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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. As a about the programs that are producing teacher of 20 years, that is one of my goals. them. Even with limited funds and space The high school where I teach has three there is a lot we can teach and do with our As many potters do, he treasured his art rooms and three art teachers. The fine students. They are especially inspired by garden, particularly his bamboo. This past arts clearly have administrative support, but visiting artists and field studies, so thank January, after trimming his roses and gifting I still feel that the space limits what I can do you to all of you who give time to your his wife with four, saying, “These are for with the students. I am trying to come up local schools. you,” he proceeded to trim his bamboo— with creative solutions, but I was wondering I have several students who are really on and passed away in his garden. if any of your readers have already overcome fire (pun intended) for clay. They talk “These are for you.” Those words are so space issues and would share their ideas. I about buying wheels, kilns, setting up much about how he was and how mentors will be mixing glazes for the first time this studios and being professional potters. And seem to think. They offer us their time, year and am concerned about safety, stor­ this is from a private college prep school energy, knowledge and thoughts. Life age, etc. The ventilation is not very good. where parents are thinking doctor and would lose so much of its value without We are firing electric right now, but I want lawyer! (I hear occasional grumbling from those caring people called mentors. May to add as many different kilns as possible. parents.) I want to give these kids the best God bless Don and all the mentors in the I also would like curriculum information experience possible and would love to share world. We are better because of them. if anyone is willing to share. I can find lots ideas with other high school instructors and Patricia Frei-Burris, Ghost Town Trail, AZ of lesson ideas out there, but no one seems post-secondary educators. to have any kind of organized curriculum Keep putting out this great magazine. Educational Issues published. What do colleges expect of I really like the addition of the potter’s As I was reading my CMs, I came across the students coming in who have already had marks and signatures. article by David Hendley [“Wood Fired ceramics classes? Do they care? What should Deborrah Pagel, Melbourne, FL Doesn’t Mean Brown,” May 2004 CM] be covered in Ceramics I, II and III? Should and was inspired to write. I found his article we encourage our advanced students to Author Gratification to be extremely informative, and his presen­ attempt to get into professional shows, or I enjoyed Robin Hopper’s letter in the May tation was inspiring. He put together his should they just stick to shows that cater to 2004 issue very much. I could especially development process and results in a clear high school students? I have seen some relate to the sentence “Seldom does the manner. I am often inspired by CM’s con­ really outstanding clay work from high author get much, if any, response to articles

Ceramics Monthly September 2004 12

letters

that were most likely extremely difficult and time-consuming to write.” It reminded me of my own experience with my article “A Taiwan Folk Pottery,” published in CM in October 1972, when my name was Judy Davis. It took me about three years to write because MiaoLi was three hours south of our home in Taipei and we didn’t go there often. Each clay-buying trip gave me the chance to ask potters more questions. I was very proud that Ceramics Monthly published my story and was hoping to get lots of letters and comments but—nothing. Not long afterward, my husband and I were driving up the coast of Maine. Passing a pottery, we hastily pulled over and went inside. In talking with the potter, I men­ tioned that I had studied in Taiwan with a Chinese potter. He became very animated and said, “Say, did you see that story about Taiwanese folk pottery in Ceramics Monthly?” He had used the article for a lesson in his pottery classes and had each of his students make a pot based on what they had learned in the article. I was pleased and thrilled and hastened to ask, “Would you like to meet the author?” Judy Watten, Kenwood, CA

Correction It has been brought to our attention that the large dish on page 64 of the May issue,

identified as Karatsu ware, is in fact Mino ware, made at Kasahara, a satellite area of the Mino complex.

In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers; some editing for clarity or brevity may take place. All letters must include the writer's full name and address. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081; e-mail to [email protected] or fax to (614) 891-8960

Ceramics Monthly September 2004 14 upfront cially advertising). To use [poet] Audre Lorde’s phrase, the work is biomythography—a self-story told through the stories of others. “Each carved panel starts as a collage of advertisements, found photographs and family photographs. Through the process of carving, my stories become intertwined with the stories of the collage. As I carve CM Cover Contest the faces, I often find myself staring back at my mirror image or at the Ceramics Monthly wants to put your work on the cover of the December image of a family member.” 2004 issue! All kinds of work (functional, sculptural, figurative, etc.) are encouraged. One image will be chosen for the cover, with runners up Just Desserts featured inside the magazine. A national invitational exhibition of works by 18 ceramics artists is To be considered, submit a maximum of three professional-quality, on view at Santa Fe Clay through September 18. Curated by Ellen Huie original (not duplicate) 2½- or 4x5-inch transparencies (well lit, with and Avra Leodas, the show is dedicated to dessert and includes such sharp focus and good depth of field), plus complete caption informa­ items as cake pedestals, mousse goblets, cookie jars, petit four plates and tion, an artist’s statement and resume. Do not send 35mm slides. Delivery deadline: September 16. Send to Cover Contest, 735 Ceramic PI., Westerville, OH 43081. Submissions that do not include a padded envelope with sufficient postage will not be returned.

Elizabeth Coleman “Born—‘Bridalled’—Shrouded” an exhibition of works by Colum­ bus, Ohio, ceramics artist Elizabeth Coleman is on display at the Canton Museum of Art through October 31. The works in the exhibi­ tion, mostly large-scale, carved-brick collages, examine traditional fe­ male roles in American middle class society. The series “refers to the trajectory of a typical middle class woman’s life, especially one of my grandmothers’ or mother’s generations,” Coleman explained. “My inherited memory, as well as my own experience grow­ ing up in middle class Midwestern America, informs this work; but the work is equally informed by fairytale, myth and popular culture (espe­

Victoria Christen’s “Sauce Pot,” 12 inches (30 centimeters) in height, wheel-thrown and altered earthenware with colored slips and commercial underglazes; at Santa Fe Clay, Santa Fe, New Mexico. teapots. Featured artists include: Susan Beiner, Helena, Montana; Lucy Breslin, Portland, Maine; Meredith Brickell, Lincoln, Nebraska; Mary Louise Carter, Rustin, Louisiana; Victoria Christen, Portland, Oregon; Kristen Cliffel, Cleveland, Ohio; Sanam Emami, Alfred Station, New York; Scott Goldberg, Brooksville, Maine; Gail Kendall, Lincoln, Ne­ braska; Michael Kline, Bakersville, North Carolina; Lisa Orr, Austin, Texas; Kari Radasch, Floyd, Virginia; Sean Scott, Lincoln, Nebraska; Michael Simon, Colbert, Georgia; Triesch Voelker, Corrales, New Mexico; Bruce Winn Providence, Rhode Island; Rosalie Wynkoop, Helena, Montana; Scott Zimmer, Teaneck, New Jersey. “I conceived of a show dedicated to the idea of indulgence inherent in the grand finale of a meal,” stated Huie. “One need only to flip

Elizabeth Coleman’s “Try 2,” 5 feet (1.5 meters) in height, carved brick clay; through a recipe book for titles or lists of rich ingredients to get inspired at the Canton Art Museum, Canton, Ohio. by the mouth-watering possibilities. Desserts help to define a holiday or

Ceramics Monthly September 2004 16

upfront ware sculptures are coil built, covered with low-fire casting slips and decorated with commercial underglazes after drying. They are then bisque fired to Cone 06, covered with red iron oxide and fired to Cone time of year with recipes passed along through generations, often made 10 in reduction. from seasonal fruits.” “I try to make pots that are both interesting to look at and have a purpose,” artist Victoria Christen explained. “I wanted this dessert sauce pot to be used for sauces that are rich and decadent; sauces that are meant to be savored. It drips rich sauces slowly, celebrating the luxuri­ ous, indulgent nature of eating. I gave the pot a long spout to encourage the user to slow down and take time to enjoy the moment.”

2004 Niche Award Winners Enid Tangeman and Kevin Tunstall were selected as the 2004 Niche Award winners for their stoneware sake set. The Niche Awards program began in 1990 to recognize the achievements of American craft artists who produce work for craft galleries and retail stores.

Enid Tangeman and Kevin Tunstall’s sake set, to 9 inches (23 centimeters) in height, handbuilt and extruded stoneware, salt fired to Cone 10, $215. Tangeman and Tunstall operate T. T. Pottery in Dayton, Ohio. Coming from different backgrounds in clay—Tangeman in handbuilding and Tunstall in throwing—they began collaborating in 2001. In their work, they strive to achieve a balance between form and function. Their John McCuistion’s “Mission Accomplished,” 29 inches (74 centimeters) forms are extruded, using personally designed dies, and then finished in height, coil-built stoneware with casting slips, commercial underglazes and red iron oxide, fired to Cone 10 in reduction; at Kittredge Gallery, with handbuilding techniques. The Asian-influenced pieces are deco­ University of Puget Sound, Tacoma, Washington. rated with slip and salt fired in reduction. “In 2003 I started working on sculptures that were inspired by what John McCuistion I felt was disingenuous information from the government. I call this Sculptures by Washington ceramist John McCuistion are on work the G.I. series,” McCuistion explains. “Designing these figures, I view September 1-October 3, at the University of Puget Sound’s made them to be frail, standing at attention and looking as if they could Kittredge Gallery in Tacoma, Washington. McCuistion’s figurative stone­ be placed in a coffin. They have no arms—they are helpless and

Ceramics Monthly September 2004 18 upfront outcome, as though I wasn’t even there during the process,” he explains. “The tool that I favor the most is my kiln, as the process of firing is at the core of my interest in the ceramic process. Without it, there would defenseless. I have a small voice as one person in matters of government be no ceramics and no trial by fire.’ A kiln will never lie, it always tells decision making. My voice is somewhat larger with what I contribute as the truth. After all, it is the kiln that truly creates the work. My favorite an artist.” object is quite simply clay, for it has unlimited potential. I throw on the potter’s wheel using a large mound of clay (40-50 pounds) in the off- D. Michael Coffee the-hump method. I employ this technique as it allows me to be “Place of Mind,” an exhibition of works by Pagosa Springs, Colo­ spontaneous and nimble when creating one-of-a-kind pieces. For me rado, artist D. Michael Coffee is on view at the City of Lakewood the need to select a given amount of clay before beginning a piece is too Cultural Center North Gallery in Colorado through September 24. The restrictive and does not allow my instincts and intuition full reign.” show highlights Coffees endeavors in both ceramics and printmaking. Coffee has worked extensively in all media but claims that “creating Martina Lantin from earthly materials and fire is like nothing else that I’ve ever done, “From Whitefish to Wales,” a farewell show and silent auction of work with all the challenges and surprises that worldng in clay presents.” by Welsh potter Martina Lantin (see “Emerging Artists,” May 2002 He strives to make art outside of himself. “The common thread that CM) was on view recently at the Stillwater Gallery in Whitefish, stitches my work together is an overriding desire to be surprised by the Montana. The show offered an evolutionary perspective on Lantin’s personal work and her production work at Whitefish Pottery. “Throughout the past three and a half years, I have continued to develop my voice through a combination of craftsmanship and artistic expression. The elements of surface and form reflect many influences

Martina Lantin’s large tumblers, to 6 inches (16 centimeters) in height, porcelain, wood fired to Cone 10; at Stillwater Gallery, Whitefish, Montana. throughout my development as a potter,” Lantin said. “The rigorous nature of throwing production ware for Whitefish Pottery provided me with the technical skills to further my craftsmanship. “I began my profession as a potter in the United Kingdom, and to the United Kingdom I return. As I move on from here, it is with definitive ideas of what my future in ceramics holds—to create my own unique conjunction of tradition and innovation.”

Julia Galloway “Crepuscular,” a collection of wheel-thrown and altered forms by Roch­ ester, New York, potter Julia Galloway, was on view recently at the Lillstreet Art Center in Chicago. The exhibition included pitchers, teapots, teacups, tumblers, cream and sugar sets, and sauce boats. The word crepuscular means “resembling the twilight of morning or evening; glimmering; luminous.” In creating the works in the exhibi­ tion, Galloway stated, “I am interested in capturing the nature of D. Michael Coffee’s “Closed Form,” 18½ inches (47 centimeters) in height, stoneware with wax-relief glazing, fired to Cone 10; morning and evening—the times we are at home and our domestic at Lakewood Cultural Center North Gallery, Lakewood, Colorado. rituals are most natural.” Continued

Ceramics Monthly September 2004 20 upfront selected 78 pieces by 60 artists from across the United States. When choosing works, the jurors considered “how well the artistic visions of the artists came through to portray their artistic concepts, visual intent Lillstreet gallery manager Shannon Stratton explained, “most no­ and content.” They also chose pieces that exhibited a “strong use of the table about Galloway’s forms has been her nesting of vessels within versatility of the ceramics medium.” baskets and trays. Her pairs are immediate lovers, mirrors of each other or nestled bedmates, sometimes slightly awkward, but always

Matt Patton’s “Red Spiral,” 9 inches (23 centimeters) in height, stoneware. Granados and Venhuizen also selected the award winners, present­ ing Laramie, Wyoming, artist Margaret K. Haydon with the first-place award for her sculpture, “The Visit.” Second place went to Carl Erickson Julia Galloway’s cream and sugar set, 7 inches (18 centimeters) in height, wheel-thrown and altered porcelain, soda fired to Cone 6 and luster fired of Stillwater, Minnesota, and third place was awarded to Lea Zoltowski, to Cone 018; at Lillstreet Art Center, Chicago. Shade, Ohio. well-matched. Her cream and sugar ‘beds,’ a cornerstone to the Joe Vitek crepuscular exhibit, are a domestic fantasia. Squat creamers make in­ Stoneware pottery by Towson, Maryland, artist Joe Vitek was on view dentations on pillowy mattresses, while others stand tall atop their recently at Clay Orbit in Cockeysville, Maryland. In addition to teach­ diminutive partners.” ing at Baltimore Clayworks, Vitek is also the resident artist and manager of the ceramics department at Chesapeake Center for the Arts in National Juried Exhibition in Texas Brooklyn Park, Maryland. “As a craftsman, I strive for attention to “Vitrified Clay National: Form and Content,” a juried exhibition of detail, based on historical models rather than stylistic contemporary ceramics, was on view recently at the Rockport Center for the Arts in Rockport, Texas. From 450 entries, jurors Juan Granados and Von Venhuizen, professors of art at Texas Tech University School of Art,

Joe Vitek baking dish, 4 inches (10 centimeters) in height, wheel-thrown Lea Zoltowski’s “Lattice Form Bowl,” 16 inches (41 centimeters) in width, and altered stoneware, fired to Cone 10 in reduction; soda-fired porcelain; at the Rockport Center for the Arts, Rockport, Texas. at Clay Orbit, Cockeysville, Maryland.

Ceramics Monthly September 2004 22 Ceramics Monthly September 2004 23 upfront “The dynamism and energy of these artists is evident in this exhibi­ tion,” she concluded. “Taken as a group, we cover the globe in terms of exhibitions, museum and private collections, and miles of print in ceramic craft,” Vitek commented. “My goal is to present a product that magazines, books and catalogs.” will survive many generations into the future, and will still be well loved and revered by its future owners. “The Slovak National Museum in Bratislava, Slovakia, contains the Venus of Moravny, which belongs to the European Upper Paleolithic Era, and is 22,800 years old. My forebearers came from that region, and I like to think an early ancestor of mine lovingly crafted that work. A statement often repeated to my students is to be aware of the last thing they do to the wet clay, as that is the mark that will survive 10,000 years.”

The Grande Dames of Ceramics “The Grande Dames of Ceramics: Susan Peterson and Friends,” an exhibition of ceramics by Arizona artist Susan Peterson and 12 of her contemporaries, was on view recently at Andora Gallery in Carefree, Arizona. Exhibiting works alongside Peterson were Cynthia Bringle, Penland, North Carolina; Rose Cabat, Tucson, Arizona; Ruth Duckworth, Chicago, Illinois; Sylvia Hyman, Nashville, Tennessee; Karen Karnes, Morgan, Vermont; Marilyn Levine, Oakland, California; Janet Mansfield, Paddington, NSW, Australia; Ann Mortimer, Newmarket, Ontario, Canada; Susanne Stephenson, Ann Arbor, Michi­ gan; Toshiko Takaezu, Quakertown, New Jersey; Patti Warashina, Se­ attle, Washington; and Paula Winokur, Horsham, Pennsylvania.

Patti Warashina’s “Rome Series (Portrait # 6),” 25 inches (64 centimeters) in height, with underglaze and glaze. As for her own work, Peterson noted that “for most of my ceramics life, I have been interested in two opposites: the excitement of glaze exploration at high temperatures, particularly with the elusive copper blues and reds first achieved by the Chinese a thousand years ago, and the stark natural beauty of the unglazed clay surface. ... I am a potter, crazy about throwing on the wheel, but I am inclined to change the symmetrical shape with appendages, additions or finger marks in the wet clay.” For Patti Warashina, “the image of the human body has been an absorbing visual fascination, because it gives me a reference point to my own existence, the civilization in which I live, as well as my relationship to a historical past. “My current work has evolved through my interest in large-scale figures,” she explained. “After an extended stay in Italy, my thoughts Susan Peterson’s “Spring,” 17 inches (43 centimeters) in height, stoneware; at Andora Gallery, Carefree, Arizona. drifted to the columnar figures of the caryatids of Greece and Egypt. I see my figures as personal guide posts, which I refer to as the ‘Mile Post “The women in this exhibition have been my friends for decades,” Queens,’ or markers of a psychological time line referencing various commented Peterson. “Most of us are in our 70s, some are in their 80s, Asian, American and Mediterranean counterparts. Through my travels and several are a bit younger. When we were young, ceramics as we from east to west, the hybridization of these ‘figurative cairns’ brings know it today was also young. Most of us began as painters or had other these counterparts together, to speak about personal myths of life and occupations and found clay in some sort of epiphany. its transitions.” Continued

Ceramics Monthly September 2004 24 upfront glazes to life. The firing can be an art form in itself. The subtle difference in the character of the flame can make a dramatic difference in the character of the glaze—the fire tells a story. “The variables of temperature, time and atmosphere are carefully Exhibition of Canadian Ceramics manipulated to transform the elements I combine into something “Hot Clay: Sixteen West Coast Ceramics Artists” was presented recently totally new,” he adds. “For me, the most important thing is finding at Surrey Art Gallery in Surrey, British Columbia, Canada. While balance. Not just physical balance, but the balance between control and focusing on the work of West Coast ceramists, the exhibition centered spontaneity, traditional and contemporary, technique and creative thought.” in particular on “those whose work appeared to be exploring the idea of beauty—within the excesses of their practice, or conceptual concerns Dirk Staschke inside the extravagance of their expressions, or the exaggerations of their Fifteen new sculptures by Vermont ceramics artist, Dirk Staschke, were questionably functional forms,” states Liane Davison, gallery curator of recently on view at the Wexler Gallery in Philadelphia. Included in the exhibition were select pieces from his “Anonym” and “Baroque” series. Staschke explains that the Baroque series “refers to the European style in art and architecture from about 1550 to 1700 that is marked by rich and sometimes incongruous ornamentation. The title suggests a phonetic pun on the word broke. Within each sculpture, a tension is created between two completely opposite economic realities. Malnour­ ished children, presumably from a third world nation in Africa, are precariously perched atop the richly lavish Baroque-style architecture of Europe. The base contains sculptural depictions of fruits and vegetables that could provide sustenance for the figure above, but instead they

Gordon Hutchens’ “Denman Lustre Plate,” 36 centimeters (14 inches) in diameter, porcelain, with lusters and gold; at Surrey Arts Centre, Surrey, British Columbia, Canada. exhibitions and collections, in the accompanying catalog. “We looked for the antithesis of the ‘humble brown pot.’ We were curious whether there might be an indication of a regional practice. . . . Interviews with artists indicated that none considered themselves regionalists per se, as they acknowledged influences and ideas exchanged on an international level—about art generally as well as their particular practice—with the artists themselves peripatetic in their global travels and wide ranging in their education and interests. “If we chose work that was not created to be functional in a traditional sense of bearing food, nor primarily dependent on the wheel for form and construction, would the work still have a commonality? What would it be? For the purpose of this project, we have linked them together with what may be an old concept—the vessel—but is, in this case, specifically the idea of the vessel, with its function either incidental or intentionally disregarded.” “I love the creative potential in ceramics to explore form, texture and color,” notes Gordon Hutchens, whose work is shown above. “Instead of squeezing someone else’s color from a tube, I can create the color of Dirk Staschke’s “Baroque 2,” 32 inches (81 centimeters) in height, my imagination by mixing together natural minerals and chemical with underglaze, fired to Cone 6 and glaze fired to Cone 04; elements and then, through the complex firing process, bring these at the Wexler Gallery, Philadelphia.

Ceramics September 2004 26 upfront “This body of work explores the interplay of texture, form and color in clay,” Yung stated. “I strive to overcome the flat, and seemingly lifeless characteristics of electric kiln firing by enlivening the clay with the seem forever locked in their own sculptural confines. Perhaps this leads tactile surfaces associated with my wood-fired work.” the viewer to contemplate their own position in the global economic pecking order. My intention is to create work that combines these vastly different elements in a manner that asserts larger questions with both political and social anthropological undertones.”

Norman Holen Norman Holen won the Best Sculpture award in the Elk River Area Arts Alliance’s national juried art show, “Arts in Harmony 2004,” in Elk River, Minnesota.

W. Mitch Yung’s “Sarah,” 30½ inches (77 centimeters) in height, press-molded and carved stoneware with engobes and glazes, fired to Cone 6 in oxidation, $1120; at Leedy-Voulkos Art Center, Kansas City, Missouri. Yung’s vessel forms often begin on the wheel but are then altered, carved or have handbuilt elements added. Sculptures, which have been of particular interest to Yung lately, are usually slab built. Sgraffito decoration, inspired by drawings of old masters, are seen on many of his pieces. The surfaces of his work are rubbed with oxides, and painted and dusted with glazes.

Harding Black, 1912-2004 San Antonio potter Harding Black, an early contributor to CM, died May 2 of respiratory failure in Reno, Nevada. Fascinated by Native American pottery, Black began handbuilding with no formal training in 1932. After learning wheel throwing from Rudolf StafFel, he embarked on a prolific career of more than six decades. Using a simple trial-and- error method, Black successfully reproduced many of the glazes of China’s Ming and Sung dynasties, notably the copper red glazes. His vast collection of test tiles are at Baylor University in Waco, Texas. Three years before his death, the San Antonio Potters Guild established an award in his honor, now called the Harding Black Memorial Award. The award is given annually to an outstanding ceramics artist participat­ ing in the San Antonio Art League Show.

Viola Frey, 1933-2004 Norman Holen’s “Woman in a Summer Dress,” 28 inches (74 centimeters) Ceramics sculptor Viola Frey died of colon cancer on July 26 at her in height, stoneware, fired to Cone 6; at the Sherburne County Government Center, Elk River, Minnesota. home in Oakland, California. Known for her colorful, large-scale, figurative work, Frey was an important player in the California Funk “I create stoneware figures with enough specificity to personalize the movement. She received her B.F.A. from the California College of Arts piece. Omitting the glaze that would obscure the nuances of form, I use and Crafts in Oakland and her M.F.A. from Tulane University, New oxides on the surface to accentuate the details. I bare the legs, even Orleans, Louisiana. Frey moved to New York in 1958 and worked for though it increases the degree of difficulty during the development and the Museum of Modern Art and the Clay Art Center. She returned to firing stages,” Holen says. California in 1960 and taught at the California College of the Arts from 1965-1998. She received two Artist’s Fellowship grants from the Na­ W. Mitch Yung tional Endowment for the Arts, and an Award of Honor for Sculpture Sculpture by Branson, Missouri, ceramics artist W. Mitch Yung com­ from the Arts Commission of San Francisco. prised a one-person show recently at the Leedy-Voulkos Art Center in Kansas City, Missouri. The work included Yung’s tile assemblages, Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events decorative wall plates and wood-fired “poison” head jugs. of interest for publication. Mail to Ceramics Monthly, 73b Ceramic PI., Westerville, OH 43081.

