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

2 CERAMICS MONTHLY March 1993 3 4 CERAMICS MONTHLY VOLUME 41, NUMBER 3 • MARCH 1993

Feature Articles

Low-Fire Redware Bodies by Jonathan Kaplan ...... 27

Carmen Dionyseby Fons De Vogelaere ...... 32 Andrea Gill ...... 36 Merging Cultural Diversities by Marvin Sweet...... 40 Anne Hirondelle ...... 41 Third Swiss Triennial by Frank Nievergelt...... 42 Cheops by Frans Henk Hoekstra ...... 44 Andrea Gill (associate professor of art at the New York State College of Ceramics at Royce Yoderby Rick Malmgren ...... 46 Alfred University) applied vitreous engobes for figurative, floral and abstract imagery onTibetan Potteryby Barbara Nimri Aziz...... 52 earthenware vessels shown at Swidler Gal­ Martin Smith...... 57 lery in Royal Oak, Michigan; page 36. Syd Carpenter and Steven Doneganby Robin Rice...... 58 A Pollution-Free Salt Kiln Janet Mansfield shares complete plans for an ecological stack A Pollution-Free Salt Kiln by Janet Mansfield...... 89 scrubber and kiln; see page 89. Up Front

In Prayse of Potts ...... 12 How “Green” Is Your Coffee Cup? ...... 12 Ariane Lei ter by GuylaAmyx ...... 12 Ruggles and Rankin ...... 14 Ancient Japan ...... 14 Tom Smith ...... 14 Rene Murray ...... 16 Fran Scott ...... 16 Roger Honey ...... 16 Service in Style ...... 18 Renate Hahn ...... 18 California Collegiate Ceramics Competition ...... 20 Royce YoderHow does a potter working alone without special equipment make a Sachiko Kawamura ...... 20 good living from quality functional ware? Carrie Anne Parks ...... 22 As many have discovered, talent and hard Suzanne Volmer ...... 22 work are not always enough. To these traits Richard Garriott-Stejskal ...... 22 Yoder adds efficient production methods and good business practices to achieve suc­ cess; see page 46. Departments The cover Philadelphia artist Syd Carpen­ ter (photographed with a twisted root form Letters ...... 8 Suggestions ...... 86 in progress) draws inspiration from many of Classified Advertising ...... 92 the same sources as Steven Donegan, but Video ...... 24 that’s where the similarity in their daywork Call for Entries ...... 65 Comment: ends, though they’ve been together for over The Year of American Craft? 16 years. An article about this enterprising Questions ...... 70 by Paulus Berensobn ...... 94 couple begins on page 58. Calendar ...... 72 Index to Advertisers...... 96

March 1993 5

Letters mance raku to “Clayton Bailey and his stu­ that it is possible to work safely with glazes dents,” and a rave review credited Bailey forincorporating a raw (white or red) lead, provided video I produced and edited. For a 1992 that the ceramist is well informed and practiced geyser bottle performance, Bailey physically in glaze formulation, materials handling, firing Crate Credited for CM Cover Citation stole one of my steam engines and had copiesand studio hygiene. Just wanted to write and share my excite­ of some others made to display at that show. Some very fine glazes simply can *t be made ment. Thank you so much. After making I have complained many times toCSUH without the inclusion of materials considered ceramic work for over 25 years, something ofover the last five years or so, trying to get potentially hazardous to the ceramist. In addi­ mine made the cover ofCeramics Monthly Bailey straightened out, but he continues tion, the issue of materials toxicity is more [January]. Dan Keegan is sitting on one of making false claims and harassing me. So far, complex than individual compounds being my crates and, what’s more, is using it as a two department chairs, two deans and a vicelabeledgenerically toxic, then avoided in order pedestal for his work. president have heard this complaint. The to eliminate risk. It is possible to mix toxic I have made these crates for my large result is a very serious investigation in processcombinations of individually nontoxic materi­ plates for years and always demanded that at CSUH, and it is inappropriate for NCECA als, as well as nontoxic combinations of toxic galleries send them back or pay me the close- to let this event happen now. However, the materials. Those working in a state of ignorance to-$60 that it costs in time and materials to [NCECA] board refused to hear my com­ must beware in this or any other pursuit. make them. I might as well have farted in theplaint because Bailey is an NCECA Fellow With that in mind, CM will continue to wind as far as all that went, because the and they “don’t want to be involved in per­provide information to foster better understand­ galleries, seeing a good crate, just pilfered onesonal disputes.” I can provide detailed proofing and knowledgeable handling of all materi­ after the other without regard for my time or that what I say is true. als. If we refused to publish all recipes expenses. So there are many people who have Jerry Crimmins, Oakland, Calif. containing lead or other hazardous materials, them, and I get calls from fellow potters on a newcomers to the field might neither see pub­ regular basis saying how nice it is to have Don’t Publish Lead Recipes lished warnings about handling or firing nor be such a fine crate. I was disappointed to see (in the January aware of the dangers from exposure to leachable Anyway, I’ll be sure to include this on the issue) an article giving recipes for glazes materials. (The field’s low-fire literature is filled next printing of my resume. containing raw lead. with lead recipes that will not disappear even if Frank Boyden, Otis, Ore. We live in a time of increasing awareness we stopped publishing lead recipes.) of environmental, consumer and health In the broadest context, making ceramics Perfidious Performance? issues. The dangers of exposure to even veryinvolves risk from many sources—equipment in I am writing in regard to an article I wrotesmall amounts of lead are becoming more motion, electricity, radiation and combustion, for the May 1992 issue of CM, called “Gey­ well known, and the thresholds of exposure to name just a few. These sources of risk can and ser Bottle Performance Raku.” Shortly after that are considered safe are being revised have caused dismemberment, electric shock, its publication, some of the participants in downward. CM readers know that new laws cataracts, burns and death, although they past performance raku shows began insulting were recently passed to strictly regulate lead usually do not. me, calling me a thief, even slandering me torelease in dinnerware [see the Up Front We do urge those interested in mixing glazes students. article, “Potters Hit by California Lead Law,”to take the time to learn basic ceramic chemis­ Chief among those people are Clayton in the September 1992 CM]. try, at least to the point of recognizing poten­ Bailey and Fernando Hernandez, who are Meanwhile, ceramic and glass manufac­ tially hazardous materials. An easy-to-read mentioned in the [National Council on turers, from the largest industries to studio reference is Robert Fournier’s Illustrated Dic­ Education for the Ceramic Arts] advertise­ artists, are desperately looking for ways to tionary of Practical Pottery (available through ment for “NCECA ’93—Pacific Rim” in the comply with regulations and to reassure an the CM Book Department). December issue of Ceramics Monthly as two increasingly wary public. We are committed to keeping you up to date of the presenters for a closing event called I do not believe that it is enough for on materials toxicity. And whenever possible, we “Geyser Bottle Blow-Out.” This should havemagazines and glaze books to amend general­will list viable alternatives to potentially toxic been titled “Geyser Bottle Rip-Off,” because ized warnings to lead glaze recipes, which materials, as in the article in question where this show plagiarizes my artist-in-residency may be used by people of varying levels of author Harold McWhinnie noted (preceding work at California State University-Hayward experience and knowledge. Students, in the recipes) not only the potential hazard of lead (CSUH) in 1987-88. I produced the first particular, are notorious for ignoring such leaching from a glaze, but also suggested some geyser bottle performance raku shows, videos,warnings, and all sorts of materials are avail­reasonable substitutes for white lead.—Ed. etc., at my own expense. I invented the able in school glaze labs. ceramic steam engines that run without I believe it is time forCeramics Monthly, Thinking Functional Is Limiting human intervention; they are crucial to this as an influential voice among studio potters, I just subscribed to CM last fall to find work and power about 90% of the show. to show its concern for the environment andout what’s happening in the pottery scene in Bailey has already said he intends to use thesethe safety of both potters and consumers by America, and so far have been enjoying and engines at NCECA ’93. establishing a new policy. CM should declare learning from the stories and even the adver­ Clayton Bailey has a bad habit of showing that it will no longer print recipes containing tisements. But what’s all this worry about my work and letting people believe it is his. raw (and perhaps even fritted) lead. Perhaps “functional” and “nonfunctional” pottery? I In some cases, it is even called his. In 1989, ceramics suppliers would follow suit by just don’t see the point of all the fuss. the NCECA “Raku: Transforming the Tradi­dropping raw lead from their catalogs too. Do potters in America have to make so- tion” exhibition credited geyser bottle perfor- DanielMehlman, Delmar, N.Y. called nonfunctional pieces to prove them­ selves as artists? Perhaps it’s due to the Share your thoughts with other readers. All letters CM would rather that lead not be used in unfortunate fact that pottery in the U.S. is must be signed, but names will be withheld on glazes (or if ceramists must use lead, that they widely thought of as a craft, not a form of art. request. Mail to The Editor, Ceramics Monthly, work with a frittedform) because of the well- If you think of yourself as a “functional Box 12448, Columbus, Ohio 43212; or fax to documented health risks. Be that as it may, it potter,” aren’t you putting certain limits on (614) 488-4561. would not be truthful if we didn’t also point out yourself? Just because you are making an

8 CERAMICS MONTHLY March 1993 9 Letters tember 1992 issue] said if you’re going to fire pots, something has got to burn. Steven Olszewski has a good sense of humor. He was object that is for practical use doesn’t make not looking for sympathy from Steven Branf­ you any less of an artist. man, who has none—nor a sense of humor. The makers of all these cups, dishes, Also about the January “Quality versus lamps, etc., should concentrate more on Quantity” letter: Kim Allen, you are a studio putting their inspirations and souls into their potter. I was a production potter throwing work and less about categorizing themselves.ware—bowls, cups, canisters, vases, etc.—for We are all artists if we want to be. The key is ten years. I threw an average of 25,000 pots the attitude we take toward the work we do. per year out of 45 tons of clay. (I can docu­ Linda Dirks, Kagoshima, Japan ment this.) I did not load, fire, glaze or deco­ rate these pots. I now have been doing studio Perseverance Pays throwing for two years, which I like more, I enjoyed Sara Reres’ Comment article but as a studio potter I work a lot harder than [“The Natural”] in the January issue. I have I ever did throwing production. been teaching clay for (gulp) 30 years, and it I have the highest respect for studio pot­ never ceases to amaze me how the clumsy ters, and people who press pots have no ones (at first) go the long haul. I had a business being in a handmade art show. Was clumsy beginner tell me he was going to be a this show juried? If not, that’s how they got potter almost 30 years ago. (No way, I said toin; maybe Allen should focus on doing juried myself.) Today, he is one of our top potters. shows. Last semester, a beginning student signed Rusty Makely, Costa Mesa, Calif. up for my Ceramics I class, and also talked me into letting her into my Advanced Ce­ I can only assume that Steven Branfman ramic Sculpture class, grad students and all. has never met Steve Olszewski. How anyone Well, she got an A in both classes. You nevercan read his letter about that terrible fire and know. I quit trying to figure it out. not see it as “tongue-in-cheek” is beyond me. So, if you’re clumsy and having a hard That Steve was able to write about it so time, good! Maybe you’ve got what it takes. humorously is a tribute to his level-headed, Jolyon Hofited, Shady, N.Y. accept-it-as-history attitude. Life goes on. In fact, those impressionable potters out Computer Glaze Format Standards there got a good warning about studio safety During a glaze panel discussion at the and the need for good insurance coverage, 1992 Philadelphia meeting of NCECA (Na­ though couched in humorous terms. tional Council on Education for the Ceramic I wish Steve good fortune as he rebuilds Arts), glaze calculation software sparked a his business. I, for one, will be more careful high level of excitement. At the session, around my studio, thanks to him. Richard Burkett demonstrated Hyperglaze II Rusty Miller, Tallahassee, Fla. on a Macintosh computer. Also discussed were other glaze calculation programs using More Insight on State-of-Clay IBM-compatible computers. A suggestion It has been ages since CM published an was made that a national or international article that assesses the state of ceramics from standard be developed so that glazes could bea historical perspective, one that could have easily exchanged between ceramists. been written by Michael Cardew or Harry The suggestion struck a resonant chord in Davis. Possibly Warren MacKenzie, David many potters attending the session. After theLeach or John Glick could cast a penetrating conference, an enthusiastic group of people gaze and come up with some insights. began to organize and talk about potential Paul Weinberg, San Francisco benefits of such an undertaking. This work­ ing group now plans to meet at the March How Dare They! 1993 NCECA meeting in San Diego and I totally agree with Erik Mandaville’s more formally adopt some specific goals and comments (CM Letters, December 1992). standards for the coming year(s). How dare those artists push the definition of If you would like to add your name to the a teapot! list of people who have expressed interest in How dare those artists express their imagi­ sharing the process andlor benefits, please nation and creativity by destroying the func­ send me your name. tionality of the teapot! Bob Feder How dare Peter Voulkos, Robert Arne- 5 Arvidale son,Rd. Ken Price, Betty Woodman and Adrian Warren, N.J. 07059 Saxe (just to name a few) rape the vessel form for the sake of artistic expression! Branfman Just Didn’t Get It How dare anyone try to push the enve­ In reply to a letter in the January CM, lope of existence! “No Sympathy Here”: The original letter Mediocrity forever! [about a disastrous studio fire; see the Sep­ Pat Kwan, Osaka, Japan

10 CERAMICS MONTHLY

Up Front rated pottery from Randolph and Moore counties (home to the potteries of Seagrove and Jugtown). Also on display were wares made by four generations of the Cole family, plus pots by Dot and Walter Auman. Many were In Prayse of Potts one-of-a-kind items that Dot made for fun or family. Milk pans, flasl^s, plates, jars, churns and headstones were among the 165 examples of North Carolina pottery presented in How “Green” Is Your Coffee Cup? the exhibition “In Prayse of Potts: A Tribute to Dorothy and Potters have argued for decades that it is much more ecologically correct to drink coffee from a ceramic cup than one made of polystyrene. Nevertheless, an exhaustive study undertaken by Holland’s environment ministry says that’s not necessarily so if one factors in the full resource requirements of each—particu­ larly the adverse environmental effects of washing the ceramic cup. To wash a porcelain cup and saucer once, in an average dishwasher, has a greater impact on water quality and usage than the entire life cycle of the disposable cup. As noted in the Economist {August 1, 1992), “the report looks at the life cycle of the cup from cradle to grave: from the extrac­ tion and processing of raw materials through production and use to final disposal. It takes account of the consumption of raw materials, the use of energy (for processing, transport and cleaning), the output of hazardous substances into the air and water, and the volume of rubbish created (assuming 40% is incinerated).” The Dutch study concluded that determining whether it is greener to drink coffee from a china cup and saucer or a polysty­ rene cup depends on how many times the china is used and washed. The average life expectancy of a caterer’s china cup and saucer was estimated at 3000 uses. Washing between each fill-up would require 1800 uses before it would have less impact on the air than a polystyrene cup. Refills bring the usage number down to 114 to beat polystyrene on energy consumption, and only 86 before it does less damage to the air. There is one way to make the two vessels ecologically equiva­ lent, says the Economist. “Allow a fine patina of old coffee to Salt-glazed stoneware pitcher, wheel thrown, incised decoration, 1-gallon capacity, by Chester Webster, circa develop around the inside of the mug. It may not be hygienic, 1870; at the Mint Museum of Art in Charlotte, North Carolina. but it is good for the planet.”

Walter Auman” at Charlotte’s Mint Museum of Art through Ariane Leiter February 28. Prior to their deaths in an auto accident just over a by GuylaAmyx year ago, the Aumans were well known as practitioners, promot­ A solo exhibition of clay and bronze sculpture concerned with ers and preservers of North Carolina’s pottery. transition and transformation by Ariane Leiter at Cuesta College A fourth-generation, Cole-family potter, Dot Auman began Art Gallery (San Luis Obispo, California) was aptly entitled collecting regional pottery as a young woman. After their “Metamorphosis.” The process of forming clay and bronze marriage, she and Walter established their own Seagrove Pottery, always involves a degree of metamorphosis, but Leiter’s work and continued to collect pots and documentary materials, goes beyond the obvious, merging concept with form.Continued representing nearly every North Carolina pottery in business from the 1830s to the 1950s. Ten years ago, the Mint Museum arranged to buy almost 2000 pots from the Auman collection. On moving day, it took over 300 pounds of white packing paper, 130 cardboard boxes and an 18-foot truck to transport the ware to Charlotte. “In Prayse of Potts,” the first exhibition drawn from the museum’s greatly expanded folk pottery holdings, was intended to convey the depth and breadth of the Auman collection. Associate curator Daisy Bridges selected early earthenware, salt- and alkaline-glazed stoneware produced in the Catawba Valley and Asheville 19th-century traditions, plus 20th-century deco-

You are invited to send news and photos about people, places or events of interest. We will be pleased to consider them for publication in this Installation of “Metamorphosis” by Ariane Leiter, clay or column. Mail submissions to Up Front, Ceramics Monthly, Box 12448, bronze forms, to 81 inches in height; at Cuesta College Art Columbus, Ohio 43212. Gallery in San Luis Obispo, California.

12 CERAMICS MONTHLY March 1993 13 Up Front potters also developed elaborate decorative tech­ niques, such as impressing The cone shape, prevalent throughout the works in the or rolling textured cord or exhibition, is transformed from humble miniature size to notched sticks into the clay. monumental scale. Large clay cones were installed upright, Sap from the lacquer tree anchored by bases reminiscent of parched earth or cracked rock was used by potters not formations. The general upward spiraling of the sectioned clay only to waterproof their pieces created a clear visual reference to the vessel form and vessels but to decorate metaphorical reference to the human form. them as well. Though larger than life, these forms invite the viewer closer. Beginning in the Late “I want to hug it,” remarked a guest at the opening in response Jomon period (1500-1000 to the soft buttery glazes on the warm red clay and the round- B.C.), complete human ness of the forms. figures were made to be In contrast, the large bronzes were presented in reclining used in fertility and healing positions on minimal horizontal pedestals. This produced a rituals. Later, hollow figures visual transformation from the vertical clay pieces that flowed were used as burial contain­ comfortably throughout the gallery. ers for infants. Ceramics from the Ruggles and Rankin Yayoi period (400 B.C.- The Clay Studio in Philadelphia featured a February exhibition A.D. 250) were decorated of functional stoneware by Will Ruggles and Douglass Rankin with red iron oxide and (Bakersville, North Carolina). Since establishing Rock Creek smoothly finished. It was Pottery in 1980, they have concentrated on producing strong, Haniwa figure, approximately during this time that 27 inches in height, handbuilt wheel-thrown, sometimes faceted, wood-fired forms. earthenware, late Kofun bronze objects and bronze- As low-technology potters, Ruggles and Rankin have period, sixth century A.D., casting methods were adopted processes, such as mixing their own clay and glazes and excavated from Tsukamawari introduced to Japan from worldng on a Korean-style kick wheel, that are fundamental to Kofun, Gumma Prefecture, China and Korea. Japan; at Arthur M. Sackler The Kofun period Gallery, Smithsonian Institution, Washington, D.C. (A.D. 250-600) is known for its Haniwa figures, large clay depictions of animals, people, houses and other objects, which were placed on tiers around the top of burial mounds. Later tombs contained ceramics known as “Sue” ware; it was made of gray clay fired at high temperatures, a technique that had been imported from southern Korea.

Tom Smith Canadian potter Tom Smith recently received a $10,000 Strath- butler Award from the Sheila Hugh Mackay Foundation in Rothesay for his contribution to the arts in New Brunswick. The award is given annually following a review of nominations by a panel of peers. Active in ceramics for more than 30 years, Oval serving dish, wheel thrown, 9 inches in length, wood- fired stoneware with cut foot, by Will Ruggles and Douglass Smith recalled his beginnings and commented on his current Rankin: at the Clay Studio in Philadelphia. work in a statement submitted to the panel: the warmth and spontaneity of their art. “Our quest for a good “In the 1930s and ’40s one pot involves soft clay, slow wheels, wood firing and response to had to be in a rather special or these influences,” they commented. unusual place to think of growing up to be a potter. And Ancient Japan a middle-class schoolteacher’s “Ancient Japan,” an exhibition of 258 objects dating from as family wasn’t one of those. But early as 200,000 B.C. to about A.D. 700, was presented recently by age eight, I’m quite certain at the Arthur M. Sackler Gallery of the Smithsonian Institution I knew I would be an artist of in Washington, D.C. Made of stone, clay, wood, bone, lacquer some kind. and bronze, most of the objects came from 63 sites excavated “It was quite a few years since 1970. Archaeological excavation often precedes construc­ later, after studying architec­ tion projects in Japan, and more than 20,000 new sites are ture and art education and investigated each year. Canadian potter Tom completing military service, Through these investigations it has been determined that Smith, Saint Andrews, New that I discovered clay and Brunswick, received a Japanese ceramics production began around 10,500 B.C., during $10,000 Strathbutler pottery. That was October the early part of the Jomon period (10,500-400 B.C.). Although Award for his contribution 1956 in a chance encounter undecorated, utilitarian ceramics were most common, Jomon to the province’s arts. with an article in the magazine

14 CERAMICS MONTHLY March 1993 15 Up Front dence over ideas. What is ultimately important is the work itself, and not the process used to achieve it. I continue to strive for the monumental’ in that 4-inch teabowl.” Craft Horizons, while I was taking a required course in pottery, and I remain fairly obsessed with the medium today. Rene Murray “The article was about Peter Voulkos and his first explora­ Fifty sculptural vessels by New York ceramist Rene Murray were tions into abstract expressionism. Voulkos’ work and teaching exhibited recently at Home Pottery in Brooklyn. Murray begins traveled worldwide over the next decade.... work by rolling out stoneware slabs. On these are arranged “By 1959, after two years teaching, I was a graduate student majoring in pottery at the New York State College of Ceramics at Alfred University. By that time, the school’s reputation was immense and attracted students and visiting instructors from around the world. It was an exhilarating time to be there and an exhilarating time for crafts in general. The question of art versus craft was never more immediate. Although most of my work was largely pot related, function wasn’t one of my major con­ cerns (if at all). The school of‘rip and tear’ and brutal, expressive pots were as exciting as the paintings of Franz Kline and Willem de Kooning. We were talking about form and expression.

