November 1986 1 2 Ceramics Monthly William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Valentina Rojo...... Assistant Editor Robert L. Creager...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver. .. . Circulation Assistant Jayne Lohr ...... Circulation Assistant 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., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. 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 and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember 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 © 1986 Professional Publications, Inc. All rights reserved November 1986 3 4 Ceramics Monthly Ceramics Monthly Volume 34, Number 9 November 1986

Feature Articles Making a Living by Peter Powning...... 24 Ontario Fireworks 28 I Was Here by Dennis Parks...... 32 Traditional Moroccan Tilework by Andre Paccard...... 36 Shelter and Sustenance by Brook Le Van...... 44 Then and Now by Colin Pearson...... 45 A Multipurpose Glaze by Harold McWhinnie...... 75

Departments Letters to the Editor...... 7 Questions 11 Where to Show 13 Suggestions 15 Itinerary 17 Comment: Weights and Measures by Susan Sauerbrun ...... 21 News & Retrospect...... 55 New Books...... 77 Classified Advertising 78 Index to Advertisers 80

The Cover Since moving six years ago from his Aylesford studio (where he had “room to sprawl around”) to a smaller workspace in London, British potter Colin Pearson has, after 25 years of reduction firing, been making pots adapted for a smaller electric kiln. “It’s possible to do almost anything in oxidation, if one studies it,” says Colin, who continues regardless of such changes to make some of the most consistently recognizable pots in the world. For a larger view of this artist and his work, see the first-person profile which begins on page 45. Photo: Peter Kinnear. November 1986 5 6 Ceramics Monthly Letters

Choosing Words with Care er I had demanded the subservience of the from knowing how and then creating some­ Philip Rawson’s essay on British ceramics spirit of my own students. thing with new-found knowledge. in the September issue strikes me as very At Haystack, in the summer of 1979, I Sure, you show children steps A, B and scholarly, self-assured, dry and ultimately had been nourished through a course with C, and they do exactly that. But part of the frigid. It serves to remind that, while it is a M.C. Richards called “Clay, Myth, and learning process is to imitate. Just listen to legitimate goal of the ceramic community to Movement.” My approach to clay and to any group of 10-year-olds. Most everything enlarge its vocabulary and speak directly to teaching was forever altered by that expe­ they say and do is something they have heard a wider circle of people, the existing circle rience. and seen somewhere else. But even they will must choose its words with care. The way I later learned that the approach to teach­ be individual in their conformity and become into a public’s heart is not through its brain, ing used by M. C. Richards was developed more unique as they grow. And if they are but through its senses. Clay talks, too, you by Rudolf Steiner early in the 20th cen­ able to make an exact copy of the “Mona know. Potters: pot! Actions, as always, speak tury—the teaching of the “whole” child. Lisa,” plagiarism will be of little concern. louder than words. The producing, creative Thereafter, instead of giving the assign­ Someone who can reproduce work of others potter will always make a stronger statement ment—throw four matching coffee mugs, 10- for their own profit will be of little conse­ for and about art than will intellectuals who ounce capacity, approximately 4 by 5 inches, quence in the long run. Plagiarism—copying simply tend to their crop of creditable au­ with matching decoration and pulled han­ for profit, passing work of others as your diences. dles—I asked my students to “make four own—cannot succeed. Copies of anything are It is certainly desirable to have a vocab­ drinking vessels.” I finally allowed their in­ not as desirable or fulfilling as originals, and ulary and standard of criticism, but to allow dividuality, imagination and spirit to partic­ society as a whole does not support a cheap historians and professional critics to deter­ ipate. What bounty they delivered! They were imitation over the expensive original. mine the parameters of those essential and active, excited, involved and resourceful. I Successful/professional artists obviously organizing elements of community is to invite taught techniques. We discussed design and do not need to use others’ ideas. They have the foxes into the hen house. They thrive on craftsmanship. proven themselves to have earned the respect erudition, categorization and controversy: My own work, too, was transformed. I of their peers, which is the ultimate com­ things which are not to be shunned outright. finally allowed my own spirit to emerge. A pliment/approval. But in this house, or any bed of creation, breath of new life was born from soul, through Then there is the intermediate artist. I at­ they can be inappropriate, if not dangerous. my hands and eyes, and out into the world. tend a community college which has a modest Art does not thrive on these things; it draws Every piece a gift of love. but very good ceramics department. I’ve seen on the deep well of tradition, but it thrives I am currently designing art lessons for a few groups of “green” students come and on spirit and endeavor. children in elementary schools. Lessons can go for a few semesters and have noticed a The search for those elusive facets of the be designed to defy plagiarism (debated in recurring trait. There are three types of stu­ created object which transcend time and space recent Letters) and the subservience of the dents. Type 1 students don’t really care if is an intensely personal and sometimes em­ spirit. it’s ceramics or basket weaving. It’s an easy barrassing one. In their rush to place things Thank you Stephen DeStaebler for your class and rounds off their class schedule. Even in a “proper” perspective, critics and analysts wonderful article and for the life of your spirit if they are able to copy work they are not tend to violate the tender spots of creation, in your work. Thank you M. C. Richards likely to be using their talent to earn a living inhibiting and even perverting otherwise for teaching me to listen to my spirit. And, in ceramics. They do not return the next spontaneous processes. Let us not aid and thank you Ceramics Monthly for this re­ semester. Type 2 students enjoy the class, but abet that violation. Let us respect the ten­ union and for years of stimulation. their talent, creativity and passion for clay derness of creation, while carefully consid­ Linda Stewart are not strong enough to overcome the first ering our implicit duty to the larger com­ Windsor, Ontario few frustrating semesters of disappointments munity of humanity—that of communication, that go along with a “school” environment. with sincerity, with humility. Response to Plagiarism Letters They are taught steps A, B and C, but are As a community, potters must diligently Most everyone seems to have taken a dim not able to reproduce exact copies of their guard against static or arbitrarily imposed view of using works of other artists as a own work much less anyone else’s. They rarely paradigms from any inner or outer elite. Per­ teaching tool. Whether one uses an opaque return the next semester. Type 3 students haps more difficult than that, we, as indi­ projector or pictures from back issues of Ce­ are at varied levels of knowledge and expe­ viduals in any community, should more often ramics Monthly or even a pencil and sketch rience, but they all have that one important choose to decline the shiny red apple of pro­ pad on a field trip to a local art gallery, teach­ thing in common—they love what they are fundity. To coin a zen-ish phrase: he who ers of every art form rely on using existing doing and spend most of their spare time at aspires to profundity fails to see what a fun­ works in addition to hands-on experience to school whether in class or open lab, perfect­ ny word it is. educate. Imagination and creativity are what ing their own techniques and learning new Randy Alford keep you interested, but visual education is ones. There is frequent exchange of ideas and Lakewood, Colo. what piques that interest. demonstrations of techniques learned from When teaching students the method of get­ workshops, books and magazines, and yes, Emerging Spirit ting from point A to point B, the practice of even how a famed potter created that piece My September issue ofCeramics Monthly showing the steps of making “that pot” from down at the museum. You can count on seeing arrived today. Ah, synchronicity! “this lump of clay” is not necessarily feeding them the next semester. I read with absolute joy Stephen De- a need to imitate others. When seeing ex­ I cannot recall ever observing or hearing Staebler’s article, “The Inside of the Out­ amples of someone else’s work that uses a of anyone deliberately plagiarizing works of side.” Ceramics Monthly first introduced me technique or a highly developed glazing others. There is very little to be gained and to Mr. DeStaebler and his work. In 1983, I method that I am unfamiliar with, I want to most everything to lose for any teacher to experienced his magnificient work in a church know how it was done; and if someone will encourage students to make copies as a mat­ in Berkeley, California. tell me how, great. But if they will show me ter of practice. Type 1 and 2 students won’t In 1984,1 left an 11-year position teaching how, it’s even better yet. I don’t want to “copy” be able to, and type 3 students won’t want ceramics because I could no longer tolerate them. The idea of art is originality. There is to. Mr. Fleming’s [see the May 1986 CM an art school that perpetuated the subser­ little satisfaction in knowing how the artist Letters] fellow art teacher and any others like vience of the spirit. Prior to 1979, as a teach­ did it and then copying. The satisfaction comes Continued November 1986 7 8 Ceramics Monthly Letters anyone who is willing to share, and it can of ideas in a creative atmosphere. We con­ be, simply, how to do it or how not to do it. stantly bounced ideas and critiques back and him will only hurt themselves. They will drive Cindi Clarke Schmelzlen forth. You might not like other students’ work, promising potters/artists to a more creative Bonita, Calif. but their enthusiasm and creative spirit were atmosphere; the others won’t consider ce­ always contagious. Now that I’m on my own, ramics at all; and eventually the department Pollock-Krasner Aid for Artists Ceramics Monthly comes closest to filling that folds or the instructor leaves. Sad, yes, but Thank you for sending me the article on void. better than promoting bad attitudes and hab­ the Pollock-Krasner Foundation which ap­ Eric Christiansen its. It is not necessarily the method or in­ peared in the September issue of Ceramics Midway, Utah struments used to teach and encourage, but Monthly. I do want to correct two inaccur­ the interest and passion instilled that are the acies. First, the Committee of Selection is an I am a struggling production potter and issues. If a teacher shows how to copy, it is advisory and consultative group to the offi­ would appreciate more articles slanted to my not automatically bad. If the intent is to help cers and has, as its sole responsibility, judg­ segment of the ceramic scene. In the last few the student see the end result and how to get ing the artistic merit of the applicant. The years, we seem to have been neglected in your there, then the technique doesn’t seem so final decision as to who gets the grant can publication. A page or two devoted to pro­ wicked. However, if the intent, or lack of it, only be made by the board of directors. duction pottery would be ideal. results in a “monochrome” attitude, then a While we do welcome applications from I would also like to see more about dec­ crime is committed. But it is not plagiarism. ceramic artists, their art must be perceived oration of functional ware—how to achieve If the student wants to continue, then the by the committee as fine art rather than as unusual effects by combining two compo­ teacher has done the job well. purely functional or commercial objects. nents. People, children to adults, have an inborn I would appreciate it if you would share In all, I would like more emphasis on the desire to be and do their best. Some will find this letter with your readers, lest ceramic art­ “how to” aspect of pottery. this medium isn’t for them and move on. ists who are not appropriate candidates ap­ Edward W Lier Others will fall in love with the art and will ply and be disappointed. Hampton, N.H. not be discouraged by an indifferent teacher. Charles C. Bergman Some teachers are better than others, as are Executive Vice President Carpal Tunnel Syndrome students, and all have different methods of Pollock-Krasner Foundation Glad to see carpal tunnel syndrome letters instruction. I would like to believe that the New York City have run their course. intent of Mr. Fleming’s associate is good but Ken Hobday maybe he has lost enthusiasm, temporarily. Exchanging Ideas Mount Pleasant, W. Australia Hearing stories secondhand in this way can When I read subscribers’ comments con­ smack of disgruntled or jealous fellow em­ demning what is or is not shown in Ceramics Share your thoughts with other readers. All ployees. It is admirable to have high stan­ Monthly, I have to smile. As a potter who letters must be signed, but names will be dards and hold good moral values for your­ works alone in a rural studio, I find the thing withheld on request. Address: The Editor; self, but it can be dangerous to judge others I miss most about my former days in the Ceramics Monthly, Box 12448, Columbus, for theirs. You can learn something from university environment is the free exchange Ohio 43212.