Ceramics Monthly September 2004 28

Because of the level of detail attainable and the tical. Therefore, all of the finished sculptures will answers relative flexiblity of rubber mold compounds, most be identical (at least through the forming process). from the CM Technical Staff of these uses involve rubber as a material for Rubber can be used for press molds as well, and making various kinds of molds. One of the most provides a high level of surface detail, but there are common applications is to use rubber for making drawbacks. The clay will not dry evenly. The Q I am trying to reproduce some of my ceramic a master (case) mold, which is simply a mold of a surface facing the mold stays moist while the sculptures and would like to use a rubber mold mold. The rubber case mold can then be used to surface exposed to the air loses water through material. Can this be done and what is the cast several identical plaster molds to be used for evaporation. This not only makes it difficult to proper rubber compound to use for this pro­ press molding or slip casting. The process is as remove the item, but it may distort the form and cess? I would appreciate any information that follows: Plaster or gypsum materials are used to surface detail of the piece. You also need to use a you can provide.—J.P. make the first mold (block mold) from your sculp­ release material to keep wet clay from sticking to Although rubber is not the first material a ture. A rubber mold is then made from the block the mold. If you let the piece dry in the mold, which ceramist might consider for a mold, because it is mold. This case mold is used to produce the will take quite a while, you could lose detail from nonporous (it will not absorb water from clay), working molds (production molds) used in the the clay surface moving against the mold during there are several ways that rubber can be used in the casting process. If you are going to create many shrinking. Small details could also break during mold-making process to reproduce ceramic work. pieces, this guarantees that all molds will be iden­ removal from the mold if they are bone dry and undercut at all. For these reasons, rubber press molds are generally used for small items only. Rubber molds also can be used to replicate an item in materials that will set without water being drawn off, such as plaster or concrete. In this case, you would simply make the initial (block) mold out of rubber instead of plaster. You are, in effect, reversing the materials for the steps described above. If production is your aim here, you would then proceed by making a plaster case mold of this rubber mold. Cast plaster into the rubber mold to create a plaster positive of the original piece. Before unmolding, cast plaster around the outside of the rubber mold as well. This plaster case mold serves the same purpose the rubber mold served in the previous example. This time, however, you will use it to make several rubber production molds. There are a variety of rubber mold compounds on the market. They are generally referred to as RTV (Room Temperature Vulcanizing) com­ pounds or CMC (Cold Molded Compounds). All of them consist of a rubber base material and a catalyst. Mixing of the rubber is by parts of volume or weight, and the ratios can range from equal parts rubber and catalyst to four parts rubber and one part catalyst, depending on the type of rubber and the desired finished properties. When the rubber and catalyst are mixed, a chemical reaction hardens the rubber. It holds its shape yet remains flexible, allowing the reproduced item to be removed. The hardness and strength of rubber is measured in Durometer or Shore hardness. The higher the rating number, the harder the cured material. Whether you are casting your initial sculpture in rubber (to be reproduced in a material other than clay) or casting a block mold for the purpose of producing many production molds, proper prepa­ ration and sealing of the item being cast is essential. Rubber mold products tend to be quite expensive, so proper and well-planned methods of use are important to minimize any waste. Many of the companies that manufacture these products may provide you with samples as well as Material Safety Data Sheets (MSDS) and instruc­ tion sheets for their products. Jonathan Kaplan Ceramic Design Group Steamboat Springs, CO

Have a problem? Subscribers’ questions are welcome! Those of interest to the ceramics community in general will be answered in this column. Mail your questions to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected] ; or fax to (614) 891-8960

Ceramics Monthly September 2004 32

it with as much combustible material as I wanted, suggestions placed the piece inside, shut the lid, and watched From Readers the box and all burn. On one occasion, it worked better to cut the side and not the top of the box. Wet Waste Scrap Disposal The heavy and fragile piece was easier to load low I have used the following method to dispose to the ground through the side of the box. If you of the slush that collects in the wash bucket for try this, you must be very careful to do it in a safe many years. When I am ready to discard the area, since this produces an open flame.— Diana solids at the bottom of the bucket, which is Pittis, Daniels, WV usually a mixture of unusable clay and glaze Keeping Track materials, I decant the clear top water. I then take When throwing several pieces of the same an old cardboard box and fill it with crumpled general form on bats, I number them as I go. I newspapers. I make a well in the middle and simply use a finger full of throwing slip and trace pour the scrap material into the box. The news­ the number on the bat next to the form. This papers absorb the remaining moisture so I can accomplishes two things: First, I know which put the box out for garbage pickup, thus allow­ forms may be drier than others at a glance. ing it to be disposed of neatly.— Bonnie Staffel, Second, I can compare pieces and become aware Charlevoix, ML if the basic form I had in mind is changing as I Soak Up That Water throw. This second awareness aids me in staying I have found that the foam paint brushes consistent in size and shape.— Andrea O ’Reilly, found in almost any store are an inexpensive, Tigard, OR useful tool for soaking up water and slip from the Cosmetic Pencils for Underglaze inside of my thrown forms. I have also used them I use underglaze pencils for decorative effects in place of ribs when shaping delicate areas of and labeling glaze test pieces. Many cosmetic eye thrown forms.— Lynn Seydel, Mount Vernon, LA liner pencils contain metallic coloring oxides Parallel Lines like those used in ceramic underglaze pencils. As You can use a double-bladed cutting instru­ a test, try several eye liner pencil colors (black, ment, originally designed for silk screening, to blue, brown) on bisque-fired test tiles and fire cut parallel lines into a clay surface. them to various temperatures in order to find the firing range.— JeffZamek, Southampton, MA

Polishing Apples To avoid warping or lines in the clay when burnishing a large contour shape, use an unpeeled apple. It compresses the clay particles while moving smoothly over the surface.— Arnette Tiller, Buffalo, WY

Simple Texture Patterns I enjoy texture, but using large texture pat­ terns on small items doesn’t always work. My solution was to buy a large supply of different types of sponges. Some have big, open holes; others are prickly; some have rough ridges; and there are others with repeating line patterns. Different synthetic scrubbing pads also have The lines can be straight, guided by a curved many variations of pattern and texture. After template or freehand. The width between the making slabs of the various sponges and scrub­ lines can be easily adjusted.—Robert Brown, bers, alone and in combination, I bisque fire Miami, FL them and use them as texture-sheet negatives of the originals. I now have a versatile texture Reducing Large Raku Pieces “library” at a small cost.—Kim Hohlmayer, I make raku fish. They have been getting Mechanicsburg, OH larger and no longer fit in my metal containers for the reduction process. They also have fragile Share your ideas with others. Previously unpublished sugges­ gills and can’t be shifted around much. tions are welcome individually or in quantity. Ceramics My solution was to take a large cardboard Monthly will pay $10 for each one published. Include a box, cut around three sides near the top to create drawing or photograph to illustrate your idea and we will add another $10 to the payment. Mail to Ceramics Monthly , a lid that folds back. I lined the box with more 735 Ceramic PI., Westerville, OH 43081; e-mail to cardboard because it had thin walls. Then I filled [email protected] ; or fax to (614) 891-8960

Ceramics Monthly September 2004 34 Ceramics Monthly September 2004 35

Can a potter be a financial success without compromising artistic raw, unglazed state, the strength and power of their unbelievable integrity? Michael Gustavson would be quick to tell you that all it forms captivate the attention of even the most casual observer. takes is a lot of hard work, many tons of clay and a secret Gustavson, whose wide, muscle-bound shoulders reflect the ingredient—focus. abundance of his pots, is quick to share his secrets because he Climbing the few steps to the wide French doors of his white views his knowledge as a gift and he knows each person can only clapboard studio, one can already feel a sense of purpose in the make their own sculpture. He stretches the clay into these shapes long, two-story building. Rows of large windows follow the sun as manifestations of his own energy in relation to the spiritual from east to west as it swings across the Pacific ocean, which relationship he has with the world. crashes at the bottom of cliffs below a dip of sea meadows. Inside, For the person who discovers Gustavson’s work in one of over every table and surface is filled with great wet slabs and 3-foot- a dozen galleries sprinkled across the United States, it is usually diameter discs that are drying, waiting to be scraped, or holding the surface design that is most immediately compelling. Rising up their pencil-drawn designs for the final application of glazes. from a fire-blackened background, the controlled circles, ovoids, Great vessels stand on tables around the two small electric wheels. triangles and organic shapes in bright reds, oranges, greens, deep These vessels, rising up to 36 inches in height, seem to be giant soap blues and purples shift and move across the surface. Among these bubbles that twist and stretch beyond all reason. Even in their colors are the shaded lusters and metallics of raku reduction, and

“Chromatic Afternoon,” 74 inches (188 centimeters) in width, slab built with glazes, raku fired, $4800.

Ceramics Monthly September 2004 37 “Looking Forward,” 68 inches (173 centimeters) in width, slab built, with glazes, raku fired, $4800.

the lumpy lava crusts that crack open to reveal even more subtle enough to get them to come in the door. And yet, the wall pieces undertones. Here it is revealed that Gustavson thinks of himself outsell the vessels two to one—people have more wall space to as a painter, but one who makes his canvas out of clay. cover with art than they have places to properly display sculpture. Nothing Gustavson does is off hand or lacking in focus. He Both of Gustavson’s children work with their father in all knows production can deaden one’s joy of exploring, so he takes phases, from production to the delivery of items to galleries to the new steps and makes changes in the smallest increments. For setting up of shows. Gustavson unobtrusively teaches his kids, instance, he began to explore a more painterly approach with even at the openings of other shows. He will first ask, “Have you brushed edges around bright yellows, oranges and reds. looked at everything? Okay, which is the piece that best exempli­ Gustavson has an M.F.A. from San Jose State College. How­ fies the theme of the show?” Then they walk to each person’s ever, he feels schools often spend more time pushing students to choice to look at it and regard his or her opinion. Finally, Gustav­ “find their individual voice” and not enough time educating them son opines on his choice and leaves it up to each to agree or on the necessity of focusing on a goal or teaching them marketing disagree with him. Sometimes the question varies to “Which is skills so they can earn a living in the profession that they went to the best piece in this show?” or, “Which piece is getting the most school to learn. He admits there is a balancing act between what attention?” or, “Which work do you think will sell first?” Gustav­ people want to buy and what an artist wants to make. An even son believes in the old-world method of an education, where sons greater achievement is to have found success, and continue to and daughters are taught their parents’ skills and then encouraged evolve and develop new ideas. He is always learning from the to find their own way. reality of the markets. Galleries will often put his vessels in their For more information and more images of work by Michael windows because they will stop the passers by in their tracks long Gustavson, see www.gustavsonstudios.com .

Ceramics Monthly September 2004 38 MONTHLY methods Building and Firing Large Raku Vessels To begin a vessel, Gustavson throws a 15-50-pound gum- the nearly-dry slab to get an irregular, organic edge. This drop-shaped wad of Soldate clay into a cylinder and then lets technique is a reminder of the shards of a broken, glazed pot it spin on the wheel overnight to dry and to allow the clay that first gave him the idea to make these works. particles to adjust to the new shape. Then, with rubber So precise is Gustavson that he actually draws a pattern to kidneys of various sizes and hardness, he begins from the determine the proper way to hang his multipart wall works. inside, stroke by stroke, to ease and tease the walls to bow He lays the sections on heavy brown paper, moving them outward. The old adage that the shape of a vessel comes from around until he is completely satisfied with the way the the inside is never more true than in the way Gustavson design flows from one to another and the negative spaces creates these sculptural forms. This slow process continues between have gained their own importance. Then he draws until the vessel walls are perfectly thin and sinuous. Some­ the outline of the pieces, making holes in the paper where times the neck is completely closed so the organic shape the screws will go into the wall so the hangers fit perfectly. seems like an enlarged, growing amoebic life form. He ex­ plains that no matter how huge the vessel and how often people are told never to pick one up by the lip, someone will—and he is prepared for them. He adds a flattened coil to the underside of the opening for strength. Sometimes this edge is rounded and smoothed so the walls appear quite thick. Other times, he leaves the reinforcing collar to imitate the neck of a t-shirt, so the vessel almost resembles decora­ tive clothing that dances with a ghostly being inside. The vessels are scraped as smooth on the outside as they are on the inside and are then left to dry. Now comes the hardest part of all: lifting the large green­ ware objects down into the 40-inch top-loading kiln. As he makes the final arrangement, leaning far into the kiln, he either hooks his feet under a nearby table top or has an assistant hold his legs to keep from toppling in on his pots. He bisque fires the pieces to Cone 06 in one of his two electric kilns. He uses the other one for reducing glazes with pine needles. No, this is not a recommended procedure, but he does it anyhow—and it works. After the load has reached maturity, he allows it to cool to below 1000°F (537°C). He then opens the lid and throws in pine needles. The elements in this kiln do not seem to wear out any faster than those in his other kiln. He also has a gas raku kiln outdoors where he picks up the glowing slabs to place them in reduction bins. As fascinating as Gustavson’s vessels are, one cannot help noticing that far more space in the studio is given to the 24- 38-inch slabs of clay. When they are laid out on the floor, covering one end of the building, they seem to be islands of clay floating over the cement floor or giant, pale lily pads on a pond of white water. Automatically, one looks around for an immense slab roller and finds none. Gustavson rolls each of these 1-inch-thick slabs out by hand (his favorite tech­ nique) in order to ease and stretch the lump of clay into “Drama,” 29 inches (74 centimeters) in height, wheel thrown and altered, perfect flatness. He carefully chips around the perimeter of with glazes, raku fired, $3200; by Michael Gustavson, Gualala, California. The Nature of Craft and the Penland Experience

Penland School of Crafts, a national center for craft education located in the mountains of North Carolina, celebrates its 75th anniversary this year. The school is marking the anniversary with a major exhibition of craft at the Mint Museum of Craft + Design (www.mintmuseum.org ) in Charlotte titled “The Nature of Craft and the Penland Experience.” The exhibition opened July 3, 2004, and runs through January 30, 2005. This important exhibition includes 137 works by craftspeople selected because they tell the story of the school as a cultural and educational force over the last 75 years. All media taught at Penland—books and paper, clay, drawing, painting, glass, iron, metals, photography, printmaking, textiles, and wood—are in­ cluded and the work spans all eras of Penland’s history. That history reflects the evolution of American craft during the 20th century, and this story is fittingly told through objects. The exhibition presents a unique opportunity to explore the school’s history as a backdrop for conveying the importance of object making. “For 75 years, Penland School of Crafts has helped people reach across continents and time to connect with each other and with the material cultures of the world,” says Penland’s director, Jean McLaughlin. “Craft stands as a common denomi­ nator among peoples, as an act of invention, embellishment and Penland ceramics student trimming a pot.

Penland students working in the pottery studio, circa 1940s.

Ceramics Monthly September 2004 40 Vessel, 31 inches (79 centimeters) in height, stoneware, wood fired and salt glazed, 2002, by Cynthia Bringle, Penland, North Carolina.

Ceramics Monthly September 2004 41

“To Run Away,” 17 inches (43 centimeters) in length, porcelain with slips, 1999, by Sergei Isupov, Richmond, Virginia.

communication. To honor craft is to recognize the value inherent The selection of work is broad, inclusive and sometimes sur­ in the human spirit. To pay attention to craft is to learn from prising. The artists in the exhibition honor Penland’s long history materials and process, to find joy in the utilitarian and the com­ while illuminating the birth and growth of the studio craft move­ monplace, and to realize that powerful ideas are made manifest ment itself. through the work of the hands.” Founded by Lucy Morgan in 1929, Penland was originally an The exhibition is organized around three themes: skill and its outgrowth of a craft-based economic development project Mor­ transmission, sources of inspiration, and expression of ideas. “Skill” gan had started several years earlier. Today, the school sponsors celebrates mastery over material and examines the role of oral artists’ residencies, an outreach program, and the Penland Gallery traditions in developing competence. “Source” looks at environ­ and Information Center. The school is made up of 45 buildings ment, the body, spirituality and play as the foundations of creativ­ on 400 acres of land. Each year, over 120 instructors from the ity in craft. “Expression” demonstrates that craft can communicate United States and other countries teach at Penland; there is no ideas transcending traditional boundaries. “What we are trying to permanent faculty. do,” says Ellen Denker who co-curated the show with Penland’s For further information on the Penland School of Crafts, visit program director Dana Moore, “is get inside the nature of craft. www.penland.org . Essays and images from Penland have been This means that chronologically and stylistically diverse objects compiled into a book titled “The Nature of Craft and the Penland are gathered to illuminate the same theme.” Experience.” For further information, see page 76.

Ceramics Monthly September 2004 43 On the island of Lombok, Indonesia, pots in an open firing are removed from the smoldering pile with sticks and are rotated on the ground while rice hulls are thrown over the surface.

Indonesia's Sasak Potters by Marysia H. Galbraith

The indigenous Sasak potters of the tropical island of Lombok, more involved in pottery production as well. Techniques have Indonesia, have perfected the technique of hand-coiled vessels and changed little, even as production shifts away from pots for local open-air firings. Working in family groups on covered porches, they use toward designs for the tourist industry and international produce traditional and innovative forms. In pottery villages such export. Despite this shift from a local to a global market, a as Masbagik Timur and Penujak, pots at all stages of completion number of factors help Sasak potters maintain the integrity of adorn nearly every house. Potters work from morning until dusk, their work. First, they have a reliable supply of high-quality local taking breaks for other household tasks or to pray at the mosque. materials. Second, there is a built-in conservatism in the way that Pottery has traditionally been an occupation of women, though they learn pottery from older relatives. Third, international con­ men have often helped prepare the clay and decorate and fire their sultants and distributors have helped educate buyers about the wives’ pottery. Girls learn by watching their mothers and even distinctive characteristics of native production, while also protect­ very young children help with simple tasks like burnishing. At the ing the economic interests of the makers. Women say they enjoy age of eight or nine, girls are given more complex tasks, such as making pottery because it is something they know how to do, and scraping and smoothing their mothers’ pots. Gradually, they take because it provides them with an income. Perhaps more impor­ on more responsibilities until they are able to make their own tantly, it helps sustain the local communities where the Sasak pots (age 15 or 16). In recent years, as agricultural work has potters live and work. I observed different, but related, techniques become less profitable and harder to find, men are becoming for forming large containers in two separate villages.

Ceramics Monthly September 2004 44 The Coil-Built Vessels of MasbagikTimur

Inaq Manyun lives about 1 mile from the main road in a neigh­ fingers horizontally across the inside of the walls. Working up borhood where most of the potters, including Manyun, only from the bottom to the top to further even and thin the walls, she make large pots. On the first day I visited, Manyun was working adds additional coils until the walls are approximately 14 inches on water jars she had started that morning. She begins by sprin­ high and half an inch thick, alternating vertical, horizontal and kling powdered clay and some water on a concave wooden bat, diagonal motions. She smooths the surface with her fingers before which she uses as a turntable. She sets a small square of cloth on leaving the pot to dry for the next stage. She continues to the top of the bat and piles the soft, gritty clay to about 3 inches high. widest point of the form on the second day, to the shoulder on the She evens out the mass and then digs out a hole in the middle. third day, and then completes the neck on the fourth day. On the The walls are begun by pushing the remaining ring of clay out fifth day, she scrapes the walls with a sickle-shaped knife blade and up with the fingers of one hand, while supporting the outside and a sharpened bamboo stick. On the sixth day, she applies a with the other hand. She dips her fingers in water every few pulls, coat of fine slip mixed with coconut oil onto the leather-hard leaving spiral finger marks in the clay surface. With this first mass surface, allows it to dry, then polishes it with a smooth stone, of clay, she builds the pot up 7-8 inches high, keeping the walls finger-shaped metal tool or tiny glass vial. The pots dry for 10-14 approximately 1 inch thick. days before they are fired. After smoothing the walls with the side of her index finger, she Simple decorations are added by alternating burnished and adds a fat coil, pinching on the inside with her thumb and unburnished areas, or by using wood-carving tools, after the pots smoothing the outside with her other fingers. She drags her are fired, to etch complex designs reminiscent of Javanese textiles.

In order to thin the walls, working from bottom to top, Manyun On the fifth day, the walls of the pot are scraped drags her fingers horizontally along the inside of the pot. with a sickle-shaped knife and a sharpened bamboo stick.

Ceramics Monthly September 2004 45 The Coil-Built Vessels of Penujak

Potters in Penujak make large pots with a gray, more plastic clay is about 11 inches tall, it is moved from the turntable to a stump, that can be worked at a firmer consistency than the clay used in and the potter walks around the pot as she continues building up Masbagik. Extraordinarily, an experienced potter, such as Inaq the walls. When the walls reach about 18 inches, the top 3 inches Husnawati, can build forms taller than 2 feet high in an hour. are scraped inward with a rib. The potter ensures that the wall is The pot is begun by flattening a round slab on a flat bat that is even before adding more coils and completing the inward curve placed on a turntable. A fat coil is attached and pinched upward of the form. Then the pot is left in the sun for perhaps two hours. with both hands, perpendicular to the ground, thumbs on the Once the form becomes firm enough to support more weight, inside and fingers outside. The first hand starts the pinch and the Husnawati attaches a fat coil to the dampened rim, connecting it second thins and raises the clay, all in one motion. The potter and pinching it upward in one movement. She thins the coil until rotates the form as she works, leaving rows of pinch marks. it reaches 5 inches high and ½ inch thick, and then smooths it Husnawati rolls the next coil between her hands and attaches with a rib. To finish the form, she adds a coil to thicken the rim it to the top of the previous coil by pinching it between her and another to thicken the intersection of the shoulder and the thumb and other fingers. She then works around the form, thin­ neck. She smooths the thickened clay with a wet rag held between ning and raising the walls. In some places, she pinches the walls so her fingers. As a final touch on this simple form, she makes thin that spaces are left between the main mass and the new coil. depressions with her thumb around the base of the rim and in the These spaces are filled when she smooths the inside walls with the coil at the bottom of the neck, while supporting the wall on the side of her finger in short, diagonal strokes, and eventually with inside with her other hand. long, upward strokes using a curved piece of coconut shell. She A functional water jar such as the one described might not supports the walls on the outside with an accompanying rocking even be burnished, though pots made for export always are. Some motion of her open hand, with fingers together. Afterward, she Penujak potters make more ornamental decorations by pushing smooths the outside with a damp coconut-shell rib. The walls are flowing designs into the slightly damp surface with the sharpened so thin that they wiggle with each stroke of the rib. When the pot end of a plastic hanger.

Inaq Hunsawati smoothes the inside walls with Coils are attached to the top of the previous coil The pot is placed on a stump and the walls are built the side of her finger using short, diagonal strokes. by pinching between thumb and fingers. up with the help of a coconut-shell rib.

Ceramics Monthly September 2004 46 Once the shoulder and neck are firm enough, coils are added to thicken the rim and the intersection of the neck and shoulder.

When the walls reach about 18 inches in height, the top is scraped inward with a rib and more coils are added to complete the shoulder of the pot.

The new coils are smoothed with a wet rag and then decorative The final step in making these functional water jars is to burnish depressions are made around the rim and the bottom of the neck. the entire pot, which gives a smooth surface as well as strength.

Ceramics Monthly September 2004 47 MONTHLY methods Firing Pots on the Island of Lombok

As with their forming techniques, the potters use locally available materials, relying on practice and skill to get extraordinary results. Potters in Masbagik fire directly on the ground, as I describe here, while potters in Penujak use pits or brick-sided, open-topped kilns. The key to a successful open-air firing is thoroughly drying and heating the pots. In Lombok, this is particu­ larly challenging between September and April, when it A grate is suspended on broken pots above coconut husks, then heated pots are placed on top and the husks are lit. rains nearly every day. Potters also avoid firing on windy days, when pots are more likely to heat unevenly and crack. Pots are initially dried and warmed in the sun. They are further heated by being placed atop warm ashes from previous firings, or by putting hot coals directly inside them. Once heated, as many as 50 pots are stacked, taking special care that they will not shift during the firing. Potters use rags as pot holders to avoid burns. Some­ times, pots are placed directly on coconut husks, but more often they are put on a wide, metal, mesh screen that is raised on inverted pots to just above the level of the coconut husks. Small amounts of wood are some­ times laid underneath or across the top of the pile. The coconut husks below the pots are ignited with a burn­ ing stick and gas from a hand-held squirt bottle. Within minutes after the fire has caught in a number of places, After lighting the husks, the stack is covered with rice straw, rice straw is thrown over the top of the pile. This which produces a thick smoke and inital flames. produces thick smoke and some initial flames. As the straw blackens, it forms an ash seal that dampens the outward flames. Underneath, the coconut husks burn freely. Potters use sticks to poke air holes into the bot­ tom of the pile, also checking that the fire burns evenly throughout. As necessary, more rice straw is added to places where the ash burns away. The pots are ready when their surface color changes from black to orange, which takes anywhere from a half hour to an hour. The pots are then removed from the smoldering pile with sticks. No more than one pot cracked in each of the firings I observed. I was told that more breakage occurs during the rainy season. Potters choose from three surface finishes. When oxidized, the clay fires a rich orange, which is some­ times speckled with black from the rice hulls thrown on the pile. Alternatively, they blacken the surface by smoth­ ering the hot pots in rice straw and ash, or by twirling the pot on the ground with a stick while throwing rice hulls over the surface. A third mottled orange-and- brown effect is achieved by spraying or sprinkling the hot pots with tamarind juice. The reduction created by the burning rice hulls turns the surfaces of the finished pots black.