Rene Murray’s “Flat Finger Bird Vase,” 15 inches in height, assembled from stoneware slabs (with inlaid porcelain) and wheel-thrown “fingers”; at Home Pottery in Brooklyn.

colored porcelain patterns; when satisfied with the arrangement, she fuses the porcelain and stoneware with pressure from a rolling pin. The slabs are then formed into covered “fish jars,” rounded “English horn vases” and “winged bird vases.”

Fran Scott Handbuilt colored porcelain vessels by resident artist Fran Scott were featured in “Colored Rhythms,” a recent solo exhibition at the Clay Studio in Philadelphia. Drawing inspiration from nature, she works with “simple designs, such as stripes, checker- Tom Smith raku vessel, wheel thrown with handbuilt addition, approximately 20 inches in length.

“Over the ensuing years, things have become tempered, moderated and, hopefully, have grown and developed. During more than 20 years of full-time teaching, growth was sometimes an elusive quality. Even so, by the early 1960s, I was exhibiting nationally in the U.S. On moving to Canada in 1971, I began working more intensely, producing as much as my job and family allowed, and exhibiting regularly. “In 1982,1 resigned my position at the University of New Brunswick, and moved to Saint Andrews with the intention of establishing a full-time pottery studio. That became a small reality by the summer of 1983, and a retail shop/gallery the following year. Expansion over the past few years has allowed us to show the work of a few other craftspeople. Fran Scott bowl, 14 inches in diameter, slab built from dark “I am currently producing a range of work, from functional green porcelain; at the Clay Studio in Philadelphia. to purely sculptural. That early exposure to the new ceramics’ of the 1950s and early ’60s continues to influence my work and, to boards and other symbols,” translating them into “something a large degree, shapes my thinking, although it is no longer so that is not a copy of nature, but is reminiscent of it.” Geometric apparent in the final results. I am excited by the juxtaposition of forms, such as the bowl shown above, also reflect her fascination seemingly disparate elements and the visual delight in the with the designs of traditional American Indian pottery. unexpected tear in that perfectly circular rim. “The move to raku in the early 1980s, after years of working Roger Honey primarily in stoneware, proved to be fairly significant in that it Raku teapots by Roger Honey (Elsah, Illinois) were among brought new excitement to the working and, through coming to works shown in the “Fourth Annual Teapot Show” at A. Hou- terms with this elusive process, new excitement to the work. It berbocken, Inc., in Milwaukee. Honey’s teapot series was the also became a generator of new ideas and demanded a much result of a recent stay in Southern California, close to the Santa closer relationship with the fire. Craftspeople have to be very Ynes Mountains, where he researched special projects for a careful about not letting their skill and techniques take prece- giftware company. Continued

16 CERAMICS MONTHLY March 1993 17 Up Front elaborate in design and monumental in size. The largest, up to 3 feet in height, were referred to sardonically by the Germans as “pomposity pieces”—something for the makers of overblown vessels to think about even today. “The royal families were so competitive, they had tureens for any menu,” remarked Ralph Collier, president of the Campbell Museum. “If your nose didn’t tell you what was inside, the tureen often did.” In fact, royal patronage was behind the success of many of the major porcelain manufacturers (Vincennes, Sevres, Meissen and Chelsea, for example). It was a 1000-piece swan service designed by Johann Kaendler at Meissen that made animal­ shaped tureens the fashion rage; and the tureen from the swan service was among vessels displayed at the Mint Museum. Also shown were tureens in the form of rabbits, chickens, a Chinese version of a Western cow, a boar’s head complete with fangs and a tubful of fish.

Renate Hahn Vessels and sculpture by German ceramist Renate Hahn were exhibited recently at Galerie Artcadache in Vallorbe in Switzer­ land. In the earlier lidded bottles and double-walled bowls (with Roger Honey’s “Generic Santa Ynes Teapot,” 12 inches in height, slab built, raku fired; at A. Houberbocken, Inc., in Milwaukee.

“I had an urgent need to express some kind of feeling other than the clinical aspect of hydraulic pressing and mass produc­ tion,” he noted. “Texture, strata, balance and foundation were some of the qualities I worked toward, together with those unconscious loves that emerge in the creative process.”

Service in Style Over the centuries, the soup tureen has been rendered in a variety of realistically detailed shapes (some vegetable and animal designs hint at the dish’s ultimate contents), as seen in “Service in Style: Regal Soup Tureens” at the Mint Museum in Charlotte, North Carolina, through January 3. The 100 tureens, ecuelles (covered broth bowls), soup plates and ladles on view were drawn from the collection of over 400 examples from through­ out the world housed at the Campbell Museum in Camden, New Jersey. Introduced during the late 17th century, tureens were soon the centerpiece of the formal French dining table. As status Renate Hahn, thrown, double-walled form, approximately symbols for the affluent of the 18th century, they became more 6 inches in diameter, with crackled, nepheline syenite glaze, reduction fired to Cone 9 in a gas kiln; at Galerie Artcadache, Vallorbe, Switzerland.

glazes reduction fired to 1280°C [2336°F] in a gas kiln), Hahn was more interested in “reducing forms to the very simplest to let the glaze develop its beauty.” From these forms, she progressed to more sculptural vessels focusing on movement. “I...was inspired by the natural move­ ments and foldings of my countryside,” she explained. Subsequent work evolved in two directions: the thrown and altered, double-walled forms were saggar fired with salts and iron oxides for earthtone colors, while vertical forms with raku glazes became more figurative. “The sculptures I call Tkone’ were inspired by the bottle; they keep their cylindrical shapes, but suggest movement at the top part of the body.” Although she enjoys working with clay, Hahn has restricted Tin-glazed earthenware tureen in the shape of a tubful of fish, herself to making very few pieces, in part for environmental by Italian designer Thomas Brunetto, produced at Rato Pottery reasons. “I very rarely make more than five pieces of each kind, near Lisbon, Portugal, circa 1770. to assure the uniqueness of the work,” she explained. “I also

18 CERAMICS MONTHLY March 1993 19 Up Front Organized by RCC ceramics instructor John Hopkins to give students an opportunity to show their work to a wider audience, the competition is the only one in the state open exclusively to college students.

Sachiko Kawamura “Mori no Ie,” a clay and mixed-media wall sculpture by Japanese artist Sachiko Kawamura (see her profile in the November 1984 CM), was installed recently in the Control and Research Build­ ing, Shizuoka Prefectural Hamakita Forest Park. The work represents “a planet with water and vegetation—coexisting life,” Kawamura explained. “White ceramic plates are the clouds and blowing wind. Above, there rests the Earth, one of the numer­ ous planets in the universe.” The dominant pair of leaflike images “represent the power of the earth from the past (with charred branches symbolizing the coal and oil source of contemporary energy), and the future of

Renate Hahn’s “Three Ikones,” handbuilt sculptural body, approximately 10 inches in height, raku glaze with copper and iron oxides, saggar fired. think that making ceramics is a very polluting job that uses up precious materials. One should be aware of this when dedicating oneself to this field.”

California Collegiate Ceramics Competition Forty works presented in the second annual “California Colle­ giate Ceramics Competition” at Riverside Community College (RCC) demonstrated the breadth of styles and techniques explored by today’s students making everything from sculpture and modified vessels to traditional ware, from raku to high-fire porcelain. Selections were made from more than 100 entries by potters/jurorsTom Coleman (Henderson, Nevada) and Patrick Horsley (Portland, Oregon).

Sachiko Kawamura with “Mori no le,” a clay and mixed-media Chris Kunze thrown raku vessel, 9 inches in width; at Riverside wall sculpture installed at the Control and Research Building, Community College, Riverside, California. Shizuoka Prefectural Hamakita Forest Park, Japan.

20 CERAMICS MONTHLY March 1993 21 Up Front green nature. Viewed from the side, they also suggest vessels carrying us to the ultimate future.”

Carrie Anne Parks Terra-cotta tableaux ranging in price from $3000 to $3500 by Carrie Anne Parks, Alma, Michigan, were featured in the exhibition “Beyond Tradition” at Objects Gallery in Chicago. Prior to committing her compositions to clay, Parks makes

Suzanne Volmer untitled vessel, 22 inches in width, handbuilt porcelain with polymer and marble dust, $2600; at Hydrangea House Gallery in Newport, Rhode Island.

only unglazed white porcelain, buff-colored bricks and gray- to rust-colored steel. Richard Garriott-Stejskal Stoneware figurative sculpture by New Mexico ceramist Richard Garriott-Stejskal was on view recently at Cone 10 Gallery in Albuquerque. He had been interested in working with the human body as a sculptural component “for quite some time, then a trip to Holland pushed me over the edge,” Garriott- Stejskal explained. “I think Europe has a more entrenched, more vital figurative tradition; we got sidetracked in America with abstract expressionism.” Although initial efforts were slab built, he soon found working with coils to be more responsive. “Coil building allows me to build large without all the technical problems encoun­ tered with slabs. It also is a more direct and personal method for me. Every nudge and nuance shows up in the final piece. I like the speed or perhaps I should say lack of speed. It makes for a very meditative experience. I feel closer to each piece as a result.” Surfaces are accented with white casting slip, stains and 1 Carrie Anne Parks’ “Bathers,” 27/2 inches in height, handbuilt sometimes [with] the “slop left over from throwing on the terra cotta with slips and underglazes (a relief from the artist’s wheel. If I like the color of the clay being used, I’ll steal some.” detailed scale drawings); at Objects Gallery in Chicago. Firing is to Cone 6 in oxidation. It’s not unusual for one of detailed, scale drawings in full color. The drawings then guide Garriott-Stejskal s forms to be layered with additional slips and the handbuilding of relief images framed by interlocking tiles. stains and refired several times. Duplicating the colors of the drawings is accomplished through careful matching of commerical underglazes and slips.

Suzanne Volmer A solo exhibition of mixed-media sculpture and related drawings by Suzanne Volmer was featured recently at Hydrangea House Gallery in Newport, Rhode Island. During the past 13 years, Volmer has worked with porcelain as her primary sculpture material. “All my work is abstract and conceptually linked to process issues,” she explains. “My approach is to experiment both chemically and structur­ ally. I use porcelain because I like working additively, and enjoy the refinement of the material itself, as it records gesture well. Vessel work was fired to Cone 5 in an electric kiln; large-scale sculpture was gas fired to approximately Cone 10. “I have a minimalist’s view (which means a very subtle view) toward color...and use it only when it is intrinsic to my materi­ Richard Garriott-Stejskal’s “Puffer,” 12 inches in height, coil- als. I prefer to sublimate color, focusing the viewer [ s attention] built earthenware, $450; at Cone 10 Gallery in Albuquerque, onto form and process.” For sculptural compositions, she uses New Mexico.

22 CERAMICS MONTHLY March 1993 23 Video rolling pin attaches and stretches the colored-laying one across the other, folding up the clay pattern. sides and rolling the seams. Because the clay Loosely following a template, Cartwright remains so soft, scoring and slip are not cuts a rectangle from the patterned slab, required for the seams, but a solution of Inlaid Colored Clay stands it on its side and joins the edges to form“magic water” (1 gallon water mixed with 9½ with Virginia Cartwright the vessel’s wall. Darts cut at the bottom andgrams liquid sodium silicate and 3 grams soda Despite the title, this video is not only top allow the wall to be folded to produce a ash) is used to attach four already prepared, about working with colored clay; it is also a more spherical form. Plain or patterned slabstall, textured feet. step-by-step demonstration of California art­are then added at the bottom and top to For softly rounded relief texture, Wilson ist!teacher Virginia Cartwright’s technique complete the vessel—in this case, a narrow­begins with small balls and coils arranged on for handbuilding vessels from folded slabs. necked bottle. a piece of notebook paper. A slab is laid over Donning gloves, she begins by hand wedg­ A straightforward “how to” intended for top, then the paper is lifted and dropped ing stain into a grapefruit-size ball of clay— students; 44 minutes. Available as VHS vid-repeatedly. For more interesting bumps and not her favorite way of mixing colored clay, eocassette. $29.95, plus $5.00 shipping and creases, Wilson peels back the paper and folds but a common method. She prefers to add dryhandling. Virginia Cartwright, 475 CliffDrive, the slab’s edges between drops. A rectangle scraps to a water/stain mixture, decanting Pasadena, California 91107. cut from this “weathered” slab is shaped as a excess water, then drying out what’s needed cylindrical mug. on a plaster bat. Soft Slab Techniques Three handle variations are demonstrated Next, a pattern is developed by layering with Lana Wilson next: A “barnacle handle” is made from a slab slabs of colored clay, compressing, dividing Previously a functional potter, California textured by pushing a pencil eraser into and the resulting loaf in two, stacking the halves, artist Lana Wilson has developed several dis­sometimes through soft clay supported by a then compressing, dividing and stacking againtinctive techniques for texturing the soft-claythick towel. An “elongated handle” is made and again. The loaf is then placed on a slicingslabs with which she currently builds vessel- by squaring a carrot-shaped coil, then adding board made of plywood with mat board inspired forms. texture by wrapping the thick end with a thin guides stapled on either side. To hold the clay The first technique demonstrated in this coil; slapping it once on each side attaches and steady while slicing with nylon fishing line, video involves combing a slab with a serratedflattens the thin coil. A “Hershey’s Kiss handle” Cartwright places a square of plywood on toprib, then stretching the pattern by slapping is made from a fat, soft-clay carrot that has of the loaf and presses down with her chin. the slab down onto the work surface. After been textured by rolling a threaded bolt across Slices taken from the final loaf are ar­ studying the results, she cuts out two long its surface, then dropped, thick end down, ranged on a “blank” slab. Pressing with a rectangles, then forms a square vessel by several times.

24 CERAMICS MONTHLY The final technique Wilson shares is form­ ing a “puff” lid or wall by using the vessel as a support, pressing an appropriately sized slab into the opening, then turning the slab over and attaching. Food for thought for all skill levels; ap­ proximately 37 minutes. Available as VHS videocassette. $29.95, plus $5.00 shipping and handling. Virginia Cartwright, 475 Cliff Drive, Pasadena, California 91107.

The Cult of the Slow Wheel Directed and narrated by Shep Abbott, this video visit to A. B. Macomber Pottery in Gloucester, Massachusetts, introduces view­ ers to a couple of young potters who throw functional ware on Leach-style treadle wheels and salt glaze in a two-chamber, wood-burn­ ing kiln. The action begins with Aaron Weissblum at the wheel throwing a small bowl, during which he explains the use of a rubber rib and the importance of rim maintenance: “Wher­ ever the rim goes, the pot follows, and that includes haywire.” Next, Sam Taylor is shown throwing ofT the hump; to compress and smooth a rim, he uses the skin between the base of his index and middle fingers like a chamois. A camera pan through the studio shows work in various stages of production, then vignettes capture Taylor and Weissblum dem­ onstrating many common techniques and some not so common: spiral wedging, mak­ ing a set of mugs, lifting a thrown plate off the wheel by grasping one side of the rim (relying on elastic memory to return the pot to its thrown shape), cutting a leaf shape out of the bottom to make an oval dish, pulling a handle, trimming feet, and decorating with brushed slips and oxides. The two-month-long work cycle con­ cludes with the firing. It takes about three days to load both chambers of the kiln with works by Taylor, Weissblum and other pot­ ters. Everyone helps with the stoking and is on hand to examine the draw rings (shown being pulled from the kiln and quenched in water) during the salting. Unlike many films about potters, there is no classical guitar or Oriental flute back­ ground music here; instead, viewers are treated to some fun, funky songs that probably give a little more insight into the lifestyle of con­ temporary potters, not the least of which is one amusing ditty about office work being the “awfulest work.” Intended for a general audience, but ap­ propriate for students as well; approximately 30 minutes. Available as VHS videocassette. $39.95. artsAmerica, Incorporated, 12 Have- meyer Place, Greenwich, Connecticut 06830; (800)553-5278.

March 1993 25 26 CERAMICS MONTHLY Low-Fire Redware Bodies by Jonathan Kaplan

Working with redware bodies in the duction. Also, not knowing the specific didn’t work out, but the resulting reci­ Cone 06—04 range (approximately formula of a manufactured body can pes are quite similar. 1830°F-1940°F) can be frustrating, par­ spell trouble if technical difficulties arise. The choice of clays was fairly obvi­ ticularly when compounded by a lack However, with research and testing (in­ ous: Cedar Heights Redart with any of specific “kiln-tested” information. cluding a good test kiln and controller), domestic ball clay could be used for all While one recipe may work for one superior results can be achieved. or part of the clay content. The coloring potter, it may not work for another in Currently, my redware is made by ability of Redart is so intense that one other circumstances. Therefore, the im­ throwing, press molding, jiggering and could use a small percentage of it and portance of doing your own research slip casting, which means its necessary arrive at a nice terra-cotta color. It is and testing cannot be minimized. to have both a plastic body and a casting even possible to use Redart alone, but While it is possible to purchase pre­ body. I had originally thought it pos­ its properties are enhanced by the addi­ pared plastic bodies and casting slips for sible to develop a single body for con­ tions of either ball clay or kaolin. this low-fire cone range, it may not be ventional hand forming or in the In addition to being air floated, Red­ economically practical for sizable pro­ deflocculated state for a casting slip. This art and ball clay have a very fine particle

When jiggering bowls and plates, Jonathan Kaplan begins with a clay disk made from an extruded pug turning the clay 90° eliminates bottom S-cracking (which sometimes results from the spiraling action of a pug mill's screw or even spiral wedging).

March 1993 27 After the clay disk is pressed into the mold, piercing with a needle The clay is smoothed into the revolving mold prior to defining tool allows air to escape from the foot area. the inner profile with the jigger template.

Sprayed water lubricates the clay as the jigger arm is pressed Excess clay is trimmed from the rim with a wooden tool; final down into the revolving mold. trimming is done when the bowl is leather hard.

size and are quite plastic. For both the out of chemically and physically com­ ball clay (OM 4). Just pass the resulting casting and plastic recipes, I find it ben­ bined carbonaceous materials, such as slip through a 60-mesh screen and think eficial to cut the clay content even fur­ carbonates, lignite, etc. (The standard about how the residue would affect ther with the addition of a coarse-particle temperature range used to determine finished wares if the bisque temperature kaolin, such as Edgar Plastic Kaolin, or this weight loss is 1000°—1100°C was not adequate. perhaps 6 Tile clay. This allows for more [1832°-2012°F].) Another way to avoid glaze blem­ even and rapid drying, as well as help­ Because of the presence of significant ishes is to prepare the body as a slip by ing structurally to eliminate warping. amounts of lignite in Redart and any first blunging, then vibratory sieving, Coarse-particle clay in the casting body ball clay, it is common practice to take dewatering through a filter press and allows for faster, more uniform casting. the bisque higher than the glaze firing. pugging. The resulting body will be de­ According to an analysis provided by A high bisque will burn out the offend­ void of these impurities. Cedar Heights Clay Company, Redart ing materials before they can affect glaze Because of its high iron content, Red­

contains: 64.27% silica (Si02), 16.41% quality. The glaring results of too low a art acts as a powerful flux, which also alumina (Al203), 7.04% iron oxide bisque appear after the glaze fire as small means it has a fairly limited temperature (Fe203), 1.06% titanium oxide (Ti02), unglazed blemishes on the surface. As range when used in high percentages. 1.55% magnesium oxide (MgO), carbonaceous materials volatilize, the This fact is useful when determining 0.23% calcium oxide (CaO), 0.40% so­ glaze above is either volatilized or parted the nonplastic section (in this case fluxes) dium oxide (Na20) and 4.07% potas­ by the outgassing. of the clay formula. sium oxide (K^O). Its loss on ignition A dramatic demonstration of just how The use of feldspars is not practical (LOI) is 4.92%. much combustible material is contained in this temperature range because of Loss on ignition represents the per­ in these clays involves blunging a sepa­ their high melting points. Three com­ centage of weight lost from the burning rate amount of Redart and Kentucky mon low-fire body fluxes are nepheline

