William C. Hunt...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis ...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year $16, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors:Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1985 Professional Publications, Inc. All rights reserved January 1985 3 4 C eramics Monthly Ceramics Monthly Volume 33, Number 1 January 1985

Feature Articles Silla by Herb Schumacher...... 27 Dutch Tiles...... 30 Translucent Tile Porcelain by Richard Zakin...... 32 Richard Batterham 33 Portfolio: Jens Morrison by Elaine Levin...... 35 Welsh Exhibition...... 41 Paul Rozman...... 42 Jim Melchert by William Hunt...... 44 Brook Le Van...... 48 Spain’s Joan Cots...... 49 Cone 2-4 Oxidation Glazes by Lynne Melchior...... 52

Departments Letters...... 7 Itinerary...... 11 Film & Video 15 Where to Show...... 17 Suggestions...... 21 Questions...... 23 Comment: Tolerance and Intolerance by Edwin Todd...... 25 News & Retrospect...... 57 New Books...... 75 Technical: What Size Burners? How Much Gas? by Robert D. Schmitz...... 76 Classified Advertising...... 78 Index to Advertisers...... 80

The Cover Arnold Zimmerman’s studio. This Brooklyn ceramist builds forms from thick coils, then deeply carves and shapes them. Works by the artist were featured in a recent solo exhibition at Hadler-Rodriguez gallery, New York City. January 1985 5 6 C eramics Monthly Letters

Relevant Pricing craftsmanship such as Warren MacKenzie’s trated at the result and they blamed me, I Thanks for [publishing] the November let­ “mere” craft? To my mind the best pottery blamed them, then we all blamed the man­ ter from Thomas Feyrer, who wants to see is crafted. But then I don’t understand Pi­ ufacturer with no result. more work by basement potters. Whether in­ casso either. I still love Ceramics Monthly Someone who sold his pottery workshop nocently or slyly, he invites us to see the even though they blow it sometimes. Don’t recently found an old bottle of wax resist and connection between an uncertain future and we all. gave it to me. We were all happy again; things the failure to price goods by labor content. Marion Burmeister came out just as we wanted them to. But It’s that same disconnectedness between time Pennsburg, Pa. what do I do when this runs out? My, oh spent and earnings which leads the public my, there is always something. attending small-scale local fairs to expect I think the art criticism as exemplified in Belle Steinberg bargain prices for craftwork. That of course the November issue is pretentious gibberish. Los Angeles drives away those who can travel to the large I dislike being told what to think about a three- and four-day fairs to get professional piece, and prefer to have the work speak for Can Richard Meyer find a replacement? treatment for professional work. Local fairs, itself. Real information about the artists, their Will the Southern California rep help? Tune an important outlet for many a crafter who lives, techniques, their own feelings about in next month to “As the Wheel Turns.” works at home, fight an uphill battle—if they their work (expressed in English, not gib­ Sarah Howe fight at all—to win the attendance of the berish) is interesting and also helpful. Brooklyn dedicated craft buyers even in their own com­ Jean Silverman munities. Newmarket, N.H. Time has taken its toll on my knees and If one’s pottery earnings are irrelevant to knuckles and I no longer pot, so I can’t try the mortgage payment, that is no excuse for In regard to Ted Randall’s article, “Being this out myself—but has anyone tried paste irrelevant pricing. If part-time potters would and Meaning”: CM has superseded “in house” wax as a substitute for wax resist, or Cer do cost accounting as if clay were a liveli­ debate and offered an intelligent, articulate, A? It does stick to leather-hard clay, so might hood, and then abide by the results, they could passionate and oh so pertinent recall to the do for inlay work, and if worked up with a begin to ask seriously about the future. premise on which we should be making pots— little turpentine, can be brushed. Professional pricing enables one to take the a premise which does indeed leave room for Laurie Sparer next step, accepting a wholesale order or significant innovation. Bravo Ted Randall. Minneapolis working with a gallery at 40% commission. Richard DeVore Though I work in the basement and travel Fort Collins, Colo. mainly between the grocery store and my Tile Installations children’s music rehearsals, I price my pots I’ve been a subscriber to Ceramics Month­ I have recently noticed a number of letters as if I were potting full time. Our friends are ly for many years, probably 13 or 14 to be addressed to the technical staff concerning very supportive. With my pricing not driven more specific. I have enjoyed many fine ar­ ceramic tile installations. Doing an instal­ by economic necessity, I sometimes consider ticles, glaze formulas, etc. However, the last lation, especially on vertical surfaces with that I am perpetrating an enormous charade. few years I have been very disappointed with large or heavy handmade tile, can be a dif­ But to do otherwise would be absolutely un­ it and the issue I received today was down­ ficult proposition for someone not trained in fair to potters who, alone or with the help right disgusting. Is this CM’s idea of beauty such techniques. A qualified tile installer is of their families, choose to make pots their and art? Practically the whole issue is ded­ going to be able to do a structurally sound sole income. icated to gross art and the picture entitled job that will last for the life of the building. Marcia Kindlmann “Butchershop” is very offensive. Readers should contact the Ceramic Tile Guilford, Conn. Lois Willet Institute of America, 700 North Virgil Av­ Salem, Ore. enue, Los Angeles, California 90029, (213) November Issue 660-1911; Chicago Tile Institute, 1311 Mer­ CM blew it in the November issue. I haunt Arneson’s Ground Zero chandise Mart, Chicago, Illinois 60654, (312) the mail box in anticipation of the arrival of Robert Arneson’s terrifying imagery cuts 467-1640; Tile Council of America, Box 326, CM, but was disappointed this month. Hav­ through useless rhetoric and reveals the nu­ Princeton, New Jersey 08542, (609) 921 - ing discovered a correlation between the cov­ clear threat in its true and evil form. It is 7050; or talk to a local distributor about their er and the inside, I should have expected it good to see a ceramist making such an im­ particular circumstances before attempting this time. My first reaction to the cover was, portant point, however ghastly, as only a to install their own tiles. “It blew up in the kiln.” sculptor can. Sharon Blott Then in Letters to the editor, one said that Ken Woodard Los Angeles some of CM’s ceramics expressions are ter­ Lewiston, Me. ribly pretentious. Among these include an More Selling Controversy article by Ted Randall whose very title is In the November ’84 issue it is heartening I am a ceramist who considers herself a pretentious: “Being and Meaning.” When I to see Robert Arneson doing some good-look­ businesswoman as well as an artist. I make feel like reading Sartre, I won’t turn to CM. ing self-portraits for a change. a living by selling my work and am very What a pompous article! Darryl Wally aware of marketing, etc. I am glad to see that Not one picture, not one article of interest. Chapel Hill, N.C. Ceramics Monthly is also printing articles I don’t mind the funk versus utility dispute, devoted to the more practical side of our craft; but please, a little more balance. The Search Waxes On I find them informative and relevant. I wish CM would run an article one of I just finished reading Richard Meyer’s I was glad to see Ross Murphy’s article, these days on what makes “art” out of sloppy article, “Resistance” (November Comment). therefore, in the June/July/August issue. craftsmanship such as Peter Voulkos’s and I did not know whether I should laugh or Then I sat down to read it. I was truly of­ Ted Randall’s. Why would people spend cry. My experiences with the wax resist fended. I did not appreciate his flippant at­ thousands on a Voulkos platter that hasn’t “Ceramol A” were similar. My students who titude about customers or his work or other even been trimmed? What makes superb like this method of design were very frus­ Continued January 1985 7 8 C eramics Monthly Letters Bridge. He told me that he bought the bridge university setting for ceramics. I’ve found this real cheap from a man continuing an ex­ to be the proving ground for many a potter potters. I thought some of his selling tech­ tended stay in Leavenworth, Kansas. Maybe on his/her way up and out into the art world. niques sleazy and odious. Much of his advice he was selling pottery that people wanted. Pat L. Mitchell was inappropriate for any business except Eric is able to convince them that it is his Milwaukee selling used cars or presidential candidates. pots that they want. Oh well . . . regardless I hope CM continues to print articles that of why, he sold like hotcakes until the state I’d like to read about more small potter­ are practical for the potter, but please don’t removed his toll booth pottery shop from the ies—people making a living. Perhaps this offend my good sense and intelligence with Verdigris River bridge. could help some young potters who would such sophomoric articles. Selling, Eric once told me, was the na­ like to make a living with pottery but just Lisa Payne tional way and the GNP was the bottom line. don’t know how to get started. I started very Louisville “Move it or have pottery up to your armpits.” young in pottery (10 years old). I am now I am glad that I only make one or two 65 and say a living can be made in pottery Let the controversy rule! It comforts the pots a year, forcing the demand to stay so if the desire is strong enough. minds of those who must make their living high that sales are no problem. Since my G.F Cole finding things to waste time writing about. mother will always take the work I can’t sell Sanford, N.C. I never learned so much from one article I and she normally takes one or two pieces a never read. The piece by Ross Murphy must year, I never have a problem with excess I find the controversy of “art” pottery vs. have been great. From the sound of the letters ware. As the potter Kaimono-san said, “You “functional” pottery to be ridiculous. One may about that article, CM must be ready to buy never lose sales if you don’t sell.” create pots which may or may not be con­ several pieces of development property in the Ersatz Soubriquet sidered valid as art and likewise one may Great Mongo Swamp. My lot is near the Lansing, Mich. create ceramic art which may or may not be cul-de-sac at the turnoff from Engobe Road. considered valid as pots. Call me potter or It reminds me of Eric elBundo, a potter I Advantages of Having Space call me artist. Better yet, call me p/artist. know, who is able to sell anything. His great An easy way to make large, thin bowls or Terese Smith gift is that he can make a long story out of extra tall pots is to throw them in outer space. Lucerne Valley, Calif. hello, and he never lets anyone know what The reduced gravity eliminates slumping. he will sell them until he packages it. I as­ Luke Haatz Share your thoughts with other readers. All sume there is a reason that he sells so well. Bozeman, Mont. letters must be signed, but names will be Maybe it is his personality, though now that withheld on request. Address: The Editor; I think of it, he doesn’t have one. Or maybe Subscribers’ Comments Ceramics Monthly, Box 12448, Columbus, it is his location at the toll booth on the elBundo I would like to see more profiles of the Ohio 43212.

January 1985 9 10 C eramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send, announcements of conferences, exhibitions, Massachusetts, Bostonthrough January 10 15 “Russel Wright: American Designer”; at the workshops, juried fairs and other events at least Jeanne Stevens-Sollman, sculpture; at the Society Strong Museum, 1 Manhattan Square. two months before the month of opening to: The of Arts and Crafts, 175 Newbury St. Ohio, ParmaJanuary 7-25 Betty Drake, ves­ Editor, Ceramics Monthly, Box 12448, Columbus, January 1-28 Steven Branfman; at Signature, sels and plates; at Cuyahoga Community College Ohio 43212; or call: (614) 488-8236. Add one Dock Square, North St. Gallery West, 11000 Pleasant Valley Rd. month for listings in July and two months for those New York, New Yorkthrough January 12 Oregon, Portlandthrough January 15 Christine in August. “Harvey Littleton Retrospective,” 108 works in Pendergrass, sculpture; at the Visual Arts Gallery, glass and ceramics; at the American Craft Mu­ Portland Building. seum II, International Paper Plaza, 77 W. 45 St. Texas, San Antoniothrough January 11 Conferences January 8-31 William D. Parry, high-fired work; Dorothy Hafner, porcelain; at Objects Gallery, 4010 California, Los AngelesFebruary 14-16 The at Greenwich House Pottery, 16 Jones St. Broadway. 73rd annual meeting of the College Art Associa­ New York, RochesterJanuary 5-March Continued tion of America (at the Biltmore Hotel) will in­ clude sessions on art history and studio art. A placement service is provided for those interested in college teaching, art administration and related fields. Contact: College Art Association of Amer­ ica, 149 Madison Ave., New York, New York 10016; or call: (212) 889-2113. Mississippi, FultonFebruary 22-23 The Amer­ ican Crafts Council Southeast Region Winter Conference, at the Itawamba Junior College, will include panel discussions and workshops. Contact: Robert Reedy, Program Coordinator, Art De­ partment, Itawamba Junior College, Fulton 38855; or call: (601) 862-3101, ext. 264. Missouri, Saint LouisApril 3-6 The annual conference of the National Council on Education for the Ceramic Arts (NCECA), at Chase Hotel, will include workshops, panel discussions, slide lectures, etc., with emphasis on architectural ceramics. Those interested in being considered for the “State of the Art” slide lecture may send slides with technical information and resumes to: Marylyn Dintenfass, 50 Webster Ave., New Ro­ chelle, New York 10801. Deadline: February 15. Also, a preconference workshop (March 30-April 2) with Andrea Gill, Kurt Weiser, Jeff Oestreich and Akio Takamori is planned at the Washington University clay studio; fee: $125. Foe further workshop information contact: Valerie Miller, Craft Alliance, 6640 Delmar, Saint Louis 63130; or call: (314) 725-1177. For further conference information contact: Regina Brown, NCECA ’85, Box 1677, Bandon, Oregon 97411; or call: (503) 347-4394. Texas, DallasApril 18-23 The 25th National Art Education Association annual convention, at the Hyatt-Regency Hotel, Reunion Center. Con­ tact: NAEA, 1916 Association Dr., Reston, Vir­ ginia 22091; or call: (703) 860-8000. Solo Exhibitions Arizona, FlagstaffJanuary 24-February 5 Suzanne Klotz-Reilly, sculpture; at the Northern Arizona University Art Gallery. California, Los Angelesthrough January 6 “The Wolper Picassos,” a collection of 33 sculp­ tures and terra-cotta works by Pablo Picasso; at the Los Angeles County Museum of Art, 5909 Wilshire Blvd. California, SacramentoJanuary 29-March 2 Ronna Neuenschwander, sculpture; at the Hi- movitz/Salomon Gallery, 1020 Tenth St. California, WhittierJanuary 1-31 Anne Mar­ ie Baldauf, “Environments in Paper and Clay”; at Mendenhall Gallery, Whittier College. D.C., Washington through January 6 Karen Beswick, millefiore porcelain; at the Marietta/Cobb Fine Arts Center, 156 Church St. through January 9 Rob Barnard, wood-fired pottery; at Anton Gallery, 415 E. Capitol St. Florida, SarasotaJanuary 7-February 1 Paul Chaleff, wood-fired work; at Susan McLeod Gal­ lery, 59 S. Boulevard of the Presidents, St. Ar- mands Circle. Illinois, Chicagothrough January 20 “Eva Zeisel: Designer for Industry”; at the Art Institute of Chicago, Michigan Ave. at Adams St. January 1985 11