Ceramics Monthly September 2004 48 “Dare You,” 51 centimeters (20 inches) in height, thrown “Mallet Vase II,” 40 centimeters (16 inches) in height, and handbuilt porcelain, fired to Cone 12 in reduction. wheel-thrown porcelain, fired to Cone 12 in reduction.

Harlan House by Diane Creber

Highway 401 is the main thoroughfare across southern Ontario. Jack McMaster, a friend from art school, was living in Toronto, It starts in the west at the CanadalU.S. border where Windsor, and convinced House into looking east. Toronto had many galler­ Ontario, and Detroit, Michigan, meet and travels eastward to the ies and craft shops (a market for his work), but McMaster and Ontario/Quebec border. Just east of Belleville, in eastern Ontario, House rented a car and went even farther east. They became is the picturesque hamlet of Lonsdale. Once you leave 401, the completely lost and happened upon the village of Lonsdale. country road twists and turns through farmland. Down a hill, “It was love at first sight,” said House of his first glimpse of the across two iron bridges and past an old limestone mill, you enter little hamlet. The picturesque way in which the Salmon River Lonsdale. At the center of the village, overlooking the Salmon traveled through the town and the surrounding landscape “was so River, you will find the home and studio of Harlan House. very different from life in the city of Calgary. Lonsdale was old, House left Calgary, Alberta, in 1973, “because the city was in a quiet and seemed to move at about the same pace as a good drying boom period. Old buildings were being torn down and new glass room full of porcelain,” House explained. He knocked on doors, boxes were replacing them.” The city was becoming too big for asking if anything was available. The owners of an old gristmill him. The activity level downtown, where he lived and worked, told him of a hotel for sale and suggested he take a look. became such that it was nearly impossible to get work done “Look I did, and I fell in love with it, too.” The old building without interruption. “I knew that I needed to move, but did not had been abandoned for several years, but it had all the necessary need to rush, so 1 was able to look farther than the Calgary requirements for a studio potter, and it was affordable. The hotel, suburbs,” House explained. built in the 1830s, was really a normal-sized home with a lot of

Ceramics Monthly September 2004 49 “Catching Light,” 49 centimeters (19 inches) in diameter, porcelain with glazes, fired to Cone 12 in reduction, by Harlan House, Marysville, Ontario, Canada.

because of the dust raised when making clay and glazes. Passing through the door, you enter into the production part of the studio. Plaster bats for drying clay are in one area, along with the wedging table. House uses an old Shimpo RK1 wheel for throw­ ing, and another old veteran RK3 for trimming. A long table creates workspace below a wall of tools used in the various decorating techniques. Off this room lies a small brick room. The brick is common house brick that is softer than most. When it is splashed with water, it becomes a good damp room with a relative humid­ ity of 80% for proper, slow drying of the porcelain. Under a stairwell in this room is a cistern with a hand pump, eliminat­ ing the need for running water. “With all the problems that come with plumbing,” House comments, “the rainwater is ex­ actly what good porcelain needs, so all this lack of technology works very well.” tiny rooms. For House, his wife Maureen, and their two young In an adjoining room, bisque pieces await glaze. Next to that is children, it was more room than they ever thought they would the kiln room. In an adjoining shed, there will eventually be what need. “Of course, we added on later,” House laughed. “The horse House calls a “geriatric” kiln to ease the muscles of an older and barn-cum-carriage-house would make a great studio. I knew it wiser potter. The new kiln will be a car kiln, and having it outside was perfect from the start.” the studio will make firing in the summer a possibility. Much renovation was needed, but House admits he didn’t The second floor of the studio is equipped with an array of know how to go about getting it done. “One of the great things woodworking hand tools, and the usual equipment and materials about being young and poor is that anything is possible, as long as necessary to fix most things. This area is also used for packing and it doesn’t cost much,” observed House. “Neighbors explained the shipping works to be sent all over the world. There is a constant whys and hows of fixing old buildings and we were able to get request for slides, creating the need for a portable photography some help from friends. I made a lot of mistakes, but somehow we setup in this space. muddled through.” A cabinet with many small drawers stands against one wall. House has worked only in porcelain since moving to Lonsdale. Inside lie hundreds of shards that House gathered at kiln sites on a He says he feels exactly the same about porcelain as he does about recent trip to China. Most of the shards are from Jingdezhen, but restorations. “Most things need to be done several times before it seemed that wherever he was, there was a shard to be found. “At you get them right.” the Hutian kiln site, there were literally hills of 11th-century House’s studio is about 50 feet from the house. It was origi­ Sung wasters,” House recalls. “It was a potter’s dream come true, nally the carriage house for the hotel. The studio design adheres seeing that potters a thousand years ago had the same problems to common sense: as you move through the process, you move we have today.” through the studio. Entering the studio, you find yourself in the Fondling the ancient porcelain, House traces a connection clay-making area, which doubles as the glaze-making and slip- between his work and traditions of centuries ago. “I got a beauty casting area. The storage tanks for porcelain slip, along with raw of a shard near the burial site of the only woman empress of materials, are in a room in one corner. This room is closed off China, Empress Wudi, near Xiangyang. I was wandering the

Ceramics Monthly September 2004 50 hillside, on the way down from her burial site, and I happened on the foot of a 7th-century Tang horse. I still marvel at the prospect MONTHLY of that happening,” he remembers with a smile. “I like to hold the methods bits from time to time. I can vividly remember the villages and the spots where the shards were lying. I also marvel at the skill of the Mixing Clay and Casting Slip old potters, at the way they went about their business. They could have made any old bowl, but they did not take that route. They Harlan's Porcelain chose to make a beautiful bowl and to take chances in making it. G-200 Feldspar...... 23 % Some of the bowls failed, but the ones that survived have become Grolleg Kaolin ...... 53 marvelous works of art.” Silica (Flint, 400 mesh) ...... 24 This room is joined to a small, 300-square-foot gallery on the 100% second floor, although visitors can reach the gallery by climbing Add: Bentonite (Ferro) ...... 3 % stairs on the outside of the building. It is open by chance or appointment, and House has at least one studio show per year, Add all dry materials to a plastic tank (45-gallon barrels usually in the late fall. work well). Mix the dry ingredients for at least a half House finds inspiration for much of his work from his gar­ hour with a paddle (a canoe paddle will do), garden dens. The designs were determined by the starting landscape. shovel, rake or hoe that is very clean and made of stain­ There is very little soil on a bed of 70 feet of limestone. This is a less steel. Of course, wear a good dust mask at all times. somewhat dry area, but water can be pumped from the river. “I When the dry ingredients are well mixed, add water took what little soil there was and piled it up to make the trees (House uses rainwater) in an amount that will be at least happier,” he smiles. half the volume of the dry ingredients. Allow this to sit In the process, he discovered many cracks in the limestone for a few days and then stir it again. You may need to add that could support all kinds of growth. With the rocks exposed, more rainwater at this stage. Cover and let sit. In a rock gardens came into being. month or two, stir again and pour the slurry through a One of House’s painting instructors in art school once told window screen to remove any lumps. After screening, him that most artists look too hard for their subject matter. He add at least 4 liters (1 gallon) of vinegar for each 113 said, uArt is everywhere if you will just look for it.” Nodding his kilograms (250 pounds) of dry material. You can use the head, House commented, “I have to agree with this. And, conse­ clay now, but if you wait another month or two you quently, I use only what I see in my home and garden as inspira­ will find it much improved. Keep your trimmings, dry tion. A lot of my work does one of two things. It either holds food them out completely and add them to water, making a or flowers. The way in which the porcelain does this is my job. I slurry. This can be added to the next batch to give it am very aware that the works must also function visually, so it is improved workability. important to me that they are first and foremost works of art. To make a casting slip using the above porcelain “If I am making vases for spring’s first offerings, they will be formula, leave the bentonite out, because bentonite will very different than the vases made for wild day lilies. The same turn the casting slip into a gel. Start with 36.3 kilograms influences will be taken into account if I am making pasta bowls (80 pounds or 9.6 gallons) of water. Add 350 grams of for a creamy sauce as opposed to a hearty meat sauce.” House Darvan #7 to the water and blunge the mixture. Next, spent many years working on a series of bowls that have small add the kaolin and blunge until completely mixed. Then openings to hold one flower. The openings are frequently excised add the feldspar, then the flint. After blunging for half to look like small vases. This body of work is intended to invite an hour or so, allow the slip to sit for a couple of days. the owner to focus on the intense beauty of each flower. This is Blunge it again and remove 80 cubic centimeters of the quite different and distinct from the decorative effect of the slip and weigh it. It should weigh 180 grams, but any­ normal bouquet offered in a vase arrangement. The former is a thing above 175 grams will probably be fine. If the still life and a study. The latter is decoration. Either way, he is weight is okay but the slip is too fat, increase the tem­ intensely involved with the pursuit of the beautiful. perature of the slip by putting it near a heat source House also uses the garden in another direct way. He searches overnight. If that doesn’t work, add small amounts of for the appropriate flower or vegetable, then uses it as a painter Darvan #7 until it is usable. If the slip weighs over 180 uses a still life. Sometimes he carves this still life into the surface grams, add water in small amounts until you get to 180 of the porcelain and glazes it with one of his celadon glazes. The grams for 80 cubic centimeters. This slip will definitely result is a record of the garden. His work reflects his surroundings improve with age—one month is enough. and his surroundings are present in his work.

Ceramics Monthly September 2004 51 “Dogwood Chariot Soup Tureen,” 18 inches (46 centimeters) in length, ovenware, fired to Cone 10, 2003.

MARVIN BARTEL: Teacher, Artist, Innovator By Chad Martin

Kansas farm country, 1960s: A quiet boy eagerly awaits the con­ mower. Like all the projects created by students in this class, the clusion of the class period. His excitement escalates and his mind mower is being built from designs the boy drafted himself. In wanders to math problems and hand-drafted blueprints while he coming years, he also will make a grain wagon and manure closes his books and heads to shop class. The boy learns to work spreader. These are lessons in problem solving and creativity that hard, but was born into an era and culture that does not value art he will never forget. as a worthy profession. But metal shop is good—it clearly offers Pittsburgh’s North Side, 2002: A girl with piercings and tight practical learning. At the teacher’s encouragement, the boy is jeans slowly works her way through a presentation on Egyptian creating a project that solves a personal need. The boy is tired of culture, and Cone 10 and luster firing. Her presentation con­ cutting weeds at the farm by hand, so he is building a power lawn cludes a semester-long independent project. This project, a 2-

Ceramics Monthly September 2004 52 foot-tall sculpture of a cat, marks a significant change in the girl’s life. She often battles with teachers at school, getting in trouble for foolish reasons. But here, at a nonprofit art center, she has found success. She works with a team of instructors in an infor­ mal learning environment. She even conducts unsolicited, inde­ pendent research, wanting to learn more about glaze technology, blemishes from the firing process and construction methods for large-scale ceramics. The two kids in these stories have much in common. They come from different cultures, places and times, but they share a creative spirit, a quick wit, an ability to solve problems and a love for crafting things with their hands. And their creative energies were encouraged and guided by the clear influence of adults who took interest in their artistic development. Many artists find their way due to the guidance of such adults and artistic mentors. Whether it’s a quirky uncle, a compassion­ ate older neighbor, an eccentric friend of the family, or a teacher who puts in extra time on weekends and evenings, mentors fill a need in people’s lives beyond what parents or teachers can pro­ vide. Often, these seemingly peripheral figures profoundly shape the direction of young artists’ lives. Marvin Bartel is professor emeritus of art at Goshen College in Goshen, Indiana. He is a pioneering engineer, an inventive artist and a relentless advocate for educational methods that truly foster creativity and problem solving. He is a model mentor for students and colleagues alike. When I was in high school, my teacher took us on a field trip to visit Bartel’s house. As we approached the driveway, I spotted his handmade mailbox, crafted from wheel-thrown forms and a big cork stopper. We continued through the tour, encountering more clay objects than I could ever have imagined—tile countertops, handmade sinks and toilets, clay swivel chairs, and of course, many pots. My understanding of art and one’s ability to test creativity were blown wide open. Here was a man showing me that one can create nearly any object from nearly anything, using a creative spirit and a full understanding of the material. It was a valuable lesson at an impressionable time for me. Ten years later, I listened to Bartel explain what many see as the tension between the pursuit of creating art and the commit­ ment to teaching. He only finds tension when one fails to do both, explaining, “I really thought I would be a lousy teacher if I was not an artist. As an art teacher, I thought I would not have any integrity.” As a doctoral candidate in art education, Bartel spent much of his studio time creating jewelry and built a respectable exhibition record in national metalsmith shows. But his first opportunity to teach at the university level landed him in a clay studio, and he was committed to always practicing what he taught. “Dogwood Vase,” 5½ inches (14 centimeters) in height, “When I started teaching ceramics full time, I quit making stoneware with glazes, fired to Cone 10, 2003. jewelry and made ceramics my art form. I didn’t want my stu­ dents to have a teacher who was just a teacher. I wanted them to have a teacher who was actually an artist. I also knew that students don’t have as much respect for what you have to show them if you are not doing it yourself.”

Ceramics Monthly September 2004 53 Therefore, he packed up his jewelry tools (to this day he still things out. Then you have them draw from their own experiences has unused sheets of metal in storage) and focused all of his and their own observations,” he says. But he does not advocate attention on making daywork. He has never stopped creating pots, creativity at the loss of technical expertise. tiles and other daywork. While teaching clay at Goshen College “If we taught reading and writing as casually as we teach art, for 30 years, he never stopped taking students to tour his house. only about 10% of the population would be literate.” Instead, he Bartel’s students never doubt that he is a working artist. He is says, “We should be practicing observation drawing at the same both driven to teach what he loves and driven to love what he time we are practicing reading and writing. must teach. Goshen is a small college and, during his tenure, the “Anybody can learn to draw from observation. Drawing should art department has asked him to teach many different courses, be something through which everyone can witness the shape of including art education, ceramics, photography and housing de­ something, the contour line of something, the height of some­ sign. He has a Ph.D. in art education, has practiced ceramics for thing.” And he would say the same for using a potter’s wheel. over 35 years, is an excellent photographer and has designed Bartel shares his vast technical knowledge with inquiring stu­ several houses. While he has retired from teaching clay, he contin- dents. Therefore, not only are students empowered to create through their own innova­ tion, they gain understand­ ing of the technical undergirding necessary to successfully embody that creativity in clay. A good ceramics artist pushes creativity beyond simply the process of work­ ing with the clay. Bartel en­ couraged students to look beyond the status quo and always investigate new and better ways to work in the studio. For example, he has been a pioneer in designing fuel-efficient kilns. He esti­ mates that the gas kilns he has designed use as little as half the fuel of conventional kiln designs (see “A Revolu­ “Fish Baking Dish,” I8 Y2 inches (47 centimeters) in length, ovenware, fired to Cone 10, 2002, by Marvin Bartel, Goshen, Indiana tionary Kiln Design: Nearly 100% Fuel Efficiency,” Sep­ tember 1990 CM). In a cul­ ues to model the life of a creative and successful artist for many ture that places minimal value on efficient use of resources, he young students. stands out as a role model for ceramics artists who are intent on Bartel invited ingenuity and creativity into the classroom. He pursuing their craft, while maintaining concern for the environ­ holds strong opinions about how children (and adults) learn to ment and efficient use of resources. solve problems and be creative. He advises against giving too Bartel, the farm boy who found art by building farm imple­ many examples, demonstrations or easy answers, which encour­ ments in shop class, grew to be part of a long legacy of mentors in age students to simply imitate the teacher. He says, “The imita­ ceramics history. He quietly spent the last 30 years teaching some tion you don’t have to work at, because we are genetically of the most gifted potters in the country and nurturing teachers predisposed to be imitators.” Rather, he says, the real challenge who would go on to be mentors themselves. I am one of many of for teachers is to foster innovation. In response to student ques­ Bartel’s students who went on to teach. tions, Bartel asks them more questions, gently pushing them in The girl from Pittsburgh was a high school student of mine at new directions that lead them to discover their own answers. For the Manchester Craftsmen’s Guild ceramics studio. I don’t yet him, art education must always tie into the student’s experience. know how she or my other students will spend their lives, or who “You don’t show the kid how to draw things, you show them how they will mentor. They are one strand in a continually widening to make observations, how to use their minds, how to figure web of influence from one great teacher.

Ceramics Monthly September 2004 54 A Mentoring Legacy

Marvin Bartel’s arrival at Goshen College in 1970 be­ gan a growth in the quality and range of ceramics activity in the department. The exhibition of his ce­ ramic work in regional and national venues and contri­ butions to the field in fuel-efficient kilnbuilding, publication of his writings in ceramics publications, and especially his ability to engage and inspire students, brought recognition to the art department. Many of his students have pursued ceramics in graduate school and as exhibiting ceramics artists, production potters, ce­ ramics educators and, in a variety of other ways, made ceramics a part of their lives. The Hershberger Art Gallery at Goshen College hosted “A Ceramic Legacy,” an exhibition featuring the works of Bartel and alumni from the ceramics program during his tenure. Twenty-three alumni, some of whom graduated in the early 1970s, some as recently as 2001, exhibited works representing a diverse spectrum of styles and processes. The diversity of the work revealed Bartel’s ability to nurture individual creativity and inventiveness. The exhibition included human-scale sculpture; mixed-me- dia pieces; low-fire and high-fire techniques; miniature pottery; as well as wood-fired, pit-fired and crystalline- glazed functional pottery.

“Canopic Vessel II,” 12½ inches (32 centimeters) in height, stoneware, by Dennis Maust, Lititz, Pennsylvania; class of 1976. “I attended Goshen College specifically to study more ceramics with Bartel in the fall of 1974. Midway through the semester, Bartel had gone to a clay conference where he had seen Peter Voulkos and others demonstrating. I can clearly remember him returning full of energy, with lots of ideas and stories of how clay can be manipulated with spontaneity. In fact, the ideas of letting clay be clay and honesty of materials were so highly valued that I assumed, for many years, that was the best, if not the only, way to work. I found out later that that approach didn’t work particularly well for me. However, I appreciated Bartel’s enthusiasm and encouragement for trying new ways of working. He seemed to be inventive in his work, always Stoneware bowl, 51/2 inches (14 centimeters) in height, finding creative solutions to problems he encountered. I saw in Bartel a by Suzanne Bishop, Goshen, Indiana; class of 1985. “Bartel model for the kind of life I wanted to live—a potter, educator, do-it- inspired his students in such a way that they became their own yourself individual who lived the creative life he taught. He was certainly selves. He made us think creatively and the exhibition of former the most influential person in terms of career direction.” students demonstrated this creativity.” Untitled, 10 inches (25 centimeters) in height, porcelain, saggar fired, with carbon-transfer images from fresh vegetation, by Dick Lehman, Goshen, Indiana; class of 1976. “When, as a student, I would ask Bartel a question like ‘What do you think would happen if I did this?’ or, ‘If I tried to solve this problem this way, do you think that it would work?’ His response would almost always be, Well, why don’t you try it to find out,’ or, ‘Well, why don’t you think about a few of these variables, and then try a solution to see if it works.’ This kind of response to my questions was not so much frustrating as it was empowering. It implied that it was okay to try something that may not work; okay to fail; okay to try a variety of approaches that might be different than the routine or known solutions; okay to find out on my own, to learn on my own, to teach myself. This kind of problem-solving approach has led me, over the past 25 years, to some unconventional solutions, but also has led to the development of very personal solutions that have produced a very personal aesthetic and a very personal visual literacy. As a studio potter, I am grateful to Bartel for this contribution to my way of working.”

“Spiral Trio,” to 14 inches (36 centimeters) in height, handbuilt stoneware, fired to Cone 6 in oxidation, by David Gamber, Moorestown, New Jersey; class of 1983. “Bartel used to say, ‘Steal, don’t borrow, a commitment to artistic honesty.’ I often use this quote to help my students understand the difference between copying another artist and using that work as inspiration. If you steal something, you make it yours. If you borrow it, you have to return it. Bartel’s use of this statement helped me focus my ideas about creative integrity and originality. We all have climbed on some creative back to get to where we are. The question is: Have we added anything of ourselves for the next generation to climb onto?” “Eye of the Storm,” 15 inches (38 centimeters) in diameter, stoneware with iron stain and crystalline glaze, by Eric Kaufmann, Goshen, Indiana; class of 1997. “Bartel provided an immense amount of freedom under a planned organic structure. He was very conscious not to inhibit creative ideas. When asking Bartel for permission to try a firing technique, or to build a small (or even large) kiln in the kiln-yard, Bartel gave great encouragement. Some published materials and other potters taught me that porcelain is difficult to work with, and that working large with porcelain was not really encouraged. Bartel, however, always pushed us to learn the limits of our materials. Because of his encouragement and the freedom attached to a line that commonly came from his mouth—“try it and see”—I questioned previous doubt about making large platters or pots out of porcelain. I discovered that, with care in creation and drying (areas clearly emphasized by Bartel), porcelain will hold up quite well under the stress that others told me only stoneware would handle.”

“American Dreams I,” V/2 inches (19 centimeters) in height, 1 -inch-scale wheel-thrown redware with trailed slip and sgraffito, fired in an electric kiln, with miniature basswood cabinet, by Jane Graber, Nashville, Indiana; class of 1976. “I spent two years at Goshen getting my B.A. in art with a primary focus on ceramics and graphic design. Bartel’s ability to create ceramic art, to solve problems, to engineer pieces with specific needs in mind, inspired me and influenced my subsequent career in clay. Bartel’s home, in which almost everything is made of clay with carefully planned artistic usefulness, was an inspiration. I eagerly followed by making tiles, throwing sinks and leaning in the direction of clay as a career. When Sauder Museum was looking for a potter in their early days, Bartel sent some of his students over for interviews. I subsequently followed Phil Yordy as a production potter for the museum after graduating. This was the working foundation upon which my current career was built. I started making my first miniatures at the request of the museum staff for a child’s souvenir item to be sold in the Museum gift shop.” The exhibition also provided a venue for alumni to tell stories and articulate the influence of Bartel’s teaching and mentoring on their ca­ reers. Participating alumni included Bruce Bishop, class of 1980; Suzanne Bishop, 1985; Patty Burns, 1992; Fred Driver, 1975; David Gamber, 1983; Jane Graber, 1976; Marie Harnish, 1984; Andy Hershberger, 1995; Keith Hershberger, 1994; Eric Kaufmann, 1997; Merrill Krabill, 1979; Lynn Lais, 1978; Dick Lehman, 1976; Keith Lehman, 1993; Chad Mar­ tin, 1998; Tim Martin, 1990; Dennis Maust, 1976; Annemee Siersma, 1998; Bob Smoker, 1977; Greg Stahly, 2001; Jeff Unzicker, 1996; Tom Unzicker, 1991; and Royce Yoder, 1976. Soda/Salt National 2004

The Clay Studio of Missoula’s “Third Annual Soda/ Salt National” was exhibited this past May. Juror Josh DeWeese chose 34 works from 178 entries, which is the largest number of entries in the his­ tory of the contest. “It is always an enriching opportunity to be able to select a group of work for a national exhibi­ tion,” said DeWeese in his juror’s statement. “The mix is my impression of some of the best work being created using the salt/soda process today. “In all types of firings, the melting and setting of the glaze is a crucial step,” he continued. “The magic that takes place in a hot kiln as ceramic materials melt and undergo a transformation is mysterious in nature. The choice to use salt, soda or other kinds of atmospheric firing seems to bring an added dimension to the ceramic process. The “Incised Flashing Pillow,” 8 inches (20 centimeters) in height, stoneware, soda fired, by Missy McCormick, Delray Beach, Florida: grand prize winner. “The idea of comfort and the way in which element of chance is heightened with the random we manifest it in our lives, physically and emotionally, threads through my creative process to nature of the flame path carrying the vapors. The form work based on structure, stability, support and simplicity,” McCormick explained. “Gestures potential for that chance becomes an important of embrace and shelter, rich softness of fabrics and upholstered furniture, architectural elements, and a personal sense of place are influences in my work. These are explored and applied to form, part of the work.” surface, color palette and firing process through literal, abstract and emotional means.”

