Ceramics Monthly May91 Cei0

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

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