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. Send both the magazine address label and your new ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors:Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, texts and news releases about ce­ ramic art and craft are welcome and will be considered for publication. A booklet de­ scribing procedures for the preparation and submission of a manuscript is available upon request. Send manuscripts and cor­ respondence about them to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh computer system. Indexing:An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue of Ceramics Monthly are indexed in the Art Index’, on-line (com­ puter) indexing is available through Wilson- line, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953- 1972), covering Ceramics Monthly feature articles, Suggestions and Questions col­ umns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xero­ graphic reprints are available to subscrib­ ers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1989 Professional Publications, Inc. 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 regard to the Comment by Kevin There was a woman across the aisle Hluch [“Perestroika for NEA Fellowships” Basic Education Needed whose breathtaking pillowlike vessels were in the February 1989 CM]: I certainly ap­ Ceramics Monthly should concentrate decorated in earthen tones depicting sun­ preciate his diplomacy, and well-thought- more heavily on articles that concern the rises and landscapes. After some discus­ out problem identification and solutions, learning process behind ceramics. As an sion, she revealed that they were the prod­ but let’s cut through the crap. The whole instructor, as well as an artist/retail potter, ucts of a staff of ten. All these vessels were thing comes down to one thing: greed. The I have talked to students and a public filled cast and decorated, using stencils to insure juries are competent, fair, work hard, and with clay fallacies. Are they just receiving each “one-of-a-kind” was like its predeces­ without a doubt give awards to the best of faulty information from uninformed store sor—a quarter-million dollar business. what they’re given to look at. I don’t think salespeople, or are ceramics instructors Further evidence of this trend was pres­ anybody has any problem with that. The equally at fault? If CM introduced more ent throughout the show: “one-of-a-kind” problem is the people who apply, and ap­ varied articles concerning process, chemis­ vessels wholesaling for $500-$1000, but ply, and apply. People at the top of the field try and basic down-to-earth information produced in studio factories by three to with the great teaching jobs (and who are behind clay, perhaps we, as the “experts,” five workers casting hundreds of pots from getting big bucks for their work) are beat­ could clear the air to prospective students, the original creation; functional potters, ing the system. and to the public as a whole. who work alone in their studios, creating If the NEA can’t stop them from apply­ Musette Young honestly priced work on their wheels, sur­ ing, it can at least allow only one grant in a Colorado Springs rounded by factory representatives offer­ lifetime from now on. ing up factory prices to unknowing buyers; If you want to be a Living National Treas­ Lifestyle, Beliefs Count—Not Just Pots vendors passing out press and jigger litera­ ure, move to Japan. In response to Cecil Persons from Ar­ ture, filled with phrases like “get the edge Rick Berman kansas who wrote in [February Letters] on the competition,” “triple your produc­ Atlanta about Euple and Titus Riley—or anyone tion,” “make more in less time.” else who holds his views: My husband and I So I was back home from all of this when Bravo to Kevin Hluch for his thoughtful work in our pottery studio full time also; it’s I read in our local guild newsletter that Bill and intelligent solutions to the flaws and the entire lifestyle you live and the beliefs was quitting, or rather “taking a break” inequities in the NEA’s procedures for you hold, not just the types of pots you from making pots. He was having a final awarding grants. Every one of his points make. You have to admire people like the studio sale and everything from wheels to and the proposed remedies are right on Rileys who obviously have enough faith in kiln bricks was for sale. Bill was and is our the mark. There are a couple of additional themselves to ‘just do it.” And they are local archetypal potter. He had made good factors that might bear mention in this making it! Here are two people who make pots, pots with real integrity, high-fire, re­ connection. their own equipment, dig their own clay, duction stoneware, strong and warm. Bill An unfortunate reality is the intrinsic make all their own wares from start to finish, knew everything about being a potter, or bias of the process of jurying via slides. The plus build the buildings to make, display seemed to. No question concerning clay or work of many exceptional functional pot­ and sell their pots. They aren’t sitting glaze or process was ever laid to rest with­ ters can only be fully assessed through the around letting sales reps or galleries make out someone saying “call Bill.” His studio use of their pots. Their work embodies an decisions for them on what is art, what had endured five floods from our local inner beauty which is elusive to the camera. people want, etc. The fact that they did river and 18 years of a fluctuating econ­ However deserving they may be of recogni­ everything on their own is great. Their “old omy. Every mug, bowl, casserole and plat­ tion and support, their slides will never get timey” folk art pieces are in great demand ter had been made by his hands on his a second glance from the jury. right now as the U.S. tries to revive crafts wheel. And he was quitting. The crafts world in America encom­ and folk art. We applaud the Rileys and The bottom line here is not an attempt passes individuals with two divergent ap­ people like them who are living their own to make a point about the state of craft and proaches to survival: those who are involvedway and selling their things. How many so- 6 CERAMICS MONTHLY April 1989 7 Letters good writer is good, whether using a pencil Since 1977, when we first subscribed to or a pen. this fine publication, it has come in the I use an electric wheel and feel that it is a brown paper cover. called “good potters” can say that? It should great tool for the potter. We should, how­ Our notes we made each time our copy be an encouragement to all studio potters. ever, keep our historical background in arrived, on the front of the brown paper David and Ruth Meixner mind, and before we condemn kick wheels cover. Menomonie, Wis. to the museums, give one a try. A special article was found by notated Thomas Mark Ashcraft scribble, across the front of the brown pa­ CM Is Too Professional Paris, Tenn. per cover. Ceramics Monthly is no longer for the That interesting new glaze recipe was practical potter, but instead is geared for Gamer Accord mixed for trial, and dripped in splashes on the few who have already made their pro­ Hats off to Todd Garner and his letter, the brown paper cover. fessional reputation as artists, sculptors or “Whiners and Complainers,” in the Febru­ WTiere will the fingerprints of clay be critics of nonfunctional ware. ary issue. It’s about time someone with a found, if not on the brown paper cover? Carlene Butterbaugh little humor and sense spoke up. And the rings left by our coffee cups be Saint Augustine, Fla. Laura A. Kemper placed, if not on the brown paper cover? Tucson With a bold marker the year and month Give Kick Wheels a Chance are carefully printed, across the brown pa­ In response to the letters from Bob Exciting and Infuriating per cover. Fontana and Shawn Higgins (in the Janu­ There are not many things which excite Years-past copies stand in a row, in their ary issue): please be more open and less me and infuriate me like what I see and protective, brown paper cover. critical. Give your students the opportunity read between the covers of CM. It’s the best All carefully cataloged by year and to use a kick wheel; they might like it. If of all worlds. month, for easy reference by the brown pa­ your knees are too weak, use an electric Jill Menicucci per cover. wheel, but don’t limit someone else to an Pacifica, Calif. For frequent reference, study, teaching electric wheel. and use, afforded by the brown paper cover. The school where I studied had two- Brown Paper Bagged What will we do without the brown pa­ speed electric wheels for beginning stu­ Our January copy of Ceramics Monthly per cover? Where is the brown paper cover? dents. I spent weeks on those wheels with­ came today; where is the brown paper cover? Sylvia J. Deaver out much success; then I tried a kick wheel. A clear plastic envelope contained our Gainesville, Tex. Within a week I was throwing nice pieces favorite ceramic magazine. Where is the (for a beginner). brown paper cover? Share your thoughts with other readers. All letters I don’t agree with Willem Gebben (No­ Unusable when torn open was the plas­ must be signed, but names will be withheld on vember issue) on the warmth of a piece— tic envelope. WTiere is the brown paper request. Address: The Editor, Ceramics Monthly, that comes from the ability of the potter. A cover? Box 12448, Columbus, Ohio 43212.