Curtis and Suzan Benzie, inlaid porcelain; Tom Maryland, Baltimorethrough January 20 “Old Itinerary Turner, functional pottery; at Schneider-Emerson Gods and Young Heroes: The Pearlman Collection Gallery, 2055 Green Bay Rd. of Maya Ceramics”; at the Baltimore Museum of Washington, VancouverJanuary 9-23 Michael Illinois, Rock Islandthrough January 11 Art, Art Museum Dr. Bliven, sculpture; at the Index Gallery, Clark Col­ “Patterns, Multiples, Narratives: Fiber and Clay Massachusetts, Bostonthrough January 6 “The lege, 1800 E. McLoughlin Blvd. ’84”; at Augustana College Centennial Hall Gal­ Frits and Rita Markus Collection of European lery. Ceramics and Enamels,” 110 objects dating from Indiana, Indianapolisthrough January 27 1660 to 1785; at the Torf Gallery, Museum of Group Exhibitions “Eighteenth-Century English Porcelain from the Fine Arts, 465 Huntington Ave. Arizona, Mesathrough January 12 “Flat & Museum Collection”; at the Indianapolis Museum through January 10 “For Your Cooking and Sassy,” functional and decorative tiles. January of Art, 1200 W. 38 St. Dining Pleasure”; at the Society of Arts and Crafts, 23-February 16 “Altered States,” national juried Iowa, Mason Citythrough January 6 “Iowa 175 Newbury St. competition of works created with man-altered Crafts: 17”; at the Charles H. MacNider Mu­ Massachusetts, Northamptonthrough January materials; at Galeria Mesa, 155 N. Center St. seum, 303 Second St., SE. 7 “A Tea Party,” fifth annual invitational; at Pinch Arizona, Phoenixthrough January 6 “The Maine, Portlandthrough January 6 “Holiday Pottery, 150 Main St. Cutler Collection of Ancient Greek Ceramics”; at Collectibles”- at Maple Hill Gallery, 367 Fore St. Minnesota, Minneapolis through February 10 the Helen Wells Gallery of Decorative Arts, Phoe­ through January 15 “Ceramic Sculpture”; at “Mimbres Pottery: Ancient Art of the American nix Art Museum, 1625 N. Central Ave. Handcrafters Gallery, 44 Exchange St. Please Turn to Page 55 Arizona, Scottsdalethrough January 26 “The Grand Tafoya Tradition,” works in the Santa Clara tradition by Margaret Tafoya, Nancy Youngblood Cutler and Nathan Youngblood; at Gallery 10, 7045 Third Ave. Arizona, Tempe January 13-February 24 Ceramic Festival II “Faculty Exhibition.” January 20-February 24 “Alumni Exhibition”; at the University Art Collections, second floor, Mat­ thews Center, Arizona State University. California, Los Angelesthrough January 6 “Auspicious Spirits: Korean Folk Paintings and Related Objects,” approximately 100 objects from 1392 to 1910; at the Los Angeles County Museum of Art, 5905 Wilshire Blvd. through January 18 “Holiday Gift Collection”; at del Mano Gallery, 11981 San Vicente. January 9-February 2 Tony Bennett, Frank Fleming, Jan Holcomb, Beverly Mayeri and Jack Thompson, “The Surrealist Figure”; at Garth Clark Gallery, 5820 Wilshire Blvd. California, PomonaJanuary 2-31 “Ink and Clay XII,” annual competition of California art­ ists; at ASI/University Union Gallery, California State Polytechnic University, 3801 W. Temple Ave. California, San Diegothrough March 17 “With These Hands: I Am Tarascan,” works by Mexican Indians; and “Heritage in Clay,” approximately 100 examples of Pueblo pottery from the 1820s to 1900; at the San Diego Museum of Man, 1350 El Prado, Balboa Park. California, San FranciscoJanuary 6-March 19 “Masterworks of Ming: Blue and White Por­ celains of the 15th Century”; at the Asian Art Museum, Golden Gate Park. Connecticut, Greenwich through January 5 “An Animal Show”; at the Elements, 14 Liberty Way. Connecticut, GuilfordJanuary 20-February 17 “Night Lights,” multimedia lamp show; at Ever­ green Gallery, 23-B Water St. D.C., Washingtonthrough January 6 An ex­ hibition of works by Colorado Artist-Craftsmen members, through February 24 “Newcomb Pottery: An Enterprise for Southern Women, 1895-1940”; at the Renwick Gallery, Pennsylva­ nia Ave. and 17th St., NW. Florida, OrlandoJanuary 21-March 1 “In Their Cups,” works by southeastern artists; at Val­ encia Community College, West Campus Gallery, 1800 S. Kirkman Rd. Georgia, Atlantathrough February 24 “Chinese Ceramics and Bronzes: Art and Technology”; at the High Museum of Art, 1280 Peachtree St., NE. through August 15 “Tangible Traditions: Folk Crafts of Georgia and Neighboring States”; at the Atlanta Historical Society, 3101 Andrew Drive, Northwest. Idaho, Ketchum through January 14 Jenny Lind, Kirk Mangus, James Romberg, Richard Shaw, Robert Sperry and Akio Takamori, “Potters and Prints”; at Sun Valley Center Gallery, Fourth and Leadville. Illinois, ChicagoJanuary 18-February 22 “Metamorphosis of the Vessel: Sculpture by Kent Dawalt, Don Reitz, and Gary Schlappal”; at Lill Street Gallery, 1021 W. Lill St. Illinois, Highland ParkJanuary 23-February 20 January 1985 13 14 C eramics Monthly Film & Video

There has been such an increase in the Ngan and David Toresdahl); the United States number of films, filmstrips, slide shows and (Ralph Bacerra, Viola Frey and Beatrice video productions in ceramics that this month Wood); plus conversational segments with we are starting a periodic column reviewing England’s Michael Cardew (some of the last such media in order to help inform you about footage of him at his studio) and Mick Cas- the latest offerings. We welcome comments son; Japan’s Tatsuzo Shimaoka and Amer­ on this new CM department, and will useican gallery owner Garth Clark. Directed by them to determine its future.—Ed. Philip Keatley. 60 minutes. Available for purchase as VHS or Beta ½-inch cassette The Working Processes of the and ¾-inch cassette, $455; or for rental as Potters of India: Bindapur—A ¾-inch cassette, $75 for three days. Patrice Brun, CBC Enterprises, Canadian Broad­ Colony of 700 Potters casting Corporation, 245 Park Avenue (34th On the outskirts of New Delhi is a com­ floor), New York City 10167; or Llew Cham­ munity of potters working with amazing skill bers, CBC Enterprises/Les Entreprises Ra­ and traditional methods to supply a domestic dio-Canada, Canadian Broadcasting Cor­ market. As in villages throughout India, water poration, Box 4039, Station A, Toronto, must be drawn from a single communal tap Ontario M5W 2P6. to fill earthenware vessels the women carry on their heads to the home/work space. With little time for anything except work, meals Health Hazards in Art and religious rites, the potters may labor from This five-part series includes an introductory dawn until well into the night; fatigue being program identifying general health hazards a common problem. Yet average income is in the arts, and a program specifically for about 60^ per person per day. Concentrating ceramics. on maximum production, the potters com­ Cautioning artists to learn to recognize toxic plete their tasks with remarkable speed, ingredients in their materials and to know whether pulverizing or slurry-mixing the raw what such substances can do to the body clay purchased by the truckload, hand form­ (lungs, skin, liver and nervous system), the ing disks for pressing into clay molds, or introduction shows where to find up-to-date throwing a 2-foot, heavy-bottomed cylinder information. It then encourages using pro­ which will later be expanded to three times tective devices such as goggles, masks, res­ the diameter by pounding with wooden anvil pirators, gloves and exhaust systems to avoid and mallet. For blackware, fired in a massive hazardous exposure. Also discussed are proper heap with waste cotton fiber and cow dung, storage and cleanup. the potters can leave the kiln unsupervised The ceramics program begins with a re­ for the most part; but sawdust-fired glazed minder that breathing clay dust can cause ware requires constant attention. Handfuls silicosis. After illustrating safe clay prepa­ of sawdust must be rapidly thrown into the ration, it notes a snug fit and skin contact kiln (the firers take ten-minute turns) until are necessary when using a respirator. Rec­ the surfaces of the pots glow—about Cone ommending avoidance of glazes with toxic 07. Difficult as it is, their work is considered ingredients such as lead, it also warns ce­ sacred, with certain tasks ordained by Hindu ramists not to eat, drink or smoke while in law. Only men are allowed to throw at the the studio. Together with an appropriate ex­ stick-turned stone wheels; only women dec­ haust system, it suggests wearing infrared orate the ware with prescribed religious sym­ goggles for looking into a kiln’s peephole (to bols. The potter’s art is not conceived of as avoid potential cataracts) and wearing woven an accumulated skill but rather a direct in­ fiber gloves (instead of asbestos) when han­ tervention by the divine being. Directed by dling hot ware. Ron duBois. 30 minutes. 16mm color film The complete series (introduction, paint­ available for purchase, $420; or rental, $45. ing, photography, printmaking and ceramics Audiovisual Center, Oklahoma State Univer­ programs) is available as five color filmstrips sity, Stillwater, Oklahoma 74078. and audiocassettes, $165; or as five color slide sets and audiocassettes, $345. Prices for in­ Glorious Mud dividual programs vary. Art Hazards Alert: An Introduction, is available for $35 (63- Produced for the “Hand & Eye” series frame film and audiocassette) or $75 (64 slides shown last spring on Canadian television, this and audiocassette); Health Hazards in Ce­ video focuses on the variety of shapes and ramics is available for $35 (83-frame film decorations in contemporary ceramic works. and audiocassette) or $95 (84 slides and au­ Featured are artists from Canada (Vic Ci- diocassette). International Film Bureau Inc., cansky, Neil Dalrymple, Walter Dexter, Joe 332 South Michigan Avenue, Chicago, Illi­ Fafard, Robin Hopper, Ann Mortimer, Wayne nois 60604. January 1985 15 16 CERAMICS MONTHLY Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs,derman. Awards. Fee: $10. Send self-addressed, from slides. Jurors: Kenneth Bates and Ray Pier- festivals and sales at least four months before the stamped envelope to: Craft Concept’s ’85, Jewish otti. Contact: Spotlight ’85, Art Department, entry deadline to: The Editor, Ceramics Monthly, Community Center, 501 N. Jerome Ave., Margate Longwood College, Farmville 23901; or call: (804) Box 12448, Columbus, Ohio 43212; or call: (614) 08402. 392-9359. 488-8236. Add one month for listings in July and Rapid City, South Dakota “Dakota Artist Guild March 15 entry deadline two months for those in August. 1985 National Art Competition” (May 2-31) is Philadelphia, Pennsylvania “American Clay juried from slides of up to 3 entries. Jurors: James Artists: Philadelphia ’85” (April 26-June 8) is Boyle, John Day and Alan Newberg. $3450 in open to artists residing within a 75-mile radius of National Exhibitions awards. Fee: $8 for 1 entry, $20 for 3. Contact: Philadelphia. Juried from works, up to 2 entries. January 15 entry deadline Dakota Art Gallery, Dahl Fine Arts Center, 713 Awards. Fee: $15. Send self-addressed, stamped Columbus, Ohio “Architectural Elements: Clay Seventh St., Rapid City 57701. envelope to: The Clay Studio, 49 N. Second St., and Silver” (February 14-28) is open to ceramists March 2 entry deadline Philadelphia 19106; or call: (215) 925-3453. and photographers. Juried from slides. Awards. Valley City, North Dakota “14th Biennial Na­ Fee: $10 for up to 3 entries. Send self-addressed, tional Art Exhibition” (April 1-19) is juried from stamped envelope to: Architectural Elements: Clay works. Fee: $10 for up to 2 works. $2000 in awards. Fairs, Festivals and Sales and Silver, Silver Image Gallery, Dept, of Photo Juror: John A. Day. Contact: Stretch Rogers, Box January 10 entry deadline and Cinema, The Ohio State University, 156 W. 1319 VCSC, Valley City 58072; or call: (701) 845- Oklahoma City, Oklahoma “Festival of the Arts” 19 Ave., Columbus 43210. 3657, or 845-2690. (April 23-28) is juried from 5 slides. Fee: $100. January 30 entry deadline March 31 entry deadline Contact: Liz Eickman, Arts Council of OKC, 400 White Plains, New York “32nd Annual Na­ Bethlehem, Pennsylvania “Luckenbach Mill W. California, Oklahoma City 73102; or call: (405) tional Open Juried Exhibition” (April 30-May Gallery Juried Exhibition” (September 14-October 236-1426. 21) is juried from slides. Contact: National Juried 27) is juried from up to 3 slides each for 3 entries, January 11 entry deadline Exhibition, Mamaroneck Artists Guild Gallery, including close-ups. Jurors: Nelson Maniscalco, New York, New York “2nd Annual WBAI 150 Larchmont Ave., Larchmont, New York 10538; Rick Snyderman and Patricia White. Fee: $10. Spring Crafts Fair” (May 17-19 and May 31-June or call: (914) 834-1117. ^ Contact: Janet Goloub, Historic Bethlehem, 501 2) is juried from 5 slides. Entry fee: $12. Booth January 31 entry deadline Main St., Bethlehem 18018. fee: $325. Send self-addressed, stamped envelope Cedar City, Utah “National All Media ’85,” April 1 entry deadline to: Matthew Alperin, WBAI Spring Crafts Fair, the 44th annual Cedar City Art Exhibition (April State College, Pennsylvania “19th Annual Ju­ Box 889, Times Square Station, New York 10108; 4-26), is juried from slides. Awards. Contact: Ce­ ried Crafts Exhibition” (July 1-31) is juried from or call: (212) 279-0707. dar City Art Committee, Iron County School Dis­ slides. $2000 in awards. Entry fee: $10 for 1 or 2 January 18 entry ¾deadline trict, Box 879, Cedar City 84720; or call: LaRae entries. Exhibition fee: $15. Send self-addressed, Saint Louis, Missouri “Third Annual La­ King, Braithwaite Fine Arts Gallery, Southern Utah stamped envelope to: Crafts 19, Central Pennsyl­ clede’s Landing Artists’ Showcase” (June 1-2) is State College, (801) 586-7700. vania Festival of Arts, Box 1023, State College juried from slides. Contact: Artists’ Showcase, February 1 entry deadline 16804; or call: (814) 237-3682. c/o First Street Forum Art Center, 717 N. First Lawton, Oklahoma “O.K.—U.S.A.—Nation­ April 30 entry deadline St., Saint Louis 63102; or call: (314) 421-3791. al Sculpture Exhibition” (April 1-28) is juried Logan, Utah “Chronicles: Historical Refer­ January 19 entry deadline from up to 3 slides each for 2 entries. Juror: James ences in Contemporary Clay” (September Rhinebeck, New York “Rhinebeck Arts and Surls. Fee: $10. Awards. Contact: O.K.—U.S.A., 28-November 24) is juried from slides, resume and Crafts Fair” (June 27-30) is juried from 5 slides. Department of Art, Cameron University, 2800 W. a statement. Contact: Nora Eccles Harrison Mu­ Entry fee: $15. Booth fees: $250-$375. For further Gore Blvd., Lawton 73505; or call: (405) 248- seum of Art, Utah State University, UMC 40, information contact: Brian J. McCartney, Mil 2200, ext. 450. Logan 84322; or call: (801) 750-1412. Productions, Box 93, Vernon, Connecticut 06066; Erie, Pennsylvania “Clay National” (June or call: (203) 745-5071. ^ 22-August 20) is juried from slides. Jurors: Rudy January 20 entry deadline Autio and Andrea Gill. $5000 in awards. Fee: $15 Regional Exhibitions Birmingham Alabama “Magic City Art Con­ for 3 entries. Contact: Clay National, Erie Art January 9 entry deadline nection ’85” (May 10-11) is juried from 3 slides Museum, 411 State St., Erie 16501; or call: (814) San Angelo, Texas “Ceramic Competition ’85” of work and 1 of display. Jurors: Elaine Horwitch 459-5477. (February 18-March 13) is open to residents of and Harvey Littleton. $12,000 in awards. Fee: $65. February 7 entry deadline Arkansas, Kansas, Louisiana, New Mexico, Okla­ Contact: Eileen Kunzman, Magic City Art Con­ Memphis, Tennessee “5th Biennial Paper/Clay homa and Texas. Juried from slides. Fee: $10 for nection, Operation New Birmingham, Suite 501, Competitive Exhibition” (February 24-March 24) up to 3 works. For further information contact: Commerce Center, 2027 First Ave., N, Birming­ is juried from slides. Jurors: Steven and Susan Martha Wittstruck, Art and Music Department, ham 35203; or call: (205) 254-2626. Kemenyffy. Contact: Paper/Clay, University Gal­ Angelo State University, San Angelo 76909; or Aurora, Illinois “10th Annual Fox Valley lery, CFA 142, Memphis State University, Mem­ call: (915) 942-2223. Center Craft Fair” (April 11-14) is juried from phis 38152. January 13 entry deadline slides or photos. Awards. Fee: $85. Send self-ad­ February 20 entry deadline Wichita Falls, Texas “Works in Clay IV” bien­ dressed, stamped envelope to: Art Plus Associates, Lenexa, Kansas “First National 3-Dimen- nial exhibition (March 3-28) is open to residents 18W118 Seventy-third Place, Westmont, Illinois sional Art Show” (April 26-28) is juried from 2 of Louisiana, Oklahoma and Texas. Juried from 60559; or call: (312) 964-9062 or 985-2552. slides each for up to 3 works. Fee: $15. Awards. slides of up to 3 entries; fee: $7 each. Juror: Su- January 31 entry deadline Jurors: Tony Hepburn, Diane Vanderlip and Louis sanne Stephenson. Awards. Contact: Ann Hunter, Skokie, Illinois “12th Annual Midwest Craft Marchefichi. Contact: Bill Micks, Lenexa/Na­ 1612 Buchanan, Wichita Falls 76309; or call: (817) Festival 1985” (May 18-19) is juried from slides. tional 3-Dimensional Art Show, Box 14934, Le­ 723-5147. Awards. Contact: North Shore Art League, 620 nexa 66215; or call (913) 492-8800. February 3 entry deadline Lincoln Ave., Winnetka, Illinois 60093; or call: February 28 entry deadline Huntington, West Virginia “Exhibition 280: (312) 446-2870. Lancaster, California “Desert West Juried Art Works Off Walls” (March 2-April 7) is open to February 1 entry deadline Show” (April 20-26) is juried from slides. Awards. artists living within a 280-mile radius of Hun­ Tarpon Springs, Florida “Tarpon Springs Arts Jurors: Louise M. Lewis and Melinda Lorenz. tington. Entries must be freestanding. Juried from & Crafts Festival” (April 20-21) is juried from 3 Fee: $5 per entry. Contact: Desert West Juried works. Jurors: Douglas Heller, William Hennes­ slides of work and 1 of display. Awards. Entry fee: Art Show, Box 2811, Lancaster 93539; or call: sey and Davira Taragin. $7000 in awards. Con­ $5. Booth fee: $50 for a 10X 12-foot space. Con­ (805) 948-5886 or 942-0644. tact: Linda Sanns, Huntington Galleries, Park Hills, tact: Scottie Gemmell, 124 E. Lemon St., Tarpon March 1 entry deadline Huntington 25701; or call: (304) 529-2701. Springs 33589; or call: (813) 937-6109. Boston, Massachusetts “Scent Bottle Invita­ March 1 entry deadline Andover, Massachusetts “Handsprings Arts & tional” (July 5-August 31) is juried from slides Farmville, Virginia “Spotlight ’85” (June Crafts Exhibition and Sale” (April 14) is juried or photos and resume. Send self-addressed, stamped 25-July 26), in conjunction with the American from 5 slides or photos. Entry fee: $5. Booth fee: envelope to: Signature, Dock Square, North St., Crafts Council Southeast Region summer confer­ $20 for a 6X8-foot space. Contact: Handsprings, Boston 02109; or call: (617) 227-4885. ence, is open to residents of Alabama, Florida, Phillips Academy, Andover 01810. Margate, New Jersey “Craft Concept’s ’85,” Georgia, Kentucky, Louisiana, Mississippi, North Worcester, Massachusetts “15th Annual Craft sixth annual exhibition (June 8-13), is juried from Carolina, South Carolina, Tennessee, Virginia and Fair” (May 17-19) is juried from slides. Fees: 5 slides. Jurors: Bennett Bean, Pamela J. and West Virginia. Selected works will travel to ap­ $135-$ 160. Contact: Fair Registrar, Worcester Richard L. Tarchinski, and Ruth and Rick Sny- proximately ten art centers and museums. Juried Continued January 1985 17 18 C eramics Monthly March 1 entry deadline envelope to: Lurene Frantz, Box 1023, State Col­ Where to Show Indianapolis, Indiana “15th Annual Broad lege 16804; or call: (814) 237-3682. Ripple Village Art Fair” (May 18-19) is juried March 15 entry deadline Craft Center, 25 Sagamore Rd., Worcester 01605; from 3 slides. Fee: $35. Contact: Marge Beal, In­ Mountain View, Arkansas “Ozark Foothills or call: (617) 753-8183. dianapolis Art League, 820 E. 67 St., Indianapolis Craft Guild’s 23rd Annual Spring Show and Sale” February 5 entry deadline# 46220; or call: (317) 255-2464. (April 19-21) is juried from 5 slides of work, 1 West Palm Beach, Florida “Sunfest Juried Art New York, New York “9th Annual American of display. Entry fee: $5. Booth fee: $20 for a Show” (May 3-5) is juried from 4 slides. Entry Crafts Festival” at the Lincoln Center for the Per­ 5x 10-foot space, plus 15% commission. Contact: fee: $5. Booth fee: $70 for a 10x12-foot space. forming Arts (June 29-30 and July 6-7) is juried James H. Sanders, Ozark Foothills Craft Guild, Contact: Jane Bierley, Box 1747, West Palm Beach from 5 slides. Entry fee: $8. Booth fees: $240-$280 Box 800, Mountain View 72560; or call: (501) 33402; or call: (305) 832-5194. per weekend. Send self-addressed, stamped en­ 269-3896. February 15 entry deadline velope to: Brenda Brigham, American Concern for Madison, WisconsinThe 27th annual “Art Fair Guilford, Connecticut “28th Annual Guilford Artistry and Craftsmanship, Box 6221, Hoboken, on the Square” (July 6-7) is juried from 4 slides. Handcrafts Exposition” (July 18-20) is juried from New Jersey 07030; or call: (201) 798-0220. Entry fee: $5. Booth fee: $150. For further infor­ 5 slides. Awards. Fee: $10. Contact: Guilford New York, New York “2nd Annual Autumn mation contact: Art Fair on the Square, Madison Handcrafts EXPO 1985, Box 221, Guilford 06437; Crafts Festival at Lincoln Center” (August Art Center, 211 State St., Madison 53703; or call: or call: (203) 453-5947. 31 -September 2 and September 6-8) is juried from (608) 257-0158. Boynton Beach, Florida “Boynton’s G.A.L.A. 5 slides. Entry fee: $8. Booth fee: $250 for one March 31 entry deadline (Great American Love Affair)” (March 1-3) is weekend. Send self-addressed, stamped envelope Medina, Ohio “Art in the Park” (July 21) is juried from 3 slides, 1 of display. $5000 in awards. to: Brenda Brigham, American Concern for Ar­ juried from 5 slides. Contact: Art in the Park Fee: $50. Contact: Eleanor Wollenweber, Box 232 tistry and Craftsmanship, Box 6221, Hoboken, New Screening Committee, Box 339, Medina 44258; or Boynton Beach 33425; or call: (305) 734-8120, Jersey 07030; or call: (201) 798-0220. call: (216) 725-5523^ ext. 432. Sugar Loaf, New York Eleventh annual “May April 1 entry deadline Indianapolis, Indiana “Talbot Street Art Fair” Craft Fair” (May 18-19) is juried from 3 slides Dayton, Ohio The 18th annual “Art in the (June 8-9) is juried from slides. Fee: $50; $30 for of work and a photo or slide of booth. Entry fee: Park” (May 25-26) is juried from 3 slides. Con­ members of Indiana Artist-Craftsmen. Contact: $5. Booth fee: $75. Send long, self-addressed, tact: Toni Webb, Art in the Park, Riverbend Art Talbot Street Fair Committee, Box 479, Danville, stamped envelope to: Sharon Vander Clute, May Center, 142 Riverbend Dr., Dayton 45405; or call: Indiana 46122. Craft Fair, Box 125, Sugar Loaf 10981; or call: DeEarnest McLemore (513) 228-1115. February 20 entry deadline (914) 469-2821, or 469-4963. April 12 entry deadline Columbus, Ohio “Greater Columbus Arts Fes­ Peninsula, Ohio “Ceramics Fair 85” (August Evanston, Illinois Sixth annual “Fountain tival” (June 1-2) is juried from slides. Entry fee: 30-September 2) is juried from 4 slides. $1500 in Square Arts Festival” (June 29-30) is juried from $10. Booth fee: $85-$ 100. Contact: Greater Co­ awards. Entry fee: $15. Booth fee: $100-$ 150. For slides. $3000 in awards plus purchase prizes. For lumbus Arts Council, Donna Abrams, 33 N. Third further information contact: Ceramics Fair 85, further information contact: Evanston Chamber of St., Columbus 43215; or call: (614) 224-2606. Boston Mills Ski Resort, Box 216, Peninsula 44264; Commerce, 807 Davis St., Evanston 60201; or call: February 22 entry deadline or call: (216) 657-2334. (312) 328-1500. Denver, Colorado “Second Art of Crafts Fes­ March 8 entry deadline April 26 entry deadline tival” (July 25-28) is juried from 5 slides. Jurors: State College, Pennsylvania “19th Annual Portsmouth, Virginia The 15th annual “Sea­ Deborah Jordy, Edward Rossbach and Paul Smith. Sidewalk Sale and Exhibition” (July 11-14) is wall Art Show” (June 7-9) is juried from slides. Fee: $10. Contact: The Art of Crafts, Box 38223, juried from 4 slides, 1 of display. Fee: $10. For $6000 in awards. Contact: Seawall Art Show, Box Denver 80238; or call: (303) 592-7238. further information send self-addressed, stamped 820, Portsmouth 23704.

