Four Square Park, Main Avenue. Massachusetts, LexingtonMay 10-11 “27th An­ nual Pottery Sale”; at the Parsons’ Gallery, Lex­ ington Arts and Crafts Society, 130 Waltham St. Massachusetts, SomervilleMay 9-12 “Mudflat 20th Anniversary Show, Sale and Open Studios”; at Mudflat Studio, 149 Broadway. Massachusetts, Worcester May 17-19 “21st An­ nual May Craft Fair”; at the Worcester Center for Crafts, 25 Sagamore Road. Michigan, MidlandJune 1-2 “Summer Art Fair”; at Midland Art Council, 1801 W. Saint Andrews. New York, New Paltz May 25-27 “Woodstock- New Paltz Art and Crafts Fair”; at the Ulster County Fairgrounds. Ohio, ToledoJune 1-2 “1991 Old West End Fair”; on the grounds of the Toledo Museum of Art, 2445 Monroe Street. Pennsylvania, RichboroMay 18-19“The Spring Craft Celebration”; on the grounds of the Penn­ sylvania Guild of Craftsmen Craft Center, Tyler State Park, Route 332, Almshouse Road. Workshops Arkansas, Little RockMay 11 and 25 A session with Gayle Batson, applying painting techniques to produce clay wall hangings, murals, table sur­ faces or small paintings using tiles for the struc­ ture; includes participation in the stacking and firing processes. Beginning through advanced skill levels. Fee: $70, includes firings. Contact Gina Sipes, Arkansas Arts Center, Box 2137, Little Rock 72203; or telephone (501) 372-4000. California, Alto LomaMay 25 A session on sculptural vessels with Masaki Matsumoto. Fee: $10. Contact Chaffey College, Ceramics, 5885 Haven, Alto Loma 91701; or telephone (714) 941-2776. California, DavisMay 11 “Exploring the Slab” with Barbara Brown, includes slide presentation and hands-on work on construction and glaze techniques with porcelain and stoneware, func­ tional pieces, water basins and tables. Fee: $25, students/seniors $20, $3 surcharge for at-the- door registration. Contact Yolo County Arts Council, Box 2252, Woodland, California 95695; or telephone (916) 662-4145. Hawaii, HonoluluMay 29 Slide lecture with George Timock. Location: Honolulu Academy of Arts. Contact Hawaii Craftsmen, Box 22145, Honolulu 96822; or telephone Susan Barnett, (808) 262-5015. Illinois, Palos HillsMay 11 “Raku Workshop” with Jack Kilpatrick. Intermediate through profes­ sional skill levels. Fee: $30, includes materials and firing. Contact Margaret Hafer, Moraine Valley Community College, 10900 S. 88 Ave., Palos Hills 60465; or telephone (708) 974-5745. Massachusetts, Ipswich May 9 and 19 “Raku.” Limited to 10 participants. Fee: $125, includes materials and firing. Contact Ocmulgee Pottery, 263 High Street, Ipswich 01938; or telephone (508) 356-0636. Minnesota, Saint Paul May 24-26 Slide lectures and workshops with Dale Bryner-McMillan,

May 1991 73 Calendar

George Kokis and Nancy Liedl. Contact the Northern Clay Center, 2375 University Ave., W, Saint Paul 55114; or telephone (612) 642-1735. New Mexico, AbiquiuMay 15-19 “Raku” with Richard Hawley. Fee: $90, includes firing; New Mexico Potters Association members, $75. Con­ tact Bill Armstrong, New Mexico Potters Asso­ ciation, Box 706, Corrales, New Mexico 87048; or telephone (505) 898-7471. New York, New YorkMay 19 Raku workshop. Contact YWCA of the City of New York, 610 Lex­ ington Avenue, New York 10022; or telephone (212) 735-9731. New York, Scarsdale June 4-6 “Ceramic Tile Workshop” with Siglinda Scarpa, carving relief inlay, working with majolica. Fee: $150. Contact Carol Stronghilos, YM & YWHA of MidWest- chester, 999 Wilmot Road, Scarsdale 10583; or telephone (914) 472-3300. New York, SyracuseMay 18 Demonstration and discussion with Angelo di Petta, surface design using slip-cast stain and underglaze images. Contact Eureka Crafts, 210 Walton Street, Syra­ cuse 13202; or telephone (315) 471-4601. Ohio, CantonMay 18-19“Raku Workshop” with Gregg Luginbuhl. Fee: $65. Contact Laura Kolinski, Curator of Education, Canton Art In­ stitute, 1001 North Market Avenue, Canton 44702; or telephone (216) 453-7666. Oregon, PortlandMay 18-19A session with Baba Wague. Fee: $79. Contact the Oregon School of Arts and Crafts, 8245 Southwest Barnes Road, Portland 97225; or telephone (503) 297-5544. Virginia, ArlingtonMay 10-12 A session with David Shaner, throwing and handbuilding tech­ niques. Fee: $110. Registration deadline: May 3. Contact Lee Arts Center, 5722 Lee Highway, Arlington 22207; or telephone (703) 358-5256. Virginia, The PlainsJune 22-23 “Raku” with Rick Berman. Fee: $80. Contact Tin Barn Pottery, Box 152, The Plains 22171; or telephone (703) 253-5997. International Events Barbados, Saint JamesJuly 1-19 “Raku Ceram­ ics” with Roger Ferland. Beginning through ad­ vanced skill levels. Limited to 15 participants. Registration fee: Can$l64.01 (approximately US$140). Airfare: Can$618 plus tax (approxi­ mately US$535). Accommodations, including breakfast: approximately US$380. Lunch and dinner available upon request: approximately US$4.50 and US$6.50, respectively. Contact Roger Ferland, Department of Education in the Arts, McGill University, 3700 McTavish Street, Montreal, Quebec H3A 1Y2, Canada; or tele­ phone (514) 398-6946. Canada, Alberta, CalgaryMay 7-25 “Cups,’’juried exhibition in clay; at the Muttart Gallery, 1221 Second Street, Southwest, Second floor. Canada, Alberta, EdmontonJune 28-July 10 “Cups,” held in conjunction with “Works”; at Manulife Place, E, 10180 101 St., Seventh Floor. Canada, British Columbia, Cortes IslandSeptember 23-28 “Fire by the Sea,” raku, low-fire salt work­ shop with Paul Soldner. Participants are encour­ aged to bring bisqued work. Fee: Can$615 (ap­ proximately US$530), includes living accommo­ dations and meals. Contact Hollyhock Farm, Box 127, Manson’s Landing, Cortes Island V0P 1K0; or telephone (604) 935-6465. Canada, British Columbia, PentictonJuly 22-26 “Handbuilding and Primitive Firing Techniques” with Laura Wee Lay Laq. Fee: $120. Contact the Okanagan Summer School of the Arts, Box 141, Penticton V2A6J9; or telephone (604) 493-0390. Canada, Nova Scotia, HalifaxMay 10-26 Solo exhibition of clayworks by Alexandra McCurdy, “Testaments to Tradition”; at the Gallery Shop, Art Gallery of Nova Scotia, 1741 Hollis at Cheapside.