8 CERAMICS MONTHLY April 1989 9 Ray Gonzales, Lincoln Arts, Box 1166, Lincoln na, Colorado, New Mexico, Oklahoma, Texas 95648; or phone (916) 645-9713. and Utah. Juried from slides. Jurors: John Cacci- Pittsfield, Massachusetts “Surface 8c Substance: atore, owner/director, Dartmouth Street Gal­ Exploration of Texture in Craft” (June 16-Au- lery; and Cecilia Torres, owner/director, New Di­ gust 6) is juried from 2 slides per entry; maxi­ rections Gallery. $750 in awards, plus the Grum- mum of 3 entries. Fee: $5. Send sase to Surface bacher Silver Medallion Award. Send sase to Where to Show & Substance, Berkshire Museum, 39 South St., Fuller Lodge Art Center, Box 790, Los Alamos Pittsfield 01201; or phone (413) 443-7171. 87544; or phone (505) 662-9331. Exhibitions, Fairs, Festivals and Sales Hastings-on-Hudson, New York “Masks: TheJune 2 entry deadline Alternate Self’ (December 17-February 11, Warwick, Rhode Island “Clay/Mixed Media” 1990) is juried from 3-6 slides of works in all me­ (September lO-October 1) is open to residents International Exhibitions dia ranging in size from 6 inches to 6 feet. Send of New England. Juried from up to 6 slides of sase to Arlene Sklar-Weinstein, Gallery at Hast- works consisting of at least 50% clay, and com­ April 30 entry deadline ings-on-Hudson, Municipal Building, Hastings- pleted after 1987; maximum of 3 entries. Juror: Mino, Japan “The Second International Ce­ on-Hudson 10706; or phone (914) 478-4141. Elsbeth S. Woody, associate professor at Baruch ramics Competition of Mino, Japan” (October Philadelphia, Pennsylvania “invitational Artist College and director of the Clay Arts Center of 22-Novernber 5) is open to individuals or groups Series” (two solo and one group show February New England. Entry fee: $5. Send sase to Clay in two categories: Design Ceramics, production 4-24, 1990) is juried from slides. Jurors: Lizbeth Show, Warwick Museum, 3259 Post Road, War­ tableware, interior and exterior products, crafts, Stewart, ceramist; Elsa Longhauser, director, wick 02886; or phone (401) 737-0010. novelties and tiles; and Ceramic Arts, work based Paley/Levy Galleries, Moore College of Art and on imagination and technique. Juried from up Design; and a Clay Studio resident artist. Send to 3 works per category. Jurors for Design Ce­ sase to the Clay Studio, 49 North Second Street, Fairs, Festivals and Sales ramics: Yusuke Aida, director, Yusuke Aida Re­ Philadelphia 19106; or phone (215) 925-3453. April 7 entry deadline search Center; Nino Caruso, ceramist; Val Cush­ May 1 entry deadline Evanston, Illinois “Tenth Annual Fountain ing, ceramics professor, Alfred University; Kath­ Harrisonburg, Virginia “National Art Review” Square Arts Festival” (June 24-25) is juried from erine McCoy, former chair, Industrial Design­ (September 1-30) is juried from 6-12 slides and slides. Entry fee: $10. Booth fee: $85. $4200 in ers Society of America; Masahiro Mori, director, a resume. Contact Sawhill Gallery, Art Depart­ awards. Contact Fountain Square Arts Festival, Masahiro Mori Research Center for Industrial ment, James Madison University, Harrisonburg Evanston Chamber of Commerce, 807 Davis St., Design; Timo Sarpaneva, glass and ceramics de­ 22807; or phone (703) 568-6216. Evanston 60201; or phone (312) 328-1500. signer; and Ikko Tanaka, director, Ikko Tanaka May 8 entry deadline Garrison, New York “The 20th Annual Arts 8c Design Room. Jurors for Ceramic Arts: Yoshiaki Mesa, Arizona “Divine Line” (September 7— Crafts Fair” (August 19-20) is juried from slides. Inui, ceramics professor, Kyoto University; Ta- October 7) is juried from slides of works with Fee: $150. Contact Garrison Art Center, Box 4, kuo Kato, chair, Mino Ceramics Association; line as an important element. Jurors: Gene Fa- Garrison 10524; or phone (914) 424-3960. Ronald A. Kuchta, director, Everson Museum of gen and Rosalyn Munk. $1100 in awards. Con­ Chagrin Falls, Ohio “Art by the Falls” (June Art; Rudolf Schnyder, director, Swiss National tact Divine Line, Galeria Mesa, Box 1466, Mesa 10-11) is juried from slides. Entry fee: $10. Museum, and ceramics professor, Zurich Uni­ 85211; or phone (602) 644-2242. Booth fees: $120; $100, members. $700 in awards. versity; Patterson Sims, chief curator, Seattle Art May 31 entry deadline Contact Valley Art Center, 155 Bell Street, Cha­ Museum; Osamu Suzuki, professor, Kyoto Mu­ Milwaukee, Wisconsin “Calliopes and Clowns” grin Falls 44022; or phone (216) 247-7507. nicipal Art School; and Carlo Zauli, president, (July 3-August 19) is juried from slides of circus- April 13 entry deadline Institute of Ceramic Art. Entry fees: ¥3000 (ap­ themed works and a resume. Contact Meri Berg- Madeira Beach, Florida “Second Annual Moth­ proximately $26) for 1 entry; ¥5000 (approxi­ hauer, A. Houberbocken, Inc., Upper Gallery, er’s Day Johns Pass Arts and Crafts Festival” mately $43) for 2; and ¥7000 (approximately 230 West Wells Street, Suite 202, Milwaukee (May 13-14) is juried from 3 slides, including 1 $60) for 3. ¥7,900,000 (approximately $59,250) 53203; or phone (414) 276-6002. of display. Booth fee: $75. Contact Howard Alan per category in cash awards, plus domestic/ June 1 entry deadline Promotions, 1N. University Dr., Suite A313, Plan­ foreign study trips, and three-month study invi­ Toronto, Ontario, Canada “Canadian Nation­ tation, Florida 33324; or phone (305) 472-3755. tations to Mino or a research institution. Con­ al Exhibition” (August 16-September 4) is open April 15 entry deadline tact International Ceramics Festival ’89 Mino, to Canadian craft artists. Juried from photo­ Madison, Indiana “1989 Madison Heritage Japan, Organizing Committee Office, 2-15 Hino- graphs and submission letter, Contact Linda Days” (June 3-4) is juried from 4 slides or pho­ de-Machi, Tajimi City, Gifu Prefecture, 507 Ja­ Montanari, Sales Coordinator, Exhibition Place, tographs, including one of display. Booth fee: pan; or phone (81) 572-22-1111. Toronto M6K3C3; or phone (416) 393-6069. $35 for a 10x17-foot space. Contact Heritage May 5 entry deadline June 9 entry deadline Days, 1119 West Main Street, Madison 47250; or Auckland, New Zealand “Fletcher Challenge Creedmoor, North Carolina “The Cedar Creek phone (812) 265-5080. Award 1989” (June 3-18) is juried from 1 ceram­ National Teapot Show” (July 28-August 28) is Shelbyville, Kentucky “Kentucky Renaissance ic work per artist. NZ$10,000 (approximately juried from up to 2 slides per entry; maximum Festival” (May 27-29, June 3-4, 10-11, 17-18 $5900) in awards. Contact the Organiser, Fletch­ of 3 entries. Juror: Lou Proctor, director, a.r.t. and 24-25) is juried from slides. Contact G. er Challenge Award 1989, Box 881, Auckland 1; Gallery, Ltd. $3000 in purchase and merit Elliott, Kentucky Renaissance Festival, Box 952, or phone (9) 643-622. awards. Entry fee: $15. Contact Cedar Creek Elizabethtown, Kentucky 42701; or phone (502) June 23 entry deadline Gallery, Route 2, Creedmoor 27522; or phone 765-2342. New York, New York “Artitudes” (July 25-Au- Sid Oakley (919) 528-1041. Richland, Washington “39th Annual Sidewalk gust 13) is juried from slides. Jurors: Curators June 15 entry deadline Art Show” (July 28-29) is juried from slides. Helen Harrison, Guild Hall Museum; Judy Neis- New Haven, Connecticut “21st Annual Cele­ Entry fee: $25. For prospectus contact Allied wander, Fog Art Museum; and Lynne Warren, bration of American Crafts” (November 13- Arts Association, 89 Lee Boulevard, Richland Museum of Contemporary Art. $7000 in awards. December 23) is juried from a minimum of 3 99352; or phone (509) 943-9815. Contact Artitudes, Dept. RCR, Box 380, Harts- slides; final jurying from actual works. Contact Sheboygan, Wisconsin “19th Annual Outdoor dale, New York 10530; or phone (914) 633-5333. Celebration, Creative Arts Workshop, 80 Audu­ Arts Festival” (July 15-16) is juried from 5 slides. July22 entry deadline bon Street, New Haven 06510; or phone (203) Fee: $40. $2000 in cash and purchase awards. Toronto, Ontario, Canada “Third Annual In­ 562-4927. Contact John Michael Kohler Arts Center, 608 ternational Exhibition of Miniature Art: Ceram­ July 1 entry deadline New York Avenue, Box 489, Sheboygan 53082; ics, Enamels and Glass” (November 3-Decem- Lafayette, Louisiana “Lafayette Art Associa­ or phone (414) 458-6144. ber 30) is juried from slides of works with di­ tion Annual Juried Competition of Fine Art and April 19 entry deadline mensions not exceeding 3x3x4 inches. Contact Original Craft” (October 9-November 10) is ju­ Greensburg, Pennsylvania ‘Westmoreland Arts Del Bello Gallery, 363 Queen Street, West, To­ ried from slides. Art juror: Alan Flattman, pas­ 8c Heritage Festival” (July 1-4) is juried from 4 ronto M5V 2A4; or phone (416) 593-0884. tels. Craftjuror:Joe Bova, ceramics. Cash awards. slides. $8000 in awards. Contact Westmoreland Contact Lafayette Art Association, Lafayette Art Arts & Heritage Festival, R.D. 12, Box 203, Gallery, 700 Lee Avenue, Lafayette 70501; or Greensburg 15601; or phone (412) 836-1700. National Exhibitions phone (318) 269-0363. April 20 entry deadline April 15 entry deadline October 2 entry deadline Mayville, New York “Chautauqua Crafts Festi­ Lincoln, California “Second Annual Feats of Washington, D.C. Renwick Gallery contem­ val ’89” (June 30-July 2 and August 11-13) is Clay” (June 3-July 1) is juried from slides of con­ porary beadwork exhibition (August 1-October juried from slides. Entry fee: $5. Booth fee: $100 temporary functional and nonfunctional work 31, 1990) is juried from slides. Contact Alice per show. Contact Gale Svenson, Director, Chau­ not exceeding 24 inches in any direction. Juror: Scherer, Center for the Study of Beadwork, Box tauqua Crafts Festival ’89, Box 89, Mayville 14757. Daniel Rhodes, ceramic artist/author/teacher. 13719, Portland, Oregon 97212; or phone (503) April 24 entry deadline Fee: $10 per entry. Cash awards. Send sase to 249-1848. Allaire, NewJersey “Allaire Craft Fair” (July 15) is juried from slides. Jurors: Cathy Comins, pres­ Send announcements of juried exhibitions, fairs, festi­ ident, Montclair Crafters’ Guild; Carol Hollan­ vals and sales at least four months before the entryRegional Exhibitions der, public relations director, Bloomingdale’s; deadline to The Editor, Ceramics Monthly, Box 12448, May 1 entry deadline Barbara Feno, technical director, Morristown Columbus, Ohio 43212; or phone (614) 488-8236. Los Alamos, New Mexico “BiennialJuried Paint­ Craftmarket. Contact Hortense Green, Crafts Add one month for listings in July and two months ing, for Drawing, Sculpture and Print Exhibition” Coordinator, New Jersey State Council on the those in August. (June 16-July 30) is open to residents of Arizo­ Please Turn to Page 61 10 CERAMICS MONTHLY April 1989 11 to the use of strontium as a flux in ceramic frit. When strontium is introduced into a glazes, I was somewhat remiss in not stating glaze by means of insoluble strontium car­ that the form of strontium used in ceramics bonate, its fluxing action is not realized is strontium carbonate. But I have been un­ until 1090°C (1994°F). Recent experiments able to find any reference to its flammabil- in the U.S.S.R. suggest that it may be a prac­ Questions ity in conjunction with oxygen. However, I tical and nonpoisonous alternative to lead Answered by the CM Technical Staff have had strontium carbonate in use in my in earthenware glazes. The substitution of studio for several years. I haven’t used it as strontium for calcium in lead glazes also in­ much as I would like, owing to its high cost creases acid resistance. in relation to barium to achieve much the “Strontium is also used sometimes in same color range. However, I am about to clay bodies, where it is found to be beneficial develop a series of strontium-based glazes, in helping to eliminate pinholing and blis­ particularly for their turquoise color reac­ tering, and in imparting a whiteness to Q Is there a frit available which will introduce tions with copper, and acidic yellow-greens china and porcelain bodies in the Cone barium into glazes in an insoluble (and thuswith mixtures of copper and titanium in 9-10 range. safe) form?—J.C. temperature ranges between Cone 4 and “Most glaze research is basically con­ Ferro frit 3247 is an insoluble barium Cone 10, primarily in oxidation. cerned with the formation, clarity, surface frit. Its molecular formula is 1.0 BaO, 0.15 “It is true that the intense red or crim­ and temperature range of the glaze melt. A12O3, 2.0 SiO2, and its molecular weight is son color in fireworks is imparted by stron­ There is usually little concern for the ulti­ 288.8. This frit contains 53.1% barium ox­ tium salts, especially by strontium nitrate, mate effect that glaze ingredients have on ide and has a coefficient of thermal expan­ for which no effective substitute is known. the potential that is within any glaze to de­ sion of 8.6x1 O' 6. Because this frit contains But strontium’s principal use is in the sugar- velop color, either from mineral colorants 5.3% Al2O3 and 41.6% SiO2, it is not a beet industry. Strontium hydroxide is em­ or from the many variations of commer­ super-low-melting frit. Instead, its fusion ployed for the recovery of sugar from sugar- cially prepared stains and underglazes. It is temperature (alone) is about 1850°F. There beet molasses, because it readily combines here that the greatest concern lies for the are other barium-containing frits available, with the sugar to form a disaccharate from ceramic artist, because without good knowl­ such as Pemco P318 and O. Hommel 385, which sugar is extracted by treatment with edge on how to control color, the final but both of these contain less barium than carbon dioxide. Among its other users are work is only partially resolved. If ill-in­ the previously mentioned Ferro brand. All, chemical, pharmaceutical, rubber, paint, formed, one is at the mercy of glaze al­ nevertheless, are similar proportions of steel, gemstone, microwave, glass and ce­ chemy rather than being in charge of it. It barium, alumina and silica. Still, use of one ramic industries. As an element, strontium is for that reason that ceramic artists who of these doesn’t guarantee your glaze will is highly reactive and unstable, but as it oc­ prefer making their own glazes and colors not leach barium. It does, however, make curs in nature as the strontium minerals often spend a great deal of time working on handling safer for the potter. Barium leach­ celestite (strontium sulfate, SrSO ), and glaze development to seek out that elusive ing is dependent on the composition of the strontianite (strontium carbonate, SrCO4 ), individual quality which will quickly differ­ recipe in which the barium frit is fired, the it is stable and nontoxic. Mined in the Unit­3 entiate their work from others. firing rate and peak temperature, as well as ed Kingdom, Germany, Mexico, Pakistan, “There has been little written on stron­ other kiln/atmospheric variables. Italy, Morocco and in the U.S. in Texas, tium’s effect on ceramic colorants. Most California, Arkansas, Utah and Washing­ reports suggest that it is similar in its reac­ Q Robin Hopper’s glaze formulation articles ton, the industrial form used is strontium tions to calcium, but that the use of stron­ were very interesting and informative. But I have carbonate. tium improves color in glazes which nor­ a question regarding an ingredient he suggested. “The use of strontium in glazes has been mally use calcium. In my experience, its I would appreciate it if you could refer this practicedto sporadically since the late 19th color-affecting properties are far closer to Robin. The ingredient is strontium. The article century, but the higher cost, previously lim­ barium, most noticeably with copper, ru- suggested using it as a nontoxic substitute itedfor supply, and the lack of sufficient re­ tile and cobalt. Used in direct exchange for functional ware in place of barium carbonate search in had not, until recently,justified more barium in glazes such as the flux satura­ a glaze. When I went to purchase it, I discovered extensive use, since similar results could be tions series in my article ‘A State of Flux’ that it is a specially handled chemical because obtained it from calcium for about a quarter (CM October 1988), the results are almost is spontaneously flammable when exposed toof oxy­ the price. With recent concern regard­ indistinguishable from barium. Unfortu­ gen. The various chemical forms available alling the possible hazards in the use of bari­ nately, I haven’t had the time to do exhaus­ have questionable dangers; consequently I’m um very carbonate in glazes, strontium may well tive research on the effects that are preva­ puzzled. I would like to know how to use the in­receive far greater recognition and use. It is lent with all of the basic colorants. But this gredient strontium. In what form does Robin nonpoisonous, more available than previ­ year, I plan some relevant research. It will (can I?) use it? In any case, how about someously, and with more use could eventually be interesting to see what effect it may have background information on strontium andreduce its in price. on iron oxide up to 10%, chromium in compounds. “Research in the 1940s concluded that amounts less than 2%, chromium/cobalt It would be wonderful to have a substitute superior for glazes and colors could be had by mixtures to a total of 5%, chromium and barium carbonate. I hope you can enlighten using strontium in place of other fluxing tin mixtures to 10%, manganese and nickel me.—B.H. materials; the greater fluidity that it has to 10%. Intuition tells me that it will be very There are some decidedly dangerous over the other alkaline earths of calcium, interesting. Certainly, if my current testing forms of strontium, and these are neither magnesium and barium promotes smooth­ is any indication, strontium should prove commonly available, nor do they partici­ er surfaces in glazes containing both zirco­ quite fruitful. pate in the ceramic formulary. Strontium nium and zinc. It is effective in developing “If any readers have done research in 90, a radioactive isotope, is one example. matt and microcrystalline glazes when used the use of strontium and its effect on color The element strontium by itself is so reac­ in fairly heavy saturations (25% and up). In development, I would be very interested to tive that it occurs only in combination with smaller amounts, it may be used as a direct hear about it.” other elements. This may be what’s behind replacement for calcium or barium. The your flammable evaluation, as disassociated fluxing action of the oxide is effective from Subscribers ’ questions are welcome and those of strontium would be a very strong oxidant. around 650°C (1200°F) upward to any pot­ general interest will be answered in this column. But these forms of strontium really don’t tery temperature and it is unaffected by Due to volume, letters may not be answered per­ apply to ceramics. Robin Hopper had the reduction. To be effective at the lower tem­ sonally. Address the Technical Staff, Ceramics following additional thoughts: “In regard peratures it must be incorporated into a Monthly, Box 12448, Columbus, Ohio 43212. 12 CERAMICS MONTHLY