28 CERAMICS MONTHLY syenite, talc or a leadless frit. I have also been using Vansil brand wollastonite as additional flux, with satisfactory results. Wollastonite (calcium metasilicate) adds many desirable properties to a clay body. Among these are reduced drying and firing shrinkage, higher green and fired strength, and improved thermal shock resistance. However, wollastonite is hydroscopic (absorbs water from hu­ midity in the air) and will form hard clumps in the bag upon prolonged stor­ age. Its a good idea to mix wollastonite thoroughly with water and sieve prior to adding it to the clay body. While frits do produce a very dense and durable body, it may not be eco­ nomical to include them in the recipe. So I use an equal-parts combination of wollastonite are combined in equal ties. Even the substitution of other ball Nytal 100 talc and wollastonite. amounts for added flux. The clay fires a clays or kaolins will alter these numbers. By arriving at a happy medium be­ bright orange-red with 8% fired shrink­ But most clay suppliers have adequate tween the fluxing potential of Redart age. This recipe is suitable for ovenware data, which can be of great help in arriv­ and the added fluxes, it is possible to and does not discolor after repeated use. ing at a successful light-colored recipe. develop a dense clay body that should Developing a suitable casting body Some general guidelines for mixing be able to take a high bisque at Cone 04 proved more difficult. Because of the large batches of casting slip: Use hot and still be open enough to absorb glaze. high iron content of Redart, the stan­ water and begin by dissolving the de­ Too much flux coupled with a high dard sodium silicate and soda ash com­ flocculant, barium and wollastonite, bisque firing will render the surfaces too bination for a deflocculant was unsatis­ blunging for five minutes or so. Add the tight to successfully take on glaze. factory. The use of Darvan 811 or Spinks nonplastic ingredients next, then finish The presence of soluble salts in many 211, both commercial polyacrylates, with the plastic ingredients. Blunge the red clays can lead to scumming (efflo­ solved the problem. mixture until smooth, and sieve through rescence) on the fired surface. An addi­ By testing small batches of slips, it a 60-mesh screen. Run an initial viscos­ tion of 0.5% to 1% barium carbonate was fairly easy to arrive at a workable ity and specific gravity test, then allow to the body is usually enough to dissolve specific gravity of 1.75-1.76 with a vis­ the slip to sit overnight. Retest for spe­ the offending materials. (Because some cosity of 23-30 seconds through a cific gravity and viscosity, and make any potters consider this use of barium car­ Lehman viscosimeter. Initial slip formu­ appropriate changes if necessary. bonate potentially unsafe, barium sul­ lations without Edgar Plastic Kaolin Test the following recipes under your fate may be substituted directly.) The yielded a viscosity of 45-60 seconds, own studio conditions before putting barium compound can be wet mixed resulting in a very slow casting rate. The any into production: with wollastonite and sieved prior to addition of Edgar Plastic Kaolin, with Redware Casting BodyJZ 1 mixing a plastic body. In a casting body, its coarser particle size, allowed for faster (Cone 04) blunging and final screening will ade­ migration of water through the clay wall Talc...... 10 pounds quately disperse these materials. and into the mold. Wollastonite...... 10 The main difference between my cast­ I have found that a good starting Frit 3124 (Ferro)...... 5 ing body and the plastic body is that the point for deflocculation is 50 grams of Ball Clay...... 10 casting recipe has a ratio of 60% plastic Darvan 811 per 10 pounds of dry mate­ Cedar Heights Redart...... 65 to 40% nonplastic (fluxes or fillers) ma­ rials, which, on a testing basis, produces 100 pounds terials, while the plastic body is 90% approximately 1 gallon of slip. It is im­ Add: Barium Carbonate .. 280 grams clays and 10% fluxes. At this time, I portant to understand that defloccu- Darvan 811 ...... 500 grams process both by conventional methods, lation changes daily, especially with and the problems associated with the high-iron clays, so prior to casting, I Redware Casting BodyJZ 2 burning out of carbonaceous materials check the specific gravity and viscosity (Cone 04) are minimal. Both are bisque fired to of the slip, making changes as necessary. Talc...... 15 pounds Cone 04 and glaze fired to Cone 06. It is unwise to use this redware slip as Wollastonite...... 10 The plastic body is fairly direct, us­ a guide to lighter colored casting slip Ball Clay...... 10 ing Cedar Heights Redart, Kentucky viscosity. While the numbers for spe­ Cedar Heights Redart...... 65 ball clay (OM 4) and Edgar Plastic Ka­ cific gravity may be similar, redware cast­ 100 pounds olin, with the Redart being half the clay ing slips exhibit different deflocculation Add: Barium Carbonate .. 280 grams content. Nytal 100 talc and Vansil brand curves and markedly different viscosi­ Darvan 811 ...... 500 grams

March 1993 29 Redware Plastic Body CDG 2 Redware Plastic Body CDG TC-1 Tennessee #5 and Spinks HC 5. Cedar (Cone 04) (Cone 04) Heights Goldart or screened fireclays Talc...... 25 pounds Talc...... 5.0 pounds can be added to increase “tooth” for Wollastonite...... 15 Wollastonite...... 5.0 sculptural applications. Ball Clay...... 5 Ball Clay...... 20.0 It is also possible to use pyrophyllite Edgar Plastic Kaolin...... 15 Edgar Plastic Kaolin...... 20.0 materials such as Alkatrol or Pyrotrol Cedar Heights Redart...... 40 Cedar Heights Redart .... 50.0 for the nonplastic ingredients in a cast­ 100 pounds 100.0 pounds ing body. Any addition of nonplastic Add: Barium Carbonate .. 300 grams Add: Barium Carbonate ... 0.5 pound materials will lighten fired color. How­ Darvan 811 ...... 500 grams ever, given the intense coloring ability Redware Plastic Body AG TC of Redart, it may not be noticeable. (Cone 04) In my experience, glaze fit is not a Redware Plastic Body CDG 2A Wollastonite...... 10 pounds problem when using recipes with a high (Cone 04) Ball Clay...... 10 frit content on these bodies. Such glazes Talc...... 20 pounds Cedar Heights Redart...... 60 are quite elastic and fit well. Wollastonite...... 20 Fireclay...... 20 Ball Clay...... 5 Fine Grog...... 10 The author Formerly active in making Edgar Plastic Kaolin...... 10 110 pounds and selling high-firedporcelain and stone­ Cedar Heights Redart...... 45 Add: Barium Carbonate...... ½ cup ware, Jonathan Kaplan has been produc­ 100 pounds It is possible to use other clays in ing majolica-decorated redware since Add: Barium Carbonate .. 300 grams developing redware recipes. Many other establishing a pottery in Steamboat Springs, Darvan 811 ...... 500 grams fine ball clays are available, including Colorado, in 1991.

Packing materials are stored in the loft above the office and machine shop in Kaplan s well-organized studio.

30 CERAMICS MONTHLY Right: Redware vase with floral relief decoration, 8 inches in height, glazed on the inside, left unglazed on the outside, fired to Cone 06 in oxidation; a collaboration between Kaplan and JH Designs.

Below: Press-molded dinner plates with jiggered cup and bowl, decorated with stains brushed and sponge-stamped over Cone 06glaze, by Jonathan Kaplan.

March 1993 31 Carmen Dionyse by Fons De Vogelaere

Although the work of Belgian artist world of ceramic materials, interior space Carmen Dionyse is familiar to many, its and plastic volume. It must not be for­ genesis is generally less well-known, even gotten that at that time ceramic art in to collectors. In the following interview, Belgium was still in its infancy and that Dionyse discusses various aspects of her true masters were few and far between. work, its beginnings and influences: Interviewer: At the Brussels World Fair Carmen Dionyse, Ghent, Belgium. in 1958 you were awarded the Grand Interviewer: When did you begin work­ Prize. Did that influence new work or ing with clay? do not necessarily lead to a career as an stimulate you to strive for continuity? Dionyse: My career as a ceramics sculp­ artist. To be trained in art, one has to Dionyse: From 1958 I started to dis­ tor started relatively late. Its beginning opt for a certain discipline. Was your tance myself radically from the orna­ coincided with the establishment of a choice clear from early childhood? mental or ludic style of the Brussels course in ceramics at the Royal Acad­ Dionyse: When I was about 12, I masters, and turned toward contempo­ emy of Art in Ghent in 1954. I was fluctuated between wanting to become rary sculpture and pictorial materiality. then 33 years old. Ten years earlier I had a musician and a painter. It was the At the same time, mythical and biblical taken degrees in drawing, decorative art visual arts that eventually prevailed, first themes took the form of human figures and painting. with a private tutor, then in 1939 at the that bordered on the informal, petrified Interviewer: That takes us back to the academy. or calcinated by fire. forties. One does not enroll in a special­ Interviewer: And did this prove to be a Interviewer: By “bordered on the infor­ ized program, such as that at the Royal solid basis for your subsequent work? mal,” do you mean that it was abstract Academy, merely by accident. What was Dionyse: The courses were “academic,” or figurative art? it that made you do so? but they did provide a sound founda­ Dionyse: It was a figuration that was Dionyse: I had always been fascinated tion. They covered antique and life draw­ mythical, organic or even telluric. From by the form, texture and color of certain ing, projection and perspective drawing, the seventies onward, my art freed itself objects and materials. My very first col­ anatomy, chemistry and art history, all gradually from its informal and sugges­ lection related to touch as well as to of which constitute an indispensable ba­ tive straightjacket. Human form, cen­ sight; it consisted of a number of rows sis for better and deeper understanding tered in the look, started to occupy my of pebbles, shells, small bottles and glass and for effectively modeling the figure, work. fragments. On the other hand, I be­ even though the training was on paper My figures are determined by a gen­ came acquainted with the great cultures exclusively. eral character that may be called intro­ of human history at an early age, by Interviewer: Was it the new course in verted or eternally human. They embody reading through books and magazines 1954 that provided you with the sense the perpetual cycle of life and death. in the library of my grandfather, who of the material—clay—and of volume Osiris, Hiram, Persephone, Lazarus...are was a publisher and a bibliophile. In the and space? all varieties of the Phoenix theme. thirties in particular I became deeply Dionyse: The course itself was of no They may come from mythology or impressed by early Egypt and pre- significance. I was given a large kiln and the Bible; they may be occasioned by Columbian America, and I have re­ the opportunity to benefit from the ad­ legend or by traditional sense. Often I mained captivated by these ancient vice of (more experienced) fellow sculp­ make use of more pronounced attributes cultures ever since. tors and other beginning ceramists. But for their clarifying, symbolic or sugges­ Interviewer: The enthusiasms of a child basically I had to teach myself about the tive value. A

32 CERAMICS MONTHLY “Sunset Glow', ”approximately 16 inches in height, slab builtfrom mixed clays, surfaced with slip and layered glazes, multifired.

March 1993 33 “Azul, ” approximately 18 inches in height , slab-built grogged white clay\ layered slips and glazes, fired seven times at temperatures ranging from Cone 05 to Cone 02.

34 CERAMICS MONTHLY “Purple Hiram, "approximately 17 inches in height, grogged white clay with slips and glazes, fired nine times, by Carmen Dionyse.

March 1993 35 Andrea Gill

A solo exhibition of decorative vessels These vessels combine aspects of Gills gobe decoration includes figurative, fo- by Andrea Gill, faculty artist at the New interest in painting and historical deco­ liage/floral and nonobjective motifs. She York State College of Ceramics at Al­ rated ceramics. After receiving a B.F.A. also likes to paint “pots on a pot,” creat­ fred University, was presented recently in painting from the Rhode Island ing multiple, two-dimensional images at Swidler Gallery in Royal Oak, Michi­ School of Design and an M.FA. in ce­ of ceramic vessels on the actual three- gan. Handbuilt from red earthenware, ramics from Alfred, she traveled to Spain dimensional form. In a sense, this be­ the vessels are surfaced with vitreous and Italy to study 15th-century, tin- comes an ambiguous layering of vessels, engobes applied in layers for physical as glazed maiolica and other low-fire ware. spanning time and cultures to other well as visual depth. Gills current subject matter for en- earthenware traditions. ▲

“Floating Weaving ” 44V2 inches in height, press-molded and Andrea Gill in her Alfred, New York, studio; two-part slab-built earthenware, with vitreous engobes, $3700. press molds are used to establish the basic vessel shape.

36 CERAMICS MONTHLY “Illusionary Flight, ” 36Y2 inches in height, red earthenware with layered vitreous engobes, $3700.

March 1993 37 “Embroidered Veil,” 36½ inches in height, handbuilt red earthenware with vitreous engobes, $3700.

Left: Tape is used to resist linear elements in the layered engobe decoration.

38 CERAMICS MONTHLY “Dancing Partners," 42 ½ inches in height, engobe-decorated earthenware, $3700, by Andrea Gill; at Swidler Gallery in Royal Oak, Michigan.

March 1993 39 Merging Cultural Diversities by Marvin Sweet

At the end of the 19th century, Europe was the preeminent destination for young Americans studying art. With no strong traditions to build upon, Ameri­ can artists sought creative strength through contact there with masters, as well as by visiting the great museums. But during World War II, the focal point of modern art transferred to New York. Since then, artists from around the world have come to the United States to study and make art. As we near the end of the 20th cen­ tury, there has been an influx of Asian ceramics students to America. The homelands of these ceramists have long and estimable traditions; however, many of them perceive their traditions as stag­ nant or in need of a fresh breath of life. Some of them come from Taiwan (the Republic of China), which has a deeply rooted tradition of high-fired por­ celain and stoneware tea utensils. Yet contemporary ceramic expression has helped to define the developing charac­ ter of the Taiwanese, their concerns for ecology, religion and the islands place in the world. “Merging Cultural Diversities,” an international ceramics exhibition and symposium in Taipei, Taiwan’s capital, was organized to focus on the concerns and techniques of Asians whose work reflects Western influences, while also looking at Westerners who have em­ Above: “Ceremonial Cup #36, ” 12V2 inches in height, low fired, by Richard Hirsch. braced Eastern attitudes. The exhibi­ Top: Untitled sculpture, 31 inches in length, unglazed stoneware and celadon-glazed tion featured vessels and sculpture by porcelain, by Ching-yuan Chang Ching-yuan Chang and Ray Liao, Tai­ wan; Richard Hirsch, Rochester, New attendees (both traditional potters and increasingly apparent that there is a York; Toshio Ohi, Kanazawa, Ishikawa, modern ceramists) were given ample shared attitude, a melding of traditional Japan; and Marvin Sweet, Boston. opportunities to share ideas. Everyone Eastern and Western philosophies and During the week-long symposium, related individual concerns and distinct techniques in the making of contempo­ exhibition participants and symposium aesthetic viewpoints. However, it became rary ceramics. ▲

40 CERAMICS MONTHLY “Karpos, ” 13 ½ inches high, wheel-thrown stoneware vessel on separate base, with Golden Pewter Glaze (manganese dioxide and copper carbonate in a soda-ash base), $1200. Anne Hirondelle

Foster/White Gallery in Seattle recently there have been changes in scale and pre­ visual thread between the past and the presented a solo exhibition of stoneware sentation. For instance, in recent archi­ future....They are expressions of my de­ vessels by Washington potter Anne Hiron­tectonic forms, the base has become nearly sire for order, harmony, ‘rootedness’ and a delle (see her autobiography in the June/ as significant as the vessel itself. little grace in this world that feels as though July/August 1986 CM). Over the past six “Because I rely on the vessel as my coreit is flying apart. Through my vessels, I years, her thrown-and-extruded shapes metaphor, I rely on tradition,” Hirondelle hope to speak, not center stage, but in the have continued to evolve sculpturally. explains. “I see my pieces as a personal quiet, contemplative niches and corners As Hirondelle’s work has developed, restatement of a very old statement, as a of the individual and collective psyche.” ▲

March 1993 41 Third Swiss Triennial by Frank Nievergelt

The third international “Triennial of tors and studio ceramist Edouard Masamichi Yoshikawa of Japan (Prix de Porcelain” was presented recently in the Chapallaz organized a first triennial, la Ville de Nyon); Mieke Everaet of Castle of Nyon, overlooldng Lake Leman opening the competition to artists from Belgium (Prix Pro Novioduno); and in Switzerland. In addition to recogniz­ all over the world. They dream of the Wladyslaw Garnik of Poland (Prix Re- ing contemporary talents, the triennial rebirth of Nyon as a European porce­ traites Populaires). commemorates Nyons status as a center lain center. The styles of the invited artists— of fine porcelain production in the late The opening weekend of the third Arne Ase, Norway; Ruth Duckworth, 18th and early 19th centuries. exhibition saw artists, gallery owners, United States; Beate Kuhn, Germany; Jacques Dortu, a Berliner of French museum curators and collectors from and Setsuko Nagasawa, Switzerland— origin, established a porcelain manufac­ around the world congregating in Nyon. represent a range of possibilities in work­ tory at Nyon in 1781. Of exceptional The works on view at the castle in­ ing with porcelain. quality, his ware soon attained renown cluded that of the four invited artists This triennial, through its display of throughout Europe. However, this suc­ and the winner of the 1989 Poisson works by invited and selected artists, cess was jeopardized by the revolutions d’Or (this first-place award commemo­ demonstrates todays tendencies and of 1789 and 1798, then seriously im­ rates the fish-shaped trademark of the temperaments in the ceramic arts— peded by an economic blockade at the old Nyon manufactory), as well as the where individualism, audaciousness and beginning of the 19th century, and bank­ 22 competitors selected by an interna­ originality prevail. At the same time, ruptcy ended the venture in 1813. tional jury. deliberate concentration on porcelain al­ A new porcelain adventure began in The four prizewinners were Arnold lows us to focus on related ideas, feel­ 1986, when several passionate apprecia- Annen of Switzerland (Poisson d’Or); ings and visions. ▲

42 CERAMICS MONTHLY Below left: Translucent thrown- and-etched bowl, approximately 12 inches in diameter, fired to Cone 8 in reduction , by Arnold Annen; recipient of the Poisson D’Or.

Right and center right: Untitled sculptures, to about 20 inches in height, handbuilt, by Ruth Duckworth.

Bottom right: “Katzen wdsche, ” approximately 7 inches in height, assembledfrom thrown elements, with copper red glaze brushwork, by Beate Kuhn.

Below: “Bateau, ” 7# inches in heighty handbuilt from colored porcelain, to 14, by Wladyslaw Garnik, Prix Retraites Populaires winner.

March 1993 43 Cheops by Frans Henk Hoekstra

The enfant terrible of Dutch ceramics, a cup-and-saucer project (“Salon Cur- individual, but they share an infinite group of artists known as Cheops, has ieux,” De Beyerd, Breda, Netherlands), appreciation for the unexpected, the un­ made its presence known through sev­ some members of the group made sau­ limited, the unpredictable. eral unusual exhibitions in the past few cers to which other members responded Last fall, the group took advantage of years. Intent on breaking away from with cups, and vice versa. By reacting to an unusual location to exhibit. Holland existing dogmas and classifications, the each others work, a situation was cre­ has a tradition of cultivating windowsills, group was born in 1985 when Marja ated in which experimentation played a so they decided to arrange and design a Hooft asked Rob Brandt, Tjitske key role. Through confrontation of ex­ show for all the windows along Dijkstra, Michel Kuipers and Jan van tremely different views on ceramics, ex­ Spanjaarstreet, a 17th/18th-century Leeuwen to work together, with em­ isting conceptions are bound to come street in the historic town of Middelburg. phasis on research and experimentation. up for discussion. Most of what was shown was created by From the beginning, the group pur­ However, Cheops does not want to more than one artist—one element was sued a dialogue through daywork. One present only one view of ceramics. Their handed on for another to finish. The of its members would start a sculpture, foremost principle is that each artist con­ windowsill itself, as well as the dimen­ then confront the others with an in­ tinues to make her/his own work. Their sions and proportions of the window, complete work. For example, in the 1988 methods of working and ideas remain was a decisive factor for each work.

44 CERAMICS MONTHLY Of course, the special setting also contributed to the fun. This unusual way of exhibiting went beyond the mo­ nopoly of the pedestal and, at the same time, poked fun at the museum display case in which works seem to be impris­ oned, closed off forever. Cheops’ sculpture is about ideas. However, the group tries to avoid “mes­ sages” and pedantic attitudes; there are no puzzles that can be solved only by insiders. By curious combinations of techniques and materials, ideas are of­ ten advanced. Classical references are clearly present. There are also amor­ phous, organic, growing pieces. Very Dutch themes, such as the mussel and the cow, are changed into contempo­ rary iconography. In short, the work of Cheops is a continuous stream in which meanings are born, quoted, changed around and renounced. The viewer is involved only at the final stage, when the work is presented whole. At this point, the experimental method of working backfires, because it lacks an analysis that can be followed step by step. In other words, the dia­ logue between the artists is different from the dialogue with a viewer. It seems that the group secretly al­ ludes to, yet at the same time protects from the outside world, this creative happening. Subsequently, the value that Cheops attaches to a closed experimen­ tal attitude is in conflict with the idea of letting “some air into the oppressive world of Dutch ceramics” that they em­ phasize. The work in the window may in­ duce a breaking of ceramic taboos, but the exchange between members remains the primary benefit. For the passerby in Spanjaarstreet, it becomes a pleasant rev­ elation of everything that is forbidden in ceramic narrowmindedness. A

Above left: Vase pair, 9 inches high, whiteware with black brushwork , by Michel Kuipers andJan van Leeuwen.

Above right: The Dutch group Cheops designed work specifically for display in all the windows along historic Spanjaar­ street in Middelburg, Netherlands.

Right: Glazed redware “plate”figures, 12 inches high, by Michel Kuipers.

March 1993 45 Royce Yxler by Rick Malmgren

In an article he wrote for Ceramics Monthly “Having the studio and home together ing quickly with no wasted motion. His (see the May 1990 issue), Royce Yoder has helped out a lot,” Yoder says. “People throwing is swift and appears effortless. described how he was planning to make would tell me that I didn’t want to have Mug after mug is made in slightly over a $20,000 worth of pots in just the month the house and studio together, but they minute apiece, as he keeps up a brisk of October. Many of us who read this didn’t understand the rhythms that you conversation. Having watched dozens of marveled at that. How could a potter get into as a potter. When we lived 20 professional potters throw over the years, working alone without special equipment minutes away, if I forgot to check a kiln, it I cannot remember seeing anyone throw make so many pots? Part of the answer is would be 20 minutes over and 20 min­ as swiftly with such ease. a well-designed studio beside his home, utes back to do 10 seconds worth of work. Every move in the shop is like that. and the rest is a matter of efficiency and I hated it. Your pots are your masters until When Yoder clears empty bats off his good business practices. they’re finished, and it is so nice to be able ware cart, they clatter like so many play­ Yoder lives in a lovely semirural settingto come over to check a kiln or to come ing cards into a waiting hand. In an in­ 45 minutes northwest of Philadelphia on back after the kids are in bed and work stant he has done what normally might 3 acres overlooking Branch Creek. The for a couple of hours. It’s not like you’re take a minute. 1300-square-foot studio was built in 1983, stealing family time.” Interestingly enough, he began college and the house was built in 1988. At 39, Yoder looks like an athlete, mov­ as a physical education major, but trans­

Working “smarter, not harder, ” Pennsylvania potter Royce Yoder maintains a well-organized, efficient production studio.

