4 Ceramics Monthly Volume 28, Number 9 November 198U Letters to the Editor...... 7 Answers to Questions...... 9 Where to Show...... 11 Suggestions ...... 15 Itinerary ...... 17 Comment by John Stocking...... 25 Ceramics Seminar ’80 by Faye Nutting...... 30 Picasso by William Hunt...... 34 Betty Woodman: New Work...... 40 Toshiko Takaezu’s Kiln...... 44 Stenciled Porcelain ...... 48 The Dundunge Pots of Mallam Garba by Angelo Garzio...... 51 Soluble Glaze Materials by Richard Behrens...... 58 Rick Dillingham...... 59 The Terra-Cotta Army of Qin Shihuangdi by Paul B. Arnold...... 60 Amanda Jaffe: Patterned Space ...... 66 News & Retrospect ...... 73 Index to Advertisers...... 98 Cover Detail, terra-cotta tomb figure (originally painted in bright polychrome), an infantry officer, distinguished by its 6 foot, 5 inch height, one of nearly 8000 life-size clay soldiers and horses buried in subterranean vaults near the tomb of the First Emperor of Qin, 221-206 B.C. This work is one of six such figures and two horses currently touring major mu­ seums in the United States on loan from the People’s Republic of China. These and Paul Arnold’s first-hand report from the tomb site near Xian are presented beginning on page 60. Photo: Seth Joel, and courtesy of the Field Museum of Natural History, Chicago. Publisher and Acting Editor: Spencer L. Davis Managing Editor: William C. Hunt Art Director: Robert L. Creager Copy Editor: Barbara Harmer Tipton Assistant Editor: Carol Lefebvre Hagelee Assistant Copy Editor: Ruth C. Butler Circulation Manager: Mary Rushley Advertising Manager: Connie Belcher Editorial, Advertising and Circulation Offices: 1609 Northwest Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 West Coast Advertising Representative: Joseph Mervish Asso­ ciates, 12512 Chandler Blvd., No. 202, North Hollywood, Cali­ fornia 91607. (213) 877-7556 Copyright © 1980 Professional Publications, Inc. All rights reserved. Ceramics M onthly (ISSN 009-0328) is published monthly except July and August by Professional Publications, Inc.—S. L.Davis, Pres.; P. S. Emery, Sec.: 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals and change of address should be mailed to the Circulation Department,Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio,.s.a . Subscriptions: u One year $14; Two years $26; Three years $35. Add $3 per year outside.s.a . u The articles in each issue of Ceramics Monthly are indexed inArt the Index. Microfische, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. Manuscripts, photographs, color separations, color transparencies, graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet is available without cost to potential authors, describing procedures for the preparation and submission of a manuscript. Send manuscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. November 1980 5

Letters EARTH ROOM DRIVEL velop during the execution; these can only SUBSCRIBER'S COMMENT Okay—[that’s] a rather nice shot of the be solved working them through. Some­ The comments of those who would see “New York Earth Room” (September). times a problem cannot be solved and the “art” or “craft” tied up neatly in little Even a drab functional potter such as original plan will take a turn; the results boxes would make a great ceramic comic myself can appreciate this, but the reader may be different than what was originally strip. is left completely in the dark as to the intended. Marshall Hall metaphor involved in the work. Let’s pro­ I say if you are satisfied with half Glens Falls, N.Y. vide something a tad more philosophical truths, then you will be satisfied with only than the stark facts presented there, which the conception of a work. The total cre­ Share your thoughts with other readers. amount to little more than art demography ative experience happens with [that ob­ All letters must be signed, but names —drivel. ject’s] physical birth. will be withheld on request. Address: The Michael E. Wright Florence Rubel Editor, Ceramics Monthly, Box 12448, Minneapolis Miami Beach Columbus, Ohio 43212. CONCRETE SALES [In regard to the suggestion published in the January issue] the careful use of butter on the rims of bowls and handles of pitch­ ers and mugs can add as much as thirty percent to your sales at sidewalk art shows, especially if your displays are set up on concrete. Mike Haley Sanger, Texas MISDIRECTED OUTRAGE If art reflects life, I must take issue with the reactions of readers to Howard Shapiro’s brick enclosure with talc cloud (May CM, pages 38-39), although I do not care to defend the art work per se. This is a relatively inexpensive “indul­ gence” when it comes to “prestigious insti­ tutions of higher learning encouraging weirdness” (June Letters). In a squash tennis court under the stadium of the Uni­ versity of Chicago, in the early 1940s, the first controlled radioactive pile was built. It was crucial to the making of the first atomic bomb, which, even in those less- inflated times, cost $2 billion. With respect to the comparison between Howard Shapiro’s talc-dust cloud and ges­ tural activity, and with respect to what I feel is misdirected outrage on the part of the critics, I quote the artist, Kandinsky, in his evaluation of science following the splitting of the atom: “. . . its most impor­ tant basis was only a lunacy, a mistake perpetrated by learned men . . . who blindly mistook one object for another.” Eugenie A. Throckmorton Las Vegas DISAPPOINTED I am disappointed that Ceramics Monthly very rarely carries information for a beginning potter learning all [the craft] from reading. Donna Petronzio Yreka, Calif. CONCEPTION/CREATION Some time ago, a friend said “I don’t have to actually execute a piece of work to realize its fulfillment, or to enjoy a creative experience.” I said nothing at the time, but his statement did not seem right. A new work of art is like a new life, and the conception of an idea is only the first important step in the process. The completion of the work cannot be with the mind alone. Problems will de­ November 1980 7 8 Ceramics Monthly Answers to Questions Conducted by the CM Technical Staff Like a previous questioner, I am interested in getting away bonate to 1%. Both these recipes look best on porcelain or a from blues produced by cobalt, primarily because of expense. white stoneware, but also may be used on traditional iron-bearing I am interested in the more exotic blues produced by copper and stoneware bodies. nickel and wonder if you might have some Cone 9-10 recipes Like most copper and nickel glazes, these colors may be from which I might start experimenting?—M.M. temperamental and highly dependent on kiln atmosphere. Some of the most spectacular blues in the potter’s repertoire of colors can be produced using nickel or copper. Two recipes that As a studio potter, I sell vitreous stoneware, the usual mix of should meet your requirements follow: decorative works and functional pieces, including tableware. NICKEL BLUE GLAZE (Cone 9-10, reduction) At a recent art fair another potter challenged my description of Whiting ...... 8.8% the work as vitreous, commenting that the fact it holds water is Zinc Oxide ...... 27.6 not sufficient. I’m wondering if there is an official standard for Kona F-4 Feldspar ...... 45.3 vitreous ware and if my work qualifies?—F.D. Ball Clay (C&C)...... 4.9 Government standards state that ware is vitreous when demon­ Flint ...... 13.4 strating an absorption of less than .05 percent. Many stonewares 100.0% produced by studio potters do not qualify and instead might be Add: Black Nickel Oxide ...... 1.2% classed as semivitreous. Bentonite ...... 2.0% A simple test for percentage of absorption involves forming clay bars (Rhodes recommends at least three) each 5x5x10 cm. COPPER BLUE GLAZE (Cone9-10) Fire the bars, weigh them to the nearest centigram, then boil Barium Carbonate ...... 25.46% them for two hours. Dry the bars to remove surface water, and Soda Ash ...... 14.35 weigh them again to the nearest centigram. The percentage of Nepheline Syenite ...... 29.17 absorption is equal to: Ball Clay (C&C) ...... 20.83 Flint ...... 10.19 ((Boiled weight - Dry weight)/Dry Weight) X 100 100.00% Add: Copper Carbonate ...... 1.85% Bentonite ...... 1.85% Subscribers’ inquiries are welcome and those of general interest If this copper glaze is too blue for your taste or runs excessively will be answered in this column. Send questions to: Technical under your firing conditions, reduce the amount of copper car­ Staff, Ceramics Monthly,Box 12448, Columbus, Ohio 43212.

November 1980 9

Where to Show exhibitions,fairs , festivals and sales Send announcements of juried exhibitions, for the Visual Arts (NOVA), 106, One Entry fee: $30. Entry deadline: December fairs, festivals and sales at least four Playhouse Square, 1375 Euclid Avenue, 1. Contact: Brewton Invitational Art months before the entry deadline to The Cleveland 44115. Show, Drawer A, Brewton 36427. Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212; or phone (614) Ohio, Marietta April 4-May 10, 1981 Arizona, TucsonApril 11-12, 1981 “Tuc­ “Marietta National ’81” is open to sculp­ son Festival of the Arts—Arts and Crafts 488-8236. tors. Entry fee: $10. Commission: 25%. Fair.” Juried. Entry fee: $75. Cash awards. Entry deadline: February 7. Contact: Entry deadline: February 1. For additional Arthur Howard Winer, Marietta College, information contact: Tucson Festival Soci­ EXHIBITIONS Marietta 45750, or call: (614) 373-4643. ety, 8 West Paseo Redondo, Tucson 85705, Arizona, Scottsdale November 1-30, 1981 or call: (602) 622-6911. “Earthenware: New Directions U.S.A.” Ohio, YoungstownJanuary 4-February 22, Juried by slides; include prices, resume 1981 The “33rd Annual Ohio Ceramic, Florida, Boynton BeachMarch 7-8, 1981 and self-addressed, stamped envelope. En­ Sculpture and Craft Show” is open to “Boynton Beach 7th Annual Festival of try deadline: February 1. Contact: The former and current Ohio residents. Juried the Arts.” Open to artists and craftsmen. Hand and the Spirit, 4200 North Marshall by slides. Entry fee: $3.50 per classifica­ Juried by 3 slides. Entry fees: $20 for Way, Scottsdale 85251, or call: (602) tion, maximum 3 entries per category. professionals; $15, amateurs. Cash awards. 946-4529. Commission: 10%. Awards totaling $1500. Entry deadline: February 15. For addi­ Entry deadline: December 7. Contact: tional information contact: Eleanor Kru- Idaho, Sun Valley April 1-30, 1981 Joan Chopko, The Butler Institute of sell, Boynton Beach Civic Center, 128 East “Trucks, Truckers, Trucking” is open to American Art, 524 Wick Avenue, Youngs­ Ocean Avenue, Boynton Beach 33435, or U.S. craftsmen in all media. Juried by town 44502, or call: (216) 743-1711. call: (305) 734-8120, ext. 432. slides. Entry deadline: February 14. Entry fee: $10, limited to 3 entries. Purchase South Carolina, Hilton Head IslandMarch Florida, Miami Beach February 7-8, 1981 awards. Contact: Lynn McGeever, Sun 1-31, 1981 “Primary Art II” is open to “Miami Beach Festival of the Arts.” Valley Center Art Gallery, Box 656, Sun all artists 18 years or older. Juried by Juried. Open to all. Fee: $75. Entry dead­ Valley 83353, or call: (208) 622-9371. slides. Entry fee: $10. Entry deadline: line: December 1. Contact: Miami Beach February 1. Contact: Artistic Sass, Box Fine Arts Board, Bin 0, Miami Beach Illinois, Springfield May 2-June 6, 1981 6005, Hilton Head Island 29938, or call: 33139, or call: (305) 673-7733. “Second Women in Art Exhibition” is (803) 785-8442. open to all media. Juried by 3 slides; New York, Rhinebeck June 26-28, 1981 include a self-addressed, stamped envelope. Tennessee, Memphis February 22-March The “Northeast Craft Fair” is open to Entry deadline: December 1. 13, 1981. The “Third Annual Paper and United States craftsmen. Juried by 5 November 7, 1981-January 3, 1982 “Fi­ Clay Show” is open to U.S. artists. Juried slides. Entry deadline: January 7. Entry bers, Fabrics, Clay and Glass” is juried by by 3 slides per entry, maximum of 2 en­ fee: $15. For application contact: Carol 3 slides. Entry deadline: March 15, 1981. tries. Juror: Peter Voulkos. Entry fee: $5. Sedestrom, American Craft Enterprises, For both events contact: Springfield Art Entry deadline: December 5. Contact: Inc., Box 10, New Paltz, N.Y. 12561, or Association Gallery, 700 North Fourth National Paper and Clay Exhibition, De­ call: (914) 255-0039. Street, Springfield 62702, or call: (217) partment of Art, 201 Jones Hall, Memphis 523-2631. State University, Memphis 38152. Ohio, AkronDecember 12-14 “Christmas Arts and Crafts Show.” Juried by slides or Iowa, Ames January 11-February 4, 1981 Texas, Corpus ChristiMarch 29-April 30, photos. Booth fee: $25-$ 115, depending “Clay/Paper/1981,” is open to artists liv­ 1981 “National Drawing and Small Sculp­ on space. Commission: 10%. Entry dead­ ing within a 500 mile radius of Ames. ture Exhibition.” Open to U.S. artists. line: November 28. Contact: Raab Enter­ Entry fee: $15; maximum 3 entries. Juried Fee: $10. Cash and purchase awards total­ prises, 4871 Brecksville Rd., Richfield, Oh. by work. Entry deadline: January 4. ing $3000. Juror: Ivan Karp. Juried by 44286, or call: (216) 659-3318. Awards. Contact: The Octagon Center slides. Entry deadline for sculptors: Feb­ for the Arts, 427 Douglas, Ames 50010, ruary 1. Contact: Joseph A. Cain, Depart­ Pennsylvania, State CollegeJuly 9-12, or call: (515) 232-5331. ment of Art, Del Mar College, Corpus 1981 The 15 th annual “Central Pennsyl­ Christi 78404. vania Festival of the Arts Sidewalk Sale” New Jersey, Union May 1-9, 1981 “Holo­ is open to all media. Juried by 3 slides; caust Memorial Competition and Exhibit.” Texas, Wichita Falls February 1-27, 1981 include a self-addressed, stamped envelope. Open to all media. Juried by photos and,/ “Works in Clay II” is open to ceramists Entry deadline: March 10. Contact: or drawings. Entry deadline: December residing in Texas and Oklahoma. Juried CPF A Sidewalk Sale, Box 1023, State 31. Contact: Jewish Federation of Central by slides. Juror: Susan Kemenyffy. Cash College 16801. New Jersey, Green Lane, Union 07083, or awards. Entry deadline: December 15. call: (201) 351-5060. Contact: Polly Cox, 2609 Amherst, Wich­ Wisconsin, Milwaukee March 13-15, 1981 ita Falls 76308. The “6th Craft Fair U.S.A.” is open to North Dakota, Valley CityMarch 31- Virginia, Alexandria February 6-March 8, craftsmen 18 years or older. Juried by 5 April 24, 1981 The 12th biennial “Na­ 1981 The “Area-wide Juried Ceramics slides; include a resume and self-addressed, tional Art Exhibition” is open to ceramists. Show” is open to all craftsmen in the stamped envelope. Entry fee: $70 for Juried. Entry fee: $5, maximum two en­ greater Washington, D.C., area. Juried by 10x10-foot space. No commission. Entry tries per artist. Entry deadline: February up to 10 slides; include a self-addressed, deadline: February 1. Contact: Dennis R. 28. Contact: Mrs. Riley Rogers, 2nd stamped envelope. Jurors: Rayline Decatur Hill, 1655 South 68 Street, West Allis, Crossing Gallery, Box 1319, Valley Cityand Edward Nash. Entry deadline: Janu­ Wis. 53214, or call: (414) 475-1213. State College, Valley City 58072; or Mrs. ary 5. Contact: Arlington Arts Center, Barry Bjornson, 1409 Third Avenue North­ 3550 Wilson Boulevard, Arlington, Va. east, Valley City 58072. 22314; or the Athenaeum, 201 Prince St., Alexandria 22314. INTERNATIONAL Ohio, ClevelandJanuary 30-February 20, Canada, Ontario, TorontoJuly 16-19, 1981 “The Ohio Ceramics Sculpture 1981 “Second Annual Harbourfront Craft Show” is open to ceramics sculptors who Fair.” Juried by slides. Awards. Entry are current or former residents of Ohio. FAIRS, FESTIVALS AND SALES deadline: March 1. Contact: Jean John­ Juried by slides. Cash awards. No fee. Alabama, Brewton April 25-26, 1981 The son, Harbourfront Craft Studio, 417 Entry deadline: December 1. Contact: “Art Show of the South” is open to ceram­ Queen’s Quay West, Toronto M5V 1A2, Kathleen Cerveny, c/o New Organization ists. Juried by 3 slides. $2000 in awards. or call: (416) 364-7127. November 1980 11