November 1986 9

Questions Answered by the CM Technical Staff

Q Is there any way to minimize smoke being emitted from the stack of a wood-burning kiln? We work in a country studio, but the city is moving closer to our location, and I know we will eventually have trouble if we can't reduce our smoke from firing.—S.P. The introduction of tertiary air, sometimes accompanied with a small gas or propane pilot in the chimney, can significantly reduce smoke emissions from wood-burning kilns. Tertiary air is preheated by passing through or over one of the kiln’s hot surfaces, and is introduced low in the chimney to provide the longest possible time for combustion before the mix of tertiary air and unburned kiln gases and particles (smoke) leave the stack. An additional benefit of a small pilot burner at the base of the chimney is complete control of draft, particularly in the early stages of firing, which prevents excessive overheating at the top of the kiln before a draft is suffi­ ciently established. Q I recently bought, in an antique shop, an unglazed, bottomless, bottle-shaped clay object. The owner told me it was probably a display bottle of some kind, but that just doesn’t seem reasonable. I have asked many people, but no one knows what this foot-long piece is. Could you find out what this was used for?—R.H. It is likely that the piece you have acquired is a bottle brick—a hollow form stacked one inside the other to form beams, flat surfaces, or even arches. Bottle bricks have been used throughout the world, sometimes with an iron reinforcing rod down the middle, and are primitive replacements for arch brick, particularly in circumstances where throwing skills are readily available and inexpensive. Q I've heard ceramic engineers and potters discuss “eutectic com­ positions” in ceramics, but the concept is not easy to grasp. Can you explain simply what a eutectic composition is, and what that means to the average ceramist?—D.M. The eutectic composition is the combination of components of a ceramic system (batch of clay or glaze) having the lowest melting point of any ratio of its components. Common sense might dictate that if a glaze is made of 50% material A which melts at 2000°, and 50% material B which melts at 1000°, this 50:50 mixture of the two materials ought to melt at 1500°. But because of eutectics this may not be true. In fact, there is a point when ceramic materials are combined and heated where the chemistry of the composition produces a greatly lowered melting point (the eutectic of this par­ ticular system of glazed components). Understanding the relationship between this eutectic and the cur­ rent melting point of a glaze you are firing helps you particularly to understand unusual or unexpected behavior with glaze compo­ sitions, and helps the ceramist select more reliable compositions (if that is the objective). Some glazes depend on a eutectic composition in order to melt; therefore, a small error in formulation will produce a much less fluid glaze. Other glazes’ compositions, when fired, are near to but not at the eutectic for their composition; therefore, errors in formulation, or contact with other glazes may push the system over to its eutectic, creating an unexpectedly fluid melt. Eutectics also can be important in understanding clay bodies, and in such cases, the “deformation eutectic” is most important. Thus, eutectics may offer opportunity or be problematic, de­ pending on the ceramist’s understanding of any given glaze or clay system. Firing a thermal gradient furnace (plans for which were published in the November 1984 issue of Ceramics Monthly) will provide a good deal of understanding about your specific clay and glaze eutectics which can help materials developers achieve consis­ tently controlled results. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. November 1986 11 12 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, 1987) is juried from slides of up to 2 entries. Fee: January 1, 1987 entry deadline festivals and sales at least four months before the $10. Send SASE to: Cedar City Art Committee, Bella Vista, Arizona “Bella Vista Arts & Crafts entry deadline to: The Editor, Ceramics Monthly, Iron County School District, Box 879, Cedar City Festival” (October 16-18, 1987) is juried from 2 Box 12448, Columbus, Ohio 43212; or call: (614) 84720. photos and a resume. Contact: Irene Shelby, The 488-8236. Add one month for listings in July and January 23, 1987 entry deadline Village Art Club, 303 Town Center, Bella Vista two months for those in August. Conway, Arkansas “Small Ceramics National” 72714; or call: (501) 855-2064. (March 16—April 8, 1987) is juried from slides. January 9, 1987 entry deadline International Exhibitions Juror: Don Reitz. Entry fee: $15 for 2 entries. Stevens Point, Wisconsin The 15th annual Send SASE to: Helen Phillips, Box 1724, Art De­ “Festival of the Arts” (March 29, 1987) is juried November 21 entry deadline partment, University of Central Arkansas, Con­ from 4 slides. Entry fee: $5. Booth fee: $30. For Warrensburg, Missouri The second annual way 72032. further information contact: 15th Annual Festival “Greater Midwest International” (February of the Arts, Box 872, Stevens Point 54481; or call: 9-March 6, 1987) is juried from slides of up to 4 (715) 341-4655. works. Awards. Fee: $10. Contact: Central Mis­ Regional Exhibitions January 30, 1987 entry deadline souri State University Art Department, c/o Billi March 1, 1987 entry deadline New York, New York “Fourth Annual Autumn R.S. Rothove, Warrensburg 64093; or call: (816) Albuquerque, New Mexico “Clay in ’87” (June Crafts Festival” (August 29-30, September 5-7 429-4481. 5-July 26, 1987) is open to artists from Arizona, and 12-13, 1987) is juried from 5 slides. Entry Colorado, New Mexico, Oklahoma, Texas and fee: $8. Booth fee: $285 for each 2-day weekend; Utah. Juried from slides. Juror: Wayne Higby. $315 for the 3-day weekend. Send SASE to: Brenda National Exhibitions $2000 in awards. Contact: Ilena Grayson, 1211 Brigham, American Concern for Artistry and November 7 entry deadline Marigold Dr., NE, Albuquerque 87122. Craftsmanship, Box 650, Montclair, New Jersey Mesa, Arizona The “9th Annual Vahki Exhi­ 07042. bition” (January 23-February 28, 1987) is juried New York, New York “The 11th Annual Amer­ from slides. Awards. Contact: 9th Annual Vahki Fairs, Festivals and Sales ican Crafts Festival” (July 4-5 and 11-12, 1987) Exhibition, Box 1466, Mesa 85201; or call: (602) November 10 entry deadline is juried from 5 slides. Entry fee: $8. Booth fees: 834-2242. Santa Cruz, California The “1986 Santa Cruz $280-$320 per weekend. Send SASE to: Brenda November 10 entry deadline Christmas Crafts Festival” (November 29-30) is Brigham, American Concern for Artistry and Poughkeepsie, New York “Small Works in Clay” juried from 6 slides or photos. Victorian era cos­ Craftsmanship, Box 650, Montclair, New Jersey (November 30-December 26) is juried from works. tume/booth encouraged. Fee: $190 for an 8x10- 07042. Jurors: Barbara Haskell and Terri Lonier. Send foot space. Contact: Andrea Worthley, Cruz Sea­ February 1, 1987 entry deadline SASE to: Mid-Hudson Arts and Science Center, side Company, 400 Beach St., Santa Cruz 95060; Evansville, Indiana “Ohio River Arts Festival— 228 Main St., Poughkeepsie 12601; or call: (914) or call: (408) 423-5590. Arts on the Walkway” (May 9-10, 1987) is juried 471-1155. New York, New York The “4th Annual Lincoln from 3 slides. $1500 in awards. Entry fee: $10; November 20 entry deadline Square Area Christmas Crafts Festival” (Decem­ booth fee: $50 for a 10x12-foot space. Contact: Boston, Massachusetts “ArtQuest ’87” (May ber 13-14 and 20-21) is juried from 5 slides. Fees: Carol D. Gottliebsen, Evansville Arts & Educa­ 6-August 3, 1987 and September 21-October 23, $215-$240. For further information contact: Si­ tion Council, 16½ S.E. Second St., Suite 210, Ev­ 1987 in Los Angeles) is juried from slides. $6500 mon Gaon, American Arts & Crafts Alliance, 425 ansville 47708; or call: (812) 422-2111. in awards. Send SASE to: ArtQuest ’87, 2265 West­ Riverside Dr., Apt. 15H, New York 10025; or call: Frederick, Maryland The “13th Annual Fred­ wood Blvd., #1240, Los Angeles, California 90064; (212) 866-2239. erick Craft Fair” (May 15-17,1987) is juried from or call: (213) 399-9305. Asheville, North Carolina “High Country 5 slides. Entry fee: $10. Booth fees: $185-$285. December 1 entry deadline Christmas Art & Craft Show” (November 28-30) For further information contact: Noel Clark, Na­ Gainesville, Georgia “Pieceworks II” (April 1-30, is juried from slides or photos. Fee: $100. Send tional Crafts Ltd., Gapland, Maryland 21736; or 1987 and one-year tour) is juried from 3 slides. SASE to: Betty Kdan, 40 Hyannis Dr., Asheville call: (301) 432-8438. Awards. Fee: $10. Contact: Pieceworks II, Geor­ 28804; or call: (704) 253-6893. February 13, 1987 entry deadline gia Mountain Crafts, Box 1061, Gainesville 30503; November 20 entry deadline Boynton Beach, Florida “Boynton’s G.A.L.A. or call: Mandy Mosteller (404) 534-6080. Norfolk, Virginia “High Country Christmas Art (Great American Love Affair)” (March 7-9, 1987) Moorhead, Minnesota “Fat Tuesday Juried Ex­ & Craft Show” (December 12-14) is juried from is juried from 3 slides, 1 of display. Awards. Fee: hibition” (February 26-March 15, 1987) is juried slides or photos. Fee: $125. Send business SASE to: $65. Contact: Boynton’s G.A.L.A., Box 232, from slides of up to 2 entries. Work should be Dana Kropf, High Country Crafters, 29 Haywood Boynton Beach 33425; or call: (305) 734-8120, based on a carnival/Mardi Gras theme, and should St., Asheville 28801; or call: (704) 254-0072. ext. 432. not exceed 60 inches in any direction. Awards. November 24 entry deadline February 14, 1987 entry deadline Commission: 40% on sales. For further informa­ Lubbock, Texas The ninth annual “Lubbock Arts Worcester, Massachusetts The Worcester Craft tion contact: James O’Rourke or Roger Sherman, Festival” (April 24-26, 1987) is juried from 5 slides. Center’s “17th Annual Craft Fair” (May 15-17, Plains Art Museum, Box 37, Moorhead 56560; Entry fee: $5. Booth fees: $30-$50. SendSASE to: 1987) is juried from 5 slides. Entry fee: $15. Booth or call: (218) 236-7171. Lubbock Arts Festival, Box 561, Lubbock 79408; fees: $140-$ 170. For further information contact: December 5 entry deadline or call: (806) 763-4666. Craft Fair Registrar, Worcester Craft Center, 25 Mesa, Arizona “The Human Form” (April December 1 entry deadline Sagamore Rd., Worcester 01605; or call: (617) 753- 14-May 9, 1987) is juried from slides. $700 in Marathon, Florida First annual “The Hand­ 8183. awards. Contact: Galeria Mesa, “The Human made in America Show” (January 9-25, 1987) is March 1, 1987 entry deadline Form,” Box 1466, Mesa 85201; or call: (602) 834- juried from 3 slides or photos and 1 of display. Toronto, Ontario, Canada “The Maker’s Eye— 2242. Fee: $600 for a 10x15-foot space. Contact: Gordon 1987” (July 22-26, 1987) is juried from 6 slides. December 8 entry deadline Gattone, The Handmade in America Show, Box Awards. Contact: The Maker’s Eye, Harbour- Mesa, Arizona “Expressions” (May 26-July 11, 259, Blakeslee, Pennsylvania 18610; or call: (717) front Craft Studio, 410 Queens Quay West, Suite 1987), an all-media exhibition for artists with dis­ 646-2209. 500, Toronto M5V 2Z3; or call: (416) 869-8447. abilities, is juried from slides. Awards. Contact: Milwaukee, Wisconsin “Christmas Craft Fair March 5, 1987 entry deadline Expressions, Box 1466, Mesa 85201; or call: (602) USA” (December 13-14) is juried from 5 slides Lenexa, Kansas Third annual “Dimensions ’87, 834-2242. or photos. Fee: $125 for a 10x10-foot space. Send Lenexa’s National 3-Dimensional Art Show” (May Memphis, Tennessee The “6th Biennial Paper/ SASE to: Dennis R. Hill, 3233 S. Villa Circle, West 15-17, 1987) is juried from up to 2 slides each of Clay Exhibition” (February 22-March 29, 1987) Allis, Wisconsin 53227; or call: (414) 321-4566. 3 works. Fee: $15. Contact: Bill Nicks, Lenexa is juried from 3 slides each of up to 2 entries. Juror: December 10 entry deadline City Hall, 12350 W. 87 St. Pkwy., Lenexa 66215; William Weege. Awards. Fee: $10. Contact: Uni­ Birmingham, Alabama “Magic City Art Con­ or call: (913) 492-8800. versity Gallery, CFA 142, Memphis State Uni­ nection” (April 10-11,1987) is juried from 4 slides.April 1, 1987 entry deadline versity, Memphis 38152; or call: (901) 454-2224. Jurors: Tom Butter and Vicki Kopf. Entry fee: Clinton, Iowa “Art in the Park” (May 16-17, December 10 entry deadline $5; booth fee: $60 for a 10x14-foot space. Schol­ 1987) is juried from 5 slides. Awards. Fee: $40 Lawton, Oklahoma “For Love or Money” (Feb­ arships available. $12,500 in awards. Contact: Ei­ for a 10x12-foot space. Contact: Clinton Art As­ ruary 14-March 20, 1987) is juried from slides of leen Kunzman, Magic City Art Connection, Op­ sociation, Box 132, Clinton 52732; or call: Carol up to 2 entries. Work should allude to romance or eration New Birmingham, Suite 501, Commerce Glahn, (319) 259-8308. finance. Juror: Dave Hickey. Awards. Fee: $15. Center, 2027 First Ave., N, Birmingham 35203; April 10, 1987 entry deadline Send SASE to: “For Love or Money,” Department or call: (205) 254-2626. Garrison, New York The Garrison Art Center’s of Art, Division of Fine Arts, Cameron University, December 15 entry deadline “18th Annual Arts and Crafts Fair” (August 15-16, 2800 W. Gore, Lawton 73505. Rhinebeck, New York “Crafts Fair at Rhine- 1987) is juried from slides. Entry fee: $5. Booth January 15, 1987 entry deadline beck” (June 26-28, 1987) is juried from 5 slides. fee: $125 for a 10X 10-foot space. Contact: Laurie Cedar City, Utah The 46th annual Cedar City Fee: $15. Contact: Crafts at Rhinebeck, Box 389, A. Clark, Garrison Art Center, Box 4, Garrison “Multi-Media Art Exhibition” (April 2-May 1, Rhinebeck 12572; or call: (914) 876-4001. 10524; or call: (914) 424-3960. November 1986 13 14 Ceramics Monthly Suggestions from our readers Draw with Ceramic Inks Technical (or drafting) pens may be filled with oxide washes for drawing on grog-free pots. I used a pen with a number 1.5 point; it even worked fine after I accidentally let it set for two weeks without emptying and cleaning. —Leo Curtis Peck, Rochester, Minn. Economical Kiln Packing Offcuts from slab building can be used to extend kiln posts. Pieces as thin as Va inch thick are cut to fit the tops of the posts and high fired. These enable me to save space throughout the kiln by avoiding the use of unnecessarily tall posts. By just clearing pots, I often save enough space to pack another full shelf in the kiln, instead of wasting space. —Susan Bennett, London Clay Compatibility Test A quick test for clay body compatibility where different clays are to be combined is to make a two-layer bar, with one clay body on the upper half and the other body on the lower. The bar is then fired on edge to the maximum temperature desired. If the clay bodies are compatible, the bar will not warp or crack. If incompatible, the bar will warp toward the side that shrinks more. —Jerry Weinstein, Newark, Del. Extruder Wall Mount A wall mount for your extruder can be made for a lot less than the price of a commercial mount ($75). You only need a 12-inch- length of 4-inch-wide steel U-bar and two 18-inch-lengths of V ax V/2- inch steel stock. Weld the two steel pieces to the U-bar, and drill holes 1 inch in from each end on center. Drill ½-inch holes in the

U-bar to secure the extruder. Mount the extruder, then bolt the whole assembly to the wall. The cost, including welding, should be about $20. —Barbara and Woody Bauman, New Carlisle, Ohio Studio Curtains Save old shower curtains to use as window curtains in your “clay room.” Slide them open or closed on shower curtain hooks attached to a regular, mounted curtain rod. They’ll keep clay off windows and sashes. Drawn closed, they give you the privacy you get with a shade. They’re as decorative, when left open, as a regular curtain and there’s no worry about damaging or staining them. To clean them, spray off large spots of clay with a hose, then put the curtain in a washing machine on “low agitate” cycle. If you don’t have old shower curtains, inexpensive shower curtain liners will do just as well. —Joyce Jackson, Schenectady, N.Y. 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. November 1986 15 16 Ceramics Monthly Itinerary conferences, tours, exhibitions, fairs, workshops and other events to attend

Send announcements of conferences, tours, exhi­ 24 Sandy Simon, porcelain dinnerware; at Pro Art, Ohio, Woosterthrough December 17 “Joyce bitions, juried fairs, workshops and other events at 5595 Pershing. Kozloff: Visionary Ornament,” includes photo­ least two months before the month of opening to: New Jersey, Millburn through November 15 graphs of works in public places, tiles mounted in The Editor, Ceramics Monthly, Box 12448, Co­ Claude Conover, stoneware vessels; at Sheila plywood and collaborative ceramics; at the College lumbus, Ohio 43212; or call: (614) 488-8236. Add Nussbaum Gallery, 358 Millburn Ave. of Wooster Art Museum. one month for listings in July and two months for New York, New Yorkthrough November 8 Elise Pennsylvania, Pittsburghthrough November 30 those in August. Gray, sculpture reliefs; at 14 Sculptors Gallery, Jamie Fine, “Comet Fragments and Vessels,” 164 Mercer St. stoneware wall pieces and vessels airbrushed and November 4-22 Jeanne Tumpane, porcelain ves­ handpainted with porcelain slip; at the Clay Place, Conferences sels, bowls and teapots; at the Office Gallery, 5600 Walnut St. Louisiana, Baton RougeJanuary 30-February 1, Greenwich House Pottery, 16 Jones St. Pennsylvania, Slippery RockNovember 4-25 1987 “Poetry & Professionalism: Crafts in the Post- New York, RochesterNovember 6-December 6 Carolyn Olbum, sculpture; at Martha Gault Gal­ Industrial Age,” organized by the American Crafts Frank Boy den; at Dawson Gallery, 349 East Ave. lery, Slippery Rock University. Council/Southeast Region and the Louisiana Crafts Ohio, AkronNovember 3-20 Donna Webb, South Carolina, GreenvilleNovember 2-28 Lor­ Council, will include panel discussions and lec­ handbuilt vessels; at the Emily Davis Gallery, etta A. Kaufman, “The Celia Series II,” wall tures addressing the historical and contemporary University of Akron. Continued role of the craftsperson in society, professional and aesthetic issues, marketing, etc.; plus workshops, exhibitions and commercial displays. Contact: Lynda Katz, 450 W. Bennett Rd., Independence, Loui­ siana 70443; or call: (504) 878-6441. Or: Toni Bova, 644 Camellia, Baton Rouge 70806; or call: (504) 344-7228. Tours North Africa, MoroccoNovember 15-29 “Craft Tour to Morocco” will include visits to potters’ homes, workshops and studios. Contact: Tom Wil­ son or Sherry Clark, Craft World Tours, 6776 Warboys Rd., Byron, New York 14422; or call: (716) 548-2667. Solo Exhibitions Arizona, Tempe through November 23 Robert Turner, “A Potter’s Retrospective”; at University Art Collections, Arizona State University, Mat­ thews Center. Arizona, Tucsonthrough November 23 Maurice Grossman retrospective, “30 Years of Tucson Clay”; at the University of Arizona Museum of Art, Speedway and Olive Sts. California, Los Angelesthrough November 8 Da­ vid Knights, “Living Spaces,” sculpture; at Ivey Gallery, 154 N. La Brea Ave. California, San FranciscoNovember 6-29 Yoshio Taylor, figurative sculpture; at Dorothy Weiss Gallery, 256 Sutter St. D.C., Washingtonthrough November 8 Debbie Monaghan, stenciled raku vessels; at Jackie Chalkley Gallery, Foxhall Square, 3301 New Mexico Ave., NW. Georgia, Atlantathrough November 15 Tom Coleman, wood-fired stoneware, and copper-red, ash-glazed porcelain; at Clay work, 1131 Euclid Ave., NE. Illinois, Chicagothrough November 14 Gume’ Nunez, “Heads Together,” wall-mounted clay faces. November 15-December 1 David Gilbertsen; at Creative Claythings, 3412 N. Southport Ave. through November 15 Akio Takamori, sculptural vessels; at Esther Saks Gallery, 311 W. Superior Street. through November 15 Kevin Hanna, miniature clay figures; at Objects Gallery, 341 W. Superior. through January 4, 1987 “Louis Sullivan: The Function of Ornament,” includes photographs and drawings of terra-cotta decorations and building fragments; at the Chicago Historical Society, Clark St. at North Ave. Indiana, West Lafayette November 8-December 14 Judy Hiramoto, “Dreams and Milestones,” sculpture and collages; at Stewart Center Gallery, Purdue University. Iowa, Amesthrough November 30 “Daniel Rhodes: The California Years”; at the Octagon Center for the Arts, Fifth and Douglas. Michigan, Detroitthrough November 8 Sylvia Mitchell, stacked forms derived from the figure; in the sculpture garden. Lynn Zwickey, “Heads and Tales”; at Pewabic Pottery, 10125 E. Jefferson Avenue. Missouri, Saint LouisNovember 16-December November 1986 17 18 CERAMICS MONTHLY Collection”; at the High Museum of Art, 1280 Itinerary Peachtree St., NE. Illinois, ChicagoNovember 12-January 4, 1987 sculpture; at Falls Cottage, 615 S. Main Street. “The Antiquarian Society Exhibition,” includes Utah, Loganthrough November 9 John Neely; at ceramics; at the Art Institute of Chicago, Michigan Marie Eceles Caine Gallery, Utah State Univer­ Ave. at Adams St. sity. November 21 -January 5, 1987 “Pattern and Col­ Wisconsin, Sheboyganthrough November 16 or, Surface to Form”; at Esther Saks Gallery, 311 “Fastlane Tractor: An Installation by Anne Scott W. Superior St. Plummer,” multimedia work done while an artist- Illinois, Highland ParkNovember 22-December in-residence at the Kohler Company; at the John 31 John Glick, “Viewpoints: Anagama/Porce- Michael Kohler Art Center, 608 New York Ave. lain/Stoneware”; and Linda Shusterman, func­ tional ware; at Martha Schneider Gallery, 2055 Green Bay Rd. Group Exhibitions Indiana, Greencastle November 9-December 14 Arizona, MesaNovember 18-December 13 “Clay “Marj and Richard Peeler—Ceramics and Sculp­ Forte,” national juried ceramic exhibition; at Gal- ture 1946-1986”; at the DePauw University Art eria Mesa, 155 N. Center St. Center Gallery. Arizona, Tucsonthrough November 8 “Second Indiana, Indianapolisthrough December 28 “The Annual All Artists Exhibition,” includes Mark Lang Folk Tradition,” approximately 60 objects used in and Andrew Rush, sculpture; and Jon Eric Schaf­ American homes from the 18th through the early er, thrown ware with glaze landscapes; at Beth 20th centuries; at the Indianapolis Museum of O’Donnell Gallery, Saint Philip’s Plaza, 4340 N. Art, 1200 W. 38 St. Campbell, Suite 64. Iowa, Mason CityNovember 23-January 4, 1987 through November 22 “Illusions,” includes masks “Iowa Crafts: 19”; at the Charles MacNider Mu­ by Mary Bohan, Curt Brill and Anne Davis Mul- seum, Kinney-Lindstrom Gallery, 303 Second St., ford; at Obsidian Gallery, 4340 N. Campbell Ave., Southeast. Saint Philip’s Plaza, Suite 90. Louisiana, CovingtonNovember 2-December 18 California, Belmont through November 16 “25th Anniversary Exhibition of the Louisiana “Sculpture x 4,” includes Don Santos, ceramic and Crafts Council”; at the Saint Tammany Art As­ steel works; and Diane Levinson, ceramic painting sociation, 129 N. New Hampshire. “suites”; at the Arts Council of San Mateo Council, Massachusetts, Brocktonthrough December 28 1219 Ralston Ave. Kendra Conn, Lisa Tully Dibble, Jeremiah Don­ California, Brea November 7-December 11 “Or­ ovan, Stephen Erspamer and Francis Drury ange County Associated Artists 20th Annual All McGinn, III, the Swain School of Design Program Media Juried Exhibition”; at Brea Gallery, Civic in Artisanry (formerly at Boston University) mas­ Cultural Center. ter degree exhibition; at the Brockton Art Mu­ California, SacramentoNovember 12-January 4, seum, Fuller Memorial. 1987 “Masterpieces of Ming,” 35 examples of 15th- Massachusetts, Cambridgethrough November 22 century, blue-and-white porcelain from the col­ An exhibition of contemporary work in the folk lection of the Asian Art Museum of San Francisco; art tradition, includes animal-imagery decorated at the Crocker Art Museum, 216 O St. works by Susan Garson and Tom Pakele; at Ten California, San DiegoNovember 9-January 10, Arrow Gallery, 10 Arrow St. 1987 “Interior: The Home—Exterior: The Land­ through November 29 A three-person exhibition scape,” includes Sandy Brown, colored dinner- including recent ceramics by Jeanee Redmond; at ware; Stephanie DeLange, slip-casted porcelain; Mobilia, 348 Huron Ave. Thom Hatton, casseroles and teapots; Michael Massachusetts, Northamptonthrough December Lamar, ceramic and mixed-media sculpture; Les 28 Seventh annual “A Tea Party”; at Pinch Pot­ Lawrence, plates and sculpture; and Beverly Saito, tery, 150 Main St. sculpture; at Wita Gardiner Gallery, 535 Fourth Michigan, Detroitthrough November 8 Christina Ave. Bertoni, decorative ware; John Gill, handbuilt California, San Franciscothrough June 28, 1987 sculptural/functional forms; and works by recent “Italian Maiolica from the Arthur M. Sackler Col­ Cranbrook Academy graduates Brian Fiorentino lection,” works from the 15th through 18th cen­ and Cynthia Boughner Ramsey. November turies; at the California Palace of the Legion of 15-December 27 “Holiday Show”; at Pewabic Pot­ Honor, Lincoln Park. tery, 10125 E. Jefferson Ave. November 14-December 14 “Chanukah 86,” in­ through November 15 “The Festive Table,” crafts cludes contemporary ceramics; at the Jewish Com­ for dining; at the Detroit Gallery of Contemporary munity Museum, 121 Steuart St. Crafts, 301 Fisher Bldg. California, Santa Ana November 15-March 1, Missouri, Saint Louisthrough November 30 1987 “Colombia Before Columbus,” approxi­ “Dinnerware Show,” national competition; at mately 250 ceramic objects dating from 2000 B.C.; Hickory Street Gallery, 1929 Hickory St. at the Bowers Museum, 2002 N. Main St. New Jersey, East Hanoverthrough November 26 Colorado, Denverthrough December 28 John “Sheila Nussbaum Gallery at Nabisco,” includes Aaron, Stephen L. Morse, Maynard Tischler and works by Claude Conover, Mark W. Forman, Mary Melissa Zink, “Figure and Landscape: Western Lou Higgins, Rodger Lang, Mitch Lyons, Eliz­ Ceramicists”; at the Denver Art Museum, 100 W. abeth MacDonald, John Santerineross, John Shedd, 14 Ave. Pkwy. Rob Sieminsi and Barry Zawacki; at Nabisco Connecticut, Greenwichthrough November 22 Brands USA Gallery, DeForest Ave. and River Rd. “The Dollmaker,” contemporary dolls; and Bar­ New Jersey, Newarkthrough November 30 “Cop­ bara Mahl, jewelry; at the Elements, 14 Liberty tic Art of Ancient Egypt: Treasures from the Nad- Way. ler Collection and the Newark Museum,” includes Connecticut, GuilfordNovember 8-December 23 pottery, through January 25, 1987 “Recent Ac­ Eighth annual juried “Holiday Exposition”; at quisitions: Decorative Arts”; at the Newark Mu­ Guilford Handcrafts, 411 Church St. seum, 49 Washington St. Connecticut, MiddletownNovember 29- New Jersey, TrentonNovember 1-January 11, December 14 “Wesleyan Potters 31st Annual In­ 1987 “New Jersey Arts Annual: Clay, Metal, Fi­ vitational Exhibit and Sale”; at 350 S. Main St., ber”; at the New Jersey State Museum, 205 W. Rte. 17. ^ State St. Connecticut, New HavenNovember 10-December New Mexico, Los Alamosthrough November 9 23 “18th Annual Celebration of American Crafts”; Functional and decorative works by New Mexico at the Creative Arts Workshop, 80 Audubon St. Potter’s Association members; at Fuller Lodge Art D.C., WashingtonNovember 29-December 27 Center, 2132 Central Ave. “Good Humor II,” includes Rosebud Reina, hand- New York, New Yorkthrough November 5 A painted wall plates; at Jackie Chalkley, Foxhall two-person exhibition with Etsuko Sakimura, Square, 3301 New Mexico Ave., NW. sculpture; at Carlyn Gallery, 1145 Madison Ave. Florida, Orlandothrough November 7 “Artists/ through November 8 Bente Hansen, Richard Educators,” juried exhibition; at the Valencia Kjaergaard, Jane Reumert and Inger Rokkjaer, Community College, West Campus Gallery. “Four Danish Potters/Fall ’86”; at Graham Gal­ Georgia, Atlantathrough November 16 “Noble lery, 1014 Madison Ave. Pursuits: Worcester Porcelain from the Klepser Please Turn to Page 56 November 1986 19 20 CERAMICS MONTHLY Comment Weights and Measures by Susan Sauerbrun