Tumblers, to 4 inches (10 centimeters) in height, colored porcelain, soda fired, by Justyna Benton, Providence, Rhode Island; grand prize runner-up. Benton uses color and texture to create engaging compositions with both whimsical and sensuous overtones. “I synthesize and orchestrate tactile textures, plain areas of pure color and optically stimulating patterns. I juxtapose contrasting visual elements, graceful organic fluidity with geometric hard edge, and high gloss with dry matt glazes,” she said. “I strive for clarity in abundance. While building upon the language of art and tradition, I attempt to transform my vessels into the utensils of sophistication, intellect and pleasure.”

Ceramics Monthly September 2004 58 Two teabowls, 3 inches (8 centimeters) in height, porcelain, soda fired, by Steven Roberts, Bowling Green, Ohio; honorable mention. “All three-dimensional objects can be touched, but functional pottery is made to be touched. My pottery is best experienced when it is embraced by the hand as well as by the eye,” he said. Roberts works with soda-fired porcelain because he is “searching for a rich surface where glaze and clay interact with each other to create effects of atmosphere, transparency and depth. . .. With soda firing I can use the kiln’s atmosphere to create passages of thin or transparent glaze in an otherwise opaque surface, as well as dark highlights where the soda surface traps carbon.”

“Coffee Pot,” 10 inches (25 centimeters) in height, porcelain, soda fired, by Lorna Meaden, Athens, Ohio. “I am drawn to work that is rich in ornamentation, with lavish use of materials,” Meaden explains. “My forms suggest sophistication through their sense of lift and use of pedestal feet in contrast with their playful gesture of stance and the use of animated attachments. My approach to the surface of the work comes from the sensibility of a seamstress. I look at clothing and costume as sources for embellishment, referencing stripes, polka dots, and elements of the jester costume, such as the diamond pattern. The making of the work references the process of sewing with the use of darting, press molds made from patterned and textured fabric, quilting and upholstery, in addition to attachments made from drawn patterns.”

Ceramics Monthly September 2004 59 “Oil can,” 11 inches (28 centimeters) in height, stoneware, salt fired, by Joseph Pintz, Lincoln, Nebraska. “I draw inspiration from the long tradition of potters around the world who have responded to the challenge of making pots that connect to their daily lives,” Pintz explained. “The best examples of these historical pots serve as physical reminders of their maker’s honesty, vision, passion and substance. I strive to impart these very qualities in my work; pots that speak to us of the past and present, to the heart as well as the intellect. Even a simple bowl can command this kind of presence, causing you to choose it over another dish in the cupboard.”

Untitled, 12 inches (30 centimeters) in height, stoneware, wood/soda fired, by Ted Adler, Flagstaff, Arizona. “On an essential level, we understand pots to be reflective of our own selves. My work is to be viewed in terms of our experiences in the realm of the sensuous world and how these experiences shape our ideas and identities. I approach ceramics as an activity analogous to this idea of selfhood in the use of materials, forms and processes. Pottery, on a fundamental level, is a means by which to metaphorically explore the interplay between the physical, sensing self and the interior, experiencing self.”

Ceramics Monthly September 2004 60 Teapot, 7 inches (18 centimeters) in height, porcelain, soda fired, by Stephen Robison and Kathleen Guss, Kalamazoo, Michigan. Robison and Guss incorporate both sculpture and utilitarian ceramics in their work. “Working within the context of sculpture and the utility of ceramics allows us to communicate more than purely the use of the object,” they stated. “Over the last few years, one concept that has dominated our work incorporates forms and surfaces related to diatoms and viruses as seen under the microscope. . . . [These forms] have been a great source for abstraction, but what [viruses] can do for and do to our world is both fascinating and frightening to us. .. . The duality of our work exists within its function of utility and also its ability to communicate information based on conceptual concerns.”

Ceramics Monthly September 2004 61 MONTHLY methods The Soda/Salt Process by Josh DeWeese The process of soda/salt firing is one that dates back to the and chlorine. Upon introduction into a hot kiln, the chemi­ 1600s in Germany. Initially, it was used to easily seal the cal bond is broken. This chemical reaction causes the sodium ceramic surface of an entire kiln load of ware. Rather than vapor to disperse throughout the kiln. The sodium attaches dip each piece in a glaze before the firing, one could effec­ itself to the clay and the chlorine goes out the flue. Generally, tively introduce glaze into the atmosphere of the entire kiln. in salt firing, there is good distribution of the effects through­ Artists now use salt and soda because of the dramatic visual out the stack of ware. effects that can be created during the firing process. Soda, usually in the form of baking soda or soda ash, does The salt or soda is usually introduced near the end of the not have this chemical reaction to distribute the vapor firing, generally in intervals over an extended period of time. throughout the kiln. This can cause the ware in a soda kiln to There are many variations on salt and soda firing, but both have one side with very heavy soda and the other side to be processes introduce sodium into the atmosphere, which bonds dry, an effect that can give a desirable, directional feeling to with the silica in the clay to form a glaze. the work. Soda is often mixed with water and sprayed through­ The difference between the finished effects of salt and out the hot kiln directly onto the ware for a more even soda are difficult to tell. Salt is chemically combined sodium distribution of the visual effects.

“Double-Spouted Teapot with Cup,” to 11 inches (28 centimeters) in height, white stoneware, wood/soda fired, by Jason Hess, Flagstaff, Arizona. “A desire to have objects that fulfill specific purposes inspires me to make functional pots,” he explained. “The infinite and elusive variety of texture and color attainable through the various making and firing processes that I use has generated an interest in the notion of presentation. I enjoy presenting my work so that the viewer might notice and appreciate subtle diversities in form and surface. By grouping similar forms of differing size and color, I hope to compose a visually dynamic display that invites the viewer to enjoy the tactile nature of each individual piece and how they relate to one another.”

Ceramics Monthly September 2004 Qi Chen of Xi an by David Powers

In the heart of the historical and cultural center of China, Xi’an, Qi Chen digs her clay from the banks of the Wei River and composes her coil-built forms. Her works inherently link the ceramics technology of the nearby Neolithic site of Banpo village (4000 B.C.) and modernist abstract sensibility. She is one of only a handful of artists who have emerged in the newly liberalized China who see ceramics as a vehicle of individual expression rather than merely a manufactured article of utility decorated with traditional motifs. In the context of recent ceramics develop­ ments in China, her accomplishment is stunning. Chen works and oversees the ceramics department of the Xi’an Academy of Fine Arts. The city of Xi’an was established as the Qi Chen, with works in progress in her studio. capital under Emperor Qin (the man responsible for the now- famous terra-cotta army) 2000 years ago, and has been the cul­ tural and political center of China for about 1000 years. Over the centuries, this region has generated important ceramics tradi­ tions, including Yaozhou and Cizhou ware. During the Tang dynasty (A.D. 618-906), three colored glazes (.sancai) decorated elegantly mannerist camels, and a white proto-porcelain was de­ veloped for utilitarian wares. During the Yuan (A.D. 1277-1368) and the Ming (A.D. 1368-1644) dynasties, celadon and tian-mu iron reduction glazes were perfected. The walls of pottery villages such as ChenLu, a few hours north of Xi’an, bear witness to 1000 years of discarded saggars, integrated into the walls of the town. Potters there still make traditionally decorated Yaozhou ware, with its thick, iron-saturated slip carved with floral designs, in much the same way as their ancestors did in the Ming dynasty. Chen was born in Xi’an in 1955. She graduated from Qinghua University, Beijing, which is one of the most prestigious universi­ ties in China (comparable to Harvard or Oxford), in 1981. Her professor discouraged her from studying pottery, because there was no future in it. “At that time,” Chen said, “there was no individual work.” Pottery was strictly seen as an imitative craft that was taught as a set of specific proficiencies. Pottery was done in work units, where members specialized in a particular skill: throwing, trimming, carving, painting and kiln firing. There was also gender differentiation, with women being restricted to carv­ ing and decorating work. In a country dominated at that time by a socialist ideology of group conformity, the very notion of devel­ oping your own artistic style was regarded with suspicion—as

“The Fourth Millennium,” 26 inches (66 centimeters) in height, being egoistic. Add to this the fact that there was no public handbuilt native clay, unglazed, fired to Cone 10. audience educated to appreciate individual creative efforts, nor

Ceramics Monthly September 2004 63 any middle class having the means to purchase such works, and backpack made of woven wood. . . . People did not understand you get some idea of the cultural vacuum into which Chen boldly what I was doing at that time,” she said. launched her ceramics career. Chen made a series of trips to other parts of China during the She returned to Xi’an to be near her family and began to work 1980s to explore other traditions and to see if she could learn with the local clay from the Wei River. “I just started experiment­ about other artists who were pursuing their own expressive styles. ing with the clay dug from the river bank and began making these “At that time, there were a few artists emerging in Foshan and coiled shapes because it was quick,” Chen recalled. “I had no Jingdezhen in southern China, and I traveled there to learn about intention of making forms to be kept, but just wanted to experi­ them and see their work. The true beginning of modern ceramics ment with the material to see how high I could build and to in China can be traced to 1986 when, for the first time, a ceramic explore different firing temperatures.” sculpture won a national sculpture award.” On another trip, To her surprise, the native clay fired well to Cone 10. More Chen worked for three months in Yixing, near Suzhou, where the importantly, she found that the bulbous shapes she had offhand­ well-known, diminutive, unglazed teapots have been made for edly built out of coils were aesthetically compelling to her, and centuries out of the famed purple sand clay. “You wouldn’t believe she began her first series of figurative and abstract works using this how bad the summer mosquitoes were there,” she reported. “I method of handbuilding. There were no kilns in Xi’an at that had to wrap myself up in plastic bags to keep them off, and this time, and she had to travel ten or twenty miles to pottery villages made the sultry heat unbearable. When I returned to Xi’an that to fire her work. “Sometimes, I got tractor rides out of town,” she fall, I was so sore from hard work that my joints pained me for said, “but many times, I had to carry the work in a traditional weeks. I left a lot of sweat and blood in those places.”

“Along the Mountainside,” 28 inches (71 centimeters) in height, “Desire,” 29 inches (74 centimeters) in height, handbuilt native clay, handbuilt native clay, unglazed, fired to Cone 10. unglazed, fired to Cone 10, by Qi Chen, Xi’an, China.

Ceramics Monthly September 2004 64 MONTHLY methods Working with Native Clay

Chen continues to use the native clay from the banks of the Wei River. This clay is mainly composed of loess, a fine, sandy yellow clay that covers much of Shaanxi Province in a layer often hundreds of feet thick. It is what gives the Yellow River its name. The clay is very slippery, and Chen often combines it with local soil to make it more workable. It is a raw clay similar to that used to build the terra-cotta soldiers of Emperor Qin 15 miles away. The material has its limits, and once a sculpture grows past a couple of feet in height, she adds grogged stoneware to keep it from slumping. She fires to Cone 10 in a gas kiln. For contrasting, darker colors, she wedges oxides directly into the clay.

Qi Chen digging clay with her students on the banks ot the Wei River.

By the mid 1990s, Chen had begun to receive some recogni­ Academy of Fine Arts for 20 years, her institution has recently tion. She held a number of solo exhibitions that were favorably undergone dramatic changes. In many colleges and universities in reviewed in local newspapers. As China opened to the West, an China, the public model of education has, in the past five years, influx of foreign ideas about the merits of individual creativity been largely replaced by a private, capitalistic model. Schools began to be appreciated. In this context, as local political and suddenly found themselves needing to generate substantial capital cultural leaders began to look for a representative of this new from tuition and admissions increases. As the only ceramic-art aesthetic set of values, Chen was perhaps the only local ceramist university in northwest China, serving a population of more than in northwest China who embodied these ideals. Her work was 100 million people, the school decided to open an undergraduate displayed in Beijing in the Great Hall of the People (the Chinese major in ceramics and a two-year graduate degree program. Chen Congress), representing Shaanxi Province. One of her sculptures was put in charge of both programs with four months notice. She was officially presented to the president of Germany by the Chi­ was then informed, shortly before the program began, that 50 nese ambassador. More recently, her works have been included in students were to be admitted to the graduate program, rather exhibitions in Japan, Korea and France. “Of course,” she smiled, than the five or ten that she had anticipated. “I was not paid for these pieces. When a VIP visits our school,” Through publications and interviews, Chen has worked to she continued, with a hint of chagrin, “I am often honored to find have ceramic art be recognized as a legitimate expressive art form that still another admired piece of my sculpture has been given of contemporary Chinese culture. In 2000, after 12 years of away as a gift from the school.” discussion, a Commission of Ceramic Arts was finally established Despite little financial reward, Chen continues to work pas­ by the Chinese government, giving some official validation to the sionately. “I usually work on five or six pieces at a time so that notion of ceramics as not only a craft but also a vehicle of each one can be drying out and stiffening while I work on the individual artistic expression and contemporary articulation of others. I can do a set of pieces in a couple of weeks. I don’t really cultural values. Chen has worked within China to promote the have a preconceived idea. A few years ago, I was really inspired by importance of ceramic art as one of the most widely understood a ceramics professor I knew who was very plump. I just responded signifiers of China to the international community. She is one of to her roundness, and I continue to make shapes that are really the few artists in China who works as an individual studio potter, plump and fleshy; the plumper the better.” pursuing her own instincts for powerful abstract forms, while In addition to her ongoing individual studio work, Chen is a simultaneously maintaining a very sophisticated and modern sense tireless educator who has recently taken on enormously expanded that her work expresses the cultural heritage of Xi’an to an inter­ responsibilities. While she has been teaching ceramics at the Xi’an national audience in a unique way.

Ceramics Monthly September 2004 65 History, Influence and Evolution The NCECA Regional Student Juried Exhibition By Donna Rozman

“Ophelia’s Umbridge,” 14 inches (36 centimeters) in width, porcelain and glass, 2003 RJSE, by Donna Ropp, while attending University of Hawai‘i.

Students comprise an important segment of the National Coun­ cil on Eduction for Ceramic Arts (NCECA). Student member­ ship in a given year ranges between one-third to one-half of the total membership. Student exhibitions provide a forum to showcase strong ce­ ramics programs at institutions across the United States. The Regional Student Juried Exhibition (RSJE) has become the pre­ mier student exhibition and illustrates the vitality of the ceramics field. RSJE provides an opportunity for students to exhibit their Container, 71/» inches (18 centimeters) in height, wheel-thrown and faceted work to a national and international audience within the ceram­ stoneware, salt/soda fired to Cone 10, 2001 RJSE, by Niel Hora, ics community. As a juried, regional show, it encourages and while attending the University of Mississippi. rewards professional activity among students, and demonstrates the experimentation and creative risk-taking that is happening in today’s college ceramics programs. Free of the constraints of maintaining a professional career, students energetically explore and experiment, pushing ideas to the extraordinary with their professors acting as guides and mentors.

Ceramics Monthly September 2004 66 The History of Student Exhibitions At the Second Annual NCECA conference, held at the Rhode Island School of Design in Providence in 1968, members dis­ cussed the possibility of organizing and funding a national stu­ dent exhibition. The following year at the conference in Kansas City, Missouri, the “First National Student Show,” juried by James Melchert and Daniel Rhodes was presented. The show fell short of expectations. This sentiment was described in a state­ ment from the jurors, “The uneven quality of the work submit­ ted, and the lack of a sufficient number of pieces having authority and originality, could only result in a show which would not fairly represent the existing range and excellence of student effort in the member institutions.” Thus, the jurors recommended canceling the plans to make the show into a traveling exhibition. However, NCECA continued to hold shows of student work in conjunction with its annual conference. During the early years, the conference coordinator or exhibitions director invited professors from se­ lected colleges and universities to provide work from their stu­ dents. With little continuity, standards varied and many of the early shows lacked sufficient organization, funding and security. The exhibition format varied from year to year: juried or invita­ tional; national or regional; graduate, undergraduate or both.

“Loss of Identity,” 21 inches (53 centimeters) in height, handbuilt stoneware, 2001 RSJE, by Helen Otterson, while attending the University of Miami.

“Girls,” 30 inches (76 centimeters) in length, handbuilt porcelain, with underglazes and glazes, fired to Cone 6, 2 and 05, 2004 RJSE, by Amanda Lynch, while attending Bowling Green State University.

Ceramics Monthly September 2004 67 In 1975, “Approaches, Contemporary Ceramic Education,” was an invitational faculty/student show from East Coast schools, at the Tyler School of Art in Philadelphia. In 1976, “Approaches II: Faculty and Students” was held at Louisiana State University in Baton Rouge. In 1978, “NCECA Schools” was an exhibition of works by 15 students and faculty from 15 colleges and universi­ ties in the Midwest. In 1980, the executive board met to discuss the goals of NCECA and address student concerns. They concluded that NCECA must continue to have thought-provoking shows and make sure that the student shows be representative and equitably selected. These exhibitions became increasingly more successful, culminating in what is now the RSJE.

RSJE Becomes Reality “Sea Turtle Coral,” 12 inches (30 centimeters) in length, Although many ceramics exhibitions take place throughout handbuilt porcelain, fired to Cone 5 in oxidation, 1999 RSJE, the city where the conference is held, NCECA began to organize by Deborah Weinstein, while attending Kent State University. one exhibition specifically for student work each year. With the interest of the board in making the student show more equitably selected, the introduction of juried student exhibitions came into being. During the 1980s the NCECA exhibitions director con­ tacted colleges within a region near the conference city to submit slides indicative of student work. The jurors then selected schools to participate based on the strength of the slides. The professors at those schools would then select the work to be included in the student exhibition. At the 1992 conference, members elected Kathy Royster as the first student director-at-large. This new position on the board of directors gave students a voice on the board and allowed the board the opportunity to groom students for future board posi­ tions. The board decided to have the student director work with the exhibitions director on the student show. The student director now coordinates most aspects of the student exhibition under the direction of the exhibitions director.

Exhibition Structure Under subsequent student-director leadership, the format for the student show developed into an annual, regional, juried exhi­ bition. By 1995, when Elaine Henry (now NCECA Past Presi­ dent) served as student director, the exhibition duties included researching which two- and four-year colleges in the selected region had ceramics programs, collecting addresses for these schools and mailing a prospectus, selecting the jurors, and sending them slides. At that time, there was no significant budget for the student show. School programs were no longer juried collectively into the show; instead each piece was juried individually. “Nose in the Air,” 22 inches (56 centimeters) in height, wheel-thrown Each year the exhibitions director visits the host city to find stoneware, fired to Cone 6 in oxidation, 2004 RSJE, by Ben Ahlers, suitable gallery space to display the chosen work. Typically, the while attending Ohio University. exhibition is held at a gallery on the campus of the host university. However, sometimes the exhibitions director negotiates with a

Ceramics Monthly September 2004 68 Vase, 11 1/2 inches (29 centimeters) in height, “Odd Ball,” 49 inches (124 centimeters) in length, earthenware, wood fired, 2003 RSJE, by Benjamin Waterman, with styrofoam, mirror and grout, 2000 RSJE, by Leigh Cohen, while attending Southern Oregon University. while attending the University of Nebraska-Lincoln.

“As One, They Stand Together,” 24 1/a inches (62 centimeters) in length, stoneware with slip, fired to Cone 6 reduction, then glaze fired to Cone 04, with lusters, 1999 RSJE, by Benjie Heu, while attending Ohio University. “Still Life #1,” 24 inches (61 centimeters) in diameter, “Shot Cups in Pop Bottle Crate,” I 8V2 inches porcelain, salt fired, 2002 RJSE, by Peter Leibert, (47 centimeters) in height, stoneware and porcelain, while attending Kansas City Art Institute. with wood, 2000 RSJE, by David Funk, while attending Utah State University. retail gallery to host the exhibition. The exhibiting gallery is placed on the conference shuttle bus tour so attendees can get a glimpse of what is being produced by students in the region. Bonita Day was elected student director while a graduate student at Tulane University. Through her fundraising efforts, a poster was printed for the 1999 RSJE held at the Shot Tower Gallery at the Fort Hayes Metropolitan Education Center in Columbus, Ohio. The success of this venture convinced the board of the importance of promotion for the exhibition. Since that time, the board established an adequate budget for RSJE and a professionally designed poster is printed annually. Now, the student director selects two jurors from veterans in the field of ceramics. Typically, one juror is a potter and one a sculptor, one female and one male. Both jurors must live and work outside of the selected region of states. The region for the exhibition is selected by the board, which gives consideration to the proximity of the states to the conference city and when the state was last included. Students working toward a degree at two- and four-year colleges and universities in the region are allowed to enter two works. The student director creates a ballot, catalogs the slides, puts them into carousels and sends them to the jurors. Jurors make their selections and send the slides and ballots back to the student director, who then compiles the results. The stu­ dent director sends out the acceptancelnonacceptance letters, student letters, checklist, contracts and press releases. Accepted work is sent directly to the gallery and the student director acts as liaison between the gallery and student artists. “Misplaced Desire, Leotard #1,” 23½ inches (60 centimeters) in height, 2002 RJSE, by Kristin Borchert, while attending Minnesota State University Moorhead.

Ceramics Monthly September 2004 70 RSJE Awards Importance and Impact NCECA sponsors two awards: the NCECA Graduate Award For many, the opportunity to enter a juried exhibition does for Student Excellence and the NCECA Undergraduate Award not present itself while they are students. The early application for Student Excellence. Jurors select the recipients of the awards and exhibition experience the RSJE provides is rare and valuable. during the conference from the actual pieces. For many years, Many students selected by the jurors to participate in the RSJE go these were the only two awards for the exhibited works. on to established successful careers. How much of that is due to Shortly after the 2000 NCECA conference in Denver, on-site their exposure in the RSJE is conjecture, but one thing is certain: coordinator Rodger Lang passed away suddenly. Lang was a dedi­ Those who view the works in the RSJE find a display of exciting, cated member of NCECA and headed the ceramics department at fresh approaches to clay being investigated by today’s students. Metropolitan State College in Denver, where he taught for 30 Each student director has added strength to the administration years. His friends and colleagues started a memorial fund to and organization of this exhibition. Because of their efforts, the honor his dedication to his students, the commitment he showed importance of this exhibition in the ceramics field is undeniable. toward NCECA and his work as an artist. This fund now spon­ In 2005, at the NCECA conference in Baltimore, students in sors an annual award for the RSJE entitled the Rodger Lang ten states will be eligible to enter. The prospectus was mailed in Award for Student Excellence. August to ceramics programs at colleges and universities in Con­ During the first members’ business meeting at the 2002 con­ necticut, Washington, D.C., Delaware, Maine, Maryland, Massa­ ference in Kansas City, exhibitions director Michel Conroy made chusetts, New Hampshire, New Jersey, New York and Vermont. an appeal for sponsorship of more awards for the student exhibi­ The RSJE will continue to encourage students to strive for profes­ tion. A member suggested passing the hat to collect money. This sional excellence, and demonstrate that there is an exciting future was done and jurors recognized a fourth student with the “Pass for ceramics artists. For further information on the National The Hat” award. Thus, as the newly elected student director-at- Council on Education for the Ceramic Arts or the Regional large, I recognized the need for more awards. With the help of Student Juried Exhibition, see www.nceca.net. several manufacturers, suppliers and individuals, award sponsor­ ship increased significantly. In 2003, 11 students received awards the author Donna Rozman is a studio artist in Crested Butte, Colorado, for their achievements in ceramics. who recently completed her term as NCECA student director-at-large.

“Sea Shelf, Typical,” 36 inches (91 centimeters) in length, handbuilt, slip-cast and press-molded stoneware, with stains and glaze, fired to Cone 3 in reduction, 2002 RJSE, by Samuel S. Dowd, while attending Kansas State University.