74 Ceramics Monthly Canada, Ontario, Torontothrough May 26 “Art Nouveau-Art Deco: Selections from the Ber­ nard and Sylvia Ostry Collection.” through August 4 “Porcelain Boxes: Miniature Masterpieces of the 18th Century”; at Royal Ontario Museum, 100 Queen’s Park. Canada, Quebec, MontrealJune 7-July 21 “Fourth National Biennial of Ceramics”; at the Galerie d’Art Lavalin, 1100, Boul. Rene Levesque O. Canada, Quebec, Quebec May 1-29 The “Fourth National Biennial of Ceramics”; at the Centre d’exposition de la Bibliotheque Gabrielle-Roy, 350, Saint-Joseph Est. Canada, Quebec, Saint-Laurent through June 16 Edouard Jasmin, retrospective exhibition; at the Musee d’Art de Saint-Laurent, 615, Boulevard Sainte-Croix. England, Londonthrough May 19 Solo exhibi­ tion by Michael Flynn; at the Crafts Council Shop at the Victoria and Albert Museum, South Kensington. England, Oxfordthrough May 22 Solo exhibition by Christie Brown, ceramic sculpture; at the Oxford Gallery, 23 High Street. England, Stamfordthrough October 6 Exhibition of European pottery and porcelain; at the Burghley House. France, Nancay through May 12 “10 Ans—100 Oeuvres,” including ceramics by Jacky Coville, Bernard Lancelle, Yves Mohy and Pit Nicolas; at Galerie Capazza, Grenier de Villatre. France, Paris through June 23 “Une Passion pour la Ceramique,” from the collection of Fina Gomez, 30 years of contemporary ceramics; at the Musee des Arts Decoratifs, Palais du Louvre, 107 Rue de Rivoli. France, Saint-Amand through June 3 Solo exhibi­ tion of sculpture by Ousmane Sow; at the Musee de Saint-Amand-les-Eaux, Grand-Place. France, Saint-Beat September 15-22 “Raku,” handbuilding, throwing and glazing workshop with Jean Paul Betton. Beginning and interme­ diate skill levels. Fee: Frl740 (approximately US$310), includes materials and firing. Live-in accommodations and camping facilities avail­ able. Contact Secretariat CEDTE, 11, Rue du Cap Horn, 33700 Merignac, France; or telephone (56) 34 33 40. Greece, Porto CheliJune 20-August 3 “Classical Archaeology, Ceramics and Metalsmithing Workshop.” Contact Wolf Rudolph, Indiana University School of Fine Arts, Fine Arts Build­ ing 412, Bloomington, Indiana 47405; or tele­ phone (812) 855-7501 or 855-7766. Or contact Greg Pitts, Vincennes University, Department of Arts, Ceramics, Vincennes, Indiana 47591; or telephone (812) 885-4449. Italy, CalciJuly 1-13, July 15-27, August 26-Sep- tember 7 and/or September 9-21 Two-week sessions on handbuilding, glazing and ceramic design with Silvia Fossati. All skill levels. Instruction in English, German and Italian. Fee: 825,000 lire (approximately US$670), includes materials, lodging, breakfast, guided tours and use of kitchen. Contact Studio Giambo, Associazione Arte Lingua E Cultura, Via Giano della Bella 22, Firenze 50124, Italy; or telephone (55) 22 44 47. Japan, TokyoJune 3-15 Solo exhibition of vessel sculpture by Ban Kaiitani; at Akasaka Green Gallery. Netherlands, Deventer May 12-June 9 Solo ex­ hibition of ceramic sculpture by Tejavan Hoften. June 16-August Porcelain 18 exhibition with works by Jeroen Bechtold, Wil Broekema, Mieke Everaet, Horst Gobbels, Saskia Koster, Anne Leclerqc, Ursula Morley Price, Leen Quist, Corien Ridderikhoff, Agathe Larpent Ruffe, Hein Severijns and Henk Wolvers; at Kunst and Keramiek, Korte Assenstraat 15. New Zealand, Christchurch May 4-June 23 “Mau Mahara: Our Stories in Craft”; at the Robert McDougall Art Gallery. Scodand, EdinburghMay 7-29Ceramics by Anna Lambert; at the Scottish Gallery, 94 George St. Switzerland, AubonneMay 4-June 9Exhibition of works by Phillipe Barde; at Galerie de l’Amiral Duquesne, Rue de l’Amiral Duquesne 6.