Deep in the heart of London’s East End dinary difficulty in coordination. On a is Sir John Cass School of Art. In the day that had proved particularly exas­ early 1970s, on Fridays, ceramics tutor perating, Roy focused his attention on Roy Smith taught “weights and mea­ this student. When no one was looking, sures.” This is a discipline whereby a he quietly took over kicking the wheel. specific amount of clay is thrown to a All the student had to do was concen­ predetermined height, width and vol­ trate on pulling the pot with upper body ume. The throwing process becomes a movements. Once a cylinder was pro­ ritual, subdivided into a rhythmic pro­ duced, the student was able to success­ gression of physical movements which, fully combine the movements. when repeated exactly, produce remark­ Somewhere toward the middle of the ably similar items. second semester, just when I had become Our routine commenced with wedg­ accustomed to cutting up the day’s work, ing and weighing. Each person wedged I threw a dozen consistent cylinders and a large amount of clay, then cut it into finally had reached the point where I cubes of about 500 grams each. The cubes was allowed to apply handles to them. were then adjusted (plus or minus) to Six of these became my first set of cups. weigh exactly 500 grams. Rewedged, they If simplicity was the format of good de­ were stored in a covered container. sign, then consistency was its first cou­ Our first assignment was to throw a sin. The applied handles were slightly dozen uniform, 31/2x3-inch cylinders on twisted, but being consistent, this was a treadle wheel. The usual length of time permissible. needed to accomplish the initial task was Having completed the first assign­ three months. We began with 500 grams ment, we progressed at our own speeds of clay, and worked our way to 250 grams through variations on this theme. The for each cylinder. Progress was pretty next shape was a pitcher (500 grams, 7 slow. But then suddenly one person got inches tall), where we learned to make a grip on the task, then another and an­ a pouring spout on the lip. other. Beaming with pride at the end of We were encouraged to learn all the a class, we would present our dozen pots various ways to make handles. Having to Roy, only to be asked to cut them in mastered these techniques, we could set­ half for detailed examination. tle on the style we found the most aes­ These cylinders had to have a consis­ thetically pleasing. tent thickness of the walls and bottom, Utility bowls, in three different sizes, with a right angle on the inside where came next. By this time we were throw­ they met. The bevel at the bottom on the ing fairly dry, which allowed the form outside needed to be at a 45° angle. The to cantilever and stretch without col­ rim had to be slightly bulbous and lapsing. smoothed with a sponge. Nothing of our A marvelous spirit of camaraderie,de­ efforts was kept. After each critique, veloped. At appropriate intervals, joking everything was recycled and repugged. and teasing broke the tension of intense Roy was a taskmaster, but with a heart concentration. For Roy’s birthday we of gold. He would stand behind the stu­ made him a cat-o’-nine-tails and half a dents to observe their progress. At the coffee mug. He accepted these with the point where a student was mistaken, he spirit of their intentions and told us to would step in to correct the hand posi­ get back to work. tion by a few degrees, allowing the stu­ After the summer break, a new crop dent to discover the remedy. Positive re­ of students took over our positions at the inforcement of good habits was so treadle wheels, and we discovered a new encouraging that wasteful movements use for electricity. I spent the bulk of the edited themselves. second year making plates, thrown on One student, however, had extraor­ Please Turn to Page 80 November 1986 21

Making a Living by Peter Powning

Canadian potters Beth and Peter Powning.

materials and tools, but I wouldn’t want pensate and have become more efficient It seems that what Beth and I are doing to have to rely on art sales for a liveli­ as we gained experience over the past comes close to heeding Pearl Buck’s ad­ hood. 16 years. vice “...to take that which you love to do That is the way art and craft function In developing an approach to mar­ best and find a way to make a living at in my life. These are not universal prin­ keting, we’ve really been from pillar to it.” Producing pottery may be a precar­ ciples; they represent a personal attitude post. We started out wholesaling and ious means of livelihood, but it provides toward work. Artistic considerations are going to local fairs. Things went quite tremendous job variety and full emo­ actively at work in my approach to craft, well considering the quality of my work tional involvement. We control our hours, while good craftsmanship is an essential at the time. Then we decided to open a live where we choose and pay for our ingredient in my art. shop in Sussex, a rural farm town, and own mistakes. We also have the freedom It hasn’t been necessary for us to live did surprisingly well by our standards. to be politically active without fear of near the urban markets where the bulk The shop was run rather loosely—open upsetting an employer. of work sells. This is not to say that life more or less when we felt like it. Beth At our studio in rural New Bruns­ is trauma free. Far from it. Involvement and I and a couple of partners supplied wick, we make both straightforward in peace and development issues, the the labor and energy. Rent was only $80 functional pottery and pots that are es­ rigors of rural living and running the per month. Practically no overhead. sentially objects for display. I also make business provide us with a full range of Through the years we became more se­ sculpture (mostly in metal) for gallery anxieties and aggravations. rious; hired shopkeepers, bookkeepers, shows and the all-too-occasional com­ Is it a fit sort of vocation to spend our window washers, carpet cleaners; and mission. Art and craft interests can co­ lives making objects, functional or oth­ put loads of money into renovation and exist. In fact, we can make most of our erwise, to beautify mainly well-to-do displays. Together with some other ten­ living selling basically nonfunctional raku people’s lives? The well-crafted mug in ants, we even bought the building. A ware, which subsidizes the making of the well-manicured hand. The “perfect” business cooperative! Sweat equity with the slow-selling metal sculpture. vase for the “perfect” mantel (even a vengeance. The two pursuits are similar, but not matches the curtains). There are certain This venture put us out of the whole­ identical. The pottery, no matter how aspects of commerce by which I feel di­ sale market altogether, although I con­ “sculptural,” must sell. It seems to me minished. I would prefer not to have to tinued to do solo shows and local fairs. that a requirement of craft production deal with marketing, but to succeed, it We made a living. Then we realized that is that there be a market for it. That is is necessary and at times surprisingly the people making all the money in this not to say that commercial considera­ stimulating. arrangement were those hired to run the tions should dictate design, but that there Many of us feel stretched trying to shop, the banker and various insurance are certain business realities which must stay on top of the creative and produc­ agents, window washers, etc. After ten be recognized. The most basic of which tion aspects of our work, as well as the years, our partner quit potting to do re­ is: no sales; no income. business end of things. The answer to search and development on computer- My sculpture career swings around a this sort of complaint might seem to be related gizmos, so Beth and I decided to different axis—self-expression and the hiring others to handle the problematic drop the shop and go back to wholesal­ communication of ideas. If it sells, great. aspects. In our case, that would not only ing. The funny thing is that as far as I If not, that’s okay. Enough work is sold be difficult, but would result in a dis­can remember we did this for the same to maintain the sculpture studio and buyruption of the way we live. So we com­ reasons we opened the shop: more in- 24 CERAMICS MONTHLY At their home/studio in rural New Brunswick, the Pownings produce functional pottery and raku ware, the latter intended for display rather than function. The pottery studio (foreground) is attached to a sculpture studio and showroom (background). Though most of their work sells at urban fairs, shops and galleries, a businesslike marketing approach (including computer-generated price lists and other support materials) enables these ceramists to live where they choose, even though remote from their mainstream markets.

November 1986 25 dependence, taking control of our lives port material. To accomplish this we now computer and printer, presentation and all. have a computer (horrors) with a good packages can be changed easily to suit In addition to wholesaling, we decid­ word processing program. With these, particular situations. The cost per pack­ ed to have two annual open studio sales. it’s very easy to have individualized re­ age is higher, but each is tailored to spe­ So far this is going well. We send in­ sumes, price lists, mailing lists, etc., all cific needs without any loss of quality. vitations and serve refreshments, mak­ typed by a daisywheel printer, which is We have literally thousands of full-color ing a party of it. People enjoy visiting indistinguishable from a good typewrit­ catalogs stored under our bed because the studios, and seeing where and how er. (It is, in fact, a typewriter, rather they are outdated. Although the price things are done. Sales have been great than the sort of printer that forms letters per copy was good, we used only a frac­ and nearly approach the net income we with little congregations of dots.) We try tion of them. Ultimately, the price per had in our erstwhile shop. These sales to avoid the social stigma attached to copy used was fairly high. and fairs also give valuable feedback on computer ownership and I must say I We are still trying new approaches to what people think of the work. make this admission in public with some marketing (our dentist bills are paid with The “big city” fairs offer a huge mar­ trepidation. Craftspeople and computers pots, and I trade pots for other pots) and ket compared to our rural environs. One always seemed like a contradiction in will probably never settle on any one. big fair can replace five to ten local fairs; terms, but maybe only in the way book­At present, this is working for us. Like however, they cost a lot to attend and if keeping and business sense didn’t seem most craftspeople, I would rather that sales aren’t good, you may take it in the to have anything to do with craft mak­ some good fairy just take the stuff away neck. The 1000-mile drive to Toronto ing. The computer paid for itself in six and leave behind piles of money. As that isn’t undertaken lightly. It means hiring months with increased orders and has prospect seems rather unlikely, we have a helper to go, 2000 miles of overloaded been great at slinging off letters to pol­ become progressively more serious and driving in our half-ton truck, 7 to 14 iticians, too. better organized about the business end days away from home and production, Gallery and shop owners like to do of the business. and sometimes hefty fair fees. It means business with craftspeople who at first Though Beth recently became a pot­ a well-thought-out display, gift boxes, contact present themselves well and look ter after spending years in a professional flyers, cards, tissue paper, and standing to be well organized. Rather than paying writing career, we have been partners in and talking 10 to 12 hours a day, an­ a lot to put together a classy catalog, this business in one way or another for swering very similar questions ’til one’s which in our case would have soon been 16 years. Our work is shared with and mouth feels like flannel. But so far these outdated, we combine computer-gener- understood by our eight-year-old son. fairs have proven to be lucrative and, for ated information with 35mm slide sheets. Our commute is across the yard. Our the time being, essential income pro­ Over the years, I have accumulated the combined efforts usually keep us com­ ducers. Partly as a result of being seen basic equipment to take professional fortably above the “poverty line.” While at these events, our wholesale orders are slides. Though I have occasionally trad­ I can’t say that we’re always content, I way up. There have also been many more ed pots for a photo session with a pro, can say we don’t envy anyone else’s way offers for shows at galleries. Gallery there seems to be a limit to how many of living. shows provide the impetus to try new pots are wanted and no limit to my need things; they also add words to one’s re­ for slides. Because paying professional The author Along with his wife Beth, sume. rates is prohibitive, I am now doing all Peter Powning maintains a pottery near It’s important to have a well-pre- my own photography. the rural town of Sussex, New Bruns­ sented resume, price lists and other sup­ With plenty of good slides and the wick, Canada.

Right Thrown raku vase with extruded handle, reduced in sawdust, 19 inches in height, by Peter Powning. Far right Raku vessel, wheel thrown, with extruded addition, 20 inches in height. 26 CERAMICS MONTHLY Peter's metal sculpture sells well enough to support a separate studio and buy new supplies, but their pottery, “no matter how ‘sculptural,’ must sell” to make a living. “A requirement of craft production is that there be a market for it. That is not to say that commercial considerations should dictate design, but that there are certain business realities... ”

Right To protect himself from smoke, radiant heat and flames while rakuing, Peter wears an aluminized fiber glass hood (supplied with fresh air from outside by a hose connected to a blower), together with gloves, a welder’s jacket and a leather apron. Below In a well-equipped, busy studio, Beth produces a personal line of functional porcelain, and glazes some of the raku ware.