46 CERAMICS MONTHLY The 1300-square-foot studio was built on 3 acres in a semirural setting just 45 minutes outside Philadelphia.

ferred to art after his academic adviser (an A.M.—slightly later in the winter, when have command of what I do here,” he art professor who may have been think­ there is less pressure. While he usually responds. Wanting direct control of every ing about his class enrollment) suggested walks over to the house several times dur­one of his pieces so that nothing comes he take several art courses. ing the day, he takes no real lunch break. between the touch of his fingers and the Some of Yoder’s ability to run his stu­ Generally, he will stop work between 5:00 surface is a statement of craftsmanship. dio efficiently may come from his father, and 6:00 P.M. During particularly busy Having been raised a Mennonite, Yoder who managed food service at a commu­ seasons, he will go back after dinner and was instilled early on with a high regard nity college. “My father was a genius at work for several hours. for hard work. “I feel blessed that we’ve looking at something and figuring out With his very long days, one wonders been able to make it and I haven’t had to how to make it work better. He could why Yoder hasn’t hired workers or bought turn into a factory to do it,” he says. take derelict equipment, jury-rig it and more equipment. “The mechanical ways Connections with the community are make it better. He could see a way to save of making pots (jiggering, hydraulic press­ an important part of the way Yoder runs a waitress a few steps in taking something ing, slip casting) scare me; I’m afraid I his business. When I visited, he was work­ from the stove to the table. He saved that wouldn’t have command. I pretty much ing on a limited edition of jars commemo­ college thousands of dollars.” rating the 250th anniversary of Lower In the studio, Yoder has a similar ap­ Salford, his local township. proach. Everything has to be done in “a Friends throughout the community certain way. My feeling is that I do it that also trade time or services with him for a way because it works best that way. I variety of things. A local woodworker built think that is where my technical expertise the solid wooden doors in his studio. A lies. It doesn’t lie in solving glaze or clay cabinetmaker gave him the cast-off, plas- problems or designing wonderful new tic-laminated particleboard that he uses work. I’m good at working smarter, not for bats. The local cardboard-box manu­ harder. facturer gives him factory seconds or dam­ “ The most important thing for me is a aged boxes. Another friend, who builds good rhythm. You can get into unnatural swimming pools, mixes clay; Yoder, in working rhythms. I make better pots when turn, will help him build a garage. I’m working hard.” “I don’t have a computer. I’m low-tech Most of the year, Yoder works six days Glazed stoneware platter, 16 inches in on the business end,” he says, “but I’m a a week, seven if he is at a craft fair. The diameter, wheel thrown, fired to Cone 10 good businessperson. At least galleries tell work starts in the studio at 6:30 to 7:00 in reduction, $125. me that I’m good. I ship on time.” Later,

March 1993 47 in the midst of another discussion, area, a glazing area and an office he pulls open a file drawer, glances with a desk and file cabinet. at a sheet and notes that he made Ware carts fill a third of the large 2130 coffee mugs the previous room. One is next to the wheel, year—proving how much informa­ and freshly thrown ware is moved tion he has at hand without a com­ directly to it. As the cart is filled, it puter. Going through his studio, is rolled aside for drying. Yoder has Yoder tends to quantify and calcu­ a dozen of them and wishes he had late the flow of work, handling and two more. “You always need an recalling numbers easily. empty one to work onto” Next to Pricing was originally arrived at his wheel are more than 300 bats in through time studies, but now “a 6 different sizes, ranging from 6 lot of it is gut feeling about what Canister set, to 12 inches in height, stoneware with inches to 22 inches in diameter. you think you can get for a piece, Cone 10 reduction glazes, $150. Off the main work area is a damp what the traffic will bear, how it’s room used to store ware carts full sold in the past and by talking to other Somebody told me once that you can’t of pots, keeping them moist for trimming potters.” make money building inventory.” and handle attachment later. Bisqueware Two-thirds of his business is wholesale Aiming for “the highest caliber show I is packed onto several carts that are stored and is pretty well blocked out for the year can get into,” Yoder goes to about six retailin the glazing area. at the February ACC Fair in Baltimore. fairs per year. Sales at those fairs account Directly off the main room is a tiny In his studio, a page on the wall above his for the other third of his business. His room that holds only the electric kiln desk lists the orders for the year with location in the center of the mid-Atlantic used for bisque firing. Fumes from columns for each month. Thumb tacked states gives easy access to some of the top bisquing are vented outside by a fan that above that list are the current month’s fairs in the country. pulls air from the loft above. orders from individual shops. A consoli­ Yoder’s studio is extremely well laid His glaze kiln is in a separate 16x28- dated list of the total number of each item out, but the design alone, without his foot room. It is a downdraft car kiln, needed for this month is posted above his energy and efficiency, would not account made of fiber, with 26 cubic feet of stack­ wedging table. for such prolific output. One enters ing space. Yoder fires this kiln about 50 “I don’t make pots to build inventory,” through a small showroom. The main times per year. he explains. “I make pots to fill orders. working area is divided into a throwing The kiln area also houses clay and glaze

Rolling ware carts facilitate production flow; here, in the glazing With a pug mill behind the wheel, bats to the right and a ware area, several are loaded with bisqueware. cart to the left, few steps are wasted when throwing.

48 CERAMICS MONTHLY The 28x46-foot studio includes a showroom, the main work area and a kiln room, which is also used for clay storage, pot dryi ng packing and shipping. All rooms are accessible to rolling ware carts. Above the main work area is storage for packing materials, supplies and records. The brick patio has a sandbox and play deck to keep customers* children occupied.

Recipes Breakfast Special Glaze thetic substitutes have been successful. (Cone 9-10, reduction) Dolomite...... 11.91% Satin White Glaze Strontium Carbonate...... 6.34 (Cone 9-10, reduction) Stoneware Body Whiting...... 8.02 Dolomite...... 20% (Cone 9—10, reduction) Nepheline Syenite...... 36.89 Whiting...... 3 Custer Feldspar...... 12% Edgar Plastic Kaolin...... 2.06 G-200 Potash Feldspar...... 35 Talc...... 3 Flint...... 34.78 Edgar Plastic Kaolin...... 24 A. E Green Fireclay...... 15 100 .00 % Flint...... 18 Kentucky Ball Clay (OM 4)...... 25 Add: Red Iron Oxide...... 2.55% 100 % 6 Tile Clay...... 30 Rutile...... 5.01% Pyrophyllite...... 15 Multi-Blue Glaze Bentonite...... 2.49% 100 % (Cone 9-10, reduction) Gerstley Borate...... 6.69% Fake Ash Glaze Turner s Beauty Glaze Magnesium Carbonate...... 3.15 (Cone 9-10, reduction) (Cone 9-10, reduction) Strontium Carbonate...... 8.56 Albany Slip...... 51.61% Dolomite...... 22% Whiting...... 11.42 Whiting...... 32.26 Spodumene...... 20 Edgar Plastic Kaolin...... 5.91 Ball Clay...... 16.13 Tin Oxide...... 6 G-200 Potash Feldspar...... 38.39 100 .00 % Whiting...... 2 Flint...... 25.88 G-200 Potash Feldspar...... 30 For teal blue, add 2% cobalt carbonate 100.00% Edgar Plastic Kaolin...... 20 and 2% red iron oxide. Yoder has a sup­ Add: Copper Carbonate...... 1.48% 100% ply of Albany slip, but tests with syn­ Rutile...... 3.94%

March 1993 51 Tibetan Pottery by Barbara Nimri Aziz

Tibet’s otherwise bleak, brown land­ tery in Nepal, one may see a teapot and not suffer from the onslaught of the scape is sometimes broken by rust-col- brazier, carried there over the Himalayas Cultural Revolution when the Red ored hillocks. Located just beyond the in the 1950s when Tibetans fled from Guards leveled most of Tibet’s religious mud brick walls of squat villages, these Chinese occupation. But that’s about centers and forced so many artisans out mounds are actually kiln sites, where all. In collections of Tibetan art around of work. The communists considered accumulated ash and shards flash red in the world, pottery is generally absent. pottery a utilitarian “worker’s art.” They the sun. Expatriated Tibetans continue to use therefore encouraged it, whereas the “re­ Outside Tibet, I had seen only an traditional bowls and jars, but theirs are ligious arts” were suppressed. This is occasional example of Tibetan ceram­ made from wood or metal. The pro­ why potters in Tibet today are relatively ics. The Staatl Museum der Volker- duction of Tibetan-style ceramic ware numerous and active. kunde (Museum of Ethnology) in has not been taken up elsewhere. Even the introduction of hot water Munich, Germany, has some fine The only place we can find such thermoses and plastic buckets has not samples obtained by expeditions early pots being made is within Tibet itself seriously undermined the demand for this century. And at a wealthy monas­ Pottery, unlike many Tibetan arts, did pottery. For example, incense burners,

Surrounded by pots he has just made, a potter in the village ofMetakonga paddles the shoulder of what will be another teapot as he turns the wheel slowly with his toe.

52 CERAMICS MONTHLY Pre-Chinese-occupationTibetan beer Every week, beer crocks, teapots, braziers, flowerpots, crock and jar; at the Museum of etc., are transported by mule-drawn wagons to the open Ethnology in Munich, Germany. bazaar in the old quarter of Lhasa, Tibet's capital.

soup pots, teapots and beer crocks are night, so I turned down the offer of a form, working it down around the sides, common in farmhouses and villages. free ride, opting to go there by bus occasionally powdering his hands with There may even have been a resurgence instead. In under two hours, I was in ash from a nearby bowl. In a small pot of appreciation for those clay vessels as the long, narrow valley with its villages filled with water were two knifelike tools the people discovered that the new metal tucked against the bare mountain walls and a hog’s-hair brush used to moisten or plastic products were not as durable rising from either side. the clay. Also within his reach were a or as well suited to their needs. After walking into the village of paddle and a kind of anvil with a wide At the open bazaar in Lhasa, Tibet’s Gyatso-tso, I asked for directions to flat head. When Lobsang paused, he capital, the popularity of ceramic ware Lobsang’s house. This well-known pot­ would drink from a wooden cup nearby is abundantly evident. that Phuti, his wife, kept Near the butter market in Potting is considered by some to be “polluted” work; artisans filled with tea. the old quarter of the city, In the shade of the pottery is sold in a large who work with earth, metal or animal skin are viewed as porch, his 18-year-old son courtyard. Broad, high “unclean."However much people treasure craft products, was weaving spun goat vessels for distilling barley hair into a strip of mat­ beer; elegant, small- they feel themselves somehow superior to the makers. ting, now about 6 feet necked teapots; and large long. This he would stitch fermenting crocks are displayed along­ ter, I had been told at the Lhasa mar­ together with five similar lengths to side a variety of flowerpots. ket, was sure to be at work. It was mid­ make a mat. Yak and goat hair are used Some Lhasa residents are among the morning and, indeed, I found him by Tibetans for a variety of items— shoppers, but most of this stock is seated in a sunny courtyard. ropes, tents, saddlebags, mats—all are bought up by farmers who come to the He sat cross-legged on a mat in front spun and woven by men. In contrast, city to buy supplies. The pots are car­ of a wheel, which he turned slowly with all woolen goods and the wool itself are ried off, and regularly, as if on order, his toe. According to German ethnog­ handled only by women. another three loads of pots arrive to fill rapher Veronika Ronge, a recognized A division of labor by gender is also the yard again. authority on Tibetan pottery, the wheel strictly followed in the production of New stock, packed in straw, is consists of a fired clay head set on an pottery, so neither Phuti nor other brought to Lhasa on mule-drawn wag­ axle fixed into a wooden support that, women may make pots. They can, how­ ons every week. I learned from the sell­ in turn, is embedded in the ground. ever, assist their husbands in the glazing ers and the muleteers that the pottery’s With his hands, Lobsang flattened a and firing. They often grind stones for origin is Pemba, a valley to the north­ 2-pound ball of clay and placed it on glazes, help make the kiln furniture, east of the city. the bottom of an overturned pot rest­ stack greenware and fuel, and remove By wagon, the ride from Lhasa back ing in an ash-filled basin on the wheel. the fired pots. Apparently, the women to Pemba takes almost a day and a full He then pressed the clay around the also prepare bread dough before each

March 1993 53 firing so that, after the pots are un­ gan to paddle the side of the new pot yard, where the afternoon wind could loaded, they can use the still-hot em­ very gently, forming the shoulder and not reach it. bers to bake. Good fuel conservation! the collar of the pot. Lobsang told me Beer crocks, like that one, flowerpots Pottery-making itself is further re­ this was the most delicate part of mak­ and soup pots generally remain un­ stricted to a certain class. In the past, ing a pot. All his years of experience are glazed, but are brushed with slip before and to some extent today as well, chil­ focused here, he said. firing. Some Tibetan pots are also un­ dren of potters tended to marry others His son also makes pots, but is not decorated; however, braziers, flowerpots within their occupational group. As else­ skilled yet. Lobsang is not sure if the and beer pitchers often have simple de­ where in Asia, potting is considered by boy will decide to carry on the tradi­ signs incised on their surfaces with a some to be “polluted” work; artisans tion, since most young, educated Ti­ wooden stylus. The most common who work with earth, metal or animal betans want to do other kinds of work. motifs are repeated patterns of lotus skin are viewed as “unclean.” However Yet, he says quite confidently that his leaves, branches, waves and the symbol much people treasure craft products, son could not find better-paying work for long life. they feel themselves somehow superior than this. Glazing is a simple procedure that to the makers. The edge of the pots mouth was involves coating the surface with one of Lobsang, after he had more or less rough and thin. To make the lip, three colors: dark green, earth red or covered the sides of the pot used as a Lobsang attached a coil of malleable brown. Phuti told me that the rocks mold, smoothed the fresh clay with his clay, then another, and finally moist­ used for glazing are expensive and diffi­ hands. Turning his work over, he pulled ened the rim and fluted the edge. The cult to obtain nowadays, so they make out the mold and put it aside. Next, as pot completed, he lifted it off the wheel only unglazed ware. his toe slowly turned the wheel, he be­ and rested it in a sunny corner of the Tibetan teapots, however, are always

Tibetan potters begin with a clay The clay-covered mold pot is After the mold pot has been loosened and pancake, pressing it over and down then righted and set in an ash- lifted out, Lobsang will shape the wall of the sides of an overturned pot. filled basin on the wheel. the new pot with a paddle and anvil.

Gentle paddling rounds the shoulder (the most On some pots, the lip is Flowerpots (such as this), braziers and beer delicate part of the process, says Lobsang), then coils fluted by pinching with pitchers are often decorated by incising are added to complete the lip. fingers and thumb. simple patterns with a wooden stylus.

54 CERAMICS MONTHLY Blocks of peat (considered ideal and essentialfor firing pots) are stacked on courtyard walls to dry.

The bulbous-bottomed shape of the traditional teapot makes it The bleak Tibetan landscape is brightened by mounds of ash and the most distinctive form in the Tibetan potter's repertoire. shards (kiln sites) outside villages of potters.

glazed, and other potters go to consid­ The neck and mouth, like the spout considered ideal and essential for firing erable lengths to obtain materials. and handle, are made separately. A nar­ pots. The availability of good peat once Veronika Ronge has reported that they row cylinder of moist clay is added to determined where pottery villages were get borax from lakes on the high pla­ the mouth of this bowl base to form a located. teaus and clay powder from central Ti­ neck. While the wheel is quickly spun, Of course, local supplies of peat have bet; the minerals needed for green and the potter uses a sharp, wooden tool to long since been consumed. Nowadays, blue glazes are particularly rare, so most define the elaborate neck and lip. Some potters in places like Metakonga and pots today are glazed in browns and add relief designs—a dragon or bird Pemba Valley have to travel several hours reds achieved with yellow ocher stone. head or flora—to the handle and base by horse cart to collect the slabs of peat “The composition of glazes,” she says, of the spout. they need. They chop it out of the “is still not exactly known to outsiders, All around Metakonga lie the red ground like sod. Collected only once or but I observed a potter mixing three kiln mounds. Smoke seeping from the twice a year, the peat is stored in foot- parts lead, three parts borax and three top of several indicated firings were un­ long blocks, neatly set out along the parts powder with water.” derway. In most Pemba villages, a kiln edges of walls and housetops. It lays To see a teapot made, I traveled fur­ is fired every ten days or two weeks. there for months, drying in the wind. ther east to the village of Metakonga. But because Metakonga has a greater When ready to fire his sun-dried The distinctive shape of the Tibetan concentration of active potters, one is pots, the potter carries peat, along with teapot makes it the most elegant in the more likely to find a kiln in operation straw and cow dung, to the kiln site. potters repertoire. A bulbous bottom on any given day. One layer of pots is arranged over the narrows to a small neck, which widens Fuel is the critical factor for ceramic residue of shards and ash from previous again in a series of steps. The bowl is work in this culture. Peat (called pang firings. Peat and straw are placed be­ made first, following the same process in Tibetan), a slow-burning, hot fuel tween and over the pot layer, followed for the beer crock and flowerpots I had composed of roots and other organic by another layer of greenware, then seen in Pemba Valley. matter compacted over the decades, is more peat and straw. Small pots may be

March 1993 55 loaded inside larger ones. Shards, posts While ceramics in Tibet may not be ing a handle, they rock it back and and other pieces of fired clay are posi­ what it was two generations earlier, it forth. Within an hour, clumps of but­ tioned between the pots to keep them clearly remains a flourishing craft. Al­ ter will be floating in the milk. By then, separated. Finally the entire mound of most every village household has a clay the evening soup (a barley mixture with ware and fuel is covered with a “lid” of incense burner with which, from the bits of sheeps cheese and a root called peat bricks. flat roof, a morning offering is made to tomd) is ready. When the potter is satisfied that ev­ the mountain deities. Every farm Because few Tibetan houses (whether erything is in order, he pokes burning woman also makes barley beer, ideally in towns or the countryside) have cen­ fuel (usually dried cow manure) through keeping several crocks full of ferment­ tral heating, ceramic braziers are still spaces between the peat. The peat and ing grain. And for their three-day wed­ popular room warmers. These wide, grass are kindled and, within three ding celebrations, each family needs a open vessels are filled with a layer of ash hours, the entire mass is ignited, burn­ ceremonial beer pitcher. topped with hot coals. A guest entering ing slowly with immense heat but no Then there is the ubiquitous teapot. a Tibetan house is furnished with a visible flames. Several times during the Many village houses and nomad tents brazier soon after taking a seat. Then a night, he checks the kiln by poking a will have two, and a monastery kitchen cup of tea is poured and the pot placed long, narrow tube into the mass to see is equipped with several, along with the gently on this nearby brazier since the if the fire is burning evenly. braziers to keep the pots warm. cup will be taken up many times before This firing process takes an evening In a few villages, I saw people using the visit is over. and a night; then the kiln, somewhat ceramic butter churns (called dza- dong collapsed, takes a day to cool. The ideal in some areas). These oblong pots have The author An anthropologist who has pots are neither tarnished nor carbon­ small necks and mouths, and handles studied Himalayan and Tibetan cultures ized by fire or smoke. Brushed clean, on opposite sides of the mouth. Two for more than 20 years, Barbara Nimri they are packed in straw for the wagon people sit on either side of the churn, Aziz observed the production of ceramics ride to market. which rests on a cloth base. Each grasp­ during three research trips to Tibet.

Brazier with glazed exterior; braziers are still popular room warmers in Tibetan homes.

Glazed teapot with attached silver lid Silver teabowl and glazed teapot with silver and spout in unglazed brazier. lid and spout.

56 CERAMICS MONTHLY “Line & Displacement No. V, ” approximately 11 inches high, press-molded earthenware mixed with sawdust, polished with a diamond pad after 1080° C (1976°F) firing with gold leafi slate base. Martin Smith

Sixteen vessel-related sculptures by Mar­ closed spaces and our perception of crisp right angle. None of the pots have tin Smith (senior tutor in ceramics and them, perhaps about architecture or the comfy transition of form from wall glass at the Royal College of Art) were something beyond their own real scale. to base, normal in a wheel-thrown or exhibited recently at Contemporary Ap­ Straight sides are played off against em­ handmade pot, that has the contour of plied Arts in London. The idea of the phatic curves, rippling and repeating, a smearing fingertip. Sealed-in contain­ vessel or container, the relationship of never deviating. The top edge, the fat ment is being questioned here, like a one geometric form to another and “clay lip that is so successful in recent pieces, tent without a groundsheet. The unity quality” are all important to Smith. has a strong curve too. Sheer smooth of floor and wall, usually taken for He begins with the circle, sectioning walls have been machined and polished granted, has been thrown over for rea­ and rearranging it to create templates to a silky mattness. There is little to sons of interest in hovering, floating, for sensuously curving walls. Clay mixed show the onlooker that the clay they are substance and shadows, facts and expec­ with sawdust is press molded, bisqued, made from was ever plastic. Nothing in tations; how to raise doubts in the then polished with diamond pads. Ex­ pottery gets further from the thumbprint spectator’s eye about the way things rest teriors are left bare, while interiors are than this. on surfaces. often accented with gold, silver or cop­ “And is it right to call them pots? “The work is planned, visualized, per leaf. Some are completed by attach­ Some of them don’t even have bases— measured, matured, engineered; not at ing (with epoxy) ceramic or slate bases; are open to the tabletop. Others have all the spontaneous headlong dash into others allow the display surface to inter­ alienated bases made of slate rather than the material. But clay can be so many act with the form. clay. Some of the ceramic bases are made things in different hands. Smith has cho­ Smith “makes pots that are cool and ethereal with an applied surface of silver sen and developed his constraints with hard and precise and perfect,” observed leaf, reflecting deceptively. The separa­ great poise. He has opted for the in­ ceramist Alison Britton. “They seem to tion of the bases has an unsettling visual trigue of a complicated process, to ar­ be about geometry, about open and effect. Horizontal meets vertical with a rive at a potent simplicity of form.”A

March 1993 57 Since 1981 y Philadelphia ceramists Syd Carpenter and Steven Donegan have had adjoining studios in a building that Donegan developed from a warehouse into studio rentals, subletting to about 90 artists.