States,” symposium comparing attitudes toward lery, Westchester County Center, Central Ave­ discipline, tradition, innovation and quality be­ nue at Bronx River Parkway. tween the East and West. Contact Robert Rowe, Ohio, Delaware April 26-May 14 Sculpture by Marshall University, Third Avenue, Huntington Mark Gordon; at Lynn Mayhew Gallery, Ohio 25755; or phone (304) 696-2903. Wesleyan University, South Sandusky Street. Pennsylvania, Elkins ParkApril 1-12 Christine Itinerary B. Knox, handbuilt stoneware sculpture with International Conferences acrylic paints; at Gallery 500, Church and Old Conferences, Exhibitions, Fairs, Canada, Alberta, CalgaryMay 26-28 “Interna­ York Roads. Workshops and Other Events to Attend tional Ceramic Seminar: Connections and Al­ Pennsylvania, Philadelphiathrough April “Nat­9 ternatives” will include lectures, panel discus­ ural Histories: Mary Frank’s Sculpture, Prints sions, films, social events, tours to 20 ceramics and Drawings”; at Pennsylvania Academy of Fine exhibitions, and demonstrations byjohn Borrow- Arts, Broad and Cherry Streets. man, teapots as a learning tool; Marilyn Camp, Pennsylvania, Pittsburghthrough May 13 New Conferences handbuilding with a difference; Franco La Pinto, works by Dale Huffman; at the Clay Place Gal­ D.C., Washington5-12 “Art Education: A throwing large forms; and Glenys Marshall In­ lery, Mineo Building, 5416 Walnut Street. National Resource,” annual convention of the man, surface design. Location: Alberta College National Art Education Association (NAEA). of Art. Limited campus housing: $15 per night. Location: Sheraton Washington Hotel. Contact For further information contact Evelyn Grant, Group Ceramics Exhibitions NAEA, 1916 Association Drive, Reston, Virginia Leisure Learning Services, Third Floor, 930 13 Arizona, Scottsdalethrough April 15 Carved and 22091; or phone (703) 860-8000. Avenue, Southwest, Calgary T2R 0L4; or phone burnished melon jars by Nancy Youngblood Louisiana, Baton RougeApril 22-23 “The 15th (403) 229-9408. Cutler; and traditional ware by Nathan Young­ Annual Workshops and Seminar”; at Bishop Canada, Ontario, TorontoMay 26-28 ‘Work­ blood; at Gallery 10, 7045 Third Avenue at Mar­ Tracy Center. Includes discussions on insurance, shop in the City” with Everette Busbee and Jeff shall Way. copyright laws and “Doing Business as a Crafts- Oestreich; includes lectures and demonstrations Arizona, Tucsonthrough April 22 “Clay by Four,” person in the 1990s.” Contact Nancy Stapleton, on handbuilding, throwing, decorating, aesthetic with masks, sculptural vessels and platters by Louisiana Crafts Council, Box 1287, Baton concerns, evolution of ideas, etc.; also exhibitions Anne Davis Mulford, functional ware by Susan Rouge 70821; or phone (504) 928-1980. and the annual general meeting of Fusion: The Gamble, whimsical figures by Andree Rich­ Massachusetts, HyannisOctober 27-29“Art: Spir­ Ontario Clay & Glass Association. Location: Uni­ mond, and raku-fired, slab-built vessels by Gail it, Mystery & Magic,” biennial New England Art versity of Toronto. Fees: Can$130-$230 (approx­ Roberts; at Obsidian Gallery, Saint Philip’s Plaza, Education conference. Location: Tara Hyannis imately $111—$197), includes workshop, accom­ Suite 90, 4340 North Campbell. Hotel. Contact Carol Gargon, Box 579, More- modations and meals; Can$75-$140 (approx­ April 29-June 24 “Clay Revisions: Plate, Cup, town, Vermont 05660; or phone (802) 496-4605. imately $64-$ 120), workshop and lunches only. Vase,” sculpture directly related to traditional New Jersey, MontclairMay 13 “Making Connec­ May 1 registration deadline (between May 1-15, forms by 23 artists; at Tucson Museum of Art, tions IV,” a crafts marketing conference, will in­ add Can$25, approximately $21, to fee). Contact 140 North Main. clude lectures by Craig Dreeszen, marketing Fusion: The Ontario Clay & Glass Association, California, DavisApril 7-May 3 “Third Annual specialist; Ruth Duckworth, ceramist; Anne Fab- 140 Yorkville Avenue, Toronto M5R1 C2;orphone 30 Ceramic Sculptors Show”; at Natsoulas/Nov- bri, director, Noyes Museum; Hortense Green, (416) 923-7406. elozo Gallery, 132 E Street, Suite 2A. crafts coordinator, New Jersey State Council on California, La Jollathrough April 29 “Clay: The the Arts; Jane Korman, director, Swann Gallery; Makers Hand,” works by Tom Coleman, Rich­ William McCreath, chair, School of Fine and Solo Exhibitions ard Hensley, Patrick Horsley, Tim Mather, War­ Performing Arts, Montclair State College; Albert Arizona, TempeApril 2-August 13 “Fantasy Sculp­ ren MacKenzie, John Neely, Gail Russell, David Paley, metalsmith; and Carol Sedestrom Ross, ture Garden” by Ron Gasowski, ceramic tile and Shaner and Tom Turner; at Gallery Eight, 7464 president, American Craft Enterprises; also an found object figures; at Sculpture Court, Uni­ Girard Avenue. exhibition of works by Duckworth and Paley; versity Art Museum, Arizona State University. California, Los AngelesApril 22-May 7 “Buffet and the “New Jersey State Council on the Arts Arizona, TusconApril 11-May 8 Polychrome Service,” 15-person show; at Little Tokyo Clay- Fellowship Recipients Exhibition.” Location: ceramic and wood wall reliefs by Nancy Skreko works, 106 North San Pedro Street. Montclair State College. May 1 registration dead­ Martin; at Beth O’Donnell Gallery, Saint Philips California, Walnut Creekthrough April 22 “Ce­ line. Fee: $25, includes reception and lunch. Plaza, Suite 64, 4340 North Campbell Avenue. ramic Vessels” by Anne Goldman, high-fired, Contact Hortense Green, NewJersey State Coun­ California, LincolnApril 3-May 12 Works by carved forms; and Craig Easter, salt-glazed fish cil on the Arts, 4 North Broad Street, Trenton, Fred Gordon; at Lincoln Arts Gallery, 6060 Fifth bowls; at Banaker Gallery, 1373 Locust Street. NewJersey 08625; or phone (609) 292-6130. Street. Colorado, Colorado SpringsApril 28-June 9 Ohio, ColumbusApril 29-30 “Second Annual California, SacramentoApril 4-29 “New Works “NCECA + 10 in Clay,” works by 37 clay artists; at Midwest Craft Conference: The Creative Edge”; in Clay,” satirical sculpture by Fred Babb; at the Gallery of Contemporary Art, University of includes a two-day workshop with studio potter Michael Himovitz Gallery, 1020 Tenth Street. Colorado, Austin Bluffs Parkway. David Shaner; plus sessions on metal, surface April 29-June 18 “Robert Brady Survey,” sculp­ Connecticut, Greenwichthrough May 6“Beauti­ design and creative explorations. Location: Co­ ture; at Crocker Art Museum, 216 0 Street. ful Soup,” tureens and bowls; at the Elements, lumbus Cultural Arts Center. April 10 registra­ California, San FranciscoApril 6-May 3 “Ruth 14 Liberty Way. tion deadline. Send sase to Ohio Designer Crafts­ Duckworth: New Work”; at Dorothy Weiss Gal­ D.C., Washingtonthrough August 20 “American men, 2164 Riverside Drive, Columbus 43221; or lery, 256 Sutter Street. Art Pottery, 1880-1930,” 75 works from the Coop- phone (614) 486-7119. April 11-May 6 “Ken Price: Recent Sculpture”; at er-Hewitt Museum; at the Renwick Gallery, Na­ Pennsylvania, ShippensburgApril 6 “Introspec­ Rena Bransten Gallery, 77 Geary at Grant. tional Museum of American Art, Fourth Street tions—Personal Struggles and Issues,” craft sym­ California, West Hollywoodthrough April 15 at Constitution Avenue, Northwest. posium with Sarah Bodine, editor/critic; Michael “Harrison McIntosh: MOA First Anniversary Georgia, MilledgevilleApril 10-May 31 Sculp­ Dunas, critic; Wayne Higby, ceramics professor, Celebration,” stoneware. April 21-June 3 Christy ture and ceramics by Jack King, and ceramics, Alfred University; Gary Griffin, metals professor, Johnson, porcelain; at MOA Art Gallery, 8552 photography and watercolors by Kathleen King; Cranbrook Academy; Warren Seelig, fibers pro­ Melrose Avenue. at Blackbridge Hall Gallery, Georgia College. fessor, University of the Arts; and Robert Pfan- Colorado, Breckenridgethrough April 7 Douglas Illinois, Chicagothrough April 9 “Fire and Earth,” nebecker, collector. Fee: $20; students $10. Con­ Fey; at Hibberd McGrath Gallery, 101 North layered slab vessels by Richard Burkett, and tact William Hynes, Art Department, Shippens­ Main Street. large raku vessels and wall reliefs by Joe Zajac; at burg University, Shippensburg 17257; or phone Georgia, DahlonegaApril 4-28 Jack King, ce­ Lill Sueet Gallery, 1021 West Lill Street. (717) 532-1530. ramics and sculpture; at North Georgia College Illinois, Highland Parkthrough April 22 “Four Texas, San AngeloApril 21-22 “The 1989 Art Gallery. from Alfred,” works by Louis Marak, Patricia Monarch Tile National Ceramic Competition Illinois, Champaignthrough April 23 “Stephen Rieger, David Shaner and Niles Wallace; at Mar­ Symposium,” will include panel discussions with De Staebler: The Figure”; at Krannert Art Muse­ tha Schneider Gallery, 2055 Green Bay Road. Curtis Benzie, William Hunt and Howard J. um, University of Illinois. Indiana, Indianapolis April 28-May 27 Ceramics Taylor; at Angelo State University. Also, a work­ Massachusetts, NorthamptonApril 1-29 Sculp­ by Jim Kemp, Mark Richardson and Carol Trigg; shop with Curtis Benzie; at the Chicken Farm tural ceramics and colored clay prints by Vince at the 431 Gallery, 431 Massachusetts Avenue. Art Center. Contact San Angelo Museum of Art, Pitelka; at the Ferrin Gallery, Pinch Pottery, 179 Indiana, Vincennes through April 6 “Shades of Box 3092, San Angelo 76902; or phone (915) Main Street. Shino”; at Shircliff Gallery of Art, Humanities 658-4084. Nebraska, Omaha through April 8 Works byjun Building, Vincennes University. West Virginia, HuntingtonApril 5-8 “Sharpen­ Kaneko; at Bemis Foundation, 614 S. 11 St. Michigan, Detroitthrough April 22 Porcelain and ing the Creative Edge: Japan and the United NewJersey, Red BanksApril 27-May 20 Chris­ stoneware vessels by Otto and Vivika Heino; and tine B. Knox, stoneware sculpture with acrylic vessels with primitive imagery by Edwin and Send announcements of conferences, exhibitions, paints;ju­ at Art Forms Gallery, 80 Broad Street. Mary Scheier. April 28-May 27 “Rudolf Staffel ried fairs, workshops and other events at least twoNew York, New YorkApril 5-28 Works by Eddie and Otto Natzler”; at Pewabic Pottery, 10125 months before the month of opening to The Editor,Dominguez; at Greenwich House Pottery, 16 East Jefferson Avenue. Ceramics Monthly, Box 12448, Columbus, Ohio Jones Street. Michigan, Royal Oak April 14-May 20 “Korean 43212; or phone (614) 488-8236. Add one month Newfor York, White PlainsApril 4-28 Vera Light- Hands/American Clay” works by Inyoung Han listings in July and two months for those in August.stone, “Ceramic Sculpture”; at Westchester Gal­ Please Turn to Page 62 14 CERAMICS MONTHLY April 1989 15 sources, mythology and folklore, have been booklet identifies sources of direct public found in other provinces, those excavated and private support for visual artists. List­ in Sichuan have a richer diversity of subject ings for these 17 national, 9 regional, and matter and are more realistic in execution. 56 state and local sources include descrip­ New Books The objects documented by this catalog/ tion of the award, application procedures, book “portray the major productive activ­ selection processes and other pertinent in­ ities engaged in by the common people: formation. Events requiring an entry fee Stories from China’s Past namely, the tasks of sowing, harvesting, fish­ (including artists’ project grants, matching Han Dynasty Pictorial Tomb Reliefs and ing, making wine, producing salt and hunt­ grants, residencies, travel grants, prizes Archaeological Objects from Sichuan ing. These depictions provide a realistic awarded in juried exhibitions, commissions, Province, People’s Republic of China evocation of daily life in Sichuan during artist colony subsidies, cultural exchange the Han, and give significant information programs, scholarships or competitions) by Lucy Lim et al. to assist research. were not considered. Published in conjunction with a traveling “The pan dance, pictured in a number The booklet also includes several statis­ exhibition originating in San Francisco, this of reliefs, was apparently a popular and tical tables covering percentages by artistic catalog/book features objects in various widespread entertainment of the Han. medium, by type of organization, ratios of media that were found (many recently) in Dancers, both male and female, moved at a applicants and recipients, etc.; a bibliogra­ Sichuan province brisk pace, with sleeves swirling, across rows phy of books and periodicals listing grants; and had never be­ of large and small drums. From literary ac­ recommended reading on fund-raising for fore been displayed counts we know that the pan dance was visual artists; resource list of organizations; in a Western coun­ performed with great agility, the dancers and several indexes: geographic eligibility, try. Pottery and beating out complex rhythms with their alphabetical/media, national grants, grants stone tomb reliefs, steps, varying the rhythm and the volume available by nomination, financial need, rubbings, figures, as they moved.” emergency grants, acronyms for awards, burial objects, a re­ Besides cataloging the exhibition, the and common names of awards. $8, softcov­ constructed Yanzi- text includes well-documented essays to pro­ er. Art Resources International, 5813 Nevada shan tomb, and vide historical background, plus an expla­ Avenue, Northwest, Washington, D. C. 20015. photographs of the actual burial sites “nar­ nation of the archaeological excavations rate the fears, hopes, beliefs, and the and findings. 210 pages, including a chro­ American Art Pottery everyday life of the people of Sichuan over nology, glossary of Chinese names and 2000 years ago.” terms, appendix and bibliography. 29 color by Vance A. Koehler Somewhat larger than France, Sichuan plates; 189 black-and-white illustrations; The art pottery movement in America is is a remote province located next to Tibet. map of Sichuan and China, $35, softcover. considered to have started with the 1876 Avery fertile area, its agriculture was highly University of Washington Press, Box 50096, Centennial Exhibition in Philadelphia, developed due to the skill and dedication Seattle, Washington 98145. though American crafts had a very poor of Li Bing, China’s greatest hydraulic showing: “Many Americans were embar­ engineer. “Around 250 B.C., he diverted, rassed, if not dismayed, by their nation’s dammed, and otherwise brought under Money to Work show of art manufacturers at the Philadel­ control the four rivers (si chuan) flowing Grants for Visual Artists phia Centennial. In terms of art and cul­ from the north in order to supply the whole “Preceded by a historical tradition of ture, the evidence of Red Basin with ample irrigation.” church, royal, and eventually, private pa­ the Centennial made The Han dynasty (206 B.C.-A.D. 220) tronage, the direct funding of visual artists it all too apparent that in China was a period of prosperity and de­ traces its modern roots in America to such the United States re­ velopment in general, “but Sichuan was venerable institutions as the American Aca­ mained a colony. The generously blessed with a rich variety of demy of Arts and Letters, established in American exhibits natural products, had the most fertile soil, 1898, and the Guggenheim Foundation, were generally inar­ was free from the scourge of droughts, had established in 1925,” states this book on tistic, imitative, and a favorable cash flow from its exports, and funding your artwork in the present climate markedly inferior to was the home of some of the wealthiest of grantsmanship. Today, the National En­ those from Britain, families known in Han times. ” Potters firing dowment for the Arts (NEA) Visual Arts the Continent andjapan.” However, a small with natural gas might be interested in Program awards approximately $5 million display at the Cincinnati Room in the aspects of Han salt industries that are illus­ every two years to 500 artists in the disci­ Women’s Pavilion included china painting trated in tomb relief details: “Because pock­ plines of painting, sculpture, crafts, pho­ that showed promise, and this work re­ ets of natural gas were often found when tography, works on paper and new genres, ceived commendation, even though it was boring for salt, it seems reasonable to plus an additional $500,000 to about 100 “not so much for their artistic merit as for conclude that [linear details depicted] were artists through re­ their suggesting a new avenue of gainful bamboo pipes, with clay-tipped tuyeres, gional programs. Fur­ and honorable employment for American which constantly fed gas into the [salt] thermore, in the past women.” From this inauspicious beginning, oven. In the absence of contrary evidence decade, many sources the American art pottery movement grew, to date, it appears that these illustrations of fellowships “with flourished, then began to decline, and the may show the earliest use of gas as an indus­ no strings attached” Depression marked the end of careers for trial fuel.” The Hyuayangguozhi (records of have developed. “The many of its practitioners. the Kingdoms south of Mount Hua), majority of state arts Published as a catalog documenting the compiled in A.D. 347, “records salt wells in agencies and a grow­ Cooper-Hewitt Museum collection, this the Red Basin as early as 127 B.C. and the ing number of private book divides the movement into three drilling of 20 wells and use of gas from ‘fire foundations now re­ phases: The first covers the Centennial exhi­ wells’ to evaporate brine in 67 B.C.” cognize the primary bition through the Chicago World’s Co­ Economic prosperity permitted the con­ need of visual artists to have an unen­ lumbian Exposition of 1893; in that period, struction of tombs elaborately decorated cumbered block of time to concentrate on “Rookwood Pottery in particular domi­ with reliefs and grave furnishings. While the development of their work.” nated, although art pottery clubs and art ceramic and stone tomb reliefs with pictorial Published by Art Resources Internation­ pottery companies had also sprung up in scenes, and figurines inspired by historical al with the cooperation of the NEA, this metropolitan Boston, Chicago, New Or- 16 CERAMICS MONTHLY April 1989 17 New Books ords and mercantile documents. Many types tion for the Chelsea modelers in porcelain. of wares have been classified and associa­ However, its use is in keeping with Chelsea’s ted with specific makers, based on appear­ botanical decorations on plates and dishes leans, San Francisco and other scattered ance, chemistry of [porcelain] paste, color and the factory’s production of tureens places.” The second phase covers 1893 usage, and other characteristics,” notes the and other forms in through World War I. “In these brief 25 author of this catalog/book documenting full-size shapes of rab­ years the creative and financial success of the Frances and Emory Cocke Collection bits, hens, fruits and art manufacture reached its height—and at the High Museum of Art in Atlanta. vegetables. If the entered a rapid decline.” The third period The collection was assembled over the shape of the sauce­ is the one that spanned the two World Wars last decade as a survey of English ceramics, boats reflects a fasci­ and saw the final days of the movement. and as such includes representative works nation with nature, The only company active in all three peri­ from small as well as large potteries pro­ the notion of forming ods was Rookwood Pottery, which is there­ ducing during the period from approx­ the spoons as eels, fore heavily represented. imately 1640 through 1835. The first third with heads at the Following a well-documented and ex­ of the catalog, called “Earthenwares,” is bowls of the spoons and wriggly tails as the tensive introduction, the catalog is divided peculiarly (and inaccurately) divided into handles, reveals a striking playfulness.” by potteries, with each section beginning “Tin-glazed Earthenware,” “Stoneware” and Sometimes the photo’s note mentions with background information; illustrations “Lead-glazed Earthenware,” with each sec­ information on the maker, including some are captioned with descriptive notes, some tion providing technical description and deductions that are quaint or insightful technical information, dimensions and background regarding origins and influ­ through obvious detective work. For exam­ marks. 144 pages, including bibliography, ences. The remainder of the book is con­ ple: “Obediah Sherratt (circa 1775-1846) 26 color plates; 67 black-and-white photos. cerned with porcelains manufactured in was a potter and modeler of figures working $24.95, softcover. University of Washington Yorkshire, Derbyshire, Staffordshire, Shrop­ in Staffordshire at Burslem. Besides operat­ Press, Box 50096, Seattle, Washington 98145.shire, London and Worcester, and features ing his pottery, Sherratt was also the pro­ a brief history of each factory represented. prietor of an alehouse. He was apparently English Ceramics Illustrations are accompanied with in­ illiterate, as records of both his marriages formation about origin and approximate were signed with an ‘X.’” The Frances and Emory Cocke Collectiondate of the piece depicted, dimensions, Heavily illustrated, with 227 color plates by Donald Peirce provenance of acquisition and, when exis­ and 97 black-and-white photos (mostly of In the last several decades, museums have tent, a photo of any identification mark(s). identifying marks, stamps or signatures), increasingly collected the products of 17 th- Photo notes also frequently include com­ plus a map of England showing the manu­ through 19th-century English potteries. mentaries such as this on a pair of plaice facturing centers represented in the Cocke Concurrently, “a huge body of literature sauce boats with spoons and plates: “A slimy collection. 255 pages, including references has developed from archaeological digs at flatfish of western European waters, the and index. $50. University of Washington Press, factory sites and the perusal of legal rec­ plaice seems a somewhat unlikely inspira­ Box 50096, Seattle, Washington 98145.