November 1986 27 Ontario Fireworks

especially when we look at the many fine “Fireworks ’86,” the sixth biennial ju­ works housed in museums. However, just ried exhibition of sculpture and func­ as objects don’t need to be artfully con­ tional ware by members of the Ontario trived to qualify for a show, likewise not Potters Association, opened at the Uni­ everything that we make is automati­ versity of Western Ontario’s McIntosh cally worthy of show. Some of what we Gallery, and will travel to five other gal­ make should get no further than the gar­ leries in the province through 1987. bage can or our sales shelves. Many of Working independently, jurors Chris­ the vessels and sculptural objects sub­ topher Gabriel-Lacki, of Concordia mitted for consideration for ‘Fireworks’ University in Montreal; Franklyn Heis- did not qualify for display in a show ler, of Sheridan College in Mississauga, context. In much of the sculpture, the Ontario; and Francois Houde, of Centre artists’ intentions were unclear. The clay des Metiers du Verre Bonsecours in “Porcelain Branch Bottleapproximately sculpture was self-conscious and showed Montreal, reviewed 250 entries. The ex­ 14 inches in height, slip-trailed and that the artists either knew little or dis­ hibition consists of the 29 which received impressed decoration, purchase award regarded art history. Many were as fu­ either two or three votes. winner, by Ron Roy, Scarborough, Ontario. tile as any attempts would seem if you In general, the jurors were disap­ watched someone trying to re-invent the pointed with the entries. “It is as though Heisler. “We force them into unlikely wheel. The love of clay is hardly enough we are at a standstill, not going forward, and unnecessary forms in order to call reason to make sculpture with it. The just expressing old ideas,” observed them ‘art.’ Usually the problem begins process of making sculpture in clay ov­ Franfois Houde. “One third of the work when we try to fit our objects in the errode the content, instead of clarifying submitted is from people who are just definitions of others. The Ts it art, or is it. Among the vessels, many displayed beginning or are producing work rem­ it craft?’ question is a lead weight for their function, but beyond that, they did iniscent of the sixties. The second third every individual working in traditional not display more sensitivity or individ­ is from people who are still in the mid­ craft materials. By allowing yourself to ualism than their competitors in Chi­ dle—they’ve done functional work, now be caught in the trappings of language, natown or Eaton’s. they want to do something else, but they you do yourself and your work an in­ “Earthenware and bright colors are do it poorly. The third part of the work justice. now in fashion. They will probably go is the special part, including good func­ “It is my feeling that many people the way of the earth-toned stoneware of tional ware and fine objects.” have been conned into making objects the past 20 years. One material is as “Experimentation is always impor­ that they believe come closer to the con­ good as the next. Fashion has been re­ tant,” noted Christopher Gabriel-Lacki. cept of ‘art’ and hence are more ac­ sponsible for many poor choices regard­ “Any artist who settles for the security ceptable. It is a misconception that ju­ ing the most suitable materials for a con­ of a formula stops being creative. Ex­ rors are seeking ‘pure art’ at the expense cept. The artist must make the most periments must be done, but also what of craft. Making work more acceptable intelligent choice to express his/her ideas is important is that you are extremely through the futile activity of making it and ideals. Each material, as each art critical of your work. Doing something more artful is a useless compromise. form, carries its own bias, its own lan­ for the sake of novelty or because it is Artists should seek what is right for guage, and indeed its own followers. new does not mean that it is good.” themselves. Believe in what you make. What’s in today may be out tomorrow. “Unfortunately, the desire to be ac­ Otherwise you communicate your in­ The historians of the future will be the cepted in a particular show twists our decision to others. interpreters of our present. They will brains and encourages us to contort the “The ordinary everyday pot can be understand our capabilities through the objects we make,” commented Franklyn very special. We can all agree to this, objects we make today.” 28 CERAMICS MONTHLY Salt-glazed bowl with vines, 6 inches wide, by Scott Barnim, Copetown, Ontario. Slab plate with under glazes, 12 inches wide, by David McKenzie, Farrellton, Quebec.

November 1986 29 Photos: Mary Lynn Fluter, Donald Dinsmore and ConnieValkenberg, Mississauga, Bernardin, Ontario. Above ice i hih, y on kd, Saint Ikeda, John by height, in inches 9 incising andslipdecoration,approximately 30 CERAMICSMONTHLY approximately 16inchesindiameter approximately 1 Ontario. Above Opposite: Right winner byBruceCochrane,Mississauga, Newmarket, Ontario. award winner,byAnnMortimer, Left Ontario. Chris Thompson,Toronto. Right " 14 inchesinheight,byLeslieMcCullagh 18 inchesindiameter,purchaseaward Salt-glazed casserole,approximately Footed earthenwarebottlewith “Primal Terrace,”rakuslabplate, Water Motionraku, raglr esl approximately vessel, Triangular 7 inches wide,purchase

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November 1986 31 I Was Here by Dennis Parks

ameter, i.e., the length of a man’s arm from above the platter and gently dust on a thin elbow to fingertip (18 to 22 inches). Thomas layer of the mine waste to outline the still- Toft also signed his name in slip on the front, life arrangement. Then the animate and in­ a brashness for which I shall always admire animate objects are lifted off, and finally a him. few dots of glaze or a string dipped in copper Large scale has been equated with serious water might be added for emphasis. intent: big car, big house, big kiln, big pot. A hand has to be considered the most readily Ceramics hung on the wall receive more con­ available tool in the glaze room—to manip­ sideration than pots in the cupboard. I did ulate, to capture as an image. Next to the not make up these axioms. face, the hand may be the most expressive The circuitous course of a career: like a part of human anatomy. snake tracking a toad. Only if I could back far enough away and still see, could I say it The author For the past 20 years, Dennis looks like a straight line. A North American Parks has operated a pottery/school in Tus- potter cum ceramic artist working in the lat­ carora, Nevada. His “dusted” platters were Nevada potter Dennis Parks. ter half of the 20th century; overeducated; exhibited recently at the Stremmel Galleries lacking traditional constraints and living with in Reno. very few distractions on a mountain at the I think I know too much about my work. I edge of the Great Basin. Recipes remember going fishing when I should have These platters were thrown from soft been working, pots coming from the kiln un­ stoneware, lightly grogged and tempered with Platter Stoneware intentionally beautiful, suggestions from my mica—clay barely stiff enough to resist stick­ (Cone 10) children, ideas from the blue. ing to the wedging board, easy to center. Ball Clay...... 50 pounds Try to describe a painting with your nose Compared to throwing cylinders, throwing Fireclay...... 100 resting on the canvas. You are too close to platters is relaxing, contemplative. Platter Grog...... 10 focus or experience any perspective or reg­ clay does not battle against the laws of gravity Mica...... 10______ister the nuances of chiaroscuro. Still, you and centrifugal force; rather it acquiesces and 170 pounds do see. surrenders under the pressure of my hands. Add 65 pounds of water and ½ cup of red A book with postwar photographs from Twenty-three pounds of clay produces a wine (really). Japan with shadows, dark and light con­ wet platter about 25 inches in diameter. By trasts. A street in Hiroshima with the sil­ the time it is ready to be inverted for trim­ Porcelain Slip houette of broken buildings in the back­ ming, the diameter has shrunk sufficiently to (Cone 10) ground. A black, scorched roadway leads your fit on a 24-inch bat. This precise poundage Feldspar...... 20% eye into the picture. Here and there on the is important because I can muscle that much Pfizer C-l Clay ...... 60 pavement are flat gray areas in the shape of weight when flipping the platter for trim­ Edgar Plastic Kaolin...... 20 people, adults and children. The text in the ming. More pounds and I rediscover bursitis book explains how, for a brief moment, the in my shoulder; fewer pounds and I am obliged 100% bodies shadowed and thus protected those to make ashtrays to fill space on the kiln Feldspathic Gloss Glaze small portions of the ground from the incin­ shelves. (Cone 10) erating heat released by the bomb. While the platters are still leather hard, Gerstley Borate...... 10% As a college teacher I had a colleague, the center section of some may be lined with Talc...... 10 Carl Hertel, an art history teacher who dec­ a thick coat of porcelain slip. On others the Nepheline Syenite...... 50 orated his office walls with photographs of lip is coated. Any time after the clay has Ball Clay...... 10 Indian petroglyphs. Surrounded by colorful become bone dry, the face of the platter is Edgar Plastic Kaolin ...... 10 little stick-figure hunters (waving toothpick- sprayed with a medium-thick coating of glaze. Flint...... 10 like spears at fat buffaloes) were life-size The back of the platter is sprayed or sponged hands—outstretched in a haze of red, black with water to allow uniform expansion of 100% or ocher. Carl lectured me on how thousands the raw clay. Developed for single firing, this recipe is ap­ of years ago some unknown Native American Then they are ready to decorate. From a plied to bone-dry greenware. had placed a hand against a rock wall, then collection of rags, dried flowers, banana peels, High Lime Semimatt Glaze blew a staining agent over it, forever tattoo­ rope, string and tidbits, I begin the process (Cone 10) ing its outline onto the rock. Carl’s expla­ of still-life arranging and rearranging on the nation of the process was never crystal clear faces of the platters. My favorite live model, Gerstley Borate...... 10% to me, but the negative image of an ancestor’s my wife Julie, supplies her hands and sug­ Soda Feldspar ...... 50 hand remains. gestions. Once we are in agreement, she stops Wollastonite ...... 20 Hero worship tempted me to throw plat­ moving and I go to work with a fine sieve. Ball Clay...... 10 ters. The 17th-century potter Thomas Toft I have a supply of a heavy, fine-grained waste Edgar Plastic Kaolin ...... 10 made delightfully useless slip-decorated from a dormant mine. This unanalyzed mys­ 100% chargers (see Ronald G. Cooper’s English tery material has proven to be unusually rich Single fire this glaze to Cone 10, then cool Slipware Dishes [1650-1850]). All Toft in oxides and silicates. Of course, we both it quickly to around 1500°F, thereafter with platters are said to have been a cubit in di­ don masks. I hold the screen about 6 inches normal cooling for a smooth surface. 32 CERAMICS MONTHLY Above “The Votive for Metaphor” 22 inches in diameter, wheel-thrown stoneware, stamped, sprayed with feldspathic gloss glaze, dusted with mine tailings, and single fired in reduction to Cone 10. Far left “Lacy Anecdote,” 20V2 inches in diameter, Cone 10 stoneware with feldspathic gloss glaze and mine tailings dusted over hands and lace.

Left “Idea of Order at Beowawe,” 21 inches in diameter, thrown stoneware, with feldspathic gloss glaze and mine tailings, Cone 10 reduction fired. November 1986 33 Right “Connoisseur of Carrot,” WV2 inches in diameter, single-fired stoneware with feldspathic gloss glaze and mine tailings. Far right “A Plot against the Goat,” thrown stoneware, 21 inches in diameter, decorated with a high lime semimatt glaze, dusted mine tailings and a string dipped in copper water, Cone 10 reduction fired. Below “A Fistful of Weeds under a Rhubarb Sky,” 21 inches in diameter, stoneware with high lime semimatt glaze and mine tailings, fired once in an oil-burning kiln.

34 CERAMICS MONTHLY Far left "Night Picking on Sunday” thrown stoneware, 21 inches in diameter, with sprayed high lime semimatt glaze and mine tailings dusted over a hand and carrots. Left “Love in the Colonies,” 21 inches in diameter, wheel-thrown stoneware, with jeldspathic gloss glaze and mine tailings, Cone 10 reduction fired in an oil-burning kiln. Below “Domination of Lace,” 20 inches in diameter, stoneware, with sprayed high lime semimatt glaze and dusted mine tailings, once fired. Traditional Moroccan Tilework by Andre Paccard

bricks. Again dried in the sun, the bricks son or rust from car radiators mixed with What is most fascinating in Islamic art are flattened with a wooden beetle, then lead and sand; honey is made with red is the absolute rule which every disci­ arranged one by one on a board in front stone from the Fes Mountains plus lead pline obeys. This refers to a sort of geo­ of him. Using a metal spatula, he recuts and sand; white is made with zinc, lead metrical grid or pattern. From one and the tile-brick according to a wooden and sand; black is made with maghna- the same grid, all sorts of compositions marker. Before putting the tile in the sun siya pebbles from the Sahara plus lead can be made. to dry completely, the artisan scatters and sand; and red is made with a com­ The decorative effects differ by virtue sand (using a basket as a sieve) over a mercial pigment imported from France of a play of values. These values are flat area. They are then placed in par­ in the last 20 years plus lead and sand. expressed in terms of the full and the allel rows to dry for a first firing. Ground into a powder and mixed with empty, blacks and whites, changes in The enamel base to which lead and water, the enamels are applied (by dip­ color, presences and absences. Meknes sand is added, is now fired in ping) to the tile surfaces. This is an absolute law, and it is the a small kiln. Composition varies ac­ The tiles are then fired a second time very basis of Islamic art, the traditions cording to color: blue is made with Ca­ at a temperature approaching 1475°F and secrets of which the maallem (mas­ sablanca pebbles, lead, tin and white sil­ (800°C). The fire is constantly stoked ter) preserves and passes on from gen­ ica sand; yellow is made with a specific with olive pits. White tiles are always eration to generation. rock found in Fes during the rainy sea- put into the kiln first, then the blue and The maallem, the “man who knows,” lastly the green, which are thus exposed is unchallenged in his authority and reigns to less heat. Twenty-four hours later, supreme in his craft. He is venerated by they are taken out and sorted by color. the mataallem or apprentice. After the nfelas , or defective ones, are Even today the mataallem pays hom­ eliminated, they are carefully measured. age and kisses the master’s hand as a This work involves using a rashm or sign of respect, but the maallem, as a kind of tattooing. With a bamboo stick sign of reciprocal courtesy, rapidly with­ dipped in ink, the artisan marks the out­ draws his hand, in order not to delight line of the piece to be cut, using another too much in this mark of respect. tile as a stencil. According to the size of In the last few years, the conditions the design, a maximum number of trac­ under which the artisans work have been ings are made on each tile. totally reorganized and they now make The final and most delicate operation a very good living. The Moroccan ar­ is cutting out the zalij with a sharp, heavy tisans constitute a respected and well- hammer. So as to prevent its breaking, to-do class, whose position in society is the tile to be cut is placed on a piece of assured. The cost of producing 1 square rock, marble or metal on a little pyramid meter of zalij (mosaic tile) could amount of stones forming a base approximately to 3.5 dirhams (approximately 94^) in 16 inches above the ground. The tile cut­ 1979; yet the simplest zalijs sold for 400 ter’s movements are very regular and his dirhams ($107) a square meter the same arm with the hammer extending it con­ year. stantly repeats the same gesture. His right The art of the zalij is probably derived elbow, placed on his knee, serves as an from that of Byzantine mosaics, com­ axis of rotation. After cutting, the edges posed of colored stones and cobalt oxide of each tile are polished. It took 180 men glass. The enameled terra-cotta tiles are seven months to cut the 12,600,000 zalijs assembled like a sort of jigsaw puzzle used in the renovation of the Palace in into a design based on one of the tra­ Marrakesh. ditional grids which underlie all the Is­ Traditionally, the cutting of the tiles lamic arts. is done on the site itself. If they are going The Fes clay from which the tiles are to be used in an important construction made is extracted as great chunks, then project, however, the tiles are made be­ immersed for 24 hours in a basin or forehand in a workshop, using the same zuba. The ’ajjan (mixer), standing com­ traditional techniques. When these tiles pletely in the water, then mixes the clay have been completed, they are distrib­ until it is homogenous. Dried somewhat A tiled, cobalt-glazed reflecting pool at the uted into baskets according to design and in piles in the sun, it is ready for han­ Royal Palace in Fes. Traditional Moroccan color. In Fes, these are then carried by dling. With wooden jigs, the fakhkhar architecture is based on the composition of donkey back, as cars cannot go through (who is in charge of the clay until the surfaces; therefore decoration of walls, the medina. On big building projects, final firing) molds it into rectangular ceiling and floors is of prime importance. the unloading of baskets, each contain- 36 CERAMICS MONTHLY Above a fountain at the Marrakesh Royal Palace is a panel composition based on a kamsini (48-point star).