Suggestions from our readers BOLD DECORATION handmade pottery. Many are completely surprised that we are A tennis ball dipped in a wash of ceramic oxide colorants may involved in such an endeavor and consequently place an order. be rolled over ware freely or with the palm of the hand to create —Bruce and Ginny Cash, Hart, Mich. a bold, expressive line. The nap of the ball acts like a paint roller, dispensing a steady colorant supply. SMOOTHING TOOL —S. Byrd, Columbus, Ohio An emery board is helpful in achieving intricate, detailed surfaces on thrown or handbuilt work. It offers both a rough A STIRRING EVENT and smooth side and may be held as any other hand tool, allow­ Stirring well-settled glazes can be a real chore, but a rotary ing more control than sheet sandpaper. wire paint stripper added to a 1- or 2-foot extension bit on a —Susan Francioli, Solon, Ohio variable-speed electric drill will provide ease of stirring. Because the stripper is flat on the bottom and the wires are flexible, it LID-FIRING ALTERNATIVE stirs up all the glaze from the bottom and corners of the bucket. Instead of firing lids with unglazed rims, glaze the rim, leaving To clean the stripper between stirring various colors, just spin the the inside center unglazed. From soft firebrick (broken pieces excess off, then spin it clean in clear water. I obtained my strip­ work fine), cut small square or oblong “stilts” tall enough to per and extension bit very cheaply at a garage sale; they may also raise the lid well off the kiln shelf. Using white glue, attach one be purchased at hardware stores. of these stilts to the glaze-free area on the underside of the lid —Robert Wesner, West Fulton, N.Y. and allow it to harden. This makes it easy to place the lid in the kiln, even in an awkward spot, without having to balance it on WARP-FREE REMOVAL its stilt in the midst of other pots. My lids never warp using this Delicate shapes thrown off the hump, such as spouts and method and the visible area of the lid receives good customer goblet stems, can be removed from the wheel without warping acceptance because it is glazed. The glue burns out in the Cone 8 if after the form is cut free, a “cookie” of clay is cut beneath firing and the stilts may be reused. the form and removed along with it. —Jess Franks, Hunter River, P.E.I. —Noel Yovovich, Chicago DOLLARS FOR YOUR IDEAS IMPROVING SALES Ceramics Monthly pays $5 for each suggestion used; submis­ The telephone can be a valuable tool in selling pottery. Any­ sions are welcome individually or in quantity. Send your ideas to time the phone rings, we simply find some part in the ensuing CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t conversation to ask if the caller would be interested in buying acknowledge or return unused items.

November 1980 15 16 Ceramics Monthly Itinerary events, exhibitions, fairs, festivals, sales and workshops Send announcements of events, exhibitions, New England,” a panel discussion with Show,” includes stoneware and porcelain; workshops, or juried fairs, festivals and ceramic artists Ron Burke, David Davison at the Artisans’ Center, 2445 East Third sales at least seven weeks before the month and Angela Fina, is part of a series spon­ Avenue. of opening to The Editor, Ceramics sored by the Program in Artisanry. 2:00 Monthly, Box 12448, Columbus, Ohio P.M.; at Morse Auditorium, Lecture Hall Colorado, Manitou Springs November 2- 43212; or phone (614) 488-8236. Bl, Boston University, 602 Commonwealth 20 “The Whole Enchilada,” an exhibition Avenue. of slab-built plates and wall pieces by Ohio, Columbus November 25 A lecture ceramist Roger Tolzman; at Common- on ceramics by Bob Shay. 12 Noon; at wheel Gallery, 102 Canon Avenue. EVENTS Hopkins Hall Gallery, the Ohio State California, San Francisco February 26-28, University. D.C., Washington through March 1, 1981 1981 The annual meeting of the College “An Interior Decorated: Joyce Kozloff,” Art Association includes sessions on art Washington, Pullman through November includes a 14x10/2 -foot ceramic floor history and studio art. A placement service 1 “The Contemporary American Potter” piece; at the Smithsonian Institution’s is provided for those interested in college is the topic of Washington State Uni­ Renwick Gallery, Pennsylvania Avenue at teaching, art administration and related versity’s 6th annual Museum of Art Sym­ 17 Street Northwest. fields. For further information contact: posium. Presentations will be made by November 9-15 A porcelain exhibition by College Art Association of America, 16 Rudy Autio, William Daley, Betty Wood­ Adrian Saxe; at the Corcoran School of East 52 Street, New York, New York man, Garth Clark and Sanford Sivitz Sha­ Art. 10022, or call: (212) 755-3532. man. Also included will be a panel discus­ November 11-December 5 An exhibition sion, exhibitions, demonstrations, a discus­ of porcelain shoes by Laura Peery; at the D.C., Washington December 4 The sion on glazing with Mount St. Helens Branch Gallery, 1063 Wisconsin Avenue. Greenwood Gallery is sponsoring “Con­ ash, and films. Fees: $10, general; $7.50, temporary Craft: Personal Viewpoints,” a friends, $5, students. Contact: Museum of Illinois, Chicago through November 7 slide/lecture by Richard Shaw. No fee; at Art, Pullman 99164, or call: (509) 335- “Jack Earl: Recent Work.” the Renwick Gallery, 17 th Street and 1910, or 335-1603. November 21-December 19 “Dennis Mitch­ Pennsylvania Avenue, Northwest, or call: ell: Firmaments”; both events at Exhibit (202) 357-2531. A, 233 East Ontario Street. Illinois, Chicago April 2-4, 1981. The SOLO EXHIBITIONS Illinois, Evanston through November 20 American College of Toxicology’s first an­ Arizona, Scottsdale November 1-30 “Por­ An exhibition of saggar-fired vessels and nual conference, “Health Risks in Arts, celain by Elsa Rady”; at the Hand and wall pieces by Alice Joyce; at the Dittmar Crafts and Trades,” is open to artists and the Spirit, 4200 N. Marshall Way. Memorial Gallery, Northwestern Univer­ craftsmen. Contact: Health Risks in the sity, 1999 Sheridan Road. Arts, Crafts and Trade Conference, Amer­ California, Carmel November 1-Decem­ through November 23 An exhibition of ican College of Toxicology, 2405 Bond ber 12 An exhibition of ceramics by Kris ceramic works by Andrea Gill; at the Street, Park Forest South, 111. 60466, or Cox; at Green Gallery, the Barnyard. Octagon Gallery of the Evanston Art Cen­ call (312) 534-1770 ter, 2603 Sheridan Road. April 10-15, 1981 The National Art Edu­ California, Moraga through December 10 cation Association’s annual convention; at An exhibition of handbuilt ceramic sculp­ Indiana, Indianapolis November 4-Decem- the Chicago Marriott. Contact: National ture by Gary Smith; at Hearst Art Gallery, ber 31 An exhibition of whimsical porce­ Art Education Association, 1916 Associa­ Saint Mary’s College. lain figures by Cindy Butler Jones; at the tion Drive, Reston, Virginia 22091. Indianapolis Museum of Art, 1200 West California, Oakland November 16-Decem- 38th Street. Indiana, Indianapolis November 18-19 ber 11 A ceramics exhibition by James Kansas, Emporia November 17-December A 2-day symposium examining Tz’u-chou Lovera; at Kennedy Gallery, Holy Names 12 “Dale Hartley—Ceramics”; at the ceramics and their place in the history College, 3500 Mountain Boulevard. University Art Gallery, Emporia State of Chinese art is being held in conjunc­ University. tion with an exhibition of these wares. California, Palm Springs November 1-30 Scholars invited to participate include “Patrick Shia Crabb: Works in Raku and Maryland, Luthervillethrough November John Ayers, Victoria and Albert Museum; Burnished Wares”; at Feats of Clay Gal­ 2 An exhibition of altered earthenware by Gakuji Hasebe, Tokyo National Museum; lery, 382 North Palm Canyon Drive. Bennett Bean; at Craft Concepts, Green Sherman Lee, Cleveland Museum of Art; Spring Station, Falls and Joppa Roads. Tzugio Mikami, Idemitsu Art Gallery, California, San Francisco through No­ Tokyo; Yutaka Mino, Indianapolis Mu­ vember 15 An exhibition of raku by David Massachusetts, Boston November 1-29 seum of Art; Daniel Rhodes, emeritus, Kuraoka; at Meyer Breier Weiss, Building “Richard Hirsch: Recent Work in Clay”; Alfred University; Roderick Whitfield, A, Fort Mason Center. at Impressions Gallery, 275 Dartmouth St. British Museum; Jan Wirgin, Ostasiatiska Museet, Stockholm. The sessions will be California, San Jose November 1-Decem­ Massachusetts, Cambridge November 1- devoted to the study of Tz’u-chou wares ber 2 An exhibition of porcelain works by December 31 An exhibition of handmade from the viewpoints of historical and liter­ Sally Bowen Prange; at the San Jose dolls by Cathy Cohen, includes bisque; at ary evidence, aesthetics, distribution, tech­ Museum of Art, Gallery IV, 110 South Mobilia, 348 Huron Avenue. nique, social and economic roles. Contact: Market Street. Curatorial Division, Indianapolis Museum Michigan, Birmingham November 1-29 of Art, 1200 West 38th Street, Indianapo­ California, Stinson Beach through Novem­ An exhibition of raku vessel forms by lis 46208, or call: (317) 923-1331. ber 2 “Ocean—Space,” a ceramic sculp­ Robert Piepenburg; at Robert L. Kidd ture series by Art Nelson; at A Gallery, Associates/Galleries, 107 Townsend Street. Kansas, Wichita March 25-28, 1981 The Anna Gardner, 3445 Shoreline Highway. annual conference of the National Council Minnesota, Rochester November 1-30 An on Education for the Ceramic Arts California, Studio City November 1-30 exhibition of earthenware by Amy Myers; (NCECA) ; at Wichita State University. “In Deference to the Vessel and Other at the Rochester Art Center, 320 East Contact: Don Gauthier, Wichita State Spacejunk,” an exhibition of ceramics by Center Street. University, Studio Arts Department, Wich­ Dale Ruff; at Garendo Gallery, 12955 ita 67208, or call: (316) 689-3560. Ventura Boulevard. Montana, Billings November 2-22 An ex­ Colorado, Denver November 14-December hibition of works by Idaho potter John Massachusetts, Boston November 15 “Clay 27 “Barbara Parker’s Annual Christmas Continued November 1980 17 18 Ceramics Monthly ITINERARY the United Bank Tower, 3300 North Cen­ at the Sonoma County Arts Council, Lin­ tral Avenue. coln Gallery. Takehara; at Gallery 85, Emerald Drive, Billings Heights. Arizona, Scottsdale November 1-Decem­ California, Stinson Beach November 9-28 ber 20 “A Collection of Small Treasures,” “Nudes,” a multimedia exhibition which New Jersey, Newark November 2-Decem- a multimedia exhibition which includes includes clay; at A Gallery, Anna Gardner, ber 14 An exhibition of pit-fired ceramics ceramics; at the Hand and the Spirit, 3445 Shoreline Highway. by Bennett Bean; at the Newark Museum, 4200 North Marshall Way. 49 Washington Street. Colorado, Denverthrough November 9 Arkansas, Little Rock through November “The American Renaissance 1876-1917,” New York, New Yorkthrough November 16 The “23rd Annual Delta Art Exhibi­ an exhibition of approximately 300 objects, 1 An exhibition of ceramics by Jan Hol­ tion”; at the Arkansas Arts Center, Mac- includes ceramics; at the Denver Art comb; at Art Latitude Gallery, 29 East Arthur Park. Museum, 100 West 14th Avenue Parkway. 73rd Street. through November 13 A multimedia exhi­ through November 1 A ceramics exhibi­ California, Los Angeles through Novem­ bition of contemporary works by regional tion by Nancy Frommer La Pointe; at ber 7 “Tablesettings,” an exhibition by artists, includes clay. Greenwich House Pottery, 16 Jones Street. ceramic artists Thom Collins, Dora De November 14-December 27 An exhibition through November 9 An exhibition of 50 Larios, Chris Gustin, Otto Heino, Vivica of Christmas ornaments, includes clay; clay works by Rene Murray; at AtlanticHeino, Catharine Hiersoux, Coille Hooven, both events at the Artisans’ Center, 2445 Gallery, 458 West Broadway. Bob Nichols and Richard White; at the East Third Avenue. November 4-29 An exhibition by ceramist Mandell Gallery, 472 North Robertson Rudy Autio; at Greenwich House Pottery, Boulevard. Colorado, PuebloNovember 1-12 “Own 16 Jones Street. through December 14 “Southern Califor­ Your Own Art Show”; at the Sangre de November 4-29 An exhibition of large- nia Ceramics: the Post-World War II Cristo Art Center. scale ceramic sculpture by artist Ramon Renaissance,” includes approximately 150 Elozua; at the O.K. Harris Gallery, 383 works. “The Art of Mosaics: Selections Connecticut, East KillinglyNovember 28- West Broadway. from the Gilbert Collection,” contains ob­ 30 “November,” a multimedia exhibition jects from the 17th-20th centuries includ­ which includes porcelain works by Richard Ohio, ClevelandNovember 1-22 An exhi­ ing Florentine and Roman mosaics; both and Sandra Farrell; at Peep Toad Mill, bition of works by Robert Sperry; at Sylvia events at the Los Angeles County Museum Peep Toad Road. Ullman’s American Crafts Gallery, 13010 of Art, 5905 Wilshire Boulevard. Woodland-Larchmere. November 18-January 11, 1981 “Introduc­ Connecticut, Guilfordthrough November tions,” a multimedia exhibition which in­ 10 “Handcrafted Masks,” a multimedia Ohio, ColumbusNovember 24-December cludes ceramics; at the Craft and Folk Art exhibition which includes ceramics. 5 An exhibition of ceramic works by Bob Museum Gallery Three, 343 Santa Monica November 16-December 24 “Holiday Shay; at Hopkins Hall Gallery, the Ohio Place. Expo,” an exhibition which includes ce­ State University. ramics; both events at Guilford Hand­ California, Madera November 1-30 “New crafts, Route 77. Oklahoma, Oklahoma Citythrough No­ Works and New Directions,” an exhibition vember 28 A stoneware and porcelain by Bill and June Vaughn; at the Artisans Connecticut, New Canaan November 15- exhibition by Bob Hanlin; at Artsplace II, Gallery, 1301 West Olive, Suite G. December 24 “Annual Christmas Exhibi­ 115 Park Avenue. tion,” includes ceramics; at the Silvermine California, Malibu through November 23 Guild Center for the Arts. Pennsylvania, Philadelphia November 1-29 “The Sea in Five Media,” a multimedia “Crow, Weather: Recent Clay Fabric and exhibition of sea-related works which in­ Connecticut, New Haven November 13- Paper Works,” a mixed-media exhibition cludes stoneware by Lena Hansen, electro- December 23 “Celebration of American which includes porcelain and stoneware by formed porcelain by Dawn King and crys­ Crafts,” an exhibition and sale; at the Jeanie Silver; at the Craft Store, 39 talline-glazed porcelain by David Snair; Creative Arts Workshop, 80 Audubon St. Maplewood Mall. at Tidepool Gallery, 22762 Pacific Coast Highway. D.C., Washington through November 23 “Berlin Porcelain,” approximately 132 Pennsylvania, Pittsburgh through Novem­ California, Sacramento November 14-23 works from the Belvedere Collection of the ber 6 “Whiteware and Blackware” by The 26th annual “Northern California Charlottenburg Palace, Berlin; many of Susan Fox; at the Clay Place, 5600 Wal­ Arts Open Show”; at Cal-Expo, Building the objects were manufactured by KPM nut Street. Eight. Berlin during the 18th-19th centuries; at the Smithsonian Institution’s Renwick Gal­ Tennessee, Memphis November 3-28 lery, Pennsylvania Avenue at 17th Street “New Ceramic Works by Robert Mc­ California, San Diego through November Northwest. Gowan”; at the Turner Clark Gallery, 12 “All Media Doll Show,” includes por­ through January 31, 1981 “Ceramics as Art/Music Department, Memphis Shelby celain and stoneware; at Many Hands, Historical Evidence” shows how the study County Public Library, 1850 Peabody Ave. 6350 El Cajon Boulevard. of ceramics unlocks information about the Texas, Houstonthrough November 1 An California, San Francisco through Novem­ past; at the Smithsonian Institution’s Na­ exhibition of ceramics by Ban Kajitani; at ber 8 “Cornucopia,” a multimedia exhibi­ tional Museum of History and Technology, Phoenix Gallery, 5218 South Shepherd. tion which includes ceramics; at Contem­ 12th Street at Madison Drive Northwest. porary Artisans, 530 Bush Street. November 7-August 23, 1981 “American Virginia, Arlington November 21-Decem­ November 18-December 31 “Functional Porcelain: New Expressions in an Ancient ber 31 “Dragon ’80,” an exhibition of Forms/Contemporary Crafts”; at Meyer Art,” includes approximately 108 works; sculpted and carved porcelain dragon pots Breier Weiss, Fort Mason Center, Bldg. A. at the Smithsonian Institution’s Renwick by Cliff Lee; at Gallery by Lee, 767 South Gallery, Pennsylvania Avenue at 17 th 23rd Street. California, Santa Barbara through No­ Street Northwest. vember 9 An exhibition of clay works by Henry Cavanagh, Lukman Glasgow, Art Florida, Gainesville November 8-30 The Morrison, Gifford Myers and Laura Wi- 30th annual “State Juried Craft Show,” GROUP EXHIBITIONS lensky. sponsored by Florida Craftsmen; at the Alabama, Mobile November 15-December November 14-January 11, 1981 “Holiday Thomas Center Gallery. 28 “Sevres Porcelain,” an historical exhi­ Exhibition”; both events at the Elizabeth bition of works from the 18th-20th cen­ Fortner Gallery, 1114 State Street, Studio Florida, Orlando through November 7 turies; at the Fine Arts Museum of the 9, LaArcada Court. An exhibition by the college art faculty, South. includes ceramics by Barbara Walker- California, Santa Rosathrough November Seaman; at Valencia Community College. Arizona, PhoenixNovember 1-30 “United 7 “Clay/Sonoma County”; at the Glenys Bank—C.L.A.Y. Show,” an exhibition of Gallery, 529 Davis Street. Georgia, Atlanta through November 14 traditional and contemporary ceramics; at through November 7 “Clay Impressions”; Continued November 1980 19 20 Ceramics Monthly ITINERARY ornaments; at Appalachiana, 10400 Old Sohngen; at Thornhill Gallery, Avila Col­ Georgetown Road. lege, 11901 Wornall Road. “Tradition in the Making,” a multimedia exhibition which includes clay; at Georgia Massachusetts, Bostonthrough November Missouri, Saint Louisthrough November State University. 3 “Korean and Korean Inspired Ceram­ 30 “Ceramics from the Collection of the ics,” an exhibition by Master Korean Saint Louis Art Museum,” includes Amer­ Indiana, Fort Wayne through November potter Sang-Ho-Shin, Derek and Linda ican, English and French objects from the 16 “Containers Exhibition,” sponsored by Marshall, Namhi Wagner, Malcolm early 1900s through 1980; at the Saint the Designer Craftsmen Guild; at the Fort Wright and Nakoto Yobe; at Saks Fifth Louis Art Museum, Forest Park. Wayne Museum of Art, 1202 West Wayne. Avenue, Prudential Center. November 2-December 3 A multimedia through November 30 “5000 Years of exhibition which includes raku and porce­ Korean Art,” an exhibition of approxi­ lain forms by Patricia Degener; at Craft Indiana, Indianapolis through November mately 345 objects, includes celadon por­ Alliance, 6640 Delmar Boulevard. 2 A multimedia exhibition which includes celains; at the Museum of Fine Arts. pottery by Yosuke Haruta. New Hampshire, Manchester through No­ through January 18, 1981 “The Manu­ vember 7 “New Hampshire Potters Guild facture of Tz’u-chou Type Wares,” a dis­ Massachusetts, Framingham November 9- Annual Exhibition”; at the Manchester play which focuses on the processes in­ January 18, 1981 “Combinations,” an ex­ Institute of Arts and Sciences, 148 Con­ volved in their manufacture, includes hibition of works made from two or more cord Street. maps, charts, photographs of kiln sites, and materials, created by a collaboration of step-by-step models. two or more artists, or designed to function New Jersey, ClintonNovember 1-30 A November 17-January 18, 1981 “Freedom in two or more ways; at the Danforth multimedia exhibition by former appren­ of Clay and Brush through Seven Cen­ Museum, 123 Union Avenue. tices and students of Toshiko Takaezu; at turies in Northern China: Tz’u-chou Type Hunterdon Art Center, Old Stone Mill, Wares, A.D. 960-1600,” an exhibition of Massachusetts, Lincoln through November Center Street. ceramic wares; all events at the Indian­ 23 “A Century of Ceramics in the United apolis Museum of Art, 1200 West 38th St. States: 1878-1978”; at DeCordova Mu­ New Mexico, Taosthrough November 29 November 22-January 14, 1981 “Clayfest seum, Sandy Point Road. A multirpedia exhibition which includes ’80,” an exhibition by Indiana ceramists; ceramic sculpture and masks by Carolyn at the Herron Gallery, Herron School of Michigan, Detroit through November 15 Sale; at Clay and Fiber Gallery, North Art, Indiana University, Indianapolis, An exhibition of raku by Steven and Susan Pueblo Road. 1701 North Pennsylvania Street. Kemenyffy; at Pewabic Pottery, 10125 East Jefferson. New York, Great Neck November 9-Janu- Iowa, Mason CityNovember 23-Decem- ary 9, 1981 A multimedia exhibition by ber 31 “Iowa Crafts: 13”; at the Charles Missouri, Kansas CityNovember 3-21 “8 members of the Long Island Craftsmen’s H. MacNider Museum. Approaches to Function,” a ceramics exhi­ Guild; at the Great Neck Library. bition by Dale Baucum, Ervin Dixon, Maryland, Bethesda November 1-Decem­ Steven Hill, Clary Illian, Dan Keegan, New York, New Yorkthrough January 18, ber 24 An exhibition of Christmas tree Jeff Oestreich, George Smyth and Peter Please Turn to Page 68

