Ceramics Monthly October 2002 1 editor Ruth C. Butler associate editor Kim Nagorski assistant editor Renee Fairchild assistant editor Sherman Hall proofreader Connie Belcher design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie circulation administrator Mary E. May publisher Mark Mecklenborg

editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4220 circulation: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $30, two years $57, three years $81. Add $ 18 per year for subscriptions outside North America; for faster delivery, add $12 per year for airmail ($30 total). In Canada, add GST (registration num­ ber R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual support (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Fea­ ture articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through public and university libraries. copies: For a fee, photocopies of articles are available through Customer Service, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; or tele­ phone (614) 794-5890. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clear­ ance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publi­ cations, The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081, USA. back issues: When available, back issues are $6 each, plus $3 shipping and handling for first issue and $1 each additional issue (for international orders, shipping/han­ dling is $6 for first issue and $2 each additional issue). postmaster: Send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested. Copyright © 2002 Ceramics Monthly October 2002 The American Ceramic Society All rights reserved 2 Ceramics Monthly October 2002 3 Ceramics Monthly October 2002 4 OCTOBER 2002 / Volume 50 Number 8

features

32 Spokes of Tradition by Warren Frederick Works by five potters with a passion for function 35 Body text by Linda Ganstrom Kansas City Artists Coalition hosts exhibition of sculpture by eight artists 38 Tile Quilt A Public Art Venture in Buffalo, New York by Gail McCarthy 42 13th California Clay Competition Juried exhibition at the Artery in Davis 44 Ryuichi Kakurezaki by Kelvin Bradford A modern variation on the traditional Japanese Bizen style 49 Wood-Ash Glazing at Cone 6 by Harry Spring Experimentation yields interesting results in mid-range oxidation 51 Sylvia Hyman by David Ribar Tromp l’oeil constructions of personal objects 55 Three Generations Potters of San Juan de Oriente, Nicaragua by Paul H. Devoti

58 A Moving Experience by Deborah Rael-Buckley Welcoming change encourages artistic growth 60 David Miller by Nesrin During Slipware with playful forms and colorful surfaces 63 Gallery Guide 2002 Where to see ceramics in the U.S. and abroad 105 Ceramic Sculpture: The Figure by John Kenny From the CM Archives Originally published November 1953 (Volume 1, Issue 11) departments 10 letters 12 upfront 24 new books 28 video 80 call for entries 86 suggestions 90 calendar 100 questions 108 classified advertising 110 comment: Lost Weekend by Bruce Tessier 112 index to advertisers

cover: "Small Berry Basket of Letters, 8½ inches (22 centimeters) in height, stoneware and porcelain, with stains, by Sylvia Hyman; page 51.

Ceramics Monthly October 2002 5 r

upfront

12 Inaugural Show at New Garth Clark Gallery Marek Cecula’s “carpet” of porcelain plates 12 Antonia Lawson Handbuilt earthenware at the Mill Valley Sculpture Gardens in Mill Valley, California 12 Donald Campbell Retrospective exhibition including reduction-fired stoneware at the New Hampshire Institute of Art in Manchester 12 Stephen Heywood Soda-fired stoneware at the University Gallery of Salve Regina University in Newport, Rhode Island 14 Free Rein in England Equine ceramics at Bluestone Gallery in Devizes 14 Mara Superior Narrative porcelain series at Ferrin Gallery in Lenox, Massachusetts 16 Nobuhito Nishigawara Porcelain figures at the Arizona State University Gallery in Tempe 16 Grace Nickel Earthenware wall sconces and columns at the Winnipeg Art Gallery in Manitoba, Canada 16 Northern Clay Center Announces Grants Six artists receive fellowships and residencies in Minneapolis, Minnesota 18 Stephen Fabrico Porcelain pottery at m. t. burton gallery in Surf City, New Jersey 18 National Ceramics Invitational Works by 26 artists at the Museum of Nebraska Art in Kearney 18 Mynke Buskens Installation at the Princessehof Leeuwarden in the Netherlands 20 Ned A. Krouse Decorative bowls at Murray Hill Pottery Works in Milwaukee, Wisconsin 20 Nesrin During Coil-built stoneware at the Museum of Sarreguemines in France 20 Dian Dorothea Smith-Trigg, 1910-2002

Ceramics Monthly October 2002 6 Ceramics Monthly October 2002 7

Finally, I would like to add that our clay Diversity Rules letters creations are a reflection of who we are, I love the diversity in CM. The artist where we have been, our educational experi­ profiles have been a valuable resource for ences, our successes and failures, and our papers for my class, as well as providing Transformations life experiences. They reflect our state of exposure to different styles and techniques. I would like to thank Howard Chansky for mind, soul and feelings of love or fear, as A. Grieco, Sacramento, CA his well-written letter in the September well as our sense of connection with life and issue. While reading his “Another Look at each other, or our sense of separation. Energizing Product,” a clear thought popped into my Personally, I feel fabulous about the The article by Linda Harkey on Will head. Our lives are transformed by the ongoing process of growth and evolution Ruggles and Douglass Rankin was wonder­ process of creating in clay, as the clay is that is occurring in my life as a result of my ful and energizing. These potters are living transformed by the process of firing. love affair with clay. Because I feel more proof that ceramics integrity and talent are I loved his comments because I have and more satisfied with the process and very much alive in American clay. experienced a major transformation in all product, I proudly sign the pieces and even Tom Turnquist, Lakewood, CO aspects of my life since I have been involved write little philosophical messages on them More Please in the creative process. I have learned to be to inspire myself and others. more aware while creating, and to increas­ Let us support one another in our pro­ This magazine continues to delight, educate ingly release my attachment to outcome. cess of discovering our deepest hidden and surprise me. It can also frustrate and As I have had more and more success in treasures of creativity. occasionally disgust me. Keep it up! outcome, I have learned to trust my skill Becky Dennis, Gulfport, MS Chic Lotz, Grass Valley, CA and intuition. I feel that I have literally woven all Practical Preference In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, aspects of myself together to form a clay No more cute teapots or esoteric ramblings the editors welcome letters from all readers; some artist. I can say with confidence that I am from self-important “artists.” Just give us editing for clarity or brevity may take place. All letters a recovered registered nurse who is on a more practical info—like John Hesselberth must include the writer’s full name and address, but they will be withheld on request. Mail to Ceramics healing path. I also firmly believe that “the and Ron Roy’s excellent article on glazes Monthly, 735 Ceramic PL, Westerville, OH 43081; process and the product are intertwined and safety in the September 2000 issue. e-mail to [email protected] ; or fax to and inseparable.” Joan Connolly, Mayne Island, BC, Canada (614) 891-8960.

Ceramics Monthly October 2002 10 Ceramics Monthly October 2002 11 upfront ceramics and glass at the Mill Valley Sculpture Gardens in Mill Valley, California. A British sculptor who came to the U.S. via Hong Kong and now lives in the Bay Area, Lawson works in series, handbuilding each form. On their surfaces, she applies combinations of underglazes, glazes, stains and oxides. Finally, they are low fired. Inaugural Show at New Garth Clark Gallery Garth Clark Gallery of New York City has opened a second location in Donald Campbell Long Island City; it will feature installations of large-scale ceramics and A retrospective of ceramics and photographs by Elkins, New Hamp­ experimental works. With approximately 4500 square feet of space, the shire, artist Donald Campbell was presented recently at the New Hamp­ facility also has room for art storage, expanded archives, a library and a shire Institute of Art in Manchester. Campbell studied with Karl Martz research office. On view through October 31 is New York artist Marek Ceculas “The Porcelain Carpet,” an installation of 600 manufactured porcelain

Details of Marek Cecula s “The Porcelain Carpet,” installation of 600 porcelain dinner plates in three stages of “printing”; at Garth Clark Gallery’s Project Space, Long Island City. dinner plates in three stages of printing a full-size image of an Oriental carpet. The first set of dishes is shown without any surface decoration, the second set is printed with a black-and-white image of the carpet and the third set is printed in full color. Ceculas installation pays homage to both ceramics and carpet mak­ ing, while depicting the similarities between the two crafts: each is hand and mechanically produced, requires skilled craftsmanship, and is si­ multaneously decorative and utilitarian.

Antonia Lawson Donald Campbell lidded jar, 12 inches (30 centimeters) in height, stoneware, reduction fired to Cone 10; at the New Hampshire Institute of Art, Manchester. Pod forms by San Rafael, California, ceramist Antonia Lawson were included in the recent “Earth, Fire, Clay and Glass,” an exhibition of at Indiana University in the early 1950s, then went on to complete an M.F.A. at Tulane University in 1958, where he was a student of Katherine Choy. After 30 years of teaching at Colby-Sawyer College in New London, New Hampshire, he retired in 1990. Campbells current work is wheel thrown from stoneware, then cut and folded; often, a foot is added or the form is closed at the top to create a lid. Surfaces are enhanced with stamping and glazing. All are then reduction fired to Cone 10.

Stephen Heywood Soda-fired stoneware by Edinboro, Pennsylvania, potter Stephen Heywood was exhibited recently at the University Gallery of Salve Regina University in Newport, Rhode Island. “I want people to experi­ ence my work on a daily basis,” Heywood commented. “The pieces that I make reference utilitarian ware and are rooted in function. I use the wheel as a tool, making parts that I then assemble into a whole. I often alter the main section or body of the piece from its original round wheel-thrown shape by squaring or ovaling. “My work takes its influence from the various architectural struc­ tures that surround me. These consist of barns, silos, factories and water towers, as well as many other structures. I enjoy their sense of beauty Antonia Lawson’s “Jungle Pod,” 13 inches (33 centimeters) in height, handbuilt with underglazes and glazes, fired to Cone 04; at the Mill Valley Sculpture and look to their weathered exterior textures and simple geometric Gardens, Mill Valley, California. shapes for inspiration. Chimneys, windows, vents, smokestacks and

Ceramics Monthly October 2002 12 upfront wild areas. Many of the ancient myths have parallels in other cultures, proving that these stories are universal.” Using T-material and porcelain, Howell works “as quickly as the clay piping are integrated as decoratively charged elements of visual interest. allows, pinching and coiling upward. Larger pieces can take up to two I also incorporate these elements as handles, lids and spouts. weeks to complete, so sometimes progress can be excruciatingly slow. I “Surface is an important part of my work,” he added. “I often leave marks on the form as evidence of the process. These subtle marks are then accentuated by the vapor-firing process of the soda kiln. I also

Catrin Howell’s “Kelpie,” 45 centimeters (18 inches) in height; Stephen Heywood’s “Lidded Jar,” 10 inches (25 centimeters) in height, soda-fired at Bluestone Gallery, Devizes, England. stoneware; at Salve Regina University, University Gallery, Newport, Rhode Island. find the element of risk involved in the making constantly exciting and experiment with texture, such as adding feldspathic rock to my clay challenging. The results from the firing are never certain, and the body and using colored crackle slips. These surface treatments aid in combination of suspense and the outcome being beyond my control is bringing contrast and variety to my pieces, while uniting the work as a both infuriating and addictive.” whole through form and surface.” Mara Superior Free Rein in England Fifteen pieces from the “Souvenirs d’ltalia” series by Massachusetts artist An exhibition focusing on the horse was on view through June 7 at Mara Superior were exhibited recently at Ferrin Gallery in Lenox, Bluestone Gallery in Devizes, England. “Free Rein” included ceramics Massachusetts. “Since my work is primarily autobiographical, the expe- by Catrin Howell, Llandysal, Wales; Paul Priest, High Wycombe, En­ gland; Rachel Ricketts, Presteigne, Wales; and Caroline Roche, Somerset, England. “Animals and the roles that they play in mythology fascinate me,” stated Catrin Howell, whose work is shown above right. “Growing up on a farm surrounded by animals, it seems natural and even inevi­ table to use them in my work. A project I undertook, whilst an exchange student at Alfred University, New York State, first opened this whole area of investigation and discovery. This continued throughout my final year at Wolverhampton University. “Since then, the spirit of narrative has continuously defined my work, with the legend of Cantre’r Gwaelod providing a rich source of inspiration and imagery. I begin by working in a sketchbook, and enjoy making large-scale drawings that aim to capture the essence of the story. I picture the animals, vulnerable yet defiant, escaping the flood by balancing precariously on top of each other.

“I am also inspired by contemporary stories involving the untamed IVIara Superior’s “Bella Toscana,” 17 inches (43 centimeters) in height, porcelain; beasts of Bont and Brechfa, which manage to survive in remote and at Ferrin Gallery, Lenox, Massachusetts.

Ceramics Monthly October 2002 14 Ceramics Monthly October 2002 15 upfront Ranging in height from 15 to 22 inches (38 to 56 centimeters), his “Nobuisms” depict deformed female bodies, figures with incomplete body parts in various gestures. The current forms are the results of rience of travel gives me an unending supply of images that form a Nishigawaras previous studies of miniature temples and tiny figures, visual diary,” Superior commented. “Although my iconography is de­ vignettes of his life in Japan before coming to the United States. “I am rived from many historical sources, I find that the simple joy of being not trying to know the emotions or feelings of a woman, but I am alive and celebrating the definitive experiences of my life to be the most contemplating these mysterious yet beautiful body parts.” inspirational force in my work. “The work in this show is inspired by a recent trip to Italy, specifi­ Grace Nickel cally Tuscany. The imagery in these pieces is informed by the visual On view through July 22 at the Winnipeg Art Gallery was “A Quiet poetry of the Tuscan landscape, the incredible food and the magnificent Passage,” an exhibition of wall sconces and large architectural columns museums of the region. My responses to the wonder and beauty of these by Grace Nickel, Winnipeg, Manitoba, Canada; www.gracenickel.ca. “I experiences have been channeled through the clay, creating my own began to work with the architectural detail on Winnipeg’s heritage personalized souvenirs and remembrances of this great adventure.”

Nobuhito Nishigawara A series of burnished porcelain figures by Nobuhito Nishigawara was presented recently at the Arizona State University Gallery in Tempe.

Grace Nickel light sconce #7, 43 centimeters (17 inches) in height, earthenware paper clay, with terra sigillata, slip, glaze and luster, electric fired multiple times, with slumped glass and incandescent light; at the Winnipeg Art Gallery, Winnipeg, Manitoba, Canada.

buildings,” she commented. “I wanted to pay tribute to the history of this area, and I found my work becoming more influenced by architec­ ture. Architecture represents the humanmade part of our existence; these angular forms don’t exist in nature. But it’s very important for me to combine the architectural with the organic, which we are very much a part of. Often, the artificial references the natural.” Of her choice to combine clay and glass in the wall sconces, Nickel explained that “the clay represents the physical, organic aspect of our existence, while the glass and light suggest the intangible quality we call soul or spirit. In light of recent personal losses and tragic world events, I needed to create a quiet, peaceful space for reflection on loss. By incorporating the ethereal qualities of glass, light and beauty, combined with the earthbound nature of clay, I want to also provide the viewer with an inspirational and hopeful experience.”

Northern Clay Center Announces Grants The Northern Clay Center in Minneapolis, Minnesota, recently se­ lected six ceramists to receive the 2002 McKnight Fellowships and

Nobuhito Nishigawara’s “Nobuism,” 21 inches (53 centimeters) in height, Residencies. Fellowships of $25,000 each went to Maren Kloppmann polished porcelain; at the Arizona State University Gallery in Tempe. of St. Paul, Minnesota, and Keisuke Mizuno of St. Cloud, Minne-

Ceramics Monthly October 2002 16 Ceramics Monthly October 2002 17 upfront sota. The four residency recipients are William Brouillard, Cleveland, Ohio; Kirk Mangus, Kent, Ohio; Tom Towater, Lincoln, Nebraska; and Sandra Westley, Ann Arbor, Michigan; each will receive $5000. The awards are given to individual artists who have proven their abilities and are established in their careers. Each will work at the Northern Clay Center for three months during 2003, and will present a workshop and/or lecture during the residency. The project culminates with a group exhibition of the works made by the artists during their time at the center.

Stephen Fabrico Pottery by Bloomington, New York, artist Stephen Fabrico was exhib­ ited recently at m. t. burton gallery in Surf City, New Jersey. Working with porcelain, Fabrico combines wheel-thrown, slab-built and slump-

Karen Koblitz’s “Globalization #4,” 141/2 inches (37 centimeters) in height, low-fire clay and glaze; at the Museum of Nebraska Art, Kearney, Nebraska.

of these artists, in turn, asked another ceramist to exhibit work as well. “The ‘lead’ artists really like the opportunity of being able to invite whoever they want to,” Jacobson noted. “And it makes for a very interesting exhibition, because I am never quite sure what type of work is going to be sent.”

Mynke Buskens “Drawing Ceramics,” an installation by Mynke Buskens, Netherlands, was on view through July 14 at Princessehof Leeuwarden in Leeuwarden, Netherlands. Buskens first adds graphite powder to her clay, enabling her to create pots that are then used to draw large pictures. The pots are

Stephen Fabrico’s “Fish Jar,” 12 inches (30 centimeters) in height, porcelain; at m. t. burton gallery, Surf City, New Jersey.

molded forms to create jars, bowls, platters and birdhouses. Fish, leaf and geometric designs are carved into the surfaces, then glazes are applied by spraying.

National Ceramics Invitational PHOTOS: PETER COX, JOHAN VAN DER VEER “Rendezvous 2001,” a ceramics invitational featuring works by 26 artists, was presented at the Museum of Nebraska Art in Kearney. Organizer of the two previous “Rendezvous” shows, guest curator Jake

Jacobson, a professor of art at the University of Nebraska, Kearney, Mynke Buskens drawing with graphite clay vessels for an installation at invited 13 clay artists from across the United States to participate. Each Princessehof Leeuwarden, Netherlands.

Ceramics Monthly October 2002 18 upfront “The red is produced from copper, which is in an underlying slip. By changing the color of the top layers of slip, I can achieve different hues of red. The slips are applied and carved at the leather-hard stage, and covered with a clear glaze after bisque firing.”

Nesrin During New work by Nesrin During, Oosterend, Netherlands, was shown in the “Fourth International Ceramic Competition” at the Museum of Sarreguemines in Sarreguemines, France. Organized every three years, with a different theme each time, the exhibition focuses on functional ceramics. This years theme was “Variations on a Vase.”

Mynke Buskens installation, “Drawing Ceramics,” with pots and drawings made from graphite-clay pots. also arranged in pairs to form a space that plays with the viewers perception. At first an undefined area, the contours of the two pots are intended to look like the silhouette of a person. “With the pot, you can draw. You draw the contours of the same pot. And what are the contours of the pot? The contours of a portrait.”

Ned A. Krouse Wall bowls by Haslett, Michigan, artist Ned A. Krouse were exhibited through August 24 at Murray Hill Pottery Works in Milwaukee, Wis­ consin. “I raku fire my work to produce colors I cannot achieve with other firings,” Krouse explained. “I have developed a low-fire copper red, which is the result of the combination of layered slips and the Nesrin During vase, approximately 36 centimeters (14 inches) in height, oxidation/reduction atmosphere in the kiln. I vary the intensity of the coil-built stoneware, with oxides, gas fired to 1280°C (2336 F); red by altering the kiln temperature and the length of the firing. at the Museum of Sarreguemines, France.

Durings vessels are coil built from German stoneware, colored with manganese and cobalt, then fired in a gas kiln to 1280°C (2336°F). Often built in pairs, the vases “are quiet but strong, self-assured forms with physical presence,” she noted. “As they bear no glaze nor decora­ tion, they are sober yet dignified. Their placement and the space left in between the forms play a part in the final composition.”

Dian Dorothea Smith-Trigg, 1910-2002 Oceanside, New York, ceramist Dian Dorothea Smith-Trigg (known as Dido Smith) died May 27, 2002. A graduate of Cooper Union School of Art, she worked during the early part of World War II on aviation blueprints for the military. She then went on to teach art and crafts at a veteran’s hospital. In 1950, she began studying ceramics at Greenwich House Pottery in New York City. Two years later, she was elected president of the New York Society of Ceramic Arts. For the next 21 years, Smith edited articles for Craft Horizons, now American Craft magazine. Examples of her pots and sculpture are in the permanent collections of the American Craft Museum, the Cooper- Hewitt Museum and the Everson Museum of Art.

Submissions to the Upfront column are welcome. We would be pleased to consider Ned A. Krouse’s “Wall Bowl,” 12 inches (30 centimeters) in diameter, press releases, artists’ statements and original (not duplicate) slides or transpar­ with layered and carved slips, bisqued, clear glazed and raku fired; encies in conjunction with exhibitions or other events of interest for publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. at Murray Hill Pottery Works, Milwaukee, Wisconsin.

Ceramics Monthly October 2002 20 Ceramics Monthly October 2002 21

new books rative motifs. Photographs of the exhibited works are arranged geographically by pueblo, with each section introduced by a description of the pueblo and its traditions. Most of the pieces are Sources of Inspiration accompanied by comments from several ex­ by Carolyn Genders perts, including collector Edna Kelly. “Looking at the works of ceramists, one gets Three traditional potters and three Pueblo a glimpse of how creative minds work, and pottery experts chose 116 pots from the collec­ different... ways of working in three dimensions tion for exhibition. Meeting with the others at are revealed,” notes the author of this visual the Miami University sourcebook. “Frequently one sees that the source Art Museum for a three- of inspiration is not something monumental day work session, Bruce and impressive but a tiny patch of rust on a pipe Bernstein noted that or the shape of a cloud. The ideas that stimulate “finding Pueblo pottery enduring themes of work often develop from a outside its original series of scribbles on a scrap of paper.” environment...is always Nicely illustrated, the book is divided into a revelation because of eight thematic sections—pattern and color; ar­ its power to conjure up chitecture and geometry; shadows, reflection the sensations—the smells, sights and sounds— and silhouettes; plants; living beings; landscape; of the Pueblo villages of the American South­ manmade; and texture and surface. Genders west. Pots are considered to be the offspring of discusses how each of these can affect artists’ the potters, and all potters talk about pots as works, then describes how specific contempo­ beings with lives and minds of their own. rary artists have been influenced. British ceram­ “All three potters nurtured and caressed the ist Carolinda Tolstoy looks to the patterns and pots, awakening stories and emotions that colors of the Middle Pueblo-literate society knows and comprehends. East, Morocco and Per­ Steve Lucas [a Hopi-Tewa] spoke for all the sia. “She is particularly potters when he stated, ‘Clay is alive, and giving drawn to the Safavid life to it, giving beauty to its decoration...is what Period (AD 1500— a potter is about....Potters are tools to enhance 1600), whose artists clay’s beauty. It is not the potter, but the clay were the Shah’s court dictating how it will be used and shaped, what painters,” the author beauty it holds to be revealed by the potter.’” 116 explains. “This time can pages, including biographies, glossary and con­ best be described as the ‘Renaissance of Persia.’ cordance. 121 color and 83 black-and-white Much of the decorative work from the Safavid photographs. ISBN softcover 0-940784-22-X; period was itself inspired by silk made by the or hardcover 0-940784-21 -1. Softcover, $24.95; American silk traders. It is the richness of the hardcover, $49.95.University of Washington borders and the backgrounds of the illumina­ Press, PO Box 50096, Seattle, WA 98145-5096. tions, and the exotic color—fluid gold, tur­ quoise blue and vivid pink—found in clouds Safety in the Ceramics Studio and carpets that first inspired Carolinda. These How to Handle Ceramic are the colors that she continues to use in her Materials Safely work.” 176 pages, including index. 260 color by Jeff Zamek photographs. ISBN 0-7136-5681-6. £30 (ap­ “Every month we read or hear unconfirmed proximately US$46). A&C Black Publishers, reports (gossip) about the dangers of exposure to

37 Soho Sq.y London W1D 3QZ, England. raw materials. Which poison of the month will be added to our list ofproblem materials? Exactly Voices in Clay how many safe raw ma­ Pueblo Pottery from the Edna M. terials will be left to make Kelly Collection a glaze? What is so wrong by Bruce Bernstein and J. J. Brody with warning potters of Published in conjunction with an exhibition potential health risks of the same name at the Miami University Art they face or might inflict Museum in Oxford, Ohio, this well-illustrated on their pottery-buying catalog begins with a brief history of Pueblo customers? How can this pottery, and provides sketches of common deco­type of message cause a

Ceramics Monthly October 2002 24 Ceramics Monthly October 2002 25 new books sometimes issued with good intentions, they are In the final chapters, he provides informa­ based on studies that do not pertain to potters.” tion on glaze testing services, the results of a The first few chapters cover such topics as potter’s health and safety questionnaire, and a problem or be anything but constructive?” ques­ studio planning, furniture and storage, safety risk assessment. 160 pages, including list of tions the author of this guide to studio safety. equipment, kiln-venting systems, safety proce­ sources and index. 51 color and 88 black-and- “The sum total of all the dire health warnings dures and clothing, respirators, and eye and face white photographs; 10 sketches. ISBN 0-87341 - has been to cause more confusion and anxiety protection. Advice on reading and understand­ 922-7. Softcover, $21.95. Krause Publications, than clarity. We are in the season of a ceramic ing Material Safety Data Sheets (MSDS), in­ 700 E. State St., Iola, WI 54990; see website toxicology witch-hunt. Any mania will intensify cluding potential hazards from inhalation, dermal www.krause.com; or telephone (800) 258-0929. as long as the relevant facts are not discovered, absorption and ingestion, is next. Then Zamek published and communicated to the people who discusses the use of barium carbonate, talc and The Art of Handmade Tile use the material....Simply stated, while the ar­ asbestos, plus toxicity issues of refractory fiber Complete Instructions for Carving, ticles on potential health risks to potters are and common studio hazards. Casting and Glazing by Kristin Peck “While we are surrounded by technology, or more to the point, forced to live with it, we are not forced to livein it,” states the author of this nicely illustrated guide. “People are spending more time at home, for both work and play, and still desire the human contact that is being phased out of our lives day by day. With tile, especially handmade tile, there is a human touch that is missing in today’s products. Tile is an intimate part of our lives, greeting us every day throughout our homes. ” Peck first details the items needed—types of clay, tools, equipment, kilns—then discusses inspiration and tech­ niques, such as carving and drying tiles. Mak­ ing a plaster mold and using it to produce tiles are covered in the next chapters, as are bisque and glaze firings, surface treatments, and home tile installations. In the following chapter, several tile artists provide advice on such matters as shrinkage, decorating with handmade tile, participating in shows and creating public art. “The success of a public installation of ceramic handmade tiles depends not only on the way it physically and emotionally engages its audience, but also on the manner in which it is constructed,” notes Binnie B. Fry. “It is the challenge of every artist working on a tile project to be technically adept...so that it is structurally sound and appropriate for its climatic or physical environment.” The text concludes with several projects to try, plus a gallery of works by contemporary tile artists. 144 pages, including foreword by Adam Zayas, resources and index. 203 color photo­ graphs; 34 sketches. ISBN 0-87349-432-6. Softcover, $21.95.Krause Publications, 700 E. State St., Iola, WI 54990; see website www.krause.com; or telephone (800) 258-0929.

Ceramics Monthly October 2002 26 Ceramics Monthly October 2002 27 video throwing a large cylinder in Ron Dahline: Reflec­ tions in Mud. The remainder of the video focuses on the modeling work, which involves scraping, stretching, adding and removing clay to create Artists in Residence facial features. Scott Bennett: Evolution at Work Throwing on the wheel, Dahline says, is “like Fong Choo: Form Miniaturized learning to play a musical instrument—just as Ron Dahline: Reflections in Mud difficult.” Once the basics are learned, though, Justin Teilhet: Form Magnified it’s important to develop a personal approach. Intended as teaching aids, this series ofvideos “So many people don’t realize that; [they] basi­ takes “a day in the life” approach to document cally copy what somebody else has done, then artists at work in their studios. Each is shown claim it as their own.” developing ideas in form and surface, while Although he typically works on a smaller discussing aesthetic decisions. scale, Justin Teilhet of Yellow Springs, Ohio, is In Scott Bennett: Evolution at Work, Colum­ shown throwing and assembling an 8 5-pound bus, Ohio, artist Scott Bennett talks about his vase form in Justin Teilhet: Form Magnified. series of “gems,” wall pieces reminiscent of gem- “Working large has been interesting for me,” he stones set in jewelry, which evolved from earlier says. “Instead of centering in on any given aspect vessel forms. The construction process involvesof a pot, I’m keeping in mind the bigger picture.” several stages. He first throws a ring that is altered Having already thrown and assembled two to form an oval slump mold; a wheel-thrown sections to a height of approximately 2 feet, slab is then draped inside the oval mold to create Teilhet throws two more sections, which are the “gem.” added to the vessel. The joins are smoothed and While working on the wheel, Bennett com­ the walls are pulled further. A bowl shape is then ments: “I don’t really look at it as a tool to make thrown and joined (upside down) to the top of the same thing over and over anymore. I kind ofthe piece to finish the form. struggle with the whole production thing, al­ This series is available asVHS cassettes. Each though I admire it. I don’t think I could do it. So is approximately 50 minutes. $25 each. Artists in I tend to look at coming over to the wheel as like Residence, 506E. Tompkins St., Columbus, OH taking out a new piece of paper every time.” 43202; e-mail [email protected]; or tele­ Next (a month later), he is shown spraying an phone (614) 263-3206. assembled and bisqued form with glazes, while describing the intended results. A third firing for Learning to Throw gold luster is planned to continue the gem/ with Mike Finch jewelry theme. Intended for beginners, this how-to video In the final segment (another month later), features Mike Finch of Winchcombe Pottery Bennett assesses the results, displaying those few demonstrating the basics of making production he considers successful on the wall, and consign­ pottery: kneading/wedging clay; and centering, ing the rejects to the floor. opening and pulling at the wheel. Also demon­ Fong Choo: Form Miniaturized features Fong strated are throwing a gallery on a pot for a lid Choo in his Louisville, Kentucky, studio, throw­ and throwing bowls. ing and assembling miniature porcelain teapots. Mike Finch recommends learning to throw He begins by throwing—very quickly—various pots to the same size: “This gives you discipline body shapes, spouts and lids. “It may come and gives you true control of the clay,” he states. across as me manhandling my clay, because I’m “You may not want to be a production potter, working pretty fast,” he admits, but “the idea you say, and you don’t want to make pots the behind working fast is I want to keep it really same, but until you can make pots the same, fresh. I don’t want to play with it—just pick, you’ll lose control of the clay.” pick, pick. If I pick at this thing too many times, Throughout the video, there are problems then I feel like I’ve overworked the clay.” with sound pickup; it is often difficult to com­ Three different teapots are then assembled prehend explanations of the demonstrations. from the thrown parts, and textured coils are Available asVHS or PAL videocassette. Approxi­ added as handles and feet. Slides of similar mately 30 minutes. £22.27/US$35, includes finished forms suggest ways in which they may postage. ReelThing Productions: e-mail be glazed. [email protected]; see website To create his “in-your-face” mugs, Cedar www.pottery-techniques.co.uk; or telephone/fax Key, Florida, potter Ron Dahline begins by (44) 1242 609117.

Ceramics Monthly October 2002 28

Spokes of Tradition by Warren Frederick

We should toss out any im­ gestation. The natural ash age of tradition as a chain glazing of wood firing cap­ where contemporary artists tures these manipulations— weld their links onto the clay caught in motion: end of a line. Tradition is stretched, pushed, pulled closer to the image of a and attached. There is a tra­ wheel strengthened by ditional respect for material spokes of alternatives. Each and making, both informed spoke is firmly attached to by an effervescent delight in the central hub of the change and process. wheel, while the outer end While Catherine White is free to react to circum­ also fires with wood in an stances. The spokes create anagama, her gas-fired work a wheel of activity, emanat­ in this exhibition was thinly ing from a common origin. clothed in a delicate, barely Over time, the spoke-tips green celadon that con­ may shimmy and shake—a trasted with the rough, representation of tradition crackled and creamy white responsive to evolving ar­ slip beneath. Once again, “Square Form,” 4 1/> inches (11 centimeters) in height, salt-fired stoneware, tistic innovation. the presence of the clay is a with Shino glaze, by Shelia Hoffman, Washington, D.C. “In the Spirit of Tradi­ primary ingredient, but it tion,” an exhibition at must coexist with usability. Montgomery College’s Pavilion of Fine Arts, in Takoma Park, The jar, plate and vases that she exhibited all express the creative Maryland, showed the work of five potters who have been active variability of slip—brushed, dipped, dripped and scraped. in the Washington, D.C., area since the1970s and 1980s. All five Mary Wolff is most passionate about hand-formed indigenous began with an abiding passion for functional pottery. Each is pottery, particularly Native American jars and rough, irregular wedded to a tradition of physical use, but has expressed it in Mexican earthenwares. For many years, she taught ceramics at different ways. American University in Washington, D.C., and built an anagama Mary Bowron’s work is grounded in a fascination with the in the mid 1980s. Her best work captures the soft tautness of medium. With a sharp, intuitive attentiveness, clay bodies are earthenware in flame-marked stoneware. Among Wolff’s most formulated, then modified based upon the results of wood firings evocative forms are large platters, pounded out and shaped in beds in a 75-foot-long anagama. Her pots are embellished with slips, of sand. Perceptive stacking enables their shallow curves and with sculptural reliefs of animals, and with other markers of undulating rims to capture the anagama’s currents of wood ash.

Ceramics Monthly October 2002 32 “Gray Platter,” 14½ inches (37 centimeters) in diameter, stoneware, with natural ash deposits, by Mary Wolff, Bluemont, Virginia.

Trew Bennett’s ideas about pottery ma­ tured in the 1960s and 1970s. A student of Teru Hara, a Japanese potter who moved to the U.S. in the early 1960s to teach at the Corcoran School of Art in Washington, D.C., Bennett was inspired by her appre­ ciation for Japanese ware to build an anagama in the early 1980s. Her bowls in this exhibition were inspired by, yet quite distinct from, slip-decorated Onta ware. Bennett’s most poetic bowls don’t seduce with bold designs, but insistently tug, draw­ ing our attention to discern the flowing patterns of slip that are softly obscured by the natural-wood-ash glaze. Sheila Hoffman was introduced to pot­ tery by Warren MacKenzie. Forever in­ debted to his vision, she is adamant that material and process should engender an . . i Stoneware bowl, 12 inches (30 centimeters) in diameter, intimate link between beauty and7 use. Or- ...with white slip..... and natural . asht .deposits, . wood . ..fired in an anagama,. ten glazed with an American-style Shino, by Trew Bennett, Faber, Virginia.

Ceramics Monthly October 2002 33 her work is crisp and quiet, full of poten­ tials that must be brought to fruition through inspired physical use. Hoffman’s sense of tradition springs from Shoji Hamada’s thoughts about folk pot­ tery. As curator of the Montgomery Col­ lege exhibition, she noted that when Hamada began potting, he said that he was “not interested in making something novel or refined but was aiming at making cor­ rect and healthy things, pottery that was responsive to the naturalness of the materi­ als used, and though beautiful on the out­ side, [its essence] began from the inside.” When introducing this show, she noted that a pot’s “intrinsic sensibility, the part of the pot not easily visible to the eye and that

“Cocoon Vase,” IV2 inches (19 centimeters) in height, white stoneware, with crackled white slip which gives it meaning, is what I search for and celadon glaze, by Catherine White, Warrenton, Virginia. in my work and is what I find in the work of the exhibiting potters.” In Hamada’s words, “correct and healthy” objects may be what curator Hoffman found, but the pots in this exhi­ bition are also the result of dissatisfaction. These five artists are driven to resurrect the feelings they have for the best historical work they have experienced, yet they also insist upon achieving those feelings in their own fashion. Anchored in the folk-pottery spirit of tradition, the expressiveness at the tips of those spokes-of-tradition continues to vibrate and evolve. When artists struggle to eliminate the unessential (what architecture critic Paul Goldberger describes as “richness distilled to essence”), when the properties of mate­ rials are sensitively chosen and made mani­ fest, and when artists push themselves to “Oblong Bowl,” 4¾ inches (13 centimeters) in height, found white stoneware, with natural ash deposits, isolate their idiosyncratic visions—only wood fired in an anagama, by Mary Bowron, Boyds, Maryland. then are we graced with objects of natural balance, hard fought yet seemingly effort­ lessly achieved.