November 1986 37 Mined in blocks, Fes clay is submerged in a zuba, a basin When all foreign objects (stones, chips of wood, etc.) have been hollowed out of the ground. After it has been immersed for eliminated and the clay is of good consistency, the ’ajjan 24 hours, the ’ajjan gets into the basin to mix the clay. removes it from the zuba to partially dry in the sun. ing thousands of little pieces called frem, of the composition on a perfectly smooth of the other motifs. The ferragh always is quite a sight. These baskets are con­ floor. Then the tiles are placed enamel- starts off the composition of the panel, stantly inspected by a guard, for each side down on the ground from the center then his assistants (ferragha) take over. little piece represents many minutes’ out. If the motif is made up of a central The ferragha know all the shapes of work. rosette, the tilesetter begins with it; like the zalij pieces, and from habit know Some center rosettes are made up of a “mother figure” it controls the setting which piece automatically surrounds a 150 pieces, the whole of which could fit central rosette, and which one connects into a matchbox. When the composition a big rosette to little satellite rosettes. is extremely complex, the zalijs are ar­ They become completely accustomed to ranged with tweezers. the task, and several may work on one In contrast is the gigantic mural panel panel. Sometimes the tiles are set in­ of the fountain in the patio of the Sahara dependently by several workers, then put Hotel in Agadir. This panel is 6 meters together. long and 20 meters high and is made up In the mhenshiya of Marrakesh, a large of giant motifs; to make a single frem, reception qubba is opposite that of the the tileworkers used three whole tiles. throne room. This qubba is covered in Though the work is successful, it is not a new mosaic motif created by maallem at all traditional. Mulay Hafid, in honor of his majesty No matter how big or how little the Hassan II. We were surprised to see how pieces of zalij, a sample of both the out­ irregularly zalijs were set, and how the line and the pattern must first be made. motifs were far from perfectly horizon­ This is done right side up; that is, the tal. The defects appeared in the left side enamel is visible. To select motifs and of the qubba but, as the design pro­ colors, the maallem designs the panel on gressed toward the right, the quality of sand. workmanship improved. Before assembling and setting the zal­ With a basket used as a sieve, a flat area When this same motif was carried out ijs, the designer traces the essential lines of the ground is dusted with sand. in the qubba of the throne room, the 38 Ceramics Monthly Top Bricks are slop formed in a. 2-brick mold (see basin) then are laid in parallel rows on the sand-dusted ground to again partially dry in the sun. Above Once the surface impurities are trimmed away, the brick is flattened with a wooden beetle. Right On a board elevated by clay trimmings, the qatta (cutter) recuts the flattened tile-brick with a metal spatula. November 1986 39 Uniform size is maintained by following a wooden template when The bisqued tiles are glazed and stacked according to color for cutting the tile-brick . the final 1475°F firing. Wielding a hammer sharpened on both sides, the taksir cuts zalijs from the tile. Photos: courtesy of Editions Atelier 40 CERAMICS MONTHLY Above The newly cut zalijs are sorted into baskets according to design and color. Far left Traditionally, the zalijs are cut (balanced on a small piece of marble, stone or metal) at the building site. Left Panels of zalijs are composed upside down, following a pattern traced on the floor. Some pieces are so small, they must be laid in position with tweezers. November 1986 41 For delicate work (as on pillars), the more orthodox technique of composing rightside up in mortar is used on site. Right and below A typical panel is composed enamel-side down from the center out. Next, it is powdered with plaster of paris and cement, then moistened. When the zalijs are firmly cemented in place, mortar can be poured and smoothed over the tile backs. After drying, the panel is upended and plastered to a wall.

42 CERAMICS MONTHLY The tile panels backing the fountain at the Fes Royal Palace were composed around central rosettes. The foreground was tiled with blue and white bejmats, which is unusual in that until recently the traditional color was green. ferragha had got the knack, and the zal­ dried, the panel can at last be set in been over the centuries. It seems that ijs of a similar design were set much place, revealing its decorative pattern and every building was seen and conceived more regularly. We remarked on this to colors. from inside out. Architecture, according the maallem and asked that the work he The panels are set side by side, but to the ancients, was based on the need redone. He said that this was out of the the design must be matched up. The more to compose surfaces. Facades and ex­ question, that, to the contrary, the prog­ complicated the motifs, the harder this terior volume were of secondary impor­ ress in the quality of the tilesetting should is to do. Tiny pieces of tile have to be tance. Decoration of the walls, ceiling be preserved, to demonstrate to future carefully set and must often be filed with and floors was therefore of prime im­ generations that it was in the mhenshiya a stone before being integrated into the portance in any building, and it is in of Marrakesh, under the reign of Has- design. this field that the creative genius of Mo­ san II, that this motif was created. The thickness of the panel combined roccans excels. Once the panel of zalijs has been com­ with the thickness of the mortar is such posed (upside down on the ground) it is that the tiles are approximately 2 inches The author French interior designer then powdered by the ghabbar with from the wall. In order to render this Andre Paccard has worked for more than plaster of paris and cement, which are unnoticeable, tile panels are usually sur­ a decade on the restoration of ancient then wet to glue the pieces together. Then rounded by a broad band of carved plas­ monuments and on palace designs for the artisans pour a kind of mortar (made ter. King Hassan II of Morocco. This article from a mineral-rich soil called hamri) To appreciate the role of these arti­ was excerpted and adapted from his book over the panel and smooth it with a long sans, it would be well to imagine what Traditional Islamic Craft in Moroccan wooden paddle. When the mortar has traditional Moroccan architecture has Architecture. November 1986 43 Shelter and Sustenance by Brook Le Van

I saw the gallery space as possibility. On from the inside out, not the outside cor­ Graduate school is a fantastic opportu­ the other hand, time and materials lim­ belled in. nity to take risks with your work, ideas, ited what could happen there. In order What is taken for granted is the most etc. I saw studying at Alfred University to discover something about myself, how important information in analyzing a as two years of frontier. I react with these variables and how it system. When I am aware of the as­ The new territory is focused, yet un­ could affect the intended idea, I set up sumed patterns, I can use them as a tool limited. Outwardly, it appears much has an absurd situation. My intention was for change. It seems necessary to un­ changed in my work in the form of to build up an image of a hut with the derstand the between-ness of the parts methodology, use of material, etc. [see 1100 bowls that littered the gallery floor if I am to understand the system. This “Brook Le Van” in the January 1985 when I arrived there three days prior to need for understanding is what my work CM]. When reviewing the various routes the opening. Here I was forced to deal is about. I have taken over the past two years, with what was there. At first the bowls however, there is a constant. The search would not climb in the manner I had The author After graduating with an for meaning is central to my creative guessed. I was forced to find another M.F.A. from Alfred University in May, activity. system. It was after listening to the logic Brook Le Van moved to Omaha, Ne­ In “House,” I worked with the notion inherent in the bowls that I began to braska, to become program coordinator of building a contemporary western succeed. The bowls wanted to be stacked at the Bemis Project. dwelling. The materials for building this image consisted of six separate elements: yam, egg, apple, skillet, cup and brick. In part, the elements were derived from my understanding of sustenance and survival. The square skillet is a tool from my own kitchen; it is an object that I have chosen out of the many in the world to live with. The generic dinner cup is an object common to transient contem­ porary society. The objects directly sug­ gesting nourishment (yam, apple and egg) are choices based on a wholistic notion of food production—foodstuffs formed in the ground, above the ground and in or of other animal life. The brick is a manmade object formed of earth, and intended to protect and sustain the var­ ious activities of human life. The image of a house, a fortified no­ tion for our dreams and memories and the foundation of our realities, was con­ structed out of objects made of fragile ceramics, each placed in a fraction of a moment on the floor, creating a random network of forms and colors with neg­ ative space acting as mortar. This vol­ atile temporal network vibrates color against color and object against object, obscuring the larger picture. Viewers approach “House” at first lost in the col­ For a recent installation at Alfred University’s Fosdick-Nelson Gallery, Brook LeVan or fields (the large shapes formed by the assembled “Hut,” top, 4 feet in height, from 1100 slip-cast porcelain bowls; while space between the objects), only later able “House,” above left, 22½ feet long, was composed of ceramic images of yams arranged to find the image of a house on their with skillets, apples with cups, and eggs with bricks to create “a random network of forms own. and colors with negative space acting as mortar.” Together (above right) the two In “Hut,” I worked through a pre­ sculptures investigate concepts of shelter and sustenance, meaningful space and daily scribed set of limitations. On one hand, experience. 44 CERAMICS MONTHLY Then and Now by Colin Pearson

“ Vase on Tall Footapproximately 13 inches in height, stoneware, thrown and slab built , fired to Cone 7-8 in oxidation. Colin makes journal notes each time a pot is exhibited. In the same book he sketches each piece, gives it a number (also indelibly printed on the pot) and records its full description—an indication of his attention to detail. I was five years at Goldsmith’s Col­ After training with Ray, I worked at British potter Colin Pearson first trained lege School of Art in London, which in­ Royal Doulton Pottery Works in Lam­ as an apprentice with Ray Finch and cluded teacher training afterward. beth, London; then went to Aylesford, later worked with David Leach before Though I did painting at Goldsmith’s, Kent, to be David Leach’s assistant in setting up his own studio pottery atI got interested in pottery during teacher the pottery at the Friars. When David Aylesford in Kent, England. After pro­ training. A friend of Michael Cardew’s left, they asked me to become manager, ducing standard (functional) ware for suggested I work with Ray Finch, of and I stayed there five more years before 15 years, he began making the more whom I hadjiever heard because at that setting up my own studio at the Quay, sculptural, one-of-a-kind forms for which time there was only a handful of potters Aylesford. That was in 1961. At first he has become known—in 1975 he won around. This was just after the war. production was mainly standard ware— the grand prize at the Faenza Interna­ So I went down to Ray Finch’s at utility stoneware, reduction fired to Cone tional Competition for Artistic Ceramics. Winchcombe in Gloucestershire, and saw 9—but since 1971 I’ve also been making The following article was transcribed from the work there. I was absolutely bowled one-of-a-kind pieces in porcelain and a conversation between Colin Pearson and over and decided to become a potter. He stoneware. Then in 1980, I moved from Canadian potter John Chalke. —Ed. took me on in spite of my inexperience. Aylesford to London.

“Winged Vase,” approximately 10 inches in height, wheel-thrown stoneware with combed, modeled and carved slab additions.

46 CERAMICS MONTHLY Photos: Peter Kmnear

a Vase, IOV2 inches high, assembled from “Thrown Slab Vase ,” IOV 2 inches high, Stoneware vase with combed-slab wing” thrown and slab-built stoneware sections. with porcelain slip and matt glaze. additions, approximately 9 inches high.

“Stem Bowl,” approximately 10 inches in height, Cone 7-8 stoneware, by British potter Colin Pearson.

November 1986 47 Wheel-thrown stoneware bowl with Cone 7-8 stoneware pitchers, to 8 inches in additions, approximately 10 inches high, height, thrown, with decorative handles.

Vase with Bronze Wings,” 10 inches in height, oxidation-fired stoneware with lusters, by Colin Pearson,

48 CERAMICS MONTHLY “Now my throwing is a kind of fast “As soon as the form is up, the wheel goes “I put various sorts of appendages on, just handbuildingslowly because I enjoy doing details ” watching the clay affect the forms.” Moving to an urban London studio made Colin “think a lot about work attitudes and organization

November 1986 49 I suppose the change of residence was It’s all part and parcel with other de­ from the handles and the lugs. And now at first fairly traumatic. Deep down, I velopments. For instance, changing to in a funny sort of way they’re reap­ didn’t really want to come to London. glaze spraying over the last ten years has pearing, because they’re becoming rath­ I’d been at Aylesford 25 or more years eliminated the necessity for storing big er elaborate handles and twisted lugs and it was really part of me. Here the tubs of glaze. Now they’re all in small rather than what are called wings. workshop’s much smaller and on quite containers on shelves. They’re hardly wings at the moment. a nice road; still there are things I’ll If I hadn’t started to exhibit in Ger­ I put various sorts of appendages on, never get used to. It’s hard to cope with many, my making of one-of-a-kind pieces just watching the clay affect the forms. the dog crap and the paper and the un­ would not have developed as it has; but But then they, in an accidental way, evoke tidiness everywhere outside. I was fortunate enough to get an en­ images to other people. I myself am ab­ But being in London also has been trance into German exhibitions through solutely cursed by being able to see faces good for me in many ways, because it Dr. Paul Koster* at Monchengladbach. in clouds, trees, everything; and I try not has caused me to think a lot about work Therefore, I was more and more able to to let that happen. The appendages on attitudes and organization. Before, I had make these new individual pieces be­ my pots are just abstract patterns, and room to sprawl around and was pretty cause there began to be a demand for I want to keep them that way. But I untidy. It’s very difficult to just exper­ them. suppose it was always possible that they iment and do something, then come back I wouldn’t like to go back to making might remind people of certain forms of to something else. If I’m making por­ standard ware because it was really hard early sculpture. celain, I make porcelain for a time. Then work. Certain aspects of it were a drag. When I first started, the forms were I stop and make stoneware for a time. It’s a dreadful confession to make, but mostly cylindrical, and it took about three I don’t change between the two; I tend having to make boards of pots the same to four days to make a whole range of to be very single minded. But then it size was actually very boring. I have al­ different shapes. Of course some of these, seems I’ve got to work that way. ways hated repetitive work and yet I did especially in porcelain, would have to be Perhaps it’s a limitation on my part. it because it was the necessary thing to joined. They’d be done in sections be­ If I start writing letters, which is very do. However, I liked the results. cause these particular shapes couldn’t be rarely, I tend to bumble around the whole In a sense, my current work can be thrown in one piece. I still do an im­ day just tidying the desk and doing things repetitive. There are certain shapes I mense amount of joining today. With an like that. I can’t just write a couple of make all the time. This harks back to a idea of what the whole pot’s going to be, letters. David Leach used to write three tradition such as at Winchcombe. That I throw parts, then wait and usually or four letters after lunch, then come is, I’ve never really gotten away from throw on from there. In the beginning, back and do pottery. That would be very tradition—because however jagged my I would make lots of parts, because I difficult for me. So I’m not very versatile, pieces are, however ragged on the rims, didn’t really know how things might turn really. Perhaps that’s the only way I’ve however cut, they are still fairly ortho­ out. I would just try every way that I been able to make any sort of success— dox bowls and vases. In spite of the type could make appendages (wings) to put by keeping on in a single-minded way. of throwing, in spite of alterations and on. The parts would be all laid out, ar­ Anyway, about organization of the additions, they are still obeying rules. ranged; then I would just walk ’round workshop—I have to be infinitely more Even the rim obeys a rule because I real­ and try things and say, “Yes, this is for orderly and tidy because of the smaller ly feel the most important part of the that one.” Forms were constructed from space. And of course I’ve gone to an­ bowl is the type of rim. The next most parts as I went along. But then later on other extreme—there are white walls and important might be the foot, but the rim I couldn’t do that. Some parts related to white worktops everywhere. It’s a sort is everything in bowls. each other; some didn’t. There began to of “clinical” type of workroom now. It The foot and the belly and the neck be composite forms which looked best can become obsessional. If you’ve got and the rim—even a cylinder has those. with certain types of additions. white surfaces, you start reaching for the Or at least the cylinders I’ve made do, A lot of the pottery equipment is still sponge and sponging where the little globs however slight they may be. They’re not down at Aylesford—the original gas kiln, of clay alight. But that’s a new reaction just pure cylinders. Again, this stems back sacks of clay and materials. I didn’t bring I have come to accept as a virtue. Partly to early throwing days. Even now when all that with me, because I was coming it was a visit to Japan that changed my a student is making a cylinder, I try to to a much smaller studio. The original attitude. In the workshops there every­ analyze it in terms of the important little intention was to keep that studio going, thing was very orderly, and there was ridge at the bottom and then the feel­ and go down there and work, then come something positive in that. I’ve always ing—maybe a slight swelling up to the back and live here. That sufficed for a craved order, even if I haven’t been able neck. There might be no belly to it, but time. I would go down there and stay a to create it myself. it’s certainly got a neck to it. And then night or so and work; by that time I had Since moving to this small workshop, there’s the rim above the neck. bought the electric kiln, and it was in­ I’m having to do things which I would Now my throwing is, you might say, stalled in front of the big gas kiln that never have done before. For instance, a kind of fast handbuilding, because as was no longer being used. I realized I I’ve always reclaimed clay. Here I find soon as a form is up, the wheel goes was going through a rehearsal, that I that I can’t reclaim either porcelain or quite slowly, really very slowly indeed, wasn’t going to fire reduction any­ stoneware, and recently made a major because I’m enjoying doing details. But more—after 25 years of reduction firing. decision to just throw it all away. (In at the same time I’m still aware of the I started making pots that were adapt­ fact, I don’t think it was ever reclaimed whole piece. ed especially for the smaller kiln. I had efficiently; there were always bits of clay Of all the details involved, I prefer already started to work out my glaze lying around.) Now there is always fresh pulling handles. So you might say my systems to oxidation. In fact the gas clay to work with and, as a result, more putting appendages on things took over kiln was never fired again. time to work because I’m not reclaiming *German gallery owner Paul Koster has often been de­ The first electric firings were quite the stuff. scribed as Europe’s leading ceramics dealer. —Ed. high, about 1280°C, Cone 9 or some- 50 CERAMICS MONTHLY As the forms became more complex, dip A homemade, belt-driven ball mill is glazing was replaced by spraying. geared with a small transmission. “I have to be infinitely more orderly and tidy because of the smaller space.”