18 CERAMICS MONTHLY

Comment The New and the Unseen by William Hunt

Back in January 1988, Ceramics Monthly artist or craftsperson can exist in a cause of our seemingly inherent group­ published my thoughts on “A Brave vacuum. If you don’t believe me, witness ing skills. New World for Craft.” In this article, I the historical record: there were no That’s the end of the context. attempted to nail down a number of postimpressionist artists during the the preposterous ideas which have been Renaissance, no expressionists among The Unseen polluting our field: the Cubists. No artist has gotten that Since this article is divided into the The misguided nature of following, far off the beaten path. And while there new and the unseen, I’m going to start rather than leading, as a means to artis­ are great artists in every period, their with the unseen because, surprisingly, tic achievement. styles and their vision seem to be able the unseen seems to be mostly adverse, The biased and discriminatory world to go only so far beyond (or realistically and the new seems to be more upbeat. of painting-dominated art commerce. it’s onlywithin) the cultural context. The problem with things unseen is The regrettable lack of relationship We are also bonded together by our that we are tempted to pretend they’re between price and aesthetic value. sharing. Surely it’s possible to be a not there. The doubtful value of formal school­ modern-day isolationist (to ignore A number of people recently have ing as a required means to produce art­ others working in ceramics, to ignore asked me to write about the future, ists. the communications media about clay), and that’s not unusual. I’ve noticed The increasing substitution of tech­ but being uninformed has rarely been more futurizing craft articles published nical tricks for aesthetics. the choice of active, creative minds. in the past few years than in the 20 The importance of communicating The price and availability of our years before that. This interest in pre­ in today’s more functional art world. materials are also shared—determined dicting the future is itself symptomatic Among the article’s conclusions was by our numbers. So we are free to of uncertainty about what’s ahead. If this statement: “If you hate change, I make whatever we want in ceramics, we were self-assured and plunging on­ suspect you’re really going to hate but we are simultaneously dependent ward, we would probably not take the what’s ahead. But if you feel excitement on this culture to provide us with a time to play this guessing game. And if at the new, the unseen, the diversity of nourishing context. We’re all in this you remember Buck Rogers and his the future, then welcome to a brave together—to some extent prisoners of world of the 1980s as seen from the new world for craft.” our own time—together. 1950s, you’ll have some idea just how I’d like to use that theme: the new Additionally, up front I want to dis­ accurate this kind of predicting is. and the unseen as a starting point for tinguish between the three kinds of sit­ (Have you been out for a spin in your this comment. But first some context: uations which occupy our field: those personal helicopter lately?) The only I’m not going to simply massage we can change individually; those we thing one can do is to look at the your intellectual backs, as is so often can change collectively; and those we present and try to decide how it might done in our field. Some of what I have really can’t change at all. Wiser people fan out into possibilities. to say may even rub you the wrong way. than I have urged us to put aside the Here are some examples of the un­ But, we’re all in this together. No things we can’t change at all, and apply seen: matter how much you might want to ourselves to those we can change. Most 1. The current written record of ce­ escape the group, there is little histori­ problems in ceramics happily are indi­ ramics is the most complete in all of cal evidence that this can be done. The vidual ones, though. Immediately after civilization, but our ceramic literature single most influential historical event reading this article, you can work on is quietly diminishing. As the principal which affects the health of ceramics is those things changeable individually, authors of our field have been aging, the state of the culture and its economy. if you are so inclined. Problems requir­ they are not being replaced by young­ As far as I can tell, ceramics are pro­ ing collective action call for a leader er, equally qualified or equally exciting duced best when times are good, when and a group. Someone (perhaps you) authors. Any book publisher will tell there is enough, and even more than must get the ball rolling by organizing; you this. The old books will stand for a enough. No matter how individual and and as you know, we ceramists are prob­ while, but every generation needs its unique you feel, our ideas about ap­ ably the best organizers in an otherwise literature refreshed. propriate style are developed, main­ disorganized art world. There is a good Only 50% of college and university tained and altered by our culture. No chance we can succeed in this area be­ students currently enrolled in ceramics 20 CERAMICS MONTHLY April 1989 21 Comment standards to ceramic works. Let me ask sufficiently supportive context. Ask some of the tougher questions for you what you can do to make any of this to think about: How does a Peter Voul- happen; then act on your own idea(s). classes uses a textbook. This has pro­ kos abstract expressionist plate stack duced an ongoing disinterest among up against a Jackson Pollock abstract The New publishers in investing in ceramics expressionist painting? How does any A sigh of relief is now due (ahhh); books, particularly the more special­ landscape-related ceramic work stack the hard part is over and the new is ized ones, which consequently don’t up to a Cezanne or a Van Gogh? Find much easier to take. sell well enough. Thus, publishers me any ceramic work that will take on First of all, we’re doing something increasingly want only to print general any Botticelli. Let me make it even never before done in history. Without textbooks which might compete easier, just in case you are feeling as royal patronage (unless you want to effectively with Glenn Nelson’s uneasy as I am about the answers to count the National Endowment for the Ceramics, A Potter’s Handbook. Harry these questions. What’s the most sig­ Arts), we are producing an immensely Abrams, in New York, finally took a nificant ceramic object in history, or diverse variety of blossoms on a ceram­ chance on a contemporary ceramics the five most significant? When I ask ic tree with roots in prehistory. We are history book by Elaine Levin—a major this one, I immediately make the men­ the first to be able to see this history coup for our field. It’s an important tal jump to Emperor Qin’s army buried around the world, from the beginning sourcebook for validating the work and life size in China, but then I have to ask of time to the present. No one has had efforts of so many who have made ce­ myself, “Is it great because of its age the possibility of knowing more about ramics what it is today. Other current and scale or because of what it is world ceramics than we do right now. titles appear with much less enthusi­ aesthetically?” Then I’m not so sure. While some say “this is no help,” that it asm from their publishers. What’s more, are we asking these ques­ ‘just confuses us,” I doubt it. If we are 2. Our technical experience is also tions in the right way? Could neoclassi­ smart enough, we are not doomed to diminishing. As knowledgeable ceram­ cal painters of the 19th century have repeat the mistakes of the artistic past. ists retire, younger ones of similar properly answered such questions re­ In fact, we can stand on the shoulders knowledge are not taking their places. garding the impressionists? Apparent­ of those who came before us. Now it’s quite fashionable today to pre­ ly not. Ceramics seems to be mirroring the sent technique as just another piece of 5. Which brings me to the final un­ rise of another technical art, photog­ cheap costume jewelry on the aesthet­ seen item: our sureness in explaining raphy, in its coronation as a real art ic body beautiful. But when you come ourselves. Here I feel John Adkins Rich- form by real art galleries and museums right down to it, knowing how to get around the globe. Obviously it won’t exactly some wanted effect is central to follow exactly, but prices mimic the every master I can think of, regardless “Gan you make your work speak early sales of photographers such as of medium. And while admitting a few passionately ? Can you make itAlfred Stieglitz—going from hundreds obvious exceptions, lack of technical to thousands to tens of thousands of experience definitely limits aesthetic caress the viewer with unspeakable dollars now for individual works. Avery options, and also tends to produce a beauty, orgrab viewers by the few ceramic artists are going to do quite downward spiral in significant teach­ well, which should give everyone some­ ing. While this is a group problem, it throat, or stain their thoughts thing to shoot for if they want that. The can be solved by individuals rededicat- “New Art Forms” exhibition in Chica­ ing themselves to a more informed for years to come?” go, a craft fair of dealers, along with technical knowledge. the “ACC Armory Show,” a craft fair of 3. On the sales front, things aren’t ardson has something to add to the dis­ higher-priced ceramists, offer new path­ exactly sweetness and light, either. cussion (from his book Art: The Way It ways to the executive washroom of ce­ While prices are up, galleries have Is). Richardson says, “...if pressed, ramics. tended to freeze ceramists’ styles like [artists] may come up with elaborate I’ve heard it said that this surge in so many flies in amber—fascinating, verbal statements to justify their works. the high end of the field means noth­ safe, dead. Marketing is easier with slow But if it could be shown that their art ing but trouble for the rest of the field, artistic development than with high­ was inconsistent with their creeds, but I couldn’t disagree more. The lad­ speed growth. So ceramists have been they’d revise the statements rather than der just got a little taller, that’s all. subjugated if not by fortune, then by the work....” It’s a verbal battlefield out While there may be fewer producers the lure of fame, and a belief that gal­ there, and most of us eventually fall throughout the field, there are more leries and museums are the way to cul­ back on whatever it is we’re making as types of ceramics appreciated, and this tural acceptance, that galleries and our own personal artistic Alamo. Well, means more opportunity for every­ museums can somehow lead artists we might as well stand and fight some­ one—more cash, more market, more rather than follow them. Isn’t it ironic where. understanding, and probably more pro­ that in this field, where so many artists You may think it unfair to put such duction costs. There are also many new have sacrificed to make ceramic art standards to our work, but I ask you, if ways to do ceramics including semi- and craft the unique art form which it we do not hold our own ceramics industrial and industrial—two areas is, we end up being dominated by a accountable to such high standards, which used to be cut off from the realm handful of nice ladies and a few gentle­ how will we ever join the ranks of the of the studio potter. Today, a number men, a majority of whom have no sub­ world’s best art (or craft)? This is an of potters are making the leap into stantial background in ceramics. individual problem which may be industrial production, forming their 4. If we expect to play in the big solved by any ceramic artist who is own companies driven by design and leagues, we must apply real world art simply good enough, working in a personal vision rather than simply by 22 CERAMICS MONTHLY April 1989 23 Comment sion—the passion for ideas, the kind of passion which comes out of an art or craft object when it is fully successful. It the bottom line. How mainstream is is a passion which communicates this? A 1988 cover of Business Week strongly and is a common thread magazine (April 11) trumpeted the among every great work of art that I coming of the importance of this know. The world needs your passion. direction: “SMART DESIGN, Quality Is Can you make your work speak pas­ the New Style.” These artists will have sionately? Can you make it caress the an increasing effect on American in­ viewer with unspeakable beauty, or grab dustry as they demonstrate how adapt­ viewers by the throat, or stain their ability and quality aesthetics are good thoughts for years to come? This is the business and a way out of the American diverse challenge of art now. Are we up industrial ceramics slump. to the task? I think so. Also, I doubt we’ve seen the last of Along the way we have a substantial the basic machines of studio ceramic new need to be informed in order to production. What would be the impact understand our culture and its influ­ of a rotary slab roller? How about a sin­ ences on us, to serve our culture as ce­ gle, modular ceramic machine with ramists have done throughout history, wheel, slab roller and mixer attach­ and to avoid duplicating efforts which ments (like the woodworker’s Shop- someone else has already done better. smith)? What could be done with a There are new forms in ceramics three-, four-, or five-section hydraulic which are honorable and needed. To press? One unenvisioned machine simply scratch the surface, these go be­ changes everything. yond cup, vase and plate to microwave Overall, though, a great deal of what browning pan, officeware or ceramics is new cannot be fully viewed or de­ for the automobile. Do you mean to scribed. It’s a lot like what’s happened tell me you can’t invent a more beau­ to our machines. In the old days, one tiful or more functional toilet? That could look at a new device and admire you can’t improve on the pencil cup or the way its gears transmitted energy, the tape dispenser? Both art and craft how its parts fit together, eliminating can draw from this inventive source of wasted energy or doing something new forms mostly unexplored by to­ better. Today, if we open up our ma­ day’s culture. One of our field’s biggest chines, we’re more likely to see those assets is adaptability. We can change green, electronic boards and be totally design instantly, perfect designs con­ baffled about what does what. There stantly; while a factory might take are few gears to admire and very little months to make a single, small im­ within our realm of comprehension. It provement. is easy to assume that because much of We are learning that there are many the new is hidden, it doesn’t exist. But paths up the mountain—some steep like our new machines, much of the and some long, but all arriving at the hidden new is even more powerful same exhilarating point. Thus beauty, without the simplistic and understand­ paradoxically, has been produced both able gears in view. by great complexity and great simplic­ Perhaps the most vital and impor­ ity. Art, ceramic art, has elicited both tant of these hidden new powers is the anger and joy in its attempt to make passionate maker. I’m not talking about people feel or understand some new the kind of passion between a man and truth. a woman, necessarily, but the passion So seek the new, particularly new that submerges a person in his or her ways of thinking and doing. Hang onto subject and that communicates passion­ your ideals; but if one of these ideals ately to others. Many of ceramics’s best, falls to a new and superior idea, give it from Michael Cardew to Maria Mar­ up gladly and move along. Be bold and tinez to Pablo Picasso to Marguerite passionate, and don’t fear mistakes, Wildenhain, were extremely passion­ for they are both unavoidable and the ate about their ideas and their work; greatest teachers. Keep thinking fear­ but these great minds are silent now. lessly even if you don’t know the des­ I suspect that every one of you who tination to which your thoughts will has continued on with ceramics has take you. felt a passion for the material—for clay. And most of all, remember we’re all This is an easy passion, as easy as falling in this together. in love. (Maybe easier.) You probably didn’t have to chase it; it came to you. The authorWilliam Hunt is the editor of But there is a much more difficult pas­ Ceramics Monthly. 24 CERAMICS MONTHLY

26 Ceramics Monthly April 1989 27 28 Ceramics Monthly A CERAMICS MONTHLY PORTFOLIO Jane Hamlyn’s Current Work way of life. But one of the differences that distinguishes the design-led and mass-manufactured object from the by Peter Dormer craft object is that the one seeks to disguise the reality of its There is a degree of dignity in labor while the other seeks to celebrate it. No one wants to being a domestic potter in the be reminded of the noise, the regulated shiftwork or the late 20th century. The dignity monotony underlined with resentment or even fear that derives, in part, from the fact are characteristic of the factory-produced object. that a potter like Jane Hamlyn A handbuilt pot can afford to be open about its manu­ has control over her life. Her facture. There is no need for designers or advertisers or creative work, by which she de­public relations people to intervene between the potter fines herself, is also her liveli­ and the pot. When we buy domestic pottery, we are buying hood, one of her loves, and into a way of labor that we can respect and even envy. her leisure. One must not oversentimentalize that; an in­ Handmade pottery is shaped by business pressures if, dependent grocer can claim the same independence and like Hamlyn’s, your pottery is a business. There is a point self-determination. Mrs. Thatcherism and the spirit of at which work that will sell must be made, and there is a Grantham’s I’ll stand on my own two feetethics are point at which you must release work for sale—even if you essential ingredients in the small business world, and craftsthink it is not your best. The domestic potter is not an are intimately connected to business. artist in the current, contemporary understanding of the But all are not proud to define themselves by what theyword, where to be an “artist” is somehow to be separate do to earn a living. Many a hobbyist, whose true passionfrom is the business of competitive selling. The artist is ei­ music making or gardening or painting or astronomy, isther poor, has private income or is regarded as an invest­ reluctant to be known as a bank clerk or sales rep. Good ment. Pottery is not an investment art; although, encour­ potters are lucky people and proud that their way of livingaged by the auction-house success of Hans Coper and Liz is also a way of life. Fritsch, many dealers are trying to promote “studio” pot­ The way we see contemporary handmade pots is con­ters as “artists” to gamble on. Nevertheless, it is true that ditioned by the fact that the pot is a token of someone’s when you buy good work, whether it be “art” or functional way of work and way of life. One could perhaps say the above left and below British potter Jane Hamlyn. same about buying an automobile—buy a car, and you areportfolio cover Hamlyn’s kiln shed; the 60-cubic-foot, certainly buying the token of several hundred persons’ oil-fired kiln nears Cone 6, just before salting. pottery, then it is likely that the work will appreciate in stipend came at the right time. Good domestic potters do value. Jane Hamlyn is one of those whose work will proba­not earn a lot of money. Hamlyn does not teach regularly bly increase in value—especially now that critics are be­and so time off from the business of making is a costly ginning to reassess the aesthetic worth of contemporary affair. Naturally, throughout her business she is thought­ hand-crafted wares. ful, but the stipend paid for her to throw things away. Hamlyn is a successful potter who specializes in salt Her work is not, she says, radically different from her glazes. When it’s time to salt, she uses 25 pounds thrown pre-stipend days. But the insides of her large dishes are in by the half to full pound every ten minutes. What is now patterned and colored; they are no longer the blank lovely about the resultant glaze, with its smooth but appar­areas they once were. She has introduced simple abstract ently pockmarked surface, is the way it acts like a heavilypatterns by simple means—rolling pieces of embossed worked drawing in graphite—“light” and “dark” appear wallpaper onto the soft clay, for example. The handles, to model the form of the pot for you. too, are more defined in their texture and their structure. Salt glazing provides an interplay between real texture Perhaps she is better on the large forms than the and pretend texture. A lot of the way we feel about thingssmaller. I have a bowl from her pre-stipend years that I in the world is obviously to do with how they feel whenfind we most appealing, but some mugs from the same pe­ touch them, but the psychology of texture and touch is riod have twisted, plaited handles that do not sit on the darned odd at times because the information the eye givesmugs well. In general, however, Hamlyn uses good stout you can almost override what your fingers are telling you.handles with her work: her forms are quasi-Victorian, Salt glazing is smooth to the touch, but rough to the eye, rather than Edwardian, tending toward the monumental and this perceptual ambivalence is attractive. rather than the effete. Hamlyn’s pots also have qualities associated with the Hamlyn’s big pots have the swell of a northern sea on look of lizards or scaly fish. Her handles are like animalthem. Their colors are pepperminty in green, gray and claws or paws. Occasionally a bowl will have feet and blue,the like winter water. And she has a fondness for throw­ thing has an animus which is faintly creepy. Some of hering a form on the wheel, then pushing in the still damp handles are like armadillos or paleolithic sausage rolls. clay, causing it to undulate like a wave. Heat sets the ex­ Her recent work is the best (not always true of any­ pression. This is one of the fascinating aspects about clay: one’s work). In 1986, the British Crafts Council awarded below Footed bowl, 13 inches in diameter, thrown, her a stipend which allowed her to spend time being ex­ decorated with roulette impressions, brushed when perimental, reflective and critical about her work. The bone dry with blue slip and titanium wash, salt glazed.