November 1980 21

Comment The Art-Historical Myth by John Stocking

The following text was presented Extreme examples aside, publicity at “Ceramics Seminar ’80 ” a recent has a great deal to do with how most gathering of potters for workshops people relate to art. And today, most and demonstrations, lectures and tech­ importantly, it is the academic pub­ nical demonstrations, in Calgary, Al­ licity in the form of art criticism and berta, Canada (see page 30). —Ed. so-called art history that is taking the greatest toll. Art history is actually The idea of a purely formal apprecia­ a very recent development, dependent tion of art—witnessing forms from as it is on photography, but within their own point of view without inter­ the few years it has existed, it has ference from social context—is a nice programmed a generation of artists idea, but it is also incredibly naive. and nonartists alike with a highly The formal aesthetic experience may selected and edited body of facts, and occur once or twice in a lifetime, as an embodied mythology which in­ a burst of mystical insight, but (especi­ cludes both a hierarchy of “big ally after all that brainwashing by names” and a hierarchy of media. critics and art-historical mythmakers) Because of this mythical media it can’t happen often enough to make hierarchy, ceramists today find them­ much difference for the art-conscious selves in a position similar to that of “mind at large.” Statistically, in 99.9 printmakers and serious photogra­ percent of the situations, famous phers—workers in two other areas critics and students alike all see what where rigorous traditional disciplines they want to see—or have been edu­ (in the technical sense) still prevail. cated to see—in art work. As a media development, the revolu­ When I show my students a third- tionary rise of photography is obvi­ rate Italian statue by an unknown ously the avant-garde event of the artist, and tell them it is a newly modern era. But in the modern art discovered Michelangelo, they “oooo” survey books, the big names still go and “ahhhhh” with aesthetic delight, to painters and occasionally metal and see all sorts of beauty and truth sculptors. Many so-called modern in the thing. Then I show them an art historians don’t reproduce in their excellent (but seldom seen) view of a books a single photographic print; Michelangelo and tell them it has even the lithographers, etchers and been exposed as the work of a hack itaglio printmakers mentioned will forger. They almost inevitably criti­ have made their name already in the cize it severely, and tear it apart on Olympian art of painting. aesthetic grounds. We had a large re­ The main reason for this is simply production glued to a canvas backing that art historians choose to typecast hanging in the hall for several years painters (and to a lesser degree stone until someone ripped it off the back­ and metal sculptors) as the mythical ing, leaving two large and fuzzy- heroes or stars of the “History of West­ edged areas of color where the glue ern Art”; this may be for a number of stuck. Needless to say, this is now the reasons which have more to do with “Rothko Sketch,” which art students the problems of storytelling than with stand and seriously contemplate when the facts of history. Western art his- told to do so. Continued November 1980 25 26 Ceramics Monthly COMMENT who—we are led to believe — natur­ ally ends up with a paint brush in his tory projects and embodies a nonsen­ hand and a lot of very entertaining sical myth about art, and the slant of anecdotes in his biography. The “His­ this myth becomes evident once we tory of Far Eastern Art” is more compare it with the kind of myth about the art than about the artists, Western scholars have created for the whereas the “History of Western Art” “History of Far Eastern Art.” is highly biographical—or, we should Several weeks ago, I settled down say, pseudobiographical. The kind of for an afternoon in the library and picture we are given of big name leafed through a dozen or so “History Western painters is similar to that of Western Art” survey books and the presented for movie stars, frontier equivalent “History of Far Eastern outlaws, lawmen, etc. Art” texts. With the exception of Greek pottery, which is presented as Today, people are seldom impress­ painting in lieu of the lost Greek ed by ceramics as great “high art,” wall and panel painting of the early in the full sense, because ceramists days, there are few, if any, vessels aren’t supposed to be the stars in the illustrated or discussed seriously in myth. Just as in Hollywood myth­ typical Western art surveys. Of ce­ ology, we don’t know the names of ramic sculpture, there may be a hand­ many film editors, cameramen, or set ful of pieces illustrated but they are designers, but are required by custom downgraded because of small size or to make small talk about all the great lack of monumentality. In “Histories stars. We aren’t supposed to know of Modern Art” in the West, this de- the names of the musicians, compos­ emphasis of ceramic media is even ers, cameramen and set designers, even more evident, in spite of the fact that though common sense tells us that some of the most incredible, and truly they were just as important (and in avant-garde images in modern and some cases more important) than the contemporary art were produced in lead actors. And in the myth of the ceramics. Western frontier, we don’t know the By comparison, when we glance names of hard-working tradesmen, through typical “Histories of Far doctors or lawyers, honest ranchers or Eastern Art,” we find dozens of illus­ engineers—the men who really built trations of ceramic sculpturesand the West. The names that are the even more of ceramic vessels, with a most highly publicized are those be­ tremendous amount of respect and longing to killers, on one side of the interest shown in the development of law or the other. bodies, glazes and form. When East­ I can sympathize with this tendency ern ceramics do become little more to a certain degree. It is easier to than a ground for painting, as Greek make up a striking superficial lecture pottery had, the Far Eastern ceramic with color slides about some [promi­ artist is criticized harshly for violating nent] painter than it is about a ceram­ the “media integrity” of the art form. ist, particularly considering the bias Is this basic difference in emphasis that is already built into the myth. If due to Chinese and Japanese people you had to write a lecture on Billy the being intrinsically and historically Kid, you would find a great deal of more productive and creative ceram­ ready-made biographical and visual ists? No, I do not think that is the material waiting for you in the case at all. library; but try to get up a slide talk The reason is that the myth of Far on the immortal Dr. What’shisname, Eastern art, as generated by Western the frontier surgeon who saved so scholars, typecasts much differently many good and useful lives, and you than the Western version of Western will search the archives for years. art/mythology. The Western scholar Getting down to brass tacks, this preconceives the proper Far Eastern problem has been greatly compound­ artist as a traditionalist and seems ed by the fact that Western art/myth to consider ceramics to be less of an has been perpetuated into the present individualistic medium of expression for economic reasons. According to than painting. The hero of Western the myth, the big names in Western art /myth is preconceived as some art are all—or nearly all—flamboy- kind of extreme hyperindividualist Continued November 1980 27 28 Ceramics Monthly COMMENT ant painters. Logically, there must be some flamboyant folks today throw­ ing paint around with genius too— the future stars of the myth hidden away somewhere in the obscurity of the Big Apple’s core. They will be the Van Goghs of the future, a fact which could mean a great deal of money for whomever has signed them up and collected their works ahead of time. Since the very rich have always been more interested in buying history than in buying art—controlling the future by owning the past—it is possible to market these names, prematurely projected into art history, at ridicu­ lous and completely unrealistic prices. Why not a few ceramic artists? Well, the script just does not read that way. The myth-making promot­ ers and the art historians who sold out to the contemporary myth have already placed their big promotional bets on painters and on painting. Given a myth that emphasizes a cer­ tain type of superficial individuality, painting was easier to promote, and certainly easier to illustrate in flashy magazine plates. It is very difficult to get the full, tactile impact of ce­ ramic art into halftones; and, like photography, ceramics is thought of as being useful in a practical as well as in an informational way. Part of the myth is that art can have no practical application (or function) that one can put a handle on; that in order to be art, something must em­ body the concept of being practically useless. The status of the ceramic artist is relatively low, mainly because of the effect of an art-historical myth which overemphasizes painters and non- ceramic sculptors, if not painting and sculpture. What can one do about it? To begin with, stop believing in the myth yourselves. Stop fantasizing and stop idolizing the New York “big name” promotional myth, and stop buying the older art-historical myth which precedes it. Then, I believe, ceramic art will at least begin to fall into proper perspective for some of us. About the Author John Stocking is an associate professor of art history at the University of Calgary, Alberta, Canada. November 1980 29 growth and influences on ceramics in that country, traced Ceramics Seminar ’80 from early beginnings in Quebec to the diverse represen­ tational and nonrepresentational clay objects of today. byF aye N utting Edmonton sculptor Charles Hilton spoke of artistic integrity, and the hard work and varied experiences re­ quired to grow in the ceramics field, as he demonstrated his approach to clay. Offering information and practical demonstrations, as Articulating the need for and process of producing a well as discussions on business, history, patronage, promo­ professional promotional package that would be accepted tion and aesthetics, “Ceramics Seminar ’80” in Calgary, by publications, galleries and exhibitions, William Hunt, Alberta, recently attracted approximately 200 North potter and managing editor of Ceramics Monthly, American participants. During the two-day event, presen­ lectured on publicizing oneself as an artist/potter, with tations and an exhibition by nine artists were scheduled, emphasis on the visual and verbal aspects of this adjunc­ with the theme “Clay: its place in relation to our society.” tive art form. John Chalke, Calgary potter, showed “The Canadian Tam Irving maintains a studio and instructs at Emily Connection,” a synchronized audio/visual account of the Carr College of Art in Vancouver. A collector of truck- “Fragmented Vase Form” approximately 13 inches in height, by Charles Hilto n, Edmonton, Alberta.