Ceramics Monthly October 2002 34 by Linda Ganstrom

Hosted by the Kansas City Artists Coalition, “Bodytext,” an piece produced will be perfect in form and presentation. In keep­ exhibition of figurative sculptures by eight artists (Tenille Blair, ing with the premise that we as human beings are not perfect, I Shannon Calhoun, Mark Chatterley, Bede Clark, Linda Ganstrom, allow these molded pieces their imperfections, giving each baby Marie E.v.B Gibbons, Sondra Schwetman and Conrad Snider) the right to her individual flaws. Letting them be who they are incorporating words as image, was on view during the 2002 from birth—birth being the release from the mold—created a National Council on Education for the Ceramic Arts (NCECA) piece that uses the repetition of one form [while] allowing each conference in Kansas City. Several of the exhibiting artists work in form its own individual persona.” this “bodytext” style extensively, while others made pieces specifi­ Each of these figures “houses a clay box built within the belly, cally for the exhibition, altering their normal figurative style to which holds a found object appropriate to the theme of the day,” add the element of text. Gibbons explains. “Stamped, drawn or written on the body of Marie E.v.B. Gibbons, a studio artist from Arvada, Colorado, the baby are words or symbols, which also visualize the theme of primarily slab builds figures that are carved and enhanced with that day.” text to communicate stories. The most intriguing of her works For instance, “Friday’s Child,” who “works hard for a living,” featured in the exhibition was “Society’s Child,” an installation of according to the nursery rhyme, is covered in classified advertise­ life-size baby girls illustrating the nursery rhyme about birthdays ments for jobs, such as “Seeking energetic individual to work in a (Monday’s child is full of grace, Tuesday’s child is fair of face, fast-paced environment.” The figure’s belly is filled with a frag­ etc.). The seven babies were mounted on the wall in the order of ment of a beehive. the days of the week. “Saturday’s Child,” who is loving and giving, bears a headband Working with an anatomically correct, life-size doll, Gibbons stamped over and over with the word love and her head is en­ developed a series of press molds in which to form slabs. “Most circled by a band of sweetly sentimental, stamped hearts. Yet these often when a mold is used,” Gibbons says, “it is assumed that the optimistic, perhaps naive messages of free love are balanced by

“The Artist’s Studio,” 55 inches (140 centimeters) in length, earthenware, with slips, $3000, by Bede Clarke, Columbia, Missouri. PHOTOS: BEDE CLARKE, SHELDON GANSTROM, MARIE E.V.B. GIBBONS, VADA SNIDER

Ceramics Monthly October 2002 35 more realistic reminders of STDs and warnings, such as “Be Kind to Your Mother Earth” and “Make Love Not War.” The child born on the Sabbath Day is supposed to be blithe and bonny and good and gay. Gibbon’s “Sunday’s Child” is cov­ ered in prayers and semireligious axioms, such as “cleanliness is next to godliness” and “abstinence makes the heart grow fonder,” “Society’s Child,” 12 inches (30 centimeters) in height, press-molded clay and mixed media, $6000, which is impressed over the child’s pubic bone. Other truisms by Marie E.v.B. Gibbons, Arvada, Colorado. reflect the repressive power of words, as in “children should be seen, not heard” or “if you can’t say anything nice, say nothing at all.” Gibbons adds that “my intention with this work is to convey society’s often conflicting expectations, de­ mands and stereotypes [that are] placed upon us almost directly from birth. These, being all female babies, focus on those demands and stereo­ types experienced often, but not solely, by women.” “Insomnia” by Conrad Snider, studio artist from Newton, Kansas, evokes the intense clarity and heightened emotional distress of sleeplessness. The bold style of these monumental abstract figures combined with their rich surfaces seduce the viewer into explor­ ing their rough edges, sharp cuts and smooth expanses. Their scale and physicality are overpowering, yet their implied move­ ment is dreamlike and mysterious, slow and heavy. The handwrit­ ten text incised into the surfaces hints at the artist’s intent. Words spiral around the forms, communicating his desire to connect deeply and form a stable, intimate relationship with another human being. Bede Clarke, Columbia, Missouri, contributed a collection of platters and tiles that reveal poetic style and content to the exhibi­ tion. Clarke has developed a highly stylized, visually beautiful vocabulary of figurative and sculptural forms. His style could be described as having a childlike innocence and playfulness inter­ preted through the eyes of a sophisticated, sensitive artist. His figures amaze and entice with their visual delicacy of line and subtle color palettes. Poetic words written in a beautiful hand, barely legible, often encircle or underscore Clarke’s visual images, increasing our desire to decode their meaning. Colored lines add to the layering and dynamic quality of his compositions and form visual reference to lined paper, so often utilized by children for recording their “Insomnia,” 69 inches (175 centimeters) in height, artistic ideas. stoneware, with stains and glazes, fired to Cone 10, Clarke’s handling of clay is direct, fresh and natural, while his by Conrad Snider, Newton, Kansas. incised and painted images emerge softly from their ceramic foundations, seductively whispering their poems. My installation was created specifically for this show and bore the same title. A nearly life-size youthful woman stood on a pedestal directly in the center of the stagelike theatrical setting. This figure was formed of inch-thick stoneware slabs that were

Ceramics Monthly October 2002 36 “Bodytext,” 10 feet (3 meters) in height, press-molded stoneware, with stains, fired to Cone 6, installed with mixed-media elements, by Linda Ganstrom, Hays, Kansas.

ened, the sections were assembled, starting with the feet and working up, over a steel rod welded to a steel base for added support. Two small childlike arms were laid at the base of the pedestal on either side of the principal figure. One was formed of aged and yellowed plaster, while the other was cast in golden moulage. These little arms symbolized the handicap or lack of creative action and the inability to embrace the world the “idolized” woman faces. In front of the primary figure, a female in a seedlike pose suggested the creative potential of humanity, and the supportive foundation of family and friendship. Embedded in a field of black sunflower seeds, her potential for life and renewal was emphasized. The backdrop was a painting created with clay paint on heavy Stonehenge paper measuring 108 by 50 inches. The clay paint was mixed by adding various ceramic materials, such as clay and glaze chemicals, to a base of acrylic matt medium to produce colors and textures that are familiar to the ceramics artist. Near the base of the painting, a recumbent figure shrouded in white symbol­ izes death and the transformation of a seed into new life. This figure acts as a foundation for the couple and female figure rising from its base. In the background, a couple stands facing forward. Their silhouettes are covered in text relating to male and female roles in relationships. Emerg­ ing on top of this relationship, a large dark female figure with long fingers stretches to her limit, embracing the world. Her body is covered in a lacy black texture that consists of text that communicates her understanding and inscribed deeply with a pencil. The written text, dealing with wisdom. Her long fingers are textured with raised words such as personal weakness or “feet of clay,” refers to the biblical story of “tolerance,” “appreciation,” and “compassion” that become Daniel’s dream of an awesome statue with a golden head, silver branches, connecting her with the world. When viewed with the chest, bronze thighs and legs of iron, but feet of clay and iron. “Bodytext” figure in front on the painted female form, the figura­ When struck on its feet of clay, the entire statue crumbled. tive fragment becomes a shell or seed that is completed by the The text also observes how the American cult of personality action of the figure in the painting. builds people up, based on superficial ideals of beauty and fame, Forty yards of black tulle drape the painting and connect it to yet loves people for their weaknesses and vulnerability. Idolizing the figures. Tulle was chosen as it is a popular fabric for creating personalities such as Marilyn Monroe, the public empathizes with wedding decorations; at the same time, the color added an ele­ her, while at the same time gossiping and rejoicing in her tribula­ ment of death, referring to the old tradition of draping paintings tions, fascinated by her weaknesses. and mirrors in black fabric after the death of a household mem­ The inscribed slabs were cut into smaller sections and tossed ber. While adding a unifying element to the installation, this onto a canvas-covered board to stretch them to¾ inch in thick­ drapery also helps create the balance of death in life that defines ness, distorting and obscuring the text. These slabs were then our humanity. carefully laid on paper towels in press molds made from a body casting. Once they had reached leather hardness, the slab sections The author “Bodytext” curator Linda Ganstrom is an associate were removed from the mold. After the edges had been remoist­ professor of art at Fort Hays State University\ in Hays, Kansas.

Ceramics Monthly October 2002 37 Tile Quilt A Public Art Venture in Buffalo, New York by Gail McCarthy

“what should be.” As a result, I was given complete freedom to manage this year-long project. My willing collaborators included the faculty of an art school, suppliers of ceramic materials, a project engineer, a multitude of construction work­ ers, a skilled tile setter and hundreds of commu­ nity artists. I brought to this design process my hybrid background as a ceramics artist, an envi­ ronmental sculptor and a professor of art at Niagara County Community College, as well as my experi­ ence as a former grad student in the University of Buffalo’s School of Architecture. My first decision was to select ceramic tile as the most appropriate medium for this area of high public impact. A 6x6-inch commercial bisque tile A percent-for-art program funded installation of a tile mural at the new City of Buffalo was just small enough to fit the curve in the lobby Telecommunications Center, a renovated movie theater. wall and just big enough to offer a “picture sur­ face” for the community’s artists. When I proposed a tile mural for the lobby of the Apollo Theater, My next decision was to employ the faculty of Locust Street a once-grand inner-city movie house reborn as the City of Buffalo Neighborhood Art Classes, Inc., to solicit artists and to fire the Telecommunications Center, I knew the design and execution tiles. When the school’s part was completed, it would be up to me needed to satisfy both the community and city hall. The architect, to organize the diverse images into a unified and coherent compo­ Robert Traynham Coles, had allocated $25,000 from his $400,000 sition. No one could even guess what the finished project would budget for an artwork that would be integral to the structure and look like because so much would depend upon both the quality would have citizen participation in its making. Our city’s Com­ and the number of painted tiles produced by the as-yet-unknown mon Council approved this appropriation as a test-run of Buffalo’s artists. Talk about high-risk odds! fledgling percent-for-arts program. When Molly Bethel, the director of Locust Street, agreed to Built in 1941, the theater had deteriorated badly since its take on the project, I budgeted funds to purchase new kiln closing some 20 years ago. The beauty of its interior space was elements, a safe exhaust system and tile setters. The funding also barely discernible when, on a gray winter’s day, I visited the site provided for photo documentation and a dignified salary for the with the architect. The areas designated for art were: the entrance staff. As coordinator, I had to pay attention to bids for every tool vestibule, the circular lobby and a contiguous back corridor lead­ and all materials. All purchase orders—written in triplicate— ing to what would be high-tech recording studios—in all, 1200 required approval by project engineer Paula Weeks. I worried square feet. about excess delivery charges, late-return policies and slow deliv­ At that time, the structural skeleton was forbidding. All of the ery time lines. By begging suppliers for discounts, I stretched the walls had been demolished, the roof was open, and ragged floor money as far as it would go. seams merely suggested the shape of the lobby. It was a great The selection of glazes involved considerable testing and re- advantage to be brought in so early in the design process, though, evaluation. I knew that we should stay with simple, nontoxic because the architect and I had many a productive talk about recipes, so I chose a family of commercial majolicas that is child-

Ceramics Monthly October 2002 38 Part of the tilework was installed in the building’s south vestibule.

Ceramics Monthly October 2002 39 The main lobby wall and corridor displays a large expanse of tile, consisting of commercial tiles decorated by community artists and the author.

friendly and tinted to correspond to finished colors. The majoli­ waiting at its doorstep that it dedicated an entire painting studio cas did require a base coating on each tile, but this eliminated a exclusively to the project. time-consuming protective overglazing at the end of the decorat­ Reaching the end of summer (and the last dollar in my bud­ ing process. get), I had to call a halt to the painting sessions. The tiles came On evaluation of our first test group, the painted tiles ap­ home to the school, were stacked into setters and slowly fired to peared too subdued, and certain colors lacked the sparkle of the Cone 05. Some artists had been too restrained with the glazes primary spectrum. As a solution, I eliminated some colors and and, after careful inspection, their tiles were carefully touched up substituted commercial gloss glazes for the red, yellow and black. and refired. The finished tiles were stored in the basement, packed The two types of glazes proved compatible; on the next tests, the away, unsorted, in dozens of green plastic bread trays begged from colors had brightened and the contrasts and dimensionality came a local supermarket. to life. Both the number and variety of decorated tiles had grown far As summer moved along, the project attracted television and beyond my original estimate. I was confounded by the prospect of print coverage. Locust Street set tables out at street festivals. The combining 1500 completely unrelated glaze paintings into one faculty agreed not to restrict the choice of subjects, other than coherent design. First, I spread out the tiles to let them “speak” to prohibiting ads for commercial enterprises. Volunteers were pro­ me. As leaves started dropping that fall, I came back, day after vided with coated tiles, huge squirt bottles of majolica and gloss day, to the narrow basement of the art school to decide which glazes that were fed into individual glaze pans, plus lots of good group each tile wished to join. After four hours my mind would brushes. People of all races and ages—from senior citizens to tiny close down, telling me it was time to quit for the day. I reviewed children in the laps of their parents—wanted to make a painting the tiles so often I recall virtually every painting and where that for the Apollo Theater. The school soon had so many artists tile eventually was placed.

Ceramics Monthly October 2002 40 I found that the paintings fell into recurring themes, such as hearts and love, words and names, house and family, faces and figures, plaids and stripes, flowers and landscape, spiritual mes­ sages, comic characters, memorials to a lost loved one, solid color groups, and preschoolers’ abstractions. The Colored Musician’s Club was the only easily themed group, since the players drew instruments or clefs. I labeled each category as I sorted tiles back into the green plastic trays. Those hundreds of lovingly produced images began to take on a life of their own and would appear in my dreams as vibrant statements about the human condition. It took weeks to catego­ rize each tile, then to organize topics into long, dual-tile strips to be set into a unified design. I decided to employ floor-to-ceiling rows of red, yellow and black commercial tile to frame and offset the various themes. After measuring and remeasuring the lobby’s walls, I made use of my rusty architectural skills to produce scale drawings that would accurately communicate the placement of every tile to both the architect and the installer. The installation began in the dead of winter. I was warned about the Port-A-John, but not about the lack of reliable heat, so, the second day, I donned boots, multiple-layered shirts and long johns to work alongside a swarm of finishing carpenters and electricians. Every hour, a portable heater would scald the atmo­ sphere with a few moments of blistering heat that was immedi­ ately defeated by the subzero climate. The construction crew was wary of an artist intruding into their space, but soon were won over by the profoundly human nature of the images. They began to make their own drawings on the drywall, and brought their wives and children to preview the installation’s progress. Such is the power of art. My tile contractor, Tiede-Zoeller, Inc., requisitioned Jim Haak, their best tile setter, who looked over my drawings, grabbed his level and started in. The tiles went, one by one, from my hand to his. For the wall beyond the lobby, we installed tiles that incorpo­ rated the first name of every artist. We also added autograph tiles for the politicians, contractors and civic groups that had sup­ ported the project. Looking back on the intensity of this period, I recall the collision of a succession of emotions. I was impatient to proceed from the fragments of individual tile to the whole work. I had boundless optimism, which was soon followed by the fear of Mural detail: tiles decorated by local students. performance in public, since the installation was a piece of theater being viewed by a host of spectators and commentators. I was subject to internal panic about how well the idea would actually work. As those tiles were walked, two by two, up the ramp, I could hear the hundreds of voices singing, now in chorus, about their lives. When the renovation of the Apollo Theater was finished and the doors thrown open to the public, our mayor, Anthony Masiello, celebrated its interior as “the Sistine Chapel of Jefferson Avenue.” It was no longer my project. By then, it had become the compos­ ite possession of each artist who had contributed his or her vision to the greater whole.

Ceramics Monthly October 2002 41 “Koi Pond,” 16 inches (41 centimetters) in height, wheel-thrown and altered porcelain, with carved slab additions, celadon glazed, fired to Cone 9, $2500, by Rachel Porter, Sebastopol.

The 13th annual “California Clay Competition” was on view through June 1 at the Artery in Davis, California. From 279 entries, juror Lisa Tamiris Becker selected 39 works for display. “Ceramics engagement with cultures both contemporary and ancient, and with artistic practices of the East and the West has been a captivating aspect of the medium and its practice,” she commented. “This juried exhibition of ceramic art produced in California conveys the broad reach of the medium across these and other artistic cultures and periods. “Included in the exhibition are figurative works that evolve out of California Funk, but also make connection with central Asian, classical GrecolRoman and indigenous American figurative traditions. Also included in the exhi­ bition are sculptural works that reflect the influence of minimalism and postminimalism on recent ceramic pro­ duction. Yet other works carry forward the enduring tradi­ tion of vessel making. Indeed, the exhibition reflects a hybrid California located in a hybrid world.” The competition and other exhibitions throughout Davis were presented in conjunction with the California Conference for the Advancement of Ceramic Art. “Self-Portrait,” 65 inches (165 centimeters) in height, handbuilt low-fire clay, with engobe, underglazes and glaze, $2000, by Lisa Marie Barber, Santa Clara.

Ceramics Monthly October 2002 42 “Arched Form,” 11 inches (28 centimeters) in height, handbuilt, with glaze, fired to Cone 04 in oxidation, $800, by Andy Ruble, Los Gatos.

“In One Ear, Out the Other,” 12 inches (30 centimeters) in height, “Page’s Dream,” 6 inches (15 centimeters) in height, white stoneware, sculpture clay, with oxides, fired to Cone 5, with prosthetic eyes, with stains and glazes, fired to Cone 06 in oxidation, with ink stains, $450, by Hector Dio Mendoza, San Jose. $195, by Lisa Maher, La Jolla.

Ceramics Monthly October 2002 43 Ryuichi Kakurezaki by Kelvin Bradford

With its subtle color changes and simple forms, unglazed, wood-fired Bizen-yaki is one of the oldest traditional styles of Japanese pottery. While other Japanese pottery styles have diversified considerably, Bizen ware has remained relatively unchanged for a thousand years. Currently, however, the term “New-Age Bizen” is in vogue, as contemporary potters apply traditional Bizen firing techniques to new clays and forms. At the forefront of this style is Ryuichi Kakurezaki. In the past 12 years, he has developed an approach combining traditional Bizen techniques with nontraditional ideas about form, push­ ing further into the realm of sculpture. Although the downturn in the economy has had an effect on sales for many Japanese potters, it is not unusual to see a

Right: Kakurezaki uses a serrated metal rib to shape and texture a slab.

Below: Sculptural forms, to approximately 20 inches (51 centimeters) in height, Bizen clay, wood fired to 1270°C (2318°F).

Untitled sculpture, to approximately 18 inches (46 centimeters) in height, wood-fired Bizen clay.

Wood-fired sculpture, to approximately 18 inches Untitled vessel, approximately 15 inches (38 centimeters) in height, Bizen clay, (46 centimeters) in height, slab-built Bizen clay. wood fired to 1270°C (2318 F)

queue of 50 people at the opening of a Kakurezaki exhibition; it’s a 20-minute drive by taxi up a steep road wide enough for only some of those waiting will have slept there overnight, paid by one car to his workshop. collectors to hold their place in line. Walking up the driveway, I was confronted by a massive stack Seldom in Japan has one person had such a big influence in of wood in wired bundles. I measured it at 90 paces, about 270 such a traditional style at such a young age; Kakurezaki is 52. feet; there were 5 similar stacks around the back of the workshop. That he is able to create a market for work that ventures so far I would later learn that he burns a mixture of red pine (80%) and into the sculptural arena is unusual as well. oak (20%) in each firing. The wood in these stacks is between 20 The staging of a Kakurezaki exhibition is also unique within and 40 years old, and comes from a cooler area of Japan, which Japan. He will arrive a few days prior with an interior designer yields a higher sap content. and an army of assistants to set up carefully preplanned lighting His principal kilns are a 40-foot-long noborigama and an effects for specific pieces. anagama, measuring 60 feet to the flue. The latter has an unusual Kakurezaki lives and works near Osafune, which is about 30 “submarine” shape, and is difficult to keep at even temperature. minutes by train from Okayama—Bizen heartland. The locale is There is also a small hybrid anagama/noborigama and a modern very rural, with a tiny station that has only one attendant. Then, electric kiln.

Ceramics Monthly October 2002 46

Bizen masters have developed sophisticated methods of load­ ing to produce a range of effects. They make extensive use of “shields” around smaller pieces. Often, loading is extremely tight, with just the thickness of the shield (which is like a second skin made from refractory clay) between. Seashells in saggars are also utilized to fume some pieces. This type of loading is extremely precise and time-consuming. Kakurezaki normally fires to 1270°C (2318°F); higher tem­ peratures are sometimes attained in long firings. The anagama takes 5 days to load and 15 to fire; the noborigama takes 10 days to load and 26 to fire. The Bizen clay, which comes from under the fields, is very carefully prepared. It is trucked in, then dried. When I first visited Kakurezaki, the younger of his two assistants was chopping out unwanted foreign particles from a new batch of clay; a week later, he was still performing the same task. The dried clay is then put through a mechanical crusher. After water is added, it goes into settling tanks. Finally, it is put through the pug mill; there are a number of attachments to enable the extrusion of different shapes directly from the pug mill. Kakurezaki’s studio is as clean as a doctor’s surgery, with the tools he utilizes laid out on the right-hand side of the electric wheel. To the left is a table with overhead lighting, where he alters the wheel-thrown forms. These forms can be quite complex, Sculptural vessel, approximately 10 inches (25 centimeters) in height, Bizen clay, with ash deposits, wood fired to 1270°C (2318 F). sometimes utilizing throwing, cutting, carving and paddling tech­ niques—all on the same piece. While still producing his trade­ mark cut teabowls («chawan), sake bottles (tokkuri) and sake cups (guinomi), he is venturing more into sculptural forms based on nature. For example, 24-inch-high “bird forms” are thrown and the appendages added by coiling; they are often exhibited in groups of three to highlight positive and negative elements. His assistants work in an area adjacent to his studio; it has space for three wheels and racks for drying. To the left of this space is the clay preparation area, and above is a private gallery where finished work is on display. Behind the studio complex is the large noborigama; the anagama is at the rear of the property. Huge stacks of wood separate the two. There is also a smaller throwing studio and storage space. Kakurezaki’s approach to his work is extremely flexible. In addition to Bizen, he is interested in other traditional styles, such as Oribe (oxidized copper) and Shino (feldspathic) glazes, and he is willing to discuss such things as differing philosophies and common problems encountered in developing and resolving forms. He laughed when recounting the story of his first faceting (mentori) attempts; after trying all the tools in his workshop, he then exhausted the kitchen in an effort to create more interesting cuts. Kakurezaki represents a new generation of Japanese pottery masters, with extremely open minds, prepared to push into sculp­ Wood-fired vessel sculpture, approximately 10 inches (25 centimeters) tural areas while still retaining the basic elements of tradition. In in height, by Ryuichi Kakurezaki, Osafune, Japan. December, he will exhibit new work at Mitsukoshi Nihonbashi Tokyo, which is a barometer of success in Japan. A 1992 exhibi­ tion of his work at this same gallery really made heads turn, and there will likely be a huge queue at the December opening.

Ceramics Monthly October 2002 Wood-Ash Glazing at Cone 6 by Harry Spring

High firing in a gas kiln for 25 years does have a downside. You vitrified at Cone 6. Available through Laguna Clay Company, it can come to depend upon the kiln to give you the wonderful, is good for throwing small- to medium-sized pieces, weighing 1 serendipitous effects that are part of the magic of reduction. Of to 10 pounds. course, we all know that wonderful glazes can also be achieved I then experimented with ways to develop more interesting without reducing the kiln’s atmosphere. Six years ago, I was surfaces. I tried carving patterns into the clay to create places forced through circumstances to use an electric kiln as my only where the glaze could flow and pool. Another technique that I firing source for my line of production stoneware. Since then, I learned from a friend in California was to take the slurry from have not only come to “put up” with electric firing and the my throwing bucket, run it through a 60- to 80-mesh sieve and challenges of a static kiln atmosphere, but also to appreciate the apply it with an ear syringe for trailed-slip patterning. convenience of electronically controlled kilns and the challenge Next, I tried overlapping two and three glazes to create some of discovering ways of developing interesting and even exciting movement on the surface. This worked wonderfully, but caused glaze effects. some irregularities where the glaze saturated the bisqueware, and I began by testing several commercial clays, and settled on a some running onto the kiln shelves when the glaze application white stoneware (Miller 65) that was both durable and totally was too thick. 1 found I could control the application thickness

Round vase, 9 inches (23 centimeters) in height, white Vase, 9 inches (23 centimeters) in height, white stoneware, with slip trailing, blue Wood Ash Glaze over stoneware, with blue Wood Ash Glaze over Green Dragon Green Dragon Matt Glaze, fired to Cone 6 in oxidation. Matt Glaze, tired to Cone 6 in oxidation.

Ceramics Monthly October 2002 49 more easily and avoid running by spraying the second and third I have found that this recipe works best if it is dipped or coats of glaze. sprayed over another glaze; alone, it is a little too dry to the Most recently, I have begun using wood ash in and over my touch. I like using Wood Ash Glaze over a matt glaze rather than Cone 6 glazes to create visual interest. The results have been very a gloss glaze. exciting. I was fortunate to find a recipe that does not require To prepare the wood ash, screen the dry ash (any wood will washing the ash before adding it to the glaze. Of course, this do) through a 60- to 80-mesh sieve and add it to the glaze batch. makes a glaze that is somewhat caustic, but I wear surgical gloves Another way to achieve interesting effects is to simply sieve when I glaze anyway, so this has not been a problem. wood ash over the damp, newly glazed surface. I do this over a trash barrel. (Remember: ash is caustic, so always wear a mask.) Frasca Wood Ash Glaze (Cone 6) For the most dramatic effects, do both. Sieve the dry wood Whiting ...... 11.36% ash over the rim and shoulder of a pot that has just been sprayed Wood Ash (unwashed)...... 54.56 with Wood Ash Glaze over a dipped or sprayed base glaze, such Potash Feldspar ...... 11.36 as the following: Ball Clay ...... 11.36 Green Dragon Matt Glaze Silica (Flint) ...... 11.36 (Cone 6) 100.00% Whiting ...... 17.66% For a green variation, add 4% copper carbonate; for blue, add 2% Zinc Oxide...... 8.02 cobalt carbonate. Cornwall Stone...... 21.99 Soda Feldspar...... 44.10 Bentonite...... 3.25 Edgar Plastic Kaolin (EPK) ...... 4.98 100.00% Add: Titanium Dioxide ...... 4.01% Copper Carbonate ...... 4.33 %

Wood ash contains a good deal of calcium, as well as potas­ sium, phosphorus, magnesium and sodium—all rather active fluxes in a glaze—so I limit the application of Wood Ash Glaze to the top one-fourth of the pot. Whoever said that oxidation glazes are boring?

The author A full-time potter for over 30 years, Harry Spring resides in Wickford, Rhode Island.

Small round vase, 6 inches (15 centimeters) in height, with wood ash sieved on Green Wood Ash Glaze over Green Dragon Matt Glaze, fired to Cone 6 in oxidation, by Harry Spring, Wickford, Rhode Island.

Ceramics Monthly October 2002 50 “Sometimes It Happens,” 10 inches (25 centimeters) in height, handbuilt stoneware and porcelain, fired to Cone 8, with gold leaf.

Sylvia Hyman by David Ribar

Upon entering Sylvia Hyman’s octagon-shaped studio, I was struck In contrast to the orderliness of the studio, one of the work­ by its neat and orderly appearance. There is none of the chaos of a tables is covered with what at a quick glance appears to be clutter: typical ceramics studio; everything has a proscribed place in boxes corrugated cardboard boxes jammed with letters and cards, woven or on shelves. One battered cardboard box is filled with old baskets heaped with eggs or rolls of sheet music, hopelessly tangled correspondence. Inside are wrinkled, multicolored envelopes bear­ heaps of rubber bands, a cluster of fortune cookies on a bamboo ing postmarks from places in Israel, Korea, Greece, Poland, Tai­ tray. It’s difficult not to smile at the sight, so casual, so innocuous. wan and cities all over the United States. The envelopes are of But then comes the realization that this clutter actually consists of obvious value to Hyman—not only for the personal letters they trompe l’oeil stoneware and porcelain objects. once contained, but also for the postmarks and stamps them­ The 85-year-old artist (born 1917) talks about her latest out­ selves—among the key elements of inspiration for her most re­ put with an energy that would be noteworthy in someone halt her cent series of sculptures. age. She gestures toward this newest work, as she discusses its

Ceramics Monthly October 2002 51 genesis in another series entitled “Family Records,” begun in the 1970s: “I was interested in finding out what would happen if the clay were rolled well beyond the usual limits.” The paper-thin results inspired a group of sculptures that imitated diplomas, certificates and other documents. Her idea was to explore their presence as certifications of expertise or educa­ tion, while the materials themselves suggested the ephemeral aspects of such certification. Initially, Hyman tied the documents with actual ribbons and arranged them in bundles or placed them in wooden drawers or buckets purchased at flea markets. The present “Still-Life” series began only three years ago after Hyman was inspired by some mass-produced shelves in a children’s furniture store. She points out other sources of inspiration for the current work, such as baskets and boxes picked up at the local Hyman carves detail into farmers’ market. “With the recreation of these forms in stoneware a stoneware basket. and my addition of contents, like porcelain scrolls, sheet music, letters and pictures, it was a natural pro­ gression,” says Hyman, “to adding post­ marks, stamps and addresses. “I like to make containers that rep­ resent things that are useful but expend­ able—things that are not regarded as precious. But, it’s not just the technique or the objects themselves; it’s the idea of thoughts they project that’s important to me.” A slightly overcooked batch of for­ tune cookies in a carry-out tray looks good enough to eat, but only the paper fortunes are what they appear to be. “I write the fortunes myself,” says Hyman. “They’re real, though you can’t always take them out to read them. And some of them are personal, special...but they’re all good fortunes.” Hyman stains porcelain and stone­ ware to imitate cardboard, woven wood and various paper textures. Other ef­ fects are achieved by stamping, screen- printing, and drawing text and images on moist and bisque-fired clay. After some trial-and-error, she has devised in­ genious means to form corrugated tex­ tures, extrude strings of rubber bands and weave thin clay strips into baskets. Perhaps the most impressive results can be seen in the faithfully copied woven fruit baskets, exact in detail right down

“Bark Ark/Genesis 7,” 13 inches (33 centimeters) in height, stoneware and porcelain, to their rusty nails or staples, bent with silk-screened stains and oxides, fired to Cone 8. handles and rumpled letters.

Ceramics Monthly October 2002 52 She uses six different stoneware bodies for the container forms baskets, which makes them look scorched and aged, adding to and three different porcelain bodies for their contents. Choices their character. are based on their color and texture when fired. For the sheet Asked if she has considered glazing her work with more tradi­ music and letters, she rolls porcelain in a slab roller, then silk- tional means, Hyman shakes her head: “No, it just wouldn’t look screens images or texts with metallic oxides or glaze stains mixed right if they were glazed; they look better and more real in this with a transparent extender. This must be done quite quickly, as natural state.” the clay will crack when rolled up if it has become too dry. The Visually arresting as these pieces are, in real life we’d probably varied thickness of individual slabs creates the sense of different never look twice at most of the items represented. In fact, we’d weights of paper. usually dispose of them immediately or stash them away in an Colorants in the form of glaze stains or underglazes are wedged attic or garage, pending a future yard sale. The personal letters, into the clay for particular effects—the dirty beige-gray of card­ wrapped packages, sheet music and the like are objects that imply board or the dark blue of airmail envelopes. Sometimes parts are some kind of sentiment or, at least, sentimental value for the surfaced with colored slips or stains, as on the fortune cookies. artist. The diplomas or certificates that commemorate important Lettering and cancellation marks are applied with ceramic pencils accomplishments in someone’s life usually end up forgotten in a or brushed oxides. All the sculptures are bisque fired to Cone 08; drawer; only a few would make it onto a wall. Curious as we a second firing to Cone 8 secures the printing, stamps and ulti­ might be about their personal content, we can only puzzle over mate results. Hyman has also smoke fired a few of the bushel their original purpose or meaning.

“Still Life #7,” 5 inches (13 centimeters) in height, stoneware and porcelain, fired to Cone 8.

Ceramics Monthly October 2002 53 “Box of Music—Tin Pan Alley,” 9½ inches (24 centimeters) in height, stoneware and porcelain, To prevent cracking, Hyman’s tromp I’oeil porcelain with silk-screened oxides and stains, fired to Cone 8, by Sylvia Hyman, Nashville, Tennessee. paper must be rolled at just the right stage of drying.

Though all the objects represented may be mundane, they career as a painter and art teacher in the public schools. During embody the beauty found in the prosaic. Likewise, the relative World War II, she served overseas with the American Red Cross. durability of clay implies an expansive sense of time—thousands After the war, she lived in Texas for ten years (where she taught of years, perhaps—which plays nicely against the humble, tempo­ private classes in drawing and painting) before moving to Louis­ ral quality of Hyman’s subjects. Thus, at its most basic level, the ville, Kentucky. In 1957, she returned to teaching in the public delightful appeal of her work is found in a simple paradox: what school system. looks almost worthless as an impermanent material is fascinating Quite by chance, a potter’s wheel and kiln were donated to her when made into a permanent one. school, and that was enough to spark her interest in clay—that, Ultimately, her sculptures are intelligent and fun. They serve and the suggestion from an administrator that “she should figure as a gentle reminder that beauty is found in the least likely of out how to use the things if she was going to teach there.” things, that playfulness and humility are necessary components of Hyman recalls: “He looked at me with disbelief and told me, the aesthetic, and (in the case of the artist herself) that creativity ‘You’re an art teacher, aren’t you?’ But I’d never received any knows no boundary of age. training in art school for working with clay, since (at the time) it For a local collector of Tin Pan Alley sheet music, Hyman was viewed as a ‘lesser art form, just a minor craft.’” recently created a corrugated stoneware box containing rolled She soon found a German-trained ceramics artist who helped porcelain sheets screened with music of that era. It’s a sober, even her learn to throw and fire, and she managed to stay one step melancholy work—the sort of thing one really would find in a ahead of her nearly 500 students. musty attic among an assortment of forgotten treasures and trash. In 1960, she moved to Nashville, Tennessee, where she com­ The porcelain “paper” looks brittle and old. The slightly warped pleted a master’s in art education at George Peabody College “cardboard” box, complete with a faded, nontoxic manufacturer’s (now part of Vanderbilt University) and continued to pursue her stamp on the side, is a light touch, but further underscores the growing interest in clay. With the rise of crafts programs in melancholy theme of the transient. universities during the ’60s, she was soon asked to join the Peabody A native of Buffalo, New York, Hyman worked first with other faculty full time to teach all the ceramics courses. art media before settling on clay. She completed three years of Throughout her long career in the arts, Hyman’s work has study at the Albright School of Fine Arts, receiving a diploma in changed “as my life has changed.” While she may return to 1937. Then, after completing her undergraduate degree in art objects or ideas that caught her eye decades ago, she remains education from Buffalo State College in 1938, she launched a receptive to intuition and chance.

Ceramics Monthly October 2002 54 THREE GENERATIONS Pottersof San Juan de Oriente, Nicaragua by Paul H. Devoti

Reflecting cultural influences from Maya, Aztec, Inca and various Gutierrez are the two local artists most influential in these respec­ auxiliary tribes, the pottery tradition of Nicaragua dates back tive styles. thousands of years. When the Inter-American Development Bank Bracamonte is recognized as the purveyor and teacher of pre- hosted an exhibition of pre-Columbian and contemporary pot­ Columbian style, and is one of the few who maintained the tery from Nicaragua at their Cultural Center Art Gallery in secrets of symbolism and technique, while the rest of the pueblo Washington, D.C., an accompanying publication described in turned to farming and ranching as means of supporting their detail the pre-Columbian history of Nicaraguan ceramics. Some families. During the resurgence of the ceramic tradition, he has pieces dated back to 1500 B.C., with more advanced work dating shared his knowledge with many young artists. closer to 500 B.C. Helio Gutierrez began his studies with el maestro as a young In surveying contemporary ceramics of San Juan de Oriente, boy in the late 1970s. Bracamonte taught Gutierrez how to tap Nicaragua, two distinctions can be made: ceramics based on pre- the sap from the mora tree. The sap or milk, known as leche de Columbian form and pattern; and works incorporating contem­ mora, is the base for the pigments long used by native potters in porary techniques and designs. Gregorio Bracamonte and Helio Mesoamerica to decorate their vessels. The preparation of these

Vessels with “Piranha” motif (left), approximately 7 inches (18 centimeters) in height, and “Fish in Movement” motif with footprint (right), wheel-thrown, altered, burnished and fired with wood, by Helio Gutierrez. pigments involves a process of adding natural elements to produce a limited palette of silky pigments. As a student, Gutierrez demonstrated a capacity to decorate with a fluidity and grace Bracamonte had never seen—past or present. In 1986, at age 21, Gutierrez completed his apprenticeship with Bracamonte, and, in his own words, “set out to discover a style that I could call my own.” As a result, local and national competitions began to see a bold new variety of ceramics— designs were conceived not in the traditional pre-Columbian motifs but in highly sophisticated geometric patterns. Comple­ menting these new designs were a number of technical inno­ vations, such as embossing in relief, incisings and delicate textures resembling reptilian skin, as well as a variety of new forms. These pieces were undeniably original, and their maker was on his way to representing both himself and Nicaragua in the international arena. In the early 1990s, Nicaragua was starting to recover from political and economic troubles. Gutierrez primarily partici­ pated in showings at local embassies, and received commis­ sions from heads of state. In 1992, the work of Helio Gutierrez and the pueblo of San Juan de Oriente received special atten­

“Tapir,” approximately 7 inches (18 centimeters) tion at the World’s Fair in Seville, Spain. He would later earn in height, vessel based on a pre-Columbian recognition as “most outstanding” in the ceramics category, design, handbuilt, with organic pigments, accepting the award directly from King Juan Carlos. fired in an open pit, by Gregorio Bracamonte.