A CERAMICS MONTHLY PORTFOLIO very often you can trace back, from the finished object, I like pots which reveal the material of their making, the stages of how it was made. In very good pots, one hasclay; and the state of clay for which I have a particular the chance to relive the fluency of their making. fondness is soft—not wet, not sticky, but soft. I love the way Her work is utilitarian: she does teapots and jars and soft, plastic clay is so responsive; most of my handles are casseroles and dishes. She wants people to use her pots be­formed by pressing soft clay with or into various textures: cause they are intended to be an addition to the quality ofrubber flooring, car mats, bits of wood, etc. I also use practical life. Function is a good discipline because it forcesroulettes and impressed stamps, and some pots incorpo­ the potter to think about other people—the potential cus­ rate a wheel-thrown and distorted ring, joined to a slab- tomer. Studio potters do not think of others; they make rolled base textured with embossed wallpaper. what comes to their fancy. Domestic potters have to be To make a living from functional salt-glazed ware is mindful of practicalities and safety. The discipline of serv­not easy. It means trying to get full value from a kiln which ice coupled with imaginative design is, in my view, a oftenmore fires unevenly. All the work is raw glazed, then salt fruitful combination than art-for-art’s-sake pottery. glazed to 2335°F (1280°C) in a 60-cubic-foot, oil-fired Jane Hamlyn believes that her pots have become morekiln, preheated with wood/gas to 580°F (300°C) to dispel refined and more considered. This refinement is fortui­ water vapor. I use slips and glazes (brushed over and un­ tous because people’s tastes—people who are prepared to der each other) with a wide range of tolerance and which look into the crafts world for their purchases—are af­ work well with more or less salt, oxidation, reduction and fected by the trend in consumer design which offers both temperature. I love the way varying amounts of salt can elegance and the individuality that has been a selling pointtransform the same slip from matt black to shiny, runny, in the crafts. The period of the lumpen craft sons and bright blue through gray and all shades in between. daughters of the soil aesthetic has gone—other potters It seems foolish to try and tame this unpredictable have still to realize this. technique, the very essence of which is its excitement and The author Peter Dormer is the author of The New Ce­ variety. So I have never produced a standard range of pots ramics: Trends + Traditions; he is also a regular contrib­and have tended to experiment rather than stick to what I utor to such magazines as Design, Designers s Journal and know. Of course, there have been mistakes and disasters, the New Statesman. but this approach has enabled me to change and develop over the years and to follow up new ideas and directions. It Salt Glaze and Something Else does make selling more complicated; shops and galleries, by Jane Hamlyn used to buying domestic ware, tend to want a catalog and price list for ordering, but I find that once a good relation­ Salt glazing transforms pots: it is not simply a fixing pro­ship is established, where they know my work and trust my cess for what has already happened in the workshop. Salt standards, the variety and changing nature of the “prod­ glazing adds something else: it is a stage beyond you. I uct” can be a very positive selling point. It can be a prob­ make the pots as well as I can, then they are offered up, aslem though if people have seen photographs in a book or it were. My part of the making leads to the final denoue­magazine and you have moved on since then.... ment of fire and salt. As a person who likes things to be Earlier work was simpler and more quickly made, in organized and under control, I think perhaps this sense of larger quantities. Now I work more slowly and thought­ having to submit to the firing fulfills a psychological need.fully; I suppose each piece is more “individual” in the It is a risk, a gamble with something mysterious, elemen­sense that it is invested with additional time and attention tal. Often things happen and I really don’t know why. and maybe more complicated to make. I make fewer pots Sometimes it’s almost as if they’re not my pots anymore,and have fewer firings and the prices have gone up! But I and that can be peculiarly satisfying. still make and believe in mugs and cups and saucers. A Having learned to make pots as a “mature” student inmug is such an intimate pot; you hold and caress it and put Mick Casson’s Harrow Studio Pottery Course, I set up myit to your lips. Everyone has his/her own special mug, and small workshop in the countryside of North Nottingham­woe betide anyone else who drinks from it! shire in 1975. My husband (a painter who doesn’t care to I believe in experiencing pots at close quarters—as in sell his paintings!) prepares the clay, and maintains and use—and I like those pots which repay close attention fires the kiln; while I make all the pots (mostly thrown) with interesting details and depth of glaze quality, offer­ and handle the paperwork. I also give occasional lecturesing an opportunity for the user to participate in and ex­ and workshops, teach a few days a year and sit on varioustend the creative life of the pot. I would like to think that committees. We live in modest comfort and enjoy our my pots are not only functional but simultaneously en­ autonomy, although we work far harder for ourselves thanhance the room in which they are kept, that they have we could ever expect others to work for us! some “presence” and are complete even when not in use.

A CERAMICS MONTHLY PORTFOLIO PHOTOS: NICK BROOMHEAD & RUFFORD, JOHN COLES, BILL THOMAS

Oval dish, 22 inches in length, wheel-thrown wall (attached to wallpaper-textured slab base), salt glazed.

Salt-glazed pitcher, approximately 8 inches in diameter, thrown, with roulette patterning and impressed handle. A CERAMICS MONTHLY PORTFOLIO

Recipes

Dark Blue Slip Green Glaze Nepheline Syenite...... 62.0% (Cone 10, reduction) AT Ball Clay...... 13.0 Whiting...... 17.65 % SMD Ball Clay...... 25.0 Potash Feldspar...... 23.53 100.0% AT Ball Clay...... 29.41 Add: Cobalt Oxide ...... 1.5% Flint...... 29.41 Rutile or 100.00% Titanium Dioxide...... 1.0 % Add: Red Iron Oxide...... 5.88% AT Ball Clay (available from most suppliers in Eng­Apply to greenware. Works well over blue slip, with a land) is high in iron. A typical percent analysis of thisthin wash of titanium dioxide brushed on top. clay is: K2O 3.10, Na2O 0.40, MgO 0.60, CaO 0.30, Shino Red Liner Glaze Fe2O3 2.60, Al2O3 30.00, TiO21.00, SiO2 52.00, loss (Cone 10, reduction) on ignition 9.20; formula weight 258.0. Most U.S. Nepheline Syenite...... 33.3 % ball clays commonly used by potters contain from Potash Feldspar...... 33.3 0.9% to 1.0% Fe2O3, and thus can be directly substi­AT Ball Clay...... 33.4 tuted for SMD Ball Clay. Add 1.6% Fe203 to a stan­ 100.0% dard U.S. ball clay to mimic AT Ball Clay in this andApply to greenware. Color variations depend on kiln the following recipes. placement and amount of salt.

Midway in the firing cycle: The kiln’s warmth and the burner’s roar provide just the right ambience for a catnap. Deep dish with impressed handles and feet, 12 inches long, brushed with blue slip and titanium dioxide wash, salt glazed, by Jane Hamlyn.

Wheel-thrown casserole with impressed decoration, salt glazed, approximately 12 inches in diameter. Salt-glazed dish, approximately 12 inches in diameter, wheel thrown, with zigzag impressed handles and feet attached, brushed with blue slip and titanium dioxide wash, by British studio potter Jane Hamlyn.

A CERAMICS MONTHLY PORTFOLIO English potter David Leach discusses throwing with a workshop participant at Anderson Ranch, Snowmass Village, Colorado. Summer Workshops 1989

Editor’s Note:A variety of workshops are of­ camping available. Contact Dwain Naragon or Lisa includes materials and firing. Live-in accommodadons Salisbury, Art Department, University of Alaska, Fair­ available. Contact Director, Summer Sessions, Arizona fered each summer; a first-time participant banks 99775; or phone (907) 474-7530. State University, School of Art, Tempe 85287; or phone should be aware of the differences between (602) 965-6611. them. Typically, workshops are hands-on expe­ Arizona, Flagstaff July 10-31 “Firing the Noborigama” with Don Bendel. All skill Arkansas, War Eagle June 12-23 riences; however, shorter sessions of one-half to levels. Participants asked to bring bisqueware. Fee: $301, “Pottery” with Jack and Alorza Hooker, handbuilding, two days may be observation oriented only. A includes materials and firing. University housing and throwing, glazing and firing. Beginning through ad­ few are strictly lectures or lecture/discussions. camping available. Contact Don Bendel or Paula Rice, vanced. “Clay Sculpture” with Hugh B. Hudgens. Fee: While nearly all workshops are good experiences, Northern Arizona University, Box 6020, Flagstaff86011; $100 per session; includes firing. Camping available. or phone (602) 523-2602 or 523-2398. Contact Shirley Sutton, Ozark Arts and Crafts Seminar, the quality of presentation varies widely. If pos­ War Eagle Mills Farm, Route 1, Box 157, Hindsville, sible, ask others who have attended previous Arizona, Mesa June 5-July 29 Arkansas 72738; or phone (501) 789-5398. workshops for their opinion of the talents of any Weekday, evening or Saturday classes on throwing, handbuilding, tilemaking and firing (primitive, raku, California, Areata July 9-29 particular leader. Then contact the organizers saggar, salt, gas and electric). Instructors: Jackie Ben- “Ceramic Sculpture” with Michael Lucero and John for specific information. net, Barry Carpenter, Dora Hernandez, Dale Bryner Roloff; at Humboldt State University. Advanced and McMillan and Jeff Reich. All skill levels. Fee: $7-$34; professional. Fee: California residents $216; nonresi­ Alaska, Fairbanks May 30-August 18 includes firing. Contact Jeff Reich, Mesa Arts Center, dents $415; includes materials and firing. Contact Cali­ “Alaska Native Clay Materials” or “Beginning, Interme­ Box 1466, 155 North Center, Mesa 85211; or phone fornia State University, Summer Art ’89, 400 Golden diate and Advanced Ceramics” with Dwain Naragon (602) 644-2053. Shore, Long Beach, California 90802; or phone (213) (May 30-July 7). “Tin-Glazed Earthenware and Majoli­ 590-5768. ca Techniques” or “Wheel Throwing” with Lisa Salis­ Arizona, Tempe June 5-July 7 bury (July 10-August 18). Skill requirements vary. Fee: “Ceramics Color” with Jeanne Otis will focus on using California, Fremont July 23-29 Alaska residents $149 per session; nonresidents $377; colored clays and glazes. “Beginning and Intermediate “Pipe Sculpture Workshop,” involves working with sew­ includes materials and firing. Dormitory housing and Ceramics” with Randall Schmidt. Fee: $219 per session; er pipe extrusions 6-12 inches in diameter and 6 feet in

April 1989 37 Participants asked to bring bisqueware. For further derson Ranch Arts Center, Box 5598, Snowmass Village information contact Stella Vognar, Angels Gate Cul­ 81615; or phone (303) 923-3181. tural Center, 3601 South Gaffey Street, San Pedro 90731; or phone (213) 519-0936. Connecticut, Brookfield June-August “Ceramics on the Wheel” with Annette Morasco (June California, Santa Ana June 24, July 15 13-August 1). Fee: $190; members, $180. Plus weekly Handbuilding and throwing with Jerry Rothman, will and weekend instruction in handbuilding, throwing, include marketing discussion (June 24). Altered wheel- slip casting, glazing and various other studio techniques. thrown forms and handbuilding with Yoshiro Ikeda All skill levels. Live-in accommodations and camping (July 15). Fee: $25 per session, includes lunch. Contact available. Contact Brookfield Craft Center, Box 122, Patrick Crabb, Rancho Santiago College, Art Dept., 17 Route 25, Brookfield 06804; or phone (203) 775-4526. and Bristol, Santa Ana 92706; or phone (714) 667-3173. Georgia, Adanta June 17-25 California, Walnut Creek June 17-August 15 “Raku” with Rick Berman, David Westmeier and Tom “Everything You Wanted to Know about Clay but Zwierlein (June 17-18 or 24-25). Fee: $80; includes ma­ Couldn ’ t Find Anyone to Ask” with Don Reitz, function­ terials and firings. For further information contact Rick al and nonfunctional work, with emphasis on slips, glaz­ Berman, 1131 Euclid Avenue, Northeast, Atlanta 30307; ing, salt and wood firing (June 17). Fee: $30; partici­ or phone (404) 525-2529. pants asked to bring a potluck dish to share. Sessions on stoneware, sculpture and raku, salt, saggar and sawdust July 22-23 firing (June 17-August 15); instructors: Pete Coussoulis, “Raku” with Rick Berman. Fee: $50; includes materials Skip Esquierdo, Sherry Karver and Leslie Jensen. All and firings. All skill levels. Participants asked to bring skill levels. For further information contact Pete Cous­ bisqueware. Contact Callanwolde Arts Center, 980 Bri- soulis, Civic Arts Education Program, City of Walnut arcliff Road, Atlanta 30307; or phone (404) 872-5338. Creek, Box 8039, Walnut Creek 94596; or phone (415) 943-5846. Hawaii, Honolulu June 9-11 “Raku Ho’olaule’a ’89,” glazing and firing teabowls, Colorado, Cortez June 18-24 plus demonstrations and slide lectures by Frank and “Fifth Annual Sand Canyon Primitive Pottery Work­ Francine Ozereko; at Kualoa Beach Park. Contact Es­ shop” will cover clay gathering, tool making, native ther Shimazu, Hawaii Craftsmen, Box 22145, Honolulu plant processes and various firing methods. Instructor: 96822; or phone (808) 521-5432 or 438-1315. Leander Gridley. All skill levels. Fee: $395, includes ma­ terials, firing, lodging and meals. Contact Laura Living­ Idaho, Boise June 5-23 ston, The Kelly Place, 14663 County Road G, Cortez Earthenware and porcelain processes with John Take- 81321; or phone (303) 565-3125. hara. All skill levels. Fee: $30, includes materials and Judy Moonelis working with a pipe extrusion firings. Dormitory housing available. Contact Continu­ at Mission Clay Products, Fremont, California. Colorado, Marble July 17-August 11 ing Education, Boise State University, 1910 University “Stoneware and Raku” with Thanos A. Johnson. Begin­ Drive, Boise 83725; or phone (208) 385-3706. ning through advanced. Instruction in English, Greek, height; at Mission Clay Products Company. Intermedi­ Japanese or Turkish. Fee: $800, includes materials and Illinois, Edwardsville July 17-28 ate through professional. Instructor: Jerry Caplan. Fee: firing. Camping available. Contact Thanos A. Johnson Korean decorating techniques with Cho Chung Hyun. $250, includes materials and some firing. Camping Studio, 118 East Silver Street, Marble 81623; or phone Contact Daniel Anderson, Southern Illinois University, available. Send slides and sase by June 26 to Jerry (303) 963-2022. Box 1774, Department of Art and Design, Edwardsville Caplan, Director, Pipe Sculpture Workshop Selection 62026; or phone (618) 692-3071. Committee, 5819 Alder Street, Pittsburgh, Pennsylva­ Colorado, Snowmass VillageMay 29-August 25 nia 15232; or phone (412) 661-0179. “The Cup” with Ron Nagle and Ken Price, focusing on Illinois, Evanston May 31-August 20 mold making (May 29-June 2); fee: $365. “Clay Con­ Ten-week sessions on pottery, vessels, sculpture, figu­ California, IdyUwild June 11-September 1 structions” with Anne Currier, handbuilding and glaz­ rative work. Instructors: Nancy Gardner, Toni Louis, “Adult Ceramics” with Greg Kennedy, handbuilding, ing techniques; or “The Challenge of Function” with Stephen Mickey, Roselyn Paul, Fern Pritikin and Barb throwing, glazing and kiln design (1- and 2-week ses­ Jeff Oestreich, making utilitarian pottery on the wheel Trupp. Fee: $190 per session. Live-in accommodations sions from June 11-July 21); fee: $275 per week. “Hopi (June 5-16); fee: $425 per session. “Soldner’s Turf’ available. Contact Stephen Mickey, Ceramics Depart­ Pottery” with Priscilla Namingha Nampeyo, or “San II- with Paul Soldner, handbuilding and throwing with ment, Evanston Art Center, 2603 Sheridan Road, Evans­ defonso Pottery” with Blue Corn (June 11-17); fee: low-fire clays (June 19-23); fee: $285. “Acquisition of ton 60201; or phone (312) 475-9139. $325 per session. “The Sculpted Head” with John Motti- Pottery Skills” with John Glick and Susie Symons (June shaw (June 16-18); fee: $140. “Acoma Pottery” with 19-30); fee: $425. “Hollow Clay Figures” with Caleb Illinois, North field Summer Emma Mitchell and Delores Garcia (June 25^July 1); Bach (June 26-July 7); fee: $425. “Basic Pottery and Eight-week sessions on throwing, handbuilding, raku fee: $325. “Cochiti Pottery (Storyteller Figures)” with Firing Techniques”with Doug Casebeer and Brad Miller or high-firing with Naoma Donnelley, Jill Grau Danesi Ivan and Rita Lewis (June 25-July 8); fee: $325. “Casas (July 3-14); fee: $425. “Tableware and the Occasion” and John Kevern; plus demonstrations by Bill Farrell Grandes Pottery” with Juan Quezada, or “Jemez Pot­ with Akio Takamori, creating a functional tableware set and Eric Jensen. Beginning through advanced. Live-in tery” with Laura Gachupin (July 2—8); fee: $325 per ses­ inspired by personal events (July 10-21); fee: $425. accommodations available. Contact Jill Danesi, North- sion. ‘Youth Ceramics” with Greg Kennedy, handbuild­ “People and Pots” with Chris Staley (July 17—28); fee: field Pottery Works, 1741 Orchard Lane, Northfield ing, throwing, glazing and kiln design (July 23-August $425. “Ceramics: 2D-3D” with Dorothy Hafner, devel- 60093; or phone (312) 446-3470. 6 or August 5-19); fee: $395 per week. “Specialized Ceramics: Musical Instruments” with Brian Ransom Indiana, Indianapolis June 5-August 12 (August 20-25 or August 27-September 1); fee: $295 “Raku Rendezvous” with Loran Hill and visiting artist per session. Skill requirements vary. All fees include George Debeiky (June 5-July 28); fee: $115; members, materials, firing, lodging and meals. Contact Summer $95. “Ceramics” with Tim Ryan, basic forming tech­ Program Registrar, Idyllwild School of Music and the niques, plus traditional and innovative glazing and firing Arts, Box 38, Idyllwild 92349; or phone (714) 659-2171. methods (June 6-July 25); fee: $125; members, $95. “Ceramics Weekend Workshop” with Tom and Ginny California, Los Angeles June 24-25 Marsh, emphasis on lidded forms (June 23-25); fee: “Ceramic Houses Workshop” with Nader Khalili, how $217; members, $187. “Youth Ceramics” with Tim Ryan, to design, build, fire and glaze adobe and rammed- for ages 7-15, handbuilding, throwing and glazing earth structures. All skill levels. Contact Debra Denker, (August 7-12); fee: $118; members, $88. Contact Lau­ Geltaftan Foundation, Box 145, Claremont, California rel Ann Mahaney, Marketing Director, Indianapolis Art 91711. League, 820 East 67 Street, Indianapolis 46220; or California, Mendocino Summer phone (317) 255-2464. “Clay into Spirit” with Kaye A. Like, handbuilding, Indiana, New Harmony June 5-July7 throwing and burnishing earthenware vessels, primi­ Students at Augusta Heritage Arts Workshops “Ceramics Workshop” with Les Miley, handbuilding, tive firing (June 19-23); fee: $180, includes some mate­ throwing, glazing and firing (salt, raku, electric). Be­ rials and firing. Plus workshops with Doug Browe, Josh (Elkins, West Virginia) get into their wheel work. ginning through advanced. For further information DeWees, Jan Hoyman, Peter King, Sasha Makovkin, contact Les Miley, 1800 Lincoln Avenue, University of Colin Pearson, Jim Robinson, David Shaner, Peter von Evansville, Evansville, Indiana 47714; or phone (812) Wilken Zook and Mikhail Zakin. Live-in accommoda­ oping three-dimensional objects through drawing and 479-2043. tions and camping facilities available. Contact Men­ pattern-making (July 24-August 4); fee: $425. “Find docino Arts Center, Lansing Street, Mendocino 95460; Form and Inspiration” with Chris Bertoni, identifying Kentucky, Lexington August 5-13 or phone (707) 937-5818. and expressing sources of inspiration (July 31-August “Raku” with Rick Berman, David Westmeier and Tom 11); fee: $425. “Elegant Form: Pots from Molds” with Zwierlein (August 5-6 or 12-13); at 7525 Grimes Mill California, San Marcos August 7-22 Andy Martin (August 7-11); fee: $265. “Glaze and Clay Road. Fee: $80 per session, includes materials and fir­ “HandbuildingJars” with Jens Morrison, includes color Body Formulation” with Pete Pinnell (August 14-18); ing. Camping available. Contact Rick Berman, 1131 Eu­ application, surface detail and low-fire methods. Begin­ fee: $250. “Clay as Surface: Drawing and Painting” with clid Avenue., Northeast, Atlanta, Georgia 30307; or ning through advanced. Contact Val Sanders, Art De­ Roberto Juarez and Jeff Perrone (August 14-25); fee: phone (404) 525-2529. partment Chair, Palomar College, San Marcos 92069; $525. “The Pot as the Person” with David Leach and or phone (619) 744-1150. Elmer Taylor, includes clay preparation and high-fire Maine, Deer Isle June 4-September 1 gas reduction (August 14-25); fee: $525. Skill require­ Sculpture with Bill Daley (June 4-16). Throwing and California, San Pedro June 3, 17 ments vary. Tuition includes materials and firing. Live- handbuilding with Robert Turner (June 18-30). Func­ “Pit Fire Workshop” (June 3) and “Raku Firing Work­ in accommodations: $235 per week; includes meals. tional vessels and salt firing with Linda Christianson shop” (June 17). Fee: $15 per session. All skill levels. For further information contact Doug Casebeer, An­ (July 2-21). Handbuilding, throwing and aesthetics