May 1991 75 Suggestions From Readers

A Smooth Shave When pots are a little on the dry side for trimming, disposable safety razors give a smooth, easy “shave.” (But don’t use them on soft clay, as that will clog the blade.) — Donald DuBose, Albion, Calif. Ceramic Fiber Shims Leveling shelves can be a problem when stacking a kiln. Many people, myself in­ cluded, resort to using clay wads to fill small spaces. A better solution is to use pieces of ceramic fiber. It will not shrink or compress once in place, and will clean off shelves with a stroke or two of a metal scraper after firing. Various thicknesses can be achieved by care­ fully separating a ceramic fiber blanket into layers. As usual, when working with ceramic fiber, protective clothing and a mask should be worn.— Dwain Naragon, Fairbanks, Alaska Waterproof Templates If you use templates made of paper for your work and find that they don’t last as long as you would like, but making them out of more permanent materials is too time consuming, try this: Cut a template out of heavy drawing or construction paper. Then dip the paper into a pan of hot wax a few times. When the wax hardens, you’ll have a flexible, waterproof template.—Rolana Mierzwa, Lakewood, Colo. Lidded Bucket Sources Supermarkets (bulk food sections, in particular) and restaurants are good sources for lidded glaze buckets; costs will vary from free to only a dollar or two.—Carol Hutch­ inson, Nelson, British Columbia White Glue as Resist After trying a commercial wax resist, I’ve begun using another product that is equally adequate, but not so specialized or expen­ sive: white glue. Diluted with water, the glue brushes on greenware well and dries quickly. True, the glaze doesn’t bead and run off as it does with commercial wax, but it will wipe off easily with a sponge. All the glue needs is a quick stir to be ready for use. The brush cleans off easily too.—Susanne Farmington, Hamilton, N. Y. Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submissions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Box 12448, Columbus, Ohio 43212; or fax to (614) 488-4561. Sorry, but we can’t acknowledge or return unused items.

76 CERAMICS MONTHLY May 1991 77 brush decoration, as abstract as either the New Books form or the color of a pot and equally proper to it—not the painting of a picture on the vessel as if it were another kind of canvas, even when the designs are as lovely in themselves as on Persian software, Italian majolica or the famille rose of China; these Pioneer Studio Pottery are and remain a type of pictorial art. Potting The Milner-White Collection decoration must belong to the pot itself, a brushstroke, an incised line, a device to by Sarah Riddick expound and emphasize the ‘movement.’ The Very Reverend Eric Milner-White Form, glaze, decoration should combine (1884-1963) began collecting pottery “by into a perfect unity. pure chance c. 1925.1 walked into a Bond “Lastly,...notice one more point, which Street gallery & saw... no factory-made pottery or porcelain can pots by Reg. Wells. have at all—the surface, given an almost Transfixed. Sat there invisible enchantment by the slight irregu­ 2 hours—forgot larities made by the potter’s hands orfingers....” lunch! At the end, I 136 pages, including appendixes and pho­ bought (£20). A tocopies of letters from Leach, Hamada and stranger, seeing my Michael Cardew to Milner-White. 32 color interest, said that an­ plates; 171 black-and-white illustrations. $35, other gallery in Bond softcover. Lund Humphries, Ltd., distributed by Street [had work] by Humanities Press International, Inc., Atlantic an artist-craftsman of Highlands, New Jersey 07716. whom he thought even more highly. I went there...picking up [a pot by William Staite] Pottery Murray.” From that day on, Milner-White was an A Manual of Techniques avid stoneware collector, acquiring works by Doug Wensley by some 40 (primarily English) potters. Written by a British potter/teacher, this There were few other serious collectors at “how-to” guide for beginners provides basic that time. “I found an aesthetic delight, a information on studio setup, equipment thrill, over a fine pot, which no other branch and tools, as well as forming, decorating and of art had ever been able to give me...and firing techniques. The text opens with a worked hours, days, weeks, correcting Cer­ discussion of the properties of clay, then tificate Papers in History from schools all covers preparation, including reclaiming over England, to get the money to buy. I soft or hard scraps for reuse. bought only the best. How I beat my foes! ” A chapter on design is included before Not only was he a loyal and purchasing the introduction of forming methods “in an patron, he also gave valuable moral sup­ attempt to promote a consciousness of it port—writing to the potters to praise their throughout subsequent discussion of prac­ work and encouraging others to take an tical techniques. The interest in studio pottery. He recognized simple fact is,” notes William Staite Murray, Shoji Hamada and the author, “that we Bernard Leach as “the 3 Master Potters of can not make any­ the Century” and succeeded in acquiring thing without in some examples of the best of their works. way considering de­ This catalog/book documents the 173 sign.... It is not a case pots from the Milner-White collection that of being obliged to were given to York City Art Gallery together take design into ac­ with historically important support materi­ count, but rather that als, including catalogs, press clippings, in­ it is impossible to voices, receipts and letters from the potters. make something without doing so. Design is Acquisitions were intuitive, but guided implicit in the making process.” by a distinct aesthetic philosophy based on Following chapters on handbuilding principles upheld by Staite Murray and techniques (pinching, slab building and Leach; on a leaflet accompanying a 1952 coiling) and wheel work include step-by- exhibition of his collection, Milner-White step projects for specific forms. Throughout, discussed what to look for in a good pot: emphasis is placed on considering design in “Look first at shape, then see how expressive the choice of glaze, application and firing it can be—powerful, delicate, lively or what method. Line drawings and black-and-white not....A fine pot is abstract sculpture.... photos illustrate processes described. 192 “Secondly, observe the glaze....The most pages, including glossary, suggested read­ brilliant art of color is stained glass—painting ing list and index. 26 color plates; 96 black- on light itself; the deepest and profoundest, and-white photographs; 100 line drawings. and the most unexpected in its phases and $34.95, plus$2.00 shipping (Mastercard and blends, is a mineral glaze of a stoneware pot Visa accepted). Crowood Press, distributed by created in the burning fiery furnace. Trafalgar Square, David & Charles, Howe Hill “Thirdly, there is decoration, especially Road, North Pomfret, Vermont 05053.