January 1985 19 20 C eramics Monthly Suggestions from our readers

Emergency Cones If at the last minute you discover you are out of the proper large cones, you can reuse a fired one by placing cone patty and all into a new wad of raw clay, as shown. I have personally reused the same

cone over six times by changing its direction (but this should be considered for emergency situations only.) —Bob Husby, Edwardsville, III. Simplified Kiln Stacking Paint a schematic of your kiln’s interior, including shelves and posts, on a worktable in the studio. On a wall beside the table place a bulletin board with a vertically hung yardstick. Before glazing, place the pots on the drawn-out shelves as you wish to have them

in the kiln. A tack is then placed beside the yardstick to measure how much height is used, including the thickness of the kiln shelves. This process is repeated until the vertical size of the kiln is reached. Experience will dictate the amount of leeway needed. Afterward, stacking the kiln is only the process of remembering how the pots fit together on the table. —Richard Marshall, Gudensberg, West Germany Easy Glaze Mixing To simplify glaze sieving, keep an extra bucket the same volume as your storage containers, and cut a hole in its lid to accommodate the sieve. Simply mix the glaze in its own container, sieve it into the second, then pour or sieve it back. —Melvin Rowe, Louisville Brush Holder A great, inexpensive way to store brushes and safeguard their bristles is to punch slits in the plastic lid of an old coffee can. Insert the brush handles with the bristles up. —Cheryl Chergosky, Edwardsville, III. Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions 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. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. January 1985 21 22 C eramics Monthly Questions Answered by the CM Technical Staff Q I have been using tin-vanadium yellow stain with my glazes for firing, or select a magnesia base glaze, since these form good matts a very long time with beautiful results. But this compound has be­ and discourage celadon greens at the same time. come so expensive that it now costs almost five times as much as what I used to pay. Why can't I combine yellow stain with my own Q I understand some potters are introducing water into fuel-burn- tin to produce a similar, less expensive result?—J.E. ing kilns in order to reduce. Is this a new process? Do you have any If the yellow stain you wish to substitute is in fact a vanadium further information on this topic?—L.C. yellow, you can add this to any tin glaze in your firing range, and There are some obvious dangers in introducing water into the the chances are quite good that you will get a fine, yellow result. firing chamber—principally the production of steam, which can Tin is used with vanadium in order to brighten an otherwise weak form with such force that it can blow flame and heat a great distance yellow color, and it need not be combined in the stain in order to out of kiln orifices, or even blow the door out of the kiln. But when have this effect. But there are less expensive yellow stains like Ma­ water is introduced in controlled quantities, for example using a son’s 6485 which cost one-third of Mason’s 6404. weed sprayer, the hydrogen produced by the chemical breakdown of water is a better reducing agent than excessive fossil fuel, because Q In most reduction glazes, iron produces green or celadon, but in it penetrates the body more rapidly than does carbon monoxide. some cases it makes an earthy cream/tan/yellow. What is the dif­ Actually, hydrogen does play a part in normal reduction both in ference? How can I predict which base glazes will produce what the form of naturally occurring water vapor being drawn into the colors? I am looking for a Cone 6 reduction glaze that would give kiln atmosphere, and in the hydrogen presence as part of the hy­ me a creamy yellow, iron-spotted matt—preferably without barium. drocarbon being burned. What’s the answer?—R.J. Water introduction into kilns is surely not a new development, Most iron glazes which produce the classic celadon green in as there is evidence the Chinese used it during the Ming dynasty, reduction will produce a tan or cream or yellow when fired in and the technique was also a common one in Europe during the oxidation or in a neutral atmosphere. Most potters are unhappy first attempts to reproduce Oriental celadons on porcelain. with such results when seeking green instead, but your creamy yellow results are much easier to obtain. If iron spotting in oxidation Subscribers' inquiries are welcome and those of general interest will is insufficient, try adding granular manganese as needed to achieve be answered in this column. Due to volume, letters may not be enough ironlike flecks. Since most classic celadons are not matts, answered personally. Send questions to: Technical Staff, Ceramics increase the alumina content for a true matt glaze without under­ Monthly, Box 12448, Columbus, Ohio 43212.

January 1985 23

Comment Tolerance and Intolerance by Edwin Todd

It would SEEM as though the era ofcently, however, we haven’t heard quite intolerance and secrecy among potters so much about reduction firing, what with and/or ceramists is coming to an end. sensitivity about pollution and the rising Some years ago there was a great deal costs of fuel. (Here in Costa Rica we’re of it: stoneware potters looked down on fortunate, as all electricity is hydrogen­ earthenware; Leach mud and dun glaz- erated—a renewable form of energy— ers hated bright colorers; etc. and costs relatively little.) I can remember the time when some Condescension from stoneware pot­ potters said condescendingly to us, “Why ters toward earthenware potters has died don’t you build a bigger kiln? How can out to some extent, and we can partly you work with such a dinky little kiln?” thank funk for that. I remember Ber­ (The Oriental-oriented are the worst in nard Leach, at the Wichita workshop in this respect; they want everyone to have the early ’50s, sneering at earthenware a huge, ugly, smoky monster climbing potters using rutile “in hopes of getting up a hill.) But my wife and I have been a stoneware look to their glazes.” (At in the pot-making business for over 30 the workshop was a gent named Frank years and we find our “teeny” 12-cubic- who had a large pottery in Oklahoma foot kiln just right for us. We have cus­ called Frankoma Pottery, and all his pots tomers who rush into our workshop and were earthenware with rutile glazes. He tell us, “Quick, quick, I must have a took no offense at the guru’s remark, soup tureen and 12 bowls for my niece, merely laughed saying he was “the Ber­ who is getting married in two weeks.” nard Leach of the 50^ pot.”) If we had to wait to fill one of those 300- Coupled with this were those who fa­ cubic-foot giants, just think how long the vored Korean-type colors—mud, gravy, customer would have to wait for that dun and dung with an occasional muddy wedding gift. And I know of a successful blue—and were opposed to any brighter ceramic artist who does not even own a colors. (Bernard Leach influenced a whole kiln. She has her works fired at the cor­ generation of potters in this respect.) ner hobby school. Fortunately Picasso and the aforemen­ Then there were those potters who tioned funk ceramists began a much would say to us, “Why fire with elec­ needed change, helping bring color back tricity? Wood is better and with wood into pottery as well as loosening up some you can get all kinds of effects: flashing, ossified methods and ideas. smoking, ash drips.” Well, I’m all for Back in 1947, my wife and I visited potters using wood (although wood, at a gallery in Los Angeles which was the present rate of usage, is not a re­ showing Scandinavian stoneware. We newable form of energy; how many pot­ were enthralled with the colors—bril­ ters are renewing, planting, replacing liant electric blues shading down to in­ trees?) and getting all those gorgeous, digo, marvelous turquoises, rich yellows unexpected effects, but our customers are and oranges, etc.—all matt. Unfortu­ not so keen on serendipity. They say, nately, 20 years later the Scandinavians “Give me two dozen tumblers, just like too succumbed to the Leach pontifica- those blue ones we bought two years ago.” tions and began using “earth” (read You can see a little flashing would bring “muddy”) colors almost exclusively, even howls of protest, if not rejection. to the extent of introducing impurities It was formerly common for some into their clay bodies to get speckles. potters to say to us, “Why are you al­ While I like a subtle gray or rich brown ways doing that oxidizing stuff? Don’t as much as the next potter, it’s pleasant you know reduction makes glazes sex­ to note that potters don’t confine them­ ier?” Perhaps so and perhaps not. Now selves solely to those anymore. we are aware that if potters really know In times past, another source of in­ glazes, they can make beautiful ones tolerance was the glaze versus decora­ without recourse to reduction. Gertrud tion squabble. One potter said, “If the and Otto Natzler had gorgeous glazes form is right, why ruin it with a deco­ for years before they tried a little re­ ration?” While another said, “How dull duction in their small electric kiln. Re­ Please Turn to Page 80 January 1985 25 ZO CERAMICS MONTHLY Silla byH erb Schumacher

A VISIT to Kyongju, the capital of Korea of government, made it possible to com­ during the Silla period (57 B.C. through bine the three kingdoms into a nation A.D. 936) and location of the Gyeongju called the Unified Silla dynasty, which National Museum, is an experience no ruled from A.D. 668 to 918. This was potter traveling in the Orient should miss. the beginning of a rich cultural heritage Kyongju is located in a pastoral valley which emanated from Silla into the Kor- surrounded by mountains veiled in a haze yo dynasty and finally into the Yi dy­ such as one sees in many Oriental paint­ nasty, that ended about 1900 with the ings. The terraced fields are cared for Japanese occupation of Korea. with great pride. Even the dikes that There are several potteries around hold back the irrigation water are plant­ Kyongju that replicate Silla ware, in­ ed with flowers or edible vegetation. From School children visiting the only excavated cluding the Silla Kiln operated by Hyo- the road one can see ox-drawn plows as tomb mound in Kyongju, capital of the Ung Yuo. Situated among neighborhood well as gasoline-powered equipment on Korean Silla dynasty homes, the pottery grounds are compact, nearby farms. with a throwing workshop, kilns, dis­ Turning off the expressway at Ky­ an ancient era. Silla craftspeople ex­ play room and wood storage in an area ongju, there is immediate evidence of the celled in making jewelry from gold and about 110 yards square. Silla period’s character. A fierce-looking jade, and bronze tools, in addition to pot­ The clay used in the pottery is gath­ bronze equestrian warrior, larger than tery. Designed in tasteful contrast to ered in the same manner as during the life, brandishes his bow, galloping out classical Korean architecture, the Gy­ Silla period. There is no mine or major of the past. Farther down the road are eongju National Museum houses an ex­ clay deposit; instead, clay is obtained when rows of homes built in the Silla tradi­ tensive collection of these artifacts. a pond or lake in the vicinity is drained. tion. One can find some kind of histor­ The dynastic periods of Korean his­ It is extremely fine and plastic, and has ical significance around almost every tory were the result of a unification of a 20% shrinkage rate. Bloating, seen on corner in the town: Replicas of stone three kingdoms that flourished prior to many of the Silla pots in museums, as urns planted with varieties of colorful A.D. 668. In A.D. 660, the Silla rulers well as some of the reproductions, may flowers line the main streets. Through conquered the kingdom of Paekche, which be caused by a large amount of gas-pro- a fence surrounding a national shrine, occupied roughly what is North Korea ducing impurities in the fine clay, to­ one can glimpse the high mounds that today. Then the kingdom of Koguryo, gether with the kiln design and method are the burial places of kings and their which ruled the southern half of the Ko­ of firing that results in some areas be­ courts. Other historical sites are within rean peninsula bordering the Yellow Sea, coming hot much faster than others. Even walking distance or just a bus ride away. was conquered by Silla in A.D. 668. Sil­ today the potential for bloating is pres­ Seeing the Silla tombs affords insight la, because of its highly organized mil­ ent, so ware is thrown as thinly as pos­ into the carefully preserved remnants of itary, socioeconomic and scientific mode sible to minimize defects. Gyeongju National Museum houses an extensive collection of Silla objects.