Bowl with Mayan relief design, approximately 6 inches (15 centimeters) in height, wheel thrown, incised, wood fired, by Juan Boza Gutierrez.

Ceramics Monthly October 2002 56 Gutierrez has also participated in exhibitions in Taiwan, Croatia, China, Cuba and many other Latin American coun­ tries. But it wasn’t until the Inter-American Development Bank (IDB) event in 1996 that the United States was exposed to his work. A Gutierrez pot is now part of the permanent collection at IDB. As an international eye turned toward this village, local artisans began to produce a far more refined product than what had previously been available to tourists in the local markets. Helio Gutierrez had provided not only an example of international success, but also had liberated producers from solely elaborating on pre-Columbian designs and making rep­ licas. Other artists copied and manipulated his techniques and designs to compete in this new bustling market. This develop­ ment has transformed a traditional craft into a thriving con­ temporary movement, helping artisans provide for their families within a struggling economy. From a technical point of view, the process utilized by local potters has changed in two significant areas: the use of a potter’s wheel in forming vessels; and the use of wood-fired kilns, rather than an open pit. Innovations in design have helped attract the attention of international buyers. Those who place high-volume orders have been less receptive to local and traditional designs as they cater to the current trends of wholesale markets in the United States and Europe. A major component in the allure of Nicaraguan ceramics to the inter­ national buyer is the level of sophistication found in contem­ porary styles and design. Although flattered by the influence his work has had throughout the village, Gutierrez is motivated to separate himself, maintaining his reputation as an innovator and cre­ ator, finding inspiration in his dreams and the elements of nature. Attention to detail in design, form, polishing and finishing are also distinguishing traits of his work. These are qualities that he has instilled in the small group of emerging artists who study with him. A nephew, Juan Boza Gutierrez, is an outstanding example of the new generation of San Juan de Oriente potters. Juan, also the godson of pre-Columbian master Gregorio Bracamonte, has had the benefit of watching these influential potters work throughout all of his 20 years. His development Tall bottle, 13 inches (33 centimeters) is interesting because his style is not weighted toward a prefer­ in height, wheel thrown, with oxides over ence for the traditional or contemporary, but a unique combi­ engobe, incised and chipped to reveal clay texture and color, wood fired, by Helio nation of the two. Gutierrez, San Juan de Oriente, Nicaragua. Although generations removed from tribal life, this trio of PHOTOS: COURTESY OF RANDOLPH COMMUNITY COLLEGE ceramics artists maintains spiritual connections, while con­ tinually challenging themselves to develop unique additions to their cultural history.

Ceramics Monthly October 2002 57 A Moving Experience by Deborah Rael-Buckley

It is not uncommon for artists to move their studios from time to Once it was determined that the cats would not have to be time. Many move for the rare teaching opportunity, and some are quarantined, I realized most of my other concerns were not deal constantly chasing artist residencies. Moving a studio with a kiln and breakers. Finding studio space seemed to be the most pressing prob­ other heavy equipment to another state can be rough, but even that is lem, so I went directly to the Internet and waded through the ether nothing compared to moving a ceramics studio to another country. for hours, looking for websites with information about Brussels, Two years ago, when my husband posed the question of living in Belgium, clay, pottery, ceramics, ateliers, studios, workshops, artists, another country for a while, I came up with an answer quickly: “No suppliers, and sending messages to chat lines and websites with no way!” There were too many reasons to stay in Wisconsin. I was luck. It had not occurred to me, in my ethnocentric haze, that the teaching ceramics and ceramics history part time at the University of message boards and chat lines were being visited by Flemish and Wisconsin-Milwaukee. I had just signed a French speakers. Communication was going lease on a great studio space, and had pur­ to be an issue, after all. Since I speak no chased my first new kiln. Besides, I had sev­ Flemish and can only recognize French, I was eral shows lined up for the coming year. desperate to find an English speaker. Milwaukee may not be the most exciting Remarkably, I finally did find a website place in the world to live, and it is certainly (http:llwww.mypots.com) belonging to an not the center of the ceramics world, but I English-speaking ceramist by the name of had dug in and was comfortable. How could Russell Fouts. Formerly from the U.S., he we entertain the idea of moving to Brussels, had been living and working in Belgium for Belgium, of all places, when things were go­ over 16 years. He knew the ceramics scene ing so well for both of us in Wisconsin? well and answered my e-mail messages, which It wasn’t the location that put me off the made him my first and most important con­ idea. I had been to Brussels a few times and tact. I made arrangements to visit him on an found it very pleasant visually, full of art and apartment-hunting trip that fall. public sculpture, but it had never crossed my While there, I spent hours tracking down mind to consider moving there. anyone who might be able to help me find a Besides, there was the communication studio as well. With the help of a relocation problem. Brussels is officially bilingual, French service provided by the moving company, I and Flemish, which is close to Dutch, so my contacted schools and universities. I also vis­ knowledge of Spanish would not help. But as ited artist studios and galleries hoping to find the home of NATO and the center of the Deborah Rael-Buckley at the entrance some help. With only a few days left in Brus­ to her studio in Brussels. European Union, Brussels has adopted En­ sels, we had an apartment but were still look­ glish as a language of convenience for business. ing for a studio. Still reticent and undecided about the move, I asked some friends Then I finally visited Russell Fouts at his studio. As I lobbed their advice. Most thought I would be crazy to pass on the move: myriad questions his way, I was secretly hoping against hope that his “Why not live in another country if you can?” “Every artist should space might be large enough to share, but it was not. We talked about take the chance to work in Europe....It’s a once-in-a-lifetime oppor­ clay, galleries and suppliers, but the upshot of our visit was that it was tunity.” “How romantic to be able to travel all over Europe from going to be very difficult to find a place to work in the city. Though Belgium!” “Imagine how your work will change.” there seemed to be plenty of vacant space, most of it was being I was imagining. My indecision continued to focus on day-to-day renovated for upscale living and offices, due to expanding economic issues. What type of clay would there be? Where are the ceramics ventures related to the European Union. suppliers? How could I find other ceramics artists? Would I be able to The few studio spaces that were available didn’t have heat or communicate? Are there galleries that show ceramic sculpture, and access to freight elevators, which makes moving large ceramic sculp­ what is the gallery system like? Could I find someone to help me tures very hazardous. I needed more than 3 square meters of space rewire the kiln? Would my cats have to be quarantined? And, most just for the kiln and at least one window or an opening for the importantly, could I find a studio, and what would it cost? venting system. Most importantly, I needed 100 amps of electricity On the positive side, I did understand, though not completely, to run the kiln, and most available spaces were not so equipped. If I the personal and professional benefits of living in another country. were lucky enough to find a place in the city or even the suburbs, the My work would never be the same, being influenced by many new cost to install the proper electricity would be prohibitive. I was experiences. Everything would change, and I was not sure I was up to getting nervous. the challenge. Besides that, the thought of my new kiln on a ship in Before leaving Russell’s studio, I got the name of another Ameri­ the middle of the Atlantic sent a chill up my spine. can ceramist living and working in Waterloo, Belgium, a suburb of

Ceramics Monthly October 2002 58 Brussels. Carol Youngner was enthusiastic and immediately offered to share her space with me. I, of course, was delighted at the prospect, but explained the electrical and spatial problems. Besides that, I was bringing lots of supplies and a ton of clay. From what I could see, my extruder would fit, but not much else. Carol was undaunted. She said she could remove the doors and help me find a place to store stuff. She would even find an electrician to “amp” up the electricity. I was beginning to understand that ceramics artists can be very accommo­ dating, especially when other ceramics artists need a place to work. It was clear that sharing a space with Carol would not work, but she did know another ceramics artist who might like to share space. Together, we went to see Fabian Clausen at her studio. The story was much the same there, and I was once again astonished that I was welcome to share studio space, even though we had just met and didn’t even speak the same language. Fabian told me, through Carol’s translation, that she would be happy to remove the front windows and doors to accommodate my kiln. I was amazed at her generosity, but again had to decline as there was not enough electricity in the studio. Even if I could afford new wiring, getting a permit to do so would take months, and it was possible I would never get permission. I was running out of time. Then Fabian remembered a former teacher who was trying to rent a studio. She was certain it had enough amps to accommodate my kiln. I was scheduled to leave Brussels the next morning, so we moved fast. And there it was—a dream studio on a quiet residential street within walking distance to the metro. It had a storefront with lots of glass and a threshold tall and wide enough for the kiln. It had skylights, a bathroom, a sink and plenty of electricity. I had to have that space. As soon as I was back in Milwaukee, I faxed the owner, and arranged to rent it. My two years in Brussels went by so quickly. It was a challenging, yet thrilling experience. I ran into a few problems, mostly to do with setting up a kiln I had bought in the U.S., but I had no trouble meeting other clay artists, finding supplies or adapting to my new environment. In a country roughly the size of Maryland, there are over 600 full-time ceramists. Even the smallest villages have space for public art. I was amazed at how much Belgians enjoy art and have real respect for artists. I also had the opportunity to travel all over Europe, and visited museums from Norway to Spain, Ireland to the Czech Republic, all of which will undoubtedly influence my future work. But mostly, I have been influenced by the generosity of fellow artists who, despite cultural and linguistic barriers, have shared ideas and information. Rael-Buckley’s kiln and several sculptures in various stages All the sights, sounds, colors, forms, languages mixed into a strange of construction occupy the rear half of the studio. but delightful soup. Change, any change, whether it is physical or mental, is challeng­ Top: “Distance,” 48 inches (122 centimeters) in height, coil-built stoneware, with slips, stains, oxides and ing. It is what makes us stretch and grow. All ceramics artists should commercial glazes, fired to Cone 4 in oxidation, be used to and even embrace change. It is what we love most about by Deborah Rael-Buckley, Milwaukee, Wisconsin. the medium. I have no doubt that the decision to live in another country will have a strong impact on my work. Getting out of my comfort zone and welcoming change opened my mind to new images and experiences.

Ceramics Monthly October 2002 59 DAVID MILLER by Nesrin During

Playful forms and colorful surfaces characterize years at Ravensbourne, Miller spent three years at David Miller’s daywork. He enjoys the making pro­ Brighton College of Art, where he worked on three- cess, and it shows. “I play about with mud,” he dimensional printmaking. says, though the play is serious enough. In the early 1970s, having finished his studies, In his work, there is a strong interaction be­ he established a studio in Battersea, London, which tween shape and surface decoration. While liveli­ was then an ordinary working-class neighborhood. ness and humor remain important aspects, he is a Here, he built his first kiln, and produced domestic severe judge. What is not good enough is discarded. stoneware. He also sold the functional ware of other Miller was born in 1942 in London. His artistic British potters, including Walter Keeler and Jane career started with a year in a pre-diploma course, Hamlyn. Around this time, he also started teach­ then he went to Ravensbourne College of Art and ing—both pottery and sculptural ceramics. Design in Kent (the school no longer exists). While After ten years in Battersea, Miller moved to the there, he studied sculpture, with an option of pot­ South of France. The climate and the lifestyle suited tery. And as luck would have it, he had a very him. Through Ecole des Beaux Arts in Aix en inspiring pottery teacher—Graham Burr. After four Provence, he met James Romberg, who widened his

“Boat-Shaped Bowl,” 12 centimeters (5 inches) in height, wheel-thrown and altered red earthenware, with white and stained slips, clear glazed, fired to 1080°C (1976 F) in an electric kiln.

Ceramics Monthly October 2002 60 David Miller beside his wood-burning kiln. viewpoint, inspiring Miller to paint freely on his clay surfaces. France became his new home. He bought the house where he now lives, in Collorgues, and started experimenting with low-temperature salt and raku. Although still within the vessel tradition, his shapes became more unconventional and humorous, and his surfaces more painterly. By the mid 1980s, slipware was re-emerging and gaining public acceptance throughout Europe. Miller welcomed this marketing opportunity. After all, he was living in the land of slipware, orterres vernisees. He made a conscious switch to this new-old tech­ nique. At the same time, he didn’t want to make functional ware; he simply wanted to use the slipware techniques of trailing or painting and scratching through colored slips. For his decorative vessels, Miller uses a dark-red- firing earthenware from Salernes; for bigger pieces, he mixes in grog with a big dough mixer. He uses 2 to 3 tons of clay per year. He often starts out by drawing simple sketches on paper, then tries them out in clay, throwing his pots on an ancient electric wheel, then altering them, often by adding new bottoms and append­ ages. He signs his work “DM.” When the pots are leather hard, he dips them in the following white slip:

White Slip (Cone 04) English China Clay (Kaolin)...... 20 % Hyplas 71 Ball Clay ...... 70 Silica (Flint)...... 10 100%

If the pot is large, he first coats the inside by pouring the white slip in and out. When it is dry, he dips the outside. Once this base coat has dried, layers upon layers of colors are applied. His colors are very fresh and bright: cherry red, canary yellow, sky blue, etc. They are made by mixing industrial stains into his white slip, and thinning with water for brush application. In Miller’s work, there is a strong interplay be­ tween shape and decoration, creating a sense of Miller’s studio is in an old wine cellar that opens to the street, movement. How to successfully relate the brush-

Ceramics Monthly October 2002 61 “Bean Pot,” 20 centimeters (8 inches) in height, wheel-thrown and altered red earthenware, with slips applied by dipping, brushing and trailing, clear glazed, fired to 1080°C (1976 F).

stroke to the form and how to decorate without being decorative are central issues of his work. When he is done with the brushwork, Miller goes on to fine-line drawing with a slip trailer, using the same base slip but in a much thicker consis­ tency. Dots and lines of black and white slip com­ plete the drawings. When they are dry, the slip-decorated pots are bisque fired to 1000°C (1832°F), then coated with a clear lead glaze (gloss or matt) and fired to 1080°C (1976°F), usually in an electric kiln. Some pieces are fired in a wood kiln. He has two: one is a 1.5-cubic-meter up­ draft typical of those used in the Drome area of France; the other is a smaller cross­ draft kiln that he fires to 1120°C (2048°F) in four or five hours. With his last firings in this kiln, Miller fired it too high, so much so that some pieces started to collapse and bloat, which

Pouring vessel, 12 centimeters pleased him very much. So (5 inches) in height, earthenware now, he is planning to ex­ with slips and clear glaze. periment with firing his clay to its end limit, and make use of the subsequent bending and bloating as part of the decorating process. Other unexpected things happen in wood firing. Some pieces reduce; some colors burn or move, making the work much more interesting and alive. When the smaller kiln reaches temperature, he fills the firebox with wood, then completely closes the kiln, even the chimney, so that reduction takes place in the cooling phase and the smoke turns the unglazed clay to a lavalike black. David Miller believes mistakes can enhance one’s work. To open up new paths, to push the process, he has consciously allowed chance to affect his life and work. He believes that changing one’s tech­ nique or material allows personal development. In his work, he combines a strong pottery craftsman­ “Bean Pot,” 16 centimeters (6 inches) in height, red earthenware with slips and clear glaze, ship with a spontaneous painting style. The results fired to 1080°C (1976 F), by David Miller, Collorgues, France. are original and lively.

Ceramics Monthly October 2002 62 ASU Art Museum Ceramics Research Center, Arizona State University, Mill Ave. and Tenth St., Tempe AZ 85287-2911; e-mail [email protected] ; websitehttp://asuartmuseum.asu.edu/ceramicsresearchcenter ; telephone (480) 965-2787; fax (480) 965-5254. Permanent collection of over 3000 pieces of British and American ceramics, including works by Linda Arbuckle, Robert Arneson, Bill Brouillard, Chris Gustin, Jun Kaneko, Maria Martinez, Daniel Rhodes, Adrian Saxe, Toshiko Takaezu and Peter Voulkos; 4-6 exhibitions per year.

Obsidian Gallery, 4340 N. Campbell Ave., #90, Tucson AZ 85718; e-mail [email protected] ; websitewww.obsidiangallery.com ; telephone (520) 577-3598; fax (520) 577-9018. Contemporary ceramics, including works by Wesley Anderegg, Amber Archer, Michael Corney, Christopher Gryder, Gene Gnida, Thomas Kerrigan, Randy OBrien, Toni Sodersten, and Ikuzi Teraki and Jeanne Bisson; 3-4 exhibitions per year.

Arkansas Decorative Arts Museum, Arkansas Arts Center, 411 E. Seventh St., Little Rock AR 72202; website www.arkarts.com ; telephone (501) 372-4000; fax (501) 375-8053. Contemporary ceramics; 1-2 exhibitions per year.

California Sebastian Ward Gallery, 1306 Third St., Berkeley CA 94710; e-mail [email protected] ; website www.sebastianward.com ; telephone (510) 526-8440; fax (510) 526-0279. Contemporary ceramics, including works by John Arndt, Lesley Baker, Michael Connely, Jess Parker, Greg Roberts, Nick Schwartz, Nicholas Seidner and Bradley Walters; 6-8 exhibitions per year.

TRAX Gallery, 1812 Fifth St., Berkeley CA 94710; e-mail [email protected] ; websitewww.traxgallery.com ; telephone (510) 540-8729; fax (510) 540-0430. Functional ceramics, including works by Robert Brady, Wayne Branum, Doug Casebeer, Linda Christianson, Mary Law, Warren MacKenzie, Scott Parady, Mark Pharis, Sandy Simon and Akio Takamori; 4 exhibitions per year.

Winfield Gallery, Delores between Ocean and Seventh, PO Box 7393, Carmel CA 93921; e-mail [email protected] ; website www.winfieldgallery.com ; telephone (800) 289-1950 or (831) 624-3369; fax “Man with Fish,” 21 centimeters (8 inches) in height, by Dyke Johannsen; (831) 624-5618. Contemporary ceramics, including works by Jillian Banks, at Princessehof Leeuwarden, National Museum of Ceramics, Netherlands. Annette Corcoran, Don Fritz, David Furman, David Gilhooly, Beau Kvenild, Roberta Laidman, James Lovera, Karen Shapiro and Betty Spindler.

The Artery, 207 G St., Davis CA 95616; e-mail [email protected] ; website www.artery.coop ; telephone (530) 758-8330; fax (530) 758-8509. Contemporary ceramics; 2-3 exhibitions per year.

John Natsoulas Gallery, 521 First St., Davis CA 95616; e-mail This marks the fourth year for CM’s guide to galleries. The intent is to [email protected] ; websitewww.natsoulas.com ; telephone (530) 756-3938; provide an annually updated list of galleries that typically exhibit fax (530) 756-3961. Contemporary ceramics; 12 exhibitions per year. ceramics, as well as museums with significant ceramics collections. Gallery Alexander, 7925a Girard Ave., La Jolla CA 92037; e-mail Only venues that have verified the information in their listings have been [email protected]; website www.galleryalexander.com ; telephone (858) 459- included. To help us make the guide more comprehensive in the future, 9433; fax (858) 459-0080. Contemporary ceramics; 2-3 exhibitions per year. please send information about any omissions to Ceramics Monthly, Gallery Guide, 735 Ceramic PI., Westerville OH 43081, USA. Gallery Eight, 7464 Girard Ave., La Jolla CA 92037; e-mail [email protected] ; telephone (858) 454-9781; fax (858) 454-0804. United States listings are alphabetical by state, district or common­ Contemporary ceramics; 1-2 exhibitions per year. wealth, then cities within the state. International listings are by country Lincoln Arts Center, 540 F St., Lincoln CA 95648-1166; e-mail and city Contact information has been included to allow you to check [email protected]; websitewww.lincolnarts.org ; telephone (916) 645-9713; current offerings and hours before visiting. fax (916) 645-3945. Contemporary ceramics; 2-3 exhibitions per year.

Arizona Del Mano Gallery, 11981 San Vicente Blvd., Los Angeles CA 90049; e-mail [email protected] ; websitewww.delmano.com ; telephone Andora Gallery, 7202 E. Carefree Dr., Carefree AZ 85377; e-mail (310) 476-8508; fax (310) 471-0897. Contemporary ceramics, including [email protected] ; website www.andoragallery.com ; telephone works by Nancy Adams, Susan Beiner, Donald Frith, Steve Hansen, Les (480) 595-1039; fax (480) 595-1069. Contemporary ceramics, including Lawrence, Ricky Maldonado, Noi Volkov, Gerry Wallace, Laura Wilensky works by Jane Blackman, Lisa Henriques, Mary Roehm and Kaiser Suidan; and Russell Wrankle. 2-4 exhibitions per year. Freehand Gallery, 8413 W. Third St., Los Angeles CA 90048; e-mail Mesa Contemporary Arts, PO Box 1466, 155 N. Center St., Mesa AZ [email protected] ; website www.freehand.com ; telephone (323) 655- 85211-1466; e-mail [email protected]; website 2607; fax (323) 655-7241. Contemporary ceramics, including works by Stuart www.mesaarts.com ; telephone (408) 644-2056; fax (408) 644-2901. Compton, Romulus Craft, Susan Garson, David Gurney, John Leach, Kazuko Contemporary ceramics; 3 exhibitions per year, including juried nationals. Matthews, Julie Sanders, Nicholas Seidner, Kevin Stafford and Sara Yaeger.

Gallery Materia, 4222 N. Marshall Way, Scottsdale AZ 85251; e-mail J. Paul Getty Museum, 1200 Getty Center Dr., Los Angeles CA 90049; [email protected] ; website www.gallerymateria.com ; telephone (480) website www.getty.edu ; telephone (310) 440-7300; fax (310) 440-7748. 949-1262; fax (480) 949-6050. Contemporary ceramics; 6-8 exhibitions per year. Permanent collection of ceramics from Austria, China, England, Germany, Italy, Japan and Spain; plus Greek and Roman terra-cotta vases. Udinotti Gallery, 4215 N. Marshall Way, Scottsdale AZ 85251; telephone (480) 946-7056. Contemporary ceramics, including works by Carl Dahl, Stephen DeStaebler, Gary Grooters, Brian Harper, Nobuhito Nishigawara, Don Reitz, Patricia Sannit, John Toki and Agnese Udinotti.

Ceramics Monthly October 2002 63 DC 20565; ; ; CO ; ; telephone FL 33701; ; telephone ; telephone GA 30305; e-mail Washington ; telephone (202) 357- CT 06804; GA 30319; e-mail Breckenridge Santa Monica CA Santa Monica CO 80204-2788; e-mail ; website Atlanta CO 80204; e-mail Atlanta ; telephone (404) 969-3260; Brookfield St. Petersburg Denver www.asia.si.edu www.denverartmuseum.org www.franklloyd.com www.thesignatureshop.com www.asia.si.edu DC 20006; telephone (202) 357-2700. Denver www.brookfieldcraftcenter.org ; telephone (727) 821-7391; fax (727) 822- ; website ; website www.artistsonsantafe.com ; website www.mudfire.com [email protected] Washington ; website ; telephone (202) 737-4215. Permanent collection ; website DC 20560-0707; website ; website DC 20560; website [email protected] www.nga.gov CT 06437; e-mail www.floridacraftsmen.net [email protected] Washington 12 exhibitions per year. 12 exhibitions per Frank Lloyd Gallery, 2525 Michigan Ave., Bldg. B5b, Michigan Ave., Gallery, 2525 Frank Lloyd (310) 264-3866; fax (310) 264-3868. Contemporary ceramics by 30 artists fax (310) 264-3868. Contemporary (310) 264-3866; Colorado Gallery, 101Hibberd McGrath St., Box 7638, N. Main [email protected] Denver Art Museum, 100 W. 14 Ave. Pkwy., Mill Gallery, Guilford Handcraft Center, P0 Box 589, 411 Church St., Brookfield Craft Center, P0 Box 122, Rte. 25, District of Columbia Florida 90404; e-mail Contemporary ceramics; 80424; telephone/fax (970) 453-6391. 2-3 exhibitions per year. Contemporary ceramics, including (303) 573-5903; fax (303) 573-0246. Guilford Freer Gallery of Art, Smithsonian Institution, Jefferson Dr. at 12th St., SW, National Gallery of Art, 4th at Constitution, NW, shows including ceramics. Connecticut from England, Japan, Mexico, Netherlands and the United States; Mexico, Netherlands and the from England, Japan, Artists on Santa Fe, 747 Santa Fe Dr., Dorf, James Garnett, Adrienne works by Connie Christensen, Macy Skeer. Johnson, Todd Kudlick and Janey [email protected] 913-0001. Pre-Columbian, Native telephone (720) 865-5000; fax (720) e-mail ceramists; 1-2 exhibitions per year. SW, Near (202) 357-4880; fax (202) 357-4911. Permanent collection includes Eastern ceramics, Japanese porcelain and Southeast Asian ceramics. Renwick Gallery of the Smithsonian American Art Museum, Pennsylvania Georgia MudFire Gallery, 1441 Dresden Dr., Ste. 250, Permanent collection of 20th- and 21st-century ceramics. Florida Craftsmen Gallery, 501 Central Ave., [email protected] Keepers, Deanna Ranlett and Vernon Smith; 6 exhibitions per year. Washington 4880; fax (202) 357-4911. Permanent collection of ceramics from China, American and Asian ceramics; 3 exhibitions per year, plus multimedia American and Asian ceramics; 3 exhibitions 100 telephone (203) 775-4526; fax (203) 740-7815. Works of more than www,handcraftcenter.org; telephone (203) 453-5947; fax (203) 453-6237. Ave., Arthur M. Sackler Gallery, Smithsonian Institution, 1050 Independence Japan, Korea, India, Pakistan, Turkey, Iran, Iraq, Syria and Central Asia. Three exhibitions per year, plus juried ceramics biennial. website of Chinese porcelains, and French and Italian Renaissance ceramics. website 4294. Contemporary ceramics by Florida artists; 2-4 exhibitions per year. Signature Shop & Gallery, 3267 Roswell Rd., NW, [email protected] ceramics, including works by Mark Burleson, Andy Nasisse, Brad Ave. at 17 St., NW, fax (404) 969-3259. Contemporary ceramics, including works by Julie telephone (404) 237-4426; fax (404) 237-2382. Contemporary American Schwieger, Michael Simon and Michaelene Walsh; 3-6 exhibitions per year. October 2002 64 ; CA ; Ceramics Monthly

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; CA CA ; CA Mendocino ; website ; telephone San Francisco ; telephone CA 94121; CA 94103; CA 95814; e-mail ; telephone (415) ; telephone San Diego ; telephone (619) www.mocfa.org San Francisco www.mendocinoartcenter.org San Diego ; website CA 94108; e-mail www.explodingheadgallery.com ; website CA 94303; e-mail ; website Sacramento San Francisco San Francisco CA 95814; e-mail www.lacma.org www.asianart.org www.mingei.org ; website www.renabranstengallery.com www.city.palo-alto.ca.us/artcenter Palo Alto San Francisco www.crockerartmuseum.org www.bquayartgallery.com ; website ; website [email protected] [email protected] ; website Sacramento ; telephone (415) 863-3330. Permanent ; website ; website ; website ; website ; website ; telephone (415) 440-2898; fax (415) 674-8443. ; telephone (619) 269-2001; fax (619) 269-2749. [email protected] [email protected] [email protected] ; telephone/fax (415) 929-7173. Contemporary ceramics, CA 94115; e-mail CA 94133; e-mail [email protected] [email protected] [email protected] www.thinker.org/legion [email protected] Mingei International Museum, 1439 El Prado, Balboa Park, Permanent display, including a comprehensive collection of Ecuadorian Permanent display, including a comprehensive collection of Ecuadorian telephone (916) 442-8424; fax (916) 442-8428. Contemporary ceramics; 4 exhibitions per year. people; 239-0003; fax (619) 239-0605. Permanent collection of arts of the San Diego Museum of Man, 1350 El Prado, Balboa Park, 92101; e-mail pottery with pre-Columbian pieces; 1-3 exhibitions per year. 92101; e-mail ongoing multimedia exhibitions including clay. www.museumofman.org Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles Los Angeles County Museum of Art, porcelain and tea ceremony ware. Mendocino Arts Center, Box 765, 45200 Little Lake St., Braunstein/Quay Gallery, 430 Clementina St. Palo Alto Art Center, 1313 Newell Rd., Palo Alto Art Center, 1313 Newell [email protected] exploding head gallery, 924 12th St., [email protected] Rena Bransten Gallery, 77 Geary St., (323) 857-6000. Permanent collections, including French Limoges, Italian (323) 857-6000. Permanent collections, Islamic, Southeast Asia, Japanese majolica, English porcelain and pottery, CA 94102; e-mail 379-8800; fax (415) 668-8928. Permanent collection of Chinese, Korean, Asian Art Museum (reopens January 23, 2003), 200 Larkin St., including works by Robert Arneson and Robert Brady; 1-2 exhibitions including works by Robert Arneson per year. including works by Ann Agee, Viola Frey, Dennis Gallagher and Ron Nagle. including works by Christa Assad, Jillian Banks, Jennifer Kenworth, Kazuko Matthews, Tony Natsoulas, Patricia Sannit, Karen Shapiro and Farraday 90036; e-mail (415) 278-9850; fax (415) 278-9841. Contemporary ceramics, including per year. Legion of Honor, Lincoln Park, 100 34th Ave.. [email protected] 95460; e-mail [email protected] (916) 264-5423; fax (916) 264-7372. Permanent collection, including San Francisco and culture-specific ceramics. Museum of Craft & Folk Art, Landmark Bldg. A, Ft. Mason, e-mail Japanese, Indian, Southeast Asian, Himalayan and West Asian ceramics. Crocker Art Museum, 216 0 St., 4 exhibitions per year. telephone (415) 982-3292; fax (415) 982-1807. Contemporary ceramics, telephone (707) 937-5818 or (800) 653-3328; fax (707) 937-1764. telephone (707) 937-5818 or (800) 326-6165. Contemporary ceramics, telephone (650) 329-2366; fax (650) San Francisco V. Breier Contemporary and Traditional Craft, 3091 Sacramento St., Sredl; 2-3 exhibitions per year. collection, including 18th-century English porcelain and ancient pottery. CA 94123-1382; e-mail Japanese folk pottery, Korean, Victorian and contemporary ceramics; www.vbreier.com Verdigris Clay Studio + Gallery, the Cannery, 2801 Leavenworth St., Contemporary ceramics by over 35 Bay Area artists. telephone (415) 775-0991; fax (415) 775-1861. Contemporary, traditional website works by Robert Brady, Bean Finneran and Richard Shaw; 3-4 exhibitions works by Robert Brady, Bean Finneran and Richard Shaw; 3-4 exhibitions www.verdigrisgallery.com

gallery guide 2002 Charlie Cummings Gallery, 4130 S. Clinton St., Ft. Wayne IN 46806; e-mail [email protected] ; websitewww.claylink.com ; telephone (260) 458-9160. Contemporary ceramics; 8 exhibitions per year.

Iowa AKAR, 4 S. Linn St., Iowa City IA 52240; e-mail [email protected] ; website www.akardesign.com ; telephone (319) 351-1227; fax (319) 887- 2614. Contemporary ceramics, including works by Victoria Christen, Sam Chung, Katherine Finnerty, Steve Hansen, Cathi Jefferson, Elizabeth Lurie, Blair Meerfeld, Jane Shellenbarger, Michael Simon and Geoffrey Wheeler; 9 exhibitions per year.

Iowa Artisans Gallery, 117 E. College St., Iowa City IA 52240; e-mail [email protected] ; website www.iowa-artisans-gallery.com ; telephone (319) 351-8686 or (877) 439-6554. Permanent display of ceramics; 2 invitational exhibitions per year.

Campbell Steele Gallery, 1064 Seventh Ave., Marion IA 52302; e-mail [email protected] ; website www.campbellsteele.com; telephone (319) 373-9211; fax (319) 377-8581. Contemporary ceramics, including works by John Beckelman, Pam Dennis, James Kasper, George Lowe, Ray gallery guide 2002 Mullen, Marek Nystrom and Kathy Thor; 4 exhibitions per year.

Charles H. Macnider Museum, 303 Second St., SE, Mason City IA 50401- 3988; e-mail [email protected] ; website www.macniderart.org ; telephone (641) 421-3666. Permanent collection of 19th- and 20th-century American ceramics.

Kansas Stoneware bowls, to 10 inches (25 centimeters) in diameter, salt glazed Aurora Pottery, 617 W. Douglas, Wichita KS 67213; e-mail at Cone 10, by Scott Roberts; at Art Corridor 1, Tarrant County College, [email protected] ; website www.klineart.com/pottery ; telephone (316) Southeast, Arlington, Texas. 303-9595. Contemporary ceramics by over 35 artists; 12 exhibitions per year.

Kentucky Hawaii Contemporary Artifacts Gallery, 325 Chestnut St., Berea KY 40403; telephone/fax (859) 986-1096. Contemporary ceramics, including works by Honolulu Academy of Arts, 900 S. Berentia St., Honolulu HI 96814; e-mail Richard Burkett, Paul Chaleff, Chris Gustin, Gwen Heffner, Jason Hess, [email protected] ; website www.honoluluacademy.org ; Judith Pointer, Davie Reneau, Denise Romecki, Laura Ross, Brad Schwieger telephone (808) 532-8700; fax (808) 532-8787. Permanent collection of and Sam Taylor; 1-2 exhibitions per year. ceramics from the Americas and Asia, including works by Richard DeVore, Wayne Higby, Jun Kaneko, Gertrud and Otto Natzler, Henry Varnum Poor, Kentucky Art & Craft Gallery, 609 W. Main St., Louisville KY 40202; e-mail Rudolf Staffel, Toshiko Takaezu, and Robert Turner. [email protected] ; website www.kentuckycrafts.org ; telephone (502) 589-0102; fax (502) 589-0154. Contemporary ceramics, including works by Wayne Illinois Bates, Wayne Ferguson, Sarah Frederick, Gwen Heffner, Satian Leksrisawat, John Martin, Joe Molinaro, Susan O’Brien, Thomas Porter and Laura Ross; Antioch Pottery Works, 25942 Heart-O-Lakes Blvd., Antioch IL 60002; 2-3 exhibitions per year. e-mail [email protected] ; website www.antiochpottery.com ; telephone (847) 838-1040; fax (847) 838-8546. Contemporary ceramics, including works by Susie Goldstein, Matt Johnson, Ted Novey, Nancy Stueben Louisiana and Jill Tortorella; 4 exhibitions per year. Carol Robinson Gallery, 840 Napolean Ave., New Orleans LA 70115; e-mail [email protected] ; website www.carolrobinsongallery.com ; Ann Nathan Gallery, 218 W. Superior St., Chicago IL 60610; telephone (312) telephone/fax (504) 895-6130. Contemporary ceramics, including works 664-6622; fax (312) 664-9392. Permanent collection, including works by by Tom Brewer, Jean Cappadonna-Nichols, Emmett Collier, Anita Cooke, Pavel Amromin, Ji Man Choi, Kim Dickey, Krista Grecco, Michael Gross, Ron Dale, Lisa Jordy, Beth Krebs, Mark Munson, Gail Paradise, Kenneth Annabeth Rosen, Esther Shimazu and Bela Silva; 2 exhibitions per year. Standhardt and James Tisdale; 1-2 exhibitions per year. Lill Street Art Center, 1021 W. Lill St., Chicago IL 60614; e-mail New Orleans Museum of Art, 1 Collins Diboll Cir., New Orleans LA 70179; [email protected] ; websitewww.lillstreet.com ; telephone (773) 477-6185; e-mail [email protected] ; website www.noma.org ; telephone (504) 488- fax (773) 477-5065. National contemporary ceramics, including works by 2631; fax (504) 484-6662. Permanent collections, including Meissen Peter Beasecker, Bob Briscoe, Sam Chung, Josh DeWeese, Linda Hoffhines, porcelain, French ceramics from 1770-1870 and American art pottery Nick Joerling, Maren Kloppman, Jeff Oestreich, Ellen Shankin and Linda from 1880-1960; 4 exhibitions per year. Sikora; 7 exhibitions per year. The William and Joseph Gallery, 713 Royal St., New Orleans LA 80226; Perimeter Gallery, 210 W. Superior St., Chicago IL 60610; telephone (312) e-mail [email protected] ; website 266-9473; fax (312) 266-7984. Contemporary ceramics, including works by www.thewilliamandjosephgallery.com ; telephone (504) 566-7009; fax Christie Brown, Jack Earl, Edward Eberle, Doug Jeck, John Mason, Beverly (504) 566-0607. Contemporary ceramics, including works by Bradley Mayeri, Ron Nagle, Don Reitz, Richard Shaw, Toshiko Takaezu and Peter Bowers, Nathan Bray and Garson Pakele. Voulkos; 6 exhibitions per year.

Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park IL 60302; Maine e-mail [email protected] ; telephone (708) 383-6228; fax (708) 383-6355. Watershed Center for Ceramic Arts, 19 Brick Hill Rd., Newcastle ME 04553; Contemporary ceramics with emphasis on functional work, including works e-mail [email protected] ; website www.watershedcenterceramicarts.org ; by Ken Bichell, Bill Farrell, Delores Fortuna, Richard Hensley, Linda telephone (207) 882-6075; fax (207) 882-6045. One-three exhibitions per year. Hoffhines, Eric Jensen, Steve Lee, Aaron Nelson, Karen Patinkin and David Toan; 10 exhibitions per year.

Indiana Museum of Overbeck Art Pottery, 33 W. Main St., Cambridge City IN 47327; e-mail [email protected] ; websitewww.cclib.lib.in.us ; telephone (765) 478-3335; fax (765) 478-6144. Permanent collection of over 200 pieces of pottery by the Overbeck sisters.

Ceramics Monthly October 2002 65 Ml MA 02140; ; ick, MA 01938; ; website Ml 48823; e-mail Cambridge Bloomfield Hills ; telephone (617) 491- Ipswich ; website MA 02138; telephone MA 02138; ; telephone (914) [email protected] Ml 48220-1361; e-mail ; telephone (313) MA 01938; e-mail ; telephone (248) 541-3444; Ml 48067; e-mail ; website ; telephone (508) 627-7200; Ml 48214; e-mail Ml 48067; telephone (248) 546-8810; Ferndale www.ocmulgeepottery.com; East Lansing Ipswich Martha’s Vineyard MA 02539; Vineyard Martha’s Cambridge Cambridge www.mudflat.org Royal Oak Detroit www.ocmulgeepottery.com; telephone MA 01060; e-mail [email protected] ; website Lenox MA 01241; e-mail www.pewabic.com ; telephone (877) 462-7262; fax (248) 643- www.ferringallery.com www.revolutn.com Edgartown, ; telephone (508) 753-8183; fax (508) 797- ; website [email protected] ; website ; telephone/fax (413) 586-4509. Studio pottery ; telephone (248) 544-3388; fax (248) 544-8101. ; website ; website ; website Northampton MA 01605; e-mail [email protected] www.epinch.com [email protected] [email protected] Worcester Rebecca Harvey, Les Lawrence, Melvyn Malkin, Carrie Anne Parks, John Rolfing, Brad Schwieger, Linda Sikora, Deb Stabley, Byron Temple and Kathy Brad Miller, Lucian Pompilli and Mary Roehm; 2-3 exhibitions per year. Linda Sikora, Michael Simon and Mara Superior; 6 exhibitions per year. Linda Sikora, Michael Simon and Mara Superior; 6 exhibitions per Rd., Harry Bertoia, Charles and Ray Eames, Maija Groteli, Duane Hanson, Eero Nagle, James Shrosbree and Robert Turner; 6-8 exhibitions per year. Pinch, 179 Main St., Designs Gallery, 68 Main St., Daisy Brand, Rick Foris, Judith Motzkin, Ed nonfunctional, including works by Kathy Tighe, and Susan and Jim Whalen. Risak, David and Laura Rossinow, [email protected] Michigan Revolution Gallery, 23257 Woodward Ave., Pao-Fei Yang; 3-4 exhibitions per year. Pao-Fei Yang; 3-4 Mudflat Gallery, Porter Square Shopping Center, Pewabic Pottery, 10125 E. Jefferson, [email protected] Mackerel Sky Gallery, 217 Ann St., Ferrin Gallery, 56 Housatonic St., [email protected] Fresh Pond Clay Works, 368 Huron Clay Works, Fresh Pond Ave., Works by over 45 ceramists7976; fax (617) 628-2082. on permanent display. [email protected] [email protected] Contemporary ceramics, including works by Philip Cornelius, John Gl 271-9362 or (413) 637-4414; fax (914) 271-0047. Contemporary ceramic art, 271-9362 or (413) 637-4414; fax (914) 271-0047. Contemporary ceramic sculpture and studio pottery; 12 exhibitions per year. Ocmulgee Pottery & Gallery, 317 HighOcmulgee Pottery & Gallery, 317 St., Stoneware and porcelain collection; (978) 356-0636; fax (978) 356-3465. Gallery, 26 Market St., Ocmulgee Pottery and Fine Crafts e-mail Sagamore George & Anna Krikorian Gallery, Worcester Center for Crafts, 25 Cranbrook Art Museum, 39221 Woodward Ave.. Contemporary ceramics; 3-6 exhibitions per year. (617) 492-1907; fax (781) 648-8240. Contemporary ceramics, including fax (781) 648-8240. Contemporary (617) 492-1907; e-mail e-mail 3324. Contemporary ceramics and Saarinen, Eliel Saarinen, Frank Stella, Toshiko Takaezu, and Peter Voulkos. permanent collection including works by 822-0954; fax (313) 822-6266. Ariana Gallery, 119 S. Main St., Royal Oak website www.designsgallerycollection.com/gallery.html 4-6 exhibitions per year. 5626. Contemporary ceramics; 9-10 exhibitions per year. [email protected]; telephone (517) 351-2211; fax (517) 351-5751. fax (248) 541-1914. Contemporary ceramics, including works by John Gill, Tony Hepburn, Jean-Pierre Larocque, Jae Won Lee, Jim Melchert, Ron 48303-0801; www.cranbrook.edu/art/museum e-mail fax (248) 546-6194. Contemporary ceramics, including works by Jim Connell, Triplett; 2 exhibitions per year, plus multimedia shows including ceramics. The Sybaris Gallery, 202 E. Third St., fax (617) 332-4481. Contemporary ceramics with an emphasis on the fax (617) 332-4481. Contemporary ceramics; 3 exhibitions per year. telephone (978) 356-1298. Contemporary Shapiro, from the U.S., including works by Angela Fina, Donna McGee, Mark www.worcestercraftcenter.org works by Mary Barringer, Chris Carter, Karen Futral, Warren Mather and Chris Carter, Karen Futral, works by Mary Barringer, October 2002 66

Ceramics Monthly ; ; telephone

MA 02116; www.alianza.com ; telephone (410) Boston MA 02118; e-mail MD 21209; e-mail MD 21030, e-mail ; website Boston MA 02116-2897; e-mail ; website www.puckergallery.com Baltimore www.clayorbit.com MA 02116; website Boston ; telephone (617) 426-9738; fax (617) 451- ; website ; telephone (410) 578-1919; fax (410) ; telephone (410) 578-1919; fax (410) Cockeyesville Boston ; website ; telephone (617) 266-1810; fax (617) 266-5654. [email protected] Square dish, 11 inches (28 centimeters) in width, press-molded stoneware, 1108. Contemporary ceramics, including works by Rob Barnard, Hanako 1108. Contemporary ceramics, including works by Rob Barnard, Hanako with kaki glaze and overglaze enamels, by Shoji Hamada; at the Tweed Museum of Art, University of Minnesota, Duluth. [email protected] Maryland Nakazato, Mary Roehm and Malcolm Wright; 2 exhibitions per year. including works by Art Baird, Carol Brody, Mary Cloonan, Susan Gladstone, including works by Art Baird, Carol Massachusetts including works by Nancy Adams, Katya Apekina, Jerry Berta, Gary DiPasquale, Ed Risak and Jill Solomon; 3 exhibitions per year. Genovese/Sullivan Gallery, 47 Thayer St., Miller and Lorna Taylor; 6+ exhibitions per year. Miller and Lorna Taylor; 6+ exhibitions including ceramics. [email protected] Hideaki Miyamura, David Powers, Phil Rogers, Tatsuzo Shimaoka, Brother Baltimore Clayworks, 5707 Smith Ave., Baltimore Clayworks, 5707 Smith [email protected] Pucker Gallery, 171 Newbury St., Contemporary ceramics; 1-2 exhibitions per year, plus multimedia shows Contemporary ceramics; 1-2 exhibitions per year, plus multimedia Clay Orbit, 10918 York Rd., 329-1440. Contemporary ceramics with emphasis on functional work, 329-1440. Contemporary ceramics 578-0058. Contemporary ceramics; 12 exhibitions per year. 578-0058. Contemporary ceramics; www.societyofcrafts.org 3-4 exhibitions per year. Society of Arts and Crafts Gallery, 175 Newbury St., www.baltimoreclayworks.org [email protected] (617) 267-9473; fax (617) 424-9759. Southern African pots and contemporary ceramics, including works by Fance Franck, Ken Matsuzaki, e-mail Alianza, 154 Newbury St., telephone (617) 262-2385; fax (617) 262-2980. Contemporary ceramics, Thomas, Noriyasu Tsuchiya, Shiro Tsujimura, Makoto Yabe and Onda Yaki; Thomas, Noriyasu Tsuchiya, Shiro Tsujimura, Makoto Yabe and Onda JoAnn Kandel, Nina Long, Mary Ellen McLewee, Sonya Meeker, Jane G. JoAnn Kandel, Nina Long, Mary Ellen

gallery guide 2002 Holter Museum of Art, 12 E. Lawrence St., Helena MT 59601; e-mail [email protected] ; website www.holtermuseum.org ; telephone (406) 442-6400; fax (406) 442-2404. Permanent collection; 4-6 exhibitions per year.

New Jersey Old Church Cultural Center, 561 Piermont Rd., Demarest NJ 07627; e-mail [email protected] ; website www.occcartschool.org ; telephone (201) 767-7160; fax (201) 767-0497. Works by emerging ceramics artists; 2-3 exhibitions per year. Minnesota m. t. burton gallery, 1819 Long Beach Blvd., Surf City NJ 08008; e-mail Tweed Museum of Art, University of Minnesota, Duluth, 10 University Dr., [email protected] ; website www.mtburtongallery.com ; telephone (609) Duluth MN 55812-2496; e-mail [email protected] ; website 494-0006 or (877) 530-0988; fax (609) 494-0105. Contemporary ceramic www.d.umn.edu/tma ; telephone (218) 726-8222; fax (218) 726-8503. sculpture and pottery; 7 exhibitions per year. Permanent collections, including works by Rudy Autio, Jun Kaneko, Tom Kerrigan, James Klueg, Lucy Lewis, Warren MacKenzie, Glenn C. Nelson, Ellarslie, The Trenton City Museum, Cadwalader Park, Parkside Ave.. Trenton NJ Don Reitz, Peter Voulkos and the Glenn C. Nelson Collection of ceramics. 08618; e-mail [email protected] ; websitewww.ellarslie.org ; telephone (609) 989- 3632; fax (609) 989-3624. Commercial pottery collection, including Belieek, Fired Up Gallery, 1701 E. Hennepin Ave., #255, Minneapolis MN 55414; Boehm, Cybis, Lenox, Mercer Pottery, Ott & Brewer, Scammel, and Willets. e-mail [email protected] ; websitewww.firedupstudios.com ; telephone (612) 852-2787. Works by over 40 members of Fired Up, Inc., featuring a New Jersey State Museum, 205 W. State St., PO Box 530, Trenton NJ gallery guide 2002 different artist each month. 08625-0530; e-mail [email protected] ; website www.state.nj.us/state/museum/index.html ; telephone (609) 292-6464; Northern Clay Center, 2424 Franklin Ave., E, Minneapolis MN 55406; e-mail fax (609) 599-4098. Collection of 18th- to 20th-century ceramics. [email protected] ; website www.northernclaycenter.org ; telephone (612) 339-8007; fax (612) 339-0592. Works by 50+ ceramists; New Mexico 7-10 exhibitions per year. Bellas Artes, 653 Canyon Rd., Santa Fe NM 87501; e-mail Mississippi [email protected] ; website www.bellasartesgallery.com ; telephone (505) 983-2745. Contemporary ceramics, including works The Ohr-O’Keefe Museum of Art, 136 G.E. Ohr St., Biloxi MS 39530; e-mail by Richard DeVore, Ruth Duckworth and Brad Miller. [email protected] ; website www.georgeohr.org ; telephone (228) 374- 5547; fax (228) 436-3641. Contemporary ceramics, including over 450 pots Robert F. Nichols Gallery, 419 Canyon Rd.. Santa Fe NM 87501; e-mail by George Ohr; 5 exhibitions per year. [email protected] ; website www.robertnicholsgallery.com ; telephone (505) 982-2145; fax (505) 982-7171. Contemporary ceramics Missouri specializing in Native American potters of the Southwest, including works by Nathan Begaye, Pascal Chmelar, Virginia Garcia, Bill Gilbert, Bill Glass, Jayne Gallery, 4540 Main St., Kansas City MO 64111; e-mail Les Namingha, Kathleen Nez, Virgil Ortiz and family, Diego Romero, and [email protected] ; websitewww.jaynegallery.com ; telephone Jacobo de la Serno; 6-10 exhibitions per year. (916) 561-5333; fax (916) 561-8402. Contemporary ceramics, including works by Cathra-Anne Barker, Rick Foris, Richard Gruchalla, Michael Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe NM 87501; e-mail Gustavson, Lundin Kudo, Jason Messinger, Tony Merino, Naida Seibel, [email protected] ; website www.santafeclay.com; telephone (505) Krysia Stronski, Cheryl Tall and Candone Wharton; 2-3 exhibitions per year. 984-1122; fax (505) 984-1706. Contemporary American ceramics; 10-12 exhibitions per year. Red Star Studios Ceramic Center and Gallery, 821 W. 17th St., Kansas City MO 64108; e-mail [email protected] ; websitewww.redstarstudios.org ; Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe NM 87505; telephone (816) 474-7316. Contemporary ceramics, with emphasis on e-mail [email protected] ; websitewww.touchingstone.com ; functional work; 4-8 exhibitions per year. telephone/fax (505) 988-8072. Contemporary Japanese ceramics, including works by Moriyuki Ando, Nobuhiko Fukushima, Kiyoharu Ichino, Sherry Leedy Contemporary Art, 2004 Baltimore Ave., Kansas City MO Reiko Kakiuchi-Cohen, Jun Murashima and Hiroyuki Wakimoto; 64108; e-mail [email protected] ; website www.sherryleedy.com; 6-7 exhibitions per year. telephone (816) 221-2626; fax (816) 221-8689. Contemporary ceramics, including works by Rudy Autio, John Balistreri, Bede Clarke, Cary Esser, Blue Dome Gallery, 307 N. Texas St., Silver City NM 88061; e-mail Anne Hirondelle, Jun Kaneko, Karen Karnes, Bobby Silverman, Charles [email protected] ; websitewww.zianet.com/bluedome ; telephone/fax Timm-Ballard and Peter Voulkos; 6 exhibitions per year. (505) 534-8671. Contemporary ceramics, including works by Kathryn A llen, Goyer Bonneau, Linda Brewer, Larry Davidson, Chris Gum, Nancy Phillips, Craft Alliance Gallery, 6640 Delmar Blvd., St. Louis MO 63130; e-mail Karen Pritchett, Todd Shelby, Cynthia Spencer and Don Sprague; [email protected] ; websitewww.craftalliance.org ; telephone (314) 2-3 exhibitions per year. 725-1177; fax (314) 725-2068. Contemporary ceramics by emerging, mid-career and established artists; 6-10 exhibitions per year. Clay & Fiber Gallery, 201 Paseo del Pueblo Sur, Taos NM 87571; e-mail [email protected] ; website www.collectorsguide.com/clayfiber ; Daum Museum of Contemporary Art, State Fair Community College, telephone (505) 758-8093; fax (505) 758-7179. Contemporary ceramics, 3201 W. 16th St., Sedalia MO 65301; e-mail [email protected] ; including works by Rob Drexel, Carolyn Dulin, Barbara Harnack, Sheila websitewww.daummuseum.org ; telephone (660) 530-5888; fax (660) Hrasky, Jim Kempes, Patricia Naylor, Stephen Schrepferman, J. Randall 530-5890. Contemporary ceramics, including works by Rudy Autio, John Smith, Jarrett West and Carl Whitkop; 8-10 exhibitions per year. Balistreri, Anne Currier, Jun Kaneko, Karen Karnes, Jim Leedy, Ole Liserud, Don Reitz, Virginia Scotchie, George Timock and Peter Voulkos. New York Montana The Schein-Joseph International Museum of Ceramic Art, NY State College of Ceramics at Alfred University, Alfred NY 14802; e-mail Artworks Gallery, 123 W. Main St., Bozeman MT 59715; e-mail [email protected] ; websitewww.ceramicsmuseum.alfred.edu ; [email protected] ; website artworksmontana.com; telephone telephone (607) 871-2421; fax (607) 871-2615. Nearly 8000 ceramic objects, (406) 585-8465. Contemporary ceramics, including works by Dean Adams, ranging from shards from ancient civilizations to contemporary sculpture Josh DeWeese, Victoria Christen, Sarah Jaeger, Matt Kelleher, J. Daniel and installation pieces; 6 exhibitions per year. Murphy, Rick Pope, Ted Vogel and Shannon Williams; 9 exhibitions per year.

Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena MT 59602; e-mail [email protected] ; website www.archiebray.org ; telephone (406) 443-3502; fax (406) 443-0934. Contemporary ceramics, including works by Daniel Evans, Alison Reintjes, Emily Schroeder, Jinsoo Song, Albion Stafford, Beth Stichter, Sandra Trujillo, Kristine Veith, Jason Walker and Rosalie Wynkoop; 7-9 exhibitions per year.

Ceramics Monthly October 2002 67 Dai Ichi Gallery, 24 W. 57th St., 6th FI., New York NY 10019; e-mail [email protected] ; website www.daiichiarts.com ; telephone (212) 262- 0239; fax (212) 262-2330. Contemporary American and Japanese ceramics; 4 exhibitions per year.

gallery guide 2002 Franklin Parrasch Gallery, Inc., 20 W. 57th St.. New York NY 10019; e-mail [email protected] ; websitewww.franklinparrasch.com ; telephone (212) 246-5360; fax (212) 246-5391. Contemporary ceramics, including works by Stephen DeStaebler, Ken Price and Carlo Sammarco; 12 exhibitions per year.

Garth Clark Gallery, 24 W. 57th St., New York NY 10019; e-mail [email protected] ; website www.garthclark.com ; telephone (212) 246- 2205; fax (212) 489-5168. Contemporary ceramics, including works by Ralph Bacerra, Wouter Dam, Ruth Duckworth, Leopold Foulem, David Packer, Gwyn Hanssen Pigott, Martin Smith and Kurt Weiser; 11 + exhibitions per year.

James Graham & Sons, 1014 Madison Ave., New York NY 10021; e-mail [email protected] ; website www.jamesgrahamandsons.com ; telephone (212) 535-5767; fax (212) 794-2454. Contemporary British ceramics, including works by Vivienne Foley, Peter Hayes, Jennifer Lee, Ursula Morley Price, Lucie Rie, Geoffrey Swindell, Angela Verdon, Tina Vlassopulos and John Ward.

Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St., New York NY 10014; e-mail [email protected] ; website www.greenwichhousepottery.org ; telephone (212) 242-4106; fax (212) 645-5486. Contemporary and historical ceramics; 6-7 exhibitions per year.

John Elder Gallery, 529 W. 20th St., 7W, New York NY 10011; e-mail [email protected] ; website www.johnelder.com ; telephone (212) 462-2600; fax (212) 462-2510. Contemporary ceramics, including sculpture by Robert Oil bottle, 4 inches (10 centimeters) in height, porcelain, wood/salt fired Brady, Lisa Clague, Cynthia Consentino, Andrea Gill, Arthur Gonzalez, Chris to Cone 11, by Bill van Gilder; at Earth and Fire Pottery, Herndon, Virginia. Gustin, Pamela Earnshaw Kelly, Justin Novak, Kukuli Velarde and Janis Mars Wunderlich; 10-12 exhibitions per year.

Max Protetch Gallery, 511 W. 22nd St., New York NY 10011-1109; e-mail 65 Hope Street Gallery, 65 Hope St., 2nd FI., Brooklyn NY 11211; e-mail [email protected]; website www.maxprotetch.com ; telephone (212) [email protected] ; website www.tigerblue.com/65hope ; 633-6999; fax (212) 691-4342. Contemporary ceramics, including works telephone (716) 963-2028; fax (716) 963-2102. Contemporary ceramics, by Richard DeVore and Betty Woodman. including works by Irina Davidovich, Meg Levine, Kathleen Moroney, Mitzi Morris, Rina Peleg and Chris Russell; 9 exhibitions per year. Nancy Margolis Gallery, 560 Broadway, Ste. 302, New York NY 10012; e-mail [email protected] ; website www.nancymargolisgallery.com ; Gallery of Fine Crafts at Hands on Clay, Inc., 128 Old Town Rd., E. Setauket telephone (212) 343-9523; fax (212) 343-9524. Contemporary American, NY 11733; e-mail [email protected] ; website www.handsonclay.com ; European and Asian ceramics; 8-9 exhibitions per year. telephone (631) 751-0011; fax (631) 751-9133. Contemporary ceramics; 4-6 exhibitions per year. Taipei Gallery, Taipei Cultural Arts Center, 99 Park Ave., Ste. 1540, New York NY 10016; telephone (212) 697-6188; fax (212) 697-6303. Ancient Chinese ArtSites, 211 E. Front St., Greenport NY 11944; e-mail [email protected] ; and contemporary ceramics from Taiwan. telephone (631) 477-1424; fax (631) 323-1426. Contemporary ceramics, including works by Ava Bhausar, Keiji Ito, Robin Johnson, Chieko Katsumata, The Klay Gallery, 65 S. Broadway, Nyack NY 10960; e-mail Carol Molly Prier, Mary Roehm, Tim Rowan, Coco Schoenberg, Jeff Shapiro [email protected] ; website www.klaygallery.com ; telephone (845) and Phyllis Kudder Sullivan; 10 exhibitions per year. 348-6306. Contemporary American ceramics; 1-2 exhibitions per year.

Garth Clark Gallery’s Project Space, 45-46 21st St., Long Island City NY Clay Art Center, 40 Beech St., Port Chester NY 10573; e-mail 11101; e-mail [email protected] ; website www.garthclark.com ; telephone [email protected] ; website www.clayartcenter.org ; telephone (914) (718) 706-2491; fax (718) 706-9425. Contemporary ceramics, including 937-2047; fax (914) 935-1205. Contemporary ceramics; 8 solo and works by Philip Eglin, Ken Ferguson, Babs Haenen, Anne Kraus, Ah Leon, 3 group exhibitions per year. Richard Notkin, Lawson Oyekan and Nicholas Rena; 6 exhibitions per year. Everson Museum of Art, 401 Harrison St., Syracuse NY 13202; e-mail American Craft Museum, 40 W. 53rd St.. New York NY 10019; website [email protected] ; websitewww.everson.org ; telephone (315) 474-6064; www.americancraftmuseum.org ; telephone (212) 956-3535; fax (212) fax (315) 474-6943. Permanent collection in the Center for the Study of 459-0926. Contemporary international ceramics; 7-10 exhibitions per year. American Ceramics; 2-3 exhibitions per year.

Antik, 104 Franklin St., New York NY 10013; e-mail [email protected] ; Celadon, A Clay Art Gallery, 41 Old Mill Rd., P0 Box 564, Water Mill NY telephone (212) 343-0471; fax (212) 343-0472. Twentieth-century 11976; e-mail [email protected] ; telephone (631) 726-2547; fax (631) Scandinavian ceramics, including works by Berndt Friberg, Gunnar Nylund, 725-4605. Contemporary ceramics; 6 exhibitions per year. Axel Salto and Harry Stolhane. North Carolina The Asia Society, 502 Park Ave., New York NY 10022; e-mail [email protected] ; websitewww.asiasociety.org ; telephone (212) 288- Asheville Art Museum, 2 S. Pack Sq., Asheville NC 28802-1717; e-mail 6400; fax (212) 517-8315. Ceramics from East and Southeast Asia. [email protected] ; website www.ashevilleart.org ; telephone (828) 253-3227; fax (828) 257-4503. Permanent collection; 2 exhibitions per year, Bodanna Gallery, 125 E. Seventh St., New York NY 10009; e-mail plus multimedia shows including ceramics. [email protected] ; websitewww.bodanna.org ; telephone (212) 388- 0078; fax (212) 388-0068. Contemporary ceramics; 4-6 exhibitions per year. Blue Spiral 1, 38 Biltmore Ave., Asheville NC 28801; e-mail [email protected] ; websitewww.bluespiral1.com ; telephone (828) Capeluto Arts, 443 Greenwich St., Studio 6F, New York NY 10013; e-mail 251-0202; fax (828) 251-0884. Southeastern ceramics; 6 series [email protected] ; websitewww.capelutoarts.com ; telephone (212) of exhibitions throughout the year. 219-8287; fax (212) 219-1048. Contemporary wood-fired ceramics, including works by Frank Boyden, Jissei Omine, Takemi Shima and Shinman Yamada.

Charles Cowles Gallery, 537 W. 24th St., New York NY 10011; e-mail [email protected] ; website www.cowlesgallery.com ; telephone (212) 925-3500; fax (212) 925-3501. Contemporary ceramics, including works by Toshiko Takaezu and Peter Voulkos.

Ceramics Monthly October 2002 68 Twigs & Leaves, 98 N. Main St., Waynesville NC 28786; e-mail [email protected] ; websitewww.twigsandleaves.com ; telephone (828) 456-1940; fax (828) 452-7286. Contemporary ceramics, including works by Brandon Dodson, Jon Ellenbogen, Maggi Fuhriman, Sarah House, Leigh Houston, Pat McCaffrey, Rebecca Plummer, Alan and Nancy Stegall, and Kaaren Stoner; 2 exhibitions per year.

Piedmont Craftsmen Gallery, 1204 Reynolda Rd., Winston-Salem NC 27104; e-mail [email protected]; website www.piedmontcraftsmen.org ; telephone Odyssey Gallery, 242 Clingman Ave., Asheville NC 28801; e-mail (336) 725-1516; fax (336) 722-6038. Works by over 100 members of the [email protected] ; website www.highwaterclays.com ; telephone Piedmont Craftsmen Guild. (828) 285-9700; fax (828) 253-3853. American contemporary ceramics; 5 exhibitions per year. Ohio

Green Tara Gallery, 1800 E. Franklin St., #18b Eastgate, Chapel Hill NC American Crafts Gallery, 13010 Larchmere Blvd., Cleveland OH 44120; 27514; e-mail [email protected] ; website telephone (216) 231-2008; fax (216) 231-2009. Permanent display of www.greentaragallery.com ; telephone (919) 932-6400; fax (919) 918-7542. ceramics; 1 exhibition per year. Contemporary ceramics, including works by Posey Bacopoulos, Kathleen Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106-1797; Cook, Patrick Crabb, Lynn Jenkins, Carroll Lassiter, Leah Leitson, Barbara e-mail [email protected] ; website www.clevelandart.org ; telephone (888) McKenzie, Marge Margulies, Donna Polseno, Charlie and Linda Riggs, 262-0033. Permanent collection of ceramics from 19th-century Europe, gallery guide 2002 and potters of Mata Ortiz; 10-12 exhibitions per year. pre-Columbia, Native North America and Asia, including works by Robert Somerhill Gallery, 3 Eastgate, E. Franklin St., Chapel Hill NC 27514; e-mail Arneson, Hector Guimard, Auguste Rodin, and Viktor Schreckengost. [email protected] ; website www.somerhill.com ; telephone (919) Ohio Craft Museum, 1665 W. Fifth Ave., Columbus OH 43212; e-mail 968-8868; (919) 967-1879. Contemporary ceramics; 2 exhibitions per year. [email protected] ; website www.saso-oh.org/odc ; telephone (614) 486-4402; Mint Museum of Art, 2730 Randolph Rd., Charlotte NC 28207; e-mail fax (614) 486-7119. Studio ceramics collection; plus multimedia exhibitions [email protected] ; websitewww.mintmuseum.org/mma ; telephone including ceramics. (704) 337-2000; fax (704) 337-2101. Permanent collections, inclu ding Ohio Ceramic Center Museum, PO Box 200, Crooksville OH 43731; English Creamware, Chinese porcelain, American art pottery and North websitewww.geocities.com/ceramiccenter ; telephone (740) 697-7021 Carolina folkware. or (800) 752-2604; fax (740) 697-0171. Art pottery, early stoneware, bricks Mint Museum of Craft + Design, 220 N. Tryon St., Charlotte NC 28202; and contemporary ceramics. e-mail [email protected] ; website www.mintmuseum.org/mmcd ; The East Liverpool Museum of Ceramics, 400 E. Fifth St., East Liverpool OH telephone (704) 337-2000; fax (704) 337-2101. Permanent collections, 43920; e-mail [email protected] ; website www.themuseumofceramics.org ; including contemporary teapots, vessels and ceramic sculpture. telephone (330) 386-6001 or (800) 600-7180; fax (330) 386-0488.

W.D.O., 214 N. Tryon St., Hearst Plaza, Ste. 1, Charlotte NC 28203; e-mail Rosewood Gallery, 2655 Olson Dr., Kettering OH 45420; e-mail [email protected] ; website www.gallerywdo.com ; telephone (704) 333- [email protected] ; wesbite www.ketteringoh.org/gallery ; 9123; fax (704) 376-9183. Contemporary ceramics; 5-6 exhibitions per year. telephone (937) 296-0294; (937) 296-3289. Several multimedia exhibitions Pocosin Arts, corner of Main and Water sts., PO Box 690, Columbia NC including clay and 1 juried national ceramics exhibition per year. 27925; e-mail [email protected] ; website www.pocosinarts.org ; Cowan Pottery Museum at Rocky River Public Library, 1600 Hampton Rd., telephone (252) 796-2787; fax (525) 796-1685. Works by over 30 ceramists; Rocky River OH 44116-2699; e-mail [email protected] ; website 2 exhibitions per year. www.rrpl.org/rrpl_cowan.stm ; telephone (440) 333-7610; fax (440) 333-4184. Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor NC 27522; e-mail Permanent collection of over 1100 pieces, including works by Russell Aitken, [email protected] ; websitewww.cedarcreekgallery.com ; Elizabeth Anderson, Arthur Baggs, Paul Bogatay, R. Guy Cowan, Edris telephone (919) 528-1041; fax (919) 528-1120. Collection of historical Eckhardt, Waylande Gregory, Margaret Postgate, Viktor Schreckengost American pottery and representing over 200 contemporary ceramists; and Elsa Shaw; 2 exhibitions per year. 5-6 exhibitions of contemporary work per year. Toledo Museum of Art, 2445 Monroe St., Toledo OH 43620; e-mail North Carolina Pottery Center, 250 East Ave., Seagrove NC 27341; e-mail [email protected] ; website www.toledomuseum.org ; [email protected] ; websitewww.ncpotterycenter.com ; telephone (336) 873- telephone (419) 255-8000 or (800) 644-6862; fax (419) 255-5638. 8430; fax (336) 873-8530. Permanent collection detailing the history of pottery in North Carolina from Native American pots, to utilitarian Oregon earthenwares and stonewares of the 18th and 19th centuries to Gallery at Salishan, 7755 N. Coast Hwy. 101, Gleneden BeachOR 97388; contemporary; 2 exhibitions per year. e-mail [email protected] ; telephone (800) 764-2318; fax (541) 764-3531. Contemporary ceramics, including works by Daphne Gillen, Michael Gustavson, Chris Haug, Michele Rigert, Wally Schwab and Don Sprague; 2-3 exhibitions per year.

Freed Gallery, 6119 S.W. Hwy. 101, Lincoln City OR 97367; e-mail [email protected] ; website www.freedgallery.com ; telephone (541) 994-5600; fax (541) 994-5606. Contemporary ceramics, including works by Audrey Bensley, Gail Beppu, Phillip Charette, Marianna Gasteyer, Yoshiro Ikeda, Cheryl Kempner, Jim Kraft, Katy McFadden and Karen Stevenson; 7 exhibitions per year.

Fire’s Eye Gallery, 19915 S.W. Muddy Valley Rd., McMinnville OR 97128; e-mail [email protected] ; websitewww.fireseyegallery.com ; telephone/fax (503) 843-9797. Contemporary ceramics, including works by Glenn Burris, Tom Coleman, Charles Gluskoter, Pat Horsley, Don and Cindy Hoskisson, Craig Martell, Paddy McNeely, Wally Schwab, Don Spraque, and Joe Winter; 3-4 exhibitions per year.

“Brain Coral 2000,” to approximately 35 centimeters (14 inches) in diameter, cast porcelain, by Robin Best; at JamFactory Contemporary Craft and Design, Adelaide, South Australia.

Ceramics Monthly October 2002 69 ; TN SC TX 75201; ; telephone Smithville ; Charleston Dallas ; ; telephone PA www.craftcenter.tntech.edu ; telephone (215) ; telephone (215) www.wayneart.org ; telephone (787) 754- ; telephone (401) 00918 Puerto Rico; Pittsburgh PA 19106; e-mail PA 19106; TN 37919; website ; telephone (412) 682- www.craigheadgreen.com ; website TX 77006; e-mail Rl 02903; e-mail PA 15232-2222; e-mail ; website PA 19106-1803; e-mail PA 19106-1803; ; website Hato Rey [email protected] Knoxville ; telephone (843) 853-3345; fax (843) www.snyderman-works.com Houston www.botello.com Philadelphia Philadelphia Pittsburgh ; website www.theclaystudio.org www.peckgallery.com Philadelphia www.clayplace.com ; website ; telephone (412) 261-7003; fax (412) ; telephone (412) 261-7003; fax ; website ; telephone (865) 584-6791; fax (865) 588-6130. [email protected] ; telephone (713) 524-7211. Contemporary ceramics, ; website ; website [email protected] ; website [email protected] TX 76018-3144; e-mail [email protected] [email protected] [email protected] October 2002 1 exhibition per year, plus multimedia shows including ceramics. Foelber Gallery, 706 Richmond Ave., Ireland, Michael Kaplenk, Michael Kline, Karen Newgard and Reinaldo including works by Judy M. Adams, Andy Carroll, John Foelber, Dr. Henry F. per year. (214) 855-0779; fax (214) 855-5966. Regional and international ceramics; Gamble III, Darryl McCracken and Bob Riddel; 5-6 exhibitions per year. Pkwy., Arlington (817) 515-3711; fax (817) 515-3189. Contemporary ceramics; 6-8 exhibitions Craighead-Green Gallery, 2404 e-mail Cedar Springs, Ste. 700, Bennett Galleries, 5308 Kingston Pike, Debby Hagar, Jane Hendley, Tom Homan, Marga Hayes Ingram, Shawn Rhode Island Sanquino; 8-10 exhibitions per year. [email protected] Puerto Rico 37166; e-mail 2-5 exhibitions per year. 15222; e-mail Hambleton, Bernardo Hogan and Jaime Suarez; 3-4 exhibitions per year. Hambleton, Bernardo Hogan and Jaime Suarez; 3-4 exhibitions per Peck Gallery, 424 Wickenden St., Providence [email protected] Fritts, Contemporary ceramics, including works by Gary DiPasquale, Debra Appalachian Center for Crafts Gallery, 1550 Craft Center Dr., South Carolina telephone (615) 597-6801; fax (615) 597-6803. Contemporary ceramics; Texas Art Corridor I, Tarrant County College Southeast Campus, 2100 Southeast www.bennettgalleries.com 751-0017. Contemporary ceramics, including works by Kate Blacklock, 29401; e-mail 971-9105. Contemporary ceramics, including works by Tom Coleman, Susan Filley and Nick Joerling; exhibitions concurrent with workshops. Tennessee Howard Kottler and Michael Lamar. Wayne Art Center, 413 Maplewood Ave., Ethel Sergeant Clark Smith Gallery, Charleston ClayWorks Studio & Gallery, 285 Meeting St., 7430; fax (787) 250-8274. Contemporary ceramics, including works by Jorge 7430; fax (787) 250-8274. Contemporary ceramics, including works by e-mail Cancio, Aileen Castaneda, Susana Espinosa, Gretchen Haeussler, Toni [email protected] Galena Botello, 314 F. D. Roosevelt Ave., [email protected] per year. Meyers and Mary Roehm; 10 exhibitions Holt, Nancy Jurs, Gail Kendall, Marek Cecula, Harris Deller, Martha including works by Dan Anderson, Adrian Arleo, Jimmy Clark, John Glick, Dan Anderson, Adrian Arleo, Jimmy including works by 3 year. exhibitions per Julia Galloway, Chris Gustin, Jeff Oestreich, Lisa Orr, Eunjung Park, Victor Spinski and Erica Wurtz; 3-5 exhibitions per year. Society for Contemporary Craft, 2100 Smallman St., Society for Contemporary Craft, 2100 collection, including works by 261-1941. Contemporary ceramics Wayne PA 19087; e-mail 925-3453; fax (215) 925-7774. National and international ceramics; 925-7774. National and international 925-3453; fax (215) year. 20 exhibitions per Chris Gustin, Anne Hirondelle, Elizabeth MacDonald, Jeannie Mah, Ron Chris Gustin, Anne Hirondelle, Elizabeth telephone (610) 688-3553; fax (610) 995-0478. Contemporary ceramics; [email protected] ceramics; 8 exhibitions per year. 3737; fax (412) 682-3239. Contemporary www.contemporarycraft.org Works Gallery, 303 Cherry St., Works Gallery, 303 The Clay Place, 5416 Walnut St., The Clay Studio, 139 N. Second St., Studio, 139 N. The Clay telephone (215) 922-7775; fax (215) 238-9351. Contemporary ceramics, 922-7775; fax (215) 238-9351. Contemporary telephone (215) 70 Ceramics Monthly OR 97239; ; s.