78CERAMICS MONTHLY May 1991 79 Slip Casting, Part 5

Iron-Bearing Casting Slips by Gerald Rowan

Editor’s note:This is the fifth article Earthenware Casting Slip To deflocculate each of the first four in a series on slip casting by Pennsyl­ (Cone 03-2) casting slips, add 40% water and 0.8% vania potter Gerald Rowan. The first Barnard Slip Clay...... 5.0% Darvan 7 (see the January 1991 issue four were published consecutively, Cedar Heights Redart ...... 20.0 for a discussion of the benefits of us­ starting with the January 1991 issue of Georgia Kaolin ...... 19.0 ing this compound). Ceramics Monthly. Hawthorne Fireclay ...... 16.0 Kentucky Ball Clay (OM 4) .... 40.0 Stoneware Casting Slip MAKING good iron-bearing casting 100.0% (Cone 6-9) slips is somewhat more difficult than Custer Feldspar ...... 10.0% formulating white casting slips. All Foundry Hill Creme...... 40.0 clays that fire to tans, browns or brick Light Tan Casting Slip Georgia Kaolin...... 20.0 reds contain various amounts of iron (Cone 1-5) Kentucky Ball Clay (OM 4) .... 15.0 Talc...... 9.28% Flint (300 mesh) ...... 15.0 oxide. Also, red-firing earthenware Nepheline Syenite...... 26.80 clays are secondary clays and there­ Cedar Heights Redart ...... 10.31 100.0% fore contain organic materials. Both Add: Iron Oxide...... 1.5% their iron and organic content can Georgia Kaolin ...... 25.77 disrupt the effect of the deflocculation Kentucky Ball Clay (OM 4) .. 19.59 Mix with 50% water, plus 0.75% N- of the casting slip. As a general rule, Flint (300 mesh) ...... 8.25 brand sodium silicate and 0.25% soda larger amounts of deflocculant are 100.00% ash as deflocculant. necessary to make iron-bearing slips Add: Iron Oxide...... 3.09% deflocculate into smoothly flowing Stoneware Casting Slip “B” liquids with low water content. Brown Stoneware Casting Slip (Cone 6-9) Another problem I have encoun­ (Cone 5-9) Custer Feldspar...... 20.0% tered with red secondary clays in cast­ Nepheline Syenite...... 10.31 % Cedar Heights Redart ...... 5.0 ing slips is the formation of sulfite Cedar Heights Redart ...... 25.77 Foundry Hill Creme...... 15.0 scum on the surface of the finished Foundry Hill Creme ...... 20.62 Georgia Kaolin ...... 30.0 ware. These white deposits are more Hawthorne Fireclay...... 30.93 Kentucky Ball Clay (OM 4) .... 15.0 noticeable on the surface of tan and Fine Grog...... 12.37 Flint (300 mesh) ...... 15.0 brown castings than on white castings. 100.00% 100.0% Usually, the addition of 0.05% (of the The previous recipe is good in reduc­ Mix with 40% water, plus 0.25% N- dry slip weight) barium carbonate to tion. Mix often when using. brand sodium silicate and 1% soda the batch will render sulfites and sul­ ash as deflocculant. fides insoluble. Tan Stoneware Casting Slip When casting slips containing sec­ (Cone 7-9) Red Clay Casting Slip ondary clays are stored, you may no­ Custer Feldspar...... 20.0% (Cone 04-1) tice that a dark scum sometimes forms Cedar Heights Redart ...... 5.0 Cedar Heights Redart ...... 100.0% on the surface. This is soluble organic Foundry Hill Creme...... 15.0 Mix with 30.8% water, plus 0.14% N- material that dissolved, then floated Georgia Kaolin ...... 30.0 brand sodium silicate and 0.64% soda to the top of the batch. It will burn off Kentucky Ball Clay (OM 4) .... 15.0 ash. Results depend on the particular in firing and will not affect the final Flint (200 mesh) ...... 15.0 batch of clay. High organic content color of your slip-cast work. 100.0% may prevent deflocculation. A