30 Ceramics Monthly 31 November 1980

Porcelain plate, 12 inches in diameter, by Salt-glazed stoneware vase, 10 inches in height, Involved with clay since 1972 at Sounding Stone Studio thrown and altered, with vanadium and local earth slip, by William Hunt, Columbus, Ohio. Right Above Ontario. Harlan House, Lonsdale, Once powdered, a fusion appropriate flux or refractory is added as necessary. test of the material is fired, and “to make them soft” before grinding them in an oatmeal and the glaze is igneous rock.” To transform raw materials crusher or other scavenged and converted milling devices. made extruders enable him to speed production yet main- morphic (rock that has gone through a change but has ingredients, Tam commented that “the earth is a giant not been molten) molten) materials. A and finished igneous into pot (rock practical is ceramics that metamorphic supplies, rock has Tam bisque been fires rocks Banff Centre, Doug Machuk demonstrated how hand­ mixing bowl. There is constant interplay between sedi­ loads of local rock, sand, silt, ash and clay for glaze in Winnipeg, Stonecrop Pottery in Canmore and the mentary (surface rock exposed to weathering), meta- Photos: James Peacock Vase, 5 inches in height, thrown, altered, incised, by Tam Irving, Vancouver, British Columbia.

“Lady Seated” unglazed stoneware sculpture, 15 inches in height, by Luke Lindoe, Medicine Hat, Alberta. Left “Standing Sculpture, ”salt-glazed stoneware, 32 inches in height, by Chuck Wissinger, Red Deer, Alberta. 32C eramics Monthly tain quality and individuality in his work. Many versatile other movements and periods in art history, is what makes templates allow Doug to extrude mug handles, casserole understanding difficult, he observed. walls, tiles and free-form vases. Influenced by changing skies and landscapes, Chuck In her presentation, Sally Michener, from Emily Carr Wissinger, on the faculty of Red Deer College, Alberta, College of Art, expressed that “technique is not the prob­ attempts to capture in his sculpture the essence of these lem. You already know all you need to know; you are images. He demonstrated and discussed the application of ready right now to make a successful piece. What you brushed and sprayed slips using paper templates or fris- must have is conviction.” She encouraged others to apply kets for developing multilayered patterns which, when whatever techniques are necessary to achieve the desired fired, create subtle surfaces. effects, including epoxy and “room-temperature glazes.” In addition to the individual presentations, three panel During the seminar, Sally made basic cylindrical shapes discussions dealt with patronage, marketing/management for the modular units of two 6-foot-tall columnar sculp­ and aesthetics. Bridging the current gap in understanding tures, adding slab projections and brushed slip patterns. and communication which seriously affects the marketing Stanford Perrott, on the faculty for twenty years before of three-dimensional art, the first two groups, each includ­ becoming head of the Alberta College of Art, lectured on ing artists, curators, collectors and art critics, voiced their the development of the ceramics department at that concerns and expectations of one another. In a third institution; its beginnings in the 1930s and those students, session, panel members John Stocking, art historian; Sally teachers and other forces contributing to the school’s Michener, ceramist; and Jon Whyte, writer and art critic; influence on ceramic art in Alberta and to similar devel­ discussed aesthetics in general terms—technique/concept, opment elsewhere in Canada. Delivered with wit and arts/crafts, function/nonfunction. One panelist pointed compassion, his anecdotes indicated an institution can be out, “We would not have a problem if we could relate and caring and provide room for personal growth in addition accept things at face value.” to education. Additionally, throughout the seminar, clinics provided James Thornsbury, studio potter from Hornby Island, an opportunity for participants to receive individual British Columbia, presented a slide lecture on the influ­ advice on specific concerns related to throwing, glazing ence of North American art on contemporary ceramics. and criticism. Work by the guest lecturers and ten gradu­ While emphasis in the 1950s was on pushing limitations ates of the Alberta College of Art was exhibited at the in relation to technique and surface decoration, recent Muttart Gallery and is presented in this article; other approaches involve more conceptual aspects. The speed galleries in Calgary featured ceramics by local artists; and with which this transition occurred, as compared with clay objects were displayed in several public buildings.

Porcelain and stoneware neriage jar, 6 inches in height, wheel thrown, by Les Manning, Banff, Alberta. November 1980 33 Ceramics at the Museum, of Modern Art

byW illiam Hunt

It was Saturday afternoon and the Museum of intended for everyday use he found pretexts for all Modern Art, taken over by the Picasso exhibition, kinds of unexpected imagery—a handle as a wom­ was packed. A stillness seemed to preoccupy the an’s braid or a thrown vase modeled as a dove. He crowd, massed shoulder-to-shoulder around the also searched the waste bins for rejected ware and periphery and milling in the center of all the fragments, fired or unfired, to transform with galleries as if in some human beehive. Dubbed “the brushed designs. In fact, Picasso used clay not only show of shows,” the retrospective would within four in the production of ceramic works, but also as a months be visited by a million people lucky enough material for forming and joining elements in much to acquire a ticket before the September 16 closing. of his later sculpture cast in bronze. Pablo Picasso, the father of modernism, has found Yet through those fourteen ceramic objects pre­ acceptance among the art lovers and plain folks of sented in the Museum of Modern Art exhibition, it America, overcoming the painting/sculpture equiva­ is clear that Picasso’s brushwork on clay is the domi­ lent of the funk/functional controversy and altering nant element, nearly overpowering. A figurine of a the course of art in every medium he touched. woman (“Lady in Mantilla”) demonstrated exquis­ From the potter’s standpoint it is unfortunate that ite facial detail in black oxide on cream clay. There this massive exhibition of works by such a grand were also surprises in scale such as Picasso’s large innovator presented the traditional painting/sculp­ owl vase. Formed in series like production pottery, ture bias, failing to adequately represent the breadth his ceramic owl sculptures display meticulous clay of Picasso’s ceramics. Missing was the scope of work—even to technical / structural considerations plates, tiles, vases, jugs and bottles he produced, such as fusing the top and bottom beak tips for particularly between 1946 and 1953, but extending strength and longevity. Also seen was the artist’s into the 1970s. Instead, unobtrusively displayed pri­ apparent partiality to the egg shape on its side, marily on the third floor of the museum, were a few elevated as the body of container forms. A funkish select samples—some cracked and repaired, some “Greek Pottery Fragment” was included, as well as less than the artist’s best, but nevertheless providing a plate with slab fish on a newspaper impression a hint of what is seen more clearly in Georges from the printer’s plate. There was even a vase with Ramie’s book, Picasso's Ceramics, the only major many handles decorated in the potter’s tradition of survey of the artist’s clay works to date. repeated pattern. From the first lump of wedged clay placed in Only recently have museums and galleries begun Picasso’s hands at Ramie’s Madoura Pottery (Val- to give contemporary clay work the serious consider- lauris, France) emerged a faun’s head and two tion it merits. Some ceramists are even active par­ bulls, both dominant subjects in his ensuing ceram­ ticipants in this segregation of clay from the world ics. Numerous cast circular, oval and squared plates of painting and sculpture by considering the ceram­ were brushed with oxides, slips and glazes to depict ics of those whose reputations were made through a satyr’s grin or a bullfighter’s challenge; others paint or bronze as works made by outsiders and were decorated with incised utensils and food or therefore somehow less related to the potter’s art. with slip-trailed fish. Although Picasso probably was The Picasso exhibition, though flawed by a minor familiar with the wheel, most of the thrown forms representation of ceramics, nevertheless contradicts in his work were raided from the potter’s drying this attitude and demonstrates the importance of boards. In these production vases and pitchers Picasso’s contribution to contemporary clay artists. Photos: Museum of Modern Art, courtesy Jacqueline Picasso and the Viking Press (Picasso's Ceramics Viva Picasso)

34 Ceramics Monthly

Opposite page After a dinner of sole meuniere, Picasso Pottery is decorated and the slabs are positioned over lays the skeleton on a damp slab, presses it with paper the slip with gentle pressure. to create a clean, fossillike impression, then removes the skeleton to repeat the process. Fillet shapes are Above “Plate with Fish ” 17 inches in diameter, cutout cut around the impressions and the forms laid aside; a slabs affixed to a platter in a manner similar to the platter with raised center from George Ramie’s Madoura work on the opposite page. November 1980 37 Below Large owl 19 inches in height, sgraffito through white slip, resist and} brushed decoration; broken and repaired. This form and the “Condor” on the opposite page illustrate Picasso’s predilection for the elevated egg shape. Right “Lady in Mantilla ” 19 inches in height, thrown and altered form with brushwork. Far right Owl, 13 inches in height, Opposite page, below Works in the collection of Jacqueline Picasso, intended for the exhibition and published in the MOM A catalog, but omitted from the show at the last moment. From left: “Condor ” 16 inches in height, earthenware; “Woman on a Tile ” 12 inches in height; and two variants of “The Owl ” each 13 inches in height.

38 Ceramics Monthly November 1980 39 Pillow pitchers,, inspired by Greek and Etruscan tra­ Betty Woodman: ditional forms, were among the earthenware pots Betty Woodman, University of Colorado (Boulder) art profes­ sor, exhibited recently in concurrent shows at Amalgam New Work Gallery, London, England, and the Rochester Art Center, Minnesota. While working at her summer studio in Italy about seven years ago, Betty first became interested in the local earthenware, “in the peculiar quality of lead glazes and rather soft nonvitreous clays, and in the possibility of bright colors and lively decorations that move slightly in the firing. I have used a palette of colors that came from Tang dynasty China to Persia, then to Spain, Italy and Mexico, and am fascinated that much of the world’s ceramics have evolved from one culture’s attempt to imitate another. My formal ideas start that way in obser­ vation and mimicry of certain qualities in objects from other cultures. For example, architectural details have been an important influence since I often translate obser­ in Italy with local materials; unglazed pots were finished vation from other materials into clay. From that point a with terra sigillata.” piece develops, and out of it comes the next and finally Of the ware shown at Rochester (many of which also a whole series comes into being. A typical instance of this were made in Italy) Betty said, “the painterly quality of process can be seen in my use of handles and the extension the surfaces is very important. It removes them from of concepts of form beyond the original observation.” cuteness as I am careful to keep them from being too In a review of the London show, ceramist Alison Britton pretty and appealing. The work is treated with a tradi­ wrote: “Betty Woodman makes use of the wheel in a way tional approach to lead glazes which are heavily reduced that is very foreign to us in England and is very refresh­ to give them the soft celadon grays and the trapping of ing. Thrown forms are her starting point, and they are carbon to add drama.” stretched (‘thrown’ on the floor), sliced, coerced and Describing her work as decorative art, Betty explained reassembled to make objects that still refer to the con­ “most have a function as seen in their titles; the pots have centric discipline of the wheel, and yet deviate delight­ been made to decorate that function or a variation of it.” fully. There is a sense of speed and action in the way straps and blobs of clay have been slapped onto the “Terra Sigillata Pillow Pitchers ” 24 to 30 inches surface, and holes gashed out, and yet the underlying in width, earthenware; bellies are two thrown forms, form has a calmer tension. Those shown here were made pinched shut at the top and joined at the base. Above “Tang Pillow Pitcher ,” 15 inches in height. “I Above right “Vine Vase,” 13 inches in height. have used a palette of colors that came from Tang dynasty China to Persia, then to Spain, Italy and Right " Oval Basket with Console Handles,” 36 inches in Mexico. Most of the world’s ceramics have evolved from length. Betty describes her work as decorative art, one culture’s attempt to imitate another.” adding “most have a function as seen in their titles.”

42C eramics Monthly November 1980 43

Photos: Richard Baume and George Woodman Toshiko Takaezu’s Kiln

When clay artist Toshiko Takaezu asked Dick Hay of with the eyebolt stems. An angle iron, running perpen­ Indiana State University to design a new kiln for her, he dicular to the brick, holds the eyebolt ends; washers and responded with an energy efficient, two-chamber cross- nuts tighten the eyebolts and eliminate roof sag. draft system based on industrial construction techniques. The smaller, 97-cubic-foot bisque kiln is constructed of Designed to fit her Quakertown, New Jersey, studio, five steel sides lined with 2 inches of Banroc and 3 inches waste heat from the glaze chamber can be routed through of eight-pound density Cerablanket. Powered by an elec­ a flue to bisque fire the adjoining chamber, or vented tric chain hoist, the bisque chamber roof can rise 6 feet directly to a chimney outside. above the 7 ½-inch-thick insulating firebrick floor. Covered with insulating refractories (four 1-inch layers “Safer and more efficient, this kiln took less time to of Cerablanket and about 2 inches of Banroc felted min­ construct,” commented Dick, “and I believe will deterio­ eral wool pinned to 1/8-inch sheet steel) provided by the rate at a slower rate than all brick periodic models.” Johns-Manville Corporation, two flues branch from the bottom rear wall of the glaze kiln chamber. One bypasses the bisque kiln, connecting with the stack; the other leads straight to the bisque kiln before rejoining the first. Three dampers control the flues: One channels heat from the main chamber into the bypass, the second deter­ mines heat flow from the glaze chamber to the bisque chamber, and the third, close to the stack, will close off both chambers to regulate cooling. Constructed from Cerablanket, the dampers were sprayed on one side with Cera-Preg, a refractory rigidizing agent. Inexpensive and easy to make, these dampers resist thermal shock better than conventional silicon carbide shelves or slabs. Not “stymied by any of the limiting factors of conven­ tional design,” Dick also decided to build the kiln with movable roofs on the chambers. The 270-cubic-foot glaze Photos: Ed Morrison and courtesy of Johns-Manville chamber is fired by two rear-mounted, 400,000-Btu gas burners, forced-air, channeled along the sides and baffled back toward the center. Cornered and braced with angle iron, three 9-inch-thick walls of the kiln were constructed of insulating firebrick on a 10-inch-thick insulating brick and hardbrick floor over concrete block. Iron pipes put under tension with automobile valve springs impart strength and rigidity as tie rods for the angle iron corner braces. The steel door, which swings open on a davit, is lined with 2 inches of Banroc and 5 inches of eight-pound density Cerablanket. Moved by an electric hoist, the soft brick main roof can be raised and lowered to efficiently accommodate various sizes of glazed ware. Each roof insulating brick was drilled approximately 2 inches from the cold face and “strung” on %-inch pipe. An eyebolt was strung between the middle bricks, its threaded end projecting through a carved hole at the top. Parallel rows of brick were then Toshiko Takaezu, Quakertown, New Jersey, loads a hung together, with Cerablanket laid overall and pierced bisque in her 270-cubic-foot, cross-draft kiln.

44 Ceramics Monthly 1. A concrete block base was laid and leveled. 2. The floor of both chambers and the flue were 10-inch-thick insulating and hard firebrick; walls were 9 inches of soft brick. 3. Angle iron, held under tension by automobile valve springs on iron pipe tie rods supports the corners. The roof of the main chamber} is soft brick strung on pipe. An eyebolt was strung between middle bricks, its threaded end projecting up through a carved hole. Parallel rows of brick were hung together, Cerablanket laid overall and pierced with the eyebolt stems. A central angle iron running perpendicular to the brick holds the eyebolt ends; washers and nuts tighten the eyebolts and eliminate roof sag. November 1980 45 4. The steel door swings on a davit supported by wall and floor bracing; its exterior reveals soft-brick-lined spy holes. 5. Edged with soft brick, the door is lined with 2 inches of Banroc and 5 inches of eight-pound density Cerablanket. 6. Pipes on the door's exterior hold fastening rod, secured at the ends by hinged clamps for a tight seal.