38 Ceramics Monthly with Jerry Rothman (July 23-August 11). Porcelain Missouri, Kansas City June 12-30 photographing ceramics, plus health hazards in the ce­ forms with Catharine Hiersoux (August 13-September “Follow the Yellow Brick Road Back to Kansas City” with ramic arts and repairing electric kilns. Beginning 1). All skill levels. Fee: $340-$450 per session. Live-in ac­ Victor Babu, Ken Ferguson and George Timock. Ad­ through advanced. Fee: $125 per week (2-week mini­ commodations available. Contact Stuart Kestenbaum, vanced and professional. Fee: $600; additional fee for mum); includes firing and lodging. Contact Douglas Director, Haystack Mountain School of Crafts, Deer materials, firing, studio tours and special events. Live-in Grimm, Grimmstone Pottery, 2524 Sycamore, Missoula Isle 04627; or phone (207) 348-2306. 59802; or phone (406) 543-7970. Maine, North EdgecombJune 5-September 1 Nebraska, Lincoln June 26-July 14 “Free Presession,” preparation for summer residency “Handle, Spout, Story, Shrine,” weeklong sessions with sessions (June 5-10). “Session I” with Raymon Elozua Mark Pharis, Jack Earl or Karon Doherty. Advanced (June 12-23) ; fee: $600. “Session 2” with Robert Harri­ and professional. Fee: $250 per session; $575 for all son (June 26n-July 14); fee: $850. “Session 3” with James three. May 1 registration deadline. Campus housing Lawton (July 17-August 4); fee: $850. “Session 4” with and camping available. Contact Gail Kendall, Depart­ Christine Federighi (August 7—18); fee: $600. “Session ment of Art 8c Art History, 207 Woods Hall, University 5” with Karon Doherty (August 21-September 1); fee: of Nebraska, Lincoln 68588; or phone (402) 472-2631. $600. All fees include lodging and meals. Contact Sharon Pollock-DeLuzio, Director, Watershed Center for the Nevada, Incline VillageJune 26-August 11 Ceramic Arts, Box 62, North Edgecomb 04556; or phone “Begin and Begin Again: Handbuilding, Throwing and (508) 993-9771. Experimental Firings” with Rodney Mott (June 26-30). “Stoneware and Porcelain: Throwing, Glazing, Firing” Maryland, College Park Summer with Vivika and Otto Heino (July 10-14). “Ceramic “All about Glazes,” 1- and 2-week glaze development Sculpture: Handbuilding, Glazing, Firing” with Mary sessions with Harold McWhinnie, includes discussion Beth Coulter and Daniel Rhodes (July 17-21). “Hand­ of health issues. Contact Department of Curriculum building: Colored Clay Inlay Techniques, Glazing, Fir­ and Instruction, Room 2311, H. R. W. Benjamin Build­ ing” with Virginia Cartwright (July 24-28). “Large-Scale ing, College of Education, University of Maryland, Col­ Appropriate footwear for Greek island claywork Ceramics: Handbuilding, Glazing, Kiln Firing” with lege Park 20742; or phone (301) 454-7346. Marilyn Dintenfass (July 31-August 4). “Raku: Throw­ at Candili Pottery, Procopi, Evia, Greece. ing, Glazing, Firing, Kiln Design” with Nancy Guisti Massachusetts, Allston June 11-September 16 (August 7-11). All skill levels. Fee: $225 per session, Handbuilding, throwing, glazing, sculpture, and raku; includes materials and firing. Live-in accommodations at Radcliffe Ceramics Studio. Instructors: Warren accommodations available. Contact Carla Crook, Con­ and camping available. Contact Carol Sphar, Sierra Ne­ Mather, Shawn Penepinto and Makoto Yabe. All skill tinuing Education, 4415 Warwick Boulevard, Kansas vada College, Box 4269, Incline Village 89450; or phone levels. Fee: $370, includes materials and firing. Contact City Art Institute, Kansas City 64111; or phone (816) (800) 332-8666. Radcliffe College Ceramics Summer Session, Office of 561-4852, extension 293. the Arts, 10 Garden Street, Cambridge, Massachusetts Nevada, Tuscarora July 16-August 13 02138; or phone (617) 495-8676. Montana, Bozeman June 20-July14 “Throwing Clinic” (July 16—29); and “Open Studio” Handbuilding, throwing and glazing with Rick Pope. (July 31-August 13) with Dennis Parks and Sana Mu- Massachusetts, HousatonicJune 1-August 31 Beginning through advanced. Fee: $255, includes ma­ sasama. Instruction in English or French. All skill levels. One-month workshops on Japanese throwing and trim­ terials and firings. Live-in accommodations and camp­ Fee: $540 per session, includes some materials, firing, ming techniques, with an emphasis on production; in­ ing facilities available. Contact N. Richard Pope, School lodging and meals. For further information contact cludes firing a wood-burning kiln. All skill levels. Con­ of Art, Montana State University, Bozeman 59717; or Dennis Parks, Tuscarora Pottery School, Box 7, Tus­ tact Great Barrington Pottery, Route 41, Housatonic phone (406) 994-4501. carora 89834; or phone (702) 756-6598. 01236; or phone (413) 274-6256. Montana, Missoula July 1-31 New Hampshire, PlymouthJune 25-July 1 Massachusetts, Williamsburg June 1-August 12 Handbuilding, throwing, mural construction, clay pros­ “Form and Wood Firing” with Mary Roehm. Advanced Handbuilding, throwing, glazing, decorating and firing pecting and processing, raku kilnbuilding/firing and and professional. Fee: $200; includes materials, firing for students under age 18 (June 1-July 21 or July 23- August 12); at Horizons Art Facility, Berkshire Moun­ tains. Fee: $1490 per session ($2805 for both); all fees Mexican potter Juan Quezada conducts a traditional firing, using dung as fuel, include materials and lodging. For further information contact Horizons: The New England Craft Program, at Idyllwild School of Music and the Arts in California. 374 Old Montague Rd., Amherst, Massachusetts 01002; or phone (413) 549-4841. Michigan, Ann Arbor June 28-July 7 “Structure and Form Building in Clay” with William Daley. Intermediate through professional. Fee: $200. Live-in accommodations and camping available. Con­ tact Barbara Carr, Registrar, School of Art, 2000 Boni- steel Boulevard, University of Michigan, Ann Arbor 48109; or phone (313) 764-0527. Michigan, Beaver Island August 11-20 “Raku and Primitive Firing Workshop” with Susan Wink. Fee: $252, includes materials, firing, lodging and meals. For further information con tact James Gillingham, 114 Brooks Hall, Biology Department, Central Michigan University, Mount Pleasant, Michigan 48859; or phone (517) 774-3291 or 774-3227. Michigan, Detroit June 26-July 28 “Ceramics Sculpture: Form and Content” with Kathy Dambach (June 2fr-July 7); fee: $400. “Useful Pots: Aesthetics and Process” with Joseph Bennion (July 10- 21); fee: $400. “Glaze Theory & Surface Development” with Angela Fina (July 24-28); fee: $250. All fees in­ clude materials and firings. Contact Mary Roehm, Di­ rector, Pewabic Pottery, 10125 East Jefferson, Detroit 48214; or phone (313) 822-0954. Michigan, Kalamazoo June 9-11 Handbuilding and throwing with Chris Staley. Fee: $40. Intermediate through professional. Contact Tom Ken­ dall, Kalamazoo Institute of Arts, 314 South Park Street, Kalamazoo 49080; or phone (616) 664-5430. Minnesota, Duluth July 9-15 “Handbuilding with Clay” with Tom Kerrigan, pinch forming, slip decorating; at the University of Minne- sota-Duluth. Fee: $295; includes materials and firing. Live-in accommodations and camping available. Con­ tact Vivien Oja, Split Rock Arts Program, 320 Wesbrook Hall, 77 Pleasant St., SE, University of Minnesota, Min­ neapolis, Minnesota 55455; or phone (612) 624-6800. Missouri, Bethel June-July Sessions on fine and folk arts, including ceramics. Con­ tact Bethel Colony School of the Arts, German Colony, Box 127, Bethel 63434; or phone (816) 284-6493.