January 1985 27 Photos: Jin-Phil Chang

An accommodating host who is will­ dence allows. The firebox on each kiln The pottery showroom is stocked with ing to share his knowledge of Silla form­ is an integral part of the tubular struc­ bowls of many sizes, vases, urns, covered ing and firing methods, Yuo has been ture. Sidewall stoke holes are an addi­ containers, pitcherlike forms, horn-shaped making pottery in this tradition for 26 tion to the original design, which pro­ flagons and many of the other objects years. When preparing the clay for wheel vide a measure of temperature uniformity that were part of the ancient potter’s throwing, he first pounds and pulls it that the Silla kilns lacked. repertory. These Silla potters also had into a long ribbonlike coil, then wedges A typical firing takes seven days to a good sense of humor and some of the and forms it into balls. The pots are reach maximum temperature and seven reproductions reflect their- whimsical decorated at the wheel, using a variety days to cool. Pine gathered from the approach to clay. of wooden tools for combed and im­ mountains is burned to fire the ware to pressed patterns. approximately 2370°F (1300°C). The The authorOn the faculty at the Uni­ Yuo’s kilns are inclined tubes, each a pots are not glazed, but ash from the versity of Northern Colorado, Greeley, single chamber of brick and clay, as close firing is deposited on some surfaces, Herb Schumacher maintains Chalk Creek to Silla design as limited historical evi­ lending a subtle patina. Pottery during the summer. 28 CERAMICS MONTHLY Opposite page Following custom, Yuo prepares throwing clay by first drop pounding it into a long coil, then wedging. Top row Wheel-thrown forms are impressed with repeated patterns using handmade wooden tools. Above Pots dry near a mound of clay dug from a drained lake bed. Left Hyo-Ung Yuo}s showroom demonstrates a continuing Silla tradition. Far left Unglazed, the ware is fired with wood in an inclined, single-chamber kiln. January 1985 29 Dutch Tiles

Decorative tiles constitute what was the dampness in houses built alongside jolica in the 16th century when poly­ probably the first mass-produced form Holland’s waterways. chrome tiles were decorated with yellow, of interior design for middle-class Dutch Nearly every aspect of Dutch life, in­ orange, brown, blue and green glazes; homes. On view recently at the Phila­ cluding animals, flowers, landscapes and Oriental porcelain in the 17th century delphia Museum of Art were approxi­ people at work and play, was depicted when the colors were mostly blue and mately 1500 examples of the variety of on tilework. Also reflected were the broad white; and French decorative arts in the styles produced from the last quarter of interests of the citizens of what was then 18th century when manganese purple the 16th to the first half of the 19th cen­ one of the world’s seapowers. A ship’s and lavender were much in demand. turies. captain, for example, might order tiles By the 17th century, the decorative Installed around baseboards, wain­ picturing vessels under his command al­ range, large production and convenient scoting and the hearth, the tiles were ternating with images of sea creatures. format had earned the tiles a reputation functional as well as decorative: easily Production styles changed with influ­ beyond Holland, and opened markets cleaned and well suited to protect against ences from other cultures: Italian ma­ throughout Europe and the colonies.

Four tiles, each approximately 5 inches square, with small dog in banded decoration. Right A Dutch mural depicting with 154 tiles the 18th-century Bolsward pottery and tileworks. On the ground floor, to the right of the kiln, a horse-powered pug mill mixes clay; next to it is a horse-driven glaze grinder. At the table on the left is a group of tile decorators. On the second floor pots are thrown at kick wheels and shelved to dry. On the third floor tiles are formed in frames, allowed to dry some, rolled again, squared and stacked for further drying near the kiln. The rhyming inscription among the angels reads “The commissioners of this work are those four whose names and coats of arms decorate this wall *

30 CERAMICS MONTHLY January 1985 31

Photos: courtesy of the Philadelphia Museum of Art Translucent Tile Porcelain byR ichard Zakin

Translucencyin porcelain is a fas­ ficult to use for three-dimensional forms. Thus warpage, one of the biggest wor­ cinating aspect with which I have been However, as a nonplastic clay with crisp ries of the tile maker, is eliminated. intrigued for a long time, though I have graphic capability, it actually may be In fact, the LCP 6 body is so strongly been not quite sure how to exploit trans­ easier to work with when developing fluxed that its fired surface has a slight lucency in my own work. Then, two years complex relief imagery on tiles. sheen; it therefore needs no glaze. On ago, it occurred to me that I could utilize Because it is strongly fluxed, LCP 6 the other hand, the body will readily this phenomenon by devising a way to will generally slump during firing; again accept stains, slips and glazes, with rich make low-fire translucent tiles meant to a real problem when forming three-di- results. be lit from behind. mensional objects, but an advantage for Since the tiles will often stick to the Already familiar with mid-tempera- the tile maker. Even though many had support on which they are fired, it is ture clay bodies (see the April 1977 and warped a bit before firing, tiles fired on necessary to use a highly refractory kiln March 1981 issues of Ceramics Month­ flat kiln shelves usually came out flat. wash (such as an equal parts mixture ly), I decided to develop a translucent of calcined alumina and ground K-23 porcelain for Cone 6. A small test kiln softbrick, or equal parts of dolomite and (with a 61/2X61/2X41/2-inch chamber) en­ softbrick) to assure easy release from the abled firing a number of tests in a short kiln shelf. time. The result was a clay body called Though I expected translucency from LCP 6: standing for low-clay porcelain; this body with its low percentage of clay, the sixth test in the series. Photos: Tom Eckersley the character of the translucent imagery was surprising. It changes markedly when LCP 6 Translucent Tile Body the source of light is changed. If these (Cone 6) tiles (mounted with small screws onto Bone Ash...... 2% ½-inch-thick Plexiglas sheets) are viewed Talc...... 8 in normal front light, they appear opaque Frit 3124 (Ferro)...... 3 white, ornamented with bas-relief im­ Kona F-4 Feldspar ...... 26 agery. However, if lit from behind, they Edgar Plastic Kaolin ...... 8 are seen as translucent; furthermore, those Grolleg Kaolin ...... 28 areas which are in raised relief (and are Flint...... 25 the lightest part of the image in normal light) become the darkest part of the im­ 100% age, when back lit because their thick­ To improve green strength, add 0.05% ness blocks the light. Conversely, any chopped nylon fiber (available from ma­ engraved lines are dark in normal light jor ceramics suppliers). To improve and luminous in a back light situation. plasticity, I add yogurt—the natural un­ Although much of my work with the flavored kind, a material I have em­ LCP 6 body exploited its translucent ployed with many clay bodies to en­ character, I also experimented with it for courage beneficent bacterial growth. nontranslucent textural and relief im­ Unfortunately, the LCP 6 body is so al­ agery. It was advantageous to use this kaline the yogurt bacteria cannot sur­ body when making large stamped, pierced vive. But it is possible to leave a table­ and pieced images because of its strong spoon of yogurt on the surface of the graphic possibilities and immunity to clay. Over a period of time the bacteria warping. Furthermore, because the body multiply and form a kind of mold which fuses together readily in the firing, pieced can be wedged into the clay right before images can be assembled with greater use. freedom. I began working with this translucent A surprisingly durable clay because body in a 3XScinch tile format, fired of its density (much tougher than its del­ in the same small test kiln. Later, in a icate appearance suggests), LCP 6 was kiln of normal size, much larger LCP 6 interesting to develop and work with. It tiles (up to 12x18 inches) were tried. is, however, a special-purpose body, one Also large compositions were assembled Translucent porcelain tiles mounted with that demands a particular working for­ from smaller tiles. All were made from screws on Plexiglas, 14 inches in height. mat and firing technique. thin sheets of clay (¾ 6 inch thick), a Top Opaque wall relief, 15 inches in The authorA frequent contributor to necessity if they were to be translucent. height, fused porcelain, fired to Cone 6, by Ceramics Monthly, Richard Zakin re­ Of marginal plasticity, LCP 6 is dif­ Richard Zakin. sides in Oswego3 New York. 32 CERAMICS MONTHLY Richard Batterham

In a N ovember solo exhibition at the was to think that fewer ingredients would be kept, able to receive the good un­ British Crafts Centre, London, Richard make it easier, and that the few mate­ known qualities which will appear. One Batterham presented “a personal selec­ rials I thought I wanted would always must not dictate, but listen, observe and tion of the best [of his] work from the be both available and consistent. I was respond. last 18 months or so.” For 25 years this soon made aware, sometimes very ab­ “After several years of working, I be­ Dorset studio potter has worked on his ruptly, of the diversity and wide variety gan to notice that firings were falling own, producing functional stoneware. of each of the simple raw materials I into an unplanned regular pattern, linked Some forms are salt glazed, but most wished to use, and that we should have with the gardening year, and also that have ash glazes reduction fired in an oil- to play and work together. For example: making always flowed more freely dur­ and wood-burning, four-chambered the ash from each tree, even from two ing March and September, though of climbing kiln. of the same species, will vary according course it continued throughout the year. “When I started in 1959,” Richard to its location, and must be explored, and It was becoming clear that a pattern and commented, “I imagined a very simple a choice made from what is offered. As rhythm were emerging, which must be workshop, probably using just one clay in all the making and firing, preconcep­ acknowledged and made the most of; and and two or three glazes. How naive I tions must be forgotten, and an open mind this is what I try to do.” Thrown stoneware covered jar with beaten sides, 6 inches in height, with ash and iron glazes over ocher slip. Photos: Joel Degen

January 1985 33 Below Tazza, thrown stoneware, 14 inches in diameter; with ash glaze over ocher slip, by Dorset, England, studio potter Richard Batterham, from a London exhibition of “a personal selection [of his] best work from the last 18 months ” Below right Stoneware teapot, 6 inches in height, thrown and assembled, with elm ash glaze, reduction fired in an oil- and wood-burning, four-chambered climbing kiln. Bottom Covered box, approximately 5 inches in diameter, thrown stoneware, with ash glaze over ocher slip. “Having worked on my own for twenty-five years, in my own workshop, in the way I am able to, this show is a celebration and an appreciation of the spring that provides the water and the warmth from so many people who give me the chance to just live and make pots” Bottom right Thrown and faceted stoneware teapot, 4V2 inches in height, salt glazed. “Preconceptions must be forgotten and an open mind kept to receive the good unknown qualities which will appear. ”