80 CERAMICS MONTHLY May 1991 81 How to Buy Supplies by Jeff Zamek

TYPICALLY, potters believe their most lin, 6-Tile clay, Custer feldspar, Kona The point being that all this goes on important choices revolve around F-4 feldspar, G-200 feldspar, nepheline without consumer awareness of the aesthetic considerations. These can syenite, calcined kaolin, alumina hy­ change—until something goes wrong. take the form of choosing the correct drate, barium carbonate, bone ash, Gerstley borate is also high on the glaze and clay color, temperature any of the frits, talc, Zircopax, Opax, list of materials that can change from range, and forming method. But, the Treopax and Ultrox—-just some of the one batch to the next. Some batches question of how and where to obtain materials used in the paint, chemical of Gerstley borate contain various the necessary materials is rarely given and paper industries. Potters should amounts of “tramp” material that ride as much attention. This decision also take advantage of the quality control along with the 3-mesh ore as it is should be made carefully. standards set by large industrial users. ground down to a 200-mesh powder. Unless you want to mine and pro­ Glaze and clay body recipes should be This type of impurity can cause black cess your own raw materials and make based on this category of “guaranteed” specks in the fired glaze. It usually your own equipment, you’ll be doing materials whenever possible. takes about 12 to 18 months for a new business with a ceramics supplier. This Conversely, there are raw materials batch to enter the market. can either be a pleasant, economical that are subject to less stringent qual­ What is the best way around incon­ relationship, or it can be expensive, ity control. You should consider sistent materials? Cut down on the unsatisfying and time consuming. fireclays, stoneware clays and most ball percentage you will need in any given There are some basic factors that clays as raw materials that will be in­ formula. Sometimes this is not pos­ control the potter’s quest for raw ma­ consistent. The question is not if the sible; in which case, using two differ­ terials. Even the largest ceramics sup­ material will change, but when. ent fireclays instead of one will reduce pliers are essentially small businesses Fireclays contain varying levels of the risk of a bad fireclay disrupting when compared to other ceramic in­ sand, lignite (coal), sulfur, organic your clay body. Too expensive, you dustries. The reality is that potters buy matter and other contaminants (such say? Too many materials to stock? Yes, less than 0.1 % of the clay marketed in as iron and manganese, which can but compare that to time and effort the United States. We are therefore cause spit outs on fired ware). But such lost after opening a defective kiln load using materials that are neither mined impurities are insignificant to major of pots or sculpture. nor refined for our needs. fireclay users—the steel and foundry You can’t counter this situation; but industries. Evaluating Raw Materials by knowing the characteristics of Ball clay can have high levels of Evaluating raw materials can be as common materials, the potter can organic material that can fluctuate simple or complicated as your pa­ make informed choices and get on from one batch to another without tience, time and money will permit. A with studio work. You should be aware notice. If your bisque firing is not clean reasonable approach would be to start that many materials change over a (oxidized) and well vented, black cor­ with screening 1 pound of the suspect period of time, which could be as brief ing, bloating, pinholes or blisters can material through a 60-mesh sieve. as your next bag of clay. Before giving result. Some of the most popular ball Note the particle size, color, texture up all hope, though, consider that clays might have the same name over and quantity of the material remain­ some raw materials do remain fairly the years, but the actual product has ing on the screen. Large particles are consistent in chemical composition, changed or has been blended with suspect in causing spit outs or blotches particle size, solubility, melting tem­ other clays. As the deposit is mined in on the fired clay surface. This might perature and quality control. new locations, changes take place in be just the look you’re after in a wood- The most problem-free (notice I particle size, fired color or handling fired piece, but could cause problems didn’t say perfect) are flint, whiting, characteristics of the clay. The mine in porcelain. Black specks found in dolomite, Edgar Plastic Kaolin, Grol- then has to blend its clay with other the sieve could indicate coal, iron, leg kaolin, Avery kaolin, Pioneer kao­ deposits, hoping for a good result. manganese or calcium nodules in the