Ceramics Monthly September 2004 71 call for entries United States Exhibitions September 19 entry deadline Deadlines for Exhibitions, Fairs and Festivals Baltimore, Maryland "National Council on Educa­ tion for the Ceramic Arts 2005 Clay National Exhibition" (March 10—April 20, 2005), open to all NCECA members and artists in the United States. International Exhibitions Juried from slides. Jurors: Linda Arbuckle, profes­ sor, University of Florida; Andrea Gill, professor, September 17 entry deadline New York State College of Ceramics at Alfred Ft. Wayne, Indiana "Cup: The Intimate Object III" University; and Ron Nagle, professor, Mills Col­ (November 20, 2004-January 9, 2005). Juried lege. Fee: $20 for 2 entries; NCECA members, free. from slides. Juror: Peter Beasecker. Fee: $ 18 for up Cash and purchase awards. For prospectus, send to 3 entries. Awards: $800. For prospectus, send #10 SASE to NCECA, 77 Erie Village Sq„ #280, Erie, SASE to Charlie Cummings Clay Studio, 4130 S. CO 80516; or see www.nceca.net . Clinton St., Ft. Wayne 46806; e-mail September 27 entry deadline [email protected] ; see www.claylink.com ; or Wayne, Pennsylvania "Craft Forms 2004, 10th telephone (260) 458-9160. Annual National Juried Exhibition and Sale of Fine October 15 entry deadline Contemporary Crafts" (December 3, 2004-Janu­ Icheon, South Korea "The Third World Ceramic ary 20, 2005), open to all media. Fee: $25. Cash Biennale 2005 Korea" (April 23-June 19, 2005), awards and exhibitions. For prospectus, send SASE open to works in 2 categories: ceramicsforuseand to Wayne Art Center, 413 Maplewood Ave., Wayne ceramics as expression. Preliminary selection juried 19087; e-mail [email protected] ; see from 2 slides and 1 photograph per entry; up to 3 www.wayneart.org ; telephone (610) 688-3553; entries. Final selection juried from actual works. or fax (610) 995-0478. Cash awards; grand prize KRW 60 million October 6 entry deadline (US$50,000). For further information, contact the Coburg, Oregon "La Petite XII, 2004" (November Office for International Competition, Exhibition 23, 2004-January 23, 2005), open to two- and Department, Icheon World Ceramic Center, three-dimensional work. Juried from slides or CD. Gwango-dong San 69-1, Icheon, Gyeonggi-do Fee: $30 for 3 slides; $24 for 2; $ 12 for 1. Awards: 467-020; e-mail [email protected] ; see $2200. For prospectus, contact Alder Gallery, Box www.worldceramic.or.kr ; telephone (82) 31 631 8517, Coburg 97408; see www.alderart.com ; or 6512; or fax (82) 31 631 1614. telephone (541) 342-6411. October 31 entry deadline Denton, Texas "Materials Hard and Soft" Mino, Japan "The Seventh International Ceramics (January 29-March 20, 2005), open to crafts in all Competition" (July 1-August 31, 2005), judging media. Juried from up to 3 slides. Juror: Michael in two categories: ceramic design and ceramic Monroe, independent curator. Fee: $25. Awards: arts. When application (with registration fees) is $5000. For prospectus, send SASE to the Greater received, organizers will send applicant documents Denton Arts Council, 207 S. Bell, Drawer C, Denton for return. Juried from actual works that must be 76201; see www.dentonarts.com ; or telephone delivered between February 21-25, 2005 by cou­ (940) 382-2787. rier; or, if in person, on March 5 and 6, 2005. October 8 entry deadline Jurors, ceramic design: Hubert Kittel, Makoto Charlotte, North Carolina "Funk-tion National" Komatsu, Shin Matsusanga, Kwon Oh-Hoon, David (November 5, 2004-January 31, 2005). Juried Queensberry, Kati Tuominen-Niittyla and Shigeru from slides. Juror: Ray Chen. Fee: $25 for up to 3 Uchida. Jurors, ceramic arts: Nobuyoshi Araki, entries. Awards. For prospectus, send SASE to Arne Ase, Toru Enomoto, Kobee Kato, June Kaneko, Stretch Gallery, PO Box 49554, Charlotte 28277; Enrique Mestre and Shin Sang-Ho. Fee: 1 entry, e-mail [email protected] ; see 5000 yen (US$45); 2, 8000 yen (US$72); add 2000 www.stretchgallery.com ; or telephone (704) (US$18) yen for each additional entry. Awards 552-5678. (same for both categories): grand prize, 3 million October 12 entry deadline yen (US$27,000); gold award, 1 million yen Raleigh, North Carolina "Fine Contemporary Craft (US$9000); silver award, 500,000 yen (US$4500); National Biennial Juried Exhibition" (November bronze awards, 300,000 yen (US$2700); judges 20, 2004-January 15, 2005), open to all craft awards, 200,000 yen (US$1800). For prospectus media. Juried from slides. Juror: Sandra Blain, or further information, contact International Ce­ director emeritus, Arrowmont School of Arts and ramics Festival Mino, Japan Executive Committee Crafts. Fee: $25 for up to 2 works. Cash awards. Office, Ceramics Park Mino, 4-2-5 Higashi-machi, For prospectus, contact Liz Newman, Artspace, Tajimi City, Gifu Pre. 507-0801; e-mail 201 E. Davie St., Raleigh 27601; e-mail [email protected] ; see www.icfmino.com ; tele­ [email protected] ; see www.artspacenc.org ; phone (81) 572 25 4111; or fax (81) 572 25 4138. telephone (919) 821 -2787; or fax (919) 821 -0383. November 30 entry deadline October 23 entry deadline Kecskemet, Hungary "First International Triennial Huntingdon Valley, Pennsylvania "Super Bowls of Silicate Arts" (March 13—April 3, 2005). Juried 2005" (January 7-31, 2005), open to ceramic from 6 images (slides, photographs or digital). Fee: bowls with a diameter of 14 inches or more. 5000 HUF (US$25). Contact International Triennial Contact Vessel Gallery of Contemporary American of Silicate Arts, Kapolna u. 11, H-6000 Kecskemet; Ceramics, 2465 Huntingdon Pike, Huntingdon e-mail [email protected] ; see www.kitsa.org; or tele­ Valley 19006; e-mail [email protected] ; see phone (36) 76 486 867. www.vesselgallery.netlcalls.htm ; or telephone January 24, 2005, entry deadline (215) 947-3399. Frederick, Maryland "In Flux: Graduate Students November 1 entry deadline and Alumni of Hood College Ceramics Program" Tulsa, Oklahoma "Red Heat: Contemporary Work (March 2—April 3, 2005), open to alumni or gradu­ in Clay" (February 3-23, 2005). Juried from slides. ate students of Hood College, and past partici­ Juror: Patti Warashina. Fee: $20. For prospectus, pants of the ceramics program or Joyce Michaud's contact Whitney Forsyth, University of Tulsa, workshops. Juried from slides. Juror: Jack Troy. School of Art, 600 S. College Ave., Tulsa 74104; Fee $15 for up to 3 entries. Awards. For further e-mail [email protected] ; see information and prospectus, contact Hood Col­ www.cas.utulsa.edulart ; or telephone (918) lege, Ceramics Program, 401 Rosemont Ave., 631-3700. Frederick 21701; e-mail [email protected]; see November 15 entry deadline www.hood.edulacademiclartlhodson ; or tele­ Englewood, Colorado "National Juried Art Exhibi­ phone Karen (301) 696-3456. tion " (February 19-March 27,2005), open to two-

Ceramics Monthly September 2004 72

For prospectus, contact Christine Klinger, Rose­ tion for the Ceramic Arts 2005 Regional Student call for entries wood Gallery, 2655 Olson Dr., Kettering 45420; e- Juried Exhibition" (March 13-19, 2005), open to mail [email protected] ; see students working toward a ceramics undergradu­ www.ketteringoh.org/gallery ; or telephone (937) ate or graduate degree in Connecticut, Washing­ and three-dimensional works. Juried from slides. 296-0294. ton, D.C., Delaware, Maine, Maryland, For prospectus, send SASE to Juried Art Show, October 15 entry deadline Massachusetts, New Hampshire, New Jersey, New Museum of Outdoor Arts, 1000 Englewood Warrensburg, Missouri "Greater Midwest Interna­ York or Vermont. Juried from slides of up to 2 Pkwy., Ste. 2-230, Englewood 80110; or see tional XX" (January 24-February 25, 2005), open works. For prospectus, send #10 SASE to NCECA, www.moaonline.org. to all media. Juried from slides. Juror: Randall R. 77 Erie Village Sq., #280, Erie, CO 80516; or see Griffey, associate curator of American art, the www.nceca.net . Regional Exhibitions Nelson-Atkins Museum. Fee: $25 for up to 3 entries. Awards: $1600. For prospectus, send #10 Fairs and Festivals October 1 entry deadline SASE to Gallery Director, Central Missouri State Kettering, Ohio "Earth in Balance 2004" (Novem­ University, Art Center Gallery, Warrensburg, MO September 20 entry deadline ber 1 -December 17), open to ceramics artists from 64093; or telephone (660) 543-4498. Scottsdale, Arizona "14th Annual Scottsdale Fine Indiana, Kentucky, Michigan and Ohio. Juried from October 31 entry deadline Art and Chocolate Festival" (February 11-13,2005), slides of up to 3 works. Fee: $15. Awards: $1100. Baltimore, Maryland "National Council on Educa­ open to all media. Juried from 4 slides of work and 1 of booth. Fee: $20. For prospectus, send SASE with 60c postage to Thunderbird Artists, 15648 N. Eagles Nest Dr., Fountain Hills, AZ 85268; see www.thunderbirdartists.com ; or telephone (480) 837-5637. October 1 entry deadline Surprise, Arizona "First Annual Surprise Fine Art and Wine Festival" (February 18-20, 2005). Juried from 4 slides of work and 1 of booth. Fee: $20. For prospectus, send SASE with 60tf postage to Thunderbird Artists, 15648 N. Eagles Nest Dr., Fountain Hills, AZ 85268; see www.thunderbirdartists.com ; or telephone (480) 837-5637. October 4 entry deadline Carefree, Arizona "10th Annual Carefree Fine Art and Wine Festival" (March 4-6, 2005). Juried from 4 slides of work and 1 of booth. Fee: $20. For prospectus, send SASE with 60c postage to Thunderbird Artists, 15648 N. Eagles Nest Dr., Fountain Hills, AZ 85268; see www.thunderbirdartists.com ; or telephone (480) 837-5637. October 11 entry deadline Inverness, Florida "33rd Citrus County Festival of the Arts" (November 6-7). Juried from 3 slides of work and 1 of booth. Jury fee: $5. Booth fee: $70. For prospectus, contact Citrus County Festival of the Arts, PO Box 5134, Inverness 34450; e-mail [email protected] ; see www.artleagueinfo ; telephone (352) 726-3529. October 30 entry deadline Winder, Georgia "Harvest of Arts Juried Show and Sale" (November 13-14), open to fine crafts. Com­ mission: 20%. Contact the Georgia Piedmont Arts Center, 105 E. Athens St., Winder 30680; e-mail [email protected] ; or telephone (770) 788-9267. November 1 entry deadline San Antonio, Texas "Fiesta Arts Fair" (April 16-17, 2005), open to all media. Juried from slides. Entry fee: $20. Booth fee: $275 for a 10x10-foot space. For prospectus, contact the Southwest School of Art & Craft, 300 Augusta, San Antonio 78205; e-mail [email protected] ; seewww.swschool.org ; or telephone (210) 224-1848. November 22 entry deadline Gainesville, Florida "19th Annual Hoggetowne Medieval Faire" (January 29-30 and February 4-6, 2005), open to all media with medieval theme. Juried from up to 5 slides/photographs, including 1 of booth. Contact Linda Piper, City of Gainesville Department of Cultural Affairs, Hoggetowne Medieval Faire, Sta. 30, PO Box 490, Gainesville 32602; e-mail [email protected] ; see www.gvlculturalaffairs.org ; or telephone (352) 334-5064.

For a free listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July; two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissions.asp e-mail [email protected] ; or fax (614) 891-8960.

Ceramics Monthly September 2004 74 Ceramics Monthly September 2004 75 new books

Women Potters Transforming Traditions by Moira Vincentelli It is often claimed that women were the first potters. While this may or may not be the case, the earliest pottery techniques are still used today in many parts of the world, largely by women. In this book, Moira Vincentelli, senior lecturer in art history and curator of ceramics at the Univer­ sity of Wales, Aberystwyth, proposes that a woman’s tradition in ceramics is one in which pottery making is a gendered activity intimately connected with female identity. The knowledge is passed down from one generation to the next, mother to daughter, aunt to niece. In much of Africa, South East Asia and among the indig­ enous peoples of the Americas, this is still the case, and even in Europe and the Middle East there are villages that preserve such traditions. Vincentelli guides the reader through these traditions by continent using maps, photographs and illustra­ tions. She argues that these customs are adapting and accomodating to new conditions and are far from disappearing, as is often claimed. 242 pages including an appendix on techniques and tools, bibliography and index. 260 color photographs. $39.95. ISBN 0-8135-3381-3. Rutgers University Press, 100 Joyce Kilmer Ave, Piscataway, NJ 08854-8099; see http://rutgerspress.rutgers.edu; e-mail [email protected]; telephone (800) 446- 9323; or fax (888) 471-9014.

The Nature of Craft and the Penland Experience The year 2004 marked the 75th anniversary of Penland School of Crafts, a national center for craft education in the mountains ofNorth Caro­ lina. This book, along with its companion exhi­ bition at the Mint Museum of Craft + Design in Charlotte, North Carolina, celebrates this anni­ versary. 137 pieces by artists who have been affiliated with the school were gathered for the exhibition. The works are organized not by chronology, medium or style, but around themes that bring the work together. The written content of the book is contrib­ uted by writers and scholars from diverse fields

Ceramics Monthly September 2004 76 new books critic and art professor Patricia C. Phillips. Two opposed to a supernatural, relevance when one additional essays explore the history of the becomes aware that at Penland, one belongs not Penland School and the Arts and Crafts move­ only to the accidental community of everyone who spent time immersed in the Penland envi­ ment in America. who happens to be there at the time, but addi­ ronment and then wrote about craft, education, “At Penland, the vertical and the horizontal tionally of all who have been there over the past community or expression from the perspective of communality intersect. Members of the im­ 7 5 years, and the company of handworkers from of his or her own field. Essayists include: sociolo­ mediate community live and work together, but the Pleistocene to today.” gist Galen Cranz; interdisciplinary scholar Ellen even when working alone after leaving Penland, 228 pages including foreword by Mark Ri­ Dissanayake; chemist and poet Roald Hoffmann; the community is implicit,” writes Dissanayake. chard Leach; introduction by John W. cultural critic Lewis Hyde; poet and novelist “Creative artists sometimes feel that they are McGlaughlin; bi­ Eileen Myles; anthropologist Norris Brock conduits for messages from something or some­ ographies of writ­ Johnson; folklorist Michael Owen Jones; and where else. Such a feeling takes on a natural, as ers, curators and artists; list of Penland instruc­ tors and visiting artists; list of Penland resident artists and core stu­ dents; list of the Penland Board of Trustees and staff; Penland School of Crafts timeline; acknowledgements; and index. 170 color and 39 black-and-white photographs. $34.95. ISBN 1-57990-5757. Lark Books/Sterling Publishing, 387 Park Ave.y S, New York, NY 10016; e-mail [email protected]; see website www. larkbooks. com; or telephone (800)284-3388.

Shoji Hamada A Potter's Way and Work by Susan Peterson Shoji Hamada was one of the seminal figures in 20th-century ceramics. Along with British potter Bernard Leach, he was instrumental in the development of the studio pottery move­ ment, resurrecting the craft after its near demise during the Industrial Revolution. In this redesigned and up­ dated version of her classic book, Susan Peterson traces Hamada’s place in the ceramics tradi­ tion and reveals a keen perception of his lifestyle, his work cycle and specifics about the firing of his kilns. In a completely new chapter, she assesses Hamada’s ongoing legacy to the world of studio pottery. “Hamada’s life was concentrated toward the perpetuation and achievement of fundamental, unchanging and universal values and goals,” Peterson states. “There are professionals and students following his way, some without know­ ing that he led the way, and others who continue to search for the way he has proven ___His pots embody the truth as he saw it and by example he

Ceramics Monthly September 2004 78 Ceramics Monthly September 2004 79 new books

showed us a way of living and working that were wound into one, where every detail was part of an integrated whole. Astonishingly, his lessons are more alive and meaningful today than they were in his lifetime.” This new edition replaces most of the black- and-white photographs of the original edition with color images. 240 pages including fore­ word by Bernard Leach, acknowledgements, appendix, glossary and index. 280 color and 91 black-and-white photographs. $59.95 (£32.00). ISBN (U.S.) 1-57498-198-6. ISBN (U.K) 0-7136-6772-9. Published in the U.S. by The American Ceramic Society, 735 Ceramic Place, Westerville, OH43081; e-mail info @ceramics. org; see www. ceramics, org; telephone (614) 890-4700; or fax (614) 899-6109. Published in the U.K. by A&C Black Publishers, 37 Soho Square, London W1D 3QZ England; seewww.acblack.com ; or telephone (44) 1480 405 014.

Ceramic Trees of Life Popular Art from Mexico by Lenore Hoag Mulryan “Mexican trees of life as we know them today are elaborate clay constructions,” states Hoag Mulryan in this well-illustrated collection of essays. “From an often- small base—usually an inverted pot in the form of a plant, animal or hu­ man trunk—the tree of life can emerge the size of a child’s hand or soar to 20 feet in height. De­ pending on the maker and patron, the tree can take the shape of a wine glass, a triangular slab of clay with cutout plat­ forms, a multi-armed cross, a diamond, or a vertically rising form that spreads horizontally with ropes of clay forming arched branches. “Placed among the ‘branches’ of the tree of life are scenes reflecting a range of beliefs and activities. They may represent pre-Hispanic cosmologies, genealogies and rituals—or nativ- istic revisitations of them; biblical themes; his­ torical vignettes; or, more recently, secular events. The result is often a complex hybrid of indig­ enous and European concepts and customs.” Accompanying several essays by Mulryan are “The Tallest, the Fullest, the Most Beautiful, the Tree in Pre-Columbian and Colonial Mexico,” by Delia A. Cosentino; “Where it all Began, the T ree of Life of Izucar de Matamoros, Puebla,” by

Ceramics Monthly September 2004 80 Ceramics Monthly September 2004 8T new books

Elizabeth Snoddy Cuellar and Luis Fernando Rodriguez Lazcano; and “Survival through Change, a Look at Mexican Popular Arts and Metepec Ceramics at the Dawn of the 21st Century,” by Marta Turok. These essays are largely devoted to examining the lives and ca­ reers of members of four major potter families— the Flores, Castillos, Martinez and Sotenos. 168 pages. 99 color and 20 black-and-white photo­ graphs. Softcover, $35. ISBN 0-930741-96-X. Published by the UCLA Fowler Museum of Cul­ tural History. Distributed by the University of Washington Press, PO Box 50096, Seattle, WA 98145-596; telephone (206) 543-4050; or fax (206) 543-3932.

A Glaze of Color Creating Color and Design on Ceramics by Jane Davies “The art of decorating pottery has never been as popular or as accessible as it is today,” states author and ceramist Jane Davies. “And for me it is the color and the surface decoration that really make the item. This book focuses the artist’s attention on the fresh and fun aspects of colora­ tion and, I hope, will inspire craftspeople and artists at all levels of expertise to try their hand at this age-old craft.” This book contains step-by-step demonstra­ tions of a variety of application methods includ­ ing brushing, shading, sponging, masking, sgrafitto, spattering, stamping, stenciling, marbling, majolica, and drawing with un­ derglaze pencils. Davies also explores the cre­ ative possibilities of col­ ored glazes, as well as post-firing decoration with acrylic paint and paper collage. This exploration of the aesthetic and technical possibilities inherent in ready-made ceramic materials is meant to instruct and inspire the hobbyist and professional potter alike. 112 pages including appendixes on kilns and firing, lists of sources and contributors, and index. 200 color photographs. Softcover, $18.95. ISBN 0-8230-2119-X. Watson-Guptill Publications, 770 Broadway, New York, NY 10003; e-mail [email protected]; see www.watsonguptill.com; telephone (646) 654- 5455or (800)278-8477; orfax (646) 654-5487.