November 1986 51 thing like that. Far too high in fact for glaze on, running or anything like that in that prediction. I know, for instance, the purpose—it was punishing the kiln. didn’t show much. So I worked in the if I put pinholes into a piece, I can make It was also punishing the clay—1280°C way I had always done, bisquing and them stay as pinholes. One of the ag­ oxidized is really quite high for that par­ dipping them in a bucket of glaze. The gravating things about reduction is it ticular body. But I was getting accept­ black pieces had dark slip on them that smooths everything over and makes it able results out of it. matured, so they really didn’t need glaz­ look so nice when it comes out. It’s al­ This type of firing was totally new to ing. But subsequent to that, as soon as most possible to do anything in oxida­ me, and I was absolutely green at it. I I started using multicolored glazes and tion really, if one studies it. That’s what started a system of putting colored slips the pieces themselves got more complex, I attempt to do. To arrive at my new on the dark body, putting glazes on top I wasn’t able to dip anymore, so work glazes, I used an orderly method of test­ of that, using gum or binder with the was sprayed from that time onward. ing adapted from a system developed by glaze and piling up thick coatings that It’s hard to glaze. If I’m using a num­ Australian potter Ian Currie. way, drying them with a torch. ber of slips and a glaze of varying thick­ As a teacher at Camberwell and Med­ I have been glaze spraying ever since nesses, I do it intuitively. I don’t mea­ way and Harrow, and when going around making individual pieces. The complex­ sure glaze thickness, and never glaze a to other art schools, I have seen lots of ity of the forms, the tracery of the wings, number of pieces at one time because of very interesting things being done in terms didn’t permit dipping because the dec­ never wanting to get the same thing oc­ of firing. There’s so much to choose from; oration was already there. Glaze run­ curring. There’s always that risk that if nevertheless, it seems I have to stick to ning down couldn’t be allowed to form you do a number of pieces all with the one thing. I would love to do salt; I would any sort of pattern at all because it would same glaze at the same time, they will love to low fire salt, that sort of thing, be breaking against the intended pat­ have the same thickness. I don’t want but I haven’t exhausted what I can do tern. that. I want accidental effects. already. I’m just still playing about with When I first started making these Reduction is so unpredictable that close oxidized Cone 7-8, because it’s a new pieces (for a “black-and-white” exhibi­ measurements are not really possible. In direction. Maybe when I get done I might tion), I dip-glazed all the porcelain, but oxidation I can make a reasonable pre­ do electric reduction or salt. But at the as it merely had a white barium-type diction, but there will be a lot of latitude moment there’s still plenty to do.

Recipes

LNS Matt Glaze calcined zinc oxide (for white and to promote crystal­ (Cone 8) lization). Color variations are achieved with additions Lithium Carbonate...... 6.8% of body or glaze stains. Whiting ...... 13.8 A binding agent, such as CMC Gum, can be added Nepheline Syenite...... 63.4 to the glaze (0.3%) and slip (0.5%) batches before they Kaolin...... 16.0 are mixed with water. 100.0% Oxides and stains may be added for varying colors. BLNS Matt Glaze Both this recipe and BLNS Matt Glaze are low in (Cone 7) silica, and are usually sprayed over an assortment of Barium Carbonate...... 11.1% slips based on the following porcelain body: Lithium Carbonate...... 8.3 Whiting ...... 2.8 David Leach Porcelain Body Nepheline Syenite...... 77.8 (Cone 10) 100.0% Potash Feldspar ...... 25% Add: Bentonite...... 2.0% Grolleg Kaolin ...... 52 For a blue-green matt, add 1% copper carbonate. Quest White Bentonite...... 4 Flint...... 19 Stoneware Body 100% (Cone 7-8) Depending on the effect desired, a slip is prepared HVAR Ball Clay...... 75.0% from 2 parts porcelain body mixed with 1 part whiting Medium Grog (30-80 mesh) ...... 12.5 (to modify colors, e.g., copper green rather than blue- Coarse Grog (20-30 mesh) ...... 12.5 green), flint (to achieve a gloss surface in combination 100.0% with BLNS or LNS glaze), calcined alumina (to main­ Any plastic ball clay (with 60% silica) may be substi­ tain a dry matt surface in combination with glaze) or tuted for the HVAR clay.

52 CERAMICS MONTHLY November 1986 53 54 CERAMICS MONTHLY News & Retrospect

Rudy Staffel/Itsue Ito sterdam last spring, the sale of some 150,000 ters) prompted the widespread production of An October exhibition at Greenwich House pieces of blue-and-white, Qing dynasty ex­ high quality glazed ceramics, and distinctive Pottery’s Jane Hartsook Gallery in New York port ware (stacked in tier after tier, four shelves local traditions emerged in glazed wares. This City featured handbuilt vessels byRudy Staf­ high, across two entire floors of the auction coincided with the increased peace, prosper­ fed Philadelphia, and cast geometric forms house), was reported to have sold for $10 ity and spread of education among the people by Itsue Ito, Minneapolis. Both artists work million, but final figures show the sale gen­ which characterized Japan under the rule of with translucent clays and are concerned with erated more than $15 million. the Tokugawa shogunate. Glazed pottery had great appeal as a lux­ ury product and commercial viability. Thus many feudal lords supported their local kilns as a means of obtaining revenue and as a reflection of their good taste and education. Other kilns operated as merchants’ ventures apart from the control of the feudal lords. Some kilns made wares solely for local clientele. Others were widely distributed through well-established commercial net­ works in metropolitan centers such as Osaka and Edo (modern-day Tokyo). In all cases, the government recognized the high income potential for pottery, and taxed potters ac­ cordingly. Because of the large number of kilns and the uncertain provenance of many pieces (due to good distribution of the wares), specific kiln identification is difficult. This is further complicated by the fact that potters trained at one kiln would sometimes migrate to other parts of the country to set up their own work­ Translucent “Light Gatherer” by Rudy Staffel shops. the effects of light and shadow in their works. Sales estimates had been set conservatively In central Honshu, six kilns (Seto, Bizen, Shown from the exhibition is an 11-inch- because of the fear that so much 18th-cen­ Shigaraki, Tamba, Tokoname and Echizen) diameter bowl from Staffel’s “Light Gath­ tury Chinese porcelain would swamp an es­ have produced utilitarian stonewares since erer” series. Photo: courtesy of Helen Drutt tablished but finite market. But the first lot, the Kamakura period (1185-1392). Until re­ Gallery. estimated to sell for $420, brought $5250; cently it was thought that these six kilns were the last, five days and over three thousand lots the only early regional kilns. However, post­ later, sold for $3350 (almost ten times the $350 war excavations revealed the presence of more Alyce Schermerhorn estimate). In most cases the hammer price was than 30 medieval sites. Those six kilns were Thrown, altered and carved porcelain ves­ three times the catalog estimate; for rarities, simply more commercially successful than sels by Missouri ceramistAlyce Schermer­ it was up to ten times the estimate. the others, with wider distribution of their horn were featured recently at Pro Art in Perhaps the biggest sensation resulted from products, and they have continued produc­ Saint Louis. Characteristic of the works shown, the sale of the largest service, composed of tion to the present. several courses of dinnerware for 144 guests. Gradually, their wares became appreci­ Estimated to sell at $50,000, it brought ated by tea connoisseurs who commissioned $334,200—another record. teabowls, storage jars and other tea ceremony utensils. However, the production of tea cer- Japanese Popular Ceramics Ryumonji wine bottle, late 19th century Popular Japanese pottery (often referred to as basic utilitarian or folk pottery) was created to meet the needs of ordinary people. Such wares have been produced in Japan since prehistoric times (circa 10,000 B.C.), Unglazed porcelain bowl, thrown and altered but the 12th through the 16th centuries saw this oblong bowl is 16 inches in length. Its the proliferation of regional kilns producing wall was wheel thrown, then attached to a simple, unglazed ceramics largely for local slump-molded base and altered. Dried and farmers’ use. bisqued, it was then sanded and carved, be­ It was not until the late 16th century that fore high firing. new techniques (learned from Korean pot- Christie’s Coup You are invited to send news and photo­ With its auction of the “Nanking Cargo,” graphs about people, places or events of a shipload of 234-year-old, Chinese porce­ interest. We will be pleased to consider lain recovered from a South China Sea wreck them for publication in this column. Mail (See page 81 in the June/July/August Ce­ submissions to: News and Retrospect, ramics Monthly), Christie’s recorded the Ceramics Monthly, P.O. Box 12448, highest total ever achieved anywhere for a Columbus, Ohio 43212. single sale of decorative arts. Held in Am­ Continued November 1986 55 New York, Staten Islandthrough June 30, 1987 Ohio, North Olmstedthrough November 28 Itinerary “Ceramics at the Crossroads: American Pottery at “Northcoast Ceramics Invitational”; at the Great Continued from Page 19 New York’s Gateway 1750-1900”; at the Staten Northern Corporate Center Art Gallery, Great Island Historical Society, 441 Clarke Ave. Northern and Country Club Blvds. through January 11, 1987“In Pursuit of Beauty: New York, White Plains through November 9 Ohio, Parma November 10-December 6 “Animal Americans and the Aesthetic Movement,” works Mamaroneck Artists Guild “33rd Annual Nation­ Magnetism,” works by 20 Cleveland artists in­ of American artists, designers, craftspeople and al Open Juried Exhibition”; at the Community cluding David Batz, Deirdre Daw, Bette Drake, decorators from the mid 1870s through the mid Unitarian Church, Rosedale Ave. Daniel Postotnik, David Vargo, Diane Bjel-Wilkes 1880s, includes ceramics and tiles; at the American North Carolina, Ashevillethrough November 24 and David Williamson; at Gallery West, Cuya­ Wing, Metropolitan Museum of Art, Fifth Ave. “North Carolina Pottery Exhibit”; at the Museum hoga Community College Western Campus, 11000 through March 22, 1987 “Craft Today: Poetry of Area, Folk Art Center, Milepost 382, Blue Ridge Pleasant Valley Rd. the Physical,” opening exhibition of the new Pkwy. Oregon, Portlandthrough November 9 “A Mask American Craft Museum facility; at 40 W. 53 St. Ohio, Cincinnati November 19-January 18, 1987 Show,” national juried exhibition; at Hoffman November 4-22 Val Cushing, Steve Loucks and “Ebla to Damascus: Art and Archaeology of An­ Gallery, Oregon School of Arts and Crafts, 8245 Doug Casebeer; at Greenwich House Pottery, 16 cient Syria,” includes mosaics; at the Cincinnati S.W. Barnes Rd. Jones St. Art Museum, Eden Park. November 6-December 31 “Contemporary Crafts November 22-23 Michael Boyer, Barbara Haring Ohio, Clevelandthrough December 14 “The Blood Gallery 50th Anniversary Holiday Show,” with a and Rinny Staber, functional pottery; at Westbeth, of Kings: A New Interpretation of Maya Art”; at 1937 theme; at 3934 S.W Corbett Ave. 155 Bank St., Greenwich Village. the Cleveland Museum of Art, 11150 East Blvd. Oregon, SalemNovember 30-December 27 Craig New York, PoughkeepsieNovember 30-December Ohio, New ConcordNovember 9-December 9 An Martell and Linda Owen; at Corner Gallery, Sa­ 26 “Small Works in Clay”; at the Mid-Hudson exhibition of works by Ohio clay artists; at Palmer lem Art Association, Bush Barn Center, 600 Mis­ Arts and Science Center, 228 Main Street. Gallery, Muskingum College. sion St., SE. Pennsylvania, Philadelphiathrough November 23 A multimedia exhibition with Lucia Jahsmann, crackle-glazed work; at the Works Gallery, 319 South St. Pennsylvania, PittsburghNovember 22-December 24 “Holiday Sale ’86,” juried exhibition; at the Pittsburgh Center for the Arts, Mellon Park, 6300 Fifth Avenue. Pennsylvania, Richborothrough December 28, weekends The Pennsylvania Designer-Craftsmen juried members exhibition; at Craft Gallery II, Tyler State Park, Rte. 322, Almshouse Rd. Pennsylvania, Scrantonthrough November 7 “From the Wall,” works by 17 Pennsylvania ce­ ramists; at the University of Scranton Art Gallery, Linden St. South Carolina, CharlestonNovember 10- December 6 “The South Carolina Crafts Associa­ tion’s Exhibition ’86”; at the Gibbes Art Gallery, 135 Meeting St. Tennessee, Gatlinburg through January 24, 1987 “Space: New Form, New Function,” national ju­ ried exhibition; at the Arrowmont School of Arts and Crafts. Tennessee, Nashville through November 10 “Contemporary Crafts,” a two-person exhibition with Cynthia Bringle, raku; at Sarratt Gallery, Vanderbilt University. Texas, Dallasthrough December 15 “China: 7000 Years of Discovery,” includes ceramics; at the Sci­ ence Place in Dallas, Fair Park. Utah, LoganNovember 11-December 21 “New Vistas: American Art Pottery, 1880-1930, From the Cooper-Hewitt Museum”; at the Nora Eccles Harrison Museum of Art, Utah State University. Utah, Salt Lake CityNovember 7-24 A two-per­ son show with Pat Cluff, porcelain. November 28-December 31 “The Christmas Show”; at the Utah Designer Craftsmen Gallery, 38 West 200 South. Virginia, Richmondthrough November 23 “The Paris Style 1900: Art Nouveau Bing,” includes ceramics; at the Virginia Museum of Fine Arts, Boulevard and Grove Ave. Washington, Bellinghamthrough November 23 “VI Annual Northwest International Art Com­ petition”; at the Whatcom Museum of History and Art, 121 Prospect St. Washington, OlympiaNovember 21-December 21 “Women of Sweetgrass, Cedar and Sage,” Na­ tive American women artists’ work; at Evergreen Gallery, Evergreen State College. Wisconsin, Madisonthrough November 9 “Ital­ ian Renaissance Maiolica from the Corcoran Gal­ lery of Art”; at the Elvehjem Museum of Art, University of Wisconsin, 800 University Ave. Fairs, Festivals and Sales Alabama, Birmingham November 15-16 Ala­ bama Designer/Craftsmen’s 14th annual “Crafts for Sale”; at the Highland Racket Club Com­ munity Center, 3300 Highland Ave. Arizona, PhoenixNovember 15-16 “C.L.A.Y. (Craftsmen Living Among You) at Heritage Square”; at the Heritage Square Pavilion, Seventh St. and Monroe. Continued 56 Ceramics Monthly News & Retrospect emony utensils never amounted to more than a small percentage of the kiln output. One of the characteristics of much of this pottery is the fortuitous ash glaze which occurred naturally during the wood firing process. By the 18th century, these kilns also produced glazed wares in response to demands for higher quality ceramics, sometimes in imitations of Kyoto or Kyushu wares. Toward the end of the 16th century, the shogun Toyotomi Hideyoshi made several vain attempts at conquering China, but his troops reached only Korea before being stopped. During the invasions, entire villages of Ko­ rean potters were brought back to Kyushu and southern Honshu where, with the feudal lord’s patronage, various kilns were estab­ lished to produce tea ceremony wares. Later, everyday wares were manufactured as well. These wares were distinguished from native Japanese ceramics due to their high quality glazes. The Koreans also introduced the noborigama (climbing kiln), as well as rapid production techniques. Kyushu ceramics are often characterized by the appearance of white slip under the glazes. Slip was poured over the entire sur­ face, applied through a bamboo tube to cre­ ate a design, inlaid in incised areas or brushed on. Glazes were often applied in layers. Gray- green, glossy brown or creamy ivory pre­ dominated, though the inclusion of rice straw in the kiln during firing yields a bluish tint to some glazes. Some of the more well-known Kyushu stonewares include Karatsu, Taka- tori, Agano, Yatsushiro, Koishiwara and Sat- suma. Porcelain clay was discovered in 1616 by an immigrant Korean potter, who then pro­ duced Karatsu ware. Within 15 years of his discovery, most of the kilns in the vicinity ceased stoneware production, converting to blue-and-white porcelain, then about a gen­ eration later to overglazed porcelain. The main varieties are Arita (also called Imari or Hiz- en), Kakiemon (sometimes also classed as a style of Arita ware), Nabeshima (produced for the Nabeshima samurai clan) and Kutani (the only early porcelain manufactured out­ side Kyushu—at Kanazawa—though origi­ nally by Arita potters). While porcelain production was at first for export or sanctioned by feudal lords for their Kiyomizu gourd-shaped dish, 18th century