Portland PA 19425; ; telephone ; telephone (503) OR 97205; e-mail OR 97209; e-mail Portland Chester Springs Portland ; website www.therealmothergoose.com ; website www.erieartmuseum.org PA 16501; e-mail www.fifthelement.org Erie ; website ; telephone (610) 827-7277; fax (610) 827-7157. ; telephone (503) 223-2654; fax (503) 223-0190. ; website “One White Glove,” 22 inches (56 centimeters) in height, by Debra W. Fritts; at Bennett Galleries, Knoxville, Tennessee. [email protected] [email protected] porcelains collections; 2-3 exhibitions per year. (814) 459-5477; fax (814) 452-1744. American ceramics and Chinese (814) 459-5477; fax (814) 452-1744. American ceramics and Chinese Pennsylvania Erie Art Museum, 411 State St., Permanent collection ceramics. per year, plus multimedia shows including from the Oregon Tenth Ave., Fifth Element Gallery, 404 N.W. Potters Association; 3-4 exhibitions [email protected] [email protected]; website [email protected] 12 exhibitions per year. 279-9042. Functional ware and sculpture; e-mail Contemporary ceramics; 2-3 exhibitions per year. Chester Springs Studio, 1671 Art School Rd., e-mail www.contemporarycrafts.org The Real Mother Goose, 901 S.W. Yamhill St., The Real Mother Goose, 901 S.W. Contemporary Crafts Gallery, 3934 S.W. Corbett Ave., www.chesterspringsstudio.org telephone (503) 223-9510. Contemporary ceramics by over 100 artist telephone (503) 223-9510. Contemporary

gallery guide 2002 KOBO Shop & Gallery, 814 E. Roy St.. Seattle WA 98102; e-mail [email protected]; telephone (206) 726-0704; fax (206) 860-0213. Contemporary ceramics, including works by Kazuko Azuma, Sandra Dolph, Robert Fornell, Tom Hoffman, Sequoia Miller, Hiroshi Ogawa and Reid Ozaki; 6 exhibitions per year.

Wisconsin Lincoln Art Pottery, 636 N. Lincoln Ave., Milwaukee Wl 53215; e-mail Goldesberry Gallery, 2625 Colquitt St., Houston TX 77098-2117; e-mail [email protected] ; telephone (414) 643-9398; fax (414) 643- [email protected] ; website www.goldesberrygallery.com ; telephone (713) 1158. Works by 25 ceramists. 528-0405; fax (713) 528-0418. Contemporary ceramics, including works by Murray Hill Pottery Works, 2458 N. Murray Ave., Milwaukee Wl 53211; Wesley Anderegg, Ron Boling, Mark Chatterley, Bill Dennard, Sharon website www.murrayhillpottery.com ; telephone (414) 332-8828. Dennard, Melody Ellis, Terry Hagiwara, Roy Hanscom, Dennis Smith, Fred Contemporary ceramics; 4 exhibitions per year. Spaulding, David Trauba and Matt Wilt; 5-7 exhibitions per year. Charles A. Wustum Museum of Fine Art, 2519 Northwestern Ave., Racine Houston Potters’ Guild Shop and Gallery, 2433 Rice Blvd., Houston TX 77005; Wl 53404-2299; e-mail [email protected] ; websitewww.wustum.org ; e-mail [email protected] ; telephone (713) 528-7687. Contemporary telephone (262) 636-9177; fax (262) 636-9231. Permanent contemporary ceramics; 10 solo shows per year. teapot collection.

San Angelo Museum of Fine Arts, 1 Love St., San Angelo TX 76903-3092; Racine Art Museum (opens May 12, 2003), 441 Main St., Racine Wl gallery guide 2002 e-mail [email protected] ; telephone (915) 653-3333; fax (915) 658-6800. 53403; e-mail [email protected] ; website www.ramart.org; telephone (262) Contemporary ceramics collection; 1-2 exhibitions per year. 638-8300. Large contemporary ceramics collection. Vermont John Michael Kohler Arts Center, 608 New York Ave., Sheboygan Wl 53082-0489; e-mail [email protected] ; websitewww.jmkac.org ; telephone Bennington Museum Pottery Gallery, 75 Main St., Bennington VT 05201; (920) 458-6144; fax (920) 458-4473. Contemporary ceramics, including website www.benningtonmuseum.com/potterygallery.html ; telephone (802) works by Ann Agee, Jill Bonovitz, Judy Fox, Sarah Lindley, Alex Schweder 447-1571. Permanent collection of pottery made in Bennington, including and Kukuli Velarde; 3 exhibitions per year. Norton Pottery and the United States Pottery Company.

Frog Hollow Vermont State Craft Center, 85 Church St., Burlington VT Wyoming 05401; e-mail [email protected] ; websitewww.froghollow.org ; telephone Margo’s Pottery & Fine Crafts, 1 N. Main, Buffalo WY 82834; e-mail (802) 863-6458; fax (802) 863-6506. Contemporary ceramics by Vermont [email protected] ; websitewww.margospottery.com ; telephone artists; multimedia shows including ceramics. (307) 684-9406; fax (307) 684-7715. Functional ware; 1-3 exhibitions per year. Frog Hollow Vermont State Craft Center, Historic Rte. 7A, PO Box 816, Manchester VT 05254; e-mail [email protected] ; website www.froghollow.org ; telephone (802) 362-3321; fax (802) 362-5295. INTERNATIONAL Contemporary ceramics; plus multimedia shows including ceramics.

Frog Hollow Vermont State Craft Center, 1 Mill St., Middlebury VT 05753; Australia e-mail [email protected] ; websitewww.froghollow.org ; telephone JamFactory Contemporary Craft and Design, 19 Morphett St., Adelaide, (802) 388-3177; fax (802) 388-5020. Contemporary and traditional ceramics South Australia 5000 Australia; e-mail [email protected] ; website by Vermont artists; multimedia shows including ceramics. www.jamfactory.com.au ; telephone 61 8 8410 0727; fax 61 8 8231 0434. Contemporary ceramics, including works by over 15 artists; 4 exhibitions Vermont Clay Studio, 2802 Waterbury-Stowe Rd., Waterbury Center VT per year. 05677; e-mail [email protected] ; website www.vermontclaystudio.org ; telephone (802) 244-1126; fax (802) 244-8760. Haecceity Arts, 258 Elgin St., Carlton, Victoria 3053 Australia; website Works by 24 ceramists; 4-6 exhibitions per year. www.haecceityarts.com.au ; telephone 61 3 9348 2122; fax 61 3 9348 2144. Contemporary Australian ceramics; 11 exhibitions per year. Virginia Shepparton Art Gallery, Eastbank Centre, 70 Welsford St., Shepparton. Scope Gallery at Studio 19, 105 N. Union St., Alexandria VA 22314; website Victoria 3632 Australia; e-mail [email protected] ; www.torpedofactory.org/galleries/scope.htm ; telephone (703) 548-6288. websitewww.shepparton.vic.gov.au/gallery ; telephone 61 3 5832 9861; Works by members of the Ceramic Guild and the Kiln Club of Washington fax 61 3 5831 8480. Historical and contemporary Australian ceramics; D.C.; 12 exhibitions per year. 2-3 exhibitions per year.

Earth and Fire Pottery, 775 Station St., Herndon VA 20170; e-mail Ceramic Art Gallery, 120 Glenmore Rd., Paddington, Sydney, New South [email protected] ; telephone (703) 904-1820; fax (703) 904-1821. Wales 2021 Australia; e-mail [email protected] ; website Contemporary functional ceramics, including works by Jim Connell , Carl www.ceramicart.com.au/gallery.htm ; telephone 61 2 9361 5286; fax 61 2 Erickson, Louise Harter, Mike Imes, Blair Meerfeld, Lynn Munns, Todd Piker, 9361 5402. International contemporary ceramics; 8 exhibitions per year. Mark Skudlarek, Sam Taylor and Skeff Thomas; 4-6 exhibitions per year. Inner City Clayworkers Gallery, corner St. Johns Rd. and Darghan St., Artisans Center of Virginia, 601 Shenandoah Village Dr., Waynesboro VA Glebe,Sydney, New South Wales 2037 Australia; e-mail 22980; e-mail [email protected]; website www.artisanscenterofvirginia.org ; [email protected] ; website www.clayworkers.com.au ; telephone/ telephone (540) 946-3294; fax (540) 946-3296. Contemporary ceramics by fax 61 2 9692 9717. Australian ceramics; 12 exhibitions per year. Virginia artists; 4 exhibitions per year. Belgium Washington Goed Werk, Moerbeekstraat 86, Zulte B-9870 Belgium; e-mail Foster/White Gallery, 126 Central Way, Kirkland WA 98033; e-mail [email protected] ; website www.centrumgoedwerk.be ; telephone [email protected] ; websitewww.fosterwhite.com ; telephone 32 56 60 98 05; fax 32 56 60 79 35. Permanent collection, including works (425) 822-2305; fax (425) 828-2270. Regional contemporary ceramics by Felicity Aylieff, Claudi Casanovas, Claude Champy, Walter Keeler, Bodil by established and emerging artists; Manz, Colin Pearson, Veronika Poschl and Takeshi Yasuda. 4-6 exhibitions per year.

Foster/White Gallery, 123 S. Jackson St.. Seattle WA 98104; e-mail [email protected] ; websitewww.fosterwhite.com ; telephone (206) 622-2833; fax (206) 622-7606. Contemporary ceramics, including works by Margaret Ford, Carol Gouthro, Anne Hirondelle, Jim Kraft, Katherine McLean, Jeanne Quinn and David Shaner; 4 exhibitions per year.

Ceramics Monthly October 2002 71 The Museum of Anthropology, The University of British Columbia, 6393 N.W. Marine Dr., Vancouver, British Columbia V6T 1Z2 Canada; website www.moa.ubc.ca; telephone (604) 822-5087; fax (604) 822-2974. Permanent worldwide collection of over 2000 pieces, including European ceramics from the 15th to the 19th centuries; 1-2 exhibitions per year. gallery guide 2002 Portfolio Gallery, 863 W. Hastings St., Vancouver, British Columbia V6C 3N9 Canada; e-mail [email protected]; website www.portfolioartgallery.com ; telephone (604) 801-6928; fax (604) 801-6860. Contemporary Canadian ceramics, including works by Rachelle Chinnery, Walter Dexter, Mary Fox, Simon Ho, Denys James, Laura Wee Lay Laq, Jeannie Mah, Sally Michener, Laurie Rolland and Kathryn Youngs; 6 exhibitions per year.

Canadian Clay and Glass Gallery, 25 N. Caroline St., Waterloo, Ontario N2L 2Y5 Canada; e-mail [email protected] ; website www.canadianclayandglass.ca ; telephone (519) 746-1882; fax (519) 746-6396. Contemporary ceramics; 6-8 exhibitions per year.

Czech Republic International Gallery of Ceramic Art, The Agency of Czech Ceramic Design, Prikra 246, Cesky' Krumlov 381 01 Czech Republic; e-mail [email protected] ; websitewww.virtual-gallery.cz ; telephone/fax 42 380 715 753. Contemporary ceramics; 5-10 exhibitions per year.

Denmark Galleri Norby, Vestergade 8, Copenhagen DK-1456 Denmark; e-mail [email protected] ; websitewww.galleri-noerby.dk ; telephone 45 3315 1920; fax 45 3315 1963. Contemporary Danish ceramics, including works by “#9219,” 9 inches Karen Bennicke, Gutte Eriksen, Michael Geertsen, Bente Hansen, Nina Hole, Steen Ipsen, Martin Bodilsen Kaldahl, Bodil Manz and Malene Mullertz; (23 centimeters) in 8-9 exhibitions per year. height, stoneware, by Lola Logsdon; at Keramikmuseet Grimmerhus, Kongebrovej 42, Middlefart DK-5500 exploding head gallery, Denmark; e-mail [email protected] ; websitewww.grimmerhus.dk ; telephone 45 6441 4798; fax 45 6441 4796. Scandinavian and international Sacramento, California. ceramics; 4-8 exhibitions per year.

England Canada Shire Pottery Gallery and Studios, Millers’ Yard, Prudhoe St., Alnwick, Banff Centre for the Arts, Box 1020, 107 Tunnel Mountain Rd., Banff, Alberta Northumberland NE66 1UW England; e-mail [email protected] ; T1L 1H5 Canada; e-mail [email protected] ; website website www.porcelain-shirepottery.co.uk ; telephone/fax 44 16 6560 2277. www.banffcentre.ca/mva ; telephone (403) 762-6180; fax (403) 762-6345. Contemporary ceramics, including works by Christine Constant, David Fry Burlington Art Centre, 1333 Lakeshore Rd., Burlington, Ontario L7S 1A9 and Ivar Mackay; 8 exhibitions per year. Canada; e-mail [email protected] ; website The Candover Gallery, 22 West St., Alresford, Hampshire S024 9AE www.burlingtonartcentre.on.ca ; telephone (905) 632-7796; fax (905) 632- England; e-mail [email protected] ; telephone 44 19 6273 3200. 0278. Contemporary Canadian ceramics, including works by Patrick Amiot Contemporary ceramics, including works by Michael Casson, Gordon and Brigitte Lauren, Victor Cicansky, Steve Heinemann, Jim Hong Louie, Paul Cooke, Paul Jackson, Walter Keeler, Peter Lane, David Leach, John Maltby, Mathieu, Sally Michener, Ann Roberts, Alexander Sorotschynski, Bruce Duncan Ross and Antonia Salmon; 3 exhibitions per year. Taylor, and Jim Thomson; 4-5 exhibitions per year. Stokoe House Ceramics Gallery, Market PL, Alston, Cumbria CA9 3HS Gardiner Museum of Ceramic Art, 111 Queen’s Park, Toronto, Ontario England; e-mail [email protected] ; telephone 44 14 3438 2137. M5S 2C7 Canada; e-mail [email protected] ; website Contemporary ceramics, including works by Syl and Ray Macro; www.gardinermuseum.on.ca ; telephone (416) 586-8080; fax (416) 586-8085. 5 exhibitions per year. Permanent collections, including ceramics from Europe and the Americas, 15th- and 16th-century Italian maiolica, 17th-century delftware, 18th-century The Allen Gallery, 10-12 Church St., Alton, Hampshire GU34 2BW England; Meissen and Viennese porcelain, blue-and-white Chinese porcelain, and websitewww.hants.gov.uk/museum/allen ; telephone 44 14 2082 802. contemporary ceramics; 2-3 exhibitions per year. National and international ceramics; 8 exhibitions per year.

The Guild Shop, 118 Cumberland St., Toronto, Ontario M5R 1A8 Canada; Beaux Arts Bath, 12/13 York St., Bath BA1 1NG England; e-mail e-mail [email protected] ; websitewww.craft.com.ca ; telephone (416) [email protected] ; websitewww.beauxartsbath.co.uk ; telephone 921-1721; fax (416) 921-3688. Works by over 40 ceramists on permanent 44 12 2546 4850; fax 44 12 2542 2256. Contemporary ceramics; display plus an annual invitational. 8 exhibitions per year.

Prime Gallery, 52 McCaul St., Toronto, Ontario M5T 1V9 Canada; e-mail St. James’s Gallery, 9B Margarets Buildings, Bath BA1 2LP England; [email protected] ; website www.primegallery.ca ; telephone (416) 593- telephone 44 12 2531 9197. Contemporary British ceramics, including 5750; fax (416) 593-0942. Contemporary Canadian ceramics; 4-6 exhibitions works by Richard Batterham, John Dunn, David Frith, Tobias Harrison, per year. Walter Keeler, Nigel Lambert, John Leach, Elspeth Owen, John Pollex and David White; 2-3 exhibitions per year. Royal Ontario Museum, 100 Queen’s Park, Toronto, Ontario M5S 2C6 Canada; e-mail [email protected]; website www.rom.on.ca ; telephone (416) Devon Guild of Craftsmen, Riverside Mill, Bovey Tracey, Devon Q13 9AF 586-8000; fax (416) 586-5863. Permanent collections of German stonewares, England; e-mail [email protected] ; website www.crafts.org.uk ; English, Dutch and French tin-glazed wares, slipwares, Chinese export telephone 44 16 2683 2223; fax 44 16 2683 4220. Permanent collection porcelains and Yixing wares, early European and English porcelains, and representing nearly 70 ceramics artists, including Blandine Anderson, 20th-century studio pottery, including pieces by Hans Coper, W. Staite Roger Cockram, David Leach and Susan Luker; 6 exhibitions per year. Murray and Lucie Rie.

Gallery of BC Ceramics, 1359 Cartwright St., Vancouver, Granville Island, British Columbia V6H 3R7 Canada; e-mail [email protected] ; websitewww.bcpotters.com ; telephone (604) 669-5645; fax (604) 669-5627. Works by over 100 ceramists on permanent display; 12 exhibitions per year.

Ceramics Monthly October 2002 72 Bluecoat Display Centre, Bluecoat Chambers, School Ln., Liverpool, Merseyside L1 3BX England; e-mail [email protected] ; website www.bluecoatdisplaycentre.com ; telephone 44 15 1709 4014; fax 44 15 1707 8106. Contemporary ceramics by over 90 artists; 2 exhibitions per year.

Barrett Marsden Gallery, 17-18 Great Sutton St., London EC1V ODN England; e-mail [email protected] ; telephone 44 20 7336 6396; fax 44 20 7336 6391. Contemporary ceramics, including works by Gordon Baldwin, Alison Britton, Ken Eastman, Philip Eglin, Chun Liao, Sara Radstone, Derby Museum & Art Gallery, The Strand, Derby, Derbyshire DE1 1B1 Nicholas Rena, Richard Slee and Martin Smith; 5 exhibitions per year. England; e-mail [email protected] ; telephone 44 13 3271 British Museum, Great Russell St., London WC1B 3DG England; e-mail 6659; fax 44 13 3271 6670. Collections of Derby porcelain from 1750 to [email protected] ; website www.thebritishmuseum.ac.uk ; present, plus Derbyshire pottery from Langley Mill, Woodville, Denby telephone 44 20 7323 8000; fax 44 20 7323 8616. Ceramics collection and the Chesterfield area, including 20th-century studio pottery. spanning world cultures; 1-2 exhibitions per year.

Bluestone Gallery, 8 Old Swan Yard, Devizes, Wiltshire SN10 1AT England; Cecilia Colman Gallery, 67 St. Johns Wood High St., London NW8 7NL e-mail [email protected] ; websitewww.bluestonegallery.com ; England; e-mail [email protected] ; website telephone 44 13 8072 9589; fax 44 16 7253 9202. Contemporary www.ceciliacolmangallery.com ; telephone/fax 44 20 7722 0686. British ceramics. Contemporary ceramics, including works by David Allnatt, Peter Beard, Bridget Drakeford, Tony Foard, Carolyn Genders, Sam Hall, Peter Hayes,

Beatrice Royal Gallery, Nightingale Ave., Eastleigh, Hampshire S050 9JJ gallery guide 2002 England; e-mail [email protected] ; website www.beatriceroyal.com ; Bernard Irwin, Maria Stewart and Sasha Wardell; 5-6 exhibitions per year. telephone 44 23 8061 0592; fax 44 23 8065 0566. Contemporary ceramics, Contemporary Applied Arts, 2 Percy St., London W1T 1DD England; website including works by Lorraine Ditchburn, Jo-Anna Duncalf, Penny Fowler, www.caa.org.uk ; telephone 44 20 7436 2344; fax 44 20 7436 2446. Sally Hodkinson, Taves Jorgenson, Laurel Keeley and Rosalind Rosenblatt; Contemporary ceramics; 7 exhibitions per year. 4-5 exhibitions per year. Contemporary Ceramics, The Craft Potters Shop and Gallery, 7 Marshall St., Oakwood Gallery, 4 Church St., Edwinstowe, Nottinghamshire NG21 9QA London W1V 1LP England; e-mail [email protected] ; website England; e-mail [email protected] ; telephone 44 16 2382 3665. www.contemporaryceramics.com ; telephone/fax 44 20 7437 7605. Contemporary ceramics, including works by Richard Batterham, Chris Contemporary British ceramics, including works by Clive Bowen, Sandy Carter, Joanna Howells, Edward Hughes, Chris Keenan, Bruce Martin, Brown, Mike Dodd, Jane Hamlyn, Walter Keeler, Aki Moriuchi, Jane Perryman, Tony Moore, Nic Rees and Phil Rogers; 4 exhibitions per year. Phil Rogers, Duncan Ross and Antonia Salmon; 6-8 exhibitions per year.

Babylon Gallery, Waterside, Ely, Cambridgeshire CB7 4AU England; e-mail Crafts Council Gallery, 44A Pentonville Rd., Islington, London N1 9BY [email protected] ; websitewww.babylongallery.co.uk ; telephone 44 13 5366 England; website www.craftscouncil.org.uk/exhib.htm ; telephone 44 20 7278 9022; fax 44 13 5366 9052. Contemporary works; 2-3 exhibitions per year. 7700; fax 44 20 7837 6891.

Woodbury Studio/Gallery, Greenway, Woodbury, Exeter, Devon EX5 1LW Crafts Council Shop at the V&A, Victoria & Albert Museum, S. Kensington, England; telephone 44 13 9523 3475. Contemporary ceramics, including London SW7 2RL England; e-mail [email protected] ; website works by Tim Andrews, Svend Bayer, Ian Gregory, Peter Hayes, Roger www.craftscouncil.org.uk ; telephone 44 20 7589 5070; fax 44 20 7581 2128. Lewis, Will Levi Marshall, David Miller, Jeremy Steward and Sasha Wardell. Contemporary ceramics, including works by Richard Batterham, Christie The Old Bakehouse Contemporary Ceramics & Craft Gallery, Main Rd. Brown, Claire Curneen, Edmund de Waal, Stephen Dixon, Daniel Fisher, (A259), Fishbourne, nr. Chichester, West Sussex P018 8BD England; e-mail Michael Flynn, Mo Jupp, Walter Keeler, Carol McNicoll, Rupert Spira, Julian [email protected] ; website www.oldbakehouse.co.uk ; Stair and Takeshi Yasuda; 2-3 exhibitions per year. telephone/fax 44 12 4357 3263. Contemporary British ceramics, including Galerie Besson, 15 Royal Arcade, 28 Old Bond St., London W1S 4SP Blandine Anderson, Peter Beard, David Frith, Carolyn Genders, Peter Hayes, England; e-mail [email protected] ; website Jane Hollidge, Peter Lane, Nick Mackman, Elaine Peto and Alan Wallwork; www.galeriebesson.co.uk ; telephone 44 20 7491 1706; fax 44 20 7495 3203. 5 exhibitions per year. Contemporary ceramics, including works by Claudi Casanovas, Fernando The Potteries Museum & Art Gallery, Bethesda St., Hanley, Stoke-on-Trent Casasempere, Hans Coper, Jennifer Lee, Lucie Rie and Vladimir Tsivin; ST1 3DW England; e-mail [email protected] ; website 12 exhibitions per year. www.stoke.gov.uk/museums ; telephone 44 17 8223 2323; fax 44 17 8223 Harlequin Gallery, 68 Greenwich High Rd., London SE10 8LF England; 2500. Historical ceramics; over 5000 pieces exhibited. e-mail [email protected] ; websitewww.studio-pots.com ; telephone 44 20 Bowie & Hurlbert, 5 Market St., Hay-on-Wye, Hereford HR3 5BQ England; 8692 7170. Contemporary ceramics with an emphasis on wood fire, e-mail [email protected] ; website www.hayclay.co.uk ; telephone 44 14 including works by Svend Bayer, Mike Dodd, Jim Malone, Ursula Mommens, 9782 1026; fax 44 14 9782 1801. Contemporary British ceramics, including Phil Rogers and Alan Wallwork; 8 exhibitions per year. works by Jane Hamlyn, Kerry Jameson, Walter Keeler and David Miller; 2-3 exhibitions per year.

Brook Street Pottery, Brook St., Hay-on-Wye, Hereford HR3 5BQ England; e-mail [email protected] ; website www.hayclay.co.uk ; telephone 44 14 9782 1070; fax 44 14 9782 1801. Contemporary British terra cotta for home and garden, including works by Clive Bowen, Simon Hurlbert and Phil Rogers; 2 exhibitions per year.

Castle Barn Gallery, Paradise Ln., Hazlewood nr. Tadcaster, North Yorkshire LS24 9NJ England; e-mail [email protected] ; website www.castlebarn.com ; telephone 44 79 6808 9122; fax 44 19 3753 0421. Contemporary ceramics by over 20 potters.

Peter Scott Gallery, Lancaster University, Lancaster, Lancashire LA1 4YW England; e-mail [email protected] ; website www.lanc.ac.uk/users/peterscott/scott.htm ; telephone 44 15 2459 3057; fax 44 15 2459 2603. Collection of over 160 pieces of Royal Lancastrian Pottery produced by Pilkington Tile and Pottery Company, 1891-1938. Cruet set, to 8 inches (20 centimeters) in height, salt-glazed porcelain, with slip The Craft Centre & Design Gallery, City Art Gallery, The Headrow, Leeds, West and glaze, by Jeffrey Noska; at Freehand Gallery, Los Angeles, California. Yorkshire LS1 3AB England; e-mail [email protected] ; websitewww.craftcentreleeds.co.uk ; telephone 44 11 3247 8241 or 44 11 3247 8540; fax 44 11 3244 9689. Contemporary ceramics, including works by Sheila Boyce, Bryony Burn, Jessie Higginson, John Maltby, Elisabeth Ryan, Joanna Sancha, Hortense Suleyman and David White; 4 exhibitions per year.

Ceramics Monthly October 2002 73

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Dorset BH20 4AG www.etonappliedarts.co.uk Berkshire SL4 6AF England; ; website Milton Keynes. Hampshire BH24 1DR ; telephone/fax 44 16 2582 26220 France; e-mail Cornwall TR19 7TS England; Wareham, www.wellbelovedgallery.co.uk Dorset DT5 1BT England, Hampshire P05 2BB England; Windsor, Cornwall TR26 1LT England; ; website [email protected] www.st-ives-ceramic.co.uk www.laburnumceramics.co.uk 0X1 2PH England; website Dieulefit ; website ; website Ringwood, ; website Penzance, St. Ives, Portland, Southsea, Cheshire SK10 4DG England; e-mail ; telephone 44 16 2382 2944; ; telephone 44 16 ; website Sherborne, Dorset DT9 3LU England; e-mail Oxford ; website ; telephone 44 19 0863 9494; fax 44 19 0864 ; telephone 44 19 www.artizana.co.uk Yanwath nr. Penrith, Cumbria CA10 2LF England; ; telephone 44 19 2955 5331. Contemporary ; telephone 33 4 75 90 61 80; fax 33 4 75 90 63 04. ; telephone 44 23 9279 3924; fax 44 23 9286 2466. Prestbury, ; website ; telephone 44 19 3581 4944; fax 44 19 3586 3932. [email protected] [email protected] Nottinghamshire NG22 9DF England; e-mail Nottinghamshire www.fennylodge.co.uk [email protected] [email protected] [email protected] [email protected] France England; e-mail British studio ceramics; 6-8 exhibitions per year. Eton Applied Arts, 81 High St., Eton, Maison de la Terre, Parc de la Baume, Laburnum Ceramics Gallery, Mackman, Jill Moger and Emma Rogers; 5 exhibitions per year. and Europe; 6+ exhibitions per year. Lincolnshire NG34 9JJ England; telephone 44 Keep and Peter Moss; 6 exhibitions per year. 15 2946 0765; fax 44 15 2946 Dewar, Kerry Jameson, Christy Keeney, Maureen Minchin, Emily Myers, [email protected] Contemporary ceramics; 2 exhibitions per year. National and international ceramics; 8 exhibitions per year. Pearoom Centre for Contemporary Craft, Station Yard, Heckington, Leach, John Leach, Warren MacKenzie and Lucie Rie; 2 exhibitions Leach, John Leach, Warren MacKenzie and Lucie Rie; 2 exhibitions per year. Contemporary British ceramics, including works by Jill Crowley, Claire Contemporary British ceramics, including works by Jill Crowley, e-mail ceramics, including works by James Campbell, Clare Conrad, Richard e-mail including works by Hans Coper, Shoji Hamada, Bernard Leach, David including works by Hans Coper, Shoji Hamada, Bernard Leach, David [email protected] Betties Gallery, 80 Christchurch Rd., ceramics; England; telephone 44 14 2547 0410. Contemporary British studio per year. e-mail www.theredgallery.co.uk Curneen, Virginia Graham, Ewen Henderson, Sophie Macarthy, Nick www.thedorsetgallery.co.uk telephone/fax 44 17 6886 4842. Contemporary ceramics from Cumbria, Britain 0948. Contemporary ceramics, including works by Jane Hamlyn, Jonathan telephone 44 17 5362 2333; fax 44 17 Jacqueline Norris, Zoe Whitehead and Philip Wood; 5 exhibitions per year. 5362 2292. Contemporary British Buckinghamshire MK1 1BA England; e-mail Buckinghamshire [email protected] Rufford Gallery & Ceramic Centre, Rufford Country Park nr. Ollerton, Ceramic Centre, Rufford Country Rufford Gallery & Newark, pottery; 3-5 exhibitions per year. Permanent collection of ceramics from China, Japan and Europe. Permanent collection of ceramics Lorna Graves, John Maltby, Bob Rogers, Judith Rowe and Victoria Walton; Lorna Graves, John Maltby, Bob St. Ives Ceramics, 1 Lower Fish St., by Michael Casson, Peter Hayes, Carenza Hayhoe, Tim Hum, Paul Jackson, by Michael Casson, Peter Hayes, 7582. Contemporary British ceramics; 2 exhibitions per year. Wessex Fine Art and Ceramics, 14B North St., The Red Gallery, 98 Marmion Rd., Fenny Lodge Gallery, 76 Simpson Rd., Bletchley, Simpson Rd., Bletchley, Gallery, 76 Fenny Lodge [email protected] Alpha House Gallery, South St., e-mail e-mail 8 exhibitions per year. Artizana, The Village, telephone 44 17 3679 4930; fax 44 17 3679 6324. Permanent collection, telephone 44 17 3679 4930; fax 44 17 3679 6324. Permanent collection, Yew Tree Gallery, Keigwin, Morvah, Yew Tree Gallery, Keigwin, Morvah, 3-4 exhibitions per year. website www.ruffordceramiccentre.org.uk 8431. Contemporary ceramics by over 50 artists; 2 exhibitions ceramics by over 50 artists; 8431. Contemporary per year. The Ashmolean, Beaumont St., ; telephone 44 18 6527 8000; fax 44 18 6527 8018. www.ashmol.ox.ac.uk; telephone 44 18 6527 8000; fax Wellbeloved Gallery, 28 Easton St., Wellbeloved Gallery, 28 Easton St., John Leach, Christine McCrary, Elaine Peto and Nick Rees; 8 exhibitions John Leach, Christine McCrary, Elaine Peto and Nick Rees; 8 exhibitions fax 44 16 2382 4702. Collection including 20th-century British studio fax 44 16 2382 4702. Collection including telephone 44 17 3678 6425. Contemporary ceramics, including works by telephone 44 17 3678 6425. Contemporary telephone/fax 44 13 0582 4302. Contemporary ceramics, including works telephone/fax 44 13 0582 4302. October 2002 74 Ceramics Monthly ; ;

W4 3QE England; Derbyshire ; telephone 44 20 ; website ; telephone 44 20 7704 [email protected] London Matlock, N1 1QN England; e-mail www.joannabirdpottery.com W11 2PW England; e-mail London ; telephone 44 17 9886 1388; fax 44 17 ; website London www.hartgallery.co.uk www.vesselgallery.com ; website ; website West Sussex GU29 OBX England; e-mail www.petersbarngallery.co.uk [email protected] British ceramics, including works by Jeremy James, Walter Keeler, Derek Topp Gallery, Chatsworth Rd., Rowsley, DE4 2EH England; e-mail [email protected] 4 exhibitions per year. 2 exhibitions per year. 7727 8001; fax 44 20 7727 8661. Contemporary tableware, including www.derektoppgallery.com; telephone 44 16 2973 5580. Contemporary Hamada, Bernard Leach and Lucie Rie; 4 exhibitions per year. Peter’s Barn Gallery (open April through October), South Ambersham, John Maltby, Elspeth Owen, Antonia Salmon and Takeshi Yasuda; works by Jonathan Adler, Manfred Braun, Isabel Hamm and Rina Menardi; Vessel, 114 Kensington Park Rd., 1131; fax 44 20 7288 2922. Contemporary ceramics, including works by [email protected] Midhurst, with emphasis on function and form, including works by Hans Coper, Shoji Hart Gallery, 113 Upper St., Islington, [email protected] 9886 1581. Contemporary ceramics by established and emerging artists; 4-6 exhibitions per year. “Tin Madonna Guardian,” 20 inches (51 centimeters) in height, Pearson, David Roberts, Antonia Salmon, Sutton Taylor and Tina e-mail telephone 44 20 8995 9960; fax 44 20 8742 7752. Contemporary ceramics website earthenware, by Cara Moczygemba; at Santa Fe Clay, New Mexico. earthenware, by Cara Moczygemba; at Santa Fe Clay, New Charles Bound, Gis6le Buthod-Gargon, Chris Carter, Elspeth Owen, Colin Vlassopulos; 12 exhibitions per year. Joanna Bird Pottery, 19 Grove Terrace, Chiswick,

gallery guide 2002 Galerie Handwerk Koblenz, RizzastraBe 24-26, Koblenz 56068 Germany; e-mail [email protected] ; website www.galerie-handwerk-koblenz.de ; telephone 49 26 139 8277; fax 49 26 139 8993.

Galerie B15 Neue Keramik, Baaderstrasse 15, Munich D-80469 Germany; e-mail [email protected]; website www.b15-wunderle.com; telephone 49 89 202 1010; fax 49 89 642 1445. International contemporary ceramics; 8 exhibitions per year.

