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Copyright © 2004 The American Ceramic Society All rights reserved Ceramics Monthly September 2004 2 SEPTEMBER 2004/ Volume 52 Number 7 featu res 36 Michael Gustavson by Jane Reichhold Balancing creative endeavors with professional success monthly methods Building and Firing Large Raku Vessels 40 The Nature of Craft and the Penland Experience Crafts education center celebrates 75th anniverary with major exhibition 44 Indonesia's Sasak Potters by MarysiaH. Galbraith Pottery villages maintain technical and stylistic integrity monthly methods Firing Pots on the Island of Lombok 49 Harlan House by Diane Creber A potter's work reflects and celebrates his surroundings monthly methods Mixing Clay and Casting Slip 52 Marvin Bartel: Teacher, Artist, Innovatory Chad Martin An instructor's influence reaches beyond the classroom with A Mentoring Legacy 58 Soda/Salt National 2004 Rich surfaces abound in third annual juried competition monthly methods The SodalSalt Process by Josh DeWeese 63 Qi Chen of Xi'an by David Powers Sculptor works to validate ceramics as individual expression monthly methods Working with Native Clay 66 History, Influence and Evolution The NCECA Regional Juried Student Exhibition by Donna Rozman departments 10 letters 16 upfront 32 answers 34 suggestions 72 call for entries 76 new books 84 calendar 108 classified advertising 110 comment Mentoring: A Relationship Challenge by Mitch Kotula 112 index to advertisers cover:"Presence," 30 inches (76 centimeters) in height, wheel thrown and altered, with glazes, raku fired, $3400; by Michael Gustavson, Gualala, California; page 36. Photo: Ron Bolander Ceramics Monthly September 2004 5 upfront 16 CM Cover Contest Call for submissions for publicity opportunity 16 Elizabeth Coleman Brickwork at the Canton Museum of Art in Canton, Ohio 16 Just Desserts Invitational exhibition of functional pots at Santa Fe Clay in New Mexico 18 2004 Niche Award Winners Dayton, Ohio, potter team receives honors 18 John McCuistion Figurative sculpture at Kitteredge Gallery, University of Puget Sound in Tacoma, Washington 20 D. Michael Coffee Pots and prints at City of Lakewood Cultural Center in Lakewood, Colorado 20 Martina Lantin Functional work by Welsh potter at Stillwater Gallery in Whitefish, Montana 20 Julia Galloway Wheel-thrown and altered pots at Lillstreet Art Center in Chicago 22 National Juried Exhibition in Texas Works by 60 artists at Rockport Center for the Arts in Rockport, Texas 22 Joe Vitek Historically influenced stoneware pots at Clay Orbit in Cockeysville, Maryland 24 The Grandes Dames of Ceramics Works by Susan Peterson and fellow veteran female ceramists at Andora Gallery in Carefree, Arizona 26 Exhibition of Canadian Ceramics Works by western Canadian ceramics artists at Surrey Art Gallery in Surrey, British Columbia 26 Dirk Staschke Fifteen new works by Vermont sculptor at Wexler Gallery in Philadelphia 28 Norman Holen Unglazed stoneware sculpture at the Sherburne County Government Center in Elk River, Minnesota 28 W. Mitch Yung Wall works and sculptural pots at Leedy Voulkos Art Center in Kansas City, Missouri 28 Harding Black 1912-2004 28 Viola Frey 1933-2004 Ceramics Monthly September 2004 6 Ceramics Monthly September 2004 7 Ceramics Monthly September 2004 8 Ceramics Monthly September 2004 9 Bova for employing his freedom to make as would a movie camera, but it also places letters and say whatever he wants, I do regret his the work in historical context with his criticism of the young men and women who mentors and predecessors. That paragraph work and sacrifice to preserve his freedom alone is full of reference and instruction Politics Not as Usual to make and say whatever he wants. Keep that every modern potter should know. I would like to thank CM for publishing the strong work and dialogue coming. From such solid grounding, we are intro­ the article “Politics & War” [April 2004 Eric Botbyl, Jackson, TN duced to the impressive pots and the pro­ CM], featuring Joe Bova’s new work. The cesses necessary to obtain them. I am content of the article inspired hours of Pottery on a Global Scale amused and delighted to entertain the conversation between friends and students Phil Rogers’ article in the June/July/August concept of flabby pots! It has torn the concerning issues of dissent, propaganda, 2004 issue is as brilliant as Ken Matsuzaki’s shingles from mine eyes and, unfortunately, freedom of expression, and working with an pots! The opening paragraph not only walks I have found several in my collection! agenda. While I wholeheartedly salute Mr. you through Mashiko to Matsuzaki’s door Matsuzaki’s pots illustrate insightful teach­ ing points, while Rogers’ scholarship, clarity and eloquence raise the bar for us all. Matsuzaki’s work is congruent with his traditions, yet thoroughly his own, uniquely powerful, exquisitely approachable. We are indebted to the Pucker Gallery in Boston for bringing both of these impres­ sive artists to our shores. They, along with Ceramics Monthly, have been responsible for introducing me to pottery on the global scale, which has enriched my world and deepened my commitment to clay. Corinne Null, Bedford, NH The Value of Mentoring Beyond our parents, there are individuals who share an encouraging interest in us. These people may be coworkers, teachers, neighbors, retired individuals—they appear in many forms; they are mentors. I had a mentor, Don Schaumburg, professor emeritus at Arizona State Univer­ sity. I first met him when I was taking a second clay course (that many thought was beyond me) in the 1970s. I wanted to learn all of it so badly. One morning, as the gas kilns were being unloaded, I entered the kilnyard. Schaumburg and Randy Schmidt were standing at the opening of one of the kilns. I expressed to them my desire to learn how to fire the kilns. They looked at each other and then back at me. Schaumburg asked, “You sure?” Of course I was! He took me over to the 20-something 2x3-foot kiln shelves covered with kiln wash. “Clean these and we’ll see how you do,” he said. I worked on every last one. He taught me tradition. Over the years, I watched him throw pots in his studio, pull bowls and plates from the kilns, looking for that one piece that said everything. He greeted me at the kilns in the following years to see and discuss the firing results. After college, I would call and ask him technical questions. I did not take him for granted, but treasured his knowledge. He taught me a lifestyle. Continued Ceramics Monthly September 2004 10 letters tent, but this article reminded me of the school students, yet you never hear much importance of clear communication.