46C eramics Monthly 7. The 270-cubic-foot main chamber is fired by two rear-mounted, 400,000 Btu gas burners (forced air), channeled along the sides and baffled back toward the center.

8. Covered with insulating refrac­ tories pinned to steel, two flues branch from the rear wall of the main chamber; one leads straight to the stack, the other to a smaller second chamber before rejoining the first. Vertical dampers of rigidized Cerablanket control access to the flues: one directs heat from the main chamber to the second chamber, allowing bisque firing from waste heat; one channels it to the bypass; and the third, close to the stack, seals both chambers to regulate cooling.

9. The 97-cubic-foot second chamber is topped with a steel cap lined with 2 inches of Banroc and 3 inches of eight-pound density Cerablanket. Powered by an electric hoist, the cap can rise 6 feet above the soft brick floor, enabling Toshiko to complete work in the chamber, then lower the roof for bisque firing. November 1980 47 After bisquing, the pots were dipped in a color varia­ Stenciled Porcelain tion of the following base glaze: Newsprint gut in geometric patterns served as stencils Alfred Barium Glaze (Cone 10) for black slip applications on the 57 porcelain vessels by Barium Carbonate...... 9.3% Chi Ngih Hum (Cedar Falls, Iowa), presented in a recent Whiting ...... 17.8 solo exhibition at the Clay Place Gallery, Pittsburgh. G-200 Feldspar ...... 12.4 Applied to the following clay body, Nepheline Syenite ...... 12.4 Edgar Plastic Kaolin ...... 18.2 Porcelain Body (Cone 10) Flint ...... 29.9 Cornwall Stone ...... 25% 100.0% Edgar Plastic Kaolin ...... 25 Several color variations are possible with the following Tennessee Ball Clay...... 25 metal oxide and carbonate additions: Flint ...... 25 1% Cobalt Carbonate...... Blue 100% ½% Cobalt Carbonate, 2% Copper Carbonate ...... Blue damp paper masks were laid on trimmed, leather-hard 2% Copper Carbonate...... Green pots. The surfaces were then brushed with a black slip 3% Copper Carbonate, 3% Rutile ...... Pickle Green made by adding 2% chrome oxide, 2% cobalt oxide and 5% Manganese Dioxide ...... Brown 8% red iron oxide to the porcelain. When the slip was 10% Vanadium Stain...... Yellow dry, Chi removed the stencil with a needle tool. 7% Zircopax...... White Photos: Ed Carey and Lee Green Above Thrown covered jar, 8 inches in height, black slip brushed over paper stencil on porcelain, transparent blue glaze. Opposite page Thrown jar with lid, 11 inches in height, black slip brushed over newsprint resist on porcelain, transparent blue glaze. Far left Covered jar, 9 inches in height, thrown porcelain, by Chi Hum. Left Porcelain covered jar, 12 inches in height. November 1980 49 Above Thrown porcelain covered jar, 9 inches in height, black slip brushed over newsprint stencil on porcelain, transparent blue glaze. Left Covered jar, 7 inches in height, transparent brown glaze over black slip on porcelain, by Chi Hum.

50 Ceramics Monthly Mallam Garba shares this two-room thatched adobe workspace with two other potters in Zaria City, Nigeria, The Dundunge Pots of Mallam Garba byA ngelo Garzio

Many potters associate or equate Nigerian pottery with to augment income for his large family. Mallam Garba what is made in Abuja, largely because of Michael Car- has three wives and two grown sons who also make pots dew’s sojourn to this central Nigerian city where he in the same compound where most of the family lives. taught local clay craftsmen Western techniques. Until one Only the men pot full time; women have additional arrives in the country and visits the marketplaces, the responsibilities such as child rearing, food preparation and large amount of indigenous low-fired, handbuilt pottery home maintenance. Some of the young children have is not evident. This quantity comes in a variety of shapes been encouraged to learn, but as Mallam Garba succinctly and sizes, depending on function and production locale. said: “Young children are not bent on learning to make Wherever one travels in the countryside, the ubiquitous pots since it entails long hours, hard work and little presence of pots attests to their daily importance for the prestige.” Potting also lacks the security a civil service or people. Each part of the nation has developed a style office job affords. As in many other parts of the world, unique in its shapes, forming techniques and decoration. the indigenous Nigerian potter is slowly losing ground to After spending several months in and around the rapid changes in technology and the prestige of newer Zaria region of north-central Nigeria, I met Mallam materials. Garba Antu, a potter formerly from Kano now living in Unlike neighboring potteries where pinch, coil or mold old Zaria City. His presence, as well as that of several techniques are employed, much of the ware in this region other potters, was an interesting phenomenon as I had is formed by the dundunge method, shaping a pot with a thought all Nigerian pottery was made by women. Ac­ clay beater or mallet over a shallow round depression in cording to Mallam Garba, men learned the trade in the ground. Although it takes longer to form a pot with this strong Muslim area because of economic needs; when this technique, stronger and much larger forms are young boys finished Koranic school, many were too poor possible, according to Mallam Garba. to pursue further education, so they apprenticed them­ Simply described, the potter begins by scraping clean selves to potters. Since polygamy is the custom among the surface of a fired shallow bowl embedded in the many Muslims, a potter often teaches his wives the craft ground and sprinkling on this surface a thin film of dry, November 1980 51 1,2. Mallam Garba’s ware is formed with clay beaters 3. Prior to handbuilding, the depression is scraped. in a fired shallow depression. Other tools include a wooden paddle, a bauchi tree leaf and a spiked thorn 4. Coarse clay is rolled into a thick pancake, thrown roulette; mica sand prevents sticking. down several times, then beaten out from the center. powdered clay. A stiff ball of very coarse clay is rolled roulette is run over the shoulder area creating an im­ flat to form a thick round pancake, which is then thrown printed pattern—the only surface decoration on Mallam down several times until it becomes wider and thinner. Garba’s work other than the black coloration from the Grasping a fired clay pestle, the potter makes a depression firing. Placed on an old bottomless enameled basin, the and beats the clay disk out from the center into a rough form is set aside in the shade until the next day when it is, shallow bowl form, after each blow rotating it slightly sufficiently firm to receive the neck or lip. with his left hand and right foot. At this stage the outer Replacing the rigid form in the embedded bowl, the edge is thinner than the center. The form grows deeper potter scrapes the rim with a knife and dampens the and wider with thinner walls as the beating and turning surface with water. A thick coil—three parts soft, coarse process is repeated. When the rough form is approxi­ clay with one part crushed, dry donkey dung—is attached mately half the size of the final shape, a smaller pestle is by squeezing it around and down over the edge with the employed to strike lighter refining blows as the pot is thumb and forefinger of the right hand. After joining the turned inside the embedded bowl. After the upper wall coil, the potter smooths the lip with a wet curved leaf and rim of the form are beaten slightly with a wooden by slowly turning the pot with his right foot and left hand, paddle to reinforce the lip and shoulder, a spiked thorn or by standing in a stooped position to work backward

52 Ceramics Monthly 5,6. The form grows as the beating and turning continue. 7,8.Paddling evens and strengthens the rim. A spiked When the pot is half the finished size, a smaller mallet thorn is rolled over the shoulder area for surface is employed to strike lighter, refining blows. embellishment and the pot is set aside until firm.

November 1980 53 10. A thick coil of soft clay and crushed, dry donkey 11. The attached coil is squeezed as the potter walks dung is luted to the rim, around the pot, thinning and raising the neck.

54 Ceramics Monthly 9. (Left) The following day the pot is returned to the depression, the rim scraped with a knife, then moistened.

12. After dampening the rim, a bauchi tree leaf is draped around the lip; the potter walks backwards around the pot, smoothing and forming a strong rim contour. 13. With a hard, dried curved pod of the African mahogany tree, Mallam Garba shapes and scrapes the interior of the neck while rotating the pot. The exterior is treated in the same manner, fusing wet clay to the shoulder; after a final scraping, followed by a final smoothing of the lip with the leaf, the finished pot is dried completely in the shade. around the pot. Next, with a dried, curved pod from an long poles to eliminate any open spaces which could African mahogany tree, he scrapes and shapes the insid^ create more rapidly burning areas; grass bundles are com­ of the neck while rotating the pot. In the same manner he pressed by pushing in as they are laid vertically several completes the exterior of the neck, fusing the wet clay on inches thick along the sides. As the desired perimeter is the stiff, partially dried shoulder wall. After a final scrap­ reached, large fired blocks of clay are placed around the ing of the neck and rim, and a final smoothing of the lip edge every 16 inches, beneath the grass bed to allow air with the leaf, the finished pot is dried completely in the into the center of the mass for better, more even combus­ shade. tion. When enough pots have been made, the open firing site With the grass in place, a layer of wood ash is thrown (usually a large space with some kind of wall on one side over the mound, evenly covering the surface except for to protect against uneven combustion caused by gusts of the lower 18 inches, to retain heat. Finally, water is wind) is prepared. Long wood splits are placed fairly splashed over the ash-covered mound to prevent too rapid close together over a layer of grass which prevents the a firing. By evening the stacking is completed and two or wood from sinking into the ashes of the previous firing. If three people ignite the grass along the base. Soon the the pots on the bottom layer are large, requiring longer mound is engulfed in smoke as the flames reach the damp and more intense heat to mature, a fairly thick layer of ash surface; the firing lasts all night, although no fuel is wood is laid down. added. Most of the combustion occurs in four to six hours, Starting at the center, the largest pots are positioned on depending on the size of the mound and the number of their sides in a circular pattern with the base of one pots fired. Early the next morning, the potters uncover resting in the neck of another. Little, if any, space is and remove sufficiently cooled ware; each form is tested wasted; small pots are placed in any available nook and for soundness and hardness by tapping with the knuckles. on the top layer, arranged so there is little chance of pots Pots not fired hard enough may be set aside for re firing; falling off the mound after firing is completed. Thick those that are cracked are discarded. Ware meeting the sheaves of dry grass are laid over the stacked pots and standards of the potter is arranged according to shape and along the sides. The grass at the top is gently beaten with made ready for travel to the market place.

14. The open-air firing site is near a wall, that serves as a windbreak. First, long wood splits are placed over alayer of grass; then, starting at the center, the pots are positioned on their sides, base-to-rim.

56 Ceramics Monthly 15, 16. Thick sheaves of dried grass are laid over the 17, 18. Wood ash, then water, are thrown over the top and sides, with the top gently beaten to eliminate mound to retain heat and prevent too rapid burning. In air spaces. Clay blocks placed under the grass at the the evening the grass is ignited, and burns throughout perimeter enable air to reach the center of the kiln. the night with no additional fuel.

November 1980 57 Soluble Glaze Materials byR ichard Behrens

All glaze materials are soluble (capable of being dis­ of cobalt results in a light blue, and copper yields a dark solved) in water to some extent, although in most cases olive-green. Soluble colorants may be blended systemati­ this has been unimportant to the potter. Consider the cally by mixing determinate amounts of two or more dis­ following “insoluble” materials: the average solubility of solved salts in different proportions. Increases in brilliance commercial frit is only about 1.4%; lithium carbonate’s and depth can be attained by covering colorant decora­ solubility ranges to 1.6% and Gerstley borate samples tions with the following or any other clear glaze: yield a solubility of 0.5%. But when substantial solubility exists in a glaze, absorp­ Clear Glaze (Cone 4) tion of such materials into the bisqueware will vary with Frit 3134 (Ferro) ...... 18.4% its porosity and may deprive the recipe of flux (the Whiting ...... 18.4 material which causes melting) necessary to yield the Nepheline Syenite ...... 54.0 expected glaze fusion. The effect on the absorbing body Kaolin ...... 9.2 also may disrupt integration between ware surfaces and 100.0% glaze. Consequently, the ceramist generally avoids mate­ Add: Bentonite ...... 2.0% rials with greater solubility. If properly utilized, however, When colored with insoluble materials and fired over the they may extend glazing possibilities. soluble colorants, this glaze can produce interesting For colorants, the soluble salts of iron, copper, cobalt, changes in hue and texture according to the density manganese, chromium and nickel often are employed as applied. brush or wash decoration. Obtained as nitrates, chlorides, Soluble ingredients also may be included as fluxes in acetates, sulfates, and some of the so-called double salts the glaze recipe to eliminate unwanted accompanying (such as potassium dichromate, in which both potassium elements common in the more insoluble compounds: and chromium are found), their color is developed during insoluble boron-containing glaze materials often carry the firing by decomposition of the salt to form oxides silica, magnesium, calcium and other associated elements. compounded with surfaces of the ware. (Dissolved soluble Simple compounds and minerals of fairly low solu­ colorants follow the water, sometimes to the point that bility such as boric acid, borax and bicarbonate of soda decoration applied to the outside of a form will also have been included in glazes to reduce the maturing appear inside.) temperature or act as a major flux. When slightly soluble Available through ceramic and chemical supply com­ fluxes are mixed in the glaze, very small amounts actually panies in crystal or dehydrated form, metal salts can be find their way into the porous bodies and little is with­ purchased chemically pure as specified by the United drawn from the glaze. States Pharmacopoeia; however, the industrial grade is With a solubility of about 4%, boric acid (which breaks completely adequate for glazing and is less expensive. down chemically to boric oxide during the initial heating Most ceramists are at least indirectly familiar with the of the ware) is readily available at low cost in several fact that water temperature affects solubility. (Have you forms, including granular and powder. Boric acid can be ever tried to mix sugar into a cold glass of iced tea?) reduced to the preferred powdered form easily by ball- When soluble materials are added to ice water, their milling dry or by crushing in a porcelain mortar, and solubility is greatly reduced. Liquids such as rubbing alco­ sieving. hol may be substituted for water in order to further Borax in glazes has a solubility of approximately 7%, reduce the solubility of glaze constituents. When stirred depending on its water-of-crystallization content. Dehy­ in warm water, soluble salts dissolve easily. Solutions of dration by firing to 1360°F increases its borate strength; approximately 20 grams of such salts in 100 milliliters of both hydrous and fused borax should be stored in a water (approximately ½ cup) work well; the more tightly closed container to prevent water absorption from intense cobalt salts, however, are better at a fourth of the atmosphere and a resultant weighing inaccuracy. this strength. Pure and well-powdered bicarbonate of soda (sodium Application of soluble colorants may be by dipping, hydrogen carbonate) may be obtained inexpensively from pouring, spraying or brushing. A dipping time of ten ceramic suppliers or grocery stores. Bicarbonate of soda seconds seems to be adequate for most bisqueware with a is about one-third as soluble as soda ash and is converted corresponding amount of time necessary for pouring or into the carbonate early in the firing. spraying; higher concentrations of colorant may be re­ Other inorganic salts of sodium and potassium may be quired for brushing. Some testing of strength and amount employed, particularly in the form of carbonates and of application will establish an optimum level. bicarbonates. Additionally, fluorides are low in solubility After drying, firing may be as low as Cone 08 or 06; and may produce dramatic textures in glazes. Below higher temperatures and variations in atmosphere may Cone 03 the fluorine is retained in the glaze; above this (as with insoluble colorants) affect the hue obtained. At point most of it is vaporized as silicon fluoride. While Cone 06 iron salts fired on a relatively white body will toxic when ingested, fluoride may be safely handled by produce a medium red-orange color, while a 5% solution the careful glazer.