82 CERAMICSMONTHLY clay, which can cause brown or black As a general rule, 325-mesh flint ing procedures cost money. A good spots. But as a rule, in clay bodies, it’s can be used in glazes (400 mesh can clay-mixing operation might charge not a specific contaminant that causes help eliminate crazing—although slightly higher prices to cover the costs a problem; it’s the large particle size. there are inhalation concerns about of producing better pre-mixed clay. If Spread onto a moist porcelain slab such very fine silica), while the 200- you are now using a ceramics sup­ all the material remaining on the mesh range can be used in clay bod­ plier’s pre-mixed clay, and have had screen. (A high-temperature white clay ies. Silica sand is used in salt or soda good results, you should probably look makes a good contrasting back­ clay bodies to promote an “orange for costs savings in more significant ground.) Next, use a rolling pin to peel” texture on the clay surface. areas. press the material into the clay. Then Metallic coloring oxides can also Another false economy is “free ma­ fire the sample at the highest cone come in a wide range of mesh sizes terial.” For example, a potter with a you typically fire to. Note any large and various concentrations. Certain source of cheap wood (a broom spit outs or brown/black blemishes trace elements can be found in ox­ handle factory located just 3 feet away caused by iron or manganese. Green ides, depending on the original ore from the wood kiln) decides to fire specks could be the result of chrome deposit and method of refining. One with wood to save fuel costs. Firing a or copper contamination (found in large processing company, Pfizer wood kiln is, at best, time consuming; fireclays). Also note any conical holes Minerals, produces over a dozen types at worst, constant physical effort to or half-moon-shaped cracks. This type of black iron oxide for industry. When gain temperature. After a few wood of crack is often caused by a “lime buying black iron oxide from a ce­ firings, how much energy do you think pop,” the result of large particles or ramics supplier, would you know if it’s you’ll have to load that van up and nodules of calcium. If it is calcium, the same type of black iron oxide as drive off to the crafts show? when you peel back the clay at the you used in the past? Red iron oxide In short, it’s more important to crack, there will be a white speck at is produced in various concentrations think smart than to think cheap. Buy­ the bottom of the hole. and purity levels, too. ing proven clay bodies and well-de- Of course, the amount of contami­ Copper oxide, one of the most re­ signed equipment, which might cost nants per square inch will be greater active of the coloring oxides, can con­ more initially, is actually less expen­ than in unsieved material, but this tain various trace elements, depending sive in the long run. Quality equip­ simple test will give an indication of on how it was processed. Again, it can ment lasts longer, makes work more the worst results possible. If the fired be very difficult to achieve consistent efficient and less tiring, and has a good sample looks somewhat like your own results in glaze color when the color­ resale value if you want to expand or clay, only with more specks, none of ing oxide composition can change upgrade. The more overall planning which disrupt or scar the surface, the without the potter’s knowledge. you can do on how to save labor, the probability of the contaminant ad­ A change in the raw material source more time you’ll have to concentrate versely affecting your work is minimal. (and there can be quite a few sources on the process that really counts— for any given material) can cause a making the work. Your labor is the Material Specifications shift in glaze color, texture or opacity. most limited ceramics supply you have. When ordering raw materials, be A supplier might find a cheaper source very specific as to trade name, mesh of a raw material and begin selling it Liability size and quantity. Be aware that the to customers, without a thorough in­ One of the largest areas of misun­ supplier orders the material from a spection of the material’s specifica­ derstanding between customer and processor, and sometimes there can tions. Only when enough complaints supplier involves raw material and clay be several processors of a raw material. from potters are reported does any body problems. The ceramics supplier This can cause a problem if each pro­ corrective action take place. Think usually accepts limited liability—a fact cessor grinds the product to a differ­ how often potters do not complain, that is usually stated in the catalog, ent mesh. Whiting is an example of a reasoning they made a mistake in and on clay shipment boxes or raw glaze material that produces different mixing or firing the glaze! materials bags. When a clay is shipped effects depending on particle size. It from the mine and it differs from the can and does vary, depending on the Smart Money mine’s general analysis of the mate­ plant’s production specifications. In We all like to find the lowest price rial, the mine will replace the clay to any case, a finer mesh whiting will stay on everything. In today’s consumer the ceramics supplier. This usually in­ in suspension longer in a glaze bucket market, it makes us feel that even if volves sending samples of defective and will melt more completely. A we’re not beating the system, we’re clay back to the mine for testing. If coarser whiting will sink faster in the not getting taken too badly. This mind­ the mine is at fault, it will replace the glaze bucket and will tend to increase set might get us the best price on a material, but will not pay for any sub­ the opacity of clear glazes. Specify the car or television, but careful analysis is sequent damage caused by the mate­ same mesh on every order to ensure required when purchasing ceramic rial. This policy is then passed onto consistent results. materials, clays, glazes, tools and kilns. the supplier’s customer who ultimately Similarly, the size of flint particles Buying a pre-mixed clay for a 10 or received the bad clay. in a glaze can affect results. Do you 2£ savings per pound is not a true If you purchase a defective bag of know what mesh to order? Most ce­ savings if the clay is improperly mixed dry clay or moist pre-mixed clay that ramics suppliers carry 400 mesh, 325 and ends up ruining a whole kiln load causes the loss of a whole kiln load of mesh, 200 mesh, and silica sand of pots. Quality control, good raw ma­ pots, perhaps even melting all over (coarse particle flint). terials and a knowledge of clay-mix­ the kiln shelves, in most cases the ce-

May 1991 83 ramies supplier will replace only the will reveal production information turn of defective products and spe­ clay, and that’s if it can be proven the about batch size, recipe, etc. Look for cific technical information might be clay was defective. If you mistakenly this code on your clay shipment box difficult or impossible to obtain from fire a pre-mixed Cone 06 clay to Cone and save it for future reference. If a this type of operation. However, if you 9, don’t expect a refund. problem develops with the clay, the have better-than-average knowledge of The markup on moist clays and code number will be useful in help­ manufacturers and their products, a raw materials is not high enough to ing the supplier isolate the question­ limited service discount store should allow the supplier to invest in quality able clay batch. At this point, the be considered. control procedures. So, many prob­ supplier should investigate the prob­ The following is a list of objectives lems with the material may be passed lem’s cause, making sure to test the to pursue when buying from suppliers: on directly to the customer. These suspect product before selling it to 1. Before ordering from a ceram­ economics are against the potter. other customers. ics supplier, find out the policy on If you remain in the ceramics field A private recipe is a mixture of return of goods or raw materials. Is long enough, it’s just a question of clays, feldspar, flint and grog or any there a restocking charge? Does the time before you purchase a defective other ceramic material, which has pottery equipment carry the manu­ load of clay or encounter a raw mate­ been developed to meet the special­ facturer’s warranty? What is the pro­ rial that is contaminated. The way to ized needs of a specific potter. It is cedure for repair or replacement of avoid significant down time is to test sometimes assumed that having your defective products? Some other im­ clays and materials as soon as possible own clay body is superior to a stock portant questions to ask: When I order after delivery. When you find a prob­ clay, but keep in mind suppliers’ stock 12,000 pounds of clay, will it be deliv­ lem, call your supplier at once. Speed recipes represent high volumes, used ered to my front door? Will the deliv­ and accuracy are essential in obtain­ by a variety of potters under various ery person help me stack the shipment ing a refund, exchange or credit. The studio conditions. If it were not con­ in my studio? Is there an additional supplier might ask for a sample of the sistently successful, it would no longer charge for this service? defective material, so be prepared to be sold. Also, read the supplier’s catalog send it along with the date of pur­ A private blend of clays is funda­ carefully in regard to placing an or­ chase, bill of sale, quantity purchased mentally only as good as the knowl­ der, back-order policies, taxes, ship­ and any other pertinent information. edge of the person who developed ping charges and terms of payment. Do not try to use a material once you the formula and the person who 2. Does the company have a good have encountered a problem, as this mixed the recipe. If you’re just starting reputation? Ask other potters if they act can constitute acceptance as is. in clay or your technical knowledge have received good service. Are they Call your supplier to discuss options. of ceramic materials is not extensive, made to feel it’s their fault that the stock clay bodies are time- and volume- fireclay caused blisters and spit outs, Pre-Mixed Moist Clay proven, low-risk alternatives to a pri­ or is the problem clay replaced with­ Most ceramics suppliers carry a line vate blend. out delay? With every business, a of pre-mixed moist clays, ranging from reputation develops—good or bad— low-temperature, white casting slips to Choosing a Supplier that can guide the actions of the cus­ dark stoneware for throwing. Special­ A retail store location and show­ tomer. Find out how the company is ized blends of clay are frequently room displaying equipment, tools, regarded by the potting community, available for salt/soda firing, raku, books and supplies are characteristic then act accordingly. mid-range porcelain and slip-casting of a full-service supplier. This is usu­ 3. Besides asking previous custom­ applications. ally the place to find an extensive line ers if they received good clay from a The supplier may mix such bodies of commercial glazes and a wide range ceramics supplier, try to visit the clay- “in house,” or buy them from a larger of pottery tools and equipment. Ex­ mixing facility. If the clay is mixed on clay supplier/manufacturer. In most pect slightly higher prices on some the same premises where retail sales clay-mixing operations, the dry clay is items (kilns, slab rollers, wheels), but occur, a visit is more likely to be placed into a large mixer and water is also expect good customer service, ef­ granted. Always ask to visit at a time added in the correct proportion. Once ficient repairs on equipment, and when it will not interfere with business mixed, the batch is fed into a pug technical information on materials operations, and don’t stay long mill, which will compress and de-air and equipment. If you’re just starting enough to hinder production. During the clay, extruding a well-blended pug. out in ceramics and need product in­ your visit, take a look at the clay storage The usual packaging consists of 25- formation, a full-service store will and mixing areas. Are they reasonably pound or 50-pound blocks of clay, probably prove more helpful than a clean and well organized? Do the each wrapped in a plastic bag. Always discount supplier. people mixing clay appear well moti­ look for a heavy-gauge (3 mils) plastic A discount ceramics supplier might vated and knowledgeable about their bag to protect the moist clay from not have a retail store location or an jobs? Are the pug mills and clay mixers drying out due to rips or punctures in extensive range of ceramics products. kept clean? Do the machines look well the packaging and shipping process. Some operations are run through a maintained? Are any special cleaning Moisture can also evaporate through post office box or business phone procedures enacted when mixing a lightweight plastic bag over a period number. While the inventory may be white clays or porcelain? What quality of time. limited, low overhead generally results control measures are taken when dif­ Some clay manufacturers place a in lower prices on items that are ferent clay body recipes are mixed? date or number code on the box. This stocked. Repairs on equipment, re­ You don’t have to test the pH of