34 CERAMICS MONTHLY Photos: Bob Nishihira A Ceramics Monthly Portfolio Morrison by ElaineLevin Jens A youngchild drawing a house, no matter what style of structure he or she inhabits, will inevitably paint lines that describe a box, symmetrically aligned with a pointed roof, two windows and a door. As simple as this drawing may be, in contemporary society, it conveys a complexity of associations—shelter, retreat, refuge, the center of the family unit, status symbol, property. Both the innocence of the child’s drawing and the sociocultural implications are part of Southern California ceramist Jens Morrison’s sculpture. Architecturally oriented forms entered Jens’s work in the mid­ seventies when he accepted a teaching position in the Midwest. (He now teaches part time at Palomar College and California State University, Long Beach.) Though widely traveled, as an urban Californian, he was unprepared for agricultural Iowa which inspired him to create a fantasy civilization he named the Farmounians. The history, myths and legends of this culture (whose activities have parallels in the civilizations of the Fertile Crescent as well as the surrounding corn fields) are carved and incised on this artist’s reliquary objects, glyphs and steles. By the time the Farmounians departed from his aesthetic concerns, Jens had become deeply involved in social anthropology. Increasingly fascinated by the dwellings of agricultural societies such as those of West Africa and Michoacan, Mexico, he retained an architectural form for his next series, called “Tea Temples” (1981-82). In these works, fragments of incised drawings activate the surfaces while shards, teacups and saucers pierce the roofs and punctuate the pastel walls. Returning to the West Coast, Jens settled in Southern California where his response to the environment once again dictated a change in his work. Referred to by Jens with the Spanish word “casas,” these new objects reflect his affection for the folk culture of Mexico. Gradually departing from the pale shades of his “Tea Temples,” Jens began to treat the flat areas of these houses as a painter would approach a canvas, agitating the surface with a mixture of blues that suggests shimmering water, pulsating with reflections of colorful objects on nearby land. Hardly passive, Jens’s melding of blues, pinks, greens and yellows bombard the eye with sensory overload and a joyful exuberance. Like a three-dimensional painting, high color informs and embraces each facet of his structures for an electric, visually zapping experience, identifying the work of this period as “Casas Colores” (1982—83). His studio, situated between the Pacific Ocean and an agricultural area (one of the major flower-growing capitals of the world), gives him a daily view of landscape and sea infused with vivid color, a changing interplay of light on textured surfaces. Contributing to this meld ing of color and light are Jens’s experiences in the Mexican countryside where TopJens Morrison’s studio is efficiently the exterior walls of village houses are painted yearly in dazzling arranged in the one-car garage of his Carlsbad, fuchsias, pinks or oranges, where the facades of churches explode with California, home. multicolored tiles. Jens’s use of color also has a relationship to fauvist and abstract expressionist paintings in its emotional, gestural and Above centerJens assembles sculptures from white earthenware slabs. Though slabs are cut intuitive approach to surface and texture. with a knife and straight edge with the aid of a The cactus plant assumes a life of its own on the “Casa Colores.” carpenter’s square, decisions on shape, on adding, Indigenous to many areas of California and Mexico, the ear-shaped, removing or switching details are made during prickly desert shrub exhibits humorous, anthropomorphic and the process. surrealistic qualities, adorned with human features and a tiny hat. Inevitably, the house itself acquires human characteristics with windows AboveAfter a sculpture is constructed, it is in the position of eyes and a door for a mouth. Both cacti and house in coated with thick, white slip. this mode recall the innocence and unselfconscious nature of folk art. Overleaf"Casa de los Corazon, ” 20 inches in Jens’s recent series continues exploring this form but in a more height, handbuilt, low-fire clay, with slip, stains subdued context for different emphasis. Instead of the attenuated, boxy and glazes. structure and high-pitched roofs of the “Casa Colores,” the casas of 1984-85 are symmetrical and smaller—18 to 20 inches in height. Monochrome colors in muted shades of pink, turquoise and mauve saturate the walls. Tiny slab images of houses and stylized press-molded leaves (like those on the Mexican tree of life) dot the surface as protective amulets. New images—snakes, chili peppers, seashells, pesos and flowers—join the ubiquitous cacti, now tamed and growing sedately in small cups or pitchers. Fragments of wood slat fences and gates join A Ceramics Monthly Portfolio these objects, placed above or against the casa in a dual role as guardians (at times in the form of a crude cross) and as offerings. Jens’s affinity for the folk culture of Mexico, a constant theme manifest in his images and simple structures, is due in part to the proximity of his present home and studio to the Mexican border. Several times a month he travels the countryside, visiting small villages south of Tijuana and Ensenada. He is drawn to the many, simple roadside shrines, decorated with candles, flowers, and tinfoil; these are “objects of innovation, more interesting than any painting I’ve ever seen.” Among the many offerings at these shrines are small stones brought by poor people, objects which have the power, through their connection to the land, to supplicate personal saints. Images gleaned from shrines, churches, graveyards, country villages and urban shops filled with the folk art he collects suffuse'his art. One example is the out-of-scale, long-stemmed flower leaning against a house wall, innocent and delicate like Mexican paper flowers. Another is a snake curled around the base of a house; in its mouth is a peso, an offering stamped with a snake clutched by an eagle (an Aztec emblem also on the Mexican flag). The frequent appearance of a snake exemplifies the layers of historical reference in many of Jens’s objects; in this case, he additionally retrieves an aspect of the Minoan culture of ancient Crete where the snake was revered as a household god and Mesopotamia’s view of the snake as a phallic symbol, an image made to insure a season of good crops. Also seen in Jens’s recent work are simple earthenware cups hanging near a doorway or decorating a fence post, the counterparts of objects which identify the rural Mexican potter’s home. Other cups accommodate a cactus ear and have an honored place in a casa’s central niche or entrance. Like Ken Price, who also was raised in Southern California and whose “Happy’s Curios” paid homage to the anonymous Mexican potter, Jens’s cups and pitchers have an ingenuous naivete. But the many historical references in these tableaux place his work in a broader context than Price’s, suggesting a relationship to “less sophisticated” civilizations around th e world. Over the years, Jens has simplified the procedures for his handbuilt structures. No preliminary drawings precede slab preparation; instead, decisions on shape, on adding, removing or switching details are made during the process. Since 1970 he has worked in earthenware, a material that reinforces his link to folk pottery. During his years in Iowa, he dug local clay, which added a rough, porous, tactile quality and an appearance of age to his reliquary objects. Now he works with a commercial low-fire talc body The forms are colored with commercial stains and glazes, then fired once in an electric kiln. Stains and underglaze pigments plus a binder soak into the whiteware, saturating the clay with color. Uneven applications of stain create a surface that appears weathered by environmental forces. After firing, the stained areas are sprayed with a matt sealer which brings up the color and makes it permanent. Concerned more with content than trompe l’oeil replication, Jens’s wood slats, cactus plants, shells and other objects merely suggest Top and centerThe thick slip is combed for reality; at the same time, he uses real nails to attach “wood” slab to textural variation. To complete the sculptural slab. From his collection of Mexican pottery he selects cups for casting environment, clay elements representing wood slats, cactus, coins, shells and other objects are or as models for thrown ware, altering the scale and color. Burnished added; sometimes ceramic ‘ wood”slats are with a T-shirt, handrubbed, sprayed or glazed, each cup has a special attached with real nails. The completed casas are function in his compositions. The cacti are treated similarly, their colored with stains and underglazes, some areas surfaces glazed, then dulled with steel wool. The casas are constructed are glazed or burnished, then the works are once- to emulate the unsophisticated builder who has access to few tools and fired in an electric kiln to Cone 06 or 05. must align walls by eye. Jens’s friend and fellow ceramist, Jugo de Vegetales (Jack Above“Casa de los Baja Sur,” 17 inches in Thompson), coined the phrase “academic folk art” to define the height, by Jens Morrison. paradoxical incorporation of elements associated with folk art in the The authorA frequent contributor to Ceramics work of urban artists whose environment, goals and sophistication are Monthly, arts writer Elaine Levin resides in antithetical to those of folk artists. A naivete lingers in the bo xlike Northridge, California. construction surrounded by casually assembled objects. Rural architecture’s close ties to nature are embodied in the cactus plant, flowers and snakes. The appeal of these images derived from a less complex society lies in part in a nostalgia for an irretrievable way of life and set of values. Jens’s casas speak to the directness of such art and to the technological culture’s loss of innocence. A Ceramics Monthly Portfolio Above“Casa de Nopalitos de Oro,” 16 inches in height. Far left "Casa de La Rosa, ” 22 inches in height. Center left “Casa de Jalisco,” 20 inches in height. Left “Casa de Michoacan,n 18 inches in height. A Ceramics Monthly Portfolio Above"Casa de Los Pescados,” 24 inches in height. Far left “Casa de Los Altar, ”approximately 18 inches in height. Center left "Casa con Taza,” 18 inches in height. Left “Casa de Los Sierra17 inches in height, by Jens Morrison. A Ceramics Monthly Portfolio Above“Casa de Escondido 16 inches in height. Far left “Casa de los Jarritos,” 18 inches in height. Center left "Casa del Costa,” 30 inches in height. Left “Casa de los Arboles,” 18 inches in height. All works in this portfolio are handbuilt whiteware, with low-fire stains and glazes, once-fired in an electric kiln. A Ceramics Monthly Portfolio Photos: Bill Thomas Welsh Exhibition and thereisaJapanesesenseofbalance austere shapesarejuxtaposedagainstminutely confronted with their individual aims and aims individual their with confronted executed feetthattilttheformsoffcenter.Styleisvital Peter Ting.AccordingtoMickCasson, Porcelain cylinders,thetallest15inchesinheight,by that theseserveorengender. Cardiff, Institute, Glamorgan South the at courses their completed just had students who graduate ten by organized was particular a in working people as them “M cesses involved in ceramics and the ideas the and ceramics in involved pro­ cesses the between interaction chal­ the a lenge: called be best can what repre­ sented nevertheless who group diverse widely a “formed they Mick, To Wales. 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watches her own responses to spontane­ to responses own her watches understanding of behavior, states of mind of states behavior, of understanding ous actions on a potter’s wheel; another wheel; potter’s a on actions ous everyday observed of amalgam an is cerned with function and those who were who those and function with cerned ences continually dispelled my first more first my dispelled continually ences hnmn ad poig oad an toward probing a and phenomena o. u imdaey h aprn af­ apparent the immediately But not. con­ those into equally about divide to it ter ok I rue ad re­ refer­ and Cross people. grouped ten these I grouped work, their ciate a blandlydressedWesternsociety. number. The group as a whole appeared whole a as group The number. simi­ the to as impressions superficial odr o pn hi sye st against set styles hair punk on ponders ter a wl a ohr’. n student One others’). as well as (theirs aiis n dfeecs ihn their within differences and larities I tyn t udrtn ad appre­ and understand to trying “In Slip-cast coveredjars,3inchesinheight,byDebiAlford.SaysMickCasson, technique formsexploredbyanother turns intheirshapes—classicfunctional work withplaster-castliddedcontainersgentlyrhythmictwistsand “Debi seesherselfasatraditionalpotter,yetquitedeliberatelychoosesto of ideas and techniques, but finally each finally but techniques, and ideas of esl, omly ae ucinl pots functional made formally versely, and set tea the of those than less became oy o ua rsoss o hs re­ this medium.” to markable responses human to mony testi­ A reject. or accept about, wonder r mra raos eid h choices the behind reasons myriad are There they associations. defined analysis clearly last defy the in But nections. quite some abstractly orientatedbuildingblocks. with connection more had Con­ torsos. clay for concern another’s vessels functional overtly more other and set tea animal-form an between finities otmlt crany b aue by, amused be certainly, contemplate e ad oc, ik p ue perhaps, use up, pick touch, can and one see that something makes person “Everywhere I looked there were con­ were there looked I “Everywhere January 1985

41 Paul Rozman

“The usefulness of pots is my con­ tion well, but also to embrace inherent Folk pottery has influenced “the kind cern,” states Paul Rozman, Halifax, Nova qualities of the material and process. of feeling I want in my pots,” Paul ad­ Scotia, whose decorated earthenware was “The placement of the decoration is mits, “especially the Chinese Cizhou presented recently in an exhibition at in direct relation to the most functional (Tz’u-chou) ware, early Italian majolica Alfred University’s Fosdick-Nelson aspects of the form. These particular and the peasant pottery to which I was Gallery. While working at the wheel, he elements are densely decorated or con­ exposed when growing up in Romania. thinks about “specific use, the domestic sciously divided into separate areas: the Romanian folk pottery finds its roots in placement and the traditional occasion front, sides and back. This treatment both Greek and Islamic models. I am for which the pots are made.” constitutes the fundamental distinction looking for the cheerfulness of those forms “The challenge I find in ceramics for between a painterly versus my potterly and colors, executed in the most direct the table is in its ability to serve its func- approach to decoration.” and clear way.”

Earthenware Throwing Body White Slip (Cone 03) (Cone 03-02) Calvert Clay...... 30% Nepheline Syenite ...... 18.75% Cedar Heights Redart Clay .... 60 Ball Clay...... 25.00 Jackson Ball Clay...... 5 Edgar Plastic Kaolin ...... 25.00 P.B.X. Fireclay...... 5 Frit 3124 (Ferro)...... 6.25 100% Flint ...... 25.00 Add: Boric Acid ...... 1% 100.00% Majolica Base Glaze Clear Purple Glaze (Cone 03) (Cone 03) Majolica tureen and plate, 14 inches wide. Barium Carbonate...... 1.5% Barium Carbonate...... 3.29% Gerstley Borate...... 7.3 Edgar Plastic Kaolin ...... 14.99 Applied over the dry, raw, majolica base Potash Feldspar ...... 2.0 Frit 3124 (Ferro)...... 61.60 glaze, this recipe yields an enamel-like Edgar Plastic Kaolin ...... 6.7 Frit 3134 (Ferro)...... 11.33 surface. Try mixing a number of colors Frit 3110 (Ferro)...... 72.5 Glomax (Calcined Kaolin) . . . 4.68 from the variety of commercial stains Flint ...... 4.11 Flint ...... 10.0 available. For watercolor-like decora­ 100.0% 100.00% tion, apply a mixture of equal parts so­ Add: Cobalt Sulfate...... 0.3% Add: Superpax...... 16.43% dium nitrate and stain, or various me­ Manganese Carbonate . . 3.0% Mix in a gum solution (CMC) or liquid tallic sulfates. starch as a glaze binder. Clear Green Glaze Clear Yellow Glaze (Cone 03) (Cone 03) Majolica Over glaze Lithium Carbonate...... 3.70% Barium Carbonate...... 14% (Cone 03) Edgar Plastic Kaolin ...... 20.99 Gerstley Borate...... 34 Lithium Carbonate...... • 7.14% Frit 3110 (Ferro)...... 9.47 Potash Feldspar ...... 37 Edgar Plastic Kaolin ...... 7.14 Frit 3134 (Ferro)...... ! . . . 9.82 Flint...... 15 Frit 3292 (Ferro)...... 85.72 Frit 3195 (Ferro) ...... 56.02 100% Add: Black Iron Oxide...... 8% 100.00% 100.00% Add: Tin Oxide...... 5.72% Add: Copper Carbonate ...... 2.05% Ball-mill the black iron oxide for at least Commercial Stain...... 42.86% Red Iron Oxide...... 2.99% eight hours. 42 C eramics Monthly Wheel-thrown earthenware serving platters, 18 inches in diameter (top row), and “Thanksgiving Platters” 22 inches in diameter, with Cone 03 glazes, by Canadian potter Paul Rozman. “I am looking for the cheerfulness of [folk pottery] forms and colors, executed in the most direct and clear way

January 1985 43 Jim Melchert a review byWilliam Hunt

In AN AGE when artists talk repeatedly rolling while at the same time serving, posed of various Italian white commer­ about meaning in their art, in ceramics, teaching, directing like some Platonic cial tiles reglazed with Rorschach-like at least, it seems so difficult to find. But form of the ideal ceramist. And his re­ patterns, geometric forms, eyeglasses and Jim Melchert has consistently been in­ sume reads chronologically like that ide­ letters of the alphabet. fusing new meaning into ceramic art, al as well: B.A., Princeton University; In his “Children’s Walls” series, let­ not always with clarity, but always with M.F.A., University of Chicago; M.A., ters and symbols are repeated, varying a critical, questioning, probing kind of University of California, Berkeley (with script and style, creating emphasis on content that leaves even the most dis­ Pete Voulkos); chairman, ceramics de­ the symbols as forms in addition to their passionate viewer with no middle ground. partment, San Francisco Art Institute; meanings. Because each tile contains only His work has unnerved and poked at professor of art, University of Califor­ one image, and because of the regularity ceramists and society since the 1960s nia, Berkeley; director, Visual Arts Pro­ of the tile itself, a gridlike surface is set stir caused by his series of “Leg Pots” gram, National Endowment for the Arts; up, establishing a viewing sequence sim­ which turned traditional vessel making director, the American Academy, Rome ilar to reading written language. sideways. Even though he has been (where he now lives). The use of ceramics in these works is through the gamut of movements like so With all this under his belt, perhaps almost incidental, punctuating this art­ many of his contemporaries—abstract it’s not so odd to note that Jim Melchert ist’s strong commitment to art, but loose expressionism, surrealism, etc.—the thick seems just now to be hitting his stride commitment to clay. Jim Melchert seems layer of confrontation that is his great at age 54. In his recent show at Fuller to be striking out on his own with these consistency with these works has dom­ Goldeen Gallery in San Francisco, let­ works, stepping away from the vortex of inated, administrating his style as he has ters and shapes on clay address the per­ mainstream ceramics and developing a administered so many aspects of the clay ception of images as linguistic symbols. new, influential vocabulary for himself world: keeping (somehow) studio career The nine panels presented were com­ and the ceramic art movement.

44 CERAMICS MONTHLY Opposite page “Purple Dots,” 38 inches square, wall panel of Above “Children’s Wall 1,” re glazed commercial tile. reglazed commercial tile. Below Installation view, glazed tile panel, IOV 2 feet square, Fuller Goldeen Gallery, San Francisco. Photos: Lee Fatherree January 1985 45 Left Jim Melchert in the construction site of his California studio. Below “Children's Wall 3,” Italian white commercial tile reglazed, oxidation fired, 8 feet in length. Bottom “Children's Wall 2,” reglazed commercial tile, 8 feet in length. In this series, letters and symbols are repeated, varying in script and style, creating emphasis on the symbols as forms in addition to their meanings. The gridlike surface establishes a viewing sequence similar to reading written language.

46 CERAMICS MONTHLY Above “Flying Shapes8 feet square, wall panel of reglazed commercial tile. Left “Children's Wall 4,” reglazed commercial tile, 8 feet in length, by Jim Melchert.

January 1985 47 Brook LeVan

With simplicity and directness in mind, Brook Le Van worked toward “strong, sure line accompanied by full, generous form” for wood-fired function­ al porcelain and stoneware exhibited re­ cently at the Kansas City Art Institute. Now a graduate student in ceramics at Alfred University, Brook continues to draw inspiration from observations made while “traveling overseas, laboring on farms in rural America, at times taken by a particular basket in a village in East Africa, or absorbed in a pot in some mu­ seum. The life experience I gather is source for my tactile vocabulary, and clay affords the mode of speech. “Making pots challenges all my sen­ sibilities and satisfies my need to be in­ volved in process and problem solving. For me the gathering, splitting and stacking of the wood is as important as the making; they feed one another.”

Above right Wheel-thrown coffee pot, 12 inches in height, porcelain. Right Wood-fired casserole, 11 inches in diameter, thrown, slip trailed, unglazed. Below Stoneware teapot, 9 inches in height, thrown, squared, reduction fired to Cone 10.

48 CERAMICS MONTHLY Spain’s Joan Cots

Once-fired stoneware and fireclay sculpture by Spanish artist Joan Cots was featured recently in a solo exhibi­ tion at Mayte Munoz Galeria de Arte in Barcelona. Joan finds clay “splendid­ ly docile. Clay plies itself to the slightest intention. “I like clay because of its generosity; for the diversity of its possibilities; be­ cause it is possible to distinguish differ­ ent sensibilities in different kinds of clay. Some clays of great plasticity are sen­ suous, with a softness like skin. Others are strong, rough and textured, as the skin of an antediluvian monster. “Clay can become a small vessel, with some intimate character; or it can be­ come a Mesopotamian ziggurat; or it can be a sculpture or mural able to sym­ bolize an epic or the strength of the peo­ ple.” Right “Stars,” 13 inches in height, once- fired stoneware, with sgraffito through cobalt oxide and manganese dioxide spattering. Below “Sign,” 22 inches in height, handbuilt saggar clay with iron-bearing slip, once fired to Cone 10.

January 1985 49 50 CERAMICS MONTHLY Above “Mesopotamian Evocation ” 10 inches in height, handbuilt stoneware, with iron oxide wash, once fired to Cone 9. Left “Peace Wish,” 14 inches in height, handbuilt stoneware, sgraffito through iron oxide and manganese dioxide spattering, once fired to Cone 9. Right “Burned Voice,” 10 inches in height, handbuilt saggar clay, thickly coated with stoneware slip, once fired to Cone 10 in a heavily reducing atmosphere, by Joan Cots.