Ceramics Monthly September 2004 82 Ceramics Monthly September 2004 83 Connecticut, New Haven through October 9 Steve Bringle, "Bringing Clay to Life"; atthe Icehouse Center calendar Whinfield, "Interpreting Utility"; at Gallery 81, 81 Gallery, 416 S. Main St. Conferences, Exhibitions, Workshops, Fairs Chestnut St. North Carolina, Pittsboro September 18-26 Florida, Palm Beach Gardens September 6-Octo- See calendar online at www.ceramicsmonthly.org Siglinda Scarpa; at the Goathouse Gallery, 680 Alton ber 1 Christine Federighi; at the Gallery at Eissey Alston Rd. Campus, Palm Beach Community College, Bldg. BB, North Carolina, Wilson September 9-October21 Rm. 113. Cynthia Aldrich, "Bearing Witness: Women Victims of Conferences October 1-23 Charlie Parker, "Charlie's Got Big War"; at the Arts Council of Wilson, 124 Nash St. Bowls"; at St. Petersburg Clay Co., 420 22nd St., S. Ohio, Canton through October 31 Elizabeth California, Riverside September 18-19 "The Ce­ Florida, Winter Park through January 9, 2005 Coleman, "Born—'Bridalled'—Shrouded"; atthe Can­ ramic Arts Road Show and Symposium" will include "Sculpting Nature: The Favrile Pottery of L. C. Tiffany"; ton Museum of Art, 1001 Market Ave., N. classes, demonstrations, exhibitions, manufacturing! at the Charles Hosmer Morse Museum of American Ohio, Columbus September 11-October 22 Por­ organizationlpublication exhibitors, plus a symposium Art, 445 N. Park Ave. celain by Curtis Benzie; at Sherrie Gallerie, 937 N. with presentations by David MacDonald and Toshiko Georgia, Atlanta through September 12 Mark High St. Takaezu. For further information, contact Horton Event Peters, "Stoked"; at MudFire Gallery, 1441 Dresden Ohio, Huron through October 6 Sculpture by David Management Services, PO Box 1643, Herndon, VA Dr., Ste. 250. Collins; at Firelands College, Bowling Green State 20172; e-mail [email protected] ; see Hawai'i, Honolulu October 29, 2004-January 2, University, One University Dr. www.hortonevents.comlceramicsroadshow ; or tele­ 2005 "Paula Winokur: Transcending Memory—Ce­ Oregon, Portland through September 26 Beth phone (703) 430-8590. ramic Sculpture"; atthe Contemporary Museum, 2411 Cavener Stichter. Kiki Masthem; at Contemporary Georgia, Atlanta October 5-8, 2005 "Growing Makiki Heights Dr. Crafts Museum & Gallery, 3934 S.W. Corbett Ave. Creativity . . . Continuing the Journey," Society of Illinois, Chicago September 10-October 5 Mariana Pennsylvania, Philadelphia through September Craft Designers annual conference. For further infor­ Monteagudo, "POP." October 8-November 3 Tanya 79 Allison McGowan. Benjamin Schulman, "Subtrac­ mation, contact SCD Headquarters, PO Box 3388, Batura, "The Inside Room"; at Dubhe Carreno Gallery, tion by Addition." Rebekah Wostrel; at the Clay Stu­ Zanesville, OH 43702-3388; e-mail [email protected] ; 1841 S. Halsted St. dio, 139 N. Second St. see www.craftdesigners.org; telephone (740) 452- Iowa, Iowa City September 17-30 Ron Meyers, through March 6, 2005 "The Poetry of Clay: Work 4541; or fax (740) 452-2552. "New Wood Kiln: New Work." October 1-14 Karen by Toshiko Takaezu"; at the Philadelphia Museum of Iowa, Cedar Rapids September 15-18 "The Na­ Karnes. October 22-November 4 Maren Kloppmann; Art, 26th and the Parkway. ked Truth," an international wood-fire conference, at AKAR, 4 S. Linn St. Pennsylvania, Pittsburgh through September 8 including panels, workshops and exhibitions. Fee: Massachusetts, Brockton October 9-December Valda Cox. September 10-November 3 Dan Vito; at $275. For further information, contact Gary 26 Allison Newsome; at the Fuller Craft Museum, 455 the Clay Place, 5416 Walnut St. Hootman, PO Box 301, Swisher, IA 52338; e-mail Oak St. Texas, Houston October 2-15 Claire Berman, [email protected] ; or telephone (319) 857-4873. Massachusetts, Concord October 9-24 Wood- "Botanica Ceramica." October 16-31 Lydia Busch; at Maryland, Baltimore March 16-19, 2005 "Cen­ fired ceramics by Mark Shapiro; at Lacoste Gallery, 25 the Houston Potter's Guild Shop and Gallery, 2433 tering: Community, Clay and Culture," 39th annual Main St. Rice Blvd. conference of the National Council on Education for Massachusetts, Lenox September 18-October24 Washington, Tacoma September 1-October 3 the Ceramic Arts (NCECA). See www.nceca.net ; or Russell Biles. James Budde. Jason Walker; at Ferrin John McCuiston; at University of Puget Sound, Kittredge telephone (866) 266-2322 or (303) 828-2811. Gallery, 69 Church St. Gallery, Kittredge Art Complex. Mississippi, Biloxi October 22-24 "My Name Is Massachusetts, Lexington September 11- September4-December 12 "Look Alikes: The Decal Mudd, The First Annual George Ohr Clay Confer­ October 17 "Humor in Clay: Deb Fleck-Stabley" at Plates of Howard Kottler"; at the Tacoma Art Museum, ence," includes workshops by Jeremy Jernegan, Randy Muse's Window, A Gallery of Fine Craft, 1656 1701 Pacific Ave. Johnston and Kathy King, tours and lectures. Registra­ Massachusetts Ave. tion deadline: September 23. Contact the Ohr-O'Keefe Minnesota, Minneapolis through October31 Josh Group Ceramics Exhibitions Museum of Art, 136 G. E. Ohr St., Biloxi 39530; see Blanc, "Cosmic Clouds: New Discoveries"; at Clay www.georgeohr.org ; or telephone (228) 374-5547. Squared to Infinity, 34 13th Ave., NE, #109. Arizona, Scottsdale September 7 8-25 "Hopi-Tewa New Mexico, Albuquerque September 8-11 Mississippi, Biloxi through January 29, 2005 "On Pottery in Transition"; at King Galleries of Scottsdale, "Growing Creativity . . . Continuing the Journey," the Midway: George Ohr at the Fairs"; at the Ohr- 7100 Main, #1. Society of Craft Designers annual conference. For O'Keefe Museum of Art, 136 G.E. Ohr St. Arizona, Tempe through September 25 "British further information, contact SCD Headquarters, PO Montana, Helena October 6-December 31 Ceramic Masterworks: Highlights from the Anne and Box 3388, Zanesville, OH 43702-3388; e-mail "Frances Senska: Retrospective; at Holter Museum of Sam Davis Collection." October 16, 2004-January 8, [email protected] ; see www.craftdesigners.org ; tele­ Art, 12 E. Lawrence St. 2005 "Wit and Wine: A New Look at Ancient Iranian phone (740) 452-4541; or fax (740) 452-2552. Nevada, Reno through October 1 Linda S. Fitz Ceramics from the Arthur M. Sackler Foundation"; at Tennessee, Gatlinburg September 15-18 "Utili­ Gibbon; atthe Northwest Reno Library, 2325 Robb Dr. the Ceramics Research Center, Arizona State Univer­ tarian Clay: Celebrate the Object," fourth national New Jersey, Surf City October 9-November 10 sity Art Museum, corner of Mill Ave. and 10th St. symposium including lectures, demonstrations, panel Stoneware by Debbie Williams; at m. t. burton gallery, California, Los Angeles October 7 5-November discussions and exhibitions. Contact Arrowmont School 1819 Long Beach Blvd. 19 "Asian Connections"; at Lee & Lee Gallery, 3130 of Arts and Crafts, 556 Parkway, Gatlinburg 37738; New Mexico, Santa Fe September 3-October 6 Wilshire Blvd. e-mail [email protected] ; seewww.arrowmont.org ; Tadashi Mori, "Abstracted Passion";atTouching Stone, California, Venice through September 15 "Go or telephone (865) 436-5860. 539 Old Santa Fe Trail. Figure," works by Claire Curneen, Steve Dixon and New York, New York September 7-October 2 Craig Mitchell. September 16-October 23 "Master Solo Exhibitions Yea-sook Hwang; at Tong-ln Gallery New York, 16W. and Pupil," works by Robert Cooper and Jane Blackman, 32nd St., Ste., 503. David Roberts and Frances Priest, and Julian Stair and Arizona, Phoenix October 9, 2004-June30, 2005 New York, Port Chester September 7-25 Stephen Carina Ciscato; at clay, 226 Main St. "Virgil Ortiz—Le Renaissance Indigene"; at the Heard Rodriguez, "Assorted Wares: Work in Stoneware and Connecticut, New Haven through April 16, 2005 Museum, 2301 N. Central Ave. Porcelain"; at the Clay Art Center, 40 Beech St. "Light from the Age of Augustine, Late Antique Ce­ California, La Quinta October 1-31 Val Lyle; at North Carolina, Asheville September 2-October ramics from North America"; at Knights of Columbus the Figurative Gallery, 78-065 Main St., Ste. 102. 30 Ben Owen III. Becky Gray. John Glumpler; at Blue Museum, One State St. California, Pomona September 11-December 11 Spiral 1, 38 Biltmore Ave. Florida, St. Petersburg September 25, 2004- "Inferno: The Ceramic Art of Paul Soldner"; at the North Carolina, Chapel Hill through September January 2, 2005 "Marvels of Maiolica: Italian Renais­ American Museum of Ceramic Art, 340 S. Garey Ave. 25 Jennifer Townsend, "Emergence: Recent Works"; sance Ceramics from the Corcoran Gallery of Art California, Venice October 28-December 10 at Green Tara Gallery, 1800 E. Franklin St., 18b Eastgate. Collection"; at the Museum of Fine Arts, 255 Beach Rupert Spira; at clay, 226 Main St. North Carolina, Charlotte October 8-December Dr., NE. Colorado, Lakewood through September 24 D. 31 "Don Reitz: Clay, Fire, Salt and Wood"; atthe Mint Georgia, Atlanta September 17-October 16 Michael Coffee, "Place of Mind"; at City of Lakewood Museum of Craft + Design, 220 N. Tryon St. "Asheville in Atlanta," works by Kyle Carpenter, Matt Cultural Center North Gallery, 470 S. Allison Pkwy. North Carolina, Creedmoor through September Jones, Linda McFarling, Shane Mickey, Liz Sparkes and Connecticut, Manchester October 19-November 19 "Sid Oakley: A Retrospective"; at Cedar Creek MarkTomczak; at MudFire Gallery, 1441 Dresden Dr., 26 Betty A. Gerich, "Face Value"; at Exposure, 111 Gallery, 1150 Fleming Rd. Ste. 250. Main St. North Carolina, Davidson October 8-29 Cynthia Georgia, Watkinsville through September23 " Per-

Ceramics Month ly September 2004 84 Ceramics Monthly September 2004 85 Truth: International Juried Wood-Fire Exhibition"; at ber 6 "Creations in Clay: Contemporary New England calendar the Cedar Rapids Museum of Art, 410 Third Ave., SE. Ceramics"; at Currier Museum of Art, 201 Myrtle Way. Iowa, Mt. Vernon September 12-November 7 October 14-December5 "New Hampshire Institute "Cornell Alumni Wood-Fire Exhibition"; at Cornell of Art Ceramics Biennial 2004"; at New Hampshire spectives 2004: Georgia Potters and Collectors"; at College, 600 First St., W. Institute of Art, 148 Concord St. the Oconee Cultural Arts Foundation, 34 School St. Kentucky, Louisville through September 18 New Jersey, Surf City September 4-October 6 Hawaii, Honolulu through September 11 "Hawaii "This Splendid Table: Extraordinary Dishes for Food." "Seven Thoughts on Clay"; at m. t. burton gallery, Craftsmens' Raku Ho'olaule'a Exhibition"; at the ARTS October 1-December 31 "Asian-American Ceram­ 1819 Long Beach Blvd. at Marks Garage, 1159 Nuuanu Ave. ics"; at Kentucky Museum of Arts + Design, 715 W. New Mexico, Santa Fe through September 18 Illinois, Chicago September 3-October 16 "Form Main St. "Just Desserts." September 24-October 23 "Potters Follows Function"; at Lillstreet Art Center, 4401 Maryland, Baltimore September 7-October 3 of 16 Hands"; at Santa Fe Clay, 1615 Paseo de Peralta. N. Ravenswood. "Tile: Matter and Motif"; at Baltimore Clayworks, New York, Alfred through November 12 "Pon­ October 8-November 19 "Implicit Plasticity"; at 5707 Smith Ave. dered Resource—Personal Collections of Anne Cur­ School of the Art Institute of Chicago, Betty Rymer Massachusetts, Attleboro September 5-October rier, Andrea and John Gill, Wayne Higby, Walter Gallery, 280 S. Columbus Dr. 2 "Use It or Lose It"; at the Attleboro Museum Center McConnell, and Linda Sikora"; at the Schein-Joseph Illinois, Oak Park September 18-0ctober20 "The for the Arts, 86 Park St. International Museum of Ceramic Art, NY State Col­ Seagrove Group," Fred Johnston, Carol Gentithes and Massachusetts, Concord September 4-22 "Ca­ lege of Ceramics at Alfred University. Dave Stuempfle. October 23-November 30 "Within nadian Clay"; at Lacoste Gallery, 25 Main St. New York, Saratoga Springs though September Traditions," Chris Powell and Tom Turner; at Terra Michigan, Petoskey through December 22 "Cre­ 6 "Mugs, Jugs and Bottles"; at Hal's Peppermill, 165 Incognito Studios and Gallery, 246 Chicago Ave. ations in Clay: The Kellogg Legacy Continues," works High Rock Ave. Indiana, Ft. Wayne September 11-October 9 "In­ by Stanley Kellogg and grandson, Eric Strader; at the New York, Water Mill through September 26 dustrial Strength Ceramics"; at Charlie Cummings Petoskey Museum, 100 Depot Ct. " For the Table"; at the Clay Art Guild of the Hamptons, Clay Studio, 4130 S. Clinton St. Minnesota, Minneapolis September 24-October 51 Round Pond Ln. Iowa, Cedar Rapids through September27 "Gems 31 Nina Hole and Ron Fondaw. "College Bowl II." North Carolina, Charlotte through June 26, 2005 from the Fire"; at Kirkwood Community College, Iowa Group exhibition with works by Michael Connelly, Paul "Porcelain American Style." September 18, 2004- Hall Gallery, 6301 Kirkwood Blvd. Donnelly, Richard Gruchalla and Carrin Rosetti; at the July 17, 2005 "Pottery American Style." October30, September 1-October 3 "Area Code 319+"; at Northern Clay Center, 2424 Franklin Ave., E. 2004-February 27, 2005 "North Carolina Pottery: A CSPS, 1103 Three St., SE. Mississippi, Biloxi September 17-October30 "The Restless Tradition"; at Mint Museum of Art, 2730 September 1-October 3 "Traditions: Apprentice­ Mingei Movement: Pots for Everyday Use, Traditional Randolph Rd. ships in Wood Firing"; at Mt. Mercy College, 1330 Ceramic Influences from Bernard Leach and Hamada North Carolina, Seagrove through September 18 Elmhurst Dr., NE. to Warren MacKenzie, Randy Johnston, Will Ruggles "Four Women in Clay," Jennie Bireline, Clara Couch, September 15-October 8 "The Naked Truth: Inter­ and Douglass Rankin"; attheOhr-O'Keefe Museum of Virginia Scotchie and Lydia Thompson; at the North national Invitational Wood-Fire Exhibition"; at Coe Art, 136 G.E. Ohr St. Carolina Pottery Center, 250 East Ave. College, Marvin Cone and Eaton Buchan Galleries, Missouri, Kansas City September 3-October 2 North Carolina, Tryon September 4-October 23 1220 First Ave, NE. "Bowl (b_l)"; at Red Star Studios, 821 W. 17th St. "Functional Ceramics/Fantastic Fabrics," Shay Amber, September 16, 2004-January 9, 2005 "The Naked New Hampshire, Manchester through Septem­ Will Baker, Eileen and Marty Black, Kyle Carpenter,

Ceramics Monthly September 2004 86 Ceramics Monthly September 2004 87 calendar

Michelle Drivon, Becca Floyd, Terry Guess, and Sarah Simpson; at the Upstairs Gallery, 49 S. Trade St. Pennsylvania, Huntingdon September 9-30 "A Touch of Salt," Enid Tangemann and Kevin Tunstall; at Vessel Gallery, 2465 Huntingdon Pike. Pennsylvania, Pittsburgh September3-25 "WAD Clay Institute Juried Clay Annual"; at WAD Clay Insti­ tute, 2100 Mary St. Texas, Houston September2-30 "New Members Show"; at the Houston Potter's Guild Shop and Gal­ lery, 2433 Rice Blvd. Virginia, Vienna through September 18 "Think­ ing Outside the Box," ceramic boxes by Maren Kloppmann, Sequoia Miller, Mark Shapiro, Michael Simon, Sam Taylor and Diana Thomas; at Earth and Fire, 144 Church St., NW. Washington, Seattle through February 13, 2005 "Glaze, Pattern and Image: Decoration in Chinese Ceramics"; at the Seattle Asian Art Museum, 1400 E. Prospect St. West Virginia, Huntington October 12-28 "Work­ ing Potters: Mentors and Colleagues"; at Marshall University, Birke Art Gallery, 400 Hal Greer Blvd. Wyoming, Cheyenne October 12-28 "Hanky Panky," works by Jr. Jeremy Kane, Laura Jean McLaughlin and Kari Radasch; at the Esther and John Clay Fine Arts Gallery, Laramie County Community College, 1400 E. College Dr.

Ceramics in Multimedia Exhibitions

Arizona, Phoenix through September 26 "Great Masters of Mexican Folk Art"; at the Phoenix Art Museum, 1625 N. Central Ave. California, La Jolla through September 22 "15th Annual Contemporary Teapot Show"; at Gallery Alexander, 7925-A Girard Ave. California, Los Angeles through September 5 "The Arts of Fire: Islamic Influences on the Italian Renaissance." September 14-December 5 "Coming of Age in Ancient Greece: Images of Childhood from the Classical Past"; at Getty Center, 1200 Getty Center Dr., Ste. 400. through October 31 "Celebrating Nature: Craft Traditions/Contemporary Expressions"; at the Craft & Folk Art Museum, 5814 Wilshire Blvd. California, San Francisco September 4, 2004- January2, 2005 "Courtly Art of the Ancient Maya"; at Legion of Honor, Lincoln Park, 100 34th Ave. September 11-October22 "California Design 2004" at an exhibition space, 600 Townsend St. Colorado, Denver through December 19 " Heaven and Home: Chinese Art of the Han Dynasty from the Sze Hong Collection." October 16, 2004-January23, 2005 Tiwanaku: Ancestors of the Inca"; at Denver Art Museum, 100 W. 14 Ave. Pkwy. Connecticut, Brookfield through October 10 "50<>50: The Craft Continuum"; at Brookfield Craft Center, 286 Whisconier Rd. D.C., Washington through October 17 "Caliphs and Kings: The Art and Influence of Islamic Spain." September 18,2004-March20,2005 "Asia in America: Views of Chinese Art from the Indianapolis Museum of Art"; at the Arthur M. Sackler Gallery, 1050 Indepen­ dence, Ave., SW. Through February 6, 2005 "Palace and Mosque: Islamic Art from the Victoria and Albert Museum"; at the National Gallery of Art, Sixth St. and Constitution Ave., NW. through June 26, 2005 "Luxury and Luminosity: Visual Culture and the Ming Court"; at the Freer Gallery of Art, Smithsonian Institution, 12th St. and Independence Ave., SW. Continued

Ceramics Monthly September 2004 88 Ceramics Monthly September 2004 89 calendar Janis Mars Wunderlich; at the Fuller Craft Museum, North Carolina, Charlotte through December 4 455 Oak St. "Ancient Egyptian Art for the Afterlife"; at the Mint Minnesota, Minneapolis through September 26 Museum of Art, 2730 Randolph Rd. "Currents of Change: Art and Life Along the Missis­ through January30, 2005 "The Nature of Craft and sippi River, 1850-1861"; at the Minneapolis Institute the Penland Experience"; atthe Mint Museum of Craft Florida, Ft. Myers through October 15 "Florida of Arts, 2400 Third Ave., S. + Design, 220 N. Tryon St. Craftsmen's 50th Anniversary"; at the Art Gallery at Missouri, St. Louis September 9-October 24 "Ma­ September 7-October 9 "Good Honest Work/A Florida Gulf Coast University, 10501 FGCU Blvd., S. terial Culture: Craft of Israel"; at Craft Alliance, 6640 Tribute to Penland School of Crafts," including ce­ Florida, Miami September 24-October 23 "Cup"; Delmar Blvd. ramics by Cristina Cordova, Karen Karnes, Toshiko at the New Gallery at the University of Miami, 1210 New Hampshire, Concord through September 10 Takaezu and Byron Temple. October 12-November Stanford Dr. "Continuing the Tradition"; at Gallery 205, 205 N. 13 "Four Voices from the Mountains," including Hawai'i, Honolulu September 30, 2004-January Main St. ceramics by Terry Gess and Lisa Stinson; at W.D.O., a 2, 2005 "Cherished Possessions: A New England New Jersey, Clinton October 17, 2004-January 9, contemporary craft gallery, 214 N. Tryon St., Hearst Legacy"; at the Honolulu Academy of Arts, Henry R. 2005 "Outrageous Home"; at Hunterdon Museum of Plaza, Ste. 1. Luce Gallery, 900 S. Beretania St. Art, 7 Lower Center St. Oregon, Portland through September 12 "Pur­ October 29, 2004-January 2, 2005 "Clay, Glass, New Mexico, Santa Fe October 15-November 2 poseful Pattern: Selections from the Permanent Col­ Wood, Metal: Selected Works from the Collection of Two-person exhibition including stoneware sculpture lection," including ceramics by Eugene Bunker, Elaine the Contemporary Museum," including ceramics by by Richard Garriott-Stejskal; at Turner Carroll Gallery, and Tom Coleman, Mariana Crawford, Ray and Jere Robert Arneson, Stephen DeStaebler, Robert Turner, 725 Canyon Rd. Grimm, Victoria Avakian Ross, Ken Shores, and Peter Adrian Saxe and Peter Voulkos; at the Contemporary New York, Buffalo through October 3 "NY Col­ Voulkos; at Contemporary Crafts Museum & Gallery, Museum, 2411 Makiki Heights Dr. lects Buffalo State." October 16, 2004-January 2, 3934 S.W. Corbett Ave. Illinois, Chicago October 15, 2004-February 13, 2005 "Craft Art Western New York 2004"; at Pennsylvania, Pittsburgh September 10, 2004- 2005 "Machu Picchu: Unveiling the Mystery of the Burchfield-Penny Art Center, Rockwell Hall, Buffalo January 15, 2005 "Perchance to Dream"; at the Soci­ Incas"; at the Field Museum, 1400 S. Lake Shore Dr. State College, 1300 Elmwood Ave. ety for Contemporary Craft, 2100 Smallman St., Louisiana, New Orleans October 4, 2004-Janu- New York, New York through October 17 Tennessee, Nashville through November 13 "De­ ary 16, 2005 "The Convivial Art of the Cocktail"; at the "Vasemania, Neoclassical Form and Ornament: Selec­ signing Craft I: Collecting for the New Millennium," New Orleans Museum of Art, 1 Collins Diboll Cir. tions from the Metropolitan Museum of Art"; at the Museum of Arts and Design traveling exhibition; at Massachusetts, Boston through September 7 " Re­ Bard Graduate Center, 18 W. 86th St. Cheekwood Museum of Art, 1200 Forest Park Dr. cent Choices: New Artists, New Work," including September 10, 2004-February 25, 2005 Texas, Houston through September 12 "Craft- ceramics by Richard Milgrim; at Pucker Gallery, 171 "DesignMrt: Functional Objects from Donald Judd to Houston 2004"; atthe Houston Center for Contempo­ Newbury St. Rachel Whiteread"; at the Smithsonian's Cooper rary Craft, 4848 Main St. through October 31 "2004 SAC Artist Awards Hewitt, National Design Museum, 2 E. 91st St. Vermont, Shelburne September 24-October 17 Exhibition," including ceramics by Rebecca Hutchinson; New York, Rochester through September 5 "The "Shelburne Farms 17th Annual Exhibition and Sale of at Society of Arts and Crafts, 175 Newbury St. Rochester Biennial," including ceramics by Anne Cur­ Art"; at Shelburne Farms, 1611 Harbor Rd., Massachusetts, Brockton through October 24 rier; at Memorial Art Gallery of the University of Washington, Federal Way through September "Grimms Fairy Tales," including ceramic sculpture by Rochester, 500 University Ave. 29 "Pacific Rim Bonsai Collection Special Exhibition";