Syd Carpenter and Steven Donegan by Robin Rice

A special kind of energy is generated says Carpenter. Most observers would plex, almost musical, organization of when two artists work harmoniously in agree. Donegan, for example, currently decorative/organic motifs. “I use a wide close proximity to one another—even does glazed tile compositions—essen­ open palette (of glazes),” he says, relat­ when their work is radically dissimilar. tially two-dimensional, wall-mounted ing color to emotion. Philadelphia ceramists Syd Carpenter paintings. Carpenter handbuilds sculp­ Carpenter, on the other hand, sub­ and Steven Donegan have shared stu­ ture—also wall-mounted, but emphati­ ordinates color to variations on twist­ dio space for over 16 years. They’ve cally in three dimensions. ing root forms, which have preoccupied been a couple for about the same Though Donegan has experimented her for the past few years. “I have sim­ amount of time. extensively with sculpture, he translates plified my process to the point where it “People say there are things in our this knowledge into bright underglaze is the form that speaks and the surface work that are similar, but I don’t think color applied with bamboo brushes onto that is secondary,” she says. Her dislike that our work looks alike in any way,” large rectangular tiles in a spatially com­ of an obviously glazed surface has even

58 CERAMICS MONTHLY led her to remove a too glossy glaze and experiences. Donegan and Carpen­ Another influential shared experi­ with sandblasting. ter have a seriousness of purpose and a ence, attending the “Venice Bienale,” The two artists present an almost thoughtful attitude toward work in occurred a year earlier. The trip par­ textbook contrast in opposing work which each artist combines subtle in­ ticularly affected Donegan, not because rhythms. Carpenter is a steady, methodi­ tuitive responses to materials with in­ the show itself was impressive (actually cal worker, while Donegan alternates tellectual analysis. it was somewhat disappointing, they quiescent generative periods with mara­ In all their years together, they’ve agree), but because the city of Venice is thon bursts of energy in which he pro­ collaborated on art only once—in 1991 so spectacular. duces a lot of complicated work in a at the suggestion of Pittsburgh’s Society He admires Venetian painters like very short period of time. “It takes so for Contemporary Crafts, which was Tintoretto and Titian, but his own work much concentration,” he ex­ was more directly influenced by plains. “I don’t like people to The two artists present an almost textbook the ubiquitous, inventive archi­ come into my studio and com­ tectural ornament: “One of the ment on my work when I’m in contrast in opposing work rhythms. things that fascinated me when the middle of it. That’s like say­ I was in Venice was all the detail ing, ‘How’s the race going?’ in the organizing a “Clay Couples” show. Car­ and pattern, and how it was used. I middle of the race. I say, T don’t know. penter remembers that “It was easy at came away thinking, ‘There’s something Don’t stop me until I get there.’ But the time to say, ‘Okay, you live to­ going on that I have to try to put into Syd,” he jokes, “likes constant inter­ gether, love together—all those things— my work. It’s all this richness and layer­ ruption in her work.” She prefers to make some art.’ But we had been studio ing that I feel is missing in the way think of it as “interaction,” a positive mates since 1976 and we had never people build buildings and live today. contribution. interacted, never collaborated on our Hundreds of years ago someone put a In their studios, huge windows pro­ work.” After some initial awkwardness, finger on something and it will always vide a panoramic view of Old City both enjoyed the experience; they com­ be here and it will always be relevant.” Philadelphia and plenty of light. The pleted four pieces in Donegan’s two- Often these Venetian, Islamic or open door between the two airy corner dimensional format, using some of Moorish patterns are derived from plant rooms is emblematic of shared ideas Carpenter’s characteristic imagery. forms. In addition to referencing Vene-

“A Part of the Chain, ” 65 inches in height, coil-built “Musical Patterns, ” 43 inches in height, handbuilt whiteware earthenware, with thin underglaze washes, by Syd Carpenter. tiles brushed with commercial underglazes, by Steven Donegan.

March 1993 59 60 CERAMICS MONTHLY “Corkscrew Liana, ” 70 inches in height, earthenware “Three Diamonds, ” 43 inches in height, underglazed whiteware with underglaze and paint, by Syd Carpenter. tile composition, by Steven Donegan.

tian and other historic ornament in his and exaggerated, almost mannerist, slab roller. I have a template that I put painting, Donegan also adapts motifs scale. “It’s not the Peaceable Kingdom down on the clay, then trim around it. I directly from nature. “A lot of these he jokes. “There’s no deep space, middle make the tiles, stack them up, and for­ forms come out of the garden—like a ground and foreground. There’s always get about them for awhile.” cone flower or trumpet vine (a favorite) a lot of stuff going on though—for Donegan dries tiles slowly on sheets or images of pods. I guess I get focused example, notes about how perspective of plywood or plasterboard and, be­ on micronutia like salamanders or tiny works; you make a small one back there cause he is a perfectionist about not little flies a quarter of an inch long. I’m and a big one right here, so you know it overhandling the clay, warpage losses always dragging Syd out and saying, has arrived.” are limited. After a Cone 05 bisque, the ‘Look at this bug!’” Sound is very much a part of the tiles are ready for glazing. He weaves “what was happening in way he sees things, too. “I think of my He arranges a group of nine white the garden into a sort of biomorphic, work as being very musical so that the tiles in a vertical rectangle on a sturdy, organic thing that was mine. For an color reads like sound. You sometimes oversized wooden easel placed between artist, there’s something evolutionary can hear things before you see them.” two windows for even lighting, and so about working on a series. You’re not Donegan has felt this synesthesia of that he has plenty of space to move exactly carrying your prehensile tail, but sound and color so intensely that on back and forward to view his work. you do carry your past with you and try occasion, “I was hearing my paintings— Donegan starts most of his paint­ to move along—a little farther out.” almost a complete auditory hallucina­ ings with calligraphic strokes, using a Natural and decorative forms are tion. Like sound, color seems to be large bamboo brush dipped in a com­ combined with a sense of spatial drama connected to emotional things, [but] mercial black underglaze. “I’ve always its not about how this is going to affect thought that the calligraphic nature of Above left: Steven Donegan in his the viewer.” a sketch was something to hold on to.” warehouse studio; placing the oversized About technique, Donegan says, “I He lays out the painting in a thin solu­ easel between two windows gave him even make the tile but I don’t talk about tion of pigment, which functions some­ lighting and plenty of working space. chemistry because it’s irrelevant. It could thing like a cartoon in fresco painting. Left: Syd Carpenter adding coils to a be any clay. This (1 lxl4-inch tile) is a “I do a lot of preliminary sketches. foam-supported helix form. low-fire white earthenware. I use the In one case, I began a series working

March 1993 61 three dimensionally, then realized that Chinese. I noticed that when Han put derides as “snail-like,” but which makes the imagery just didn’t apply in a three- the name and date and other impor­ steady progress. dimensional manner. I went on to paint tant information into the painting that Her sculpture is composed of one or [with underglazes] and it worked. It it visually linked itself to the overall more discrete elements, slowly dried, takes a long time to decide where and image. When I signed my name in then bisqued in an electric kiln to Cone what it is that I’m headed toward,” English, it looked so static. So I [tried] 05. Next come poured layers of thin Donegan says. the calligraphy translation of my name washes of red, black and blue under- Getting the effects he wants from in Mandarin and thought that it glazes fired to Cone 05. The sculpture the underglazes is a matter of experi­ worked. It really fits in with all the is sanded and refired repeatedly until ence. “It’s not something you can teach architectural ornamentation I’m using.” she gets a subtle, soft earth color sug­ anybody. If you make a mistake you Carpenter, a 1992 recipient of the gesting layers of humus on the tendril­ can make changes by scraping or wash­ prestigious $50,000 Pew Charitable like forms. She completes the piece with ing off earlier [unfired] layers or get a Trust Fellowship in the Arts, shares terra sigillata hand-polished with a slightly different effect by overpainting Donegan’s interest in gardening as an chamois “to give a waxy, fleshy look” a thicker layer. You can use transparent activity in and for itself. “There’s a con­ and fired to Cone 09. washes like watercolor, or you can make nection to the process and the struggle “As a child I always knew that I was the underglazes completely opaque and that I see happening out in that garden a visual artist—that mentally, emotion­ solid.” Donegan may fire a set of tiles and what’s happening in my life. There’s ally I would be an artist,” says Carpen­ many times at Cone 05 before finishing no two ways about it: That garden ex­ ter. “I not only liked looking at things, the work with a clear glaze also fired at plains things. There’s a logic to it.” thinking about them, but also the physi­ Cone 05. The formal essence of this idea is cal involvement, handling material, He then mounts the tiles with a expressed as a large coil-built helix shape looking at things other people had strong construction adhesive onto a suggesting a root. “I’m discovering the handled and made.” gridded framework attached to ply­ vocabulary in the helix form,” she ex­ She was introduced to ceramics as wood. This solid unit can then be edged plains. “It seems to be the form that is an undergraduate at Tyler School of with a frame, producing a glazed tile the best way of dealing with the ideas Art in Philadelphia where she went on painting that is typi­ to earn an M.EA. cally 43 inches high, Carpenter, a 1992 recipient of the prestigious $50,000 “To work in clay, 32 inches wide and that to me was a real 2½ inches deep. Pew Charitable Trust Fellowship in the Arts, shares Donegans interest surprise—given the Not long ago, fact that I was go­ Donegan initiated a in gardening as an activity in and for itself ing to paint from collaboration with the beginning. visiting Chinese artist Han Wen Lai. that I’m working with. It’s a format that Then I became completely absorbed by “He is a traditional bird-and-flower for me is unique. If I start talking about the physical activity of working in clay. painter and uses bamboo brushes. I the fact that I’m going to do a family The possibilities were amazing. It was a work in a similar way. I realized that it portrait and the format is going to deal long time before I realized what my would be very interesting if we could with a helix form that’s going to move imagery was, but I came to the conclu­ work together. There’s not that much in and out, that’s exciting; but I have no sion that clay was the most potent ma­ difference in the way we work. It’s only idea what it’s going to be like.” terial I could identify with. I’m most in the way we think about what we After years of hand-rolling coils for attracted to what people do when they want to see. [Han visited Philadelphia large wall sculptures, Carpenter recendy connect the intellectual with the actual with a group of Chinese artists and purchased an extruder, which makes manipulation of materials.” doesn’t speak English, so] I got a trans­ stacks of perfect coils from the com­ Carpenter enjoys throwing and lator and asked Han to collaborate. He mercial clay she buys ready-to-use. teaching her students at Swarthmore said yes, so we worked for several days “Coils are the most direct way to make College to throw, but she has given up in the studio and produced a couple of the shapes. I want to get to the form; I making pots. “As a vehicle for revela­ big pieces.” don’t care why the clay formula works. tion, pots weren’t servicing me the way Remarkably, the two men painted The image is primary.” other forms began to,” she explains. together without the translator. “We She is “very meticulous about crafts­ Donegan’s background presents in­ just went in there in total improvisa­ manship, drying and firing properly.” teresting contrasts. “I didn’t know I was tion,” says Donegan, who relished the During construction, the hollow, twist­ going to be an artist when I was a experience, which made at least one ing shapes are supported horizontally child,” he says. “I was coaxed by one of enduring mark on his work. “I had on small chunks of foam rubber as she my parents to get into the high school asked him to translate my name into adds coils, working at a pace that she art department. My mother recognized

62 CERAMICS MONTHLY “Pink and Blue Morocco, ” 43 inches in height, whiteware tile with brushed underglazes, clear glazed, fired to Cone 05, by Steven Donegan.

Left: “Then, Now, When," 44 inches in height, handbuilt earthenware, by Syd Carpenter.

that I was not very happy with other Both artists are inspired by living penter, simply seeking suitable studio things. Suddenly—it sounds funny, but and working in Philadelphia. “Specifi­ space for themselves, leased one floor of its true—I realized that everything I’d cally for clay, Philadelphia is excellent,” an old warehouse, retaining part for done up to that point had been a whole Carpenter says. “There are so many their own studios, then subletting rooms waste of time. I knew exactly where I excellent programs taught by nation­ to other artists. “We didn’t plan on was going and I knew that art was ally recognized artists. And there are a making it what it has become,” says where my life was headed.” variety of exhibition opportunities.” Donegan. Donegan never studied ceramics for­ Donegan adds, “This is a very rich Then, in response to a tremendous mally, except in superficial high school climate. It allows me to have time in need for artists’ studios, he was per­ courses. After studying art at Tyler, “I my studio and have a place to live with­ suaded to enlarge his lease, floor by moved into clay around 1973. I was out going insane putting in hours com­ floor. A five-story building with a clas­ working with sculpture and with plas­ muting. There are beautiful landscapes sic columned entrance and huge freight ter built on forms.” and you don’t have to go farther than elevator, the warehouse is now divided Found objects were copied and com­ Fairmount Park to be able to find a into numerous studios—even the small­ bined in three-dimensional, landscape- wild natural space.” est has at least one big window. Though like, still-life arrangements. “I started Since 1981, Donegan and Carpen­ the majority of tenants are not ceram­ making containers using the forms I ter have worked in comfortable adjoin­ ists, there are easily accessible kilns cen­ was making.” For a while, he struggled ing studios at 915 Spring Garden Street, trally located on a couple of floors. with questions about “what was the the best-known artists’ studio building In this communal space, both Car­ smartest way you could work or what in the city. Donegan was responsible penter and Donegan have found a work­ kind of art is better,” which in hind­ for developing rental spaces in the ing environment ideally suited to their sight he sees as “not that important.” former warehouse; now they both con­ individual needs. In particular, Carpen­ In New York, where Donegan lived tribute to its management. ter likes “the fact that I can walk down and worked in a single small room for “I was reluctant to become a land­ the hall [and] studio doors will be open. several years, he made “small sculpture lord,” Donegan recalls. In spite of any I get a nice feeling from being in this and small paintings. I really started reservations, and perhaps because he’s building.” working in ceramics when I moved into an artist, he has created a working envi­ this studio. I had more room and more ronment that some 90 other artists find The author Robin Rice is a 1992 re­ privacy. I began by doing paintings of congenial for a variety of disciplines. cipient of a Pennsylvania Council on the the view out the window.” It all began when Donegan and Car­ Arts fellowship for visual arts criticism.

March 1993 63 64 CERAMICS MONTHLY slides per work. Entry fee: $20 for up to 3 entries. Call for Entries Juror: Lou Proctor, director, ART Gallery, New Exhibitions, Fairs, Festivals and Sales Bern, North Carolina. Awards: Three $ 1000 Awards of Excellence plus the Museum of American Pottery Purchase Award and other purchase awards. Send SASE to Cedar Creek Gallery, 1150 Fleming Road, International Exhibitions Creedmoor 27522; or telephone (919) 528-1041. April 16 entry deadline March 9 entry deadline Rockford, Illinois “Botanies” (June 18-July23). Golden, Colorado “North American Sculpture Juried from slides. Entry fee: $15 for 3 slides. For Exhibition 1993” (May 9-June 20), open to resi­ prospectus, send SASE to Botanies, Gallery Ten, 514 dents of Canada, Mexico and the United States. East State Street, Rockford 61104; or telephone Juried from 8x10 glossy black-and-white photos. (815) 964-1743. Fee: $10 per entry; up to 3 entries. Awards: over April 21 entry deadline $10,000. Jurors: Lewis Sharp, director, Denver Art Milwaukee, Wisconsin “Over the Edge...Again” Museum; and Luis Jimenez, sculptor. Contact the (June 25—August 13). Juried from slides. For infor­ Foothills Art Center, 809 15th Street, Golden 80401; mation or prospectus, contact A. Houberbocken, or telephone (303) 279-3922. 230 West Wells Street, Suite 202, Milwaukee 53203; or telephone (414) 276-6002. National Exhibitions April 30 entry deadline Dexter, Michigan “Sixth National Juried Exhibi­ March 12 entry deadline tion” (June 5-July 10). Juried from slides. Juror: Tempe, Arizona “Tempe Tea Party” (May 21— Russell Forrest Etter, artist. Entry fee: $10 for one July 18). Juried from slides. Entry fee: $ 15 for up to work; $5 for each additional work. Send SASE to the 5 works; maximum of 15 slides. Awards: $500- Farrington Keith Creative Arts Center, 8099 Main $ 1000 minimum. For prospectus, send self-addressed Street, Dexter 48130; or telephone (313) 426-0236. mailing label and stamp to Tempe Arts Center, Box Philadelphia, Pennsylvania “Invitational Artist 549, Tempe 85280; or telephone (602) 968-0888. Series” (three solo exhibitions for 1993-94). Juried March 15 entry deadline from slides. No entry fee. For application form, send Racine, Wisconsin “PETS: Artists and an Ameri­ SASE to the Clay Studio, 139 North Second Street, can Obsession” (June 13-September 15). Juried Philadelphia 19106; for information only, telephone from up to 10 slides and resume. No fee. Jurors: (215) 925-3453. Wustum curatorial staff. Send SASE to Charles A. May 1 entry deadline Wustum Museum of Fine Arts, 2519 Northwestern Cheney, Washington “Clay on the Wall: First Ave., Racine 53404; or telephone (414) 636-9177. National Ceramic Sculpture Invitational” (Novem­ March 19 entry deadline ber 5—December 10), open to works no larger than University Park, Pennsylvania “Crafts National 20 inches that are displayed/mounted on the wall. 27” (June 6-July 25). Juried from up to 2 slides per Juried from 10-20 slides, resume and artist’s state­ work. Fee: $20 for 3 entries. Juror: Joanne Rapp, ment. No entry fee or form. Awards: $500 purchase founder and director, Joanne Rapp Gallery/The award. Juror: Juan Granados. Send SASE to Juan Hand and the Spirit, Scottsdale, Arizona. Awards: Granados, Department of Art, M. S. 102, Eastern $3000. For prospectus, send SASE to Crafts National Washington University, Cheney 99004; or tele­ 27, Zoller Gallery, 102 Visual Arts Building, Penn­ phone (509) 359-2788. sylvania State University, University Park 16802; or May 30 entry deadline telephone (814) 865-0444. Philadelphia, Pennsylvania “Animal, Vegetable, March 26 entry deadline Mineral” (November 3-28). Juried from slides. For Lincoln, California “Feats of Clay VI” (May 22- application form, send SASE to the Clay Studio, 139 June 26). Juried from slides. Fee: $10 per entry; up North Second Street, Philadelphia 19106; for fur­ to 3 entries. Works should not exceed 24 inches. ther information only, telephone (215) 925-3453. Juror: Patti Warashina. Awards: Over $9000 in June 14 entry deadline place, merit and purchase awards. Send SASE to Tampa, Florida “Toys as Art” (July 17—Septem­ Lincoln Arts, Box 1166, Lincoln 95648; or tele­ ber 20). Juried from slides. Send SASE to Artists phone (916) 645-9713. Unlimited, 200 North Edison Avenue, Tampa April 2 entry deadline 33606; or telephone (813) 253-6055. Rockford, Illinois “2x2x2” (April 30—June 4), June 23 entry deadline open to all media under 2 inches, excluding frame or Milwaukee, Wisconsin “Not Just Another Fur­ base. Juried from actual work. Entry fee: $ 15 for up niture Show...Over the Door Mat” (August 27- to 3 works. For prospectus, send SASE to 2x2x2, October 22). Juried from slides. Contact A. Gallery Ten, 514 East State Street, Rockford 61104; Houberbocken, 230 West Wells Street, Suite 202, or telephone (815) 964-1743. Milwaukee 53203; or telephone (414) 276-6002. April 15 entry deadline July 1 entry deadline Jamestown, New York “Artists Consider the En­ Livingston, New Jersey “A Celebration of the vironment” (November-December). Juried from Cat” (October 2-30). Juried from slides. Entry fee: up to 10 slides, resume and support materials. Send $15. Send #10 SASE to First Mountain Crafters, c/o SASE to Artists Consider the Environment, Forum Joan Lisi, 16 Ridgewood Parkway, East, Denville, Gallery at Jamestown Community College, Box 20, New Jersey 07834; or telephone (201) 625-9649. Jamestown 14702; or telephone (716) 665-9107. Creedmoor, North Carolina “National Teapot Regional Exhibitions Show II” (July 23-August 29). Juried from up to 2 March 12 entry deadline Send announcements of juried exhibitions, fairs, Macon, Georgia “The jhwebb Gallery’s Pots IV” festivals and sales at least four months before the (May 27—August 21), open to artists residing in event’s entry deadline (add one month for listings in Alabama, Florida, Georgia, North Carolina, South July and two months for those in August) to Callfor Carolina or Tennessee. Juried from slides. For pro­ spectus, contact Terri Frolich, the jhwebb Gallery, Entries, Ceramics Monthly, Box 12448, Colum­ 2476 Vineville Avenue, Macon 31204; or telephone bus, Ohio 43212; or telephone (614) 488-8236. (912) 746-1653. Fax announcements to (614) 488-4561. Regional April 15 entry deadline exhibitions must be open to more than one state. State College, Pennsylvania “Images ’93” (July 1—