58 Ceramics Monthly Photos: Bob Nugent and courtesy of the artist ments for“in-and-outvisualplay.” rue, lb ad olbit esl b Rc Dillingham, Rick by vessels coil-built and slab- grouted, n adtoal, oeie lae hls ewe frag­ between edge, holes broken leaves “soft” sometimes the additionally, against ap­ and decoration patchwork hard-edge a of lending reassembly, to prior fragments entails approach Rick’s work, restoration museum vious erne o h fnse fr. ik as e ie te play the likes he says Rick form. finished the to pearance pre­ his of outgrowth An York. New Buffalo, in Gallery Rick Dillingham at F, ee etrd eety t ia Freudenheim Nina at recently featured were Fe, Santa broken, Deliberately nml an i otn ple i goerc atrs n the or on patterns leaf geometric Gold in apart. applied form drop­ often the is by pulling paint ware and enamel bisqued tapping or or dung-fired ping raku, the fracturing decorated andreassembled,byRickDillingham. Below Handbuilt form,12inchesinheight,broken, hn eoae, le and glued decorated, then Above decorated withenamelpaintandreassembled. Handbuilt form, 16 inchesinheight,broken, The Terra-Cotta Army of Qin Shihuangdi byP aul B. Arnold

Six clay warriors and two horses—all life-size—from been plundered soon after Qin’s death in 210 B.C., there the 2200-year-old tomb of Emperor Qin Shihuangdi (in is a good possibility that future archaeologists will find at north-central China) will tour the United States through least part of its contents still relatively untouched. 1981. The eight handbuilt figures are part of “The Great The government of the P.R.C. considers the proper Bronze Age of China ” an exhibition of approximately excavation of this and other sites to be of utmost impor­ 100 objects excavated within the last 30 years that date tance: a preliminary survey of the tomb has been under­ from an era extending between the second millennium taken, but the inner chambers have not been opened. B.C. and the second century B.C. Opening last spring at With commendable restraint, the scientists and scholars the Metropolitan Museum of Art, New York, the show refilled their trenches and have committed themselves to was in Chicago this fall at the Field Museum of Natural a long delay until the necessary resources are available to History, and is scheduled to visit Fort Worth and Los ensure that the work can go forward as it should. Angeles before completing its tour in Boston.—Ed. For the present, attention is focused on the New Exca­ vation site, approximately % rnile east of the tomb During the summer of 1979, I visited the People’s mound. Interesting pottery fragments had been unearthed Republic of China with a group of faculty, students and occasionally in the vicinity since 1932. Then, in 1974 alumni from Oberlin College (Ohio). We were delighted while digging an irrigation trench, farmers discovered the to learn that the “New Excavations” near Xian (Sian) first of what may ultimately total nearly 8000 life-size were on our schedule and the bumpy, 80-mile round trip figures that comprise Qin Shihuangdi’s Imperial Body­ by bus to see the 2200-year-old pottery army of Qin guard. Ever since, teams of farmers and archaeology Shihuangdi (Ch’in Shih Huang Ti) was the highlight of students, under the supervision of trained archaeologists, the trip. have been carefully unearthing a staggering formation of Xian lies nearly 600 miles southwest of Beijing clay military figures placed in this strategic location to (Peking). Since it is now open to foreigners, many visitors, protect the emperor in death, as their living counterparts including Americans, have been taken to the New Exca­ had done while he was alive. This pottery army took the vations, gaining first-hand access to one of the more place of human sacrifices which were typical 1000 years important archaeological discoveries of all time. earlier, in the Shang dynasty, when an emperor’s family, Qin Shihuangdi began his reign in 246 B.C. and is servants and soldiers were buried with him. hailed as the first emperor of a unified China. By 221 It is estimated that the area discovered in 1974 and Photos: courtesy of the author; Seth Joel, Field Museum of Natural History and the Metropolitan Museum Art, on loan from P.R.C. B.C., after a series of ruthless campaigns, he had con­ known as Pit number 1 contains 6000 figures. Pit 2 was quered and brought under his control the many kingdoms discovered two years later, with more than 1400. Number that had once divided the nation. He was responsible for 3 holds only 68 and is thought to represent an elite com­ completing the 1500-mile-long Great Wall, linking seg­ mand unit; an empty 4th pit has also been found. Follow­ ments built by earlier rulers as defenses against barbarian ing the official policy that all important excavations invasions from the north, and built a capital near present- should be well protected, the authorities have covered day Xian. He is also credited with China’s first uniform Pit 1 with a hangarlike structure. code of law, a national currency, standard weights and After passing the tomb mound, we arrived at the measures, and even a universal written language. excavation site and were ushered into a small mud hut Qin’s greatest fear seems to have been that of his own directly opposite the “hangar” to eat the box lunches death. Soon after ascending the throne, he commanded packed for us by our China Tourist Service hotel. I found that work begin on a tomb which would assure him a myself very uninterested in cold chicken, butterless bread, happy life in the afterworld. A contemporary historian strange cookies and warm carbonated lemonade, because who described the tomb in detail reports that it took over we shared the rough, single room with fourteen restored 700,000 laborers 36 years to complete the project. The tumulus, a roughly pyramidal mound covering a Right Handbuilt earthenware figure, approximately half-mile square, is clearly visible as it rises from the 4 feet in height. One of eight life-size sculptures agricultural plain 40 miles west of Xian. Traces have been currently touring the United States, this archer originally found of two girdling walls, the outer one with a perim­ cradled a bow; traces of wooden and metal weapons eter of 4 miles. While there are reports of the tomb having have been found throughout the excavation.

60 Ceramics Monthly

Above Cavalryman and saddle horse, life-size. The coil-built torsos are supported by columnar legs of solid earthenware; the tail and forelock of the 500-pound horse were added later, as were the round, plugs filling holes that served as vents during firing. The sole bridle recovered intact came from another trench, but was fitted to this horse for the exhibition. Left The author's tour lunches alongside restored figures at the excavation site, near Xian, China. Right Detail of a figure shown at left. Though torsos of the army are similar, heads are individualized, suggesting that each of the figures may be a portrait likeness. 62 Ceramics Monthly

Looting shortly after entombment collapsed the mound Though figures were broken, fragments remained close and shattered many of the figures. enough to facilitate restoration. figures and two horses from the dig, lined up against the type and class were nearly identical: generals wore heavy mud walls behind us. Examining and photographing armor and carried swords; officers, chariot drivers, cav­ each one carefully seemed much more important than alrymen, archers and foot soldiers were all appropriately eating. and uniformly clothed and equipped. Heads, however, After lunch, we were led next door into a nearly identi­ were another matter. Individualized, it is likely that each cal mud-brick building which served as the exhibition wras a portrait likeness of a particular member of the space for the excavation, pending the official opening of emperor’s guard. Head structure had been carefully ob­ the permanent on-site museum to coincide with the 30th served, and eyeballs were convincingly implied behind the anniversary of the founding of the People’s Republic. eyelids. The features were finely modeled, including such There, in the presence of still more figures, lit by a few details as intricately depicted hair, braids, mustaches and bare, hanging lightbulbs, we were given the briefing that beards. While weapons are now largely missing, the hands precedes any visit to anything in China by an extremelyhad obviously been formed to hold them. Enough traces articulate and knowledgeable 18-year-old who had just of color have been found to prove that all the figures finished high school and passed the cultural examination, once had been painted brightly to resemble living persons her presentation translated by one of our guides. as closely as possible. Secretly, I was happy that most of The collection housed in this makeshift museum con­ the polychrome had been lost, as I prefer the present tained seven once-polychromed figures in full armor, no warm, overall terra-cotta tone of the sculptures. two alike; two war horses; and a number of military As we had observed elsewhere in China, security mea­ artifacts, including a bronze spearhead, a chromium alloy sures to protect the treasures in both the mud-brick build­ sword that showed no signs of corrosion after 2000 years ings were virtually nonexistent: windows with frosted under ground, a trigger mechanism for a crossbow, so glass set in wooden frames would keep out the weather precise in its manufacture that several parts were inter­ but not much else; wooden entrance doors were fastened changeable, and arrowheads—one poisoned by lead in by inexpensive padlocks. The only real safeguard is the the bronze alloy of which it was made. prevailing honesty of the people, which was evident The figures, like their several thousand fellows, were wherever we went. between 5*/ and 6 feet in height, coil-built with a slip­ The piece de resistance, of course, was the huge, covered surface.2 Intricate details of armor plates, straps, vaulted building which now covers Pit number 1. It buckles, ornaments and other accoutrements had been could comfortably enclose two football fields, end to end. applied and modeled before the clay had fully dried. All While photographs were permitted in the two small build­ except a kneeling archer were standing stiffly erect on ings, they were prohibited here. The excavation is divided solid, columnar legs; heads, arms and horses’ tails had into numbered square compartments, many of which been formed separately and inserted in holes left for them. have been dug only to a depth of a few feet. Those at the The bodies and armor for each group of figures of a given east end—farthest from the tomb mound—have been

64 Ceramics Monthly Striding infantryman, 5 feet, 10 inches in height, in The superior height of this officer, shown in detail on a pose reminiscent of Chinese shadow boxing. the cover, was probably an indication of rank. completely cleared down to the original floor of large, the mound covered the entire area to a height of about square ceramic tiles at a level about 15 feet below Qin 7 feet above the surrounding plain. Carefully buried, dynasty ground level. In this area, archaeologists are Qin’s army was intended to serve him forever. reinstalling reassembled figures as nearly as possible in It is now known that in 206 B.C., only four years after their original positions. Other nearby squares are half the death of the emperor, Pit number 1 was looted of dug, with heads of men and horses and other body parts most of its weapons and then burned, probably by rebels emerging provocatively from the tan earth. While we against the dynasty. The charred timbers, of which traces were there on the archaeologists’ day off, it was clear that can still be seen, gave way, and the tons of earth which much of the “digging” is being done with water hoses, fell on the figures shattered most of them. Chariots and washing the clay away from around the figures. Pumps other wooden objects were burned, and the heat from must be used to remove the slurry that accumulates in the the fire destroyed most of the painted decoration. Soon compartments, and final freeing of the pottery fragments the army was forgotten, not to be seen again for 22 is done meticulously with small trowels and brushes. centuries. Excavations show that the 6000-man army in Pit 1 was Luckily, while the figures were broken, the fragments of installed in eleven tile-paved trenches nearly 700 feet each remained together, so reassembly has been relatively long and wide enough to accommodate four men abreast. easy. Behind a wooden fence in a far corner of the At each end, they were tied together by transverse excavation building, workers are restoring men and trenches running the entire width of the complex. Troops horses, prior to their being reinstalled in their original were arranged in orderly columns of foot soldiers armed positions. It is estimated that completion of the project with spears interspersed with teams of four horses hitched will take at least five more years before the Imperial to wooden war chariots, with their drivers and chariot Guard will once more stand ready to defend the emperor. warriors. Most likely the intention was to represent a In the meantime, many thousands of their present-day standard battle formation: the columns face away from descendants, as well as visitors from across the sea, will Qin Shihuangdi’s tomb and therefore toward an ap­ have the opportunity to see this wonder from the past, as proaching enemy; an advance guard, three or four men more figures emerge and ultimately take their places, deep, fills the forward transverse trench; a two-deep rear row on row, under the great arched roof. guard faces away from the direction of march; and a row of flank guards faces out on the left and right sides of About the author Paul B. Arnold was born in China, the formation for its full length. where he lived until graduation from high school, and When the placement of the figures was complete, the was stationed there in the U.S. Army during World trenches were roofed with heavy timbers, then covered War II. He received his B.A. and M.A. degrees from with matting to protect the whole ensemble from the Oberlin College (Ohio), an M.F.A. from the University earth which was heaped overall. There is evidence that of Minnesota, and is currently professor of art at Oberlin. November 1980 65 Amanda Jaffe: Patterned Space

“As a contradiction between an illusion of a meditative part screen, appeared superimposed on a room with a space, and the elements that make up that space,” table and ceramic paintings on three-dimensional fish Amanda Jaffe “manipulated the atmosphere with layers “wallpaper.” Except for the wire, wooden frames and of pattern” for her installation work recently presented table legs, all the objects were slip-cast whiteware fired to in a faculty exhibition at Ohio Wesleyan University, Dela­ Cone 04, brushed or airbrushed with house paints, acrylics ware. Seen from across the gallery, a grid of ceramic and ink. All the surfaces (clay, wood and walls) were animal figures and rocks, suspended with wire on a three- painted with the same matt finish.

66 Ceramics Monthly November 1980 67 ITINERARY Continued, from Page 21 1981 “The Dinner Party,” conceived by Judy Chicago, traces the history of women in Western civilization through ceramic plates, tiles and other multimedia art work; at the Brooklyn Museum, Eastern Parkway and Washington Avenue. November 18-January 10, 1981 “Holiday Boxes,” a multimedia exhibition; at the Elements Gallery, 766 Madison Avenue. New York, Scarsdale November 15-De - cember 31 A multimedia exhibition which includes ceramics; at the Kiva Gallery, 37 Popham Road. New York, Sparkhill through November 2 “New York Clay Works 1980,” an exhi­ bition by 15 ceramic artists; at Thorpe Intermedia Gallery, Route 340. North Dakota, Grand Forksthrough No­ vember 24 “Contemporary Ceramics: A Response to Wedgwood,” includes the work of 85 ceramic artists; at the Univer­ sity of North Dakota, University Art Galleries. Ohio, Cleveland through November 14 “Alumni Show,” a multimedia exhibition which includes ceramics. November 21-December 18 “Art Black Ohio,” includes ceramics; both events at the Fine and Performing Arts Exhibition Space for Cleveland State University, 2307 Chester Avenue. Ohio, Columbus through November 6 “Columbus Artists: From Every Corner of the City,” an exhibition which includes ceramics; at the Nationwide Gallery, One Nationwide Plaza. through January 15, 1981 A multimedia exhibition by art faculty members of the Cuyahoga Community College District; in­ cludes ceramics by Bette Drake; at the Ohio Board of Regents Offices, 30 East Broad Street. November 2-23 A multimedia exhibition which includes pottery by Alan Bennett; at Gallery 200, Two Hundred West Mound Street. Ohio, Marietta November 1-30 “Marietta College Crafts National ’80”; at the Grover M. Hermann Fine Arts Center, Marietta College. Oklahoma, Oklahoma CityNovember 22- January 3, 1981 “Oklahoma Designer Craftsmen Juried Exhibition”; at the Arts- Annex, 3113 Pershing Boulevard. Oregon, Portland through November 20 A multimedia exhibition which includes ceramics by potter-in-residence Ellen Birn- baum; at the Contemporary Crafts Asso­ ciation, 3934 Southwest Corbett Avenue. Pennsylvania, Ambler November 8-29 “Art in Modern Handcrafts”; at Temple University Extension. Pennsylvania, Philadelphia through No­ vember 20 An exhibition of approximately 150 craft works from the collection of Rob­ ert L. Pfannebecker, includes ceramics; at the Moore College of Art Gallery, 20th and the Parkway. Tennessee, Gatlinburg through November 68 Ceramics Monthly 21 “The Box: New Form, New Function”; Michael Kohler Arts Center, 608 New December 14 “25th Annual Wesleyan Pot­ at the Arrowmont School of Arts and York Avenue. ters Exhibit and Sale”; at Wesleyan Pot­ Crafts, School Gallery. ters, 350 South Main Street. Vermont, Middlebury November 15-De- FAIRS, FESTIVALS AND SALES Florida, Lake Buena Vista November 7-9 cember 24 “Things Made by Hand for Alabama, Birmingham November 8-9 “Festival of the Masters,” includes ceram­ Christmas,” and a group show by the “Hands at Work,” an educational craft ics; at the Walt Disney World Resort, center’s resident craftsmen, both include fair by members of the Alabama Designer/ Buena Vista Lagoon. ceramics; at the Vermont State Craft Cen­ Craftsmen; at the Birmingham Botanical ter at Frog Hollow. Garden Center, 2612 Lane Park Road. Florida, Miami November 29-30 “Artists’ Showcase”; at Baptist Hospital, 8900 Washington, Ellensburg November 3-26 Arizona, Mesa November 14-15 “Art in North Kendall Drive. “Turn and Burn,” an exhibition of Euro­ Action ’80”; at Pioneer Park, 526 E. Main. pean and American folk pottery; at Cen­ Florida, Riviera Beach November 15-16 tral Washington University, Spurgeon California, San Francisco November 29-30 “2nd Annual Arts and Crafts Festival”; at Gallery. “Hall of Flowers Sale,” by members of the the new City Hall Complex grounds. Association of San Francisco Potters; at Washington, Pullman through November the Hall of Flowers, 9th Avenue at Lincoln Florida, Sarasota November 22-23 “Ninth 19 “The Contemporary American Potter: Way. Annual Crafts Festival”; at the Ringling Recent Vessels”; at the Museum of Art, Museum of Art. Washington State University. Connecticut, Brookfield November 28-30, December 6-7 “Holiday Craft Sale”; at Georgia, Valdosta December 6-7 “Christ­ Wisconsin, Madison November 29-Decem- the Brookfield Craft Center, Route 25. mas Arts and Crafts Spectacular”; at the ber 18 “Clay Forms,” an exhibition by Civic Center, Highway 84. Karl Borgeson, Karen Gunderman, Curt Connecticut, Greenwich November 8-9 Heuer and Charles Olson; at Art Place “Ninth Annual Handcraft Show and Illinois, Chicago November 21-23 “Chi­ Inc., Center Gallery, 426 West Gilman St. Sale”; at Central Junior High School, exit cago Crafts Expo”; at the Merchandise 4 off the Connecticut Turnpike. Mart Expo Center. Wisconsin, Milwaukee through December 31 “Uniquely Wisconsin: Fall Exhibition,” Connecticut, Guilford December 6-7 “Hol­ Kentucky, Lexington November 14-16 includes ceramics; at the Cudahy Gallery, iday Open House and Sale”; at Guilford “The Holiday Market,” sponsored by the Milwaukee Art Center, 750 North Lincoln Handcrafts, Route 77. Kentucky Guild of Artists and Craftsmen; Memorial Drive. at the Lexington Center, East Exhibition Connecticut, Hartford November 28-30 Hall. Wisconsin, Sheboygan November 16-De- “Fine Arts Show,” includes clay; at the cember 30 A multimedia exhibition of Civic Center. two- and three-dimensional maps and map Maryland, BaltimoreNovember 7-9 “Bal- images, includes ceramics; at the John Connecticut, Middletown November 29- Continued