Ceramics Monthly September 2004 90

Crafts Festival"; at Montgomery County Fairgrounds, calendar 16 Chestnut St. Maryland, Timonium October 1-3 "Sugarloaf Crafts Festival"; at Maryland State Fairgrounds, 2200 at the Pacific Rim Bonsai Collection, 33663 York Rd. Weyerhaeuser Way S. Massachusetts, Lexington September 11-19 Wisconsin, Racine September 19, 2004-March 6, "Lexington Center Art Walk"; along Massachusetts 2005 "The Artist Responds: Albert Paley and Art Ave. and Waltham St. Nouveau"; at the Racine Art Museum, 441 Main St. Michigan, Birmingham September 11-12 "Com­ mon Ground Sanctuary 2004 Art in the Park"; at Shain Fairs, Festivals and Sales Park, downtown. Michigan, Novi October22-24 "Sugarloaf Crafts Arizona, Fayetteville September 11-12 "NWA Festival"; at Novi Expo Center, 43700 Expo Center Dr. Pottery Festival and Art Show"; at Flat Rock Studio Clay Minnesota, Minneapolis September 10-12 "2004 Supplies 8j Gallery, 2202 S. School. American Pottery Festival"; at Northern Clay Center, California, Gualala October9 "Saturday Art Fest"; 2424 Franklin Ave., E. downtown Gualala. September 18 "Third Annual Minnesota Tile Festi­ California, La Mesa October 9 "Mudfest Clay val"; at the American Swedish Institute, 2600 Park Ave. Olympics"; at Grossmont Shopping Center, 5500 Mississippi, Biloxi October 2-3 "12th Annual Grossmont Center Dr. George Ohr Fall Festival of Arts"; on the Town Green. California, Lincoln October 2 "Third Annual Arts Missouri, Hannibal October 19-20 "28th Annual and Crafts Festival"; at Beerman Plaza, downtown. Autumn Historical Folklife Festival"; on Main St. Montana, Bozeman October 2 "Mountain West Contemporary Art Auction." For further information, see www.mwcartauction.com ; or telephone (406) 994-4501. New Jersey, Augusta September 25-26 "34th Annual Peters Valley Craft Fair"; at Sussex County Fairgrounds, 37 Plains Rd. New Jersey, Cranford October 2-3 "Fall Nomahegan Park Fine Art and Crafts Show"; at Nomahegan Park, Springfield Ave. New Jersey, Montclair October 16-17 "Fall Brookdale Park Fine Art and Crafts Show"; at Brookdale Park, Watching Ave. New Jersey, Somerset October29-31 "Sugarloaf Crafts Festival"; at the Garden State Exhibit Center, 50 Atrium Dr. New Jersey, Upper Montclair September 18-19 "Fine Art and Crafts at Anderson Park"; at Anderson Park, N. Mountain Ave. New Mexico, Abiquiu October 9-10 "11th An­ nual Abiquiu Studio Tour." For further information, see www.abiquiustudiotour.com ; or telephone (505) 685-4449. Bas-relief tiles by Pooka Ness; at the “Third Annual New York, Jeffersonville October 9 " Pottery Fes­ Minnesota Tile Festival,” Minneapolis. tival"; on Main St. California, Sausalito September 3-6 "Sausalito New York, Kingston October 10 "International Art Festival"; at Marinship Park and the Bay Model Second Annual Friends of Rondout Historic Bluestone Visitor Center on the waterfront. Festival"; Gallo Park. Connecticut, Washington October 16 "50th An­ New York, New York September 4-5 and/or 11- niversary Auction of Fine Craft Work by Litchfield Hills 12 "19th Annual Autumn Crafts Festival"; at Lincoln Artists"; at Washington Club Hall. Contact Brookfield Center for the Performing Arts, 140 W. 65th St. Craft Center at www.brookfieldcraftcenter.org ; or September 4-6 "Washington Square Outdoor Art telephone (203) 775-4526. Exhibition"; on University Place from 12th St. to Third Florida, St. Petersburg October30-31 "CraftArt St. and on Washington Square E. to Mercer St. 2004"; at the Historic Coliseum, downtown. October 1-3 "Fall Crafts Park Avenue"; at the Georgia, Atlanta October 1-3 "Jubilee Art in the Seventh Regiment Armory, Park Ave. Gardens: Artists Market and Juried Art Exhibition"; in New York, Roslyn Harbor September 17-19 the Galleria Gardens, Galleria Dr. "Eighth Annual Craft as Art Festival"; at the Nassau Georgia, Watkinsville September 4-5 and 11-12 County Museum of Art, One Museum Dr. "Perspectives 2004: Georgia Potters and Collectors New York, Tarrytown September 17-19 "Fall Sale." Contact the Oconee Cultural Arts Foundation, Crafts at Lyndhurst"; at the Lyndhurst Estate, 635 PO Box 631, Watkinsville 30677; see www.ocaf.com ; S. Broadway. or telephone (706) 769-4565. New York, White Plains October 15-17 Illinois, Oak Park September 12 "20th-Century "Westchester Craft Show"; at Westchester County Art and Design Auction." Contact the John Toomey Center, 198 Central Ave. Gallery, 818 N. Boulevard, Oak Park 60301; e-mail North Carolina, Asheville October21-24 "Craft [email protected] ; or telephone (708) Fair of the Southern Highlands"; at Asheville Civic 383-5234. Center, 87 Haywood St. Maine, Blue Hill Peninsula and Deer Isle October Pennsylvania, Ft. Washington October 15-17 8-11 "2004 Peninsula Potters Sale and Studio/Gallery "Sugarloaf Crafts Festival"; at the Ft. Washington Tour." For further information, e-mail Mary Nyburg Expo Center, 1100 Virginia Dr. [email protected];ortelephone(207)348- Pennsylvania, Lancaster September3-6 "Long's 2490; or e-mail Sue Wilmot [email protected] ; or Park Art and Craft Festival"; in Long's Park, Rte. 30 W. telephone (207) 348-2267. Pennsylvania, Philadelphia October 8-10 "The Maryland, Gaithersburg October8-10 "Sugarloaf Clay Studio's 30th Anniversary Auction." For further

Ceramics Monthly September 2004 92 Ceramics Monthly September 2004 93 calendar

information, contact the Clay Studio, 139 N. Second St., Philadelphia 19106; e-mail [email protected] ; see www.theclaystudio.com ; or telephone (215) 925-3453. Texas, Gruene October23-24 " 12th Annual Texas Clay Festival"; on the grounds of Buck Pottery, 1296 Gruene Rd. Texas, Houston October 9-10 "Bayou City Art Festival"; downtown. Virginia, Manassas September 10-12 "Sugarloaf Crafts Festival"; at Prince William County Fairgrounds, 10624 Dumfries RD. Virginia, Mount Vernon September 18-19 "18th- Century Craft Fair"; at George Washington's Mount Vernon Estate &. Gardens, 3200 George Washington Memorial Pkwy.

Workshops

Arizona, Tucson October 21-24 "Colors, Pat­ terns, Textures, FormslParts for the Whole: Creating Exuberant Clay Vessels," hands-on workshop with Carol Gouthro. Fee: $135. Contact the Tucson Mu­ seum of Art, 140 N. Main Ave., Tucson 85701; e-mail [email protected] ; or telephone (520) 751-0923. Arkansas, Fayetteville October 2-3 "Throwing and Raku" with Steven Branfman. Fee: $195. Contact Flat Rock Clay Supplies & Gallery, 2002 S. School, Fayetteville 72701; seewww.flatrockclay.com ; ortele- phone(479)521-3181. California, Mendocino September 25-26 "Fish Is It" with Kenyon Lewis. October 2-3 "Low Salt, Raku and Pit Fire on Beach" with Glenn Husted. October 9-10 "Finding Your Own Way" with Paul Soldner. October 16-17 "Beyond the Vessel Form" with Patricia Ferber. October 23-24 "Honing Your Skills" with Michael Berkley. October30-31 "2D13D Sculpture with Embedded Texture and Color" with Meredith Dalglish. November 6-7 "A Body of Work: Figure in Clay" with Richard Garriott-Stejskal. No­ vember 13-14 "Porcelain Wheel Throwing" with Paul Stein. Contact Mendocino Art Center, 45200 Little Lake St., PO Box 765, Mendocino 95460; see www.mendocinoartcenter.org ; or telephone (707) 937-5818 or (800) 653-3328. California, Napa Valley October 4-10 "Wood- Fired Noborigama, SaltlSoda Glazing." Contact Rich­ ard Carter, Pope Valley Pottery, 1570 Ink Grade, Pope Valley, CA 94567; e-mail [email protected] ; see www.popevalleypottery.org ; or telephone (707) 965-2383. California, San Diego October30 Workshop with Lana Wilson at San Diego Mesa College. Fee: $45; Ceramic Artists of San Diego members, $35. E-mail Jackson Gray: [email protected] ; or see www.ceramicartistsofsandiego.org. California, San Jose September 11-12 "Glaze Chemistry" with Paul Lewing. Fee: $95; Orchard Valley Ceramic Art Guild members, $75. Beginning through advanced. Contact Clay Planet, 1240 N. 13th St., San Jose 95112; e-mail [email protected] ; or tele­ phone Myrna Ehrlich, (408) 996-0933. Colorado, Manitou Springs October 22-24, 29- 31 "Fast Fire Bourry Box Wood Kiln," hands-on kilnbuilding and firing workshop with Doug Casebeer. Fee: $320; participants must bring 10 pieces of Cone 10 bisqueware. Limit of 15 participants. Contact Maggie Quinn, Clay People Studio, 517 Manitou Ave, Manitou Springs 80829; e-mail [email protected] ; or telephone (719) 685-1820. Colorado, Snowmass Village September 13- October 1 "Focusing on the Work" with Chris Gustin,

Ceramics Monthly September 2004 94 Ceramics Monthly September 2004 95 www.stpeteclay.com ; telephone (727) 896-2529. calendar Georgia, Winder September 11 and 18 "Pottery Glazing Techniques and Trouble Shooting Workshop" with Jen Graff. Fee: $140; members, $125; partici­ Jill Oberman and Bradley Walters. Fee: $ 1295, includes pants must bring bisqueware. For further information, materials and firing. Intermediate/advanced. For fur­ contact Georgia Piedmont Arts Center, 105 E. Athens ther information, contact Doug Casebeer, Anderson St., Winder 30680; e-mail [email protected] ; see Ranch Arts Center, PO Box 5598, Snowmass Village www.georgiapiedmontartscenter.com ; or telephone 81615; e-mail [email protected] ; see (770) 788-9267. www.andersonranch.org ; telephone (970) 923-3181; Illinois, Chicago October 10 (lecture), November or fax (970) 923-3871. 13-21 "Tumblestack2004," wood-fire workshop with Colorado, Steamboat Springs September 25-26 Ken Bichell. Fee: $290, includes firing and glazes; "China Painting with Oil or Water" with Paul Lewing. participants should bring bisqueware. Lecture-only Fee: $175, includes china paint, tiles and firing. For fee: $50. All skill levels. November 6-7 Slide lecture further information, e-mail Annie, Ceramic Design and demonstration with Michael Corney, Mark Group: [email protected] ; or telephone Shapiro and/or Michael Wisner. Fee: $30; $50 for (970) 879-9139. both; $75 for all three. Contact Lillstreet Art Center, November 13-14 "CeramicSculpture: Conceptand 4401 N. Ravenswood, Chicago 60640; e-mail Technique" with Richard Notkin. Fee: $250. Scholar­ [email protected] ; see www.lillstreet.com; ships available. For further information, contact Beth or telephone (773) 769-1527. Banning, Steamboat Springs Arts Council, PO Box Illinois, Crystal Lake October 8-9 Workshop 774284, 1001 13th St., Steamboat Springs 80477; with Nick Joerling at McHenry County College. For e-mail [email protected] ; see further information, contact Great Lakes Clay, 120 S. www.steamboatspringsarts.com ; telephone (970) 879- Lincoln Ave., Carpentersville, IL 60110; e-mail 9008; or fax (970) 879-4434. [email protected] ; see www.greatclay.com ; or telephone (815) 455-8697. Illinois, Oak Park September 25-26 Workshop with Sylvie Granatelli. November 13-14 Workshop with Steven Hill. January 22-23, 2005 Workshop with Geoffrey Wheeler. Fee/session: $125. Contact Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park 60302; see www.terraincognitostudios.com ; or telephone (708) 383-6228. Kentucky, Harrodsburg October22-24 "Potters' Retreat." Fee: $180, includes materials, firing, lodging and meals; participants should bring bisqueware. In­ termediate through professional. Contact Don Boklage, Open Ground, 981 Rye Ln., Harrodsburg 40330; e-mail [email protected]; see www.openground.info ; ortelephone (859) 375-241 1. Will Ruggles and Douglass Rankin workshop; at the Kentucky, Richmond September 24 Workshop Ohr-O’Keefe Museum of Art, Biloxi, Mississippi. and lecture with Josh DeWeese. Free. Contact Joe Molinaro, Eastern Kentucky University Art Dept., 309 Connecticut, Brookfield September 10-12 "Tile Campbell B Idg., Richmond 40475; e-mail Making" with Chris Bonner. September 17-19 "Trompe [email protected] ; ortelephone (859) 622-1634. L'Oeil Ceramics" with Lillian Dodson. October 2-3 Maryland, Baltimore September 11-12 "Terra- "Colored Clay" with Naomi Lindenfeld. October 9-11 Cotta Tile" with Cary Esser. October 23, 30-31 "Bur­ "Cone 6 Reduction Clays and Glazes" with Jeff Zamek. nishing and Burning: A Pit-Fire Workshop, "hands-on October 15-17 "Precious Metal Clay Certification" workshop with Ramon Camarillo. Fee: $200; mem­ with CeCe Wire. Contact Brookfield Craft Center, PO bers, $180. November 6-7 "Wheel Exploration and Box 122, 286 Whisconier Rd., Brookfield 06804-0122; Design," hands-on workshop with Andy Shaw. Janu­ seewww.brookfieldcraftcenter.org ; ortelephone (203) ary 8-9, 2005 "One Thin Wall," demonstration with 775-4526. Beth Cavener Stichter. January 14-18 "Generating Connecticut, Canton September 18-19 "Hand- Ideas: Making Pottery Personal," five-day, hands-on built Vessels" with John Rolfing. Fee: $220, plus clay. workshop with Peter Beasecker. Fee: $310; members, October8-10, unload 11 "Glazing and Decorating for $290. March 13-14 "NCECA Pre-Conference Work­ the Firing of a Wood and Salt Kiln" with Linda shop, Endless Variations: Functional Four on the Floor" Christianson. October 23-24, unload 25 "Fire and with Malcolm Davis, Steven Hill, Jeff Oestreich and Smoke," raku, saggar, pit, sawdust and fuming with Lynn Smiser Bowers. Fee: $ 180, includes breakfast and Tim Scull. Fee: $275. October 31 and November 14 lunch. Fee (unless noted above): $180; members, "Crystalline Glazes" with Tim Scull. Fee: $200, plus $160. For further information, contact Baltimore clay. Fee (unless noted above): $385. Contact Canton Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail Clay Works lie, 150 Cherry Brook Rd., Canton 00019; [email protected] ; see see www.cantonclayworks.com ; or telephone (860) www.baltimoreclayworks.org ; or telephone (410) 693-1000. 578-1919. Connecticut, Stamford October 29-31 "Func­ Maryland, Frederick September 3 "Ceramics in tional StonewarelSingle Firing" with Steven Hill. Fee: Arts Education: Panel Discussion," with Wayne Bates. $285. Limit of 15 participants. Contact Morty Bachar, William Daley. Free. September 4-5 "Sgraffito on Lakeside Pottery, 543 Newfield Ave., Stamford Porcelain" with Wayne Bates. Fee: $165. September 06905; e-mail [email protected] ; see 11-12 "Glaze Application" with Joyce Michaud. Fee: www.lakesidepottery.com ; or telephone (203) $150. September 18 "Understanding Pottery Glazes" 323-2222. with Phil Berneburg. Fee: $85. September26 "Potter's Florida, St. Petersburg October 9-10 Workshop Roundtable." Free. September3O-October3 "Wood with Charlie Parker. Fee: Saturday demonstration; Firing" with Kevin Crowe. Fee: $185. October 16-17 Sunday hands-on, $50 each. Contact St. Petersburg "Properties of Clay" with Phil Berneburg. Fee: $165. Clay Company, 420 22nd St., S, St. Petersburg October 23-24 "Plates and Platters" with Joyce 33712; e-mail [email protected] ; see Michaud. Fee: $150. October 28-31 Properties of

Ceramics Monthly September 2004 96 Ceramics Monthly September 2004 97 Mississippi, Biloxi September 18-19 Workshop calendar with Will Ruggles and Douglass Rankin." Contact Ohr-O'Keefe Museum, 136 G.E. Ohr St., Biloxi 39530; see www.georgeohr.org ; or telephone (228) Glaze" with Phil Berneburg. Fee: $245. November 6- 374-5547. 7 "Eastern Coil" with Joyce Michaud. Fee: $150. Missouri, Kansas City November 6-7 Workshop November 21 "Potter's Roundtable." Free. Contact with Walter Ostrom. For further information, contact Hood College, Ceramics Program, 401 Rosemont Ave., Red Star Studios, 821 W. 17th St., Kansas City Frederick 21701; seewww.hood.edu/academic/art ; or 64108; e-mail [email protected] ; see telephone (301) 696-3456. www.redstarstudios.org ; or telephone (816) 474-7316. Maryland, Ocean City March 11-13, 2005 "Clay, Montana, Helena September 13-17 "Using Fire and Sand: Pit Firing on the Beach," pre-NCECA Indigenous Materials" with Morgan Ringer. Fee: $300. workshop with Ramon Camarillo and the Clay Guild of Contact the Archie Bray Foundation for the Ceramic the Eastern Shore. Contact the University of Maryland Arts, 2915 Country Club Ave., Helena 59602; e-mail Eastern Shore, Continuing Education, 13801 Coastal [email protected] ; see www.archiebray.org ; Hwy., Ocean City 21842; e-mail [email protected] ; or or telephone (406) 443-3502. telephone (410) 250-1088. New Hampshire, Bennington January 26-30, Massachusetts, Barnstable October 30 Lecture 2005 "Clay: Beyond the Object" with Sadashi Inuzuka; with Dan Finnegan. Free. October 31-November 1 or "Clay: Form and Surface" with Suze Lindsey. Con­ Demonstration workshop with Dan Finnegan. Fee: tact North Country Studio Workshops, PO Box 875, $115; members, $95; 1 day, $65; members, $55. Hanover, NH 03755; e-mail [email protected] ; or Contact Cape Cod Potters, Inc., Box 76, Chatham MA see www.northcountrystudioworkshops.org . 02633-0076; see www.capecodpotters.org ; or tele­ New Mexico, Ramah September 10-26 "Wood/ phone Gail Turner, (508) 385-4214. Salt Kilnbuilding." Fee: $300, includes firing and meals; Massachusetts, Chatham September 25-26 participants must bring bisqueware. Lodging: $20/ "Raku, Smoke and Vapor," build three different kilns day. E-mail Maqui: [email protected] . with found materials. Fee: $195; bring bisqueware. New York, Mount Kisco September 11-12 "Cre­ Telephone Diane Heart (508) 896-6189; Ron Dean ativity Workshop" with Ragner Naess. Fee: $225, (508) 428-6085; or e-mail Dennis Howard includes clay and bisque firing. Contact Northern [email protected] . Westchester Center for the Arts, 272 N. Bedford Rd., Massachusetts, Stockbridge October 16-17 Mount Kisco 10549; e-mail [email protected] or "Treasuresfrom Shards: Making Mosaics" with Marlene [email protected] ; seewww.nwcaonline.org ; tele­ Hurley Marshall. October 23-24 "Clay as an Expres­ phone (914) 241-6922; or fax (914) 241-0137. sion of Self: Creating the Decorative Surface" with New York, New York October 28-29 "Altering Washington Ledesma. November6-7 "Raku Intensive Freshly Thrown Pots" with Gay Smith. November 18- Weekend" with Sandy Miller. Fee: $210, includes 19 "Handbuilt Pots" with Bruce Winn. January 24-28, materials. Fee (unless noted above): $205, includes 2005 "All About Function and Utility" with Val Cushing. materials. Contact IS183, Art School of the Berkshires, Contact 92nd Street Y Art Center, 1395 Lexington 13 Willard Hill Rd., Stockbridge 01262; see Ave., New York 10128; see www.92y.org; or tele­ www.is183.org ; or telephone (413) 298-5252. phone (212) 415-5500. Massachusetts, Truro September 13-17 "Alter­ New York, Port Chester September 11-12 "Seek­ native Firing Techniques: Raku, Saggar, Pit" with Tim ing Solid Ground: A Clay Workshop of Discovery" with Scull. Fee: $450. Intermediate through professional. Robert Piepenburg. Fee: $150. October 16-17 "Large- For further information, contact Cherie Mittenthal, Scale Handbuilding" with Rebecca Hutchinson. Fee: Castle Hill, 10 Meetinghouse Rd., PO Box 756, Truro $150. November 6-7 "Portrait Busts" with Dirk 02666; e-mail [email protected] ; see Staschke. Fee: $175, includes model fee. December 7 www.castlehill.com ; telephone (508) 349-7513; or fax "You Can Handle It" with Graham Yeager. Fee: $75. (508) 349-7511. December 9 "What a Stretch: Handbuilding Using Massachusetts, Worcester October2-3 "A Fresh Porcelain" with Alison McGowan. Fee: $75. Contact Approach to Form and Surface," hands-on workshop the Clay Art Center, 40 Beech St., Port Chester 10573; with Lisa Orr. Fee: $230, includes materials. All skill or telephone (914) 937-2047. levels. November 13-14 "A Weekend with Mark New York, White Plains October 27 Hands-on Shapiro." Fee: $225. For further information, contact workshop with Louise Harter. November 12 "Whistles, Worcester Center for Crafts, 25 Sagamore Rd., Worces­ Rattles and Bells" with Connie Sherman. Fee/session: ter 01605; e-mail [email protected] ; see $55. Contact Lisa Mariotti, Westchester Art Work­ www.worcestercraftcenter.org ; telephone (508) 753- shop, Westchester County Center, 196 Central Ave., SI 83; or fax (508) 797-5626. White Plains 10604; or telephone (914) 684-0094. Minnesota, Minneapolis September 20-24 "In­ New York, Woodstock October 16-17, unload23 stallation," construct site-specific adobe installations Load and fire an anagama with Jolyon Hofsted. Fee: with Ron Fondaw. Fee: $200; members, $180. Limit of $200, includes glaze, firing and lunch; participants 3 participants. September 25-30 and/or October 1-7 must bring Cone 10 stoneware bisque. All skill levels. " Fire Sculpture," construction and firing of an outdoor Contact Janet Hofsted, Maverick Art Center, 163 sculpture with Nina Hole. Fee/session: $200; mem­ Maverick Rd., Woodstock 12498; e-mail bers, $180. Limit of 8 participants. October 20 "Col­ [email protected] ; telephone (845) 679-9601. lege Bowl II Slide Lecture/Panel Discussion" with Kelly North Carolina, Asheville October 23-24 "Con­ Connole, Todd Shanafelt and Tetsuya Yamada. Fee: temporary Pots—English Roots," demonstration with $5. October27 "Photographing and Presenting Your Dan Finnegan. Fee: $150, includes lunch. Contact Work for Juried Shows and Grants" with Jerry Odyssey Center for Ceramic Arts, PO Box 18284, Mathiason. Free. Contact the Northern Clay Center, Asheville 28814; e-mail [email protected] ; 2424 Franklin Ave., E, Minneapolis 55406; see see www.highwaterclays.com ; or telephone (828) www.northernclaycenter.org ; or telephone (612) 285-0210. 339-8007. North Carolina, Columbia February 17-20, 2005 October 9-10 Workshop with Tom Coleman. Fee: "Cabin Fever Reliever V," includes "Handbuilding with $150; 1 day, $100. Contact the Ernest Miller Studio, Clay" with Sandi Pierantozzi" and "Wheel-Thrown 1500 Jackson St., NE, Studio#375, Minneapolis 55413; Vessels" with Neil Patterson. Fee: $430, includes reg­ e-mail [email protected] ; or telephone (612) istration, lodging and meals. For further information, 386-2291. contact Pocosin Arts, PO Box 690, Columbia 27925;

Ceramics Monthly September 2004 98 Ceramics Monthly September 2004 99 calendar

e-mail [email protected] ; seewww.pocosinarts.org ; or telephone (252) 796-2787. North Carolina, Davidson October 9-10 "Bring­ ing Clay to Life," demonstration workshop with Cynthia Bringle. Fee: $150. All skill levels. Contact the Icehouse Center for Creativity, Craft and Design, 416 S. Main St., Davidson 28036; e-mail [email protected] ; see www.icehousecenter.org ; or telephone (704) 892-7323. North Carolina, Seagrove September 18-19" Ko­ rean Handbuilding and Decorating Techniques," hands- on workshop with Art and Mary Park. Fee: $125. Limit of 20 participants. Contact North Carolina Pottery Center, 250 East Ave., Seagrove 27341; or telephone (336) 873-8430. Rhode Island, Providence October 8-10 "Raku Rhody-O Artists' Workshop," raku design, glazing and firing with Randy Brodnax. On-site Cone 10 kiln- building with Thomas Ladd. Contact Kate Champa, 37 Creighton St., Providence 02906; e-mail [email protected] ; telephone (401) 351-1683; e-mail Dew Claw Studios: [email protected] ; or see www.rakurhody-o.org . Pennsylvania, Chester Springs October 22-24 Lecture and workshop with Jeff Shapiro. Fee: $270, includes lectures and bisque firing; members, $260. Contact Chester Springs Studio, 1671 Art School Rd., PO Box 329, Chester Springs 19425; or see www.chesterspringsstudio.org Tennessee, Gatlinburg September 26-October 2 "Horsehair Raku and Alternative Firing" with Andrew Linton. October 3-9 "Handbuilt, Raw Glazed and Single Fired" with Holly Walker. October 10-16 "Potter's Wheel: Basics of Technique and Form" with Jeff Brown. October 22-24 "Building Parts and Con­ structing Form" with Timothy Weber. October 29-31 "Master Class—Personalizing Your Sources" with Peter Beasecker. Contact Arrowmont School of Arts & Crafts, PO Box 567, 566 Parkway, Gatlinburg 37738; see www.arrowmont.org ; or telephone (865) 436-5860. Texas, Dallas October 2 and/or October 3-5 "The Language of Functional Pottery" demonstration and! or hands-on workshop with Sam Clarkson and Alleghany Meadows. Fee: $350; members, $250; one- day demonstration, $100; members, $50; three-day hands-on worskhop, $275; members, $225. Contact the Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; e-mail [email protected]; see www.craftguildofdallas.com ; or telephone (972) 490-0303. Texas, Houston November 12-14 Demonstration with Brad Schwieger. Fee: $50. Contact Roy Hanscom, Art Dept., North Harris College, 2700 W. W. Thorne Dr., Houston 77073; or telephone (281) 618-5609. Texas, Mesquite October 8-9 "Paragon In- Plant Basic Kiln Maintenance Seminar." Fee: $95, includes lunch, one dinner and service manual. Con­ tact Paragon Industries, 2011 S. Town East Blvd., Mesquite 75149; e-mail [email protected] ; see www.paragonweb.com ; or telephone (800) 876-4328 or (972) 288-7557. Texas, San Antonio November 6 Slide lecture with Bill Ray Mangham. Free. Contact Southwest School of Art & Craft, 300 Augusta, San Antonio 78205; see www.swschool.org ; or telephone (210) 224-1848. Vermont, Bennington January26-30,2005 "Clay: Beyond the Object" with Sadashi Inuzuka andlor "Handbuilding" with Suze Lindsay at Bennington Col­ lege. For further information, contact North Country Studio Workshops, PO Box 875, Hanover, NH 03755; see www.northcountrystudioworkshops.org ; or tele­ phone (603) 795-2889. Continued