April 1989 39 and evening activities. Live-in accommodations avail­New Mexico, Los Alamos July 15 containers. Beginning and intermediate. Fee: $200; in­ able. For further information contact Doris Salis, DCE Carving and applying designs with Gary Lee Owens. All cludes materials. For further information contact Earth­ Plymouth State College, Plymouth 03264; or phone skill levels. Fee: $35; members, $30; includes materials. works Pottery, 1705 First Avenue, New York 10128; or (603) 536-5000, extension 2227. Contact Karen Noll Purucker, Director, Fuller Lodge phone (212) 534-9711. New Jersey, Belvidere June 16-July23 Art Center, Box 790, Los Alamos 87544; or phone (505) June 26-July 21 “Anagama Wood Firing” with Peter Voulkos and Peter 662-9331. “Ceramic Design,” intensive studio work, plus field trips Callas (June 16-25 or July 14-23); fee: $350 per session. and lectures on creating new utilitarian and decorative Participants asked to bring green- and bisqueware. Two- New Mexico, Santa Fe July 23-August 2 forms. University housing available. Contact Parsons day unloading session and Peter Voulkos demonstra­ ‘Jemez Pottery”; in Santa Fe National Forest. Instruc­ School of Design Office of Special Programs, 66 Fifth tion (June 24—25 or July 22-23); fee: $80 per session. tors: Laura Gachupin, Marie Romero and Maxine Toya. Avenue, New York 10011; or phone (212) 741-8975. Live-in accommodations available. Camping: $5 per All skill levels. Fee: $750, includes materials, camping day. May 31 registration deadline. For further informa­ and meals. Contact Idyllwild School of Music and the July 10-August 14 tion contact Peter Callas, R.D. 2, Box 213, Belvidere Arts, Box 38, Idyllwild, California 92349; or phone Twice-a-week sessions (day or evening) on throwing, 07823; or phone (201) 475-8907. (714) 659-2171. handbuilding, slip casting, glazing, jewelry design, pho­ tographing ceramics, etc. Instructors: Janet Belden, New Jersey, Layton June 15-August 31 New Mexico, Taos June 12-July 1 Michael Kline and Kate Missett. Beginning through ad­ “Functional Pots” with Warren MacKenzie (June 15-28); Introduction to ceramics with Skip Miller, Nausika vanced. Fee: approximately $180; includes materials. fee: $395. “Decorated Functional Porcelain” with Laura Richardson, Guillermo Rosete, Aliah Sage and Hank For further information contact Tim Legg, Center for Burch (July 7-18); fee: $330. “Anagama” with Everette Saxe. Beginning and intermediate. Fee: $900, includes the Arts at the West Side Y, 5 West 63 Street, New York Busbee (July 21-August 6); fee: $615. “Ceramic Res­ materials and firings. Camping available. Contact Law­ 10023; or phone (212) 787-6557. toration” with Shirley Koehler (August 8-9); fee: $90. rence Houghteling, Taos Institute of Arts, Box 1389, “Low-Fire Surface Possibilities” witli Andra Ellis (Au­ Taos 87571; or phone (505) 758-2793. New York, Oneonta July 2-22 gust 11-17); fee: $270. “Handbuilding: Toward a Per­ “Studio Arts Workshop” with Roberta Griffith; ceramics sonal Language” with Kim Dickey (August 19-20); fee: New York, Clayton June 30-August 25 (throwing, decorating, glazing and various handbuild­ $100. “Off-Round Functional Ceramics” withjimjansma “1000 Island Pottery Workshop,” gathering Grindstone ing and firing methods) is one of six areas of instruc­ (August 24-28); fee: $210. “Ceramic Tile” with Roger Island clay and test firing (June 30-July 7 or August tion. Beginning and intermediate level high school stu­ dents. Fee: $850; includes materials, firing, lodging and meals. Contact Milly D’Angelo, Director, Studio Arts Workshop, Hartwick College, Oneonta 13820; or phone (607) 432-4200, extension 361 or 516. New York, Port Chester June 3-11 “Functional Pottery” with Byron Temple (June 3); fee: $45. “Pinching Large Forms” with Elsbeth Woody (June 5-8); fee: $150. ‘Japanese Handbuilding and Wheel- Throwing Techniques” with Makoto Yabe (June 10); fee: $45. “Raku Workshop” with Grace Powers Fraioli (June 16-17); fee: $80. For further information contact Clay Art Center, 40 Beech Street, Port Chester 10573; or phone (914) 937-2047. New York, Rochester June 12-July14 “Sawdust/Pit/Raku Firing Processes” with Robert Schmitz, includes throwing and kilnbuilding (June 12- 27 or June 28-July 14). Beginning through advanced. Contact Part Time Enrollment Services, Rochester In­ stitute of Technology, 1 Lomb Memorial Drive, Roches­ ter 14623; or phone (716) 475-2229. New York, Saratoga SpringsMay 23-August 11 “Beginning through Advanced Ceramics; Clay Model­ ing” (May 23-June 30 or July 5-August 11). All skill levels. Instructors: Regis Brodie and Ted Camp. Fee: $190-$205 per session; includes materials and firing. Live-in accommodations and camping available. Con­ tact Regis Brodie, Director, Summer Six Art Program, Skidmore College, Saratoga Springs 12866; or phone (518) 584-5000, extension 2372. New York, Southampton July 3-14 “Sawdust/Saggar Firing” (July 3, 5-7). “Raku Firing” (July 10-14). Fee: $257 per session, includes materials and firing. Beginning through advanced. Live-in ac­ commodations available. Contact P. Kudder-Sullivan, Yukio Yamamoto (left) and Don Reitz inspecting an anagama pot at Northern Arizona University, Flagstaff. Art Department, Southampton Campus, Long Island University, Southampton 11968; or phone (516) 283- 4000, extension 427. Baumann (August 30-31); fee: $115. Fees include ma­ 7-11); fee: $130. “Half-Day Pottery Workshop,” hand­ terials and some firing. Contact Registrar, Peters Valley building and throwing (July 10, 12, 14, 17, 19 and 21); New York, Troy May 23-July 11 Craftsmen, Route 615, Layton 07851; or phone (201) fee: $100. “Beginning and Intermediate Pottery Work­ “Advanced Classes on Throwing and Handbuilding,” 948-5200. shop,” throwing, handbuilding, glazing and firing (July includes pit firing and raku. Fee: $130, includes materi­ 24-August 4); fee: $215. “Advanced Pottery Workshop,” als and firing. Camping available. For further informa­ New Jersey, Loveladies June 26-August 25 throwing, handbuilding, plus oxidation, reduction and tion contact Jayne Shatz, Rensselaer County Council “Clay as Sculpture” with Mark Davies (June 26-July 14 raku firing (August 14-25); fee: $215. Skill require­ for the Arts, 189 Second Street, Troy 12180; or phone or August 14-25); fee: $45 per week. “The Painted Sur­ ments vary. Instructor: Rachel Grovesteen. Camping (518) 273-0552. face” with Alan Willoughby, slip-trailed, paper-resist available. Contact Margaret J. Rood, Thousand Island and incised decoration (July 17-28); fee: $60 per week. Craft School, 314John Street, Clayton 13624; or phone New York, White Plains June 16, 23 “Raku/Low-Fire Techniques” with Bruce Lenore (June (315) 686-4123. “Large-Scale Figurative Sculpture” with Debra Sher­ 31-August 11); fee: $60 per week. All skill levels. Con­ wood (June 16); fee: $20. “Throwing Large/Increase tact Dorthe Englund, Long Beach Island Foundation of New York, Freehold June 17-July 16 the Size of Your Work” with Cliff Mendelson (June 23); the Arts 8c Sciences, 120 Long Beach Boulevard, Love­ “Traditional Nigerian Pottery Techniques,” 1-, 2- or 4- fee: $22. Contact Abre Chen, Westchester Art Work­ ladies 08008; or phone (609) 494-1241. day sessions with Abbas Ahuwan and Frank Giorgini. In­ shop, Westchester County Center, White Plains 10607; struction in English or Hausa. Fee: $75-$ 100 per day. or phone (914) 684-0094. New Mexico, Abiquiu June 1-4 Contact Frank Giorgini, Route 67, Box 126, Freehold Handbuilding, decorating and primitive firing with 12431; or phone (518) 634-2559. North Carolina, BrasstownJune 4-August 26 Jean Rutka; at Ghost Ranch. All skill levels. Fee: $90; “Pinch Methods” with Susie Duncan (June 4—10). “Air- members, $75. Live-in accommodations and camping New York, New York June 5-July20 brushing, Painting and So On” with Lynn Whitehead available. Contact Bill Armstrong, New Mexico Potters Weekly sessions on red earthenware handbuilding, (June 18-24). “Figurative Sculpture” with Judith Wil­ Association, Box 706, Corrales, New Mexico 87048; or throwing, decorating and raku. Instructors: Jeff Cox, liams (June 25-July 1). “Colored Liquid Clay, Slips or phone (505) 898-7471. Woody Hughes, Caryn Kreitzer, Cliff Mendelson and Engobes” with David Morgan (July 2-8). “One- and Lyn Ricardo. Beginning through advanced. Fee: $150 Two-Piece Plaster Molds” with Barbara Bauer (July New Mexico, Chaco CanyonAug. 23-Sept. 2 per session; includes materials. Contactjeff Cox, Direc­ 16-22). “Techniques of Slip Casting” with Barabar Bauer “Acoma Pottery with the Lewis Family,” handbuilding tor of Ceramics, 92nd Street Y, 1395 Lexington Avenue, (July 23-29). “Handbuilding for Beginners and Wheel and pit firing. Instructors: Emma Mitchell and Delores New York 10128; or phone (212) 415-5565. Work for Advanced Students” with Bonnie Staffel (July Garcia. All skill levels. Fee: $750, includes materials, 30-August 5 and August 20-26). “Colored Clay Tech­ camping and meals. Contact Summer Program Regis­ June 20-August 22 niques” with Barbarajoiner (August 6-12). “Thixotropic trar, Idyllwild School of Music and the Arts, Box 38, Handbuilding with Margaret Simonds, focusing on the Clay” with Becky Connors (August 13-19). Fee: $160 Idyllwild, California 92349; or phone (714) 659-2171. figure as subject of wall hangings, murals and large per week; includes materials. Live-in accommodations

40 Ceramics Monthly and camping available. ContactJohn C. Campbell Folk School, Brasstown 28902; or phone (800) 562-2440. North Carolina, Cullowhee July 5-21 Handbuilding, throwing, glazing and kiln firing with Kathy Koop. Beginning through advanced. Fee: North Carolina residents $150; nonresidents $450; includes materials and firings. Live-in accommodations and camping available. Contact Robert Godfrey, Depart­ ment of Art, 291 Belk, Western Carolina University, Cullowhee 28723; or phone (704) 227-7210. Or contact Diana Henshaw, Summer School, HFR Building, Cullow­ hee 28723; or phone (704) 227-7228. North Carolina, PenlandMay 22-September 1 “Porcelain Form and Design” with Catharine Hiersoux, thrown and altered forms; or “Design Collaboration” with Jeff Cole and Jason Pollen, will cover issues com­ mon to fiber and clay artists (May 22-June 2); fee: $355 per session. “Design and Production” with Jon Ellenbo- gen and Rebecca Plummer, high-fire reduction stone­ ware; or “Handbuilding/Low-Fire” with David Gamble and Martha Holt (June 5-16); fee: $355 per session. “Expression in Clay” with Steve Loucks, vessels fired in gas reduction, salt, raku and wood kilns; or “Clay and Mixed Media” with Clara Couch and Martha Dunigan, includes electric, dung, pit and sawdust firing (June 19-July 7); fee: $510 per session. “Color and Surface Decoration” with Stanley M. Andersen, majolica pot­ tery; or “The Vessel as Symbolic Presence” with George Kokis and Rodney McCoubrey (July 10-21); fee: $355 per session. “Functional Pottery” with Jeff Oestreich, in­ cludes gas reduction and wood firing; or “Form and Surface” with Gail Kendall, handbuilding and low-fire decoration (July 24-August 9); fee: $455 per session. “Pottery” with Colin Pearson, throwing and electric kiln firing at Cones 7-8; or throwing and handbuilding with Mary Beth Coulter and Daniel Rhodes, includes gas re­ duction, wood firing and low-fire enamels (August 14-25); fee: $355 per session. “Words and Clay” with Jane Kessler and Verne Stanford; or “Ceramic Sculp­ ture and Installations” with Brad Miller (August 28- September 1); fee: $195 per session. Skill requirements vary. Contact Connie Sedberry, Registrar, Penland School, Penland 28765; or phone (704) 765-2359. North Carolina, Troy Summer Throwing, developing clay bodies and glazes, and build­ ing and firing kilns. For further information contact Montgomery Community College, Box 787-X, Troy 27371; or phone (919) 572-3691. Ohio, Logan July 9-15 “Pipe Sculpture Workshop,” involves working with sewer Metchosin International Summer School pipe extrusions 6-12 inches in diameter and 6 feet in height; at Logan Clay Products Company. Instructor: Jerry Caplan. Intermediate through professional. Fee: by Michael Obranovich $250, includes materials and some firings. Camping available. Send slides and sase by June 19 to Jerry Cap­ lan, Director, Pipe Sculpture Workshop Selection Com­ mittee, 5819 Aider Street, Pittsburgh, Pennsylvania In 16 years of being a full-time studio pot­ all the specified problems, and subsequent 15232; or phone (412) 661-0179. ter, only twice had I been able to indulge exercises to solve them. Additionally, each Ohio, Oxford June 19-July21 myself in time away from the studio, and morning, there is a discussion about the “Craftsummer 1989,” weekly sessions with Walter Os- never for two weeks of non-stop glaze test­ origin and application of materials that trom and Jeff Oestreich. Live-in accommodations avail­ able. Contact Craftsummer 1989, Rowan Hall, Miami ing. When Robin Hopper suggested (at a are used in the formulation of glazes and University, Oxford 45056; or phone (513) 529-7395. workshop) that the Metchosin Interna­ clays. Hopper’s book, The Ceramic Spec­ Oregon, Otis August 15—16 tional Summer School of the Arts would trum, is used as a text. “Clay Sculpture” with Adrian Arleo, handbuilding low- be a meaningful experience, eventually I The workshop also features historical fire clay. Contact Sitka Center, Box 65, Otis 97368; or sent for a prospectus. study of ceramics through slides and vid­ phone (503) 994-5485. Metchosin was conceived by Hopper, eos, lectures each evening by guest artists, Oregon, Portland June 24-August 13 Judi Dyelle and several other Canadian and visits to museums and studio artists of “Complex Forms from Multiple Sections” with Tim Mather (June 24-25). “Handbuilding Using Press Molds: artists. Its simple premise was to invite the area. Oh yes, I caught my limit of Considerations of Surface” with Andrea Gill (August some of the best people in the fields of salmon as well. 12-13). Fee: $80 per session. Contact Oregon School of Arts and Crafts, 8245 Southwest Barnes Road, Portland clay, textiles, painting, brush usage and 97225; or phone (503) 297-5544. printmaking; add some very interested above Test tiles give the answers to participants; and put them together in an individual glaze problems at Metchosin’s August 13-26 workshop with Robin Hopper (below ,left ). “Clay Art” with Debra Norby (first week) and Anne intensive communal environment—the Hirondelle (second week). Fee: $390 per week; or $695 Lester B. Pearson College of the Pacific, for both; includes materials, firing, lodging and meals. Contact Creative Arts Community, Box 4958, Portland located southeast of Victoria on Vancou­ 97208; or phone (503) 771-4270. ver Island, British Columbia. Pennsylvania, DoylestownJune 5-August 25 The curriculum in clay is structured Apprenticeships in mosaic and tilemaking, working 3 for participants to explore specific glaze days a week under supervision in exchange for hourly problems from their own experiences. wage, studio space, and use of materials and facilities. Intermediate and advanced. Contact Adam Zayas, Mora­ Each ceramist writes about a particular vian Pottery8c Tile Works, 130 Swamp Road, Doylestown problem, then sends it to Hopper, who 18901; or phone (215) 345-6722. decides some parameters for testing. Pennsylvania, Uniontown June 9-August 19 The classes are divided by interest in “Handbuilding: Beyond Mechanics: Hand-Heart-Head” low- and high-temperature glazes. Partici­ pants each receive a booklet containing April 1989 41 of the Arts, 911A Linden Avenue, Victoria V8V 4G8; or phone (604) 384-1698. Canada, Nova Scotia, HalifaxMay 15-July 26 “Figurative Ceramics” with Peter Bustin; or “Throwing” with Jane Donovan (May 15-June 7). “Pottery: Form 8c Color” with Ian Symons and visiting artist John Gill, earthenware, slip decoration and majolica (June 8-30). “Site and Object” with Katrina Rozman and visiting artist Farley Tobin, tiles, mosaics and architectural ce­ ramics (July 4-26). Fee: Can$85-$145 (approximately $73-$124) per session; includes materials and firing. Skill requirements vary. Camping available. For further information contact Jane Harmon, Summer Admis­ sions, Nova Scotia College of Art and Design, 5163 Duke Street, Halifax B3J 3J6; or phone (902) 422-7381. Canada, Ontario, Brockville July 4-28 “Ceramic Sculpture” with Ken Kettlewell (July 4-8). “Design and Decoration” with Margaret Hughes (July 10-14). “Raku” with Chris Thompson (July 24-28). In­ termediate. Fee: Can$82 (approximately $70) per ses­ sion. Live-in accommodations and nearby camping avail­ able. Contact Audrey Jubien, Saint Lawrence College Saint-Laurent, 2288 Parkedale, Brockville K6V 5X3; or phone (613) 345-0660, extension 3220. Learning to build arches and vaults fromu straights” and mortar in a Los Angeles area workshop with Nader Khalili. Canada, Ontario, HaliburtonJuly 24-August 4 “Raku—Special Effects” with Michael Sheba (July 24- 28). “Clay Sculpture” with Dzintars Mezulis (July 31- August 4). Fee: Can$75 (approximately $64) per ses­ with George Johnson (June 9-11); fee: $95. “Clay” with Washington, Bellingham July 10-28 sion. Contact Sir Sandford Fleming College, Haliburton Cynthia Bringle, handbuilding and throwing with em­ Handbuilding, throwing, slip casting and glazing. Be­ School of Fine Arts, Box 339, Haliburton K0M ISO; or phasis on form and decoration (June 25-July 1); fee: ginning through advanced. Contact Patrick McCormick, phone (705) 457-1680. $130. “Beginning Pottery” with Mary Barringer (July Art Department, High Street, Western Washington Uni­ 10—15 or 17-22); fee: $110 per session; $210 for both. versity, Bellingham 98225; or phone (206) 676-3660 or Canada, Ontario, North Bay July 3-28 “Raku Kilnbuilding Workshop” with David Frederickson 733-6574, evenings. “Decorative Porcelain” with Harlan House, throwing, (July 24-29); fee: $110. “Raku” with Rick Hirsch (July carving and applying decoration (July 3-7). “Studio 31-August 5); fee: $160. “Wheel-Thrown Ceramics” West Virginia, Elkins July 9-14 Pottery” with Jim Louie (July 10-14). “Handbuilding with Valda Cox (August 7-12); fee: $110. “Electric Kiln Wheel-throwing stoneware, glaze mixing and reduc­ Clay Sculpture” with Dzintars Mezulis, figurative sculp­ Ceramics” with Richard Zakin (August 14-19); fee: tion firing. Beginning through advanced. Instructors: ture (July 17-21). “Pottery Decoration” witii Keith Camp­ $130. Lodging: $20-$75. Camping available. Contact Duke Miecznikowski and Steve Sienkiel. Fee: $450-$480; bell, includes slip and airbrush techniques (July 24-28). Linda Deafenbaugh, Touchstone Center for Crafts, includes materials. Live-in accommodations and camp­ “Advanced Handbuilding Clay Sculpture” with Dzin­ Box 2141-CM, Uniontown, Pennsylvania 15401; or ing available. Contact Doug Hill, Arts Workshops, Au­ tars Mezulis (July 24-28). Skill requirements vary. Fee: phone (412) 438-2811. gusta Heritage Center, Davis & Elkins College, Box CM, Can$85 (approximately $73) per session. Live-in ac­ Elkins 26241; or phone (304) 636-1903. commodations and camping available. Contact Arts- South Dakota, Spearfish June 5-16 perience ’89, Summer School of the Arts, Canadore “Raku Workshop” with Jeannie French; intended for West Virginia, GlenvilleJune 12-August 11 College, Box 5001, North Bay P1B 8K9; or phone elementary and junior high school teachers. Campus “Stoneware/Porcelain” with Charles C. Scott, throw­ (705) 474-7600. housing and camping facilities available. Contact Black ing, glazing and firing. Beginning through advanced. Hills State College, College Station 6771, 1200 Uni­ Fee: West Virginia residents $102; nonresidents $312. Canada, Ontario, TorontoMay 29-July 10 versity, Spearfish 57783; or phone (605) 642-6771. Camping and limited live-in accommodations avail­ “High Fire/Low Fire” with Deborah Black and Gerry Tennessee, Gatlinburg June 5-August 11 able. For further information contact Charles C. Scott, Johns, includes throwing, handbuilding and glazing “Surface Decoration Using Majolica” with Linda Ar- Glenville State College, Glenville 26351; or phone (304) (May 29-June 16); intermediate skill level. “Ceramic buckle (June 5-9); fee: $150. “The Teapot” with Chris 462-7361 or 462-7186. Sculpture” with Susan Low-Beer (June 19-July 10). Fee: Gustin, aesthetic and utilitarian principles (June 12-17); Wisconsin, Drummond June 11-24 Can$180 per session (approximately $154); includes fee: $150. “Basic Handbuilding” with Margaret Ford materials and firings. University housing available. Con­ (June 19-23); fee: $150. “Raku” with Penelope Flem­ Handbuilding, throwing and firing Southwest-Indian- tact D. Black or G. Johns, Ceramics, George Brown ing, handbuilding, glazing, special equipment and mar­ style burnished blackware, plus simple kilnbuilding, College, Casa Loma Campus, Box 1015, Station B, keting (June 2fr-July 7); fee: $300. “Drawing and Paint­ salt and raku firing (June 11-17 or 18-24); at Pigeon Toronto M5T 2T9; or phone (416) 967-1212, ext. 2486. ing on Clay” with David Gamble and Martha Holt, low- Lake Field Station, Chequamegon National Forest. In­ fire commercial products (July 10-14); fee: $150. “Fir­ structors: Doug Johnson and Kurt Wild. Intermediate Canada, P.E.I., CharlottetownAugust 14-18 ing the Anagama” with John Chalke; or “Oxidation Sur­ through professional. Contact Kurt Wild, Art Depart­ “Clay Speak: Expression through Paper” with Ron Ar- faces” with Barbara Tipton (July 17-28); fee: $300 per ment, University of Wisconsin, River Falls, Wisconsin nidson. Fee: Can$100 (approximately $86). Beginning session. “Personal Imagery—Large Scale Construction 54022; or phone (715) 425-3308 or 425-3266. and intermediate. For further information contact in Porcelain and Other Clays” with Paula Winokur (July Henry Purdy, Hollann College School of Visual Arts, 50 31-August 4); fee: $150. “Ceramics/Wheel Throwing” Burns Avenue, Charlottetown. with David Nelson, includes throwing large-scale forms International and working with lids for visual and actual fit (August Canada, Quebec, Saint Fidele July 31-August 18 7-11); fee: $150. Skill requirements vary. Live-in accom­ Barbados, Saint James July 10-28 “Throwing Course for Beginners” with Esther Legault, modations: $115-$195 per week; includes meals. Near­ “Raku Ceramics” with R. L. Studham, wheel throwing, includes glazing, and gas- and wood-firing methods. by camping available. Contact Lisa Lane, Arrowmont handbuilding and kilnbuilding using local materials; at Instruction in English or French. Fee: Can$250 (ap­ School of Arts and Crafts, Box 567, Gatlinburg 37738; Bellairs Research Institute. Instruction in English or proximately $214); includes materials and firing. Live- or phone (615) 436-5860. French. Intermediate. Limited enrollment. Fee: ap­ in accommodations available. Contact Poterie de Port- proximately Can$ 1000 (approximately $855), includes au-Persil, 182 chemin Saint Paul, Saint Fidele GOT 1T0; Texas, Farmers Branch June 20-July 6 round-trip air transportation from Montreal, lodging or phone (418) 638-2349 or 434-2435. “Pushing the Limits of Thrown Forms” with Lisa Ehrich and workshop materials. Contact R. L. Studham, Fac­ England, Great Dunmow Summer and Harvey Sadow, includes raku firing. All skill levels. ulty of Education, McGill University, 3700 McTavish “Salt Glaze Workshop,” high- and low-fire techniques Fee: $41-$205. Contact Dennis Boatright, 3939 Valley Street, Montreal, Quebec, Canada H3A 1Y2; or phone (July 1-15). Intermediate through professionl. Fee: View, Brookhaven College, Farmers Branch 75234; or (514) 398-6946. £425 (approximately $750); includes materials, firing, phone (214) 620-4782. Canada, Alberta, Red Deer July 3-August 4 lodging and meals. Also weekday instruction on throw­ Texas, San Antonio June 24-25 Weeklong sessions on wheel throwing, mid-range ceram­ ing, handbuilding, decorating, glazing, raku and saw­ Demonstration of rethrowing partially dry forms and ics, raku, glaze and surface decoration, sculpture and dust firing. Fee: £185 per week (approximately $327); sandblasting, plus discussion of iridescent qualities of running a successful studio. Instructors: Bert Borch, includes materials, firing, lodging and meals. Contact fired minerals in raku, with Harvey Sadow. Intermedi­ Frank Boyden, Denys James, Noboru Kubo, Walter Os- White Roding Pottery, Bretts Farm, White Roding, Great ate, advanced and professional. Fee: $90. Contact Den­ trom, Bob and Connie Pike, Annemarie Schmid-Esler Dunmow, Essex CM6 1RF; or phone (279) 76326. nis Smith, Southwest Craft Center, 300 Augusta, San and Linda Sikora. Fee: Can$120-$145 (approximately Antonio 78205; or phone (512) 224-1848. $103-$124) per session. Live-in accommodations and England, Ipswich Summer camping available. For further information contact Pat “The Alan Baxter Pottery Workshop,” weekly sessions Utah, Logan June 12-July28 Matheson, Program Manager, The Arts Centre, Red on various clays, wheel throwing and firing. Fee: £170 “Low-Fire, Handbuilt and Wheel-Thrown Vessels” with Deer College, Box 5005, Red Deer T4N 5H5; or phone (approximately $300) per week; includes materials, fir­ Woody Hughes (June 12-16). “Large Sculptural Ce­ (403) 342-3555. ing, lodging and meals. Camping available. Contact ramic Forms” with Christine Federighi (July 24-28). All Alan or Patt Baxter, White House Studio, Somersham, skill levels. Fee: approximately $155 per session, in­ Canada, B.C., Victoria July 24-August 4 Ipswich, Suffolk IP8 4QA; or phone (478) 831256. cludes materials and firings. Campus housing: $9 per “Ceramics—Glaze and Color Development” with Robin night. For further information contact Nicholas Bon­ Hopper. “Raku: A Weekend Workshop” with Walter England, London July 29-August 19 ner, Utah State University, Department of Art, Logan Dexter. Live-in accommodations and camping avail­ “Ceramics and Pottery” with David Hamilton, model 84322; or phone (801) 750-3565. able. Contact Metchosin International Summer School Please Turn to Page 74