January 1985 51 Cone 2-4 Oxidation Glazes byL ynne Melchior

Typically, Cone 2-4 oxidation glazes Muttonfat Opaque Glaze Lynne’s Base Glaze have suffered from all kinds of defects. (Cone 2-4) (Cone 2-4) Pinholing and crazing may result from Barium Carbonate...... 7.71% Barium Carbonate...... 4.0% the need for these recipes to include low- Whiting...... 10.95 Lithium Carbonate...... 5.0 melting fluxes, which are generally touchy Kona F-4 Feldspar ...... 81.34 Talc...... 2.5 to fire, soluble or toxic. However, there 100.00% Whiting ...... 12.0 are good mid-range glazes, and the color Add: Zinc Oxide...... 11.73% Zinc Oxide...... 2.5 spectrum available to the potter at this Bentonite (optional) . . . 2.00% Nepheline Syenite...... 50.0 temperature is especially worth exam­ Edgar Plastic Kaolin ...... 4.0 ining. This matt glaze tends to crackle over a Flint ...... 20.0 The Cone 2-4 glaze recipes in this period of time, and is not recommended article were tested on bisqueware made for utilitarian ware because the crackle 100.0% from the following white body: pattern stains readily. Apply with me­ This is a gloss glaze until refractory ox­ dium thickness. For a blue or green var­ ides are added: Snow White Clay Body iation add: 3% Zinc Oxide, 2% Copper (Cone 1-4) 0.5% Cobalt Carbonate . . . Pale Blue Carbonate and 5% Powdered Talc ...... 18% 0.5% Copper Carbonate . . Pale Green Rutile...... Mottled Green Nepheline Syenite ...... 10 2-6% Mason Sta in 6404 ...... Yellow Bentonite ...... 2 Albany Gold Glaze 2% Black Iron Oxide Edgar Plastic Kaolin ...... 23 (Cone 2-4) and 2% Cobalt Tennessee Ball Clay (7 or 5). . . 30 Gerstley Borate...... 30% Carbonate ...... Mid-Dark Blue Flint...... 17 Albany Slip...... 70% 100% 100% Black Gloss Glaze This is an extremely dense body, but not Add: Titanium Dioxide...... 5% (Cone 2-4) entirely vitreous like stoneware; shrink­ Black Iron Oxide...... 5% Gerstley Borate...... 15% age is relatively high. Interesting (but fluid) when sprayed over Whiting ...... 5 Fired in oxidation (using Orton small Muttonfat Opaque with 1% copper car­ Custer Feldspar...... 75 cones in a kiln sitter), these recipes af­ bonate. Edgar Plastic Kaolin...... 5 ford a range of color and texture. Some 100% offer the even color of oxidation firing, Slate Blue-Gray Glaze Add: Black Iron Oxide...... 2% while others have the subtle variations (Cone 2-4) Cobalt Oxide...... 2% of reduction-fired glazes. Most are fluid Barium Carbonate...... 10.0% Copper Oxide ...... 4% at Cone 4, regardless of whether they Magnesium Carbonate...... 2.6 Manganese Dioxide...... 4% are indicated as matt or gloss. Whiting...... 9.2 Zinc Oxide...... 2.6 Semitransparent Gloss Glaze Nepheline Syenite ...... 41.1 Peach Satin Matt Glaze (Cone 2-4) Edgar Plastic Kaolin ...... 8.9 (Cone 2-4) Barium Carbonate...... 6.0% Flint ...... 25.6 Barium Carbonate...... 7.70% Gerstley Borate...... 18.0 Whiting...... 10.71 100.0% Custer Feldspar ...... 81.59 Whiting ...... 1.5 Add: Cobalt Oxide...... 4.0% Kona F-4 Feldspar ...... 45.0 100.00% Edgar Plastic Kaolin ...... 3.5 Nickel Oxide...... 3.0% Add: Zinc Oxide...... 11.61% Flint ...... 26.0 Talc may be substituted directly for the magnesium carbonate content. Color variations are possible with the 100.0% following additions: Apply evenly for best results; very fluid 5.58% Tin Oxide and at Cone 4. Color variations are possible Lynne’s Ash Glaze 4.46% Powdered with the following additions: (Cone 2-4) Rutile...... Pale Peach 3% Zinc Oxide, 3% Copper Gerstley Borate...... 15% 0.28% Cobalt Oxide and Carbonate and 1% Powdered Volcanic Ash ...... 18 4.46% Powdered Rutile...... Emerald Green Whiting ...... 19 Rutile...... Baby Blue 3% Zinc Oxide, 0.5% Cobalt Albany Slip...... 40 1.12% Copper Carbonate Carbonate and 3% Manganese Edgar Plastic Kaolin...... 8 and 6.70% Powdered Carbonate ...... Eggplant 100% Rutile...... Blue-Green 52 C eramics Monthly Jade Green Matt Glaze (Cone 2-4) Barium Carbonate...... 19.98% Gerstley Borate...... 9.99 Talc...... 10.10 Whiting...... 9.88 Custer Feldspar ...... 40.06 Flint ...... 9.99 100.00% Add: Copper Carbonate .... 5.15% Caution: The high concentration of cop­ per causes this glaze to blister where application is too thick; apply evenly. Lynne’s R-7 Glaze (Cone 2-4) Barium Carbonate...... 2.60% Gerstley Borate...... 8.00 Lithium Carbonate...... 5.90 Talc...... 7.00 Whiting...... 16.00 Nepheline Syenite ...... 26.00 Flint ...... 34.50 100.00% Without colorants the base is dry to the point of being grainy; however, R-7 af­ fords a wide color range with the fol­ lowing additions: 0.5% Cobalt Carbonate .... Lavender 2% Cobalt Carbonate ...... Purple 2% Copper Carbonate ...... Green 0.25% Cobalt Carbonate and 0.5% Copper Carbonate ...... Powder Blue 2% Cobalt Oxide, 4% Copper Oxide and 4% Manganese Dioxide...... Metallic Black 3.5% Tin Oxide and 3% Powdered Rutile...... Pink 4% Tin Oxide and 6% Vanadium Pentoxide ...... Yellow Cream 4% Tin Oxide, 0.5% Chrome Oxide and 3% Powdered Rutile. . . Blood Red Avoid firing the blood red variation with other tin glazes because the chrome may adversely affect their colors. The authorLynne Melchior is a pot­ ter and free-lance designer in North Lit­ tle Rock, Arkansas. January 1985 53 54 CERAMICS MONTHLY ramics,” works by 15 ceramists; at the Columbia Vermont, MiddleburyJanuary 5-February 23 Itinerary Museums of Art and Science, Senate and Bull Jane Ford Aebersold, Sylvia Bower, Aurore Cha- Continued from Page 13 Streets. bot, Bob Green, Denise Suska Green, Josh Green, Tennessee, Gatlinburg through February 23 Karen Karnes, Wally Mason, Londa Weisman and Southwest”; at the University Gallery, University “Arrowmont Permanent Collection”; at the Ar- Malcolm Wright, “Departures from Function: 10 of Minnesota, 84 Church St., SE. rowmont School of Arts and Crafts. Vermont Clay Artists”; at Vermont State Craft Minnesota, Rochesterthrough January 5 Gail Texas, El Pasothrough January 11 “3-Dimen- Center at Frog Hollow. Kendall and Constance Mayeron, “Ceremonies and sions,” international competition exhibition; at the Virginia, AlexandriaJanuary 8-February 4 Celebrations,” vessels; at Rochester Art Center, Main Gallery, Fox Fine Arts Center, University “New Resolutions,” exhibition of works by mem­ 320 E. Center St. of Texas. bers of the Kiln Club of Washington, D.C.; at the Missouri, Saint Louisthrough January 6 Joe Texas, Houstonthrough January 19 Marvin Torpedo Factory Art Center, Union and King St., Mariscal, Richard Notkin, Jeff Schlanger and Tip Bjurlin, Olga Bravo, Curtis Hoard, Wally Mason, Old Town. Toland, “Ceramics and Social Commentary”; at Geoffrey Pagen and Jan Richardson, “Recent Works Laumeier Sculpture Park, 12580 Rott Rd. in Clay”; at Carr Gallery, 807 Hawthorne. New Jersey, Morristownthrough January 5 An January 1-February 1An exhibition by gallery Workshops exhibition of works by the cooperative’s members; artists including Martha Wilcox and Jo Zider, Arizona, MesaJanuary 12 “Tile as an Art at the Crafts Connection, Epstein’s on the Green. sculpture and functional works; at Archway Gal­ Form” with Barbara Grygutis. Fee: $25. Contact: New Jersey, Newark through January 31 lery, 2517 University. Please Turn to Page 58 “American Art Pottery,” approximately 200 ob­ jects made between 1880 and 1940; at the Newark Museum, 49 Washington St. New Mexico, Los Alamosthrough January 6 “Toys for All Ages,” all-media exhibition of works, by artists residing in New Mexico; at Fuller Lodge Art Center, 2132 Central Ave. New Mexico, Santa Fethrough January 5 “Pre-Columbian Art from the Collections of New Mexican Artists”; at Bellas Artes, 301 Garcia at Canyon Rd. New Mexico, Taosthrough January 5 “Annual Christmas Exhibit”; at Clay and Fiber, N. Pueblo Road. New York, Alfred January 18-February 8 “Containers as Form”; at the New York State Col­ lege of Ceramics at Alfred University. New York, New Yorkthrough January 12 “Rituals of Tea,” cups and pots. January 15-February 9 Tony Bennett, Frank Fleming, Jan Holcomb, Beverly Mayeri and Jack Thomp­ son, “The Surrealist Figure”; at Garth Clark Gal­ lery, 24 West 57 St. through January 12 “Higher Functions”; at Ele­ ments Gallery, 90 Hudson St. through January 19 Hans Coper, Phyllis Du- puy, Dorothy Feibleman, Nicole Johns, Ursula Morley Price, Lucie Rie, Mary Rogers, Geoffrey Swindell and Sasha Wardell, “British Pottery, Winter ’84”; at Graham Gallery, 1014 Madison. through January 31 “Ban Chiang: Discovery of a Lost Bronze Age,” artifacts from 4000 to 200 B.C. found in Thailand, including pottery, figures and ceramic rollers; at the American Museum of Natural History, Central Park. January 15-February 28 Jay Brown, Dorothy Dunitz, John Hull, Leah Phillips, Walter Yovaish; at Departure Gallery, 1310 Madison Ave. New York, Rochesterthrough January 12 “Small Works National,” all-media competition; at Zaner Gallery, Goodman Street Complex, 302 N. Goodman. New York, Scarsdale through January 5 “Craftworks Celebration 1984”; at the Crafts­ man’s Gallery, 16 Chase Road. New York, SyracuseJanuary 22-February 19 Jo Buffalo and Christopher Darling, “Col­ laborations,” platters, bowls and wall forms; at CD/FS Gallery, 742 S. Beech St. Ohio, CantonJanuary 6-March 3 “Canton Art Institute Invitational,” works by 17 ceramists; at the Canton Art Institute, 1001 Market Ave., N. Pennsylvania, Readingthrough January 6 “Soup Soup Beautiful Soup,” Campbell’s tureen collection; at Reading Public Museum, 500 Mu­ seum Rd. Pennsylvania, State CollegeJanuary 27-March 17 “Soup Soup Beautiful Soup,” the Campbell collection of tureens; at the Pennsylvania State University Museum of Art. South Carolina, CharlestonJanuary 12- February 22 “South Carolina Arts Commission’s 1985 Annual Exhibition”; at Gibbes Art Gallery, 135 Meeting St. South Carolina, ColumbiaJanuary 3-March 24 “Casual China,” dinnerware produced during the ’50s and ’60s from designs by Russel Wright. January 13-March 3 “Functional Ce­ January 1985 55 56 C eramics Monthly News & Retrospect Free Workshop Listings The 1985 Summer Workshops listing will be published in the April issue of Ceramics Monthly. Summer schools, colleges, univer­ sities, craft institutions and workshops not already contacted are invited to furnish in­ formation by February 11 about their pro­ grams in ceramics. Please include the work­ shop name, level of instruction, location, opening and closing dates of sessions, course descriptions, names of instructors, availabil­ ity of live-in accommodations or camping, fees and where to write and call for details. Captioned photographs from last year’s workshops are welcome and will be consid­ ered for publication. Send to: Summer Work­ shops, Ceramics Monthly, Box 12448, Co­ lumbus, Ohio 43212; or call: (614) 488-8236. Conceptual Archaeology They began by photographing a likely site in Berks County, Pennsylvania, then dug a 6X6-foot pit, developing ideas as they went along. Ceramist Tomas Wolff, Mertztown, and photographer Ken Bloom, Allentown, were physically and mentally searching for images. Fiction fed on fact as a few fossils (“images of past life”) were uncovered. Imagining a “history,” they added “artifacts” (pots, shards and bones) at various levels, constantly pho­ tographing the excavation’s progress. The colors changed with the descending strata, and in a layer of ashes and sand they “found” the ceramic shell of a man (cast from

Installation of “Pennsylvania Man,” a collage of photography, ceramics and pseudoarchaeology collage of photography, ceramics and “ar­ trees—and the sparkling look on the ground chaeology of the mind,” Tomas commented. as the leaves fluttered in the breeze. The Manmade fossils and actual bones were ar­ patches of light virtually flicker on the ground. ranged with pots and shards on the dirt and I was going about some kind of work with clay strata. Photo documentation of the dig my hands and at my feet, rubbing against was mounted on the walls, while Ken’s jour­ my legs, was my companion—a cat. Some­ nal offered an explanation of the findings thing startles me in this vision. The rustling through the recounting of a dream: “I am of the leaves has turned to a roar. I run from running and being surrounded. It starts with my house only to discover the forest aflame. sunlight coming through the leaves of the I am trapped. The flames come closer and I try to retreat—try to hide. I try to run but “Pennsylvania Man” on site You are invited to send news and photo­ a searing blast throws me back, and as I fall a mold Tomas made of Ken) caught in a graphs about people, places or events of I am aware only of a sense of fading away— raging fire, his image preserved in the mud interest. We will be pleased to consider and—that another life is passing with mine. where he fell. Near his right foot in the next them for publication in this column. Mail Then there is silence and peace.” layer lay a mummified cat (cast from a mold submissions to: News and Retrospect, A synthesis of dreams and reality, of pro­ of an actual discovery in Tomas’s barn). Ceramics Monthly, P.O. Box 12448, cess and image making, the installation was Transferred to the Allentown Art Center, Columbus, Ohio 43212. “part allegory, part hoax, part conceptual art, the story of “Pennsylvania Man” became a Continued January 1985 57 Fee: $130. Contact: Janet Bryant, 92nd St. Y, 1395 7 Anne Cummings, Neil Forrest, Jim Hong Itinerary Lexington Ave., New York 10128; or call: (212) Louie, Judy Lowry and Ian Symons, “Vessels,” Continued from Page 55 427-6000, ext. 172. large-scale nonfunctional work. And “Works on a February 23 A workshop and slide lecture with Personal Scale,” an exhibition of miniatures; at Mesa Cultural Program, 155 N. Center, Mesa Judy Moonelis. Contact: Greenwich House Pot­ the Burlington Cultural Centre, 425 Brock Ave. 85201; or call: (602) 834-2242. tery, 16 Jones St., New York 10014; or call: (212) Canada, Ontario, TorontoJanuary 19 “Design Connecticut, Middletown January 7-11 242-4106. Workshop” with Stephen Hogbin and Christopher “Master Class” with David Shaner. Fee: $150. New York, SyracuseMarch 2-3 Rick Ber­ Lackie. Contact: Ontario Potters Association, 140 Contact: Wesleyan Potters, 350 S. Main St., Mid­ man, lecture and demonstration. Contact: Syra­ Yorkville Ave., Toronto M5R 1C2; or call: (416) dletown 06457; or call: (203) 347-5925. cuse Ceramic Guild, Box 6857, Syracuse 13217. 923-1803. Florida, GainesvilleFebruary 21-22 Lecture Ohio, CantonJanuary 7 A session with Cur­ England, Londonthrough February 3 “New and seminar with Val Cushing, part of the “Con­ tis and Suzan Benzie on colored porcelain. Domestic Pottery”; at the Crafts Council, 12 Wa­ temporary Narrative Art” series. Contact: Uni­ January 8 Ban Kajitani, inlaid colored clays. terloo Place, Lower Regent St. versity of Florida, Department of Art, 302 FAC, Contact: Canton Art Institute, 1001 Market Ave., France, Arles through January 26 A dual ex­ Gainesville 32611. N, Canton 44702; or call: (216) 453-7666. hibition with Patricia Denimal; at Galerie du Sa­ Florida, TampaFebruary 3-4 John Glick, Vermont, MiddleburyFebruary 18-22 “Karen lon, 5 rue Dulau. demonstration on throwing and decorating pots, Karnes Workshop,” for advanced students. Fee: France, Mulhousethrough January 26 A group plus combinations of extruding, mold and template $145. Contact: Andrew Wormer, Vermont State exhibition with Christine Vi^illet-Kuhn; at the techniques. For further information contact: The Craft Center at Frog Hollow, Mill St., Middle­ Musee de lTmpression sur Etoffes, 3 rue des Clay Factory, 804 S. Dale Mabry Ave., Tampa bury 05753; or call: (802) 388-3177. Bonnes-Gens. 33609; or call: (813) 872-8819. France, Paris through January 21 “Design in Georgia, AtlantaJanuary 26-27 “No Com­ America: The Cranbrook Vision, 1925-1950”; at promise with Gravity,” slide lecture and demon­ International Events the Musee des Arts Decoratifs. stration with Harvey Sadow on the relation be­ Belgium, Brussels through January 12 Jean January 10-15 “Commercial and Professional tween form and surface. Fee: $30. For further Giren, ceramic exhibition; at Galerie La Main, Arts and Crafts Exhibition”; at the Parc des Ex­ information contact: Glenn Dair, Callanwolde Fine 215 rue de la Victoire. positions, Porte de Versailles. Arts Center, 980 Briarcliff Rd., NE, Atlanta 30306; Belgium, Charleroi through January 6 Jo- Sweden, GoteborgJanuary 12-March 3 An or call: (404) 874-9351. Anne Caron-Devroey; and Belgian works selected exhibition of ceramics by the Danish group Multi New Hampshire, ConcordJanuary 11-15 at the 1984 Faenza competition; at Musee com­ Mud; at Rohsska Konstslojdmuseet, Vasagatan “Seminar 85” will include a session on porcelain munal des Beaux-Arts, Hotel de Ville. 37-39. and stoneware for advanced studio potters with Canada, Alberta, BanffJanuary 7-18 “Form Sweden, Sodertalje through January 6 An Warren MacKenzie. For further information con­ and Function Workshop” with Wayne Ngan (Jan­ exhibition of sculpture and functional works by tact: Evelyn Zimmerman, League of New Hamp­ uary 7-11) and Walter Keeler (January 14-18), the Danish group Multi Mud; at Sodertalje shire Craftsmen, 205 N. Main St., Concord 03301; participatory sessions and discussions on produc­ Konsthall, S:ta Ragnhildsgatan 1. or call: (603) 224-3375. tion, technical and aesthetic considerations. Fee: Switzerland, Zurich through February 3 “15 New York, New YorkJanuary 28 “Ancient $260, includes equipment and access to electric, Ceramists, Exhibition of the Nations at Faenza Inspirations/Contemporary Work,” slide lecture salt and wood-fired kilns. Up to 8 participants. 1984”; at the Museum Bellerive. by Woody Hughes. Fee: $4.50. January Contact: The Banff Centre, Box 1020, Banff, Al­ West Germany, Dusseldorfthrough March 28-February 1 “Technical and Aesthetic Ap­ berta T0L 0C0. 31 Carlos Carle, ceramic exhibition; at the proaches to Cone 04 Firing” with Woody Hughes. Canada, Ontario, Burlingtonthrough January Hetjens-Museum, Schulstr. 4.