Ceramics Monthly September 2004 100 Ceramics Monthly September 2004 101 see www.ateliercirkel.be ; or telephonelfax (32) 36 33 calendar 05 89. Canada, Alberta, Calgary October 21 -November 78 Suzanne Ashmore and Margaret Sundstrom; atthe Vermont, Bristol September 10-13 "Wood Firing Croft Gallery, 2105 Fourth St., NW. and Salt Glazing" with Robert Compton. Fee: $560, Canada, British Columbia, Vancouver September includes materials, firing and meals. Contact Robert 2-October4 Mary Fox. October 7-November 1 Shirley Compton Pottery, 2662 N. 116 Rd., Bristol 05443; Inouye, "Sea Escape"; at the Potters Guild of British e-mail [email protected] ; see Columbia, 1359 Cartwright St., Granville Island. www.robertcomptonpottery.com ; telephone (802) September 10 Lecture with Alison Britton at Emily 453-3778. Carr College of Art & Design. Fee: Mug for a mug sale. Washington, Seattle September 18-19 Work­ Contact Karen Opas, North West Ceramics Founda­ shop with Doug Jeck and Richard Notkin. Fee: $150. tion, 503-950 Drake St., Vancouver, British Columbia October 16-17 Workshop with Andy Nasisse. Fee: V6Z 2B9; or e-mail [email protected] . $75. Contact Pottery Northwest, 226 First Ave., N, Canada, Ontario, Burlington through September Seattle 98109; e-mail [email protected] ; or tele­ 26 "Courtyard Exhibition 2004—Mimi Cabri: Recent phone (206) 285-4421. Work." through October3 "Bruce Cochrane: Survey." Washington, Suquamish September25-26 "Clay through December 19 "Recent Acquisitions 2003"; at Heads," hands-on workshop with Doug Jeck. Fee: Burlington Art Centre, 1333 Lakeshore Rd. $150. All skill levels. For further information, contact Canada, Ontario, Elora-Fergus September 25- Brenda Beeley, ClaySpace on Puget Sound, PO Box 26 "18th Annual Elora-Fergus Studio Tour," 48 stu­ 1339, Suquamish 98392; e-mail [email protected] ; dios in the Elora-Fergus area. For further information, see www.clayspaceonpugetsound.com ; telephone see www.elorafergusstudiotour.ca ; or telephone the (360) 598-3688. Centre Wellington Chamber of Commerce (877) West Virginia, Huntington November 5-7 "Hand­ 242-6353. building Functional Pottery," hands-on workshop with Canada, Ontario, Ottawa through September26 Gail Kendall. Fee: $225; members, $195; teachers, Jim Thomson, "Impressions from Lolaland"; at City $165; students, $120; includes materials, breakfast Hall Art Gallery, 110 Laurier Ave., W. and lunch. Contact Matt Carter, Huntington Museum Canada, Ontario, Toronto through October 31 of Art, 2033 McCoy Rd., Huntington 25701; e-mail "Eternal Egypt: Masterworks of the Ancient Art from [email protected] ; seewww.hmoa.org ; ortelephone the British Museum"; at the Royal British Columbia (304) 529-2701, ext. 21. Museum, 675 Belleville St. September 9-October 2 Matthias Ostermann. Oc­ tober 7-30 Leopold Foulem; at Prime Gallery, 52 McCaul St. September 28, 2004-January 23, 2005 "Picasso and Ceramics"; at the University of Toronto Art Cen­ tre, 15 King's College Cir. September29-30 "International Creators Series," including a ceramics workshop with Martin Bodilsen Kalsahl. Fee: CAN$225 (US$165); studentslseniors, CAN$200 (US$147). September 29-December 24 "STUFF—Ingenuity and Critique." October 1-3 "Inge­ nuity and Critique: An Exploration of Curatorial Prac­ tice and Critical Writing in the Crafts." Contact the Harbourfront Centre, 235 Queen's Quay W, Toronto , Ontario M5J 2GB; see www.harbourfront.on.ca ; or telephone (416) 973-4000. October 18-November 7 Wendy Walgate; at new gallery, 55 Mill St. Canada, Quebec, Montreal September 23-Octo- “Hart” by Hanneke Giezen; at the Bernardaud ber 30 Eva Ferenczy-Reichmann and Konstantin Foundation, Limoges, France. Velichkov; at the Canadian Guild of Crafts, 1460 rue Sherbrooke Ouest, Ste. B. Wisconsin, Kewaunee September20-24 and Sep­ China, Jingdezhen through October 10 "The tember 27-October 1 "Mata Ortiz: Southwestern Ce­ Jingdezhen: 1000 Years Celebration of Porcelain, Stu­ ramics" with Juan Quezada and Michael Wisner. Fee: dent Exhibition"; at Jingdezhen Sanbao Ceramic Art $775, includes materials and firing. Contact Dick Bell, Institute, International Art Center. Barnsite Art Studio and Gallery, 109 Duvall St., Denmark, Middelfart September 12-December 5 Kewaunee 54216; e-mail [email protected] ; or Large-scale works by Nino Caruso, Claude Champy telephone (920) 388-4391. and Jorgen Hansen; at Denmark Keramikmuseum— Wyoming, Cheyenne October 11-12 Grimmerhus, Kongebrovej 42. Handbuilding workshop with Kari Radasch. Free. Con­ Denmark, Skaelskor September 17-26 "Cross tact Matt West, Esther and John Clay Fine Arts Gallery, Draught Kiln—Wood Firing." Fee: DKr 500 (US$80). Laramie County Community College, 1400 E. College Participants must bring bisqueware. October 18-22 Dr., Cheyenne 82007; or telephone (307) 778-1164. "The Vitrified Print" with Paul Scott. Fee: DKr 1900 (US$304); members, DKr 1200 (US$192); students, International Events DKr 1000 (US$160). Contact Guldagergaard, Heilmannsvej 31 A, 4230 Skaelskor; e-mail Belgium, Brasschaat through September 12 "First [email protected]; see www.ceramic.dk; telephone International Ceramics Salon"; at Galerie Etienne 45 5819 0016; or fax 45 5819 0037. Dewulf, Verkortingstraat 42-44. England, Bath September 13-October 9 Raku by September25 "Decorating and Glazing Pots" with Nick Mackman. October 18-November 13 Porcelain by Marie-Josee Versmissen. September 25-26 "Throw­ Emmanuel Cooper; at Beaux Arts Bath, 12113 York St. ing Large Bowls and Dishes" with Patty Wouters. Limit England, Bovey Tracey, Devon through Septem­ of 15 participants. Contact Atelier Cirkel, Miksebaan ber 12 "Summer Exhibition." September 11-October 272,2930 Brasschaat; e-mail [email protected] ; 6 Blandine Anderson. September25-November 7 "El-

Ceramics Monthly September 2004 102 Ceramics Monthly September 2004 103 calendar

emental Insight," including ceramics by Tim Andrews, Jenny Beavan, Tony Lattimer and Sonia Witts; at the Devon Guild of Craftsmen, Riverside Mill. England, Bristol, North Somerset October 4-23 John Leach; at Church House Designs, Broad St., Congresbury. England, Exeter, Devon September 7 1-October 3 " 11 th Autumn Ceramics Exhibition," works by Tim Andrews, Clive Bowin, Eddie and Margaret Curtis, David and Margaret Frith, Ian Gregory, Peter Hayes, Christy Keeney, and John Pollex; at Woodbury Studio/ Gallery, Greenway, Woodbury. England, Ipswich, Suffolk September 17-19 "Throwing and Related Techniques" with Deborah Baynes. Fee: £295 (US$544); 2 days only, £195 (US$360). October 24-30 Workshop with Deborah Baynes. Fee: £405 (US$747). Beginning through ad­ vanced. Includes materials, firing, lodging and meals. For further information, contact Deborah Baynes Pot­ tery Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; e-mail [email protected] ; see www.potterycourses.net ; telephone (44) 1473 7883000; or fax (44) 1473 787055. England, Liverpool September 1-28 Audrey Richardson. September23-October23 Jane Perryman; at the Bluecoat Display Centre, Bluecoat Chambers, School Ln. England, London through September 10 "Inside Out 2004, Contemporary Crafts for the Garden"; at Flow, 1-5 Needham Rd. through September 11 Micki Schloessingk. Sep­ tember 17-October 30 Stephen Dixon. Emmanuel Cooper; at Contemporary Applied Arts, 2 Percy St. through February 5, 2005 "Making It Yours: Ce­ ramics"; at Crafts Council, 44a Pentonville Rd. September8-30 Bernard Dejonghe, "Ceramicsand Glass"; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. October 15-November 13 Chun Liao; at Barrett Marsden Gallery, 17-18 Great Sutton St. England, Newark through September 19 "Slipware Show"; at Rufford Ceramic Center, Rufford County Park near Ollerton. England, Sherborne September 11-October 9 Gabriele Koch. October 16-November 13 Stoneware by Phil Rogers; at Alpha House Gallery, South St. England, Tenbury Wells September 10-12 Work­ shop with Martin Homer. Fee: £210 (US$382); in­ cludes materials, firing, lodging and meals. All skill levels. Contact Martin Homer Pottery, Lower Aston House, Aston Bank, Tenbury Wells, Worcestershire WR15 8LW; e-mail [email protected] ; see www.homerpottery.co.uk ; or telephone (44) 1584 781 404. France, Limoges through September 30 "Ob­ sessed with Detail, Six International Modern Ceram­ ics Artists," Daniel Allen, Lubna Chowdhary, Carol McNicoll, Hanneke Giezen, Barbara Roling and Caroline Smit; at the Bernardaud Foundation, 27 ave. Albert Thomas. France, Nangay October 2-December 12 Two- person exhibition including ceramics by Gordon Baldwin; at Galerie Capazza, Grenier de Villatre. France, Saint Quentin la Poterie through Sep­ tember 16 "Orients," including ceramics by Vincent Potier. through January 8, 2005 "Art of the Bowl." September 19-November 14 "Natures," including ceramics by Anne Bulliot; at Terra Viva Galerie, rue de la Fontaine. France, Sevres September 17-December 20 Jean Derval; at the Musee National de Ceramique, Place de la Manufacture. France, Treigny (Yonne) through September 12

Ceramics Monthly September 2004 104

at the Museum of Oriental Ceramics, Osaka, 1-1-26 calendar Nakanoshima, Kita-ku. Korea, Icheon City through October 25 "IAC Members' Exhibition." "Korean Tea Culture and "ContemporaryCeramists";atLa MaisonduChanoine, Teaware." "Craftmanshipand Ideas"; at Icheon World Le Chaineau. Ceramic Center, San 69-1, Gwan-go-dong. Germany, Hohr-Grenzhausen September 17, Laos, Luang Prabang, Ban Chan January 15- 2004-January 6, 2005 "Westerwald Prize 2004"; at February 2, 2005 Hands-on workshop, including Keramikmuseum Westerwald, LindenstraGe. throwing/forming methods and wood firing an Germany, Selb-PloBerg through September 26 underground, scorpion-shaped earthenware kiln " 125th Anniversary Exhibition of Schonwald Porcelain with Denys James and the local potters from Ban Factory, through October3 "Ceramic Culture Innova­ Chan pottery village. Fee: US$3163, includes airfare, tion, 1851-2000"; at Europaisches IndustrieMuseum materials, firing, lodging, some meals, tours and fur Porzellan, Bahnhofstr. 3. excursions. Deposit due November 1, 2004. For Hungary, Kecskemet September 6-30 "Meeting further information, contact Denys James, Discovery Masters Program with David Binns." September20-27 Art Travel, 182 Welbury Dr., Salt Spring Island, "Salt Glaze Porcelain and Silk-Screen Print" with Maria British Columbia V8K 2L8 Canada; e-mail Geszler-Garzuly. Contact the International Ceramics [email protected] ; see www.denysjames.com; Studio, Kapolna str. 13, Kecskemet H-6000; or see or telephone (250) 537-4906. www.icshu.org . Netherlands, Amsterdam through October 13 Italy, Certaldo September 4-17 Workshop with Nick Renshaw, "Native Procreation in Eboracum"; at Caroline Meier. September 7-13 "Soda Firing" with Galerie De Witte Voet, Kerkstraat 135. Terry Davies. September 18-October2 Workshop with September 11-October8 Porcelain objects by Paula Ellen Shankin. For further information, contact La Bastiaansen; at Galerie Carla Koch, Prinsengracht Meridiana, Loc. Bagnano 135, 50052 Certaldo, Flo­ 510 sous. rence; e-mail [email protected] ; see www.pietro.net; Netherlands, Arnhem September 18-October24 or telephone (39) 571 66 00 84. Dominique Bajard and Wilma Selten; at Galerie October 13-16 "Color and Textures of Tuscany" Keramaikos, Oranjestraat 121. with Steven Hill. Fee: $2200, includes materials, lodg­ Netherlands, Delft through October 3 Porcelain ing and lunch. Contact Lynne Burke: e-mail by Nadine Warden. September 11-October 23 Luster [email protected] ; see www.potteryabroad.com ; glazes by Marta Nagy. October 3 "Ceramics Delft or telephone (404) 261-0431. 2004," includes tours through galleries and museums. Italy, Faenza through November 7 "Jiki, Japanese October 9-November 20 Porcelain byJas/MV. October Porcelain between East and West from 1610 till 9-December 11 Raku by Susanne Silvertant; at Terra 1760." "Italian Ceramics from XV till XIX Century Keramiek, Nieuwstraat 7. for the 'Italian Maiolica Corpus' by Gaetano Netherlands, Leeuwarden through October 24 Ballardnii"; at the International Museum of Faenze, "Deliciously Decadent! Tableware from the 20th and Via Campadori 2. 21st Centuries"; at Princessehof Leeuwarden, Grote September 27-October 2 "High Temperature," Kerkstraat 11. working with Cone 6-8 stoneware and porcelain with October23-December24 "Colored Porcelain"; at Giovanni Cimatti. Limit of 12 participants. Contact St. Joseph Galerie, Frederik Ruyschstraat 10. Consorzio Provincale per la Formazione Professionale, Spain, Agost (Alicante) through October 1 Via S. Giovanni Battista, 11, 48018 Faenza; e-mail "Hiistoria de la Botella"; at Centro Agost/Museo de [email protected] ; see Alfarer a/Ayuntamiento de Agost, c/Teuleria 11. www.cpfp.it; telephone (39) 546 26760; or fax (39) Switzerland, Geneva through October 17 "Ges­ 546 660381. tures of Asia." October 7-9 "40 Years of the Bauer Italy, Marsciano September 6-12 or October 4-9 Collections, Ikebana Exhibition"; at Collections Baur, "Stages of Raku Ceramics—Arts and Holidays." Fees Museedes Artsd'Extreme-Orient, 8 rue Munier-Romilly. and skill requirements vary. Lodging at bed-and-break- through September26 Aline Favre; at Musee Ariana, fast inn: €35 (US$44)/day. Instruction in Italian and 10, Ave. de la Paix. English. Contact Elisabetta Corrao, Casale della Fratta, Turkey, Istanbul September 5-18 "Glass Meets Studio of Luca Leandri, Vocabolo Fratta 157, loc. Clay," raku, and sand-cast and kiln-cast glass. Fee: Papiano, Marsciano; e-mail [email protected] ; US$1270, includes lodging and registration. Telephone see www.lucaleandri.it ; telephone/fax (39) 758 Jody Bone (206) 248-3563 or (360) 730-1146; or e-mail 785 111. [email protected] ; or the Glass Furnace, Italy, Tuscany May 13-30, 2005 One-week Cam Ocagi Vakfi, Og’umce, Cam Okulu Duragi, Beykoz, hands-on handbuilding workshop with Denys James; Istanbul; e-mail [email protected] ; see one-week hands-on terra sigillata workshop with www.glassfurnace.org ; telephone (90) 216 433 3693; Giovanni Cimatti. Fee: US$3625, includes airfare, or fax (90)212 433 3021. lodging, lunch, materials and tours. Deposit due: September 16-October 7 First week: hands-on December 1, 2004. Contact Denys James, Discovery workshop, including handbuilding, colored porcelain Art Travel, 182 Welbury Dr., Salt Spring Island, and decals with Mehmet Kutlu. Second week: hands- British Columbia V8K 2L8 Canada; e-mail on workshop with Erdogen Gulec and Denys James. [email protected] ; see www.denysjames.com ; Fee: US$2975, includes airfare, lodging, breakfast, or telephone (250) 537-4906. tours and studio visits. Limit of 12 participants. Jamaica, Trelawny April 22-30, 2005 "Jamaica: Contact Denys James, Discovery Art Travel, 182 Making Pottery" with Doug Casebeer, Randy Johnston, Welbury Dr., Salt Spring Island, British Columbia Jan McKeachie Johnston and David Pinto. Contact V8K 2L8 Canada; e-mail [email protected] ; Anderson Ranch Arts Center, PO Box 5598, Snowmass see www.denysjames.com; or telephone (250) Village, CO 81615; see www.andersonranch.org ; or 537-4906. telephone (970) 923-3181. Japan, Osaka through September 12 "Korean For a free listing, submit announcements at least two months Vessels of Asakawa Noritaka's Daily Life From the before the month of opening. Add one month for listings in July; Suzuki Masao Collection." "Buncheong Gyeryongsan two months for those in August. Mail to Calendar, Ceramics Ware, Korea." September 18-December 12 "The Birth Monthly, 735 Ceramic PL, Westerville, OH 43081; submit online of Goryeo Celadon, Early Goryeo Celadon and Its at www.ceramicsmonthly.org/submissions.asp e-mail to Developments." "The Beauty of Celadon, Yue Ware"; [email protected] or fax to (614) 891-8960

Ceramics Monthly September 2004 106 Ceramics Monthly September 2004 107 Ceramics Monthly September 2004 108 Ceramics Monthly September 2004 109 Comment I mentoring: a relationship challenge by Mitch Kotula

Clay artists and craftspeople initially worked there is not a set of fixed standards, sponsors as apprentices under an expert practitioner are held responsible for ensuring that the until they gained the sldlls and had the means transferee arrives properly equipped and is to strike out on their own. That system of truly welcomed into the new organization. mentoring became formalized through Eu­ Mentoring of this sort is meant to ensure ropean guilds over 300 years ago. The guilds that new arrivals become functional quickly, ensured quality standards and a rigid system with minimal distractions. This results, many of learning and advancement under “mas­ times, in lifelong friendships. ters.” Guilds exercised a great deal of power, Many mentoring programs share com­ politically and practically, as to the supply of mon characteristics. These include evaluated craftspeople and setting market prices for standards, providing assistance, developing services and wares. We still have a form of knowledge and skills for success, a mutually the guild system in unions, but markets are rewarding person-to-person relationship, or­ now more open and free, allowing for more ganizational structure and oversight, indi­ creativity and variety, and just about anyone vidual choice as to specialization and can work in the area of their choosing. experimentation (there is no one right way). Key to the guild concept was the estab­ lishment and enforcement of standards. There Applications in Ceramics were certain things each craftsperson did, at At first glance, the programs described each level of any particular trade. The terms above do not seem to have much in common for those levels remain in use today when we with the ceramics world. Clay people gener­ refer to apprentice, journeyman and master. ally work alone, neither joining an organiza­ Work at each level was priced differently, as tion nor pursuing rank, title or position. A craftspeople from higher levels offered more ceramics teacher, though part of a school, is expertise and potential quality than from generally the lone ceramics person working those at the lower levels. Also, guild wares without much in the way of ceramics-specific were presumed to be of greater value than structure or inspiration. That teacher has to nonguild wares, because of the quality con­ do it all, unless students are recruited into trol being exercised by the guild. support tasks. Full-time studio ceramists have Present day examples of mentoring exist got to produce and sell to pay the rent. Hob­ throughout our society and culture in a num­ byists span a wide range of clay involvement, ber of areas. In education, those who want to some with studios, but most using college teach in precollege environments must com­ and community programs and facilities. plete a postgraduate period of “practice teach­ On second glance, we do see the applica­ ing.” These teachers-to-be perform in tions of mentoring program characteristics. classrooms under the supervision of qualified Do we have evaluated standards? Generally— teachers who coach and mentor them in their yes, but specifically—no. We are as much progress, ultimately passing judgment on their artists as we are craftspeople, so other than ability to teach. In North America, each state the study of basic techniques, we get out or province has qualification standards for there and do what we like. licensing teachers. Teachers not meeting those There have been discussions about per­ standards are not permitted to hold full-time haps creating a master-potter program or des­ public-teaching positions. Associations of ignation that could be achieved through a educators offer ongoing assistance to teach­ qualification process. But for now, we tend ers and, in some cases, perform quality con­ to rely on the academic world to provide trol or disciplinary functions. general ceramics skill requirements. In the military, sponsors are appointed Providing assistance, and nurturing the for incoming transferees. Someone of equal knowledge and skills necessary for success, are rank is designated and required to immedi­ generally being done on an ad hoc basis. Many ately contact the new member, offering assis­ clay artists are involved in mentoring through tance and information, which will ease their local art leagues—some for pay, others to give transition into the gaining unit. Although back the support they have received from oth-

Ceramics Monthly September 2004 110 Ceramics Monthly September 2004 111 comment

ers. I have rarely encountered a clay person be in the form of cleaning the studio, mak­ mentors, it is up to us, individually, to de­ who has not readily and genuinely shared in­ ing clay, mixing glazes, loading and unload­ velop the rapport and relationship with them formation on technique. Among the most ing kilns, or paying cash. Both parties must to make the relationship something mutu­ popular sessions at ceramics conferences and remain committed to a mutually satisfying ally beneficial, beyond the classroom. symposia are those dealing with glazes, deco­ relationship to avoid feeling used. Resulting We are a family connected through the ration and forming. Magazines are regularly mentor relationships can provide for and en­ primal substance of our craft. Like the clay filled with such information. Online and e- courage experimentation outside of a pre­ we mold to our desires, we individually pos­ mail discussion groups amount to collections scribed script or hierarchy. In our clay world, sess different qualities and characteristics that of technical discussions and problem solving. there is no one right way to do anything, and drive how we, in turn, develop our relation­ Attending workshops, taking courses and learn­ so it is in developing mutually satisfying ships and shape our lives, our work, play and ing through person-to-person relationships is mentoring relationships. learning experiences. How we can work to­ most highly valued. The quality of these expe­ The area representing the highest poten­ gether to provide mechanisms that will fa­ riences depends on the relationship being mu­ tial for developing a mentoring relationship cilitate the accomplishment of our unique tually satisfying. exists in our college-level and community desires is what counts. Mentors and mentees are coming from ceramics programs. There are standards for different perspectives: the mentees wanting achieving basic skills and challenges given in the author Mitch Kotula is a studio ceramist and the mentors giving. That said, each party the form of course requirements. Our in­ and is currently developing a mentorship pro­ must be giving and taking at the same time. structors teach us and expose us to many gram for the Potters Council of the American To only take is unreasonable and selfish. The areas of clay work. It is a rich experience as Ceramic Society. This text was originally pub­ mentees must be willing to reciprocate in we see demonstrations, load and unload kilns, lished in an expanded form in Potter’s Pages, some way to the mentor. If the mentees are see and learn from others. We produce, are the newsletter of Potters Council. For further using the mentor’s facilities, taking their time critiqued, receive suggestions and encourage­ information on the Potters Council, see and gaining from their ideas, payment could ment, but if these teachers are to become www.potterscouncil. org.

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