Continued November 1986 57 Itinerary Arizona, TucsonNovember 21-23 Third annual “The Holiday Revelry”; at the Tucson Museum of Art Plaza, 140 N. Main Ave. California, La JollaDecember 2-4 “16th Annual Winter Ceramics Sale”; at the Crafts Center Grove Gallery, University of California. California, Walnut Creek November 7-9 “Clay Arts Guild Holiday Potter Sale and Art Happen­ ings”; at the Civic Arts Education, 1313 Civic Dr., Civic Park. Connecticut, WestportNovember 12-13 The 11th annual “Westport Creative Arts Festival”; at Sta­ ples High School, North Ave. Georgia, GainesvilleNovember 21-23 “Second Annual Holiday Marketplace”; at the Georgia Mountain Crafts, 311 Green St., SE. Louisiana, New Orleans November 29-30 The Louisiana Crafts Council’s “11th Annual Holiday Crafts Market”; at City Park Botanical Gardens. Maryland, GaithersburgNovember 21-23 “11th Annual Autumn Crafts Festival”; at the Mont­ gomery County Fairgrounds. New Jersey, Hillwood LakesNovember 8-9 “Crafts at Trenton State College”; on campus. New York, Buffalo November 9-10 “Theater Place Showcase of Craft Arts”; at Theater Place, Main St., downtown. New York, Herkimer November 8-9 “The 11th Annual Herkimer County Arts & Crafts Fair”; at Herkimer County Community College. New York, UniondaleNovember 21-23 “Twelfth Harvest Crafts Festival”; at the Nassau Coliseum. North Carolina, AshevilleNovember 28-30 The 11th annual “High Country Christmas Art & Craft Show”; at the Asheville Civic Center. Ohio, Cincinnati November 28-30 “Cincinnati Crafts Affair”; at the Cincinnati Convention Cen­ ter, downtown. Ohio, ColumbusDecember 4-7 “The Columbus Winterfair”; at the Ohio State Fairgrounds. Ohio, DaytonNovember 7-9 “Dayton Art Expo ’86”; at Sinclair Community College. Pennsylvania, PhiladelphiaNovember 7-9 The Philadelphia Museum of Art tenth annual “Phil­ adelphia Craft Show”; at the 103rd Engineers’ Armory, 33rd St. Pennsylvania, YorkNovember 22-23 “Pennsyl­ vania Christmas Craft Market”; at Memorial Hall, York Fairgrounds. Tennessee, Oak Ridge November 14-16 The Foothills Craft Guild’s 20th annual “Fall Show”; at the Civic Center, Oak Ridge Turnpike. Virginia, RichmondNovember 14-16 The 11th annual “Richmond Craft Show”; at the Richmond Centre. Wisconsin, Milwaukee November 28-30 “Holi­ day Craft & Gift Show”; at the Wisconsin State Fair Park. Workshops Arizona, Mesa November 15-16 A session with David Furman. Preregistration deadline: Novem­ ber 13. Fee: $35. Contact: Cultural Program, Box 1466, 155 N. Center, Mesa 85201; or call: (602) 834-2242. Florida, HollywoodDecember 12 Judy Chicago slide lecture. Fee: $10. Contact: Mindy Shrago, Community Art Alliance, 1801 Polk St., Box 1675, Hollywood 33022; or call: (305) 922-3484 or 920- 8081. Florida, Miami December 13 A demonstration and slide lecture with Cynthia Bringle, will in­ clude discussions on studio operation and concerns for a single-person studio. Fee: $35. Contact: Min­ dy Shrago, Community Art Alliance, 1801 Polk St., Box 1675, Hollywood, Florida 33022; or call: (305) 922-3484 or 920-8081. Indiana, Indianapolis November 14-15 Paul Brandwein, a participatory session on press mold­ ing and decorating. Fee: $40 includes materials and dinner party. Contact: American Art Clay, 4717 W. 16 St., Indianapolis 46222; or call: (317) 244-6871 or (800) 358-8252. Michigan, DetroitNovember 10-11 John Gill, a hands-on session on handbuilding. Fee: $50; $35 Continued 58 CERAMICS MONTHLY News & Retrospect exclusive use, it soon was in demand by wealthy merchants and townspeople. Kilns serving the needs of these lower strata of society emerged first in Kyushu, then in other parts of Japan. As the ancient, aristocratic capital of Ja­ pan, Kyoto had unequaled prestige. Crafts­ people of Kyoto were renowned for their high quality products. These were in demand as luxury goods on special occasions such as weddings and birthdays, and as souvenirs of one’s journey to the city. Kyoto potters set the standard for many provincial kilns; in the mid 17th century, they were among the first to utilize overglaze enameling in bright colors. Their decorative motifs were drawn from the established design traditions of oth­ er Kyoto crafts, especially lacquer and tex­ tiles. Northern Japan does not have local clays of refined quality. However, to meet local demand for daily life, not a few popular kilns were established in the Edo (1615-1867) pe­ riod, first under the patronage of feudal lords, later as independent commercial ventures. Some, such as Soma, operated from the mid 17th century, but the majority date only from the 19th century. By far the most famous and commercially successful of these kilns is located at Ma- shiko, just north of Tokyo. There, Shoji Ha- mada , one of the founders of the mingei (folk art) movement, worked most of his life. In the 1920s, Hamada and other artists (in particular, Bernard Leach) together with art critic/philosopher Soetsu Yanagi recog­ nized the inherent beauty of folk crafts. Through their efforts, society came to ap­ preciate the often roughly made and some­ times boldly decorated ware made by anon­ ymous artisans who worked in traditional styles based on accumulated experience over many generations—pottery combining a beauty derived largely from function with a spontaneous decoration that imbues the form with immediate visual appeal. An exhibition focusing on Japanese pop­ ular pottery, primarily from the Edo and the Meiji (1868-1912) eras, was presented at the Nelson-Atkins Museum of Art in Kansas City, Missouri, through October 31. Shown from the museum’s collection are a Ryumonji wine bottle, 7¾ inches in height, Kyushu, late 19th century; and one of a set of five glaze-dec­ orated, gourd-shaped dishes, each 6½ inches in length, 18th-century Kiyomizu ware. Text: Patricia J. Graham. Devonshire Influences by Tim Andrews I am fortunate to have been born and to now work in a most beautiful part of Eng­ land. Devon, in the southwest, has a re­ markable variety of landscape and wildlife which changes season by season each year and provides a rich harvest of information/ inspiration for my pots. Continued November 1986 59 Sculptures,” a session with Brian Ransom on in­ Kinichi Shigeno, sculpture; at Richmond Art Gal­ Itinerary struments and resonators. Contact: Oregon School lery, 7671 Minoru Gate. of Arts and Crafts, 8245 S.W. Barnes Rd., Port­ Canada, Ontario, Burlingtonthrough November for members and students. Potluck lunch. Contact: land 97225; or call: (503) 297-5544. 16 “Celebrations in Clay VIII,” annual juried ex­ Pewabic Pottery, 10125 E. Jefferson, Detroit 48214; Pennsylvania, PittsburghDecember 6 “Baubles, hibition; at the Burlington Cultural Centre, 425 or call: (313) 822-0954. Bangles and Beads,” a session on beaded jewelry Brock Ave. New York, New YorkNovember 21 Val Cushing with Patty Gallagher. Fee: $32; $24 for members. Canada, Ontario, Dundas November 8-9 The lecture. Fee: $5.November 22 Val Cushing, throw­ Contact: Pittsburgh Center for the Arts, Mellon Potters’ Guild of Hamilton and Region’s “Fall Sale”; ing and glazing demonstration. Fee: $25. Contact: Park, 6300 Fifth Ave., Pittsburgh 15232. at the Dundas Town Hall. Greenwich House Pottery, 16 Jones St., New York Texas, San AntonioNovember 14-16 “Utilitarian Canada, Ontario, Guelphthrough December 8 10014; or call: (212) 242-4106. Porcelain” with Catharine Hiersoux. Fee: $125. “Second International Shoebox Show”; at the North Carolina, BrasstownNovember 16-22 “Fall November 21-23 “Ceramic Jewelry” with Denise MacDonald Stewart Art Centre, 358 Gordon St. Elderhostel III,” includes pottery with Bob Wagar. Martin. Fee: $75. Contact: Southwest Craft Cen­ Canada, Ontario, Torontothrough January 12, Contact: John C. Campbell Folk School, Brass­ ter, 300 Augusta St., San Antonio 78205. 1987 “A Taste of Elegance,” 18th-century por­ town 28902; or call: (704) 837-2775 or 837-7329. celain from private collections in Ontario. Novem­ Ohio, ColumbusNovember 18-19 Two sessions ber 6-30 Alexandra McCurdy, stoneware with with Japanese potter Eiichi Kojima on traditional International Events decoration inspired by Micmac quillwork, quilt­ overglaze enamel decoration techniques. Contact: Belgium, Cominesthrough November 7 Bernard ing, rug hooking and stitching designs; at the George The Columbus College of Art and Design, 47 N. Langedock, sculpture and pottery; at the Tea-Room R. Gardiner Museum of Ceramics, 111 Queen’s Washington Ave., Columbus 43215; or call: Ban Gallery Esterel, Place Sainte Anne. Park. Kajitani, (614) 224-9101, ext. 245. Canada, British Columbia, RichmondNovem­ November 13-15 “Elizabeth Fry Society Craft Oregon, PortlandDecember 6 “Clay/Sound ber 28-December 8 A two-person exhibition with Fair”; at the Trinity Saint Paul Church, 427 Bloor Street, West. November 21-23 “Christmas Open House and Sale”; at the Potter’s Studio, 2 Thorncliffe Park Dr., Unit 16. Canada, Quebec, Montrealthrough November 22 Jim Thomson, sculpture exhibition. November 27-January 5, 1987 “Christmas Fair”; at the Centre des Arts Visuels, 350, avenue Victoria. Canada, Saskatchewan, Saskatoonthrough No­ vember 20 John Floch, pottery; at the Saskatch­ ewan Craft Gallery, 1231 Idylwyld Dr., N. England, Baththrough November 20 David Lloyd, pottery exhibition; at Beaux Arts, York St. England, GlasgowNovember 12-January 4, 1987 “Alan Caiger-Smith and the Aldermaston Pot­ tery,” tin-glazed, smoked-luster works; at the Glas­ gow Art Gallery and Museum, Kelvingrove Park. England, Londonthrough November 8 An ex­ hibition of works by Ruth Duckworth and Janet Leach. November 14-December 24 “Christmas Shop”; at the British Crafts Centre, 43 Earlham St., Covent Garden. through November 12 Ljerka Njers, handbuilt work; at Foyles Art Gallery, 113-119 Charing Cross Rd. through November 12 A group exhibition with Anne Roe; at Clarendon Gallery, 139 Portland Road. November 23-December 23 “Unusual Mirrors and Lidded Pots”; at Innate Harmony Gallery, 67 Saint Johns, WD High St. England, Manchester through November 15 A dual exhibition with Jennifer Lee; at Manchester Crafts Centre, Royal Exchange Theatre, Saint Ann’s Square. England, Nottinghamthrough November 16 Roger and Mary Young and Paul Young, decorative ce­ ramics; at the Castle Museum. France, Caen through November 10 Imre Schram- mel, Ildiko Polgar and Maria Geszler, “3 Hungar­ ian Ceramists”; at C.E.P.A.C., 16 rue de la Girafe. France, Hazebrouck through February 2, 1987 “Glazed Pottery from the 17th through the 19th Centuries”; at the Musee Municipal, Place Georges Degroote. France, Paris through November 16 “Japanese Ceramics: New Tendencies”; at the Galerie Kis- aragi, 9-11 rue Elzevir. France, Saint-Amand-les-Eauxthrough January 12, 1987 “From the Second Empire through Art Nouveau, Ceramic Creation”; at the Musee Mu­ nicipal, Tour Abbatiale, Grand-Place. France, Saint-Omer through January 4, 1987 “French Porcelain from the 18th Century”; at the Musee Municipal, Hotel Sandelin, 14 rue Carnot. Japan, KyotoNovember 22-27 “The First Kyoto Craft Competition International”;at the Kyoto Craft Center, third floor ABL Hall, Gion machi Kita­ gawa 275, Higashiyama-ku. Japan, Mino November 2-9 “The 1st Interna­ tional Ceramics Contest ’86”; at the Tajimi City Special Exhibition Hall. West Germany, Freiburgthrough November 22 “Elizabeth-Schneider-Award,” international com­ petition exhibition; at the Schneider Gallery, Ried- bergstrasse 33. West Germany, MonchengladbachNovember 7-December 6 Susan Eisen exhibition; at Dr. Paul Roster’s Gallery, Albertusstrasse 4. 60 CERAMICS MONTHLY News & Retrospect

Crackle-glazed vases, with sunset pigments South Tawton Pottery is in the heart of the Devon countryside, just a mile north of the picturesque village of South Tawton. Away from the main tourist beat, it is a quiet back­ water with a sprinkling of thatched cottages, narrow winding lanes, farms and country pubs. The pottery house and workshops are set in a large garden, at the bottom of which flows the River Taw. After studying for a year withDavid Leach , I spent two years at Dartington, a training workshop for potters in south Devon, then set up my first studio in the cathedral city of Exeter. Since moving to South Tawton in 1983, I’ve concentrated on wheel-thrown porcelain or stoneware production—many of the raw materials for which being obtained locally from the clay pits of Devon and Corn­ wall. I suppose all potters are trying to express or communicate something through their work. Perhaps the pots should speak for themselves, or maybe we should leave it to those who buy the work to comment. How­ ever, when I’m asked to explain some of the thoughts behind the finished products, I try Tim Andrews applying onglaze decoration

Continued November 1986 61 News & Retrospect

to answer honestly, without pretension that this is my response to my awareness of my surroundings. Decoration plays an important part. Using pigments (metal oxide mixtures) painted on top of the unfired glaze, I try to keep all brushwork as if it were frozen movement. Trying to capture a moment of tension or energy is very exciting to me. Spontaneity is all important, but true spontaneity is helped with practiced control. Similar to improvised jazz, it is made more possible when technical skill is mastered. However, that can bring its own problems. “What you know” can be a safe retreat for potters, and can lead so easily to deadness of work. We have to take ad­ vantage of our skills, not be dominated by them; the more skillful we become, the great­ er the danger. Take a look at the natural world. It has all the control and order to function perfectly, if left alone; and yet what dynamism it has, what spontaneity. It is the essence of this “paradox” that, in a small way, I try to cap­ ture in my work. A solo exhibition of thrown-and-distorted vases and decorated platters by Tim Andrews was presented recently at Century Galleries in Henley-on-Thames, Oxon.—Ed.

Ban Kajitani A kinetic sculpture, symbolizing people of different cultures and customs walking hand in hand, by ceramic artist Ban Kajitani , was installed recently at the Columbus College of Art and Design (C.C.A.D.). Composed of more than 300 nerikomi clay units capable

‘Culturescape ’86,” kinetic ceramic sculpture of moving in the wind, or at the hands of students, the columns (a 15-foot-tall hexa­ gon, a 10-foot pentagon and a 5-foot square) are supported by steel rods. Each 13x5-inch unit was hand pressed from colored stoneware and porcelain bodies. Af­ ter two days in the mold, the unit was re­ moved and sanded. After drying, firing was to approximately Cone 06 in a gas kiln. Located in front of the college’s new fresh­ man dormitory, “Culturescape ’86” is Kaji- tani’s second outdoor ceramic sculpture for the campus. 62 Ceramics Monthly A native of Japan, Kajitani apprenticed with ceramic muralist Yusuke Aida in Tokyo before coming to the United States to earn an M.F.A. from Utah State University. Since 1976, he has taught ceramics at C.C.A.D. in Columbus, Ohio. Michael and Rita Duvall Slip-cast whiteware with commercial glazes by studio potters Michael and Rita Duvall, Bear Lake, Michigan, was featured recently at the Works Gallery in Philadelphia. Char-

“Vessel with Construction” by Michael Duvall acteristic of many of Michael’s vessels in the exhibition, this 18-inch-high vase was as­ sembled from geometric elements in a collage manner. Also among the works on display were these teapots (Michael’s on the left, Rita’s on the

Slip-cast teapots, to 8 inches in height right), cast and assembled whiteware, with low- fire glaze decoration. Photo: Eric Shanoski. Joan Rosenberg “Jazz and Stuff,” a series of porcelain ves­ sels with mixed-media additions byJoan Ro­ senberg , Rydal, Pennsylvania, was exhibited at Camden County College in Blackwood, New Jersey, recently. “The vessel is the structure in which I float and juxtapose ele- Continued November 1986 63 64 Ceramics Monthly “immediately enchanted by the countryside. News & Retrospect I was looking for a place to settle at that time and Devon happened to be ideal.” Since es-

“Romex Raceway, 23 inches in diameter Thrown vases (“eyeballs”), to 4 inches in height ments to activate/alter the interior space,” tablishing a studio there six years ago, she explains the artist. “The results are whim­ has combined traditional Japanese forms with sical, alluding to dance, music and fantasy. Western raku firing techniques. Specifically, the works in this exhibition were “Raku originated in the latter half of the heavily influenced by the jazz I listened to 16th century in Japan,” Keiko explains, “the while creating these pieces.” original pieces being teabowls exclusively for use in the tea ceremony. These subtly irreg­ ular bowls are considered among the most Augusta Talbot important of the tea ceremony accouter­ For her sculpture environments, shown ments, being highly prized for their distinc­ through October 11 at Vanderwoude Tan- tive appearance and tactile qualities. With anbaum Gallery in New York City,Augusta the growing importance and popularity of Talbot creates “spaces, homes or shelters that the tea ceremony toward the end of the 16th somehow define or reflect a state of mind for century, additional pressure was put upon the figures inhabiting them.” Incorporated in Japanese potters to make other utensils such these mixed-media freestanding tableaux and as tea caddies, water jugs and incense boxes. wall reliefs are porcelain elements that are Introduced to the West in 1920 by the En­ cast, then detailed by carving. glish potter Bernard Leach , raku has since Chairs, animals, birds, fish and windows been redefined by American potters using re­ are common images. Often human figures duction firing techniques. are enveloped in layers of white gauze and “My raku pieces are gas-fired at approx­ plaster, or confined in some other way. In imately Cone 05 in a fiber kiln of my own