58 C eramics Monthly News & Retrospect hours a day (with 100 graduates every year)— what does it make one? Is a graduate an part comment on history,” Ken explained. artist? A craftsperson? A better consumer? “We were playing with time.” Photos: Ken A better fighter? Does the Israel of today, Bloom. fighting for life more than for culture, really need artists, designers and craftspeople? J. Paul Sires Considering the situation, BezalePs ce­ ramics faculty decided to build a program Large-scale sculpture by J. Paul Sires, art- covering as much as possible. The four ac­ ist-in-residence at Spirit Square Art Center ademic years are regarded as a base from in Charlotte, North Carolina, was exhibited which the students will have to continue on at the Southeastern Center for Contempo­ their own (as in most professions). Also taken rary Art in Winston-Salem through Novem- into consideration is the fact that Bezalel is the only art academy in the country, there is no summer school, and additional education has to be taken abroad. Although there are many scholarships and other forms of aid for needy students, the fees and materials costs are high. And living in Jerusalem, which is not the home town of most of the students, is expensive. Another problem is the ratio of male to female students. Many men still believe that one cannot live on a ceramics income, and life here creates a tension requiring “making a living” more than perhaps in other places. Additionally, most first-year students have just finished three years of compulsory army service. All of them also have to serve in the army reserve during their four years of study; a large part of the department chairperson’s work is to try to postpone this service to sum­ mer vacation, when possible. The ceramics program is based on three study areas: pottery, industrial design and sculpture. The 20 teachers are mostly prac­ ticing artists or craftspeople. Every year guest lecturers come from abroad, which is very helpful, but it is sometimes difficult to adjust habits, beliefs and thinking in one semester. 6-foot-high castable ceramic sculpture The dialogue is important, however, even when it’s in a different language. ber 25. Ranging to 8 feet in height, the forms The first year involves foundation courses were cast “like concrete” from an experi­ in academic studies, basic design, photog­ mental clay body, shaped and carved, then raphy, drawing, geometry, ceramic technol­ fired to Cone 04-6. ogy, chemistry, firing techniques, as well as Jerusalem’s Bezalel Academy Like all big ideas, Jerusalem’s Bezalel Academy of Arts and Design was founded by one “crazy” man, Bezalel Schatz. A sculp­ tor working for the king of Bulgaria but whose heart was in the East, Schatz established the school in 1906, mostly to combine study and work for children. In the beginning, ceramics production in­ volved primarily sculpture (early photo­ graphs show us naturalistic heads and fig­ ures, worked from live models) and decorated tile. The pottery tradition of the Mediter­ ranean area had little influence. Today the seven departments of Bezalel are dispersed throughout Jerusalem. Each is run by its own guidelines, with the man­ agement of the academy and board members Bezalel ceramic department in Jerusalem overseeing all. There are 650 students from throwing, handbuilding and sculpture. The Israel (and abroad), and 130 teachers from English language is a requirement and pre­ around the world. Four years of studying sents a problem for some of the students, but eight months a year, five days a week, 18 Continued January 1985 59 60 C eramics Monthly News & Retrospect with help and support. During this last se­ mester, they also learn many practical things technical information is available in Hebrew about setting up a studio, pricing and han­ for their convenience. dling governmental requirements. The second year is devoted to in-depth study A student is not allowed to exhibit or sell sections, based on the combination of tech­ work, except for an exhibition of selected niques and ideas. Process is more important works at the end of each year. Years ago there than merchandise. Clay skills improve with was a ceramics sale every summer; however, the faculty found this took time and energy away from required subjects. Instead, the students sometimes help create works for public places—army camps as well as Je­ rusalem neighborhoods. The pleasures of a small country are ob­ vious: everything you do is effective and there is a lot to be done yet. But Israelis still dis­ tinguish between arts and crafts—ceramics is regarded as craft; sculpture made of clay is also automatically considered craft. The country also has a burgeoning souvenir in­ dustry. There is the chance that Bezalel A pottery student in her studio graduates will fall into it, not by choice but the knowledge and ability to produce what for the “holy purpose” of making a living. they want, to plan serial works with the abil­ With our hectic, on-the-verge-of-explo- ity to improve on them. The students also sion life, should working with clay be a learn to fire their own ware in 13 different soothing escape? The academy’s biggest ad­ kilns of varying sizes and quality. This tough vantage is the ability to change according to second year is when many students discover needs, not to be only academic but to be a that ceramics demands more of them than part of everyday life. Text: Siona Shimshi. just emotions—a lot of hard work and think­ ing are necessary as well. During the third year, students develop Painted Clay in Massachusetts more detailed knowledge and acquire a more An exhibition of clay forms by 20 artists personal visual language. Many different ap- who concentrate on painting as the primary focus of their works was featured in the Craftsmarket Gallery at Pinch Pottery in Northampton, Massachusetts, through Sep­ tember 1. Among the functional objects shown in “Painted Pottery” was this earthenware

Various teachers demonstrate techniques proaches are demonstrated and discussed. Also during this year, each student must work two weeks in a factory as a laborer on all the 181A-inch earthenware platter by Brenda Wrigley production lines; most students hate it, but the faculty believes it adds a lot to their ed­ platter, with brushed and penciled under­ ucation. glaze decoration, by Brenda Wrigley, Tiv­ The first half of the fourth year is devoted erton, Rhode Island. Photo: Jack Wax. to selective studies, from a list of subjects, with teachers working individually with the Susan Kotulak students to “fill holes.” Then each student Raku vessels from her “Luster Jungle” se­ prepares a retrospective show of works from ries were shown by member artist Susan Ko­ the years of study at Bezalel. All the staff tulak at A Show of Hands craft cooperative and students view this work and discuss its in New York City through September 30. merits as well as its problems. Through multilayered applications of glaze, The final project for graduation is either Susan “attempted to translate the exotic quality from something done before and developed of jungle patterns into a more modern hard- into a more complete work, or something edge feeling. I feel the blackened clay conveys new—perhaps their last chance to “go wild” Continued January 1985 61 News & Retrospect a sense of dark intensity that is an effective backdrop to the ‘heat’ of the highly colored, reflective lusters.” The patterns on forms such as this thrown stoneware vase, 12 inches in

12-inch raku vase with multilayered lusters and glaze height, were developed by sponging and splashing luster and copper glazes over masked areas. Carolyn Olbum Since 1980, characteristics of the western landscape when seen from above have been reflected in ceramic sculpture by Carolyn Ol­ bum (Pittsburgh and Sun Valley, Idaho). The works shown at Francine Seders Gallery in Seattle through October 7 relate to the land’s patterns and designs, and the continual

Carolyn Olbum at her Sun Valley, Idaho, studio changes to which it is subject. Naturally oc­ curring textures pervade the surfaces. Man- made marks such as roads and irrigation channels appear as details. Early interpretations were quite literal, and incorporated collage for effect. Later, the sculptures became more abstract, flat and freeform—a simple response to the natural aspects of the landscape, including an ad­ herence to earthtones. 62 CERAMICS MONTHLY Beginning with one base slab, Carolyn laminates additional slabs of plastic clay to build up the form. The resulting sculptures represent microcosms, chips from the earth, a section which has become an entity in itself. On some works the colors are almost mono­ chromatic, revealing subtle variations within shadows, with occasional highlighted ef-

“Burnt MesaWall26 inches in height fects. Others employ pastel colors, mirroring the brightness of the western sun glaring on the land and washing out nature’s potentially brilliant colors. Still others are ablaze with the hues of a sunset or dawn. For these dramatic effects, the forms are colored with underglazes applied directly onto the greenware. After the Cone 05 to Cone 02 firing, subtle touches and variations are achieved with sprayed opaque stains. Some works are also treated with a sprayed ure­ thane finish. Text: Nancy Camp;photos: An­ drew Kent. Germany’s Modern Clay Museum Deidesheim, West Germany, is one of the small towns and villages along the Deutsche Weinstrasse, a long road through wine-pro- ducing areas from Bockenheim in the north to Alsace on the French border. Located on

Museum of Modern Ceramics a small side street in Deidesheim is the Mu­ seum of Modern Ceramics. Large oak doors shut it off from the street, but when you ring the bell, curator Lotte Reimers personally Continued January 1985 63 64 CERAMICS MONTHLY News & Retrospect as it was for the folk potters. He took a chance and bought a kiln load of their works to dis­ welcomes you inside. Steps lead down to a play with his collection of traditional ware. room of natural stone fitted with glass show­ The new work sold, and so he soon bought cases. Here Reimers carries on the work be­ more from other young potters. Hinder continued his journeys, sleeping in the rooms rented for the pots. He began to write articles for newspapers and magazines, and gave more lectures. In larger towns, he started to have “openings,” inviting archi­ tects, teachers, doctors and other professional people, and students. Like ripples in water, his reputation grew and the number of col­ lectors increased. The war brought his efforts to a stop in 1939. He had begun to build a private col­ lection, some of which were stored in Lud- Ware is displayed in a refitted wine cellar wigshafen and destroyed by bombs. The rest gun nearly 50 years ago by Jakob Wilhelm were stored in a castle near Karlsruhe, which Hinder, a pioneer of the current interest in became a French army headquarters and es­ folk pottery. caped destruction. After the war, Hinder was Hinder’s mother loved old domestic pot­ able to reclaim these pots and resume his tery, and her kitchen was filled with ware travels. by potters of the Marburg area. The young In 1951 he met Lotte Reimers, who was Hinder developed a deep affection for her a student just finishing her Abitur, an ex­ collection and was interested in the craft, but amination for admission to a university. She his father instead apprenticed him to the iron had intended to be an art teacher, but was industry. In 1925, however, he read a mag­ fascinated with the pots and left her studies azine article stating that Marburg’s pottery to work with Hinder. For ten years they trav­ was dying; the potters could no longer com­ eled together, exhibiting ware as before. Then pete with mass-produced goods that were Hinder felt it was time he had a permanent coming into the market. From that moment center for his collection, so that people could Hinder resolved to do what he could to help come to him. this threatened craft survive. They looked for a suitable place in Dei- Visiting the potters who had given up, he desheim, but most of the old houses belonged bought their stocks of traditional red/brown to families who had passed the property on ware with slip-trailed decoration. He rented for generations. The only solution was to build an open wagon, filled it with straw-packed a new museum. While it was being con­ pots and went home to set up his first ex­ structed, they made do with a temporary site, hibition. Handbills and a town crier attract­ setting the pots on shelves and tables under ed people to a rented room in an inn where poor lighting. In spite of this, people came the ware was displayed. Not only did the from all over Germany and neighboring peasants come, but the local teachers and the countries to see the growing private collec­ vicar as well. They encouraged him, so he tion, and to buy pots. began to go to different villages, taking the Before he died in 1976, Hinder found the pots in the straw-filled wagon and setting up building he would have really liked to house wherever he could hire a room. his collection—a Weingut with vaulted stone His next step was to buy a wheel from a cellars—but four families lived in it. When retired potter and learn how to use it—not this house became available in 1977, Lotte to produce pots himself, but so that he could Reimers wrote letters to 100 of the most explain how the pots were made to his cus­ faithful collectors; 95 of them rallied to form tomers. He bought books and continually a foundation. Together they rented the house asked questions of the potters, passing on this and reorganized its interior, removing huge information and demonstrating at the wheel wine barrels from the cellar, taking down in every village. Soon architects and students walls to enlarge rooms above, and installing from the universities became interested in what glass display cases and good lighting. he was doing and asked for his lectures. The first museum had been locked at Hin­ While traveling for that purpose, Hinder der’s death, while family claims were dis­ saw some gray and blue salt-glazed pots from puted. In October 1977, however, a convoy the Westerwald. Attracted by them, he found of friends transported Hinder’s private col­ the old potters, who had made these large lection to the new museum. The heirs took pots for sauerkraut, in Hohr-Grenzhausen. the pots that had been for sale. Here he met some of Germany’s earliest art- Today Lotte Reimers carries on Hinder’s ist-potters, such as Elfriede Balzar-Kopp and tradition, adding to the collection whenever Wim Muhlendyck, who had trained in the she can. It now contains not only German old tradition but were trying to make new ceramics, but also fine examples from other shapes and develop new glazes. Hinder re­ countries, particularly Great Britain. Often alized that it was just as difficult for these exhibitions of contemporary potters’ works young, experimental potters to make a living Continued January 1985 65 66 C eramics Monthly News & Retrospect “changed geometry, accentuated by sharp edges, makes these pots strongly abstract in are staged in the airy room on the top floor character. They still allude to houses, but or in the stone-walled entrance where the now all the relationships—planes, edges and wagons full of freshly picked grapes used to proportion—join to flatten the forms. . . and rumble over the cobblestones. True to the the abstract aspect takes precedence over anything referential.” Fired with wood, the

Lotte Reimers in the museum courtyard Hinder philosophy, these exhibitions are not simply sales. The exhibiting potter gives a slide lecture explaining development and Wayne Branum''s 21 -inch, wood-fired “House Pot” methods; and openings are like family re­ pots are subtly colored with gradations in unions, with potters and collectors coming russets, ocher, iron, violet and pink, flashed from all directions. by ash or salt. Larger, more official museums for ce­ ramics may appear, but Hinder has paved Woody Hughes the way and his collection remains both pi­ Earthenware pottery by Woody Hughes, oneering and unique. Text: Mary White. Rocky Point, New York, was featured re­ cently at the Clay Studio in Philadelphia. Wayne Branum From the exhibition, this covered jar, 23 inches Minnesota ceramist Wayne Branum re­ cently exhibited house-shaped containers and vases at By Design in Minneapolis. Con­ structed from stoneware slabs, most have rec-

Terra-cotta jar with applied shapes in height, thrown terra cotta, was decorated with applied clay shapes and brushed poly­ chrome slips. Photo: Dennis Cowley. Paul Uhl 9-inch-high stoneware “House Pot” The poet W. H. Auden once said, “.. . tangular bases with peaked-roof lids and formal verse frees one from the fetters of one’s chimney handles, but as Shirley Johnson ego.” Texas ceramist Paul Uhl (Austin) be- (Excelsior, Minnesota) observed, their Continued 68 C eramics Monthly News & Retrospect lieves in the vessel form and works within its confines to achieve the same end: a greater freedom. “I start by making vessels that are very basic, almost like industrial flowerpots. Then I manipulate the clay; push in at places; smooth off rims; work with the inside if the form doesn’t have a lid. Then I torch the surface to get cracking. Sometimes I add a pattern to a certain section. But I’m always concerned with the rest of the form. Each time it’s different. Each pot has a life of its own.” Later he adds feet that sometimes become elongated; he believes the legs are only the natural growth of the form. “I try for an emotional character. The vessel has to have consistency if I’m going to get the effect I want.” His forms are large, made from a clay con­ taining 40% grog:

Raku Clay Body (Cone 06) Talc...... 25% Wollastonite ...... 3 Ball Clay...... 10 Bentonite...... 2 Fireclay...... 20 Grog ...... 40 100% The result is a rough, coarse material that is “hard on the hands and hard to work.” The reward is greater possible contrast. “I don’t want obvious violations. I try to work with the surface to get smooth and rough contrast. With this coarse, porous clay I have more choices. “I use the clay. It’s an all important part of the surface for me. I don’t use glaze, and only apply copper and Gerstley borate where

Sawdust-smoked vessel, 24 inches across I think they will add to the form as a whole. What I’m really trying to do is to get as many possibilities from the clay itself as I can.” Bisqued at Cone 06, the vessels are fired again to approximately Cone 09, then re­ moved from the kiln and carried (with Paul wearing an asbestos suit with a helmet and gloves for larger forms) to a platform where sawdust soaked in a flammable liquid is piled evenly. Setting the pot on the sawdust, he then covers it with an airtight 50-gallon drum. The vessels shown recently at Front Room Gallery in Dallas are a long way from Paul’s Continued January 1985 69 News & Retrospect beginnings in clay. “I started by working in a formal, traditional way. My first teacher in Iowa recommended only two books, both by Marguerite Wildenhain: The Invisible Core: A Potter’s Life and Thoughts; and Pottery Form and Expression. Those books really affected me. They still do.” Later Paul studied with Dennis Parks in Tuscarora, Nevada. “It sort of opened me up. Suddenly I realized there was more than one way to do things. There was a certain at­ mosphere there, in the desert. We fired with crude burner systems and crankcase oil, and used all sorts of materials from around the area. More than anything Dennis made me aware of the possibilities. “What I try to do is create an object that is serious and comical. That is like I am. I want someone to look at it and feel the move­ ment, to feel the optimism movement has, even if there’s sorrow in that movement.” Text: Brian Yansky; photo: Diane Gilmour. Hier soux/Hooven Porcelain by Berkeley artists Catharine Hiersoux and Coille Hooven was exhibited recently at the California Crafts Museum in San Francisco. In contrast to Catharine’s

Teapot fairytale vignette by Coille Hooven classically shaped, celadon and copper red functional forms, Coille’s handbuilt sculp­ tural works focus on narrative imagery in

Coille Hoovenys animated porcelain apron humorous contexts. Life-scale hats, shoes, shirts and aprons are peopled by tiny crea­ tures or animated with subtle facial features. Gwen Heffner Thrown and altered porcelain bowls by Gwen Heffner, Prestonsburg, Kentucky, were 70 CERAMICS MONTHLY featured recently in a solo exhibition at the Kentucky Guild of Artists and Craftsmen Gallery in Lexington. The bowls’ rims were cut “at an ellipse,” Gwen explained, “to set up the movement of the alteration and stretch-

7-inch glazed porcelain bowl, thrown, altered ing that follows.” Some of the forms were then clear glazed and fired to Cone 9 in ox­ idation, while others were fired without glaze at a lower temperature and sanded. Photo: Ron Forth. Germany’s Margrit Westphal The two tendencies in contemporary ce­ ramics—the renewal of its traditional basis in pottery vessels and the trend toward aes­ thetic objects—form the poles between which Dusseldorf ceramist Margrit Westphal works. The shapes of her pots and their glazes are inspired by the masterworks of the East. Stoneware vases, bowls and small boxes are thrown at the potter’s wheel and fired to 2165°F (1185°C) in an electric kiln at her

Margrit Westphal on the steps of her studio building studio in an old (1903) factory shared with 12 other artists. The organic effect of ash glazes fired sev­ eral times, giving patterns that are partly calculated and partly random, is used fre­ quently. Ashes from Canadian pine and even from Dusseldorf’s garbage disposal plant produce nuances of color that form the back­ ground for a graphic effect produced by cop­ per shavings sprinkled on the surface for ran­ dom calligraphic signs and curves. Continued January 1985 71 News & Retrospect Compared with the aesthetic reticence of the ash-glazed forms, another group of works appears less natural and organic, but rather artificial, consciously aiming for content, and even a little aggressive. Under a cool, white, semiopaque, tin/zinc oxide glaze, brilliant cobalt blue coils around the pot in jagged veins. When the clay has been centered on the wheel, one or two vertical notches are cut into it and filled with clay stained with co­ balt. As the pot is formed, the blue streaks are pulled around the wall in spirals. The strongly colored pattern displays both the principle of rotation and the inevitable dis­ continuities caused by the variations of the angle and pressure of the artist’s hands. In-

7-inch-diameter bowl, with thrown inlaid clay cidentally, the way the veins develop also de­ pends on the nature of the inlaid clay. Dense clay produces clearly outlined spirals; while the softer clay veins dissolve into cloudlike patterns. Although the shape of the veins cannot be fully controlled, a trick enables Margrit to produce some deliberate effects: If one notch is cut at an angle while another remains vertical, two veins develop with dif­ fering rhythms. A conscious reaction, namely against the delicacy of the works on the potter’s wheel, is the reason Margrit also handbuilds forms from coarse clay with a high proportion of grog. The heavy dishes with their sharp-edged rims have a deliberate roughness. Their rug- gedness is antithetical to the discipline im­ posed by the wheel, and the necessary smoothness and finish of thrown pots. A broad gash in the edge, a radical line of cobalt blue starting from an accented center or a dia­ metrical splash of slip stop the rotation im­ manent in the shape, give the circle a direc­ tion and the onlooker an optical handle. Her large, closed pieces, called simply “Stones,” are sculptures of varying size out­ lined with earthy glazes and surface rhythms produced by thumb prints. Each of these ob­ jects demands its own space and expresses, by means of variations on circular and spher­ ical shapes, the relation between a solid and the space surrounding it. Text: Bernd Hak- enjos; photos: Knut Garthe, Landesbildstelle Rheinland. Santa Barbara Tourist Show Tongue-in-cheek works specifically about Santa Barbara with its influx of Olympics 72 CERAMICS MONTHLY tourists were presented by approximately 20 artists in a summer exhibition at Elizabeth Fortner Gallery in Santa Barbara. Among the ceramic objects shown in “Look What I

“Coppertone” by Rosebud Reina Got in Santa Barbara” was this 7-inch-high box, slab built from a talc clay body, deco­ rated with watercolors, by Rosebud Reina, West Park, New York.Photo: F. Deschamps. Jane Kelsey-Mapel “I’m attracted to imperfections, frailties of the human condition ...” The statement hangs, unfinished, as the artist puzzles the charge that her work is morbid. Then, “.. . and the strengths that come out of them.” As if constructing one of her tableaux, Jane Kel­ sey-Mapel, Fort Worth, Texas, shapes the focus of her thesis first, after which (like add­ ing props and clothing) she gives examples that support and complete her statement: “The old man in the wheelchair from ‘William and

“William and Major Dabney” by Jane Kelsey-Mapel Major Dabney’ has my grandfather’s sense of humor. I don’t see him as suffering; rather, he’s accepted it all as part of his existence. Please Turn to Page 78 January 1985 73 74 CERAMICS MONTHLY New Books

The Self-Reliant Potter by Andrew Holden Of interest to students and professional pot­ ters who want to avoid the high costs of ready­ made products, this text explains how to de­ velop glazes from local materials and build studio equipment. Following a discussion of glaze characteristics, the author (a Devon, England, studio potter) suggests experi­ menting with recipes made with ashes, slip clays, granite and other mineral dusts ob­ tained from quarries or factories; he knows “a potter who lives within a few miles of a paint factory who regularly obtains granite dust from the manager.” To save time and firing costs, he recommends raw glazing and provides step-by-step instructions for glaze application to leather-hard ware. Also in­ cluded are designs for various kilns; mate­ rials, plans and assembly notes for a treadle wheel, a continental kick wheel and a vari- able-speed electric wheel; plus how to make several simple tools. 144 pages with list of reference books and index. 94 black-and-white photographs; 34 line drawings. $22.50. Van Nostrand Reinhold Company, 135 West 50 Street, New York City 10020. Tang and Liao Ceramics by William Watson A scholarly study of Chinese ceramic pro­ duction during the Tang (618-907) and Liao (947-1125, concurrent with the Northern Song) dynasties, this large-format volume was written using research from China’s re­ cent archaeological journals. Historical anal­ ysis places the development of processes and styles within a political/trade context. “From the mid-Tang period . . . tea, salt and pottery were the main goods traded widely within the country, and gradually pottery came to assume an importance comparable to that of silk itself in the exchange with the Indian and Near Eastern emporia.” Examination of ware made in specific zones includes descrip­ tion of techniques and forms, their decora­ tion and dating. “ . . . the image-makers of China looked on surface and volume from the outside and shaped them to make an im­ mediate psychological impact on the behold­ er. The function of the image was to estrange the beholder from this world and transport him into another.” The chapter devoted to Liao dynasty ware discusses the prolonging of Tang-dynasty standards. “Towards the end of the Liao period the finest product of the Jingdezhen kilns is found associated with monochrome and three-color, lead-glazed wares.” 283 pages including appendixes, glossary, maps, bibliography and index. 40 color plates; 279 black-and-white photo­ graphs. $85. Rizzoli International Publica­ tions, Inc., 712 Fifth Avenue, New York City 10019. January 1985 75 walls begin to absorb some of the heat. As Technical the interior temperature continues to rise, more heat is transferred to the walls. A por­ tion of this heat travels through the walls What Size Burners? How Much Gas? and radiates from the surface. The heat, while by Robert D. Schmitz

With the information provided in this article, Btu’s are needed for each cubic foot of kiln you can compute the burner sizes required space. These statistics are rather inaccurate, to fire a given kiln to Cone 10 and figure the because a rule of thumb does not work when gas cost of firing before starting construc­ computing the Btu’s needed to fire a kiln. tion.—Ed. There are just too many variables to consider. Industry’s method of figuring Btu’s is based One of the more difficult operations in de­ on flue temperature, heat loss through walls, signing and building a kiln is calculating the heat storage in walls and heat requirements Btu’s needed to heat it to the desired tem­ for the load. traveling through the walls, is considered perature. One popular kiln book suggests that Consider what happens to the heat that “stored” in the walls. The denser the ma­ 7000 Btu’s per cubic foot be used to calculate enters the kiln. When the burners are turned terial (i.e. hardbrick versus insulating brick), heat requirements. Another states that 30,000 on, the interior of the kiln is heated, then the the greater the heat conducted and the great-

76 CERAMICS MONTHLY er the heat storage. Another portion of the heat is lost up the chimney and is called flue gas loss. What is left will heat the load (pots and kiln furniture). The circle (opposite page) represents the total Btu’s per hour needed to fire a kiln. After flue losses (heat lost up the chimney), the loss through the walls and the heat stored in the walls, what is left is the heat available to fire the load. The greatest heat loss is up the chimney (flue gas). One of the things that affects flue temperature is the efficiency of the gas burn. When a kiln is in reduction there is less ox­ idation of the hydrocarbons. This causes less heat to be released in the chamber and more burning in the chimney, which in turn causes a rise in the flue temperature. The higher the flue temperature, the fewer Btu’s per cu­ bic foot of gas are available to the load. The type of kiln (updraft, downdraft) af­ fects flue gas temperature. A downdraft kiln takes more advantage of the flame by cap­ turing more of its heat. The bending and turning of flame cause it to give up more heat. Because the flame path is longer in a downdraft design, there is more time for the oxidation of hydrocarbons to take place. This is particularly important when natural draft burners are used; a large amount of the air for combustion in a natural gas system must be introduced as secondary air—that which is brought into the kiln after primary igni­ tion. Using an Apple computer, I developed a program to calculate Btu loss per square foot of kiln area (see “Kiln Wall Heat Loss” in the January 1984 CM). This loss is one of the prime components in calculating the Btu’s needed to fire a kiln. To this program were added the formulas for heat storage, heat to the load and flue gas loss. To compare various size kilns and a va­ riety of wall compositions, I charted com­ puted figures based on the following criteria: top temperature is Cone 10; the kiln is fired with natural draft burners; natural gas is rated at 1000 Btu’s per cubic foot; firing time is ten hours. From this chart a number of observations can be made: As the composition of the walls becomes more complex, the Btu require­ ments are reduced. As the size of the kiln increases, the Btu-per-cubic-foot require­ ments decrease. As the cubic foot area of a kiln is increased, the square foot area for heat loss does not increase at the same rate (i.e. the surface area of a 30-cubic-foot kiln is 62 square feet, but if you double the kiln size to 60 cubic feet, the square foot area does not double. This means the heat loss is not doubled.) So the larger the kiln, the cheaper it is to fire per cubic foot. All are important aspects to consider when selecting or build­ ing your next kiln. The author Ceramist Robert Schmitz is on the faculty at the School for American Crafts­ men, Rochester Institute of Technology, Rochester ; New York. January 1985 77 News & Retrospect Continued from Page 73 He and the bulldog are there taking care of each other.” Triggers for her concepts come from var­ ied sources, some studied and others unex­ pected. A former landlord gave her the wheelchair that suggested Major Dabney as its occupant. Jane slices her work from the life she’s known, especially that of her youth near re­ tirement communities around Phoenix. “Snowbirds, we called them, because they’d always come for the winter,” she says, her tone half confessional, half conspiratorial. Unmistakably, the mischief in her eyes trans­ lates into her work. “I don’t know if I’d call it satire; well, I guess it is. I’m having fun with people’s ec­ centricities,” Jane observes. She especially pokes forgiving fun with “Wanda Ruth Vale,”

Life-size “Wanda Ruth Vale,” with actual accessories posed riding a bicycle home from the market, her contrasting floral and checked patterns in polyester screaming as loudly as the fast food diet headlines on the gossip tabloids in­ side of which she has tucked a box of choc­ olate marshmallow cookies. Each installation is sustained by an ex­ pressive, one-step-removed-from-reality, slab- built porcelain soul, generally consisting of the exposed skin areas of a life-size figure. “I want the emotional impact of life-size scale with real clothes,” Jane explains. “I want the viewer to interact with the works rather than be an onlooker. At the same time, I don’t want complete realism, because then it gets too specific. The distortions of the face re­ move the piece one step from reality, so it’s easier for people to relate something from their own lives to the work, for the figure to be different characters to different people. Sometimes people will laugh, or be moved to tears, or be outraged.” 78 CERAMICS MONTHLY Working the clay like fabric, Jane folds and shapes thinly rolled slabs over news­ papers. She then pinches and models the clay to create human features. When dry, the clay faces, hands, arms, legs and torsos are bisqued, airbrushed with underglazes and fired to Cone 8, then sprayed with an acrylic finish. Ar­ matures are constructed of PVC pipe and wire, or as on Major Dabney the figure is connected at the joints with metal bolts. Then come numerous trips to Goodwill for clothes and props, guided by preliminary sketches of the envisioned installation. Text: Philip Luing; photos: John R. Martin. Ohio Invitational The 14th annual “Ohio Craft Invitation­ al” at the Mansfield Art Center featured 97 works by 14 craftspeople from throughout the state, including ceramists Susan Abra- movitz, Athens; William Hunt, Columbus; Pam Korte , Cincinnati; and Joyce Porcelli, Cleveland. Among the thrown-and-altered vessels presented by William Hunt was this fritted stoneware bowl, “Something about

10-inch-diameter altered bowl by William Hunt Sailing on a Small Lake with Still Water,” 10 inches in diameter, with pitted glaze, fired in oxidation. Also shown from the exhibition is a plaster and enamel prototype for pro-

Production dinnerware prototype by Kirk Schroeder duction dinnerware designed by Kirk Schroeder , Cleveland. Photos: Eileen Wolford Barnard. January 1985 79 Comment Continued from Page 25 with nothing but glaze—pots just cry for an enlivening decoration. Don’t you just long to put a little life into it, to jazz it up with a nice border pattern?” For­ tunately, these days it seems to be live and let live. At one time we had potters come into our workshop and say, “Oh, you use electric-powered wheels. It’s much bet­ ter to use a kick (or treadle) wheel. You have so much more control.” One won­ ders if those potters only walked or rode a bicycle and never drove a car, as with walking and bicycling one has more con­ trol. But my wife and I are basically energy-saving people and the prospect of centering eight or ten pounds of clay (for lamp bases) all day on a kick wheel seems a waste of energy to us. Besides we like the idea of being symmetrical in body and not having one leg look like a beanpole and the other like a grand piano support. At this writing, it looks as though pot­ ters will use anything that’s available: foot-powered wheels, electric and hy- draulic-powered wheels, slab-making apparatuses, extruders, you name it. The old intolerance has gone with the wind. The authorEdwin Todd maintains a studio in Puriscal, Costa Rica.

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