March 1993 65 Call for Entries May 15 entry deadline March 15 entry deadline Chester Springs, Pennsylvania “Studio Days ’93” Manayunk, Pennsylvania “Fourth Annual (September 24-October 3), open to craft artists Manayunk Arts Festival” (June 26-27). Juried from residing in Delaware, Washington, D.C., Mary­ 4 slides or photos. Entry fee: $10. Booth fee: $225 30), open to artists residing in Pennsylvania and the land, New Jersey, New York, Pennsylvania, Virginia for a 10x15-foot space. Send SASE to Business Asso­ Mid-Atlantic region .J uried from slides. J uror: Bernice or West Virginia. Juried from slides of 5 works; up ciation of Manayunk, 4320 Main Street, Suite 2, Steinbaum, Steinbaum Krauss Gallery, New York to 2 slides per work. Entry fee: $10. Cash awards. Philadelphia, Pennsylvania 19127. City. Entry fee: $20. Awards: $2000. For prospec­ Send SASE to Studio Days ’93, Chester Springs March 25 entry deadline tus, send SASE to Central Pennsylvania Festival of the Studio, Box 329, Chester Springs 19425. Bellevue, Washington “47th Pacific Northwest Arts, Box 1023, State College 16804. Arts and Crafts Fair” (July 23-25). Juried from May 3 entry deadline Fairs, Festivals and Sales actual works on April 3 between 8 A.M. and noon at Bellevue, Washington “Bellevue Art Museum Newport High School; or, ifdistance requires, juried Pacific Northwest Annual” (July 23-September 5), March 8 entry deadline from slides due by March 25. For information or open to artists residing in Alaska, Idaho, Montana, Guilford, Connecticut “36th Annual Guilford prospectus, contact the Pacific Northwest Arts and Oregon or Washington. Juried from slides. Entry Handcrafts Exposition” (July 15-17). Juried from 5 Crafts Fair, 301 Bellevue Square, Bellevue 98004; or fee: $20; free to museum members. Awards: $8000. slides. Entry fee: $15. Booth fee: $360 or $410, for telephone (206) 454-4900. Contact the Bellevue Art Museum, 301 Bellevue a 10x12-foot space. Cash awards. Contact 36th March 26 entry deadline Square, Bellevue 98004; or telephone (206) 454- Annual Guilford Handcrafts Expo, Box 589, Guil­ Salem, Oregon “44th Annual Salem Art Fair and 3322 or 454-4900. ford 06437; or telephone (203) 453-5947. Festival” (July 16-18). Juried from 6 slides. Booth fee: $60 for a 1 Ox 10-foot space. Commission: 20%. Send SASE to 1993 Prospectus, Salem Art Fair and Festival, 600 Mission Street, Southeast, Salem 97302. April 1 entry deadline Long Grove, Illinois “Fifth Annual Long Grove Art Fest” (July 24—25). Juried from slides or photos. Purchase, cash, gallery-affiliation and artist-in-resi- dence awards. Contact Long Grove Art Fest Chair­ man, Kildeer Countryside School, Box 3100 RED, Long Grove 60047; or telephone (708) 634-3243. Garrison, New York “24th Annual Arts and Crafts Fair” (August 21-22). Juried from slides. Entry fee: $5. Booth fee: $175 for a 10x10-foot space. No commission. For application, send SASE to the Garrison Art Center, Box 4, Garrison 10524; or telephone (914) 424-3960. Greensburg, Pennsylvania “Westmoreland Arts and Heritage Festival” (July’2—5). Juried from slides or photos. Awards: cash and purchase totaling $18,000. Send #45 SASE to Box 355A, RD 2, Latrobe, Pennsylvania 15650. Cambridge, Wisconsin “Second Annual Cam­ bridge Pottery Festival” (June 12-13). Juried from 4 slides. Entry fee: $ 10. Booth fee: $ 100. Send SASE to Cambridge Pottery Festival, 245 Hoopen Road, Cambridge 53523; or telephone (608) 423-4502. Spring Green, Wisconsin “24th Annual Spring Green Arts and Crafts Fair” (June 26-27). Juried from slides. Entry fee: $75. Awards: approximately $3000 in cash; over $6500 in purchase awards. Contact Spring Green Arts and Crafts Fair, Box 96, SpringGreen 53588; or telephone Miep Kempthorne (608) 588-7326. Wausau, Wisconsin “Wausau Festival of Arts” (September 11—12). Juried from slides. Awards: $6600, cash; $16,000, purchase. Contact Wausau Festival of Arts, Kathleen Grant, President, Box 1763, Wausau 54402; telephone (715) 842-1676. April 3 entry deadline Livingston, New Jersey “Arts Weekend” (June 25-27). Juried from slides. Entry fee: $10. Send #10 SASE to First Mountain Crafters, do Joan Lisi, 16 Ridgewood Parkway, East, Denville, New Jersey 07834; or telephone (201) 625-9649. April 5 entry deadline Louisville, Kentucky “Waterside Art and Blues Festival” (July 2-4). Juried from 5 slides. Booth fee: $ 125 plus optional $40 for tent rental. Cash awards. Send SASE to the Louisville Visual Art Association, Water Tower, 3005 Upper River Road, Louisville 40207; or telephone (502) 896-2146. April 10 entry deadline Layton, New Jersey “Peters Valley Craft Fair” (July 24-25). Juried from 5 slides. Entry fee: $15. Booth fee: $200 for a 10x10-foot space, $250 for a corner space; tented space $75 extra. For applica­ tion, send SASE to Peters Valley Craft Fair, 19 Kuhn Road, Layton 07851; or telephone (201) 948-5200. April 15 entry deadline Sheboygan, Wisconsin “23rd Annual Outdoor

66 CERAMICS MONTHLY March 1993 67 Call for Entries

Arts Festival” (July 17-18). Juried from 5 slides. Jury fee: $7.50. Entry fee: $40. No commission. Awards: $2000 cash, plus purchase prizes. Contact John Michael Kohler Arts Center, 608 New York Ave­ nue, Box 489, Sheboygan 53082; or telephone (414) 458-6144. April 16 entry deadline Albuquerque, New Mexico “21st Annual South­ west Arts and Crafts Festival” (November 11—14). Juried from 5 slides. Entry fee: $ 15. Booth fee: $300 for an 8x12-foot space; $350 for a 4x20-foot or corner space. Awards: $10,000. For prospectus, contact Southwest Arts and Crafts Festival, 525 San Pedro, Northeast, Suite 107, Albuquerque 87108. April 17 entry deadline Chautauqua, New York “Crafts Festival ’93” (July 2-4 and/or August 6-8). Juried from 3 slides of work, plus 1 of booth. Entry fee: $10. Booth fee: $125 per show. For prospectus, send #10 SASE to Kay Collins, Director, Festivals, Chautauqua Crafts Alliance, Box 89, Mayville, New York 14757. April 21 entry deadline Staten Island, New York “1993 Snug Harbor Craft Fair” (October 1—3). Juried from 5 slides. For application, send SASE to Snug Harbor Cultural Center Craft Fair, Attention: Sara Wells, 1000 Richmond Terrace, Staten Island 10301; or tele­ phone (718) 448-2500. May 1 entry deadline Columbus, Indiana “Chautauqua of the Arts” (September 18-19). Juried from 3 slides of work plus 1 of booth. Booth fee: $125 for a 10x10-foot space; $ 175 for an end space. No commission. Send legal-sized SASE to Dixie McDonough, Executive Director, Chautauqua of the Arts, 1119 West Main Street, Madison, Indiana 47250; or telephone (812) 265-5080. Rochester, Michigan “17th Annual Art at Meadowbrook” (August 21—22). Juried from slides. Entry fee: $15. Booth fee: $115 for a 10x10-foot space. Cash awards. Contact the Creative Arts Coun­ cil, Box 80914, Rochester 48308. May 29 entry deadline New York, New York “WBAI Holiday Crafts Fair” (December 3-5, 10-12 and 17-19). Juried from slides. For prospectus, send SASE to WBAI Holiday Crafts Fair, Box 889, Times Square Station, New York 10108. June 1 entry deadline Gaithersburg, Maryland“ 18th Annual National Craft Fair” (October 15—17). Juried from 5 slides. Entry fee: $10. Booth fee: $275, outside booth; $350, roofed; or $390, inside. No commissions. For further information contact National Crafts Lim­ ited, Noel Clark, Director, 4845 Rumler Road, Chambersburg, Pennsylvania 17201; or telephone (717) 369-4810. Millbrook, New York “Millbrook Crafts Fair” (November 26—27). Juried from slides or work. Booth fees vary. For application, send #10 SASE to the Artisans Group, Box 468, Pine Plains, New York 12567; for further information, telephone (914) 985-7409 or (518) 398-6678. Richmond, Virginia “29th Annual Richmond Craft and Design Show” (November 19-21). Juried from slides. Booth fee: $250 for a 10x10-foot space; $375 for a 10x15; $500 for a 10x20. Contact the Hand Workshop, 1812 West Main Street, Rich­ mond 23220; or telephone (804) 353-0094. June 16 entry deadline Pittsburgh, Pennsylvania “24th A Fair in the Park” (September 10—12). Juried from 5 slides. Entry fee: $5. Booth fee: $125 for a 10x10-foot space. Contact A Fair in the Park, 340 Bigbee Street #2, Pittsburgh 15211.

68 CERAMICS MONTHLY March 1993 69 The previous recipe is particularly responsive to Questions varying amounts of cobalt: for light lavender, Answered by the CM Technical Staff add 1% cobalt carbonate; for light olive green, add 1.5% cobalt carbonate. Base Glaze 70 Q Could you suggest a refractory kiln wash that (Cone 6) does not contain alumina hydrate or flint? I have Dolomite...... 13.1% been making some crystalline glazes that don’t get Wollastonite ...... 21.7 along well in the presence of extra alumina, and I Nepheline Syenite...... 43.5 don’t want to inhale flint.—G.M. Georgia Kaolin ...... 21.7 Try 90% Zircopax plus 10% any kaolin or 100.0% ball clay. This kiln wash is among the most This base recipe is good when used alone or refractory available, since zirconia has a meltingwhen combined with standard quantities of point of 4890°F (2700°C). colorants. Lane’s Crackle Glaze Q Last month, the Questions column showed (Cone 7-9) how to blend safe glaze materials but, for safety Whiting...... 15% reasons, omitted silica (orflint) from the glazes in Cornwall Stone...... 85 the high-flre range. Ive never heard of a high-fire 100% recipe (or any recipe, for that matter) without at least someflint. Care to give some actual recipes to Mason Black Matt Glaze illustrate? Id love to try some. Do these low-silica (Cone 8-10) glazes share some identifiable physical proper­ Dolomite...... 23.7 % ties?—T.D. Nepheline Syenite...... 71.6 There are many glazes in the various firingTennessee Ball Clay (#7)...... 4.7 ranges whose constituents contain enough silica 100.0% that the blend does not require the inclusion Add:of Bentonite...... 2.8% flint. Thus, some of these “flintless” recipes may Cobalt Oxide...... 1.0% not be truly low in silica. Most (but not all) of Manganese Dioxide ...... 3.4 % them have matt surfaces, however. Red Iron Oxide...... 9.0 % The following recipes demonstrate the po­ tential of flintless glazes: Redart Glaze (Cone 8-10, reduction) Woolery Shino Glaze Whiting...... 6% (Cone 5-6, reduction) Cedar Heights Redart Clay...... 94 Gerstley Borate...... 4.9% 100% Soda Ash...... 2.9 Add: Red Iron Oxide...... 5 % Nepheline Syenite...... 54.5 Spodumene ...... 22.8 Substitute 5%—10% rutile for the red iron Ball Clay (any)...... 14.9 oxide addition to produce an interesting varia­ 100 .0 % tion on the preceding glaze. Woolery Shino works best on dark bodies; it Snyder s Tan Matt Glaze will appear “fat” and creamy where thick, break­ (Cone 8-10) ing to gold where thin. Whiting...... 20% Cornwall Stone...... 20 Foggy Celadon Glaze Custer Feldspar...... 40 (Cone 6) Georgia Kaolin...... 20 Whiting...... 9.8% 100% Volcanic Ash...... 90.2 Add: Rutile...... 10 % 100.0% Zinc Oxide...... 3 % This glaze gets its celadon color from the small amounts of iron commonly present in volcanic Single-Fire Porcelain Glaze ash. The ash contains both alumina and silica in (Cone 8-10) substantial amounts, too, which is why the Whiting...... 21.4% recipe doesn’t require flint. Minspar 200 (soda feldspar) ...... 28.6 Matt Glaze Kentucky Ball Clay (OM 4)...... 21.4 (Cone 6, reduction) Georgia Kaolin...... 28.6 Dolomite...... 23.8% 100.0% Whiting...... 4.8 Subscribers' questions are welcome and those of gen­ Custer Feldspar...... 23.8 eral interest will be answered in this column. Due to Nepheline Syenite...... 23.8 volume, letters may not be answered personally. Ad­ Kentucky Ball Clay (OM 4)...... 23.8 dress the Technical Staff, Ceramics Monthly, Box 100 .0 % 12448, Columbus, Ohio 43212.

70 CERAMICS MONTHLY March 1993 71 dents, Aus$190 (approximately US$135) before Calendar April 1; Aus$320 (approximately US$230)/students, Conferences, Exhibitions, Fairs, Workshops Aus$205 (approximately US$147) after April 1. Contact the Registrar, 7th National Ceramics Con­ and Other Events to Attend ference, Box 234, Stepney, South Australia 5069; or telephone (08) 410 1822, national; or (61) 8 410 1822, international. Conferences Canada, Ontario, Hamilton May 28—30 “Coming Home,” Fusion: the Ontario Clay and Glass California, Davis v4pr/l 7^ “Fourth Annual Cali­ Association’s annual conference will include a de­ fornia Conference for the Advancement of Ceramic sign workshop with Denise Goyer and Alain Art.” Contact John Natsoulas Gallery, 140 F Street, Bonneau, developing a personal statement with Ann Davis 95616; or telephone (916) 756-3938. Roberts, and mold making with Keith Campbell. California, San Diego March 24—27 NCECA an­ Location: McMaster University. Contact Fusion: nual conference. Contact Regina Brown, Box 1677, the Ontario Clay and Glass Association, Suite 204, Bandon, Oregon 97411. 80 Spadina Avenue, Toronto, Ontario M5V 2J3. Florida, Orlando October 3—6“ Society of Glass and Canada, Ontario, Toronto April3 “Pueblo Culture Ceramic Decorators 30th Anniversary Seminar and and the Arts of the American Southwest” will in­ Exhibition.” Contact Society of Glass and Ceramic clude presentations by Mary Lewis Garcia, Acoma Decorators, 888 17th Street, Northwest, Washing­ potter and daughter of Lucy Lewis. April29—May 2 ton, D.C. 20006. “The Bedroom: From the Renaissance to Art Deco,” Massachusetts, Cambridge March 6 “Korean Ce­ decorative arts symposium will feature 16 interna­ ramics: History, Aesthetics and Personal Lives” in­ tional scholars. Fee: Can$335 (approximately cludes presentations by Jonathan Best, professor of US$262). Contact the George R. Gardiner Mu­ Asian art history, Wesleyan University; Sarah Nelson, seum of Ceramic Art, 111 Queen’s Park, Toronto professor of anthropology, University of Denver; M5S 2C7; or telephone (416) 586-8080. Robert Sayers, program officer, National Endow­ ment for the Humanities; Judith Schwartz, associate Solo Exhibitions professor of studio art, New York University; and Robert Mowry, curator of Chinese art, Harvard Arizona, Scottsdale through March 6Gail Kristen- University Art Museums. No fee. Contact Arthur sen, “Figurative Clay Sculptures”; at Mind’s Eye M. Sackler Museum, Harvard University, 485 Broad­ Gallery, 4200 North Marshall Way. way, Cambridge 02138; telephone (617) 495-4544. March 4—31 Eddie Dominguez, new work. Kurt North Carolina, Asheboro March5-7“Sixth North Weiser, china-painted porcelain. April 1-30 Robert Carolina Potters Conference” will include keynote Sperry, new work. Jeff Oestreich, teapots; at Joanne address by Jack Troy plus presentations by Gordon Rapp Gallery/The Hand and the Spirit, 4222 North Batten, Jennie Bireline, Phyllis Blair Clark, Doug Marshall Way. Dacey, MaryLou Higgins, Hal Pugh and Ray March 11—27 Patti Warashina, “A 30-Year Survey”; Wilkinson. Location: Moring Art Center. Contact at Bentley-Tomlinson Gallery, 4161 North Marshall Randolph Arts Guild, 125 Sunset Ave., Box 1033, Way. Asheboro 27204; or telephone (919) 629-0399. California, Los Angeles March 6-31 Beatrice Wood; North Carolina, Winston-Salem April 16—18 “De­ at Garth Clark Gallery, 170 South La Brea Avenue. sign and Content” will include lectures/demonstra- California, San Francisco March 9-April 10 Robert tions/hands-on experimentations with artists in vari­ Brady, sculpture. April 13-May 22 Peter Voulkos, ous media, featuring ceramist Patti Warashina, plus sculpture; at Braunstein/Quay Gallery, 250 Sutter panel discussion, slide lectures and exhibitions. Fee: Street. $150 for workshops, lectures, Friday dinner and California, Santa Ana March 1—31 Brian Gartside; Sunday breakfast. For prospectus, send a # 10 SASE to at Rancho Santiago College, Nealley Library. Design and Content, Sawtooth Center for Visual Florida, Belleair March 18-April 18 Ron Meyers; at Art, 226 North Marshall Street, Winston-Salem the Florida Gulf Coast Art Center, Pilcher Gallery, 27101; or telephone (919) 723-7395, 8:30-5:00 222 Ponce de Leon Boulevard. P.M. weekdays. Florida, Ocala March 17—April 18 Roddy Reed, Ohio, Cincinnati April 19-21 “Design Division of “Pinch Pots: Art from the Earth”; at the Appleton the American Ceramic Society Program 95th An­ Museum of Art, 4333 East Silver Springs Boulevard. nual Meeting” will include various sessions on color, Illinois, Decatur March 1-April 2 Joe Molinaro, technology, and kilns and firing. Contact the Amer­ porcelain; at the Perkinson Gallery, Millikin Uni­ ican Ceramic Society, 735 Ceramic Place, Westerville, versity. Ohio 43081; or telephone (614) 890-4700. Kentucky, Lexington March 7—April25Steve Davis- Ohio, Columbus, Greenfield and Zanesville May Rosenbaum, “Function on Function”; at the Head- 7-9 “Tiles of Ohio: Reflections of an American ley-Whitney Museum, 4435 Old Frankfort Pike. Industry” will include lectures, panel discussions, Kentucky, Louisville through March 26 Joe Moli­ antique/contemporary tile sale, tours and exhibi­ naro; at Spalding University Art Gallery, 851 South tions. Fee: $210 for 3 days; $75 for each day, space Fourth Street. permitting. Registration deadline: April 15. Contact Maryland, Baltimore March 12-April 2 Angela Tile Heritage Foundation, Box 1850, Healdsburg, Franklin, large-scale enamel wall sculptures. April California 95448; or telephone (707) 431-8453. 16-May 9 Beth Carruthers, functional porcelain; at the Baltimore Clayworks Gallery, 5706 Smith Ave. International Conferences Michigan, Detroit March5-April24S\is2in Bankert; at Pewabic Pottery, 10125 East Jefferson. Australia, Adelaide July 11-17 “7th National Ce­ Michigan, Farmington Hills March 6-27 Mary ramics Conference: Celebrating the Maker.” Regis­ Roehm; at Habatat/Shaw Gallery, 32255 North­ tration fee: Aus$305 (approximately US$218)/stu- western Highway, #25. Missouri, Saint Joseph through March 12 Yoshiro Send announcements of conferences, exhibitions, juried Ikeda; at Gallery 206, Missouri Western State Col­ fairs, workshops and other events at least two months before the month of opening (add one month for listings in lege, Department of Art, 4525 Downs Dr. July and two months for those in August) to Calendar, NewYork, NewYork through March 6Nino Caruso. Ceramics Monthly, Box 12448, Columbus, Ohio 43212; Anne Kraus. March9-April3Gwyn Hanssen Pigott. or telephone (614) 488-8236. Fax announcements to Beatrice Wood. April 6-May 1 Roseline Delisle. (614)488-4561. Geert Lap; at Garth Clark Gallery, 24 W. 57th St.