84 CERAMICS MONTHLY the water or request a maintenance mind what you believe constitutes re­ service record for the pug mill, but a alistic compensation. If you are not few common-sense observations will satisfied with the response, small reveal how seriously a ceramics sup­ claims court is always possible. plier regards clay mixing. 8. If planning to pick up materials, 4. Find out if there is someone on call ahead to give the supplier enough staff with technical and practical time to assemble your order. While knowledge of raw materials. Can you there, double check each bag label reach this “expert” when a problem and note any irregularities. This is the or question arises? A certain percent­ time to ask if that plaster is fresh age of customer problems occurs (plaster has a shelf life of about six when the product or raw material is months), or if that bag of black pow­ used incorrectly. We’ve all been in the der is manganese dioxide or black studio, mixing up a batch of glaze, iron oxide. Discovering you have the only to run out of Custer feldspar. wrong material back in your studio What is a good substitute? Can your can be expensive and definitely time ceramics supplier tell you what other consuming. potash feldspar is likely to work? 9. Always test new shipments of raw 5. Are the salespeople knowledge­ materials before committing time and able? Do they show an interest in effort to a production run, whether helping you find the right tools and you’re making 100 coffee cups or a materials for your individual needs? single sculpture. Having said that, I Do they know the advantages and dis­ fully realize how often we’ve all found advantages of each type of kiln? There ourselves in this very spot. It is a risk, are over a dozen electric kiln manu­ though, and the longer you allow facturers in the United States; can the yourself to use new materials without salespeople tell you which ones have testing, the more likely a problem will the lowest incidence of repair? If not, develop with a deficient order. Try to to make a cost-effective purchase, you think one or two steps ahead in the will have to find this out for yourself. production process. When you’re 6. Always try to buy raw materials down to that last half of your clay and clays in their original bags. When shipment, order a new batch and test you receive a shipment, make sure it along with your current production. each bag is properly marked. Each In this way you’ll allow some time to time a ceramics supplier has to take a adjust the clay or complain to your 50-pound bag of flint and repackage ceramics supplier about the problem it into ten 5-pound bags for resale, and get restitution. the chance of mislabeling increases, 10. Establishing a good business along with the price per pound. Obvi­ relationship with your ceramics sup­ ously, buying 50 pounds of tin oxide plier is important. Jumping from one at a time would be too expensive, but supplier to another in search of the purchasing flint, whiting, dolomite, lowest priced clay, wheels or tools, may clays and feldspars in 50-pound lots be only a short-term gain. Long-term shouldn’t be too costly, because most benefits are realized when you are clay body and glaze formulas contain considered a valued customer. These the previously mentioned materials. can be in the form of getting clay 7. Keep accurate records of your delivered and unloaded inside your purchases. Note any irregularities as studio, rather than on a “nearby” soon as the shipment arrives (e.g., sidewalk. Returning defective equip­ make sure your order of manganese ment or raw materials is also easier. It carbonate is not magnesium carbon­ might not be fair, but it’s human na­ ate, or that the nepheline syenite is ture. While most businesses have spe­ 270 mesh, not 400 mesh). If a prob­ cific policies on the return of defective lem does occur with an order, it makes goods, the interpretation of “defective” replacement easier when your records may depend on how long the cus­ and delivery date are available at the tomer has remained loyal to the com­ time of a complaint. pany and how much business he/she Once the complaint is stated, give has generated. the supplier a chance to make an of­ fer of compensation. If there is no The authorTechnical consultant Jeff offer or you think the response was Zamek has developed clay and glaze recipes not adequate, speak to a higher au­ for several ceramics suppliers. He currently thority within the company. Keep in resides in Southampton, Massachusetts.