Galerie Capazza, Grenier de Villatre, Nangay 18330 France; e-mail Hungary [email protected] ; websitewww.capazza-galerie.com ; telephone Herend Porcelain Museum, Kossuth ut. 140, Herend 8440 Hungary; e-mail 33 4 85 18 02 2; fax 33 4 85 18 32 7. Contemporary European ceramics, [email protected] ; website www.museum.herend.com ; telephone 36 88 including works by Gordon Baldwin, Anne Bulliot, Yoland Cazenove, Claude 523 197; fax 36 88 523 247. Contemporary Hungarian ceramics, including Champy, Daphne Corregan, Christine Fabre, Haguiko, George Jeanclos, works by Karoly Csapvary, Jeno Fischer, Mor Fischer, Kata Gacser, Istvan Andoche Praudel and Jean-Pierre Viot. Lorincz, Elek Lux, Janos Morvay, Imre Schrammel, Zsigmond Kisfauldy Terra Viva Galerie, rue de la Fontaine, Saint Quentin la PoterieF-30700 Strobl and Gyorgy Vastagh; 4 exhibitions per year. France; e-mail [email protected] ; website MUSEION, Museum of the International Ceramics Studio Kecskemet, www.galerie-terraviva.com ; telephone/fax 33 4 66 22 48 78. Contemporary Kapolna str. 13, Kecskemet H-6000 Hungary; e-mail [email protected] ; ceramics, including works by Claude Champy, Christine Fabre, Jean- websitewww.icshu.org ; telephone 36 76 486 867; fax 36 76 482 223. gallery guide 2002 Frangois Fouilhoux and Dany Jung; 7-8 exhibitions per year. Contemporary ceramics, including works by Michael Flynn, Maria Geszler, Musee National de Ceramique, Place de la Manufacture, Sevres 92310 Yasuo Hayashi, Sergei Isupov, Sandor Kecskemeti, Janet Mansfield, France; e-mail [email protected] ; telephone 33 1 41 14 04 20; fax Gustavo Perez, Vladimir Tsivin and Ulla Viotti; 20 exhibitions per year. 33 1 45 34 67 88. Historical ceramics from China, Japan, Russia, Turkey and Europe, including maiolica and delftware; 4 exhibitions per year. India

Musee Magnelli, Musee de la Ceramique, Place de Liberation, Vallauris Gallery Twentyfive, 25 Anand Lok, New Delhi 110 049 India; e-mail 06220 France; e-mail [email protected] ; telephone 33 4 93 64 16 05; [email protected] ; websitewww.potteryindia.com ; telephone 9111 fax 33 4 93 64 50 32. Permanent collection; 2-3 exhibitions per year. 625 4154; fax 91 11 625 6449. Contemporary ceramics, including works by Sandhya Aggarwal, Leena Batra, Dipalee Daroz, Usha Garodia, Germany Shehla Hashmi, Sonia Rashid, Gurcharan Singh, Jyoti Singh, and a permanent collection including Bernard Leach, David Leach, John Leach, Keramikum, Untere Muhlstrasse 26, Darmstadt 64291 Germany; e-mail Ray Meeker, Lucie Rie, and Duncan Ross; 10 exhibitions per year. [email protected] ; website www.keramikum.de ; telephone/fax 49 61 513 7886. Contemporary ceramics, including works by Eric Astoul, Nani Israel Champy, Maria Geszler, Martin Mohwald, John Mullin, Renee Reichenbach and Antje Scharfe; 4-5 exhibitions per year. Cadim Ceramics Gallery, 75 Yoel Salomon St., Nachalat Shiva, Jerusalem 94633 Israel; e-mail [email protected] ; website Hetjens-Museum Deutsches Keramikmuseum, Schulstrasse 4, Dusseldorf www.israelartguide.co.il/cadim/index.html ; telephone 972 2 623 4869; D-40213 Germany; e-mail [email protected] ; telephone fax 972 2 624 5791. Contemporary Israeli ceramics. 49 21 189 94210; fax 49 21 189 29166. Permanent display of over 8000 years of ceramics throughout the world; 4-6 exhibitions per year. Italy Museum fur Kunst und Gewerbe Hamburg, Steintorplatz, Hamburg D-20099 Museo Internazionale delle Ceramiche (Faenza), Via Campidori 2, Faenza Germany; e-mail [email protected] ; websitewww.mkg-hamburg.de ; 48018 Italy; e-mail [email protected] ; website www.micfaenza.com ; telephone 49 40 428 545353; fax 49 40 428 542734. Permanent collection of telephone 39 546 697311; fax 39 546 27141. ceramics from the 17th to the 19th centuries, Middle East and East Asia. Museo della Ceramica, Palazzo de Fabris, Nove 36055 (VI) Italy; e-mail Deutsches Porzellanmuseum, Freundschaft 3, Hohenberg 95100 Germany; [email protected] ; websitewww.ceramics.it/museo.nove ; telephone/ e-mail [email protected] ; telephone 49 92 337 7220; fax 49 92 fax 39 424 829807. Porcelain, maiolica and creamware from the 18t h and 337 72230. German porcelain from the 18th century to present; 2 exhibitions 19th centuries, plus 20th-century ceramics. per year. Japan Keramikmuseum Westerwald, LindenstraGe, Hohr-Grenzhausen 56203 Germany; e-mail [email protected] ; website Fukui Prefectural Museum of Ceramics, 120-61 Ozohara Miyazaki Village, www.keramikmuseum.de ; telephone 49 26 249 46010; fax 49 26 249 Nyuu-gun Fukui, Japan; e-mail [email protected] ; telephone 81 77 832 460120. Permanent display of historical and contemporary international 2174; fax 81 77 832 2279. Collections of Echizen ware; 1 exhibition per year. ceramics; 10 exhibitions per year. Ibaraki Ceramic Art Museum, 2345 Kasama, Kasama-shi, Ibaraki 309-1611 Japan; e-mail [email protected]/tougei; website www.edu.pref.ibaraki.jp/tougei ; telephone 81 29 670 0011; fax 81 29 670 0012. Contemporary Japanese ceramics, including works by Toyozo Arakawa, Shoji Hamada, Hazan Itaya, Kosei Matsui and Kenkichi Tomimoto, collection of Kasama ware and Ibaraki ceramic art; 4 exhibitions per year.

International Art Salon Kogen, 47-153 Takigawa-cho, Showa-ku, Nagoya Aichi 466-0826 Japan; e-mail [email protected] ; website www.koyom.co.jp/kogen ; telephone 81 52 839 1877; fax 81 52 839 1870. Contemporary ceramics, including works by Shoji Kamoda, Handeishi Kawakita, Rosanjin Kitaoji, Ryoji Koie, Takahiro Kondo, Mineo Okabe, Koichi Uchida and Kazuo Yagi; 9 exhibitions per year.

The Museum of Oriental Ceramics, Osaka, 1-1-26 Nakanoshima, Kita-ku, Osaka 530-0005 Japan; e-mail [email protected] ; website www.moco.or.jp; telephone 81 66 223 0055; fax 81 66 223 0057. Chinese, Korean and Japanese ceramics; 4-5 exhibitions per year.

“Clay and Steelscape,” 8 inches (20 centimeters) in height, clay and steel, by Janey Skeer; at Artists on Santa Fe, Denver, Colorado.

Ceramics Monthly October 2002 75 Open Eye Gallery, 75-79 Cumberland St., Edinburgh EH3 6RD Scotland; e-mail [email protected] ; websitewww.openeyegallery.co.uk ; telephone/ fax 44 13 1557 1020. Contemporary ceramics, inlcuding works by Kate Allsop, Ali Drew, Alison Gautrey, Jeremy James, John Maltby, Rachel Urbicki and Andrea Walsh. gallery guide 2002 Royal Museum of Scotland, Chamber St., Edinburgh EH1 1JF Scotland; website www.nms.ac.uk/royal ; telephone 44 13 1225 7534; fax 44 13 1220 4810. Permanent collection of English and Continental pottery and porcelain Shigaraki Ceramic Cultural Park, The Museum of Contemporary Ceramic Art, from 1450 to present, including Italian maiolica, tin-glazed earthenware, 2188-7 Chokushi, Shlgaraki-cho, Kohga-gun, Shiga-ken 529-1804 Japan; German stoneware, and studio ceramics. e-mail [email protected] ; websitewww.biwa.ne.jp/~scc-park ; Scottish Gallery, 16 Dundas St., Edinburgh EH3 6HZ Scotland; e-mail telephone 81 74 883 0909; fax 81 74 883 1193. National and international [email protected] ; website www.scottish-gallery.co.uk ; telephone ceramics; 4 exhibitions per year. 44 13 1558 1200; fax 44 13 1558 1300. Contemporary ceramics, including Gallery Mukyo, Annex Fukujin, Bldg. 5F, 1-6-17 Ginza, Chuo-ku, Tokyo works by Edmund de Waal, Ken Eastman, Will Levi Marshall, Craig Mitchell, 104-0061 Japan; telephone/fax 81 33 564 0256. Contemporary ceramics, Frances Priest, David Roberts, Duncan Ross, Sarah Jane Selwood, Rupert including works by Tadashi Itoh, Shoji Kamoda, Rosanjin Kitaoji, Taizo Spira and Janice Tchalenko; 12 exhibitions per year. Kuroda and Mineo Okabe; 4-5 exhibitions per year. Crawford Arts Centre, 93 North St., St. Andrews, Fife KY16 9AD Gallery St. Ives, 3-5-13 Fukasawa, Setagaya-ku, Tokyo 158-0081 Japan; Scotland; e-mail [email protected] ; website e-mail [email protected] ; website www.gallery-st-ives.co.jp ; www.crawfordarts.free-online.co.uk ; telephone 44 13 3447 4610; telephone/fax 81 33 705 3050. Contemporary British ceramics, including fax 44 13 3447 9880. Contemporary ceramics; 2-3 exhibitions per year. works by Billy Adams, Clive Bowen, Jack Doherty, Bridget Drakeford, Jane Roger Billcliffe Gallery, 130 Blythswood St., Glasgow G2 4EL Scotland; Hamlyn, Lisa Hammond, Jill Fanshawe Kato, Walter Keeler, Josie Walter, e-mail [email protected] ; websitewww.billcliffegallery.com ; Philip Wood and Takeshi Yasuda; 4-5 exhibitions per year. telephone 44 14 1332 4027; fax 44 14 1332 6573. Contemporary British ceramics, including works by Chris Carter, Judith Gilmour and Gareth Netherlands Mason; 10 exhibitions per year. Galerie Carla Koch, Prinsengracht 510 sous, Amsterdam 1017 KH Netherlands; e-mail [email protected] ; website www.carlakoch.nl ; telephone/ Spain fax 31 20 639 01 98. National and international ceramics, with emphasis on Museu de Cantir D’Argentona, Plaga de I’esglesia 9, Argentona (Barcelona) functional work; 6 exhibitions per year. 08310 Spain; e-mail [email protected] ; website www.museucantir.org ; Galerie de Witte Voet, Kerkstraat 135, Amsterdam 1017 GE Netherlands; telephone 44 93 797 2152; fax 44 93 797 0800. Permanent collections from website www.galeries.nl ; telephone/fax 31 20 625 84 12. Solo exhibitions of the 19th and 20th centuries, the Bronze Age in Greece, Medieval times, ceramics by artists from Belgium, France, Great Britain, Japan, Netherlands Baroque and Art Deco, also jugs from all over the world; 8 exhibitions per year. and Spain; 8 exhibitions per year. Galena Azul, San Cibrian de Ardon, Leon 24232 Spain; e-mail Rijksmuseum Amsterdam, Stadhouderskade 42, Amsterdam 1071 ZD galeria.azul.jet.es; website http://pagina.de/galeria.azul ; telephone/fax 34 98 Netherlands; e-mail [email protected] ; websitewww.rijksmuseum.nl ; 730 4693. Contemporary ceramics, including works by Arcadio Blasco, Claudi telephone 31 20 674 70 47; fax 31 20 674 70 01. Dutch porcelain and Casanovas, Michael Casson, Sheila Casson, Angel Garazza, David Leach, John delftware, Meissen porcelain, Italian majolica, and German stoneware. Leach and Jose Antonio Sarmiento; 4 exhibitions per year.

Galerie Keramaikos, Oranjestraat 121, Arnhem 6812 CN Netherlands; e-mail Museu de Ceramica de Manises, carrer Sagrari 22, Manises [email protected] ; websitewww.galerie-keramaikos.nl ; 46940 Spain; e-mail [email protected] ; website telephone/fax 31 26 446 05 95. Contemporary Dutch ceramics, including works www.manises.com/mcm/museo.htm ; telephone 34 96 152 1044; by Jeroen Bechtold, Wil Broekema, Simone Couderc, Mieke Everaet, Jean fax 34 96 152 0453. Fontaine, Anita Manshanden, Ivo Nijs, Soundie Sexe and Patrick van Craenenbroeck; 5 exhibitions per year. Switzerland

Terra Keramiek Gallery, Nieuwstraat 7, Delft 2611 HK Netherlands; e-mail Musee Ariana, 10, Ave. de la Paix, Geneva 1202 Switzerland; e-mail [email protected]; website www.terra-delft.nl ; telephone/fax 31 15 214 70 72. [email protected] ; websitehttp://mah.ville-ge.ch/ariana/ariana.html ; Contemporary national and international ceramics, including works by telephone 41 22 418 54 50; fax 41 22 418 54 51. Ten centuries of ceramics Wouter Dam, Vincent de Ryk, Tjok Dessauvage, Ross Emerson, Mieke history in Europe, the Middle East and the Far East; 2-3 exhibitions per year. Everaet, Cathy Fleckstein, Peter Lane, Hein Severijns, Susanne Silvertant and Henk Wolvers; 12 exhibitions per year. Wales

Loes & Reinier International Ceramics, Korte Assenstraat 15, Deventer Aberystwyth Arts Centre, Penglais, Aberystwyth, Ceredigion SY 23 3DE 7411 JN Netherlands; e-mail [email protected] ; telephone 31 57 061 Wales; e-mail [email protected] ; website www.aber.ac.uk/artscentre ; telephone 30 04. Contemporary ceramics; 8 exhibitions per year. 44 1970 622 882; fax 44 1970 622 883. Contemporary and historical Welsh ceramics; 2 exhibitions per year. Princessehof Leeuwarden, National Museum of Ceramics, Grote Kerkstraat 1, Leeuwarden 8911 DZ Netherlands; e-mail [email protected] ; website: National Museum & Gallery Cardiff, Cathays Park, Cardiff CF1 3NP Wales; www.princessehof.nl ; telephone/fax 31 58 294 89 58. Contemporary e-mail [email protected] ; website www.nmgw.ac.uk/nmgcl ; telephone 44 ceramics and permanent collections of Asian, pre-Columbian, Persian and 2920 397 951; fax 44 2920 373 219. European ceramics from the 16th European ceramics, including Dutch and Middle Eastern tilework; through the 20th centuries; in particular, Welsh pottery and porcelain from 15 exhibitions per year. Swansea and Nantgarw; 1-2 exhibitions per year. Porticus, No. 1 Middleton St., Llandrindod Wells, Powys LD1 5ET Wales; Republic of China e-mail [email protected] ; www.porticus.co.uk ; telephone 44 1597 823 989. Taipei County Yinko Ceramics Museum, 200 Wenhua Rd., Yingko, Taipei Contemporary British ceramics, including works by Michael Casson, Bennett 239 Taiwan; e-mail [email protected]; website Cooper, Michael Eden, David Frith, Robert Goldsmith, Lisa Hammond, Steve www.ceramics.tpc.gov.tw ; telephone 886 2 8677 2727; fax 886 2 8677 4104. Harrison, Walter Keeler, Colin Kellam and Phil Rogers; 5 exhibitions per year. Historic and contemporary ceramics; 4-5 exhibitions per year.

Scotland The Strathearn Gallery, 32 W. High St., Crieff Perthshire PH7 4DL Scotland; e-mail [email protected] ; websitewww.strathearn-gallery.com ; telephone 44 17 6465 6100. Contemporary Scottish ceramics, including works by Walter Awlson, Fiona Duckett, Tom Elliott, Lorna Fraser, Mark Haillay, Helen Kemp, John Maguire, Will Levi Marshall, Philomena Pretsell and Andrew Weatherhead; 8 multimedia exhibitions per year.

Ceramics Monthly October 2002 76 Ceramics Monthly October 2002 77 Ceramics Monthly October 2002 78 Ceramics Monthly October 2002 79 October 15 entry deadline January 13-February 7, 2003, entry deadline call for entries Warrensburg, Missouri "Greater Midwest Interna­ Icheon, South Korea "The Second World Ceramic tional XVIII" (January 27-February 28,2003), open Biennale 2003 Korea" (September 1-October 30, Application Deadlines for Exhibitions, Fairs, to works in all media, except video and perfor­ 2003), open to works in 2 categories: ceramics for Festivals and Sales mance, by artists 21 years and older. Juried from use and ceramics as expression. Preliminary selec­ slides. Fee: $25 for up to 3 entries. Cash awards, tion juried from 2 slides per entry; up to 3 entries. plus other exhibition opportunities. For prospec­ Final selection juried from actual works. Cash International Exhibitions tus, send business-size SASE to Gallery Director, Cen­ awards. For further information, contact Office for tral Missouri State University, Art Center Gallery, International Competition, Exhibition Dept., October 11 entry deadline Warrensburg 64093; telephone (660) 543-4498. WOCEF, Icheon World Ceramic Center, Gwango- Coburg, Oregon "La Petite X, 2002" (November November 29 entry deadline dong San 69-1, Icheon, Gyeonggi-do, South Ko­ 19-January 25, 2003), open to 2- and 3-dimen- Cheney, Washington "Two by Two: Small-Scale Ce­ rea 467-020; e-mail [email protected] ; sional works in all media by artists residing in ramic Sculpture Biennial" (February 20-March 17, see website www.ceramicbiennale.org or Canada, Mexico and the United States. Juried from 2003). Juried from slides. Jurors: Marilyn Lysohir and www.worldceramic.or.kr ; telephone (82) 31 631 slides. Fee: $ 10 per entry; $25 for 3 entries. Com­ Elisa Nappa. Fee: $25 for up to 3 entries. Cash 6512; or fax (82) 31 631 1614. mission: 40%. Awards: $2200. For prospectus, awards. For prospectus, send SASE to Gallery of Art, May 2, 2003, entry deadline send SASE to Alder Gallery, PO Box 8517, Coburg ART 140, Eastern Washington University, Cheney Carouge, Switzerland "International Ceramics Com­ 97408; telephone (541) 342-6411; or see website 99004-2401; e-mail [email protected] ; petition: A Ceramic Spoon" (September 20-Novem- www.alderart.com . or telephone (509) 359-7070. ber 23,2003), open to ceramic spoons no larger than 40 cm (approximately 16 inches). Juried from 2 transparencies and a short curriculum vitae. Awards: City of Carouge Prize 2003, 10,000 chf (approxi­ mately US$6700); plus 2000 chf (approximately US$1300) and 1000 chf (approximately US$670). Contact Musee de Carouge, Place de Sardaigne 2, CH-1227 Carouge; e-mail [email protected] ; see website www.carouge.ch ; telephone (41) 22 342 33 83; fax (41)22 342 33 81.

United States Exhibitions

October 14 entry deadline Alexandria, Virginia "JAZZ: Visual Improvisations" (January 17-February 23, 2003), open to works in all media related to or inspired by jazz music or its improvisational characteristics. Juried from slides. Entry fee: $25 for up to 3 works. Send SASE to Target Gallery, 105N. Union St., Alexandria 22314; e-mail [email protected] ; or tele­ phone (703) 838-4565, ext. 4. October 22 entry deadline Mesa, Arizona "25th Annual Contemporary Crafts" (January 21-March 8, 2003). Contact Mesa Con­ temporary Arts, Mesa Arts Center, PO Box 1466, 155 N. Center St., Mesa 85211-1466; e-mail [email protected] ; see website www.mesaarts.com ; telephone (480) 644-2056; or fax (480) 644-2901. October 30 entry deadline Columbus, Ohio "Contemporary Works of Faith '03" (March 4—April 4, 2003), open to artworks with a religious and/or spiritual concept. Juried from slides. Jurors: Nannette Maciejunes, director of collections and exhibitions, the Columbus Mu­ seum of Art; and Hal Stevens, president, Hal Stevens and Associates, art-fair producers. Contact the Liturgical Art Guild, 501 E. Broad St., Columbus 43215; e-mail [email protected] ; or telephone Joan Marks (614) 235-9652. November 1 entry deadline Chapel Hill, North Carolina "Glamorous Pots" (No­ vember 25-February 22,2003), open to all daywork pertaining to the exhibition title. Juried from 4 slides per entry. Fee: $25. Awards: up to $2000, plus opportunity for solo or group exhibition. For prospectus, send SASE to Green Tara Gallery, 1800 E. Franklin St., #18b Eastgate, Chapel Hill 27514; see website www.greentaragallery.com ; or tele­ phone (919) 932-6400. November 15 entry deadline Nyack, New York "Salad for 12" (March 29—April 19, 2003), open to functional and sculptural ce­ ramic bowls, minimum size 11 inches. Juried from slides. Jurors to include Les Richter, curator of "American Shino Show." Fee: $15 for up to 3 slides; each additional entry, $5. For prospectus, send SASE to the Klay Gallery, 65 S. Broadway, Nyack 10960; or telephone (845) 348-6306. November 16 entry deadline Sacramento, California "Affinity for the Cup" (February 6-March 1, 2003), open to functional or sculptural ceramic cups. Juried from slides. Juror: Richard Hotchkiss. Entry fee: $15 for 3 slides. Awards. Commission: 50%. For prospec-

Ceramics Monthly October 2002 80 Ceramics Monthly October 2002 81 call for entries

tus, send SASE to exploding head gallery, 924 12th St., Sacramento 95814; or e-mail [email protected] . December 15 entry deadline La Jolla, California "The Word Made Clay: Ce­ ramic in Its Own (W)rite" (February 22-March 29, 2003), open to clayworks using an interpre­ tation of the book format; surfaces should re­ flect a storytelling (narrative) perspective with the written word, implied word and/or illustration on the clay. Juried from slides. Juror: Richard Shaw. Cash awards. Entry fee: $25. For entry form, contact the Tile Heritage Foundation: e-mail [email protected] ; telephone (707) 431-8453; or fax (707) 431-8455. January 10, 2003, entry deadline Kirksville, Missouri "13th Annual National Art Competition" (March 24—April 15, 2003), open to works in all media. Juried from slides. Juror: Kathryn Hixson. Awards: $1500. For prospectus, send SASE to 13th Annual National Art Competition, Truman State University, Division of Fine Arts, 100 E. Nor­ mal, Kirksville 63501; or e-mail [email protected] . January 15, 2003, entry deadline Lancaster, Pennsylvania "The 11th Annual Strictly Functional Pottery National" (April 26-May 26, 2003). Juried from slides. Juror: Wayne Higby. For prospectus, send business-size SASE to Market House Craft Center/SFPN, PO Box 204, E. Peters­ burg, PA 17520; or download application from www.art~craftpa.com/sf pnapp.html. January 17, 2003, entry deadline Cambridge, Massachusetts "Cambridge Art Asso­ ciation National Prize Show" (May 5-June 25, 2003), open to works in all media except video. Juried from slides. For prospectus, send SASE to CAA, 25 Lowell St., Cambridge 02138; or see website www.cambridgeart.org . February 1, 2003, entry deadline Chicago, Illinois "14th Annual Teapot Show: On the Road Again" (April 6-May 19, 2003), open to functional, fun, funky, bright and colorful teapots in all dimensions and media. Juried from up to 2 slides per work (with SASE); up to 2 works. Entry fee: $20. For prospectuslfurther information, con­ tact Joan Houlehen, A. Houberbocken, Inc., PO Box 196, Cudahy, Wl 53110; or telephone/fax (414) 481-4000. February 2, 2003, entry deadline Louisiana, Missouri "Make Shroom" (May 1-18, 2003), open to work related to mushrooms. Juried from 3-6 slides. Entry fee: $10. Awards: best of show, plus best of class in 3 divisions. For prospec­ tus, send SASE to the Old School, Dixon Gallery, 515 Jackson, Louisiana, MO 63353; e-mail [email protected]; ortelephone (573) 754-5540. February 21, 2003, entry deadline Lincoln, California "Feats of Clay XVI" (April 26- May 25, 2003), open to artists working in the United States and its territories. Juried from slides. Juror: Joe Mariscal, ceramics instructor at San Joaquin Delta College, Stockton, California. Fee: $15 for 1 entry; $25 for 2; $30 for 3. Cash place and merit awards. For prospectus, send #10 SASE to Lincoln Arts, 540 F St., Lincoln 95648; or see website www.lincolnarts.org . March 15, 2003, entry deadline Louisiana, Missouri "Red, White and Blue" (May 22—July 6, 2003), open to work related to patrio­ tism, the United States, or the colors red, white and blue. Juried from 3-6 slides. Entry fee: $10. Awards: best of show, plus best of class in 3 divisions. For prospectus, send SASE to the Old School, Dixon Gallery, 515 Jackson, Louisiana, MO 63353; e-mail [email protected]; or telephone (573) 754-5540. March 31, 2003, entry deadline Las Vegas, Nevada "Jackpot!" (May 2-30, 2003), open to functional or sculptural teapots that use

Ceramics Monthly October 2002 82 Ceramics Monthly October 2002 83 call for entries

clay as the primary medium and that do not exceed 36 inches in any direction. Artists may submit up to 3 teapots. Juried from up to 2 slides per work. Juror: Mark Burns. Entry fee: $20. Commission: 40%. Awards: grand prizewinner receives a week­ end trip to Las Vegas and a Mark Burns teapot. For further information, contact Contemporary Arts Collective, Attn: Jackpot!, 101 E. Charleston Blvd., Ste. 101, Las Vegas 89104; or telephone (702) 382-3886.

Regional Exhibitions October 28 entry deadline Pomona, California "Ink and Clay 29" (January 6-February 14, 2003), open to artists in the Western states, including Alaska and Hawaii. Juried from slides. Juror: Toby Kamp, head cura­ tor, Museum of Contemporary Art, San Diego. Entry fee: $20 for slides. Purchase awards: mini­ mum $8000. For prospectus, contact Patrick Merrill, Director, W. Keith and Janet Kellogg University Art Gallery, 3801 W. Temple, Califor­ nia State Polytechnic University, Pomona 91768; e-mail [email protected] ; see website www.csupomona.edu/~kellogg_gallery/; or tele­ phone (909) 869-4301. San Diego, California "National Council on Education for the Ceramic Arts 2003 Regional Student Juried Exhibition" (March 3-15, 2003), open to undergraduates or graduates studying in Alaska, Arizona, California, Hawaii, Nevada, Or­ egon or Washington. Juried from slides of up to 2 works. No entry fee. For prospectus, send #10 SASE to NCECA, PO Box 777, Erie, CO 80516-0777; see websitewww.nceca.net . November 15 entry deadline Indianapolis, Indiana "Clayfest 2003" (January 17-February 14, 2003), open to ceramics artists who are current or former residents of Indiana. Juried from slides. Fee: $20 for 3 entries. For further information, contact Clayfest, Dept, of Art and Design, University of Indianapolis, 1400 E. Hanna Ave., Indianapolis 46227; or telephone (317) 788-3253.

Fairs, Festivals and Sales October 11 entry deadline Inverness, Florida "31st Festival of the Arts" (No­ vember 16-17). Juried from slides. Jury fee: $5. Entry fee: $70. Awards: $10,000. Contact Festival of the Arts, PO Box 1249, Homosassa, FL 34447; e-mail [email protected] ; or telephone Merl (352) 382-4555. December 11 entry deadline Ann Arbor, Michigan "Ann Arbor Street Art Fair" (July 16-19, 2003). Juried from slides. For further information, e-mail [email protected] ; see website www.artfair.org ; or telephone (734) 994-5260. January 15, 2003, entry deadline Frederick, Maryland "The 10th Annual Frederick Festival of the Arts" (June 7-8, 2003). Juried from slides. Cash awards. For application, contact Jas­ mine N. Sneed, Executive Director, PO Box 3080, Frederick 21705; e-mail [email protected] ; see website www.frederickarts.org ; telephone (301) 694-9632; or fax (301) 682-7378.

For a free listing, please submit information on juried exhibitions, fairs, festivals and sales at least four months before the event’s entry deadline (add one month for listings in July and two months for those in August). Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly October 2002 84 Ceramics Monthly October 2002 85 Drill a hole the diameter of the shell casing in the ones can hold 300 grams, which makes them suggestions bamboo membrane and slide the casing into it. very useful for dipping small pieces, rather than From Readers Since it is now tapered from the crimping, it test tiles. This gives you a better idea of how the should fit snugly into the hole, but you may glaze will behave on larger pieces. A bonus is that choose to use glue or epoxy to secure it perma­ the containers are reusable, and usually hold Hair Brush nently.—Tom Meuninck, Walkerton, IN enough for several pieces.—Michelle Mosher, Cut a length of thin bamboo so that the Fredericksburg, IX membrane joint is at one end. Cut squirrel, Efficient Testing rabbit, fox, caribou, etc., hair (or buy it from a Some of the disposable food containers, avail­What a Grate Idea fishing-supply house or major outdoorlhunting able at grocery stores, have ridges near the top My technique for trimming a series of items store). Put a drop of glue or epoxy in the bottom that you can use for measuring glaze tests. Sim­ to the same height (e.g., a set of thrown chess of an empty 22-caliber shell casing. Insert the ply mix up a large batch of base glaze and use the pieces) is to shave down the feet using a flat metal hair into it and crimp the top closed with pliers. ridges in the containers to divide it quickly into The bottom of the casing should remain round. equal quantities for testing colorants. The larger

grater from the kitchen. To help keep the foot from clattering, just attach the two ends of the grater to ½-inch-thick pieces of scrap wood with some short screws, and glue the wood to a piece of Masonite. Then hold the leather-hard piece upright (or at any desired angle) and pass it across the grater until the excess is removed. The shavings that collect can easily be dumped into the recycling bucket, and a hole in the Masonite permits the tool to be hung on a nail when not in use.—Keith H. Gordon, Mohegan Lake, NY

Trailing Hair-dye bottles work great for slip or glaze trailing. They can be purchased at hair salons for $ 1 or so. Cut off the top to the desired diameter and leave a push pin in the top to avoid clogs.— Susan Dimm-Fry, West Chatham, MA

Test Candles I throw my glaze test pots 3x3 inches. After bisque firing, I write the glaze information on the bottom with red iron oxide. After the glaze

has been analyzed, I make a candle holder out of the pot. Tie a candle wick to a pencil or dowel and position it over the pot so the wick hangs

Ceramics Monthly October 2002 86 down in the center of the pot, then fill the pot needs and place the wire ends into an aluminum with wax. If the glaze is great, the piece can be tube 3 centimeters long and 4 millimeters in reused; otherwise, just burn the candle and diameter (I use one from a fishing store). Flatten throw the pot away. This makes a great class the end of the tube with the wires in it very project!—Val Prophet, Dillon, MT tightly, so the wires will not come out. Place the other end of the tube into a dowel or piece of Bat Fix bamboo and secure with epoxy.—Jorge Nabel, If you are having trouble with a wobbly bat, Buenos Aires, Argentina the rubber coating used for tool handles is the quick fix. It tightens the grip and stops rust. It From Soup to Cups soup can glued to the center of a bat. I filled the can be found in a spray.—Geoffrey Ginsberg, I find that throwing off the hump eliminates can with thick epoxy, making it slightly domed Baltimore, MD some back strain when throwing small pieces, to avoid trimming the bottoms of cups and small but tends to cause uneven bottoms and S-cracks.bowls. A bamboo stick can be notched and used This Idea Stinks I have replaced this system by throwing on a to keep the feet all the same size. The end that For those of you who do smoke firing or raku, you can use human hair from hair salons. You can get bags of it for free, just for the asking. It stinks, but you can get cool effects!—Patty Davoust, Warrenville, IL

Wet T-Shirt Trick To keep tiles moist for carving or adding relief elements, dress a wareboard in a damp T- shirt before loading it with tiles. When you cover

it, the moisture from the T-shirt will maintain even moisture throughout the tiles.—Cheryl A. Markussen, Colorado Springs, CO

Finishing Tool I have found that the ideal tool for preparing a bowl or platter for hanging is an upholsterer’s curved needle. By piercing the foot when you

trim, you have two holes that can be threaded with wire for hanging. The knot can be pulled to the inside of the foot ring so as to be less visible.—Robert Brown, Miami, FL

Toothy Tools If you need small wire tools, try using orth­ odontic wires. Shape them according to your

Ceramics Monthly October 2002 87 suggestions comes into contact with the clay can also be carved to form a template for the foot.—-Jack Olive, Grantham Landing, B. C., Canada

Spout Taper Shaper Every time you make a teapot spout, there are decisions to make. How much to cut away so it fits comfortably against the body? And when you’ve decided where to cut, how to actually cut it so it fits neatly? Trimming away the bottom of the spout is easy if you have made a cut-ofF board. You’ll notice that the wooden strips at the

edge of the base are wedge-shaped. One pair of wedges has a slope of 1 in 10 (that is, there is 1 centimeter of rise for 10 centimeters of length). The slope of the other pair is 1 in 20. With the first slice removed, you can see the true wall thickness. If necessary you can cut off another slice to make the spout shorter. Cut off a 1 -in-20 slice and see how it looks. Just hold the spout in place on the board, and slide the harp

down along the wedges. If the spout is still a bit soft, it helps to push the harp to and fro, rather like using a saw. You can keep on cutting tapered slices until you’re happy with the new shape. Then go ahead and attach the spout to your pot in the usual way.—Roger Graham, Gerringong, NSW, Australia

Share your ideas with others. Previously un­ published suggestions are welcome individu­ ally or in quantity. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly October 2002 88 Ceramics Monthly October 2002 89 Clarke; at Iowa Wesleyan College, Art Gallery, P.E.O. calendar Bldg., 601 N. Main. Events to Attend—Conferences, Michigan, Ferndale October 26-November 30 "Tony Hepburn @ 60," retrospective exhibition; at Exhibitions, Workshops, Fairs Revolution Gallery, 23257 Woodward Ave. Missouri, Kansas City November 1-23 Jane Shellenbarger, thrown, altered and assembled pot­ Conferences tery; at Red Star Studios Ceramic Center, 821 W. 17 St. Montana, Helena November 7-January 15, 2003 Vermont, Bennington January 29-February 2, Jun Kaneko, ceramics and paintings; at the Holter 2003 "North Country Studio Conference" will include Museum of Art, 12 E. Lawrence St. 14 workshops, 2 of which are ceramics by Jeff Oest- Nevada, Reno through October 26 Viola Frey, reich and Arnold Zimmerman. Location: Bennington "Larger than Life," glazed figures; at the Nevada College. For further information, see website Museum of Art, 160 W. Liberty St. www.northcountrystudioconference.org ; or telephone New Jersey, Demarest November 4-25 John (802) 785-2245. Caspar, ceramic installation; at the Old Church Cul­ China, Foshan City October 18-22 "Foshan Ce­ tural Center School of Art, 561 Piermont Rd. ramics Exposition—China 2002" will include seminars New Jersey, Surf City October 12-November4 Rick on the development of international ceramic art and Parsons; at m. t. burton gallery, 1819 Long Beach Blvd. the studies of world ceramics, plus workshops, exhibi­ New Mexico, Santa Fe October 11-20 Andy tions, and trade booths. For further information, con­ Goldschmidt, sculpture; at Steve Elmore Indian Art tact Zhang Wenzhi or Steve Brousseau, Foshan Gallery, 839 Paseo de Peralta. Ceramics Exposition, 11 Buxin St., 5 Gaomiao Rd., New York, Brooklyn through February 9, 2003 Shiwan District, Foshan City, Guangdong Province, Judy Chicago, "The Dinner Party," installation of por­ China PC 528031; e-mail [email protected] ; celain plates depicting important women in history; at see website www.2002taobo.com ; or telephone (86) Brooklyn Museum of Art, 200 Eastern Pkwy. 757 2723608; fax (86) 757 2723492. New York, Long Island City October 1-31 Marek Italy, Rimini October 1-5 "Ceramics Workshop" Cecula, "The Porcelain Carpet Project," 600 porce­ will include 5 sections: "Ceramic as Expressive Art" lain dinner plates in 3 stages of "printing." Novem­ exhibition; student competitions and exhibitions; stu­ ber 2-December 29 Ruth Duckworth, "A Decade of dent exhibitions addressing the use of ceramic mate­ Large Scale Works"; at Garth Clark Gallery's Project rials in manufacturing, and innovative packaging and Space, 45-46 21st St. dispensers for ceramic tiles; exhibition focusing on New York, New York through October 5 David future trends in fashion, color, lifestyle, etc.; and Packer. Kurt Weiser. October 8-November 2 Babs display of ceramic product and process innovations. Haenen. November5-30 Nicholas Rena. Martin Smith; For further information, contact Tecnargilla, S.A.L.A., at Garth Clark Gallery, 24 W. 57th St. Via Carlo Zucchi, 21 A/B, 41100 Modena, Italy; e-mail through October 19 Rosanjin Kitaoji; at Franklin [email protected]; see website www.tecnargilla.it ; tele­ Parrasch Gallery, 20 W. 57th St. phone (39) 59 82 77 80; or fax (39) 59 82 73 19. through October 26 Miwa Koizumi, ceramic and Italy, Savona October 19-20 "Local Tradition of multimedia installation; at Jane Hartsook Gallery, Ceramic and Globalization of Contemporary Art" will Greenwich House Pottery, 16 Jones St. include lectures by curators of the "Biennale of Ce­ October9-February 9, 2003 "China Refigured: The ramic in Contemporary Art." Contact Atteseo.n.I.u.s., Art of Ah Xian"; at the Asia Society, 725 Park Ave. via Lepontina 12, Milan 20159, Italy; see website New York, Port Chester October 4-26 Kelli www.attese.it ; e-mail [email protected] or [email protected] ; Damron, "Voluptuosity." November 1 -23 Susan Halls, or telephone/fax (39) 02 608 18 78. "Extraordinary Birds and Beasts"; at the Clay Art Center, 40 Beech St. Solo Exhibitions North Carolina, Charlotte October29-November 30 Byron Temple, "ATributeto Fifty Years"; atW.D.O., Arizona, Scottsdale October 1-31 John Balistreri, Hearst Plaza, Ste. 1, 214 N. Tryon St. sculpture. November 1-30 Bennett Bean; at Gallery North Carolina, Creedmoor October 4-Novem- Materia, 4222 N. Marshall Way. ber 10 Val Cushing; at Cedar Creek Gallery, 1150 Arizona, Tempe through December 14 Farraday Fleming Rd. Newsome Sredl, "Embracing Night"; at the Ceramics North Carolina, Seagrove November 1-30 Pete Research Center, Arizona State University Art Mu­ Knickerbocker, pottery; at Blue Moon Gallery, 1387 seum, Tenth St. and Mill Ave. Hwy. 705, S. California, San Francisco November 5-December Ohio, Canton through October 27 Angelica Pozo, 7 Robert Brady, wood and ceramic sculpture; at installation; at the Canton Museum of Art, 1001 Braunstein/Quay Gallery, 430 Clementina. Market Ave., N. California, Santa Monica through October 12 Ohio, Springfield through November 8 Gregg John Mason. October 19-November 23 Ron Nagle. Luginbuhl, sculpture and wall works; at Ann Miller November 30-January 11, 2003 Peter Voulkos; at Gallery, Wittenberg University. Frank Lloyd Gallery, 2525 Michigan Ave., B5b. Pennsylvania, Easton through October 19 Connie Florida, Jacksonville through October 12 Cookie Bracci-Mclndoe, "Leavesof Bucks County," raku forms; Davis, "Bookmarks"; at 1037 Gallery, Reddi-Arts, 1037 at Ahlum Gallery, 106 N. Fourth St. Hendricks Ave. Pennsylvania, Erie through December 1 Kathy Georgia, Athens October 19-January 12, 2003 King, "Nursery of My Indecision"; at the Erie Art Earl McCutchen, "Craftsmanship in Ceramics and Museum, 411 State St. Glass"; at the Georgia Museum of Art, 90 Carlton St. Pennsylvania, Philadelphia through October 6 Georgia, Atlanta through October 13 Vernon Sinisa Kukec, 2001-2002 Evelyn Shapiro Foundation Smith, thrown and altered functional ware; at the fellow; at the Clay Studio, 139 N. Second St. MudFire Pottery Center, 1441 Dresden Dr., Ste. 250. Pennsylvania, Pittsburgh through November 13 Hawaii, Honolulu November 13-30 Hideo Okino; Daryn Lowman, "Objects in Place." November 15- at the Honolulu Academy of Arts, Academy Art Cen­ January 1, 2003 Kirk Mangus, recent work; at the Clay ter, 900 S. Beretania St. Place, 5416 Walnut St. Indiana, Ft. Wayne through October 4 Dick Tennessee, Smithville through November3 Janice Lehman, "Treading Upon the Edge"; at Charlie Basiletti, fantasy sculpture; at Appalachian Center for Cummings Clay Studio, 4130 S. Clinton St. Crafts, 1560 Craft Center Dr. Iowa, Mt. Pleasant through October 30 Bede Texas, Houston through October 19 Mark

Ceramics Monthly October 2002 90 Chatterley. October 26-November 30 Bill Dennard; at Goldesberry Gallery, 2625 Colquitt St. Washington, Seattle October3-27 Sequoia Miller; at KOBO Gallery, 814 E. Roy St. Wisconsin, La Crosse through October 12 Karen Terpstra, "Archaeohippus," wood-fired and multime­ dia sculpture; atthe Pump House Regional Arts Center, 119 King St. Wyoming, Buffalo November 29-December 31 " Rotation," installation by Bronwyn Minton; at Margo's Pottery and Fine Crafts, 1 N. Main.