72 CERAMICS MONTHLY March 1993 73 Calendar Artists plus Ann Christenson, David Furman, Lauren Grossman, Conrad House, Ruby Panana, Anne Perrigo, Lillian Pitt, Juta Savage and Thomas Natseway; at Faith Nightingale Gallery, 535 Fourth through March 77Susan Grabel, “Among the Shad­ Avenue. ows,” mixed-media sculpture; at Prince Street Gal­ March22-27'California Collegiate Ceramics Com­ lery, 121 Wooster Street. petition”; at Everett Gee Jackson Gallery, San Diego through March 28 Howard Kottler, sculpture; at State University. American Craft Museum, 40 West 53rd Street. California, Santa Ana March 12-April 1 “Spirits of New York, Riverhead through March 21 Toby Perception: Ceramics from the Silber Collection”; at Buonagurio, “Eccentric Visions”; at Rathbone Gal­ the Rancho Santiago College Art Gallery, 17th at lery, Suffolk Community College. Bristol. Oklahoma, Norman March 5-28 Gayle Singer, “A California, Santa Monica March 20—April24 (closed Celebration of Color, Form and Function”; at Fire- April 10—18) Patrick Crabb and Susan Shutt; at house Art Center, 444 South Flood. Santa Monica College Gallery, 1900 Pico Blvd. Pennsylvania, Philadelphia March 5—28 Ada Pilar California, Tustin March 23-April 11 Vessels by Cruz. Constantina Schmidt, “Objects and Memo­ Patrick Crabb and Yoshiro Ikeda; at Chemers Art ries”; at the Clay Studio, 139 North Second Street. Gallery, 17th and Yorba Streets, Enderle Square. Pennsylvania, Pittsburgh through March 31 Jim Colorado, Golden through March 28 “Colorado Chaney, altered forms. April2-June 2 George Car­ Clay 1993,” work by 31 artists; at the Foothills Art ter Smyth, crystalline-glazed porcelain; at the Clay Center, 809 15th Street. Place, 5416 Walnut Street. Connecticut, New Haven April 2—May 22 “New Texas, San Antonio through March 6 James Wat­ Ceramics,” juried national; at the Creative Arts kins; at the Southwest Craft Center, Emily Edwards Workshop, 80 Audubon Street. Gallery, 300 Augusta. D.C., Washington through November 28 “Joined Wisconsin, Sheboygan through May 9 Ann Agee, Colors: Decoration and Meaning in Chinese Porce­ “Industry”; at John Michael Kohler Arts Center, lain”; at Arthur M. Sackler Gallery, Smithsonian 608 New York Avenue. Institution. Florida, Miami Beach through March 12 Exhibition Group Ceramics Exhibitions of works by ClaySpace artists; at the South Florida Art Center, 1035 Lincoln Road. California, Davis April 1—May 2 “7th Annual 30 Louisiana, New Orleans April 3-May 31 “Porce­ Sculptors Exhibition”; at John Natsoulas Gallery, lain,” including work by Amy Ataei, Janel Jacobson, 140 F Street. Peggy Schoen and Marsha Silverman; at Ariodante April 2-May 1 “1993 California Clay Competi­ Contemporary Craft Gallery, 535 Julia Street. tion”; at the Artery, 207 G Street. Maryland, Baltimore through May 15“ATea Party”; California, El Cajon March 1-April2 “Contempo­ at the National Museum of Ceramic Art, 250 West rary Korean Ceramics”; at Grossmont College, Hyde Pratt Street. Gallery. Massachusetts, Cambridge through March 25“First California, La Jolla March 13-April24 “Ceramics,” under Heaven: The Henderson Collection of Ko­ works by Rudy Autio, Bennett Bean, Anne Hiron- rean Ceramics”; at Arthur M. Sackler Museum, delle, John Hopkins, Yoshiro Ikeda, Sara Krusoe, Harvard University Art Museums, Quincy Street Les Lawrence, Louis Marak, Karen Massaro, Kazuko and Broadway. Matthews, Beverly Saito and David Shaner; at Gal­ Massachusetts, Northampton through March 6 lery Eight, 7464 Girard Avenue. “2D/3D: Multi-Dimensional Artists,” local ceram­ California, Los Angeles March 22-April 16 “Ce­ ists; at Ferrin Gallery, 179 Main Street. ramic Currents/L.A. Eddy,” works by Los .Angeles Michigan, Ann Arbor March 26-April23 “Out of artists; at the California State University Art Gallery, the Fire,” juried national; at the Kreft Center for the 5151 State University Drive. Arts, 4090 Geddes Road. California, Oakland March 3—April 25 “Stone Michigan, Detroit March5-April24 “Organicism,” Kalliope: The Poetry of Stoneware,” works by Dan sculpture by Anne Bridget Gary, Amara Geffen and and Laurie Hennig; at Collectors Gallery, Oakland Yun Dong Nam; at Pewabic Pottery, 10125 East Museum, 1000 Oak Street. Jefferson. California, Palo Alto through April 25 “From the Michigan, Grosse Point Shores March 24-May 9 Fire, Three Exhibitions in Clay: The Lyrical Vessel, “Creative Clays: American Art Pottery from the From the Prieto Collection, and Incendiary Spirits”; New Orleans Museum of Art”; at Edsel and Eleanor at the Palo Alto Cultural Center, 1313 Newell Road. Ford House, 1100 Lake Shore Road. California, Riverside April 3—May 7 “California Minnesota, Saint Paul through April 7 “Narrative, Collegiate Ceramics Competition”; at Riverside Satirical, Straight,” works by the University of Min­ Community College Art Gallery. nesota ceramics faculty—Curt Hoard, Tom Lane California, Sacramento through March 7“Tesoros and Mark Pharis; at the Northern Clay Center, 2375 de laTierra: Ceramic Figures from Ancient America”; University Avenue, West. at the Crocker jArt Museum, 216 O Street. Mississippi, Pass Christian through April 1 “Honor­ March 10-April 4 Works by Kendall LeCompte, ing American Potters”; at Hillyer House, 207 East Margaret Licha, J ames Lovera, Armin Muller, Yoshio Scenic Drive. Taylor and Eric Wyss; at Michael Himovitz Gallery, New Mexico, Las Cruces March 7—28 “From the 1020 Tenth Street. Ground Up XII”; at the Branigan Cultural Center, California, San Diego through April ^“NCECAClay 106 West Hadley. National 1993”; at the San Diego Museum of Art, New York, Alfred through June 11 “Asian Ceramics Balboa Park. at Alfred”; at the Museum of Ceramic Art at Alfred, through December 31 “Raingods, Owls and Ani- New York State College of Ceramics at Alfred malitos”; at the San Diego Museum of Man, 1350 University. El Prado, Balboa Park. New York, New York through March dTExhibition March 17—30 “Contemporary Korean Ceramics,” of wall vessels by John Chalke and teapots by Kent an extension of main exhibition at Grossmont Col­ Benson, Jeannot Blackburn, Beth Campbell, Ann lege, El Cajon; at the Theater Gallery, San Diego Cummings, Leopold Foulem, Evelyn Grant, Jeannie City College. Mah, Matthias Ostermann, Tim Storey, Ian Symons, March 19—May 1 “Ring of Fire,” works by 57 Barbara Tipton and Kathryn Youngs; at Nancy members of the Association of California Ceramic Margolis Gallery, 251 W. 21st St. Continued

74 CERAMICS MONTHLY March 1993 75 Calendar

April 8—May 15 “A Teacher’s Influence: Toshiko Takaezu and Students”; at Elsa Mott Ives Gallery, YWCA, 610 Lexington Avenue at 53rd Street. Ohio, Cincinnati March 13-June 6 “Rookwood Pottery: The Glorious Gamble”; at the Cincinnati Art Museum, Eden Park. Ohio, Wooster March 25-April 17 “Functional Ceramics 1993”; at Wayne Center for the Arts, 237 South Walnut Street. Oregon, Portland thro ugh March 26‘U p in Smoke,” with works by Dave and Boni Deal, Mike Gwinup, Gail Pendergrass and Robert Piepenburg; at Georgies, Made with Clay Gallery, 756 Northeast Lombard. Texas, San Angelo April 15-May 23 “Eighth An­ nual San Angelo National Ceramic Competition”; at the San Angelo Museum of Fine Arts. Texas, Waco through March 26 “Earthen Vessel/ Celestial Journey,” works by Lee Akins, Marian Haigh and Beth Thomas; at Hooper-Schaefer Fine Arts Center, Baylor University. Virginia, Alexandria March 4—28 “The Kiln Club Annual Show”; at the Torpedo Factory Art Center, 105 North Union Street. Virginia, Virginia Beach April 24—August 1 “How Does Your Garden Grow”; at Vincent’s Fine Art, 4429 Shore Drive.

Ceramics in Multimedia Exhibitions Arizona, Mesa through March 27“Healing Grief’; at Galeria Mesa, Mesa Arts Center, 155 North Center Street. California, Berkeley through March 21 Three-per­ son exhibition with ceramic sculpture by Cathy Jones; at ACCI Gallery, 1652 Shattuck Avenue. California, Davis through March 29 Two-person exhibition with ceramic sculpture by Stephen Braun; at John Natsoulas Gallery, 140 F Street. California, La Jolla May 1-June 12“S piritual Imag­ ery,” with ceramics by Carole Aoki, David Benge, Melissa Greene; at Gallery Eight, 7464 Girard Ave. California, Newport March 1-28“Seven Plus One,” with ceramics by Grace Chang, Glenda Chapman, Robert Cheing, Mai Felix and Sandy Kityama; at the Art Store, 4040 Campus Drive. California, Newport Beach through March 21 “Ar­ tisan Showcase”; at the Newport Harbor Art Mu­ seum, 850 San Clemente Drive. California, Oakland through May 1 “25 Years of Collecting California.” through May 23 “The Arts and Crafts Movement in California: Living the Good Life.” March l—]une“'^fJ\v3X in the World? A Weird and Wild Exhibition”; at the Oakland Mu­ seum, 1000 Oak St. California, San Diego through April 4“ Silver/Clay/ Wood/Gold: San Diego Crafts,” with ceramics by Edward Forde, Erik Gronborg, Joanne Hayakawa, Les Lawrence and Jens Morrison; at the San Diego Museum of Art, Balboa Park. California, San Francisco through April 25 “Rends: Ancient, Traditional, Tribal and Trade”; at the San Francisco Craft and Folk Art Museum, Landmark Building A, Fort Mason. April 2-May 1 “Images and Objects 1993”; at ACCI Gallery, 1652 Shattuck Avenue. Colorado, Snowmass Village March 29—April 17 Three-person exhibition with ceramic sculpture by Tania Huusko. April 19—May 75Two-person exhi­ bition with ceramic sculpture by Sam Harvey; at Anderson Ranch Arts Center. Connecticut, Wethersfield through March 26 “Women: Objects, Objectives, Objections”; at the Keeney Memorial Cultural Center. Florida, Coral Gables through March 28 “Art that Works: The Decorative Arts of the Eighties, Made in

76 CERAMICS MONTHLY America”; at the Lowe Art Museum, University of Miami, 1301 Stanford Drive. Florida, Daviethrough March 25 Two-person exhi­ bition with ceramic sculpture by Cheryl Tall; at Broward Community College, Fine Art Gallery, 3501 Southwest Davie Road. Florida, DeLand through March 14 “41st Florida Craftsmen Statewide Exhibition”; at DeLand Mu­ seum of Art, the Cultural Arts Center, 600 North Woodland Boulevard. Florida, Saint Petersburg March 19-May 1 “Ohio Designer Craftsmen Head South”; at the Florida Craftsmen Gallery, 235 Third Street, South. Georgia, Atlanta April 20-July 3 “African Reflec­ tions: Art from Northeastern Zaire”; at the High Museum of Art, 1280 Peachtree Street, Northeast. Georgia, Columbus April 17—June 13 “Art that Works: The Decorative Arts of the Eighties, Made in America”; at the Columbus Museum of Art, 1251 Wynnton Road. Illinois, Chicago through March 23 Exhibition with ceramics by Gary DiPasquale and David Furman. March 26—April 28 Three-person exhibition with stoneware by Richard Tuck; at Schneider-Bluhm- Loeb Gallery, 230 West Superior Street. Illinois, Quincy March 28-May 3 “43rd Annual Quad State Juried Exhibition”; at the Quincy Art Center, 1515 Jersey Street. Indiana, Indianapolis through March 14 “African, South Pacific and Pre-Columbian Art from Private Indianapolis Collections”; at the Indianapolis Mu­ seum of Art, 1200 W. 38th St. Iowa, Ames March 7-April 25 “Year of the Craft: Octagon’s Clay and Fiber Exhibition”; at Octagon Center for the Arts, 427 Douglas Avenue. Kansas, Topeka April3—May 2 “Topeka Competi­ tion 17”; at Topeka Public Library, 1515 W. Tenth. Kansas, Wichita March 1-27“Art Show at the Dog Show”; at the Foyer Gallery, Century II Convention Center. April 9-11 “Art Show at the Dog Show”; at the Kansas Coliseum. Kentucky, Lexington March 7—April 25 “Transi­ tions ’93,” exhibition of craft artists; at the Headley Whitney Museum, 4435 Old Frankfort Pike. Louisiana, Lafayette March9—April8“Lafayette Art Association Annual Juried Art Competition”; at the Lafayette Art Gallery, 700 Lee Avenue. Maryland, Frederick through March 30 Three-per­ son exhibition with ceramics by Bill Van Gilder; at the Artists’ Gallery. Massachusetts, Pittsfield April 3—June 13 “The Domestic Object”; at the Berkshire Museum, 39 South Street. New Hampshire, Durham through April 8 (closed March 13—21) “League of New Hampshire Crafts­ men Foundation’s 18th Annual Juried Exhibit”; at the University of New Hampshire Art Gallery, Paul Creative Arts Center, 30 College Road. New Jersey, Jersey City March 6-28 “Potent Ob­ jects,” featuring clay sculpture by Peter Klove, Louis Mendez, Sana Musasama and A1 Preciado; at the Art Center on First, 111 First St., Fourth Floor Gallery. New Jersey, Newark March 17-June 20 “Sumptu­ ous Surrounds: Silver Overlay,” silver overlay on ceramics and glass; at the Newark Museum, 49 Washington Street. NewYork, NewYork through March ^“‘Hundred Antiques’: Variations on a Theme”; at E and J Frankel, 1040 Madison Avenue at 79th Street. New York, Piermont-on-Hudson through March 7^“Cupid and Eros,” works by 10 artists, featuring ceramics by Phyllis Magal, Laney Oxman, Savitri and NJ, and Eilene Sky; at America House, 466 Piermont Avenue. NewYork, Utica through April 15 “Splendors of the Pre-Columbian World.” March 6-May 2“Crafts in the ’90s: Challenges and Traditions,” exhibition of works by central New York artists; at the Museum of

March 1993 77 Calendar

Art, Munson-Williams, Proctor Institute, 310 Genesee Street. North Carolina, Charlotte through March 21 “Na­ tive American Tradition”; at the Mint Museum, 2730 Randolph Road. North Carolina, Winston-Salem March 26-May 1 “Design and Concept,” with clayworks by Patti Warashina. April 15-May 13 “Touch: Beyond the Visual”; at Sawtooth Center, 226 N. Marshall St. North Dakota, Minot March 7—April 18 “16th Annual National Juried Exhibition”; at the Minot Art Gallery, North Dakota State Fairgrounds. North Dakota, Valley City April 6-24 “ 18 th Bien­ nial National Juried Art Exhibition”; at 2nd Cross­ ing Gallery, 200 North Central/Straus Mall. Ohio, Athens March 27-May 16“The Fragile En­ vironment: Artists’ Reactions”; at the Dairy Barn Cultural Arts Center, 8000 Dairy Lane. Ohio, Columbus March 7-April4“ Contemporary Works of Faith ’93”; at Schumacher Gallery, Capital University, 2199 East Main at Drexel. March 21-April 25 “The Best of 1993”; at the Columbus Cultural Arts Center, 139 W. Main St. Ohio, Mansfield March 7-April 18 “The All-Ohio Juried Art Exhibition”; at Pearl Conard Gallery, Ohio State University-Mansfield, 1680 University Drive. Oregon, Portland March 4-27“ Native American Crafts”; at Oregon School of Arts and Crafts, Hoffman Gallery, 8245 Southwest Barnes Road. Pennsylvania, Jenkintown through March 1994“ An­ cient Sources: Contemporary Forms,” sculpture garden exhibition with an adobe structure by Nicho­ las Kripal; at Abington Art Center, 515 Meeting­ house Road. Pennsylvania, Philadelphia March 3—29 Exhibi­ tion featuring ceramic sculpture by Etta Winigrad; at Muse Gallery, 60 North Second Street. Pennsylvania, Pittsburgh through April 18 “ART­ ISTS + LANGUAGE,” featuring ceramics by Edouard Jasmin, Anne Kraus and James Morris; at the Society for Contemporary Crafts, 2100 Smallman Street. through April25Two-person exhibition with porce­ lain “feelies” by Rose Cabat; at the Clay Place, 5416 Walnut Street. Tennessee, Gatlinburg through May 15 “Pattern: New Form, New Function”; at Arrowmont School of Arts and Crafts, 556 Parkway. Tennessee, NashvilleApril 10—July 5 “More than One: Studio Production Now”; at Cheekwood, Tennesse Botanical Gardens and Museum of Art, 1200 Forrest Park Drive. Texas, Beaumont March 6-31 “Tri-State 1993”; at the Beaumont Art League, 2675 Gulf Street. Virginia, Bristol March 8-April 2 “Landmarks,” two-person exhibition with raku by Penny Truitt; at the Virginia Intermont College Fine Arts Center. Virginia, Richmond through March 12 “Touch: Beyond the Visual”; at the Hand Workshop, Vir­ ginia Center for the Craft Arts, 1812 W. Main St. West Virginia, Huntington March 14-June 13 “Exhibition 280: Works ofFWalls”; at the Hunting­ ton Museum of Art, 2033 McCoy Road. Wisconsin, Milwaukee March 12-April 16 “Folk Art”; at A. Houberbocken, 230 W. Wells, Suite 202. Wisconsin, Sheboygan March 7-May 76^‘JMKAC Permanent Collection”; at John Michael Kohler Arts Center, 608 New York Avenue.

Fairs, Festivals and Sales Alabama, Birmingham April 30—May 1 “Magic City Art Connection”; at Linn Park, Cultural Dis­ trict, adjacent to the Birmingham Museum of Art. Arizona, Phoenix March 20—21 “ARIZ CLAY Sev­

78 CERAMICS MONTHLY enth Annual Art Pottery Sale”; at the Heritage Square, Seventh Street and Monroe. Arizona, Scottsdale through March 28 “Third An­ nual Scottsdale Celebration of Fine Art”; at Scottsdale Road and Highland Avenue, downtown. California, San Francisco March 19-21 “Contem­ porary Crafts Market”; at the Herbst and Festival Pavilions, Fort Mason Center, Buchanan at Marina Boulevard. D.C.,Washington^4pnl^“Living Masters ofAmer- ican Indian Art: Indian Art Sale,” sponsored by Crow Canyon Archaeological Center; at J. W. Marriott Hotel, 1331 Pennsylvania Avenue. April 15-18 “11th Annual Smithsonian Washing­ ton Craft Show”; at the Andrew W. Mellon Audito­ rium, 1301 Constitution Avenue. Florida, Islamorada March 20—21 “Islamorada’s 14th Annual Rain Barrel Arts Festival”; at the Rain Barrel Village, 86700 Overseas Highway. Georgia, Atlanta April 2—4 “A Salute to American Craft”; at the Inforum, Atlanta Market Center. Illinois, Highland Park March 13-l4“33rd Annual Festival of the Arts”; at North Suburban Synagogue Beth El, 1175 Sheridan Road. Maryland, Gaithersburg April 16-18 “Spring Arts and Crafts Fair”; at the Montgomery County Fair­ grounds. Maryland, Timonium April 30-May 2 “Spring Crafts Festival”; at the Maryland State Fairgrounds. Minnesota, Saint Paul April 17-19 “Twin Cities Craft Expo,” ACC Craft Fair; at the Arena, Saint Paul Civic Center. Missouri, Saint Louis March27-28“Encore Salute to the Fine Arts”; at Charles Melvin Price Support Center, Route 3, halfway between 1-70 and 1-270. New Jersey, Tinton Falls March 20—24 “23rd An­ nual Monmouth Festival of the Arts”; at Monmouth Reform Temple, 332 Hance Avenue. Texas, Houston March 5 “Third Annual Multi- Cultural Awareness Arts Fair,” African art and func­ tional stoneware by Gonzalez, Payton and Pfeifer; in the lobby of the Enron Building, 1400 Smith. Texas, Round Top April2^“\&xh Annual Texas Crafts Exhibition”; at the “26th Annual Winedale Spring Festival,” Winedale Historical Center, the University of Texas at Austin. Texas, San Antonio April 17—18 “ 1993 Fiesta Arts Fair”; at the Southwest Craft Center, 300 Augusta. Virginia, Blacksburg April 2-4 “Brush Mountain Arts and Crafts Fair”; at Rector Fieldhouse, Virginia Tech campus. Wisconsin, Stevens Point April 4 “21st Annual Festival of the Arts”; at Interior Courtyard, Fine Arts Building, University of Wisconsin-Stevens Point.

Workshops California, Bakersfield March 19—20K session with Catharine Hiersoux. Fee: $20. Contact Marlene Tatsuno, Bakersfield College, Ceramics Depart­ ment, 1801 Panorama Drive, Bakersfield 93305; or telephone (805) 395-4509, 1-4 P.M. California, El Portal March 20-21 “Yosemite Raku Workshops” with Lynette Yetter, raku and sawdust firings. Fee: $25. Accommodations: $8—$65. Con­ tact Lynette Yetter, 1034-A Page St., San Francisco, California 94117; or telephone (415) 552-9545. California, Oakland March 23 “Made of Clay: A Look at Oakland’s Colorful Ceramic Tiles,” slide lecture and bus tour of Oakland with Joseph T aylor, president/cofounder of the Tile Heritage Founda­ tion, Healdsburg, California. Fee (includes lunch): $42.50; Oakland Museum members, $40; museum Art Guild members, $37.50. Reservations are re­ quired. May 1 “Another Day in Paradise: The Arts and Crafts Life in California,” includes slide lectures by Stephanie Coontz, faculty member at Evergreen State College/author; Randolph Delehanty, history professor at San Francisco State University; Joseph

March 1993 79 Calendar

Taylor, Tile Heritage Foundation; Karen Weitze, architectural historian on the Mission Style; and Richard Guy Wilson, professor of architecture, University ofVirginia. Fee; $20; museum members, $15; students/seniors, $10. Contact the Oakland Museum, 1000 Oak Street, Oakland 94607; or telephone (510) 820-8661. California, Rancho Palos Verdes March 26, April 1—2 “Raku Workshop” with Hal Riegger, a hands- on session exploring tradition and philosophy. Lim­ ited enrollment. Fee: $100. Contact Palos Verdes Art Center, 5504 West Crestridge Road, Rancho Palos Verdes 90274; or telephone (310) 541-2479. California, Santa Ana March 12 Lecture by Diane and Igal Silber, ceramics collectors, plus a percussion ensemble performance by Brian Ransome. March 16—17 Slide presentations by D. Jennings and L. Wasserman, and K. Sullivan. March 17 “Brush- making Workshop” with Glen Grishkoff. March 20-21 “Glaze Technology Workshop” with Brian Gartside. March 22 Slide presentation by John Hopkins. Contact Patrick Crabb, Rancho Santiago College Art Department, 17th and Bristol Streets, Santa Ana 92706. Connecticut, New Haven March 27-28 Wheel- thrown pottery workshop with Yuji Yasui. Contact Creative Arts Workshop, 80 Audubon Street, New Haven 06510; or telephone (203) 562-4927. Florida, Belleair March 13 “How to Stop Your Art from Killing You!” with Michael McCann. Fee: $5. March20-21 “Utilitarian Pottery” with Ron Meyers. Fee: $85; Florida Gulf Coast Art Center members, $75. Contact the Florida Gulf Coast Art Center, 222 Ponce de Leon Boulevard, Belleair 34616; or telephone (813) 584-8634. Florida, Saint Petersburg April 17—18 “Putting It Together, ” lecture/demonstrations with Russ Gustaf- son-Hilton, covering throwing techniques and strat­ egies required to create complicated forms. May 22— 23 “Kilnbuilding” with Jack King. Location: Boyd Hill Nature Park Pioneer Settlement. Fee per work­ shop: $55. Contact the Arts Center, 100 Seventh Street, South, Saint Petersburg 33701; or telephone (813) 822-7872 or (813) 821-5623. Indiana, Indianapolis March 27—28 “Airbrush Ce­ ramics” with James Wille Faust and Tim Ryan. Fee: $151; member, $121. April3^4 “Laminated Clay” with Dorothy Feibleman. Fee: $35, one day; $150, two days; member, $30, one day; $120, two days. Contact Indianapolis Art League, 820 E. 67th St., Indianapolis 46220; or telephone (317) 255-2464. Indiana, New Harmony April 24 “A Day with Wayne Bates,” slides and demonstration, plus evening lecture on his work with the Moravian Tile Works. Fee: $50, includes lunch. Contact the Center for Folklife, Box 624, New Harmony 47631; or tele­ phone (812) 682-3730. Kentucky, Richmond March 5 “Majolica Work­ shop” with Linda Arbuckle. Contact Joe Molinaro, Art Department, Eastern Kentucky University, Campbell 309, Richmond 40475; or telephone (606) 622-1634. Maine, Portland April 14 “Glazing and Decorat­ ing, ” slide lecture/demonstration with Pat Hannigan. Fee: $25. Contact Portland Pottery, 118 Washing­ ton Avenue, Portland 04101; or telephone (207) 772-4334. Massachusetts, Cohasset April 3 “The Japanese Approach to the Vessel,” working with colored clays/slips, marbleizing, inlay and lamination with Makoto Yabe. Participants must preregister. Con­ tact the South Shore Arts Center, 119 Ripley Road, Cohasset 02025; or telephone (617) 383-9548. Massachusetts, Williamsburg April2-3 “Tiles/Ce­ ramics” or “Decorating Techniques/A Clay Work-