Augusta Talbot's untitled tableaux, with painted porcelain figures and chairs this 18-inch-wide untitled work, a bound design. When red hot, the pots are then ‘fumed’ figure is also confined in a wooden house/ with the aid of tongs, a process which gives cagelike structure. The figures have painted them their characteristic metallic surfaces. heads and hands; the cast porcelain chairs Although the pieces are almost exclusively and fish (on the house) are also painted. traditional Japanese forms, the metallic and colored glazes are in direct contrast to tra­ ditional raku. By using modern raku tech­ Keiko Hasegawa niques, I try to transform traditional forms Invited by a friend to work in Devon, En­ into modern Japanese originals.” gland, Japanese potter Keiko Hasegawa was Continued November 1986 65 66 Ceramics Monthly News & Retrospect came the dominant theme of the wall sculp­ tures in the ‘Memories’ series. In these pieces, there are frequent references to imprison­ A solo exhibition of Keiko’s raku ware was ment, symbolized by gates, windows and pat­ featured recently at Galerie 39 in London. terns of black-and-white stripes; and rail­ roads, symbolizing the ‘final journey’ to the camps. The colors allude to smoke and fire, Gretchen Ewert symbols of destruction, yet at the same time— Burnished earthenware vessels by Mas­ perhaps ironically so—they are vital ele­ sachusetts ceramist Gretchen Ewert were ments in the process.” among the objects on view in a mixed-media An exhibition featuring wall sculptures show at the Society of Arts and Crafts in from this series was presented recently at the Leventhal-Sidman Jewish Community Cen­ ter Starr Gallery in Newton Centre, Mas­ sachusetts. Forms, such as “Interiors” and “Towards Gate C,” were constructed from porcelain slabs draped and dried to leather hard over paper tubing, then cut into kiln- size pieces. After bisque firing, underglaze stains were applied and washed off; drawings Burnished vessel, 23 inches in length were subsequently developed with penned Boston recently. From the exhibition, this slab- and airbrushed underglazes. Finally, the high- built “Storage Jar” is 23 inches in length. fired pieces were assembled “like a collage, Photo: David Caras. Daisy Brand Born in Czechoslovakia, ceramic artist Daisy Brand came to the United States in 1963 and studied ceramics at the School of the Museum of Fine Arts in Boston. “In the first years, the struggle to achieve technical competence, along with the aesthetic con­ cerns of making functional pottery, left little time for anything else,” she recalls. “A switch from using rough, dark colored clay to a smooth, white porcelain had a decisive in­ fluence on the direction of my work. Colors turned lighter, more pastel, as forms became more delicate. But above all, the smooth, white surface of porcelain invited drawing and painting on it. “Somewhere along the road to gaining control over the material, experimentation with sculptural forms began. Over the years the wall sculptures dealt with different per­ sonal and universal concerns. Beginning in 1983, however, a deeply rooted and long- “Towards Gate C” 25 inches high, by Daisy Brand suppressed concern finally surfaced. My often interchanging various sections as the memories as a survivor of the Holocaust be­ work evolved,” then bolted and glued to ply­ wood backing. Easy Teapot Strainers The usual method of piercing the side of the teapot to form a strainer then adding the spout is expedient, but inevitably requires cleaning crumbs and burrs from the interior of the pot through the confines of the mouth. In the Kiyomizu tradition of Japan, strainers are made by throwing and trimming a small, shallow bowl. This bowl is then pierced and inserted into an opening cut on the side of the teapot to form a concave strainer. While this step adds considerable work, it does sim­ plify clean up, and looks beautiful. The fol­ lowing method combines the advantages of both techniques: First, the trimmed spout is positioned on the teapot and traced to mark a circular strainer area. This circle is then cut out with a fettling knife held at a 45° angle to the pot wall. Underglazed porcelain “Interiors ” 26 inches high Continued November 1986 67 68 Ceramics Monthly reality and grafting these things together.” News & Retrospect Favorite subjects include robots, guns, shoes, animals, birds, shrines and kitsch that she finds in her family’s homes, thrift shops, flea

Pierced and cleaned strainer cutout “Secrets (Vision of the Putti) ” Removed from the side of the pot, the strainer markets and Bronx boutiques. “Secrets (Vi­ cutout is easily pierced and cleaned. The cut­ sion of the Putti),” 26½ inches in height, with out is then reversed and reattached at the glazes, lusters, acrylic paint, flocking and scored opening (using a glancing stroke of glitter, is based on a cast of her own face and torso. Photo: Edgar Buonagurio. Scents and Non-Scents II Historically, perfumes have always been costly, and scent bottles have tended to reflect that fact in their design. Shapes evolved from simple containers with narrow necks into decorative and fanciful forms. In ancient Egypt, where there were laws requiring the use of perfume by all the citizens, ornate scent bottles were made from clay, glass and carved alabaster. Still function (the ability to store the costly fragrance) was of prime im­ portance. With its intention of “creating an imagi­ nation-charged atmosphere conducive to experimentation with traditional ideas,” the second annual “Scents and Non-Scents” ex­ hibition at Signature galleries in Boston and Hyannis, Massachusetts, was not limited to functional entries. Its only criterion was that the bottles be stoppered containers which im­ plied the function of scent bottles. A concave strainer from a reversed cutout The result was a variety of bottle forms the knife to pull clay into the joint) to form (classical, wearable, whimsical, funk and high a concave strainer. The spout is attached over tech) in traditional and nontraditional media the strainer in the usual manner. Text: Duff by 146 American craftspeople. Among the Bogen. ceramic works shown was the reclining fig­ ure bottle (below), 12 inches in length, by Toby Buonagurio 12-inch-long figure bottle by Dorothy Browning “I take my work seriously, but I think there has to be a humorous edge because it lightens it up and makes it palatable,” says Bronx artist Toby Buonagurio, whose handbuilt and slip-cast whiteware sculpture was exhibited recently at Monique Knowlton Gallery in New York City, and at the State University of New York at Stony Brook. “My work is about invention,” she ex­ plains. “It’s about tapping into fantasy and Continued November 1986 69 70 CERAMICS MONTHLY News & Retrospect artist Amy Goldstein-Rice were exhibited re­ cently at Savannah College of Art and De­ sign. “In preparation for my work, I spend part of my time painting and drawing,” Amy commented. “A sculptor friend once said, no matter what art form you’re involved in, you should keep a sketchbook. By taking her ad­ vice, I see an advancement in my forms. Sur­ face treatments and color are more a part of the work. The sawdust-fired forms, such as “Star­ dust Vase,” 9 inches in height, were bur-

10-inch “Scent Bottle” by Laney Oxman Dorothy Browning, Philadelphia; and this baroque stoneware bottle, 10 inches in height, with underglazes, glazes and luster, byLa­ ney Oxman , Reston, Virginia. Hilda Steckel 9-inch “Stardust Vase,” sawdust-fired earthenware “Sunday in the Park,” an exhibition of nished, decorated with slips and fired to Cone sunbathing, swimming and birdwatching ce­ 06, then glazed and fired to Cone 04. In the ramic figures by Long Island artist Hilda final hardwood sawdust (oak, hickory, etc.) Steckel, was featured at Bernice Steinbaum firing in a stacked brick kiln, “flashes of car­ Gallery in New York City through June 28. bon soften the unglazed exterior and enhance Displayed alone or in groups, these three- the crackle-glazed areas,” Amy observed. quarters life-size figures are slightly distort­ ed, either bulbous forms unashamedly ex­ posed by bathing suits or elongated as if Santa Barbara Invitational Vessels by ten American ceramists were featured in a recent invitational at Elizabeth Fortner Gallery in Santa Barbara. Among the works shown by Sonoma, California, pot­ ter John Curry was this wheel-thrown bowl,

Three-quarters life-size ceramic birdwatchers 17-inch-diameter bowl by John Curry stretching up to get a closer view. Shown 17 inches in diameter, with copper and bar­ from the exhibition are birdwatchers “Bar­ ium glaze. Often John’s designs are created ney,” 56 inches in height, and “Lorna the through the use of plants and leaves as sten­ Ornithologist,” 53 inches in height. cils. Amy Goldstein-Rice New England Ceramic Vessels Handbuilt porcelain cups and teapots dec­ In its first exhibition of American work, orated with geometric shapes in pastel un­ Westminster Gallery in Boston (which spe­ derglazes, slips and glazes, plus sawdust-fired cializes in British ceramics) featured clay thrown earthenware vases by South Carolina Continued November 1986 71 72 CERAMICS MONTHLY News & Retrospect vessels by six New England artists, whose styles range from functional to decorative, conceptual to ceremonial. Stephen Erspamer, of South Dartmouth, Massachusetts, describes his work as “con­ templative and a vehicle of self-reflection.” A member of the Marianist monastic order, he notes that his world “is enriched and sus­ tained by a wealth of symbols and rituals aimed at drawing the individual closer to self- knowledge. This does not happen without a certain degree of detachment coupled with a dose of good humor. It is my conviction that there is nothing in my life or within the tra­ ditions I choose that cannot be examined or questioned or occasionally laughed about.”

18-inch earthenware jar by Steven Erspamer Carved on his thrown earthenware platters, jars and teapots is “a language of ‘mix and match’ sacred and profane symbols. They flip- flop between the serious and the humorous to suggest the idea that things are not always as they seem at first glance.” Also on view in “New England Ceramic Vessels” through September 27 were sculp­ tural earthenware vessels by Christina Ber-

Christina Bertonis “Bindu,” 17 inches long tom, Providence; large thrown-and-altered vases with sgraffito lines through the glaze by Chris Gustin, South Dartmouth, Mas­ sachusetts; raku tripod forms by Richard Hirsch, West Newbury, Massachusetts; wood- fired covered jars by Karen Karnes , Morgan, Vermont; and porcelain plates, vases, teacups Please Turn to Page 79 November 1986 73 74 Ceramics Monthly A Multipurpose Glaze by Harold McWhinnie

Burnt Orange: One glaze can be made to serve many Cobalt Carbonate...... 0.42% masters. The potter can (without knowl­ Light Rutile...... 8.45% edge of glaze chemistry) formulate many variations with additions of opacifiers Red Brown: and colorants to a reliable base glaze. Red Iron Oxide...... 10.14% Simple substitutions can also affect the base glaze’s firing range, making it use­ A direct substitution of nepheline sy­ ful at a variety of temperatures. The fol­ enite for the Custer feldspar in the base lowing base recipe yields a palette of recipe will lower the firing temperature glazes at Cone 8-10, reduction; or, with to Cone 6. Fired in oxidation, the Cone one substitution, at Cone 6, oxidation. 6 nepheline syenite variations with the following additions are more satin matt Semigloss Base Glaze than semigloss: (Cone 8-10, reduction) Gerstley Borate...... 8.45% Soft White: Magnesium Carbonate...... 1.86 Zircopax...... 16.91% Whiting...... 15.30 Wood Ash...... 14.54 Sky Blue: Custer Feldspar...... 15.55 Cobalt Carbonate...... 0.85% Georgia Kaolin ...... 10.91 Copper Blue: Flint...... 33.39 Copper Oxide...... 1.69% 100.00% Color variations are possible with ad­ Mauve: ditions such as the following: Manganese Dioxide...... 5.07% White: Soft Red: Zircopax...... 16.91% Red Iron Oxide...... 5.07% Copper Red: Speckled Violet: Tin Oxide...... 1.69% Rutile (granular)...... 1.69% Copper Oxide...... 1.69% One could also experiment with other Deep Blue Green: colorant additions to either the Cone 8-10 Cobalt Carbonate...... 0.85% base or the Cone 6 base for a rainbow Copper Oxide...... 1.69% of compatible glazes. Temmoku Black Gloss: The author A frequent contributor to Cobalt Carbonate...... 1.69% Ceramics Monthly; Harold McWhinnie Copper Carbonate...... 1.69% is on the faculty at the University of Red Iron Oxide...... 16.91% Maryland in College Park. November 1986 75 76 Ceramics Monthly New Books

The Potter’s Dictionary of exhibition. A full page is devoted to a pho­ Materials and Techniques tograph of each object, together with title, by Frank and Janet Hamer size and technical information plus a brief A revised, expanded and updated version of artist’s biography in German. 252 pages in­ the 1975 edition, this dictionary of ceramic cluding alphabetical list of participants by terminology identifies clay and glaze mate­ country. 5 color photographs; 207 black-and- rials, their sources and their behavior during white images. $30, plus $4 shipping. Hand- forming and firing processes; forming and werkskammer Koblenz, Friedrich-Ebert-Ring decorating methods; equipment; historical 33, 5400 Koblenz, West Germany. precedents; etc. Included are “key words and phrases which give immediate access to short Basic Ceramics articles. Each article [listing] specializes un­ by Benjamin Steinzor der its own heading, and related articles are cross referenced.” In this new edition, much Book publishers have over the past few years of the information has been rewritten for been shying away from general introductory clarity or expanded to incorporate new texts, so the appearance of this book may be knowledge, such as developments in kiln in­ taken as a sign of the revival of interest in sulation and precautions in the handling of learning ceramics. In writing this text for toxic materials. Descriptions of particular beginners, the author concentrates on ex­ compositions, such as Egyptian paste and Jun plaining the basics of working with clay, while (Chun) glaze, frequently include sample rec­ establishing “perimeters around each subject ipes; while processes and tools are usually to avoid confusing and diverting the learner.” illustrated with black-and-white photo­ Starting with a brief introduction to the char­ graphs, and technical points are accom­ acteristics of various clays and clay body com­ panied by drawings, charts and diagrams. position (with sample recipes), the author of­ Dictionaries such as this one, and Robert fers how-to instruction on handbuilding, Fournier’s Illustrated Dictionary of Practical throwing, decorating, glazing (again with Pottery, offer quick answers to a majority of sample recipes) and firing. Black-and-white technical problems that occur regularly in photographs and line drawings illustrate pro­ the studio or classroom. Unlike a word dic­ duction steps, standard pottery forms and ap­ tionary, they may be read with a high degree propriate equipment. Photo examples of con­ of interest and seem to fit our typical way of temporary and historical works are also gaining general understanding without a large provided. 186 pages, with glossary, annotated commitment of time. 374 pages, including an reading list and index. 16 color photographs; appendix of 42 tables, bibliography and list 218 black-and-white illustrations. $21.95 of suppliers. 600 black-and-white illustra­ (softcover). Prentice-Hall, Inc., Englewood tions. $37.50, plus $2 postage and handling. Cliffs, New Jersey 07632. Watson-Guptill Publications, 1515 Broad­ way, New York City 10036. Ceramics and Civilization Technology and Style Salzbrand Keramik ’86 edited by W D. Kingery Published in conjunction with the “Salz­ The second volume in a series compiled from brand ’86” international competition spon­ the proceedings of the American Ceramics sored every three years by the Handwerks- Society’s 1985 symposium on ceramic history kammer Koblenz in West Germany, this and archaeology, this book examines the in­ catalog/book includes essays (in both En­ teraction of technology and style, the changes glish and German) on early American salt- effected by one or the other over a period of glazed stoneware by Georgeanna Greer; time. Included in the text are 12 archaeo­ modern American salt-glazed works by Phil­ logical studies focusing on pottery from the lip Gearheart; historical stoneware from Near East, Thailand, Britain, Corinth and Germany’s Westerwald district by Uwe Finke; North America. There is also a study of and salt glazing in Great Britain by J.V.G. Chinese porcelain which provides chemical Mallet. In addition, a more technically ori­ analyses, empirical formulas and physical ented essay by Wolf Matthes discusses the properties of 25 porcelain bodies produced broadening spectrum of salt-glazed ceramics: during the Tang, Song, Yuan and Ming dy­ “One sees technical and artistic experiments nasties. The final four papers discuss the in­ with various bodies and finishes, i.e., with fluence of Korean ceramics on Japanese ware coarse, impure stoneware, with fine porce­ following the Pottery Wars (1592-1598); the lain bodies fired at very high temperatures, transition frpm famille verte to famille rose or with raku clay fired at very low temper­ overglazes in 18th-century China; the evo­ atures in connection with a smoky firing.” lution of sail glazing in Germany; and de­ To explain the wide variety of results doc­ velopments at Sevres and Meissen during the umented by the exhibition, Matthes de­ 18th and 19th centuries. 417 pages with au­ scribes methods of firing; the introduction of thor and subject indexes. 4 color plates; 150 different types of salts; coloring agents; and black-and-white photographs; 35 drawings; methods of applying and producing the color. 85 tables and figures; 15 maps. $55. The The majority of the text catalogs works American Ceramic Society, 65 Ceramic Drive, (by 190 potters from 20 countries) in the Columbus, Ohio 43214. November 1986 77 78 CERAMICS MONTHLY News & Retrospect Continued from Page 73 and saucers with painterly decoration byAnne Smith, Somerville, Massachusetts. Photos: Dean Powell and courtesy of Westminster Gallery. Karnes/Makins/Takamori An exhibition featuring the works of Kan­ sas City Art Institute summer workshop leaders Karen Karnes , Morgan, Vermont; James Makins , New York; and Akio Taka­ mori, Helena, Montana, was presented at the college’s Charlotte Crosby Kemper Gal­ lery. On display were Karnes’s wood-fired stoneware jars, Takamori’s figure vessels and

Colorful porcelain servers by James Makins Makins’s brightly glazed functional porce­ lain, such as these beverage servers and the covered jar on a platter, approximately 2 feet in diameter. Photo: D. Monaghen. J. Paul Sires Stoneware and terra-cotta sculptures by J. Paul Sires, director of the clay program at Spirit Square Art Center in Charlotte, North Carolina, were exhibited recently at the Be- mis Project in Omaha, Nebraska, and at Kent State University in Ohio. Assembled from slabs ram cast in an oiled wooden frame (see the February 1986 CM, page 63), the forms

Terra-cotta “house” and stoneware “vase” forms are carved and/or brushed with slips. Shown are a “house” and two “vases,” to 6 feet in height, made during Sires’s spring residency at the Bemis Project. “My works reflect an interest in ceramics as an historical document and the traditional images and symbols re­ lated to this,” he commented. November 1986 79 Comment Continued from Page 21 bats. They were centered very low, then opened out with doubled thumbs and pulled across (at 6 o’clock) with three fingers of the right hand supported by the same three fingers of the left hand. We made all our tools. A wooden rul­ er, sawed in two at a 45° angle, became a tool to cut the base of a cylinder. A bodkin in a champagne cork became a trimming needle. Disks of marine ply­ wood were cut, beveled, sanded and oiled to become throwing bats. Another ruler was cut and hinged to become a measure for height and diameter. We also mea­ sured our hands and arms. By knowing that my left middle finger is 3½ inches long, I saved much time and energy in making numerous 31/2x3-inch cylinders. With the addition of a paring knife, spoon, fork and sponge filched from the kitchen, we had a superb starting kit of tools. Later, when we had learned to trim a foot, we fashioned appropriate tools from baling straps and duct tape. Roy thought it was important to in­ still a sense of self-sufficiency, economy and inventiveness. To this day, much of what he taught us has remained with me, though translated into other areas. I will be forever grateful that I had the opportunity to study with him. The author Susan Sauerbrun main­ tains a studio in the Bronx, New York.

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