November 1980 69 70 Ceramics Monthly ITINERARY timore Crafts Expo”; at the Convention Center. Maryland, Gaithersburg November 21-23 “Autumn Crafts Festival”; at the Mont­ gomery County Fairgrounds. Massachusetts, Boston November 28-30 “Boston Christmas Crafts Expo”; at the Commonwealth Pier Exhibition Hall. Michigan, Detroit November 23 “Christ­ mas/New Year’s Sale”; at Pewabic Pot­ tery, 10125 East Jefferson. New Jersey, MontvaleNovember 16 “Fall Arts and Crafts Show and Sale”; at St. Joseph’s High School, Chestnut Ridge Rd. New Jersey, RutherfordNovember 23 “Super Crafts Sunday 4”; at the Meadow- lands. New Jersey, Westfield November 2-5 “Creative Crafts ’80,” includes work by 140 craftsmen; at Temple Emanu-El, 756 East Broad Street. New Jersey, WestwoodNovember 16-19 “Art of Our Time ’80,” includes ceramics; at the Rose Maron Auditorium, Temple Emanuel. New Mexico, Albuquerque November 21- 23 “The Golden West Arts and Crafts Show”; at 2904 Cardenas Northeast. New York, Herkimer November 8-9 “Fifth Annual Arts and Crafts Fair”; at the Herkimer County Community College campus. New York, SchenectadyNovember 22-23 “Love A Fair 1980”; at Center City, State Street. New York, Uniondale November 14-16 “6th Annual Harvest Crafts Festival”; at the Nassau Coliseum. North Carolina, AshevilleNovember 28- 30 The seventh annual “High Country Christmas Art and Craft Show”; at the Civic Center. North Carolina, Winston-SalemNovember '7-9 “1980 Piedmont Crafts Fair”; at Me­ morial Coliseum, 2825 Cherry-Marshall Street. Ohio, Cincinnati November 21-23 “Cin­ cinnati Crafts Affair,” sponsored by the Ohio Designer Craftsmen; at the Music Hall, 1243 Elm Street. Ohio, ColumbusDecember 4-7 “Winter- fair ’80,” sponsored by the Ohio Designer Craftsmen; at the Lausche Building, Ohio State Fairgrounds, Seventeenth Avenue at 1-71 North. Oklahoma, Tulsa November 14-15 Christ­ mas exhibit and sale; at Harwelden, Arts and Humanities Council. Oregon, PortlandNovember 25-December 24 A holiday sale, includes ceramics; at the Contemporary Crafts Association, 3934 Southwest Corbett Avenue. Pennsylvania, Haverfordthrough Novem- Please Turn to Page 74 November 1980 71 72 Ceramics Monthly News & Retrospect ELAINE CARHARTT National Council on Education for the with dragon handles; applied shields, faces Ceramic sculptor Elaine Carhartt, Pasa­ Ceramic Arts in order to learn more about and mythical creatures; and stamped floral dena, California, was recently named a American ceramics institutions. recipient of the 17th annual Young Talent With “clay as vocabulary for those who Purchase Award by the Los Angeles Coun­ have something to say,” emphasis is on ty Museum of Art. The museum’s Modern individual direction in a majority of the and Contemporary Art Council has pre­ ceramics programs at the 222 schools, col­ sented the awards annually since 1963 to leges and universities which responded to artists under 36 years of age who have the recent survey. Although this response achieved a certain level of accomplishment is only a small percentage of the total and show promise of further development. number of ceramics programs, it may be Within the guidelines of the award, Elaine considered a representative sampling. will receive $3000 and will present a work Often part of adaptable studio art se­ to the museum within the next three years. quences, ceramics courses usually involve The sculptor, 28, creates harlequin-like both functional and conceptual ap­ circus figures and musicians from slab-built proaches; however, approximately 9% of and modeled earthenware. Her gaily deco­ the respondents specified utilitarian objec­ rated sculptures were featured in the June tives, encouraging careers as production 1978 issue of CM. potters. While some of these institutions do not offer any art degree, 13% award associate VICTOR CITRIN art degrees and approximately half pre­ Designed as “contemplative objects,” sent bachelors degrees in art and/or fine unfired porcelain sculpture by Victor Ci- arts. Masters degrees also are available at trin, Los Angeles, was featured in an more than a third of the schools. A few exhibition at Meyer Breier Weiss Gallery, participants explained that ceramics acts San Francisco, through September 6. primarily as support for other disciplines, Squared bars of gray-white clay, the hori- and several colleges with liberal arts tradi­ tions expect their students to work in at Rare stoneware bottle, ca. 1570 least one other area outside the division. designs. Only three other pots from this Turning to equipment, the survey shows Rhine Valley workshop are known to exist. that nearly all the studios are equipped Photo: Landesbildstelle Rheinland. with electric wheels; most have kick and treadle wheels as well as at least one clay mixer. Other equipment listed for a ma­ MARC WARD jority of the schools are slab rollers, ex­ “Objects in Clay,” raku and wood-fired truders, ball mills and glaze spraying facil­ work by Marc Ward, Maryville, Tennes­ ities. Answers to questions about “unusual see, was exhibited at the Clay Place, Pitts­ features” ranged from “outstanding in­ burgh, through September 24. Concerned structors” to “two dumpsters.” High-fire gas and electric kilns are in­ Untitled, porcelain and wood sculpture stalled in or near most studios; 86% of zontal forms range from 2 to 3 feet in the institutions also described raku facili­ length by 2 to 6 inches in height, and rest ties. Most of the respondents indicated on clay supports or wooden bases. The space was available for primitive firings, rods sometimes were secured with colored but usually only the larger schools specified string or raffia as in the above work, 33 a kiln-building area. inches in length, porcelain on fiber glass Approximately 16% of the participants screen, balsa and plywood base. also indicated glass facilities, including hot- and cold-working studios. Particularly interesting for students con­ FLORENCE DUHL GALLERY CLOSED sidering college level training in ceramics, Ceramists have lost one of the few New copies of the survey may be obtained for York galleries which has demonstrated a $4 from Nancy Hay, NCECA executive commitment to their medium. Although secretary, R.R. 12, Box 148, Brazil, In­ recognized for original thematic exhibitions diana 47834. Wood-fired raku plaque “motivated by a strong interest and belief about energy consumption, Marc fires with in the artistic validity of work done in GERMAN ACQUISITION media other than paint,” Florence Duhl The Hetjens-Museum in Dusseldorf re­ industrial waste wood. Although firing closed her gallery at the end of September. cently acquired a rare bottle produced in with wood “is more work than turning a While continuing to represent several art­ the heyday of German stoneware potteries. valve and having an unseen gas hiss into ists, she plans “to develop and explore new Thrown at the Anno Kniitgen Pottery in the kiln, the resultant subtle accents are directions in the arts.” Sieburg circa 1570, the bottle, approxi­ worth the effort,” according to Marc. All mately 15 inches in height, was decorated raku, the objects shown included the above NCECA SURVEY slab plaque, 14½ inches in width. Would you believe that nearly half the Send news and photos about people, colleges and universities with ceramics fa­ LOS ANGELES EXHIBITION cilities have salt kilns? That only seven places or events of interest. We will be Balanced interlocking elements com­ percent stress sculpture, particularly de­ pleased to consider them for publication prised architectonic sculpture by Luis Ber­ in this column. Send items to: News & mudez, Northridge, featured with work by parting from the vessel? These findings Retrospect, Ceramics Monthly, P.O. result from a tabulation of statistics pre­ Box 12448, Columbus, Ohio 43212. other California clay artists Kazuko Mat- sented in a recent survey conducted by the Continued November 1980 73 ITINERARY Continued from Page 71 ber 12 “Preholiday Professional Craft Show”; at the Main Line Center of the Arts, Old Buck Road and Lancaster Ave. Pennsylvania, Philadelphia November 14- 16 “Fourth Annual Philadelphia Craft Show”; at Memorial Hall, the Philadel­ phia Museum of Art, Parkway at 26th St. Pennsylvania, Pittsburgh November 4-8 “Tulin Towers Arts Festival”; at the Uni- tarian/Universalist Church of North Hills, Ingamar Road. Tennessee, KnoxvilleNovember 7-9 “The 14th Annual Foothills Craft Guild Show and Sale”; at the Civic Center, Oak Ridge Turnpike. Texas, Dallas November 14-16 “1st An­ nual Craftproducers Market”; at the Mar­ ket Center Exhibition Hall. Texas, HoustonNovember 7-9 “1st An­ nual Craftproducers Market”; at the Houston Civic Center. Virginia, Richmond November 14-16 “Richmond Craft Fair 5”; at the Rich­ mond Arena. Virginia, Roanoke November 20-23 “Roa­ noke Craft Festival X”; at the Civic Cen­ ter Exhibition Hall, off 581, Orange Avenue Exit. Wisconsin, Milwaukee November 1-2 “18th Wisconsin Festival of Arts.” November 28-30 “9th Holiday Craft and Gift Show”; both events at the Wisconsin State Fair Park, 8100 West Greenfield Avenue, North-Wing Exhibit Center.

WORKSHOPS D.C., Washington through May 3, 1981 “Making It in Clay 4,” a series of 2-day lectures/demonstrations which will con­ clude with a 1-week exhibition of the art­ ist’s work, includes the following: November 7-9 Porcelain by Adrian Saxe. March 6-8 Airbrushed and faceted work by David Nelson. April 3-5 Slip-cast canvases by Tom Spleth. May 1-3 Cone 05 earthenware by Mineo Mizuno. All events at the Corcoran School of Art. Fees for each event: Friday night, $5; Saturday, $30; Sunday, free and open to the public. Contact: Eagle Ceramics, 12266 Wilkins Avenue, Rockville, Mary­ land 20852, or call: (301) 881-2253. November 8-December 7 Greenwood Gal­ lery plans a variety of workshops including the following: November 8-9 “The Tall Form,” a session in throwing porcelain with Catharine Hier- soux. November 15-16 “Pottery: Sources and Concepts” with Graham Marks. December 6-7 A 2-day session with Rich­ ard Shaw. Fees for all events: $45 for American Craft Council members, $53 nonmembers, $37 for full-time students. Contact: Greenwood Gallery, 2014 P St. Northwest, Washington, D.C. 20036. Idaho, Sun Valley November 7-9 A work- Continued

74 Ceramics Monthly NEWS & RETROSPECT thews and Carol Molly Prier, in “Summer Spectrum” at the Mandell Gallery, Los

Luis Bermudez Angeles, through August 22. Shown from the exhibition is “One Step Beyond,” 75 inches in height, a two-section sculpture of castable refractory, by Luis Bermudez.

SHERRY KARVER FEIN Among the work in various media shown at the recent San Diego State University art faculty exhibition were clay sculptures ■—some with slumped glass—by Sherry Karver Fein. Shown (below) from the exhibition is “Reaching,” 30 inches in height, an ex-

“ Reaching” truded clay construction with sprayed low- fire underglazes. To complete the clay with glass sculp- Continued November 1980 75 ITINERARY shop with Jean Griffith. Fee: $45. Con­ tact: Sun Valley Center, Box 656, Sun Valley 83353, or call: (208) 622-3539. New Hampshire, ConcordJanuary 18-23, 1981 “The Making and Use of Porcelain,” a 6-day workshop with Tom Turner. Con­ tact: Merle D. Walker, League of New Hampshire Craftsmen, 205 N. Main St., Concord 03301, or call: (603) 224-3375. New York, TroyNovember 13, 20 A 2-day ceramic history workshop with Jayne Shatz, includes a slide/lecture presentation comparing the traditions of Chinese classi­ cism with Japanese and contemporary forms. Contact: Tom Magruder, Rensse­ laer Polytechnic Institute, Ceramics De­ partment, Troy 12180. North Carolina, Chapel Hill November 15 “Handbuilding: The Millefiore Tech­ nique,” a workshop with Jane Peiser. Con­ tact: Pottery Workshops, Center/Gallery, Box 897, Chapel Hill 27514. Pennsylvania, Elkins ParkFebruary 10-11, 1981 The Tyler School of Art is offering a 2-day presentation in ceramic art with Amanda Jaffe and Ken Little. Contact: Robert Winokur, Temple University, Tyler School of Art, Beech and Penrose Avenues, Elkins Park 19126, or call: (215) 224- 7575. Pennsylvania, Philadelphia April 1-2,1981 The Philadelphia College of Art plans a 2-day presentation in ceramic art with Dave Nelson and George Timock. Con­ tact: Bill Daley, Philadelphia College of Art, Broad and Spruce Street, Philadelphia 19102, or call: (215) 893-3100. Tennessee, Gatlinburg January 18-Feb- ruary 27, 1981 The Arrowmont School of Arts and Crafts plans a variety of work­ shops including the following: January 18-23 A session in whiteware with Verne Funk. February 15-20 A porcelain workshop with Gerry Williams. February 15-27 A session in handbuilding with Norman Schulman. College credits available for all sessions. Contact: Arrow­ mont School, Box 567, Gatlinburg 37738, or call: (615) 436-5860. Vermont, Middlebury February 23-27, 1981 A 5-day session for advanced potters with Karen Karnes. Contact: Vermont State Craft Center at Frog Hollow, Mid­ dlebury 05753, or call: (802) 388-4871. Virginia, Williamsburg November 8-9 A workshop in porcelain with Don Pilcher, includes a slide lecture. Contact: The College of William and Mary, Office of Special Programs, 12070 Jefferson Avenue, Newport News, Va. 23606.