May 1991 85 86 Ceramics Monthly May 1991 87 Comment New Challenges for Studio Profits by Ernest Fair

Challenges are needed in a ceramics than successful in the past. Things could bility, then devise an active program for studio if the potter wants to keep go­ have changed between then and now, making it a future profit builder. ing. But after several years of business and made any one of them a challenge How about a challenge to spruce up activity, it often becomes difficult to lo­ worth taking today. the business and make it stand out from cate them. That’s the time to check the Check throughout the studio opera­ all competition in the area—as observed following list: tion for any area that has not been through the eyes of the general public. Look for a new area—geographic or particularly profitable recently. Give it This can easily embrace a number of aesthetic—within which to do business. a thorough and intense study. Accept small steps rather than one big leap. If it is one wherein your studio has the challenge of finding a creative way Search out one or more steps your never been active previously, this can to make it profitable. studio business has taken in the past be a top-notch challenge. When con­ The potter’s personal business qual­ that turned out to be profitable. Take sidered and developed properly, this ities should not be overlooked at this the improved area presenting the best simple approach can yield significant time. Each trait offers an area of pos­ possibility of further return and estab­ results. sible improvement. Altering one or two lish a personal challenge to give it an­ The business step one has always could be a challenge requiring great other big overhaul for more profits wanted to take, but has consistently concentration, but resulting in worth­ today or in the near future. avoided, offers another potential chal­ while results for the long term. New challenges do not have to be lenge when others are not available. Study the last studio expenditures major obstacles to be productive. They Full concentration upon this could be for one area in particular that offers an can cause major return, of course, but profitable if the time is right. opportunity for elimination of some even little steps can also be profitable. Is there a competitor toward whom waste or unsound procedures. The re­ When looking for new challenges, put there has been reluctance for active duction of costs in that area could sig­ nothing aside as being too small to un­ battle? What better challenge is there nificantly add to your studio’s profits. dertake. at any time? Usually reluctance is based Is there some segment of possible The very act of developing challeng­ on lack of personal confidence. Marshal business you are not now exploiting? es can in itself add new spark to any some today and go after that business. No better challenge could be accepted potter’s business life. That’s another re­ Reexamine those ideas that were less at any time than to locate such a possi­ ward—simply for seeking it.

Index to Advertisers

A.R.T. Studio...... 17, 25 Dedell...... 71 Mendocino Art Center ...... 79 Rings & Things ...... 72 Aftosa...... 63 Del Val...... 74 Miami Clay...... 73 Robert Fida...... 70 Amaco...... Cover 2 Dolan ...... 75 Miami Cork ...... 27 Sapir...... 79 Amherst Potters...... 74 Duralite...... 74 Mid-South ...... 2 School of the Museum ...... 77 Anderson Ranch ...... 28 Falcon...... 85 Mile-Hi...... 64 Scott Creek...... 69 Axner...... 6, 7 Flotsam & Jetsam ...... 68 Miller...... 71 Sheffield...... 72 Bailey...... 1, 12, 14, 15 Garendo ...... 76 Minnesota Clay...... 21 Shimpo ...... 9 Banff Centre ...... 81 Geil ...... 71 Molly’s...... 75 Sierra Nevada College ...... 70 Bennett’s ...... 3 Giffin...... 66 Montgomery College ...... 64 Skon ...... 62 Bluebird...... 77 Gilmour Campbell...... 75 Mud File...... 75 Skutt...... Cover 4 Brickyard...... 75 Great Lakes Clay...... 67 National Artcraft ...... 78 Soldner ...... 19 Byrne...... 63 Handmade Lampshade ...... 68 North Star...... 69 Standard...... 67 Canecraft...... 67 Harvest Festival ...... 65 Olsen...... 81 Starkey...... 65 Cedar Heights ...... 63 Heartstone ...... 76 Orton ...... 73 Summit...... 74 Ceramic Review...... 77 Highwater...... 79 Pacific Ceramic ...... 74 Trinity...... 87 CeramiCorner ...... 74 IMC...... 64 Tucker’s...... 87 Ceramics Monthly...... 13, Cov. 3 Pacifica...... 81 Classified...... 86 Jack D. Wolfe...... 75 Pebble Press ...... 78 Tuscarora Pottery...... 64 Clay Factory...... 74 Kelly Place...... 70 Peter Pugger ...... 64 V. R. Hood ...... 85 Contemporary Kilns ...... 75 Kickwheel ...... 4 Peters Valley...... 74 Venco ...... 23 Continental Clay...... 61 Kraft Korner ...... 75 Potters Shop ...... 75 W. P. Dawson...... 68 Cornell ...... 74 Laguna Clay...... 29 Pure & Simple ...... 64 Westchester Center...... 64 Creative Industries...... 11 Leslie...... 62 Ram...... 65 Wise...... 74 Creek Turn...... 68, 75 Marjon ...... 76 Randall...... 10 Worcester Center ...... 69

88 CERAMICS MONTHLY