Group Ceramics Exhibitions Alabama, Montgomery November 2-January 5, 2003 "The Artful Teapot: 20th-Century Expressions from the Kamm Collection"; at the Montgomery Mu­ seum of Fine Arts, 1 Museum Dr. Arizona, Mesa October 15-November23 "Steeped in Tradition: The Contemporary Art of Tea," juried exhibition; at the Mesa Arts Center, 155 N. Center St. California, Burbank October 4-28 "Teapots and Teabowls"; at the Creative Art Center/Gallery, 1100 W. Clark Ave. California, Los Angeles October 19-November 10 "Centering: Clay and the Midwest Influence," curated exhibition of works by 21 potters; at Freehand Gallery, 8413 W. Third St. California, Santa Rosa through January 31, 2003 " New Ceramic Horizons," sculpture by Hedi-Katharina Ernst, Sarah Kotzamani, Clara Lanyi, Inya Laskowski, Penny Michel, Scott Parady, Dharma Strasser, John Toki, Re-Cheng Tsang, Christiane Vincent; at Paradise Ridge Winery, Paradise Wood Sculpturegrove, 4545 Thomas Lake Harris Dr. D.C., Washington through October 27 "The Potter's Brush: The Kenzan Style in Japanese Ceram­ ics"; at the Freer Gallery of Art, Smithsonian American Art Museum, Jefferson Dr. at 12th St., SW. Georgia, Athens through October 6 "Bunzlauer Style: German Pottery from Jugendstil to Art Deco"; at the Georgia Museum of Art, University of Georgia, 90 Carlton St. Illinois, Chicago October 5-November 3 Peter Beasecker and Maren Kloppmann. October 12-No- i/ember 3 "The Work of Josh DeWeese, Director, and the 2002 Artists in Residence from the Archie Bray Foundation"; at Lill Street Art Center, 1021 W. Lill St. October 15-December 13 "Visual Perspectives: 14 Years of the Virginia A. Groot Awards," ceramics by 36 artists; at the Groot Foundation Space, 215 W. Supe­ rior St. Indiana, Ft. Wayne November 23-December 21 "Cup: The Intimate Object," juried national exhibition; at Charlie Cummings Clay Studio, 4130 S. Clinton St. Maine, Gorham October 29-December 7 "Push­ ing Clay"; at the University of Southern Maine Art Gallery, 37 College Ave. Maryland, Baltimore through October 5 "One ' Invites Two: Yih-Wen Kuo, Joseph Kress and Anita Powell." October 12-November9 "Raven Revel," na­ tional invitational of raven-inspired work. October 18- November23 "Teaching and Talking Through the Clay II." November 16-December24 "Winterfest2002"; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Boston November 9-January 5, 2003 "Our Cups Runneth Over"; at the Society of Arts and Crafts, 175 Newbury St. Massachusetts, Ipswich through October 5 "A Tea Party"; at Ocmulgee Pottery and Fine Crafts, 26 Market St. Massachusetts, Lenox through October 20 "Tea­ pots Transformed"; at Ferrin Gallery, 56 Housatonic St. Minnesota, Minneapolis through October 27 "Tactile," tileworks by Josh Blanc, Kristen Hanlon, Norma Hanlon, Stephanie Kaczrowski, Laura McCaul, Aldo Moroni, Wendy Penta, etc.; at Gallery 360, 3011 W. 50th St. at Xerxes. through November2 "Breaking the Plane: 3 Dimen-

Ceramics Monthly October 2002 91 calendar

sions in Tile," works by Fuller Cowles and Constance Mayeron, Paul McMullan, Annabeth Rosen, and Au­ rora Hughes Villa. November 17-December 28 "2002 Holiday Exhibition and Sale"; at the Northern Clay Center, 2424 Franklin Ave., E. through January 12, 2003 "Kakelugnar of the American Swedish Institute," 11 porcelain tile stoves; at the American Swedish Institute, 2600 Park Ave. Missouri, Kansas City through October 5 "Plat­ ters and Plates"; at Red Star Studios Ceramic Center, 821 W. 17 St. New Jersey, Newark through December 29 "El­ egy in White: The Karen McCready Collection of White Porcelain"; at the Newark Museum, 49 Washington St. New Mexico, Santa Fe October 11-November 9 "Figurative Sculpture Exhibition," curated exhibition of works by Russell Biles, Christyl Boger, Jim Budde, Sara Lisch, Louis Mendez, Cara Moczygemba, Cheryl Tall, Maryann Webster and Arnold Zimmerman. Novem­ ber 15-December 16 "Contemporary Maiolica," works by 35 artists; at Santa Fe Clay, 1615 Paseo de Peralta. November 17-September 7, 2003 "Ceramica y Cultura: The Story of Spanish and Mexican Mayolica"; at the Museum of International Folk Art, 706 Camino Lejo at Milner Plaza, off Old Santa Fe Trail. New York, Garrison November30-December 22 " Passionate Fire: Wood-Fired Ceramics from the Hudson Valley," with works by Roger Baumann, Paul Chaleff, Pascal Chmelar, Rich Conti, Jane Herold, Grace Knowlton, Tony Moore, Tim Rowan and Jeff Shapiro; at the Germaine Keller Gallery, 17A Garrison's Landing. New York, New York through October 5 "New York Tea Party," 50 teapots by 14 artists; at Dai Ichi Gallery, 249 E. 48th St. October 9-February 9, 2003 "From Court to Cara­ van: Chinese Tomb Sculptures from the Collection of Anthony M. Solomon"; at the Asia Society, 725 Park Ave. November 13-December 4 "Innovations in Clay: Recent Hungarian Ceramics." "Innovations in Clay: Recent American and Hungarian Ceramics"; at the Hungarian Cultural Center, Hungarian Consulate, 223 E. 52nd St. North Carolina, Charlotte through October 28 "Rhythm, Spirit, Fragment, Layer, Color—Expressions in Clay," works by Don Cheek, Belinda Goodwin, Corine Guseman, Jennifer Kinkaid and Terry Shipley; at the Middleton McMillan Gallery at Spirit Square. Ohio, Cincinnati October 19-January 5, 2003 "Uncommon Legacies: Native American Art from the Peabody-Essex Museum"; at the Cincinnati Art Mu­ seum, 953 Eden Park Dr. Ohio, Grandview Heights October 1-November30 "Clay Show," works by Juliellen Byrne, Richard Garriott- Stejskal, Tom and Karen Markgraf, Tom Radca, and Denise Romecki; at A Muse Gallery, 996 W. Third Ave. Ohio, Kettering November4-December 6 "Earth in Balance," juried regional exhibition; at Rosewood Gallery, 2655 Olson Dr. Ohio, Lancaster through January 5, 2003 "Seven Contemporary Ohio Potters," curated exhibition of works by Curt Benzie, Cary Hulin, Mark Nafziger, Tom Radca, Gail Russell, Justin Teilhet and Tom Turner. "Traditional Ohio Pottery," curated show of 1940s and '50s ceramics; at the Decorative Arts Center of Ohio, 145 E. Main St. Oklahoma, Tulsa October 30-December 14 "Red Heat: Contemporary Work in Clay"; at the University of Tulsa School of Art, 600 S. College Ave. Pennsylvania, Philadelphia through October 6 "Visions: An African-American Journey in Clay." Octo­ ber 22-November 10 "Mastery in Clay: New Work," exhibition/auction (see Fairs, Festivals and Sales) of works by over 200 artists; at the Clay Studio, 139 N. Second St. Rhode Island, Providence through October 13

Ceramics Monthly October 2002 92 "Form and Decoration," ceramics by Julia Galloway and Jeff Oestreich. October 17-November 17 "Anagama," exhibition of wood-fired ceramics; at Peck Gallery, 424 Wickenden St. Texas, Alpine October 7-18 "The Fourth Annual Sul Ross State University Ceramic Invitational," works by Roger Allen, Travis Berning, Frank Campbell and Barbara Buell, Susan Filley, Mary Fischer, Steven Hill, and Matt Long; at the gallery of the Fine Arts and Communications Bldg., Sul Ross State University. Texas, Dallas through January 5, 2003 "Treasures from an Unknown Reign: Shunzhi Porcelain"; at the Trammell and Margaret Crow Collection of Asian Art, 2010 Flora St. Texas, Tyler through October 23 "Clay Works 2002," by Marilyn Coler, Gayle Farwell, Anna Hartman, Nancy McCain, Janelle Pollard and Malinda Wright; at Gallery One Eleven, 117 E. Irwin. Virginia, Alexandria October 1-27 "Boxes and Vases"; at Scope Gallery, Torpedo Factory, Studio 19, 105 N. Union St. Virginia, Herndon through October 19 "Two Fires," wood-fired pottery by Mark Shapiro and Bill van Gilder; at Earth and Fire Pottery, 775 Station St. Wisconsin, SturtevantNoi/enuber 13-December6 "Alpine 60th Anniversary Exhibition," juried national; at A.R.T. Studio Clay Co., 9320 Michigan Ave.

Ceramics in Multimedia Exhibitions Arizona, Tucson through November 2 "Dia de los Muertos Invitational Exhibition"; at Obsidian Gallery, St. Philip's Plaza, Ste. 90, 4340 N. Campbell Ave. Arkansas, Springdale November 11-January 2, 2003 "Eighth Annual Regional Art Exhibition"; at the Arts Center of the Ozarks, 214 S. Main St. California, Kentfield through November 7 "Opaque/Transparent: Clay/Glass"; at the College Art Gallery, College of Marin, 835 College Ave. California, La Jolla October 12-December6 "Fes­ tival of Lights," exhibition of menorahs; at Gallery Alexander, 7925-A Girard Ave. Colorado, Denver through December 7, 2003 "Chinese Art of the Tang Dynasty from the Sze Hong Collection"; at the Denver Art Museum, 100W. 14th Ave. Pkwy. Connecticut, New Canaan November 17-Decem- ber22 "Craft USA 2002," juried national exhibition; at Silvermine Guild Arts Center, 1037 Silvermine Rd. D.C., Washington through October 6 "An Ameri­ can Vision: Henry Francis du Pont's Winterthur Mu­ seum, " over 300 works of art and craft; at the National Gallery of Art, Fourth St. at Constitution Ave. Florida, St. Petersburg through October26 "Past Perfect/Present Tense," past winners of the Florida Craftsmen Award, including past and present clayworks by Elmer Craig, Nofa Dixon, Christine Federighi, Georgina Holt, Peter Kuentzel and Cheryl Tall; at the Florida Craftsmen Gallery, 501 Central Ave. Florida, West Palm Beach through October 11 "Figurative Works Competition." October 18-Novem- ber 23 "October International Competition"; at the Robert and Mary Montgomery Armory Art Center, 1703 Lake Ave. Florida, Winter Park through January 5, 2003 "Art Nouveau in Europe and America: From the Morse Collection"; at the Charles Hosmer Morse Museum of American Art, 445 N. Park Ave. Georgia, Atlanta October 4-November 2 "Being Human: The Figure Expressed"; at the Signature Shop and Gallery, 3267 Roswell Rd., NW. Hawaii, Honolulu October 9-31 "The Hawai'i Craftsmen Exhibition"; at the Honolulu Academy of Arts, 900 S. Beretania St. Illinois, St. Charles October 21-November 16 "Hidden Faces: An Exhibition of Masks"; at the Fine Line Creative Arts Center, 6N158 Crane Rd. Kentucky, Louisville through October 19 "Chairs,

Ceramics Monthly October 2002 93 Pennsylvania, New Castle October 1-November calendar 15 "2002 Hoyt MidAtlantic Juried Exhibition"; at the Institute of Fine Arts, 124 E. Leasure Ave. Pennsylvania, Wayne November3-25 "Fall Mem­ Jewels and Teapots," three-person exhibition with bers Juried Exhibition"; at the Wayne Art Center, 413 ceramic teapots by Laura George, through October26 Maplewood Ave. "Bottled Spirits"; at the Kentucky Art and Craft Gal­ Vermont, Burlington through November 3 "Ital­ lery, 609 W. Main St. ian Connections"; at Frog Hollow/Vermont State Craft Maryland, Cockeysville October 4-27 "Mother Center, 85 Church St. Paints, Daughter Pots II," with ceramics by Mary Ellen Vermont, Manchester October 4-November 24 McLewee; at Clay Orbit, 10918 York Rd. "Asian Origins"; at Frog Hollow/Vermont State Craft Massachusetts, Boston through November3 "The Center, Rte. 7A, Equinox Shops. 2002 Artist Awards Exhibition," with ceramics by Washington, Moses Lake November 15-Decem- Nancy Hayes and Jeanee Redmond; at the Society of ber 31 "2002 Holiday Show"; at the Moses Lake Arts and Crafts, 175 Newbury St. Museum and Art Center, 228 W. Third Ave. Massachusetts, Oak Bluffs through October 13 "Relics of the Nest: Illusion and Memory," including Fairs, Festivals and Sales ceramic sculpture by Susan Button; at Dragonfly Gal­ lery, 91 Dukes County Ave. Arizona, Tucson November 1-3 "Fifth Annual Michigan, Ferndale through October 19 "Wish Harvest Festival"; at the Tucson Convention Center, You Were Here," including ceramics by Jae Won Lee, 260 S. Church St. Jim Melchertand RobertTurner; at Revolution Gallery, California, Anaheim October 25-27 "20th An­ 23257 Woodward Ave. nual Harvest Festival"; at the Anaheim Convention Minnesota, Bloomington October 11-Novem- Center, 800 W. Katella Center. ber 16 "27th Annual Members' Juried Exhibition"; California, Gualala October 12 "Summer Satur­ at the Bloomington Art Center Gallery, 10206 Penn day Art Festival"; downtown, east of Hwy. 1. Ave., S. California, Sacramento November 22-24 "28th Minnesota, Minneapolis through October 20 Annual Harvest Festival"; atCal Expo, 1600 Exposition "21st-Century Tiles: From Earth to Fire, National Juried Blvd. Tile Exhibition"; at the Gage Family Art Gallery, California, San Diego October 11-13 "27th An­ Augsburg College, 2211 Riverside Ave. nual Harvest Festival"; at the San Diego Concourse, Minnesota, St. Paul through October 20 "21st- 202 C St. Century Tiles: From Earth to Fire, National Juried Tile November 9-10 Biannual sale of works by 40 mem­ Exhibition"; at the Catherine G. Murphy Gallery, The bers of the San Diego Potters' Guild; at Balboa Park's College of St. Catherine, 2004 Randolph Ave. Spanish Village. Mississippi, Biloxi November 8-January 3, 2003 California, San Francisco November 15-17 "30th "George E. Ohr National Arts Challenge"; at the Ohr- Annual Harvest Festival"; at the Concourse Exhibition O'Keefe Museum of Art, 136 G. E. Ohr St. Center, 635 Eighth St. Montana, Helena through October 27 "ANA 31: California, San Jose November 29-December 1 National Juried Exhibition." through December 31 "25th Annual Harvest Festival"; at the San Jose Con­ "New Acquisitions from the Permananent Collection," vention Center, 150 W. San Carlos. including ceramics, prints and paintings; at the Hotter California, Santa Monica October 4-6 "Los An­ Museum of Art, 12 E. Lawrence St. geles Arts of Asia and Oceania Show." November 1-3 New Hampshire, Concord October 1-31 "League "Contemporary Crafts Market." November 9-10 "LA of New Hampshire Craftsmen's Retail Galleries 2002 Decorative Arts Fair"; at the Santa Monica Civic Audi­ Traveling Exhibition"; atthe Leagueof New Hampshire torium, 1855 Main St. (on the corner of Pico Blvd.). Craftsmen, 36 N. Main St. California, Ventura October 4-6 "13th Annual New Hampshire, N. Conway November 1-30 Harvest Festival"; at Seaside Park, 10 W. Harbor Blvd. "League of New Hampshire Craftsmen's Retail Galler­ Connecticut, Middletown November30-Decem- ies 2002 Traveling Exhibition"; at the League of New ber 14 "Wesleyan Potters 47th Annual Exhibit and Hampshire Craftsmen, 2526 White Mountain Hwy. Sale"; at the Wesleyan Potters GallerylShop, 350 S. New York, Buffalo through December 15 "Craft Main St. (Rte. 17). Art Western New York 2002"; at Burchfield-Penney D.C., Washington November 15-17 "15th An­ Art Center, Rockwell Hall, Buffalo State College, 1300 nual Washington Craft Show"; at the Washington Elmwood Ave. Convention Center, 900 Ninth St., NW. New York, Long Island, Hempstead through Florida, Gainesville November 9-10 "21st An­ December 13 "Tabletop 2002"; at Emily Lowe Gallery, nual Downtown Festival and Art Show"; on S.E. First Hofstra Art Museum, 112 Hofstra University. St., downtown. New York, New York through October 6 Exhibi­ Florida, Tampa October 26-27 "Sixth Annual tion of works by members of Artist-Craftsmen of New CraftArt Outdoor Festival"; at Plant Park, University of York; at the Broome Street Gallery, 498 Broome St. Tampa campus, downtown. through October 27 "September 11: Artists Re­ Georgia, Roswell November 1-5 "Works in Clay"; spond," works by over 60 craftspeople; at the Ameri­ at the Roswell Visual Arts Center: The Clay Collective, can Craft Museum, 40 W. 53rd St. 10495 Woodstock Rd. North Carolina, Charlotte through April 6, 2003 Illinois, Winnetka November 2-3 "The Modern­ "Coming of Age," the evolution of the museum's ism Show: Exposition and Sale of 20th-Century De­ collection of 20th- and 21 st-century crafts; at the Mint sign, 1890-1970"; atthe Winnetka Community House, Museum of Craft + Design, 220 N. Tryon St. 620 Lincoln Ave. Ohio, Cleveland through October 25 "Connec­ Indiana, Bloomington November 1-2 "Potters' tions: Ohio Artists Abroad," including ceramics by Guild Holiday Pottery Show and Sale"; at St. Mark's Mary Jo Bole; at SPACES, 2220 Superior Viaduct. Methodist Church, 100 N. Hwy. 46 Bypass. October27-January5,2003 "Magna Graecia: Greek Indiana, Ft. Wayne November 6-10 "Holiday Art Art from South Italy and Sicily"; at the Cleveland Fair"; atthe Ft. Wayne Museum of Art, 311 E. Main St. Museum of Art, 11150 East Blvd. Louisiana, New Orleans October 18-20 "2002 Oregon, Ashland through October 5 "Crater New Orleans Fresh Art Festival"; the 700 block of St. Lake Centennial Exhibition," includes installation of Joseph St., the New Orleans Warehouse Arts District. "One Hundred Crater Lake Chalices" by Victoria Maryland, Baltimore October 5 "A Hands on McOmie; at the Schneider Museum of Art, Southern Affair...Comes Home," live and silent auctions of ce­ Oregon University. ramics to benefit Baltimore Clayworks. Fee: $100.

Ceramics Monthly October 2002 94 E-mail [email protected]; or tele­ Oregon, Eugene October 12-13 "Clay Fest2002," Center" with Judi Munn and John Perry. Participants phone (410) 578-1919, ext. 11. sale of ceramics by approximately 70 artists, plus may bring Cone 10 bisqueware and favorite glaze. Fee: Michigan, E. Lansing November 14-16 "Greater demonstrations; at the Lane County Fairgrounds, 13th $100, includes 2 shelves in kiln; additional space Lansing Potter's Guild Annual Fall Sale"; at All Saints Ave. and Jefferson St. availableforfee. Living accommodations available. For Episcopal Church, 800 Abbott Rd. Pennsylvania, Philadelphia November 8-10 further information, contact Judi Munn and John Mississippi, Biloxi October 5-6 "Tenth Annual "Mastery in Clay: New Work," benefit weekend and Perry, 9400 Green Mountain Rd., Mountain View George E. Ohr Fall Festival of Arts"; on the Town Green. auction of works by over 200 artists. Contact the Clay 72560; [email protected] ; ortelephone Missouri, Hannibal October 19-20 "Folklife Fes­ Studio, 139 N. Second St., Philadelphia 19106; see (870) 585-2308. tival"; along Main Street, historic district. website www.theclaystudio.org ; or telephone (215) California, Camarillo November 9-10 Demon­ Missouri, St. Louis October 5-6 "Historic Shaw 925-3453. stration with Matt Long on the sculptural elements of Art Fair"; along the 4100 and 4200 blocks of Flora PI. Pennsylvania, Richboro October 18-20 "Fall State functional pottery and extreme surfaces applicable to in the Shaw Neighborhood. Craft Festival"; at Tyler State Park. soda firings. Fee: $60; Ventura County Potters Guild Montana, Gallatin Gateway October3-6 "Moun­ Rhode Island, Providence November 1-3 "7th members, $50. Location: Studio Channel Islands Art tain West Contemporary Art Auction and Gala Cel­ Annual Fine Furnishings Providence Show"; at the Center, California State University Channel Islands. For ebration, " sale of works by 50 artists, plus lectures and Rhode Island Convention Center, Halls A and B, 1 further information, telephone Ruth Smith at (805) exhibitions, to commemorate Montana State Sabin St. 482-2404. University's 110th anniversary. Fee: $25. For tickets or Texas, Dallas November 1-3 "Proton Road Arts California, San Jose October 13 "Building on a for further information, telephone (406) 994-4502. Festival"; at the Craft Guild of Dallas, 14325 Proton Rd. Strong Foundation," throwing with Danny Sheu. Nevada, Reno November 1-3 "Digging Deep," Texas, Ft. Worth October 12-13 "Clay and Rail Fee: $40; OVCAG members, $30; bring sack lunch. the Wild Women annual exhibition and sale of works; Connection: Annual Invitational Clay Festival"; at the Location: Claymaker. Contact Orchard Valley Ce­ at NMA Underground, 100 S. Virginia St. Lockheed Martin Recreation Association, 3400 Bryant ramic Arts Guild: e-mail [email protected] ; see New Jersey, Morristown October25-27" Morris­ Irvin Rd. website www.ovcag.org ; or telephone Irene Jenkins town CraftMarket"; at the Morristown Armory, West­ Texas, Gruene (New Braunfels) October 26-27 (408) 739-9435. ern Ave. "Tenth Annual Texas Clay Festival"; on the grounds of California, San Marcos October 16-27 "Reveal­ New York, New York October 4-6 "Fall Crafts Buck Pottery, Gruene Historical District. ing Glazes Using the Grid Method" with Ian Currie. Park Avenue"; at the Seventh Regiment Armory, 67th Wisconsin, Baraboo, Mineral Point and Spring Fee: $85. Contact Terry Sullivan, Nottingham Center and Park Ave. Green October 18-20 "Ninth Annual Fall Art Tour," for the Arts: e-mail [email protected] ; see New York, White Plains October 18-20 "Ninth demonstrations and tours of artists' studios. For fur­ website www.nottinghamarts.org ; or telephone (760) Annual Westchester Craft Show"; at the Westchester ther information, see website www.fallarttour.com ; or 734-3913. County Center, Central Ave. and Rte. 119. telephone Cornerstone Gallery (608) 356-7805, California, Santa Ana October 79 Workshop with North Carolina, Winston-Salem November 15- Johnston Gallery (608) 987-3787, or Jura Silverman John Kudlacek on thrown and handbuilt vessels. Fee: 17 "39th Annual Piedmont Crafts Fair"; at M. C. Studio and Gallery (608) 588-7049. $35. Location: Fine Arts Bldg., Santa Ana College. Benton Convention Center, Fifth and Cherry sts. Contact Patrick Crabb, (714) 564-5613. Ohio, Lewis Center November22-24 Annual sale Workshops California, Sunnyvale October20, 27, November of functional pottery by Gail Russell and Tom Turner; 3and 10 "Developing Personal Narrative in Clay" with at Peachblow Pottery, 2425 Peachblow Rd. Telephone Arkansas, Mountain View October 18-21 "Fir­ Sara Swink. Fee: $250; OVCAG members, $225; in­ (740) 548-7224. ing a Wood-Fired Groundhog Kiln at the Ozark Folk cludes materials (paid at workshop); bring sack lunch.

Ceramics Monthly October 2002 95 February 22, 2003 A session with Jenny Lind and Allan Development Using the Grid Method" with Ian Currie. calendar Walter. Contact Walnut Creek Civic Arts Education, Contact Sally Nehr, Pottery Studio at City Park Recre­ PO Box 8039, 1313 Civic Dr., Walnut Creek 94596; or ation Center, (303) 460-9690, ext. 124, or (303) 430- telephone (925) 943-5846. 2400, ext. 2213; or fax (303) 650-0380. Location: Sunnytrees HOA Clubhouse. Contact Or­ Colorado, Snowmass Village October 7-25 "Stu­ Connecticut, Brookfield October 4-6 "Japanese chard Valley Ceramic Arts Guild: e-mail dio Intensive—Session II" with Paula Rice. Fee: $1120, Tableware" withTakao Okazaki. October 11-13 "Clay [email protected] ; see website www.ovcag.org ; includes materials and firing. Contact Anderson Ranch and Glaze Defects" with Jeff Zamek. October 26-27 or telephone Irene Jenkins (408) 739-9435. Arts Center, PO Box 5598, 5263 Owl Creek Rd., "Colored Clay" with Naomi Lindenfeld. November 1- California, Torrance October 18-19 "Glaze De­ Snowmass Village 81615; see website 3 "Getting Artwork Online" with Nancy White Cassidy. velopment Using the Grid Method" with Ian Currie. www.andersonranch.org ; telephone (970) 923-3181; November 15-17 "Pottery of Mata Ortiz" with Monico Contact Neil Moss, El Camino College, 16007 Cren­ or fax (970) 923-3871. Corona and Anna Trillo. Contact the Brookfield Craft shaw Blvd., Torrance, CA 90506; or e-mail Colorado, Steamboat Springs October 4-5 Center, PO Box 122, Brookfield 06804; e-mail [email protected] . "Glaze Development Using the Grid Method" with [email protected] ; or telephone (203) 775-4526. California, Walnut Creek October 19 Ian Currie. Contact Ceramic Design Group, PO Box Connecticut, Guilford November 2-3 "Surface "Handbuilding: Tricks of theTrade" with Vince Pitelka. 775112, Steamboat Springs 80577; telephone (970) Options," textures with Mary Barringer. For further Fee: $50. November 9 "Organic Wall Reliefs Work­ 879-9139; e-mail [email protected] ; see information, contact the Guilford Handcraft Center: shop" with Ellen Sachtschale. Fee: $50. November 10 websitewww.ceramicdesigngroup.net . see website www.handcraftcenter.org ; e-mail "Throwing Big Pots" with Correen Abbott. Fee: $50. Colorado, Westminster October 12-13 "Glaze [email protected] ; or telephone (203) 453-5947. Illinois, Chicago October 26 A session with Josh DeWeese. Contact Lill Street Art Center, 1021 W. Lill St., Chicago 60614; see website www.lillstreet.com; telephone (773) 477-6185; or fax (773) 477-5065. Illinois, Crystal Lake October 10-11 A session with Elaine Coleman and Tom Coleman at McHenry County College. Contact Molly Walsh, Great Lakes Clay, (815) 455-8697. Illinois, Sugar Grove February 19-22, 2003 A session with Jason Hess. For further information, e-mail Doug Jeppesen, Waubonsee Community College, [email protected] ; see website at www.waubonsee.edu ; or telephone (630) 466-7900, ext. 2505. Maine, Portland October 12 "Terra-Cotta Pots and Low-Fire Slips" with Nancy Carroll. November 9 "Asymmetrical Forms" with David Orser. November 16 "Understanding Glazes and How They Work" with Maureen Mills. Fee: $40 per session; 4 or more, $35 each. Contact Portland Pottery, (207) 772-4334; or see website at www.portlandpottery.com . Maryland, Baltimore October 12-13 "Going to Pieces: A Mosaic Workshop" with Donna Billick. Octo­ ber 19-20 A session with George Kokis. November 9- 10 A session with Ron Meyers .January 11-12, 2003 A session with Michael Sherrill. January 28-31, 2003 A session with Nick Joerling. Contact Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; or telephone (410) 578-1919. Massachusetts, Chatham October6-7 Workshop on glaze and clay-body defects with Jeff Zamek. Con­ tact Zamek Workshop, Cape Cod Potters,Inc., PO Box 76, Chatham 02633-0076; or see website www.capecodpotters.org . Massachusetts, Williamsburg October 11-14 "Glazing, Techniques and Chemistry" with Sharon Pollock Deluzio. Contact Snow Farm, 5 Clary Rd., Williamsburg 01096; e-mail [email protected] ; see website www.snowfarm.com ; telephone (413) 268-3101; or fax (413) 268-3163. Massachusetts, Worcester November9-10 "Gen­ erating Ideas for Making Pots" with Peter Beasecker. For further information, contact the Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; see website www.worcestercraftcenter.org ; or telephone (508) 753-8183. Michigan, Detroit December 14 "Precious Metals Clay" with Kim Wilson. Fee: $200, includes materials. Contact Pewabic Pottery, 10125 E. Jefferson Ave., Detroit 48214; see website www.pewabic.com; tele­ phone (313) 822-0954; or fax (313) 822-6266. Minnesota, Mankato October 14-16 Ceramics workshop with Rudy Autio, Judy Onofrio and Don Reitz. (Also includes slide lectures by artists in other media.) No fee. Contact Minnesota Community Col­ lege, (218) 262-6730; or see website www.hcc.mnscu.edu/whatsnew/artconference.php . Mississippi, Biloxi October 3-4 "Living on the Edge with Clay" with Robert Piepenburg. November 9-10 "A Weekend with Paul Soldner." Fee/session:

Ceramics Monthly October 2002 96 $75. Contact the Ohr-O'Keefe Museum of Art, 136 Walch. Fee: $75. Contact the Clay Art Center, 40 Beech ing, November2 "Wood Firing" with Jolyon Hofsted. G.E. Ohr St., Biloxi 39530; e-mail [email protected] ; St., Port Chester 10573; telephone (914) 937-2047. All skill levels. Fee: $200, includes materials and lunch. telephone (228) 374-5547; or fax (228) 436-3641. New York, Rochester October 4-5 Hands-on Contact Janet Hofsted, Maverick Art Center, 163 Missouri, Kansas City November 2-3 A demon­ handbuilding session with Christine Federighi. Octo­ Maverick Rd., Woodstock 12498; e-mail stration with Jane Shellenbarger. Fee: $100. For fur­ ber 12 "Pouring Pots," hands-on session with Linda maverickartl [email protected] ; telephone (845) 679-9601. ther information, contact Red Star Studios Ceramic Sikora. October 18-20 "Noborigama Wood Firing" North Carolina, Asheville October 12-13 Dem­ Center, 821 W. 17 St., Kansas City 64108; see website with Michael Carroll. October 23-November 13 "To­ onstration of throwing and assembling pots with Val www.redstarstudios.org ; or telephone (816) 474-7316. tally Teapots" with Ginny Heidke. October26 "Raku" Cushing. Fee: $150. October 18-20 Hands-on session New Jersey, Demarest October 19-20 "Fantastic with Carol Bell. November 4, 11, 18 "Precious Metal on coil- and slab-building techniques with Gail Kendall. Forms and Ash Glaze Workshop" with Richard Aerni. Clay" with Elizabeth Agte. E-mail Genesee Pottery at Fee: $300. Contact Cynthia Lee, Odyssey Center for Contact Old Church Cultural Center School of Art, 561 [email protected] ; telephone (585) 271-5183. Ceramic Arts, 236 Clingman Ave., Asheville 28801; Piermont Rd., Demarest 07627; see website http:// New York, White Plains October 9 "Teapots Etc." e-mail [email protected] ; or telephone occcartschool.org; or telephone (201) 767-7160. with Mark Shapiro. November 8 "Whistle Workshop" (828) 285-0210; or fax (828) 253-3853. New Jersey, Lodi October 4 "Tiles" with Steve with Connie Sherman. Fee/session: $40; currently en­ North Carolina, Durham October 26-27 A dem­ Mayo. Fee: $40. October 5 "Forms that Fit Wood Ash rolled students, $25. Contact the Westchester Art onstration with Fong Choo. Fee: $ 110, includes break­ Glazes" with Richard Aerni. October 7 "Decorating Workshop, Westchester County Center, 196 Central fast. January 6-10, 2003 "Shino," hands-on session the Surface" with Sharon Klinger. Fee: $40. October Ave., White Plains 10604; telephone (914) 684-0094. with Malcolm Davis. Fee: $335, includes materials and 11 "Musical Instruments" with Stephen V. Jaskowak. New York, Woodstock October 26-27; unload­ firing. For further information, contact Claymakers, Fee: $45. October 12 "Thrown and Altered Majolica" with Posey Bacopoulos. October 18-19 "Air-Dried Clay" with Lynn Hamill. Fee: $45. October25 "Primi­ tive Color" with Audrey Jones. Fee: $35. October 26 "Cone 6 Electric Kilns—Clay Bodies and Defects" with Jeff Zamek. November 1 "Glaze Decorating" with Audrey Jones. Fee: $40. November 2 "Forms Fit for Fire" with Peter Callas. November 4 "Decorations for Plates and Trays" with Sharon Klinger. Fee: $40. No­ vember 8 "Wheel in the Classroom" with Stephen V. Jaskowak. Fee: $40. November9and22 "Handbuilding and Clay in the Classroom" with George Critelli. Fee: $40. November 22 "Seasonal Color" with Audrey Jones. Fee: $35. November 23 "Mold Making" with Dan Mehelman. December 7 "A Day with Chris Staley." December 13 "Sculpting with Plaster in the Class­ room" with Stephen V. Jaskowak. Fee: $40. December 14 "The Glaze Doctor" with Jeff Zamek. December21 "Throwing for Size and Altering" with Stephen V. Jaskowak. Fee (unless noted above): $93. Contact the Clay Education Center at Ceramic Supply, 7 Rte. 46 W, Lodi 07644; or telephone (800) 723-7264. New Mexico, Santa Fe October 12-13 "Masks and Sculptural Forms" with Louis Mendez. November 9-10 "Figurative Sculpture" with Richard Garriott- Stejskal. Fee/session: $135, plus supplies. November 23-24 "Handbuilding with Paper Clay" with Judy Nelson-Moore. Fee: $90, plus supplies. Contact Art + Clay, 1804 Espinacitas, Santa Fe 87505; or telephone (505) 989-4278. New York, New York October 19 " Effective Glaz­ ing Techniques" with Sarah Emond. Fee: $120; mem­ bers, $105. November 2 "Decorate with Color" with Liberty Valance. Fee: $120; members, $105. Novem­ ber 9 and December 7 "Basketry Techniques for Pot­ ters" with Nancy Moore Bess. Fee: $215; members, $200. November 76-77 "Wheel Throwing: Combined Components—Intermediate" with Manioucha Krishnamurti. Fee: $215; members, $200. December 16-17 "Ceramic Decal" with Rimas VisGirda. Fee: $215; members, $200. December 18-20 "Color and Line: Underglaze/Wax Inlay" with Rimas VisGirda. Fee: $310; members, $295. Contact the Craft Students League, YWCA-NYC, 610 Lexington Ave., New York 10022; or telephone (212) 735-9731. October24-25 "Functional Pottery" with Geoffrey Wheeler. Fee: $205. November 21-22 "The History, Philosophy and Making of Teapots" with Peter Pinnell. Fee: $205 .January 13-16,2003 "TheChallengeofthe Simple Pot" with Clary lllian. Intermediate and ad­ vanced throwers. Fee: $420. Location: 92nd Street Y Art Center. To register, telephone (212) 415-5500; for further information, telephone (212) 415-5562. Or see websitewww.92ndsty.org . New York, Port Chester October 6 or November 10 "Raku Opportunities" with Denis Licul. Fee: $75. October 19-20 "The Geometry of the Vessel" with Chris Gustin. Fee: $150. November 2-3 "Beasts and Figures in Clay" with Susan Halls. Fee: $120. Decem­ ber 10 "Birchbark Ceramics" with Peter Lane. Fee: $75. December 12 "By My Hands Alone" with Barbara