80 CERAMICS MONTHLY March 1993 81 Calendar

shop.” Contact Horizons, 374 Old Montague Road, Amherst, Massachusetts 01002; or telephone (413) 549-4841. Michigan, Detroit March 13 Slide lecture on Span­ ish folk pottery with Betty Fahselt. Free; must reserve seat. Contact Pewabic Pottery, 10125 East Jefferson, Detroit 48214; or telephone (313) 822- 0954. New York, NewYork April 24“Qoi\ Building Large Vessels” with Don Fletcher. Fee: $65; members, $50. April28 Slide lecture and reception with To- shikoTakaezu. Fee: $5. Contact Registration, YWCA, 610 Lexington Avenue, New York 10022; or tele­ phone (212) 751-3335. North Carolina, Brasstown March 14—19 “Porce­ lain Containers” with Nancy Darrell. March 21-27 “Slab Building” with Judy Robkin. April 4—9 “But­ tons” with Barbara Bauer. April 11—17 “Creative Containers” with Peter Rose. April 18-24 “Porce­ lain” with Marcia Bugg. May 9—15 “Terra Sigallata” with Barbara Joiner. May 16—22“ Raku” with Yerger Andre. Contact John C. Campbell Folk School, Route 1, Box 14 A, Brasstown 28902; or telephone (800) FOLK SCH or (704) 837-2775, or fax (704) 837-8637. Ohio, Toledo March ^Slide lectureldiscussion and demonstration on throwing with Lee Rexrode. Fee: $5. Contact the Toledo Potters’ Guild, 5403 Elmer Drive, Toledo 43615; or telephone (419) 535- 6937; or telephone Ann Tubbs (313) 856-1859. Ohio, Wooster April 75-/7“Functional Ceramics Workshop” with Ruth Butler, Jane Graber, Ginny Marsh and Jack Troy. Contact Phyllis Blair Clark, 102 Oakmont Court, Wooster 44691; or telephone (216) 345-7576, evenings. Pennsylvania, Chester Springs March 6 “Surface Decoration Workshop” with Bruce Winn. Fee: $30; Chester Springs Studio members, $25; winter stu­ dents, $10. Contact Chester Springs Studio, Box 329, Chester Springs 19425; or telephone (215) 827-7277. Pennsylvania, Mill Hall May 10-14 “Pipe Sculp­ ture Workshop*” creating sculpture from industrial extrusions, pipe and flue lining with Jerry Caplan. Intermediate to professional skill levels. Fee: $282; includes materials and firing. Location: Mill Hall Clay Works. Contact Pennsylvania Craftsmen’s Guild Workshops ’93, Box 820, Richboro, Pennsyl­ vania 18954; or telephone (215) 860-0731. Texas, Mesquite May 21—22 “Kiln Maintenance Seminar.” Fee: $65, includes lunch/dinner. Contact Paragon Industries, 2011 South Town East Boule­ vard, Mesquite 75149; or telephone (800) 876- 4328 or (214) 288-7557. Washington, Spokane March 6—7“The Business in Art,” representatives, agents, marketing yourself, taxes, etc. Fee: $50. March 20—21 “Raku Work­ shop,” clay bodies, glaze formulation, recipes, firing techniques. Bring bisqueware. Fee: $80. Contact Chinook Studio, 5205 East Union, Spokane 99212; telephone (800) 779-4510 or (509) 536-0235.

International Events Canada, British Columbia, Vancouver April 20 Workshop with Mary Lewis Garcia. Registration limited to 12 participants. Fee: $55, includes lunch. Contact Carol Mayer, Curator of Ceramics, Mu­ seum of Anthropology, University of British Co­ lumbia, 6393 N.W. Marine Drive, Vancouver V6T 1Z2; or telephone Carol Mayer (604) 822-5087. Canada, Ontario, Toronto March 5—7 Lecture (March 5) and workshop (March 6—7) with Alison Britton. Participants must preregister. Lecture: no fee. Workshop fee: Can$ 100 (approximately US$78)

82 CERAMICS MONTHLY March 1993 83 Calendar

plus GST; students, Can$50 (approximately US$39) plus GST. Contact Harbourfront Centre, 235 Queens Quay West, T oronto M5J 2G8; or telephone Melanie Egan or Jean Johnson (416) 973-4963. March 9-August 1 “In the Land of the Rainbird: Pueblo Pottery of the American Southwest”; at George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. March 26-April25 “Objects of Inspiration,” works in ceramics, glass, metal and textiles by residents of the Craft Studio at Harbourfront Centre; at York Quay Gallery and Uncommon Objects, York Quay Centre. England, Chichester March 7-11 “Modeling in Clay for Firing” with John Gunn. March 21-26 “Decorating Tiles” with Jan O’Highway. April 8— 72“Handbuilding and Surface Enhancement Tech- niques in Stoneware and Porcelain” with Gordon Cooke. April72—77“ Pottery” with Alison Sandeman. Contact the College Office, West Dean College, West Dean, Chichester, West Sussex P018 OQZ; telephone Singleton 0243 63 301. England, Honiton March 2£T “Ceramics, Glass and Objects” auction; at Bonhams, Dowell Street. England, London March 3-April 7 6^Exhibition of ceramics by Ian Godfrey; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. March 9—April 4 Exhibition of works by Clive Bowen; at Crafts Council Shop at Victoria and Albert Museum, South Kensington. March 25 “Contemporary Ceramics” auction; at Bonhams, Montpelier Street. March31 “Glass and Ceramics” auction; at Bonhams, 65-69 Lots Road. England, Oxford through March 17 Two-person exhibition with ceramics by Stephen Dixon. March 22-April 21 “Oxford Gallery 25th Anniversary,” two exhibitions including ceramics; at Oxford Gal­ lery, 23 High Street. France, Mulhouse through March 13 Exhibition of works by Erich Haberling; at Maison de la Ceramique, 25 Rue Josue Hofer. France, Paris March 2-May 31 “Egypt’s Dazzling Sun: Amenhotep III and His World”; at the Grand Palais, Avenue Eisenhower 75008. Netherlands, Deventer through March 14 Exhibi­ tion of ceramics by Ben and Mick Arnup. through ylpril^Exhibition of stoneware, porcelain by Charles Hair. March 21—April 17 Exhibition of ceramic sculpture/paintings by Louise and Michel Gardelle; at Kunst and Keramiek, Korte Assenstraat 15. Netherlands, Oosterbeek March 7-April 5 Three- person exhibition featuring ceramics by Gerlach Baas and Aty Boonstra. April 18-May 7“Danish Ceramics II,” with works by Lis Ehrenreich, Gutte Eriksen, Anne Floche, Ulla Hansen, Kim Holm, Inger Rokkjaer, Kirsten Sloth, Inge Trautner and Hans Vangso; at Galerie Amphora, Van Oudenal- lenstraat 3. Netherlands, ’s-Hertogenbosch through March 21 “Wiener Werkstatte Ceramics,” works by Gudrun Baudisch, Hertha von Bucher, Lotte Calm, Hilda Jesser, Erna Kopriva, Dina Kuhn, Kitty Rix, Reni Schaschl, Hedwig Schmidl, Susi Singer and Vally Wieselthier; at Stedelij k Museum voor Hedendaagse Kunst Het Kruithuis, Citadellaan 7. Netherlands, Utrecht through March ^Exhibition of ceramics by Jenny Beavan; at Galerie de Reiger, Burgemeester Reigerstraat 3. Russia, Saint Petersburg through April 11 “The George Ortiz Collection”; at the State Hermitage Museum. Switzerland, Zurich through May 2 “From the Treasuries of Eurasia”; at Kunsthaus Zurich, Heimplatz 1.

84 CERAMICS MONTHLY March 1993 85 Suggestions load. This way radiant heat dries the ware stacked on the plate, and I don’t have to use From Readers the kiln to complete the drying. 3. Clean the orifices of the kiln’s burners after each firing. Since implementing this Using Tape Resist practice, firings have been more consistent Reading the article on Sara Carone (No­ and even, and fuel consumption has been vember 1991 CM), I realized we both work down almost 11%. with the same kind of integrated circuit tape 4. Check the electrical equipment at the for resisted underglaze patterns, except that Iend of the day. How many of us have left our use the tape on bone-dry whiteware. Becauseown wheels on overnight, or have forgotten the clay must be completely moisture free forto turn up a bisque kiln? the tape to stick, I sometimes start by gently We, as artists and craftspeople, can all be heating (drying) the greenware in the oven atleaders in establishing environmentally a low temperature. friendly lifestyles.—Sherwood Bauman, Cum­ After the piece is removed from the oven,berland, Ohio the tape design is then applied carefully to its surface. It’s important to press along the Sealing Reduced Surfaces length of the tape to make certain all edges are The only way to stop oxidation of a re­ securely affixed, but with a light touch, as duced metallic surface, such as the copper greenware is fragile. Underglaze(s) can then matt finish, is to make it impervious to air. I be applied by spraying or brushing. use a solution of 3 heaping spoonfuls of Once the underglaze is dry, the tape can besodium silicate (medical grade) in 1 liter removed, thus exposing white design lines (slightly less than 1 quart) of water sprayed (the body color). If you would like colored over the surface, using a hand-pumped plastic bottle, then “bake” the piece in an oven at 100°F for about 45 minutes.—William Busuttil, Furstenfeldbruk, Germany

Tool Savers Soak new wooden tools in boiled linseed oil for a week or more before use. (Be sure to use boiled linseed oil—raw oil never dries lines, simply begin by coating the pot with properly.) Ribs and other tools that get wet a underglaze, then apply tape to the dry surface.lot can be retreated by allowing them to dry If you prefer to use tape resist on bisque- completely, polishing them clean, then soak­ ware, make sure the surface is free of dust. ing again in boiled linseed oil for a few days. Sometimes it’s necessary to rinse the piece in I keep a gallon of this oil in the studio; not water and dry thoroughly before trying to only does it pay for itself, it smells good, too. affix the tape to bisqueware. To avoid runs, If soft brushes must be transported under you’ll need to work with underglazes and/or less-than-ideal circumstances, treat them to glazes that are less fluid. the toughest “hold” hair-setting gel to be Most of my underglaze-patterned pots arefound. Even rattling around in a tool box fired to Cone 04 in an electric kiln, then won’t faze the brushes once the gel has dried, coated with clear glaze and refired to Cone 06.yet it can be easily removed with water. Occasionally, though, I am happy with the Tools made of metal that rusts can be matt finish of the underglazes alone.—Pat protected by dipping them in polyurethane. McFarlane, Concord.' Calif. Cutting edges may be wiped clean while wet or sanded clean before use, though trimming An Environmentally Friendly Studio grogged clay does a good job of removing the I was thinking about the Earth Summit polyurethane as well.—Lili Krakowski, Con- last summer, when I realized that my own stableville, N. Y. studio could be more environmentally friendly. With this in mind, I decided to do Dollars for Your Ideas the following: Ceramics Monthly pays $10for each sugges­ 1. Add insulation. Although the walls tion published; submissions are welcome indi­ were insulated, the ceiling was not. Ceiling vidually or in quantity. Include an illustration insulation, coupled with ceiling fans, helps or photo to accompany your suggestion and we reduce energy consumption. (The ceiling is will pay $10 more if we use it. Mail ideas to in fact the most efficient place to put insula­ Suggestions, Ceramics Monthly, Box 12448, tion in a building.) Columbus, Ohio 43212; or fax to (614) 488- 2. Place a metal plate over a loaded bisque4561. Sorry, but we cant acknowledge or return kiln and stack enough ware on top for anotherunused items.

86 CERAMICS MONTHLY March 1993 87 88 CERAMICS MONTHLY A Pollution-Free Salt Kiln byJanet Mansfield

“What about the pollution?” is inevita­ acid can be seen rising from a salt kiln’s portant to have a well-sealed kiln so that bly the first question I hear after giving a chimney. Note that hydrochloric acid gas no fumes leak out where the potter may lecture on salt glazing. And, yes, I reply, it isn’t chlorine gas, which is a green, highly inhale the acid. is a problem that a potter must not only toxic gas used in chemical warfare. Recently I had a salt kiln designed be aware of, but try to control. Most of my salt glazing is done using and built in a densely populated, inner- Most potters are familiar with the typi­ kilns fired out in the countryside. Al­ city location. Max Murray, former re­ cal results of a high-fired salt glaze, with though there is not another house in search scientist, now a teacher of ceramics, its “orange-peel,” glossy surface colored sight and the fumes do not affect trees in had designed a stack scrubber for salt by the clay or applied slips beneath, but any way, I feel an ecological responsibil­ kilns. His idea was further adapted by perhaps not all know how to deal with ity. My measures to limit pollution have Stephen Harrison, a kiln designer/builder salt-glazing s potential dangers. When included not using any more salt than is and potter. I asked Steve to design and common salt (sodium chloride) is thrown necessary to react with the ware—I use build a kiln that was safe for the atmo­ into a hot kiln filled with daywork, a draw trials, small rings of clay that I hook sphere, the location and me. chemical exchange takes place. The so­ out of the kiln during the salting to test The kiln, fueled by natural gas, was dium combines with the clay to form a glaze thickness. I also ensure that the clay built among closely spaced terrace houses. sodium silicate glaze on the surfaces; the has first reached vitrifying temperature Each of these narrow houses has a chim­ chlorine combines with hydrogen released so that the reaction between sodium and ney for its fireplace that heats the house. from the silicic acid in the clay to form clay can take place efficiently and imme­ My building now has two chimneys, the hydrochloric acid. This acid is not toxic, diately—different clays have varying vit­ regular one and a rectangular stainless- but it is irritating to the respiratory sys­ rification points, so it is a matter of steel one that acts both as a flue for the tem. Also, it can accelerate the corrosion experimentation in assessing the correct kiln and a wash tower for its acidic gases. of metals, especially the zinc coating on temperature for one’s own clay body. In The principle behind the scrubber in galvanized iron roofing. From about addition, I try to keep the temperature the flue is to force vapors from the kiln to 2120°F (1160°C), when the salt begins rising so that the reaction is completed in pass through a fine mist of cold water. So to vaporize, white fumes of hydrochloric a shorter space of time. It is equally im­ that as much as possible of the gases will

Schematic of a gas-fired, brick-insulated salt kiln (8—10 cubic feet) with stainless-steel scrubbing tower (see next page) designed to remove hydrochloric acid vapor and combustion particulate from the flue exhaust. All measurements are in millimeters; 1 millimeter equals 0.03937 inch.

March 1993 89 be dissolved, four separate water sprays are placed at regular intervals along the rise of the flue. The water is sent under pressure to these sprays, starting when the kiln has reached a temperature of about 1100°F (600°C) to prevent the flue from overheating. When Cone 9 has melted, I throw small quantities of salt into the fireboxes approximately every three minutes so that the scrubber will not be overwhelmed with effluent. This 8- to 10-cubic-foot kiln, lined with insu­ lating bricks, requires little salt—under 9 pounds (4 kilograms)—to achieve a rich coating of glaze. Salting lasts for three- quarters of an hour or less, by which time Cone 10 has melted. The water from the spray runs into a collecting pipe, then into a tank containing limestone chips. Their calcium carbonate is enough to neutralize the acidic water, and the resultant clear water is safe to run into a sewer or stormwater drain.

The author Janet Mansjield is a potter; editor of the magazine Ceramics: Arts and Perception, and author of the book Salt- Glaze Ceramics: An International Per­ As fumes pass through a mist of cold water, the hydrochloric acid is “scrubbed”from spective. See “Janet Mansfield: Toward an the exhaust; the water runs into a collecting pipe, then to a tank filled with limestone Australian Aesthetic” in the March 1991 chips. Their calcium carbonate neutralizes the acidic water, making it safe to issue of Ceramics Monthly. discharge into a sewer or stormwater drain.

Two views of the salt kiln (dimensions in millimeters) illustrating some of its safety features: With the kiln’s door clamped shut, a sprung arch is the most likely part to give way during a ware chamber gas explosion; in this rare event, a bolted-down, sheet-metal relief canopy (easily and inexpensively installed on downdraft kilns) will contain airborne refractories. Two castable troughs slant away from their salt ports to prevent liquid salt from unexpectedly running onto the surrounding kiln-room floor (where it might cause bums or a fire).

90 CERAMICS MONTHLY March 1993 91 92 CERAMICS MONTHLY March 1993 93 Comment

The Year of American Craft? by Paulus Berensohn

I mistrust what I speculate to be the think­ ing behind the earnest efforts of the Crafts Report Educational Fund to have 1993 designated as the “Year of American Craft.” I question, as well, the use of the word “educational” in the title of this sponsoring organization. In my thinking, public relations is what they mean and how they behave—not a bad thing, for sure, but different, very different, than to educate, especially when to educate means to tell the story, to pass on the story, as education has come to mean for me. Despite my mistrust, I do, wholeheart­ edly, welcome the “Year of American Craft.” I intend to celebrate it, to include some discussion of it in all the talks and workshops I give this year. But I will need to make two changes—a deletion and a connection—to have it better serve the enthusiasm I carry to these occasions for the “behavior” of craft and its obvious role and responsibility in the healing of the eco-catastrophe we are now living and dying of. What I will delete is the “American” in the “Year of American Craft.” Even though by “American,” North, South, Central and Native are included, that is still too exclusive for me. Our passion for named boundaries is causing too much toxicity in our world as it is. Just look at what’s happening in the Balkans and in the former state of Yugoslavia, for instance. I believe that life thrives on diversity, but a uniting and interconnecting diversity. We know, now, that when we look down upon ourselves and our world from the perception of space, boundaried nations do not exist. They exist only as adolescent conceits of our out-of-balance, power- dominated species. Nationalism kills. Craft is trans-national, inclusive, part of a continuum, our species genius: to make dialogue with primary materials and each other, to create and support life. The connection I intend to point to might be seen as a coincidence of back- to-back timing, but for me it is no acci­ dent that 1992 was designated the “Year for Worlds Indigenous Peoples.” I’m en­ couraged by this appropriate and propi-

94 CERAMICS MONTHLY March 1993 95 Comment ergy.” Have you noticed how close the love—longer than any other people, some much-talked-about paradigm shift from say for 150,000 years. They hunt and world as machine (as inert and mathemati­ gather two, maybe three hours a day, leav­ tious synchronicity, especially now when cal) to world as developing organism (as ing 12 to 14 hours a day for making the voices of the first people, the first embryo, as both particle and wave) re­ things that speak of and encourage their craftspeople, our ancestors, are calling for sembles the creation myths of indigenous felt connection to the formative forces of our attention, reminding us of the source people and the stories mystics tell us? life in “the dreamtime.” (For a thrilling of our work and its unmistakable connec­ In recent years, I’ve been drawn to presentation of Aboriginal culture, reli­ tion to our continuous creation. study, visit and pay attention to some gion, artistic behavior and social forms, Indigenous people all over the world indigenous people: the Balinese, the Kogis, see the recently published Voices of the are breaking their long and oppressed si­ Native Americans, Native Hawaiians, and First Day by Robert Lawlor, Inner Tradi­ lences, not to scold but to admonish us most specifically the Aboriginal people of tions International, Rochester, Vermont.) about the “denial of denial” we practice Australia. Y11 be making my third trip in So, my intention is to keep my ear in relationship to our environment and five years to Australia next September. (i.e., my imagination) focused on indig­ to our all-too-often cancerous enous people during this “Year creativity. While we have fallen What I will delete is the “American” in the “Year of Craft” and to pass on what asleep to our origins in earth comes to me from them. How and cosmos and our ongoing of American Craft. ”. . .That is still too exclusivefor to behold rather than to possess, communion with them, first me. Our passion for named boundaries is causing for instance. I would urge all my people have kept the faith. While fellow craftspersons to find your a whole generation of potters, too much toxicity in our world as it is. own way to embody the cele­ for instance, now assumes that brations of this year of craft and clay is stuff you purchase in 25-pound Dr. Jean Huston, whom I heard speak not leave it to the Crafts Report Educa­ plastic bags from ceramics supply houses, there, says that the Aboriginal psyche is tional Fund and the American Crafts Native Americans still speak of “picking “earthed,” that their consciousness is not Council to organize and orchestrate still clay” as one would pick flowers, delicately trapped in personal ego, as ours is, but more exhibitions of objects intended to and with gratitude. While we study constantly flowing (and balancing) from stimulate the craft economy. There is a careerism and postmodern aesthetics in the personal to the transpersonal, from, story we need to experience and share university craft art departments, the Kogi as she puts it, “inscape to landscape.” before it is too late. This is the year. Indians of Colombia sing the same song This lived connection to the soul of the now being articulated by quantum phys­ world and the living body of the earth is The author A former program director at ics: one telling how our entire universe is achieved through the behavior of art. The North Carolina's Penland School of Crafts, weaving and woven, “strings” connect­ Aboriginal Australians are the first Paulus Berensohn lists potter, visual artist, ing, losing connection and reconnecting, craftspeople. They have been practicing author and “free-lance deep ecologist”among “transforming energy into matter into en­ crafts and making art—like making his various occupations.

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