INTERNATIONAL Australia, Sydney May 17-23, 1981 The 2nd Australian Ceramic Conference for Potters; at Seymour Centre and the Uni­ versity of Sydney. Michael Cardew will give the keynote address. Fee: $96. Regis­ tration deadline: March 31. Contact: The Potter’s Society of Australia, 48 Burton Continued

76 Ceramics Monthly NEWS & RETROSPECT tures, such as “Hope,” below, 12 inches in height, pulled and annealed glass canes were inserted through holes in the bisqued clay and the entire structure was placed on

Sherry Karver Fein support bricks in the kiln until the glass slumped to the desired shape. Sherry joined the faculty at San Diego State University in the fall of 1979 after receiving an M.F.A. degree from Tulane University.

ERNIE KIM Functional stoneware by potter,/teacher Ernie Kim was featured in a group exhi­ bition at the Richmond Art Center, Cali-

“Composition C” fornia, through October 12. Shown is “Composition C,” 17 inches in diameter, thrown and incised platter, with brushed slips. Photo: Wendy Niles.

FLASHBACK The following is excerpted from the De­ cember 1896 issue of the Ceramic Monthly, an art pottery and china painter’s maga­ zine (no longer published) popular at the turn of the century.—Ed. A recently formed literary society in London has dug up the history of a little known pottery ware, said to be of Central and South American origin. The report says it was not because of its good shape Continued November 1980 77 ITINERARY Street, Darlinghurst, N.S.W. 2010, or call: (02) 31 3151. Canada, Alberta, Banff February 8-28, 1981 The Banff Centre School of Man­ agement is planning a three-week seminar entitled “Management Development for Arts Administrators.” The session will in­ clude instructions in management prin­ ciples, marketing, financial management and control, organizational behavior, labor relations and the law. Contact: Peter Greene or Frances Jackson, The Banff Centre School of Management, Box 1020, Banff T0L 0C0, or call: (403) 762-3391. Canada, Nova Scotia, Halifax November 1-20 “Fireworks 1980,” an exhibition by members of the Ontario Potters Associa­ tion; at St. Mary’s University Art Gallery. November 15-December 15 “Explorations within a Landscape,” an exhibition of por­ celain works by Robin Hopper; at Mount St. Vincent Art Gallery. Canada, Ontario, Dundas November 15 Annual fall sale by members of the Pot­ ters’ Guild of Hamilton and Region; at the Dundas Town Hall. Canada, Ontario, Toronto through No­ vember 1 A multimedia exhibition which includes ceramic masks. November 4-15 A multimedia exhibition, includes raku by Agnes Olive and lami­ nated colored clay by Laurie Rolland; both events at Prime Canadian Crafts, 229 Queen Street West. November 21-23 “Christmas Sale”; at the Potter’s Studio, 2 Thorncliffe Park Drive, Unit 16. England, Brighton November 10-29 An exhibition of ceramics by Peter Beard; at Barclaycraft Gallery, 7 East Street. England, Ledbury through November 8 A multimedia exhibition which includes pots by Jim Malone; at Collection Gallery, 13 The Southend. England, London November 11-22 An exhibition of works by Jane Hamlyn, Jim Malone and Gary Standige; at William Blake House, Marshall Street. England, Oxford through November 19 A multimedia exhibition which includes pierced bone china by Angela Verdon and porcelain by Wendy Ramshaw; at Oxford Gallery, 23 High Street. The Netherlands, Heusden A/D Maas through November 8 “Jan Oosterman: A Retrospective Exhibition of His Ceramic Work”; at the Keramisch Werkcentrum Heusden, Pelschestraat 13-17. The Netherlands, Leeuwarden November 14-January 4, 1981 “Jan Oosterman: A Retrospective Exhibition of His Ceramic Work”; at the Gemeentelijk Museum Het Princessehof, Grote Kerkstraat 11. West Germany, Dusseldorf through No­ vember 30 An exhibition of European ceramics since 1950. through January 4, 1981 Ceramics by Stig Lindberg of Sweden; both events at Het- jens Museum, Schulstrasse 4.

78 Ceramics Monthly NEWS & RETROSPECT and artistic decoration that it was so much valued, but rather because of its “incom­ parable and inimitable perfume.” It had inspired poems, and graced the be jeweled necklaces of the belles of South America. Ground into powder, the clay was in request to flavor the most costly confec­ tions, and was equally prized by apothe­ caries. It became at last the chewing gum of the fashionable set, and Buccaro-eating the ambrosial vice of the period. We have other information due on this subject, but as the author says these wares have gone the way of many other transient glories of this world.

ANGELA VERDON Pierced bone china vessels by British ce­ ramist Angela Verdon are being shown at Oxford Gallery, England, through Novem­ ber 19. Individually cast, the fragile forms

Pierced, bone china bowl are bisque fired to 1060°C (Cone 04), then engraved and perforated with a drill. The final firing to 1220°C (Cone 8) is

Angela Verdon completed with a two-hour soak; forms are removed and polished. Shown from the exhibition are two bowls, 6 inches (top) and 3½ inches in diameter. Photo: Cliff Guttridge.

GARY SMITH Sculptor Gary Smith of Salinas, Cali­ fornia, recently exhibited eight modular ceramic forms at the Quay Gallery (San Continued November 1980 79 80 Ceramics Monthly NEWS & RETROSPECT Francisco). Described as columnar struc­ tures, the works involve from 1 to 42

Gary Smith separate parts, each ranging in size from 1 to 7 feet. Adapted from a trapezoid, the components extended and varied in height and angle of projection. Press molded from slabs of a Cone 06 talc body in two-part plaster molds, each section was smoothed on the inside and then allowed to partially dry. When firm, additional forms were added and exterior seams reworked. After drying slowly to avoid cracking and warping, the clay was

“Arioso surfaced with successive coats of slip, then sanded. Bisqued slowly to Cone 06, the sculptures were finished with a commercial Cone 06 semiopaque white glaze. Shown from the exhibition are “Aperto” (top), 48 inches in height, and “Arioso” (above), 45 inches in height. Continued November 1980 81 82 Ceramics Monthly NEWS & RETROSPECT When explaining the rationale for con­ structing these minimal sculptures out of clay rather than other materials, Gary commented that “nothing compares to the translucency and depth of glazed surfaces —complex and rich. In spite of the seem­ ingly even appearance of the shapes, there are inherent imperfections; in drying and firing the clay moves and warps. To a degree, I let the clay do what it wants because I think it is important to maintain the presence of the material.” Text: David Ligare, photos: E. A. Grensted.

NANCY DICEY In conjunction with the recent Ceramics Seminar ’80 in Canada (see page 30), a solo exhibition of thrown porcelain and stoneware by Calgary artist and instructor Nancy Dicey was featured at Agghazy Gal-

Porcelain with carved double-wall lid lery. Shown from the exhibition is a porce­ lain jar, 3 inches in diameter, with carved lid and turquoise glaze.

TOURING BRITISH CERAMICS Thrown and handbuilt forms by 17 contemporary British ceramists are being circulated in a tour which opened at the Octagon Center for the Arts, Ames, Iowa. Scheduled to visit six additional locations in the United States through November 1981, the featured work includes small porcelain sculptures by Eileen Nisbet, Lon­ don, “that are an expression of movement,

Eileen Nisbet tension and balance through form, line and color,” according to show organizer Martha Benson. In “Horizontal Flowers” (13 inches in length, thin porcelain slabs with inlaid polychrome slip, fired to Cone 7 in oxidation), Eileen assembled and glued the parts so that “even though the Continued November 1980 83 84 Ceramics Monthly NEWS & RETROSPECT object has no power to move, it might appear to have just alighted or be about to take off.” Although he has little interest in pro­ duction pottery, Geoffrey Swindell, Car­ diff, enjoys repeating forms “for the sake

Geoffrey Swindell of making and for the discipline.” Among the forms he exhibited was the vase above, 5 inches in height, porcelain with dolomite glaze and copper oxide, fired to Cone 9, rubbed with enamel, then gold luster, fired after each application to Cone 018 in an electric kiln. Also shown from the exhibition is “Cut- Off Man,” 22 inches in height, handbuilt

Jill Crowley’s “Cut-Off Man” groggy stoneware, by Jill Crowley, London. Photos: Kathleen Saccopoulos.

KAREN HOWELL Trompe l’oeil stoneware ice cream des­ serts by Karen Howell, Mount Pleasant, Continued November 1980 85 86 Ceramics Monthly NEWS & RETROSPECT Pennsylvania, were shown in “Someone’s in the Kitchen,” an invitational exhibition at the University of Rochester, New York,

Karen Howell through August 17. Shown are her life-size cones and sundaes, slip cast and handbuilt, with low-fire glazes and lusters.

ROCHESTER FOLK ART GUILD Carved porcelain teapots, bowls, platters and lamps together with stoneware and other media works by the Rochester Folk Art Guild of Middlesex, New York, were recently featured at the Rochester Mu­ seum and Science Center. Shown from the exhibition, the thrown teapot, below, 6 inches in diameter, was trimmed, fixed

Celadon-glazed, teapot with spout and handle supports, then carved when leather hard. After bisquing, the form was glazed with a celadon recipe and fired in reduction to Cone 11. Many patterns in the carving and shape of the pots are influenced by natural forms on the guild members’ 300-acre working farm south of Rochester. The guild, now 23 years old, also pro­ duces crystalline-glazed porcelain; salt- glazed and wood-fired pottery; and stone­ ware wall reliefs, dinnerware and garden objects — including fountains, birdbaths and tables. Clay is incorporated in mixed- Continued November 1980 87 88 Ceramics Monthly NEWS & RETROSPECT media work crafted by guild weavers, glass- blowers, blacksmiths, woodworkers, graphic

Christopher and Scott Goewey artists and clothing designers. Shown above, Scott Goewey, and his son, Chris­ topher, arrange glazed tiles to form the top of a table forged in the iron shop. Photos:y Rochester Folk Art Guild.

SANDE DEITCH “Art about making art” by ceramist Sande Deitch recently won the Innovative Award (for use of materials) in the Crafts­ men’s Guild of Pittsburgh “36th Annual Exhibition.” One of the three works, se­ lected by sculptor William Haendel, North-

“Echoes of Process” ern Illinois University art professor, is “Echoes of Process,” 12 inches in diameter, slip-cast and assembled whiteware. “Molds have given me the opportunity to play with trompe l’oeil and afford a library of images to be used in various ways,” commented Sande. Inspired by hobby kits available in toy stores and handicraft shops, “Fine Art Kit” was an Continued November 1980 89 90 Ceramics Monthly NEWS & RETROSPECT opened box with scissors, brushes, paint pan and masking tape, all slip-cast, with underglazes, glazes, lusters and china paints. Sande had also displayed “art kits” at an earlier solo exhibition at the Clay Place, Pittsburgh, and in some works,

Sande Deitch viewers were offered the opportunity to participate by following dots for painted decoration or rearranging objects in sculp­ tures. In the same exhibition, Sande’s “Preciousness of Clay” series included five “ruined” plates and “slip-covered” tools, encased in plastic bags, depicting stages in throwing, trimming and finishing a dinner

“Ruined” plate encased in plastic bag plate and the possible pitfalls encountered. Shown is a thrown and gouged plate, 12 inches in diameter, with cast rib and ap­ plied slip. Sande Deitch currently teaches ceramics at the Arts and Crafts Center, Pittsburgh. Photos: Susan Golomb and Leonard Schugar.

JENNY LIND Studio potters John Glick, Farmington, Michigan; Jenny Lind La, Cienega, New Continued November 1980 91 92 Ceramics Monthly NEWS & RETROSPECT Mexico; and James Rothrock, Los Angeles, recently presented functional clay objects

Jenny Lind at Synopsis Gallery, Winnetka, Illinois. Shown from the exhibition is Jenny’s por­ celain platter, approximately 12 inches in diameter, with underglaze stains. Photo: R. Faller.

ELENA KARINA Porcelain vessels from the “tide pool” series by Elena Karina, Washington, D.C., were presented in solo exhibitions recently at the Villa Vizcaya Museum, Miami, and earlier at the Everson Museum of Art, Syracuse. Images of sea creatures and

“Botticelli” beach cliffs appear on the rough exteriors, while the smooth interiors of the forms are gloss glazed, such as “Botticelli,” above, 13 inches in height. Muted gray, green and pink glazes are applied in a painterly manner, then fired in an electric kiln. Ac­ cording to Elena, the work is self-referen­ tial; “each new piece is derived from the preceding one. I am really interested in the manipulation of certain shapes—a vo- Continued November 1980 93 94 Ceramics Monthly NEWS & RETROSPECT cabulary of shapes I have built up: the clusters of cones, the fan shapes, the bulbous pearl, crescents. I like to. . . . combine and recombine them. . . . pushing a certain gesture. ... as far as it will go.” Photo: William Mills.

A CLAY DAM Located in a creek bed adjacent to the Berkeley Art Center as part of the recent show “Location/Dislocation,” a clay dam

Disintegrating dam was constructed by California artists Eliza­ beth Stanek and Andree Thompson. Ap­ proximately 350 fired and unfired ceramic sticks and bones were integrated with a skeletal understructure of real sticks and stones. Darker, fired forms were gradu­ ated toward a lighter central section to blend with the unfired clay, which slowly disintegrated into red and gold rivulets downstream. During the exhibition, change caused by rain and gathering leaves (or by vandals) was recorded in the alterations of the flow and path of water in the creek.

STEVEN HOWELL A one-man show of India-ink-stained, pit-fired porcelain vessels by Steven How­ ell, Johnson, Vermont, was presented at Yamato House, Lenox, Massachusetts, through August 31. Attracted to the idea of containment and color interacting with

Pit-jired porcelain basket process, Steven bisqued his handbuilt forms, then glazed the inside with a clear Continued November 1980 95 96 Ceramics Monthly NEWS & RETROSPECT recipe. For the final pit firing he packed the pots “in cedar shavings, hardwood sawdust, newspaper and whatever else was around that would burn.” Immediately after the glaze firing, the interiors were accented with black or blue India ink. Three weeks later the forms were stained

Steven Howell with another color India ink, often a pink- red. Shown from the exhibition are a cane- handled basket (page 95), 9 inches in diameter; and a straw handled basket, 6 inches in diameter.

LORNE BEUG Canadian artist Lome Beug, Burnaby, British Columbia, recently displayed geo­ metric sculptures of earth and moon sec­ tions at the Bau-Xi Gallery, Vancouver. In these ceramic landscapes the two bodies are treated as sections of spheres, dissected by an imaginary knife to show simulta-

“Lunar Section” neously the surface and the interior. Shown (above) is “Lunar Section,” a 38 x 22 x 22-inch wood-supported ceramic form; seventy tiles depicting the lunar landscape comprise the outer shell, while the inner surfaces contain mythological figures. Lorne first designed “Lunar Section” Continued November 1980 97 NEWS & RETROSPECT with the aid of a calculator, compass and protractor. Guided by drawings and a

Clay on plaster modeled into a lunar landscape, then cut into tiles and dried on the mold to retain proper curvature. Tiles for the sides of the sculpture were formed separately on a ply­ wood base. Partially glazed and fired to Cone 6, the tiles were glued with mastic to Designing tools cardboard model, a wooden understructure was fabricated, and plaster was poured over its outer surface to form a drape mold. Clay was laid on the plaster and

Lunar tiles glued to a wooden structure the wooden understructure (above); with masking tape protecting unglazed areas, black grout was worked into the interstices to complete the work. Photos: Lome Beug Plaster mold cast over a wooden form and Tod Greenaway.

98 Ceramics Monthly