Ceramics Monthly October 2002 97 includes materials, lodging, breakfast and lunch, and calendar ground transportation. For further information, con­ tact the Arawak Beach Inn, (877)427-2925; see website www.arawakbeach.com ; or e-mail Jimmy Clark at Inc., 705 Foster St., Durham 27701; e-mail [email protected] . [email protected] ; see website Belgium, Brasschaat (near Antwerp) November www.daymakers.com ; or telephone (919) 530-8355. 22-24 "Raku Dolce" with Giovanni Cimatti; or "Mar­ North Carolina, Penland March 9-May 2, 2003 quetry and Inlay in Porcelain" with Mieke Everaet. For " Porcelain Pots: Food and Culture" with Silvie Granatelli further information, contact Atelier Cirkel, Patty and Leah Leitson. Contact Penland School of Crafts: Wouters, Miksebaan 272, 2930 Brasschaat (near telephone (828) 765-2359; or see website Antwerp); e-mail [email protected] ; see website www.penland.org . http:!/users.pandora.belatelier.cirkel; telephonelfax North Carolina, Wentworth January25-26,2003 (32) 36 33 05 89. "Form and Function," hands-on workshop with Ellen Canada, British Columbia, Vancouver October Shankin, throwing and altering pots with demonstra­ 5-6 Slide lecture and demonstration with John Chalke tion of sprayed glazes. Fee: $150; members, $130. on throwing, handbuilding and surface decoration. E-mail Marcy Maury at [email protected]; or tele­ Fee: Can$74.90 (approximately US$47). Location: phone Molly Lithgo at (336) 275-1202. Shadbolt Centre for the Arts, Deer Lake, Burnaby. For Ohio, Columbus October 12-13 "Marketing Your further information, see website www.bcpotters.com; Art," a session on booth design, dynamic craft selling, or to register, telephone (604) 291-6864. your slides and the jury process with Bruce Baker. Fee: Canada, Ontario, Burlington through January $75; ODC member, $65. For further information, 26, 2003 Ceramics by Enid Le Gros-Wise. October 6- contact Betty Talbott, Ohio Craft Museum, 1665 W. November 3 "The Burlington Potters Guild Annual Fifth Ave., Columbus 43212; or telephone (614) 486- Juried Exhibition"; at the Burlington Art Centre, 1333 4402; e-mail [email protected] . Lakeshore Rd. Ohio, Westerville November 15-16 A session Canada, Ontario, Hamilton November 1-3 "Pot­ with Dannon Rhudy at The American Ceramic Society, ters' Guild of Hamilton and Region Fall Sale"; at 735 Ceramic PI., Westerville, OH 43081. Fee (before Dundas Community Centre, King and Market sts. October 15): $99. See website www.ceramics.org ; or Canada, Ontario, Toronto through January 12, telephone (614) 794-5890. 2003 "Gods, Saints and Heroes: Ceramic Master­ Oklahoma, Norman December 14-15 Slide lec­ pieces of the Italian Renaissance"; at the Gardiner ture and workshop with Julia Galloway. Fee: $101, Museum of Ceramic Art, 111 Queen's Park. includes registration fee. Limited to 20 participants. October 17-November 13 Eric Wong; at the Contact the Firehouse Art Center, 444 S. Flood, Norman Gardiner Museum of Ceramic Art Museum Shop, 111 73069; or telephone (405) 329-4523. Queen's Park. Rhode Island, Providence October 11-13 "Raku November 7-December 24 "Tis the Season: The Rhody-o," will include throwing, wet clay and raku- Holiday Collection"; atthe Guild Shop, 118 Cumberland firing workshops with Ramon Camarillo, plus work­ St. (Yorkville) shops with Harriet Brisson and Thomas Ladd. Fee: Canada, Quebec, Montreal October 4-Novem- $100. See website at www.rakurhodyo.org ; or e-mail ber 2 Ceramics by Claire Salzberg; at the Canadian Kate Champa at [email protected] ; telephone Guild of Crafts, 1460 Sherbrooke St., W. (401) 351-1683; or e-mail Kris Pedersen England, Appledore October 7-11 "Surface Deco­ [email protected] ; telephone (401) 383-0801. ration and FiringTechniques" with Randy Brodnaxand Texas, Houston November 2-3 A session with Meira Mathison. Fee: US$400. For further informa­ Jason Hess. Fee: $50. Contact Roy Hanscom, Art Dept., tion, contact Wendy Neilson, 33 New St., Appledore, North Harris College, 2700 W. W. Thorne Dr., Houston Devon EX39 1QJ; e-mail [email protected] ; see 77073; or telephone (281) 618-5609. website www.aboutmarigold.com ; or telephone (44) Texas, San Antonio October 7-11 Demonstration 1237 471 065. with Juan Quezada Jr. October 18 "Daily Ornament! England, Bath through October 72 Nick Mackman, Utilitarian Pottery," slide lecture with Julia Galloway. "Animals in Ceramic." October 21-November 16 Contact the Southwest School of Art and Craft, 300 Nicholas Arroyave Portela, recent works. November Augusta, San Antonio 78205-1296; see website 25-December 23 "Studio Ceramics: A Christmas Se­ www.swschool.org ; or telephone (210) 224-1848. lection from Gallery Ceramists"; at Beaux Arts-Bath, Utah, Bluff October 19-26 "A Journey in Clay 12113 York St. from Past to Present" with Anita Griffith. Contact England, Liverpool October 12-November 2 Horizons to Go, PO Box 2206, Amherst, MA 01004; "Handle with Care," porcelain forms by Sophie Cook, e-mail [email protected] ; telephone (413) Emmanuel Cooper, Joanna Howell, Chris Keenan, 549-2900; or fax (413) 549-5995. Peter Lane, Sarah-Jane Selwood, Daniel Smith, Gilda Virginia, Appomattox October 19-20 A session Westerman and David White; at Bluecoat Display Cen­ with Val Cushing. Fee: $125, includes lunch. Limited tre, Bluecoat Chambers, School Ln. registration. Contact Cub Creek Studios: e-mail England, London October 2-December 22 "Un­ [email protected] ; or telephone (434) 248-5074. der Mussolini: Decorative and Propaganda Arts of the Washington, Suquamish October 19-20 "Sculpt­ Twenties and Thirties" from the Wolfson Collection in ing Heads and Faces" with Tone Orvik. Fee: $50, plus Genoa, including ceramics; at the Estorick Collection clay and modeling fees. Beginning and intermediate of Modern Italian Art, 39a Canonbury Sq. skill levels. Limited to 10 participants. Contact ClaySpace October 15-27(closedOctober21) "Chelsea Crafts on Puget Sound, Brenda Beeley, PO Box 1339, Fair 2002"; at the Chelsea Old Town Hall, Kings Rd. Suquamish 98392-1339; e-mail [email protected]; October 18-November 16 Ken Eastman; at Barrett or telephone (360) 598-3688. Marsden Gallery, 17-18 Great Sutton St., Clerkenwell. West Virginia, Huntington October 4-6 "Pots for November 7-30 Exhibition of two 14th- and 16th- the Table" with Jeff Oestreich. Contact Huntington century Chinese porcelain fish jars, plus other Chinese Museum of Art, 2033 McCoy Rd., Huntington 25701; works of art; at Eskenazi, 10 Clifford St. e-mail [email protected] ; telephone (304) 529-2701, England, Oxford October 26-27 "Oxford Studio ext. 46; or fax (304) 529-7447. Ceramics 2002," sale of works by over 60 artists, plus demonstrationsllectures with Jo Connell, Margaret International Events Frith, Ashraft Hanna, Walter Keeler, Toff Milway and Richard Siddons; at New Hall, St. Edward's School, Anguilla, Island Harbour December 9-14 Work­ Woodstock Rd. For further information, see website shop on pinch pottery with Jimmy Clark. Fee: $750, www. oxf ordsc.co.uk.

Ceramics Monthly October 2002 98 England, Sherborne through October 5 Mike Italy, Milan through October 75 Roberta Colombo, November 23 Victor Greenaway, thrown porcelain Dodd, pottery. October 12-November 16 James "Animals—A Soul's Bestiary"; at Galleria Magenta 52, with celadon glazes. November 2-December 7 Ross Campbell, ceramics and drawings. November23-Janu- Corso Magenta, 52. Emerson, clocks, vases and bowls. November 30- ary 11, 2003 "Winter Exhibition" of ceramics, paint­ Italy, Nove (Vicenzo) through December "Inter­ January 11, 2003 Exhibition of candlesticks by Simone ings, sculpture, glass, wood and jewelry; at Alpha national Competition of Ceramics"; at Museo Civico Haak, Daniel Levi, JAS-MV and Pauline Wiertz; at Terra House Gallery, South St. della Ceramica, Piazza de fabris 5. Keramiek, Nieuwstraat 7. England, Stoke-on-Trent through November 3 Japan, Mashiko October 25-27 "Clay and Metal Netherlands, Deventer through October 12 "The Jerwood Applied Arts Prize," ceramics by Felicity Fusion: Third World Ceramic Educators' Workshop" " Raku," works by Gisele Buthod Gargon, Horst Kerstan, Aylieff, Alison Britton, Lubna Chowdhary, Edmund de with potter Euan Craig and metal sculptor Osni Branco, Martin Mindermann, Inger Rokkjaer, Susanne Silvertant Waal, James Evans, Elizabeth Fritsch, Walter Keeler, will include simple kilnbuilding, raku firing, kiln tours and Roland Summer. October 27-November 23 Ce­ Carol McNicoll, Nicholas Rena; at the Pottery's Mu­ and working with Japanese kiln master. Registration ramics by Gilbert Portanier; at Loes and Reinier, Korte seum and Art Gallery. payment deadline: October 4. Fee: ¥20,000 (approxi­ Assenstraat 15. France, Dieulefit through October27 Two-person mately US$170), includes materials and entry to Netherlands, Groningen through October 31 Ce­ exhibition including ceramics by Fabienne Gioria; at Hamada Museum. Accommodations available. Con­ ramics by Daphne Corregan; at Galerie Katvin, A-Weg 2. Nadia B. Galerie, 31 rue Gabriel Peri. tact Eleanor Tobin, International School of the Sacred Netherlands, Leeuwarden through December 1 France, Paris October 12-13 Exhibition of ceram­ Heart, 4-3-1 Hiroo, Shibuya-ku, Tokyo 150-0012; tele­ "Floating Objects," ceramics installation by Ben ics by Augusto Tozzola and his students; at D'za phone (81)3 3400 3951; or fax (81)3 3400 3496. For Sleeuwenhoek. through January 5, 2003 Gertjan van Gallery, 88 Blvd. de Charonne. further information, e-mail Steve Tootell at der Stelt, "Vaulted Reverberations." "Princesses and France, Saint-Quentin-la-Poterie through Novem­ [email protected] ; for reservations, e-mail Mistresses of the Far East: The Female Image in Orien­ ber 11 "Passages," with ceramics by Jean-Paul Azais and [email protected] . tal Art," including ceramics; at the Princessehof Mu­ Claire Debril; at Galerie Terra Viva, rue de la Fontaine. Japan, Mino October 12-November 4 "The Sixth seum, Grote Kerkstraat 11. Guatemala, Antigua October 26-November 4 International Ceramics Competition Mino, Japan"; at Sweden, Stockholm November 30-December 22 "Ceramics/Porcelain with a Mayan Touch" with Melina Ceramics Park Mino Exhibition Hall. " Eksamen 2002," exhibition of works by graduates of Collins, handbuilding functional pottery. Fee: approxi­ Mexico, Oaxaca December 15-21, February2-10, the National Glass and Ceramics School of Denmark; mately $1850, includes airfare from most major US 2003, or March 16-24, 2003 "Oaxacan Clay Work­ at Nordiska Kristallmagasinet, Kungsgatan 9. cities, ground transportation, lodging, breakfasts, and shops, " digging clay, handbuilding, burnishing, tumble- Wales, Powys, Llandrindod Wells through Octo­ field trips. For further information, e-mail stack bonfiring, etc. For further information, e-mail ber 5 Exhibition of ceramics by David Frith and Marga­ [email protected] or [email protected] ; see [email protected] ; or see website at www.manos- ret Frith; at Porticus, 1 Middleton St. websitewww.artguat.org ; telephone (612) 825-0747; de-oaxaca.com. or fax (612) 825-6637. Netherlands, Amsterdam through October 12 For a free listing, submit announcements of confer­ Italy, Certaldo April 28-May 9, 2003 "Single-Fire Anima Roos, porcelain. October 19-November 16 Jan ences, exhibitions, workshops and juried fairs at Workshop" with Steven Hill. For further information, de Rooden, recent works; at Carla Koch Gallery, least two months before the month of opening. Add e-mail Lynne Burke at [email protected]; or see Prinsengracht 510 sous. one month for listings in July; two months for those website www.potteryabroad.com . Netherlands, Delft through October 6" JAS/MV," in August. Mail to Calendar, Ceramics Monthly, Italy, Faenza through October 27 Carlo Zauli, series of thin porcelain forms, through October 26 735 Ceramic PL, Westerville, OH 43081; e-mail sculpture; at International Museum of Ceramics, Via "Fam. Scheid," exhibition of stoneware by father Carl, to [email protected] ; or fax to (614) Campidori 2. mother Ursula and son Sebastian Scheid. October 12- 891-8960.

Ceramics Monthly October 2002 99 questions Answered by the CM Technical Staff

Q Although I have made porcelain for several years, I was inspired by a CM article to do a plasticized porcelain blend. I want to know how to make up a 250-pound production test batch of the finalist, a 0.5% CMC blend. I have a standard 1.5hp Estrin mixer and a Ratcliffe 4- inch horizontal pug. In my normal practice, it is essential to thoroughly soak the clays first and then gradually add the fillers and flux. In the case of plasticizers, the order of mixing must be as essential. Should these plastics be soaked/ sieved and placed into the mixer first, with the clays/fillers added as usual? Should the clays and plastics be mixed dry then add water/fillers, and if so, should the water be hot or cold? Should the whole body be dry mixed with the powdered plastics then add water (again, hot or cold)? Should the whole body be dry mixed and then the liquid plastics added in? Should there be a specific water-to-clay ratio noted while mixing as part of the recipe? Should I assume the problem is so difficult in a studio context you would recommend I hand it over to my supplier who maintains he custom blends just these ex­ act clays for special clients?—J.F. Someone has put you on the wrong track and I will try to direct you to a more correct one. You didn’t mention how you wanted to use this plasti­ cized porcelain, but I am going to assume throw­ ing. First of all, CMC is not a plasticizer, it is a deflocculating gum binder; reference The Potter's Dictionary of Materials and Techniques by Frank and Janet Hamer, and Clay and Glazes for the Potter by Daniel Rhodes. You do not want a throwing body deflocculated, and you don’t want the surface hardening upon drying. But let us back up a little to talk about plasticity. Historically, the first porcelains would have been dependent upon the plasticity of the mate­ rials used without the benefit of added plasticiz­ ers. Then we discovered bentonites, which were used for years, but contain a fair amount of iron. Try firing whatever bentonites you have avail­ able and you’ll see they are dark; in fact, in reduction they come out brown. There are or­ ganic plasticizers and lubricants, but they burn out in the firing and can also cause difficulty trying to reclaim any used porcelain. The best plasticizer I have found in 30 years of making porcelain is Veegum T, sold by R. T. Vanderbuilt. I use between 1% and 1½% in our porcelain. It is the whitest and most plastic mate­ rial I have ever used, and becomes part of the porcelain and fires out white. I also believe it aids in water distribution, and acts as a lubricant as well. Veegum T is a colloidal magnesium aluminum silicate that can be thought of as a super-washed concentrated bentonite. Do not use Veegum CER, or Veegum PRO, as they are meant for glazes and will raise havoc in a body. More information can be obtained from R.T. Vanderbilt at 30 Winfield St., Norwalk, Connecticut 06855; (800) 243-6064. Before I get into the mixing aspects of porce­ lain, let me talk a little about the importance of

Ceramics Monthly October 2002 100 Ceramics Monthly October 2002 101 questions flocculation and deflocculation. We deflocculate a body for casting so that we facilitate movement of the materials; that is, so we can pour a low-liquid slip from molds. It almost moves on itself as evidence of a body that is thixotropic. The deflocculated body feels solid, but jiggle it a little and it softens. If we use sodium-based fluxes in a throwing body, even without purposely adding a deflocculant, there will be enough sodium leaching out to cause deflocculation. Try to avoid soda feldspars, nepheline syenite or frits in your recipe; use potash feldspars instead. j\1so, if you have a bag of mixed porcelain and it feels stiff, but softens when you wedge it, it is slightly deflocculated. We want a throwing body to be on the flocculated side so that movement is lessened. We want to be able to move it, but we don’t want it moving of its own accord. We flocculate a body by increasing acidity. Stonewares naturally contain enough acidity and usually do not need additional acid to be flocculated. The easiest way to flocculate porcelain is to add Epsom salts (magnesium sul­ fate) to the water before mixing the porcelain. A flocculated body stands up during throwing and doesn’t have the tendency to squat down as a deflocculated body does. A flocculated body also dries quicker and more evenly. I recommend 0.1% of the batch be Epsom salts. With all body mixing procedures, mix the most plastic material into the water first, then follow down the line of plasticity. The ideal way to mix porcelain is to blunge a slip to milk-shake consis­ tency. By doing this, you get a much more thor­ ough mixing of materials, but more importantly you are getting a more thorough wetting of mate­ rials. It is this wetting of materials that gives you all the plasticity available. We really don’t “age” ce­ ramic materials—that takes thousands of years. What we are doing is allowing all the materials to become wet. That’s why blunging is the best way to mix any clay, but then you need a way to remove the water. A filter press is the industrial method, but plaster or bisqued bats or canvas will work. If you are using a dry-to-wet mixer, then I suggest you blunge the appropriate amount of Veegum T and Epsom salts for the batch into warm water, adding this to the premixed dry material. Mix on the soft side where you can just barely wedge it, then store it whatever length of time you can afford, air dry it to workable condition, wedge again and throw. If you want a white, very good throwing porce­ lain, Laguna Clay sells mine. Ask for TT9P. You can also find the recipe in “A Lot to Think About,” by Craig Martell (May 2002 Ceramics Monthly). Tom Turner Lewis Center, Ohio www.peachblowpottery. com

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be an­ swered personally. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly October 2002 102 Ceramics Monthly October 2002 103 Ceramics Monthly October 2002 104 from the cm archives Originally published November 1953 (Volume 1, Issue 11)

ceramic sculpture: THE FIGURE by JOHN KENNY

HE MOST interesting thing in compactly, making figures which pro' Sometimes making a drawing before 1 the world to man is man himself, claim their origin in the clay of the starting a piece of sculpture is helpful, T and so it is only natural that the earth; others prefer to create pieces but have you thought about sketching human form should be a favorite sub' that are light and open, like those of in clay? You can, and if you try it, you ject for sculpture. the 18th Century European porcelain will find clay a much better material There are many ways of modeling makers. Between these two extremes are for sketching than pencil and paper. the figure. Some sculptors aim for endless other ways of modeling the A drawing is two-dimensional at best, realism while others work for design figure. and stylization. Some seek to develop an ideal through close study of nature. Others use the figure for experimental This article is drawn from Mr. Kenny’s just- studies of problems of form. There has published book “Ceramic Sculpture." Kneel­ been conflict between those who strive ing girl above was done by students at for realism and those who prefer Ohio State University. Reclining figure is abstract forms; but there is room for student work of the School of Industrial Art, both. New York City, of which Mr. Kenny is Princi­ Even within the ranks of the realists, pal. Steer, by an unknown Mexican artist, great variations exist. Some sculptors, shows merely essential form and is an ex­ like the ancient Chinese ceramists, work cellent "beginning exercise."

Ceramics Monthly October 2002 105 SKETCHING IN CLAY opens to the sculptor a knowledge of how cylinder, bent the end to suggest a head, and cut out legs. Then slight changes in the relationships of masses affect appearance and arms were added, and the limbs were bent at the joints, elbows and mood. In a few brief minutes sculptor Frank Eliscu squeezed out a knees. Sketching in clay may save hours of work for the sculptor.

REALISTIC WORK requires at least an acquaintanceship with anat­ evident, grows from cylinders of clay. Relationships are import­ omy. Here a seated male figure, with underlying anatomical structure ant. Note that rhythmic lines in one limb are repeated in others. but a sketch in clay gives us a chance work with students leads me to believe following lines of movement. Drawing to see form in the round, to experience that anatomy should be studied when the piece of wood over the clay in the the plastic quality in design. With the the need for it develops. Let your first direction of the rhythmic lines of the clay in our hands we can feel weight exercises with clay be simple, without body will help keep the back from and volume and the flow of lines—feel detail, like the “Steer” on Page 15, becoming a confusing mass of bumps. them as well as see them. And we can and put into them some essential form 3. Structural detail begins to appear. appreciate how beautifully, how subtly, which you have observed. Masses of the chest and hips have been slight changes in the relationships of When you have progressed to the blocked in and the shoulder muscle masses affect appearance and mood. point where you wish to make realistic has been roughly shaped. So have the sculpture, your observations of human muscles of the upper and lower arm. ET’S watch the sculptor, Frank (and animal) forms must be helped out The hand has been formed as a mitten. LEliscu,1 as he sketches in clay (top by more knowledge of what lies under The muscles of the leg, too, have been left). The clay is squeezed into a long, the skin. It is then time to learn about blocked in roughly. The collar bones thin shape, and the end is bent to sug- the bony structure of the body and the and important neck muscles are indi­ gest a head. This is better than rolling muscles which move it. cated. the head, for it is difficult to make The human figure is rhythmic in its 4. The clay is firm enough to stand such a head stay in place. A wooden movements, and no single part of the without support now, so we have taken modeling tool cuts the lower portion to body moves without affecting in some the pencil out of the head and carried form legs. degree the movement of all other parts. the modeling further at that point. Next, arms are added. A modeling Keep this in mind when you model; Hair and ears have been added and the tool made the crotch indentation. Arms as you work an arm into position, think main planes of the head blocked out. and legs are pliable but the sculptor of the other arm in relation to it and 5. More work is done on the body, bends them only at the joints, elbows think of both arms in relation to the with all the parts being shaped more and knees. An arm or leg must not head, the trunk, and the legs. If you carefully. Hands and legs are carried look like a rubber loop. look closely, you will see how rhythmic further, and the muscles and bones of You can make the little figure lines in one limb are repeated in others. the legs are shaped. crouch, or turn over to relax, or assume 6. Our sketch is finished; modeling any position that pleases you. E’LL choose a male figure, has been carried as far as seems neces­ This whole series of sketches took W seated, because the position of sary for a figure of this size, and sur­ less than 20 minutes. YouTl find that many muscles is shown more clearly in faces have been smoothed with a a short time exploring ideas by sketch­ such a pose. sponge. (Look out for too much ing in clay may save hours of work in 1. A block of clay is used to repre- sponging—you can easily destroy modeling pieces intended for firing. sent a stool. A lump of clay roughly modeling that way.) Finally we glaze The sculptor who sketched our figure elongated to represent the torso has and fire the piece. has a sound knowledge of anatomy, the been put in position on the stool and We have made a realistic figure and study of structure, of balance, of move- cylinders for the legs and arms have have discussed the importance of knowl­ ment. Even in the quick clay sketch the been attached. edge of human anatomy. If you plan accuracy of the construction is evident. 2. We begin to change the figure to do more figure work, you will find For thoroughly realistic work, the from a string of sausages into some- books on anatomy as well as a cast of sculptor’s anatomical knowledge must thing closer to human form. A cylin­ the anatomical figure made by Houdon be complete, but not all sculpture is der is added for the neck and a ball helpful. The cast shows a standing equally realistic. There are some who for the head. To keep the head from man with the outer skin removed, with maintain that even to produce abstract falling off, a pencil has been pushed all the muscles and tendons in place. sculpture, the artist must first have a through the head and neck into the Since all forms are shown three-dimen- grounding in anatomy, but I don’t think torso. Using a piece of wood as a sionally, this makes an excellent refer­ that is so. My own experience and my tool, we roughly shape the large masses, ence for the sculptor. Ceramics Monthly October 2002 108 Ceramics Monthly October 2002 109 Comment I lost weekendby Bruce Tessier

Driving to the firing, I found myself gripped later; Friday and Saturday evenings tend to by conflicting emotions. On one hand, I knew have a bit of a party atmosphere, with too this would be a long weekend with little many cooks jostling for a chance to spoil the sleep, long days and long nights. I would broth. Fortunately, there is always a veteran come away exhausted, and it would take two or two around to keep things under control. or three days to recover. I had only five small After a little conversation, Saito went off pots in the kiln and could easily fire ten to get a few hours sleep. My instructions at times as many in my little gas kiln at home this point were to continue stoking through without losing sleep. the air intake. With each stoke, the tempera­ On the other hand, I’d been looking for­ ture shot up to about 650°C (1202°F); when ward to this event for six months, looking it fell to 600°C, it was time to stoke again. A forward to the chance to doff my suit and tie cycle or two later, I began stoking at 605°C and pretend I am a real potter instead of just (1121°F), then 610°C (1130°F), slowly bring­ a zealous dabbler. During these firings, I am ing the temperature up. allowed a glimpse of what it would be like if With each stoking, I threw a few pieces of I were to just chuck everything and run off wood in the main firemouth, building up to the mountains to make pots. embers and heat there. When the firemouth An extended wood firing offers one a good was hot enough, we began stoking lightly at look at the most demanding and exciting 15-minute intervals to slowly raise the tem­ part of a potter’s life. The heat and the smoke, perature to around 1200°C (2192°F), which the cycle of activity and boredom, the lack of we attempted to hold for about a day before sleep and the beer—all combine to make this allowing the temperature to climb to 1240°C an adventure, and I feel most alive when (2264°F) for the big finish. These tempera­ testing my limits. tures may seem a little low, but due to the By the time I arrived on Friday after­ long duration of the firing, the heat work noon, the fire had already been burning for will measure Cone 10 or 11. four days. The kiln had been heated slowly The firemouth cover is a thick chunk of to about 600°C (1112°F) using a kerosene ceramic fiber in an angle-iron frame that is burner, its oily flame directed into the air raised and lowered with a system of cables intakelash pit directly under the main stoke and pulleys. I felt the last of my malaise hole. The noise of the burner can grate on baking away as I stoked the first few pieces of the nerves. wood. They leaped into flame. Soon the en­ Soon the decision was made to begin the tire front chamber was engulfed. Smoke and switch from oil to wood. We started by throw­ small flames slipped around the stoke-hole ing a few small pieces through the air intake covers, and thick black smoke poured from beside the burner. We wanted to build up a the chimney. good bed of embers before removing the oil As the firebox filled with embers and burner. This must be done slowly, at ten- wood, the kiln began to huff and puff. The minute intervals over an hour or so. To add intense flames ate up all the available oxygen too much wood at this point would send the in a flash. Fresh air sucked in through the temperature up too quickly. firemouth caused flames to blow back. This When there were enough embers to en­ fire-breathing dragon effect becomes more sure good combustion with wood added pronounced at higher temperatures. through the main firemouth, it was time to During the course of the evening, as many turn off the burner. The level of noise merci­ as 30 people came by to lend a hand. Most fully dropped to the gentle crackle and hiss stayed for only a stoking or two. Some had a of burning wood. The noisy, smelly burner couple of pots in the kiln; others just came was cleaned and put away. for the experience and the conversation. Most At first, there were only two people tend­ are hobbyists; some are Saito’s former stu­ ing the kiln: Katsuyuki Saito, owner of the dents who have started their own potteries in Haguro kiln (Haguro or Black Feather is the the area. name of a section of Niisato, a village in By midnight, the crowd had thinned a central Japan) and myself. Others showed up little, but there was still plenty of help avail­

Ceramics Monthly October 2002 110 able; only two people were required to stoke. below. The gloves I wore would begin to Saito encouraged me to get some sleep while smoke if I allowed my hand to linger too I could, but I stayed for another hour before long near the flames. Despite the heat, I stumbling off for a bath and bed. I was fortu­ looked forward to the opportunity to stoke. I nate to get almost six hours of sleep, and felt a partnership with the flame, and inti­ awakened refreshed. mately involved in the process. The work was not hard, but it was con­ The usual crowd began to show up again stant. Stoking at 15-minute intervals set the in the evening, and with the extra help on rhythm of the day. Enough wood for four or hand, Saito encouraged me to slip off for a five stokings was stacked in a manger next to shower and a few hours sleep before the final the kiln. When that ran out, more was act—side stoking—was to begin sometime brought in from the huge piles of split red in the middle of the night. pine stacked neatly outside the kiln shed. The 15-minute stoking rhythm stayed By about noon on Saturday, the tempera­ with me even as I slept. I was pulled toward ture just before stoking was nearing 1200°C. consciousness by the increased activity I heard Despite all the fire and smoke, the tempera­ outside. When I detected a change in the ture did not rise right after the stoking. It sounds that were filtering into my dreams, I took five or six minutes for the smoke to realized that side stoking must have begun. I clear enough for efficient combustion; at this allowed myself to doze through the next point, the temperature rose to as high as couple of cycles before coming fully awake. 1220°C. Standing in front of the kiln when It was about 1 A.M. when I dragged myself the firemouth cover had been raised had be­ out of bed, stumbled out to the kiln and come rather uncomfortable. Even so, I drank a few cups of coffee to clear my head. couldn’t resist looking inside at the glowing The side stoke holes are arranged in pairs pots, as the heat baked new lines on my face. along the length of the kiln. Each is about The goal for the afternoon was to reach a 8x8 inches square. When the kiln is loaded, prestoke temperature of about 1200°C. A the shelves are stacked so that there is space heavy hand could send the kiln up over for thin pieces of firewood, about an inch in 1300°C. Stoking too lightly could not only diameter, to drop to the floor without mak­ cause the temperature to fall, but also disrupt ing undue contact with the wares. This re­ the cycle of reduction that produces the de­ quires a little more skill and courage than sired colors. Shiny black surfaces are the re­ just tossing wood in through the firemouth. sult of too much, and dull colorless pots Chest-high 1200°C heat greeted us as the from not enough. stoke hole cover was removed. We all wore Late Saturday afternoon, Saito pulled out protective gear—aprons, gloves and towels the first test ring. He knew the firing was far wrapped around our faces—but by the end from over, but checked the rings once an of the five minutes or so that it took to stoke, hour from that point on to make sure that it we reached the end of endurance. was not progressing too quickly. Viewed from When the test rings from the second stack the top, the rings don’t reveal much; one can of shelves showed promising results, we be­ see if any ash is being deposited, but the gan using charcoal instead of wood on an rings are too small to make any real determi­ alternating basis. This pattern has differed nation about the overall success of the firing. with every firing as we tried to find the best The real information from the test rings method. This time, we started the side stok­ comes from viewing the underside that sits ing with charcoal, and switched to wood directly on the kiln shelf. What Saito is look­ when we moved on to the next hole. ing for is a light gleam, which indicates that Charcoal is added for several reasons. It heat and ash have penetrated into every crev­ burns at an even temperature; the most vola­ ice of the lower part of the kiln. tile part of the wood has been burned away Stoking the main firemouth became a real during the charcoal-making process, so there test of endurance. As I tossed the wood into is a limit to just how much heat can be the kiln, it exploded into flames even before produced and how much the temperature it landed on the firebrick grill about a foot will rise. There are also those who believe

Ceramics Monthly October 2002 111 comment down, it was time to feed the dragon. We highlight of the weekend—the postfiring bar­ reached the last stoke hole about 9 A.M. There becue. The weather was fine and the conver­ are no shelves in the back of the kiln. The sation spirited. that burning charcoal imparts more color to large pots placed here benefit from the action No one mentioned the firing or predic­ the ware, and that different types of charcoal of the flames traveling toward the flue out­ tions about the outcome, and I no longer produce different effects. We have had many lets. Most of the ash is deposited farther questioned my reasons for being there. It was discussions about the wisdom of adding char­ down. The pots in the back get all their color true that I had taken time away from my coal and the benefits of charcoal from differ­ from the flame. family and the real world just to fire a couple ent places. There is no place to load test rings at the of pots, but that was not the point. The Stoking with charcoal is unpleasant, to back, so deciding when enough is enough is process was the point. Never during the course say the least. A heavy stainless-steel chute is based on Saito’s experience and instinct. I of the firing is one allowed to trust a ma­ positioned in the hole and held in place by really had to admire his patience at this final chine. The kiln requires constant attention one person while another pours charcoal from stage. For the preceding six days, he had and action. And that is as it should be. a bag. A third person stands nearby, ready to gotten by on a minimum of sleep, the end Back home, I stood looking at my own clear the inevitable jams that occur as the was in sight, yet he waited. kiln for a while. It is a cheap little gas deal, charcoal enters the kiln. The intense heat Something, perhaps something arbitrary, with four burners shooting straight up from causes the charcoal to burst apart as it ig­ told Saito that it was time to stop, and he the bottom and a hole at the top. It is quirky nites, showering all three stokers with sparks. told us to stoke just one more time, then call on its best days, but then every fuel-burning We crept up the side of the kiln, stoking it quits. When the last of the wood had kiln has quirks. The fault is not the kiln’s. A two and sometimes three holes per session. burnt down, the side stoke hole covers were kiln is merely a chamber that contains heat. The upper hole was stoked with charcoal replaced with bricks mortared in place with a These quirks, this unknown aspect of firing, and the lower with wood to keep the incom­ slurry of clay, sand and ash, which sizzled on is the flame itself. This is something I hope I ing air nice and warm. Eventually, the main the hot kiln. Additional slurry was slopped will never fully understand. To understand firemouth and air intake were sealed and the here and there on the kiln to seal up the the flame would be to control it. I strive not cover left off the lower side holes to provide various cracks that had appeared during the to control, but to work in partnership with air for combustion. course of the firing. the flame. I am sure were I ever to fully At that point, the stoking cycle was en­ By the time we had each taken a turn understand it, I would soon tire of it. The tirely up to the rate of combustion. When showering off the ash and soot, preparations thrill would be gone and I would be forced the chimney cleared and the coals had burned were underway for what many consider the to take up sky diving.

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