Ceramics Monthly Apr89 Cei04
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William C. Hunt......................................Editor Ruth C. Butler ..........................Associate Editor Robert L. Creager ..........................Art Director Stephanie L. Vegso .............Editorial Assistant Mary Rushley..................Circulation Manager Mary E. Beaver...............Circulation Assistant Jayne Lohr .......................Circulation Assistant Connie Belcher................Advertising Manager Spencer L. Davis................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0328) is pub lished monthly except July and August by Professional Publications, Inc., 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. 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All rights reserved 2 Ceramics Monthly April 1989 3 4 Ceramics Monthly ROBERT MAPPLETHORPE VOLUME 37, NUMBER 4 • APRIL 1989 Feature Articles Portfolio: Jane Hamlyn ........................................................................29 with Jane Hamlyn’s Current Work by Peter Dormer ............................................ 30 and Salt Glaze and Something Else by Jane Hamlyn ............................................ 32 Contemporary Ceramics at Christie’sBy any standard, the February auction of Earl Summer Workshops 1989 ................................................................... 37 Millard’s collection at Christie’s in New with Metchosin International Summer School by Michael Obranovich .............. 41 York City was a milestone—verification of a strong resale market for American ce ramics by known clay artists. Millard Total Involvement (shown above), a Saint Louis lawyer, Building and Firing a Climbing Kiln by Jane Dillon ............................................. 43 shrewdly acquired much of the work in this collection directly from the artists, and found that their “accessibility and Third Canadian Biennial ......................................................................46 openness broadened my understanding of their creations. Collecting ceased to be a dry and lifeless search for objects.” Turn Contemporary Ceramics at Christie’s to page 49 for the facts and surprising Proved: A Strong Resale Market for Ceramics ......................................................49 figures surrounding this important sale. Spanish Folk Pottery Jane Hamlyn Salt glazing is alive, well, and refined in the hands of British studio Part One: The Alfareros by Lucy Breslin ............................................................... 52 potterjane Hamlyn. See her portfolio be ginning on page 29. Japan’s Third Generation by Susan Redman ......................................................58 Chick Schwartz by David Kannel ......................................................................... 60 Departments Letters ................................................. 6 Comment: Spanish Folk PotteryIn this first of two The New and the Unseen articles, Lucy Breslin visits with the alfa Where to Show ................................... 10 by William Hunt................................ 20 reros, the potters who preserve tradition— Questions ............................................ 12 a source of great pride, particularly for Suggestions ........................................ 84 the retired alfareros (above) who congre Itinerary.............................................. 14 Classified Advertising ........................86 gate daily at the pottery of Francisco Ro man in Agost; page 52. New Books ......................................... 16 Index to Advertisers........................... 88 Japan’s Third Generationof ceramic art ists is mostly art school educated and not necessarily trained in wheel throwing tra ditions. Their major influence is interna tional contemporary art; see page 58. News 8c Retrospect The coverBuilding a wood-fired kiln More Thefts: Scarab Vase Stolen .............. 69 Ceramics and the Homeless with DougCasebeer (top) at Appalachian Pewabic Fund-Raising ................................ 69 by Jane Larson ....................................... 72 Center for Crafts near Smithville, Ten Barbara Schaff ............................................ 82 nessee, challenged workshop participants Maria Kuczynska ........................................ 69 with “total involvement.” See Jane Dil Niles Wallace .............................................. 82 lon’s article beginning on page 43. Photo: Nancee Meeker ........................................... 71 Franklin Mint Commission Bruce Cole and John Lucas. Graham Marks ............................................ 71 by Beth Changstrom ............................... 85 April 1989 5 greed or integrity, but only to share these in the gallery/exhibition circuit and who thoughts. The facts, in our efforts to create frequently hold academic positions; and in clay, speak for themselves—if we can those who are committed to the produc find a way to listen. But for now, thanks to tion marketplace. As much as we can cele Bill, and a big hooray to him and all those brate such diversity, it seems unfair that Letters like him. We hope your “break from pots” both these camps must compete for the is a short one. same grants, especially when the juries are The Threat of Factory Work Lee Hazelgrove composed of academics and museum/gal I wasjust back from the yearly trek to the Richmond, Va. lery curators. winter wholesale shows. I had filled the Everyone can find a use for money that next six months with gallery and shop or In Praise of Astute Observations comes in the mail; but one could wish that ders for my pit-fired vessels; and with a few Since I’ve pointed out what kind of ar recipients of major NEA grants would have retail shows thrown in, should be able to ticle I don’t like [see Letters in the Decem the scruples to refrain from applying again. pay my bills through the summer. ber 1988 CM], let me also send my praise to Surely such fortunate people can remem On the drive home, I had thought about John Stephenson for his astute observa ber what opportunities the first grant pro a growing and unsettling trend at whole tions and visual conversations in “An NEA vided for them. Why would they feel com sale markets: It seemed that 60% to 70% of Juror’s Viewpoint” in the February 1989 fortable depriving someone else of the same the functional clay displayed had been issue. Through his words, I glimpsed hid chance? Interestingly enough, Sam Maloof manufactured by presses or jiggering ma den aspects of my art that I had sometimes wrote a letter to Craft Horizons magazine chines, and the factory is even evolvingwondered about, worried about, and tried (now American Craft) nearly 15 years ago ex within the “one-of-a-kind” realm as well. to understand. This kind of writing I like. pressing this same concern. Apparently no There was a fellow down the aisle with Thanks, too, for showing us so many one was listening then either. pressed plates, bowls or saucers, and jig photographs of various artists’ works this Let’s hope that the NEA adopts Mr. gered casseroles, jars or teapots. And the month. Great issue! Hluch’s suggestions and that the inequities potter’s booth next to him was full of at Margaret M. Gunn of an otherwise fine program can be cor tractive, matt-glazed stoneware—all pressed Atwater, Calif. rected at last. andjiggered, and (like his neighbor’s work) Jon Ellenbogen all finished off with added finger marks to NEA Grants: Inequity and Greed Penland, N.C. give the look of wheel-thrown ware. In