42 Ceramics Monthly Building and Firing a Climbing Kiln Total Involvement by jane Dillon

THERE IS NO SUBSTITUTE for the feel­ this is the investment in process. Our construction layout processes easily.” ing of involvement that wood firing type of kiln is well suited for a learning Usually, Doug prefers to build this brings. By inviting Doug Casebeer to environment, especially around stu­ type of kiln in the ground at a 30° the Appalachian Center for Crafts near dent groups. The design is versatile in slope. This takes advantage of the soil Smithville, Tennessee, for a two-week firing temperature, length of firing, as a natural insulator and provides kilnbuilding workshop, I knew a wood ash deposit, and fuel economy. Both needed exterior buttressing. Because firing “spark” could be ignited in the chambers can achieve Cone 11 in un­ the center’s kiln is all above ground, students. Doug is currently directing der 24 hours, using an average of three- extra care was taken to seal all outside the ceramics program at the Anderson quarters of a cord of wood. A several- surfaces with refractory cement. The Ranch Arts Center in Snowmass Vil­ day firing is possible by adjusting fuel result is an impressive structure mea­ lage, Colorado. His previous work with size and stoking rhythms.” suring 14x4 feet. the United Nations involved creating Specifically, the Appalachian Cen­ Construction began by laying out and implementing pottery projects in ter’s kiln is a 70-cubic-foot, two-cham­ the primary firebox and the first ware developing countries. ber, downdraft with a Bourry firebox chamber. Foil was used between the “More than anything, wood firing (hob style—no metal grates were used). foundation layer and the second layer lends itself to total engagement,” Doug With Doug’s guidance, we built and of firebox floor bricks to seal drafts remarked. “It’s very different from a fired the kiln in under two weeks. and prevent bricks from wicking up gas kiln where you’re somewhat re­ “I try not to make kilnbuilding more moisture between firings. While the moved from the process. Objects be­ difficult than it already is,” said Doug. center’s kiln is two shelves wide (27 come very special: everything you take“Construction revolves around avail­ inches), the design can flex to accom­ out of the kiln has a different signifi­ able material sources. In this kiln, modate four shelves (54 inches). cance. Often it’s difficult to get that common sense construction utilized All bricks were laid without mortar. kind of significance into your work. standard 9x4J4x2/4-inch firebricks and Doug feels that this helps the kiln “But wood firing also requires pa­ 12x24-inch kiln shelves. Standardized breathe and expand as it ages. “Bricks tience to achieve results. The most dif­ dimensions allow us to recycle bricks seem just as valuable in themselves. ficult obstacle to overcome in teaching from earlier kilns, and help to solve Mortaring them together never seems Kilnbuilders Cait McClanahan, Mary Engel, Moi Dugan, Matt Jason Kovaks and Beth Eriksson with stacked hickory, oak Solomon, Jane Dillon, Doug Casebeer, Margaret McGavin, and pine for firing of the Appalachian Center for Crafts kiln.

April 1989 43 PHOTOS: BRUCE COLE, JANE DILLON. MARY ENGEL. JOHN LUCAS

Construction underway: bricks were laid without mortar, then most surfaces were stuccoed with refractory cement. to accommodate recycling later. Kilns considerable difference in temperature chamber: the raw stoneware turned come and go rapidly in educational control and firing speed. darker brown, Shino-glazed pots were situations. The brick becomes a valu­ The first firing was with hickory and silvery gray, and dark brown glazes went able commodity.” oak, donated by a nearby furniture fac­ to dark green. The orange-flashing slip, For this kiln, basic theories of air tory, as well as pine. At Anderson which turned out a rich orange or red flow were employed. Air intake ports Ranch, Doug uses spruce slab wood in the first chamber, became a rich were built larger than necessary so that from a local sawmill. “I try to have all brown in the salt chamber.” they can be fine tuned (by bricking in) the fuel ready and cut to 25x2-inch I realized the success of this learn­ during the firing. Doug’s kiln in Colo­ pieces prior to each firing. This is im­ ing experience when Matt Solomon, a rado is at 8400 feet above sea level—in portant so that all attention can be second-year student in the nondegree Tennessee, much less air is required, directed to the kiln. When wood firing, program, wrote a few days after our but we appreciate the flexibility this I try to keep all distractions to a mini­ first firing: “Short of using yourself for feature provides. mum—a stockpile of food and no fuel, how much more intimate can you Two kiln shelves are used as damp­ music or beer; well, at least not until become with supplying the energy to ers for the chimney flues in the second the last couple of hours!” complete the process? If I’m going to chamber. While firing the first cham­ Some of the pots in that first load sweat and get stressed out for 24 hours, ber, both dampers are wide open (18x9 were glazed with recipes Doug provid­ I’m going to care about what I’m mak­ inches). After the air intake ports are ed. The students also experimented ing. It completes a circle which removes plugged in the first chamber and stok­ with raw clay to see what ash alone chance, and places the maker in a new ing begins in the second, the dampers would do. “We found that the place­ kind of control.” are pushed in halfway (9x9 inches). ment of the pots greatly affected flash­ This is music to a teacher’s ears. As There are two important features in ing effects. The ones near the throat an artist and educator whose task is to this kiln design: First is the arch shape; and bag wall, which were actually licked move ceramics students forward, I be­ it begins as a Roman arch, but con­ by flames and hit heavily with flying lieve in splicing all that is good in tradi­ nects at the back wall as a sprung arch ash, seemed to turn out best, with rich tional technique with all that is excit­ five bricks higher than where it started. and vibrant color,” noted Cait McClan- ing and vibrant in the present. It is rare The compound radius of the arch as­ ahan, a B.F.A. student. when a student feels in one instant sists the flame in its movement through “In the second chamber, we added both the pull of tradition and the push the kiln. Second, the surface of the salt at Cone 11. Since the ware was of innovation, and it is a worthy chal­ kiln is covered with chicken wire and a already glazed with ash, we used only 4 lenge to set up situations such as this refractory cement mixture. The main pounds of rock salt. We found that in where the occurrence is inevitable. Our objective is to seal the multitude of the salt chamber, pots tended to be project has “hooked” at least ten young cracks and air drafts, thus making a darker in color than those in the wood ceramic artists into the continuum. A 44 CERAMICS MONTHLY Smoke pours from the stack as tempera- To simplify construction, the kiln dimensions are determined using a multiple ture in the new kiln starts to climb. of the size of a standard firebrick (9x41/2x2I/2 inches).

Recipes

Refractory Cement Flashing Slip Portland Cement...... 8 parts (Cone 9-11) Coarse Sand...... 8 Kona F-4 Feldspar...... 15% 30-mesh Sand...... 8 Avery Kaolin...... 35 20-mesh Sand...... 8 Grolleg Kaolin...... 35 Vermiculite...... 8 Flint...... 15 Fireclay...... 4 100% Sawdust...... 4 Shaner Shino Slip Nylon Fibers (Cone 9-11) (chopped) ...... 1 Soda Ash...... 3.20% 49 parts Spodumene...... 12.16 Measured by volume (for example, Kona F-4 Feldspar...... 8.64 Ware in the second chamber is stacked to cup, bucketful, etc.) Nepheline Syenite...... 36.00 take advantage of fly ash and salt. Edgar Plastic Kaolin Casebeer Stoneware or Avery Kaolin...... 28.00 (Cone 9-11) Ky. Ball Clay (OM 4)...... 12.00 Custer Feldspar...... 5 lbs. 100.00% A. P. Green Fireclay...... 35 Wert’s Carbon Trap Glaze Apache Fireclay...... 2 (Cone 9-11, reduction) Cedar Heights Soda Ash...... 3% GoldartClay...... 20 Spodumene ...... 12 Cedar Heights Kona F-4 Feldspar...... 15 Redart Clay...... 2 Nepheline Syenite...... 50 Foundry Hill Ball Clay...... 17 Creme Clay...... 30 Edgar Plastic Kaolin...... 3 Grog (30 mesh)...... 2 100% 96 lbs. Add: Bentonite...... 2% Matt Solomon stokes small sticks by eye as the first chamber nears Cone 11. April 1989 45 Third Canadian Biennial

“Free Trade” an odalisque with a different meaning, approximately 38 inches in length, handhuilt stoneware, acrylic and cloth, by Don Wells, High River, Alberta.

THE THIRD “National Biennial of Ce­ ing wider exposure of their work. The lected, which indicates the existence ramics,” a juried exhibition open to entries also reflected a shift in reference of a confident, vital and viable Canadi­ Canadian ceramists, features 53 works to European-based ceramic traditions, an ceramics milieu. This apparent con­ by 40 artists selected from a field of as few references were made technically fidence has resulted in an exhibition 378 entries by jurors Suzann Greena­ or aesthetically to Oriental ceramics. which illustrates a willingness to take way, director of Prime Canadian Crafts Regionalism was blurred as entries re­ risks, trust intuitions, be provocative in Toronto; Les Manning, head of ce­ flected the effects of travel, communi­ and push parameters using clay as a ramics at Banff Centre School of Fine cation and the tendency in recent years medium.” Arts, Alberta; and Maurice Savoie, for ceramists to educate themselves Having opened at the Galerie d’Art Montreal ceramist. broadly. du Parc in Trois-Rivieres, Quebec, the In reviewing the slides (three views “Traditional and innovative, sculp­ exhibition is currentiy on view (through of each entry), the jury noted “strong tural, functional and decorative objects April 20) at Cartwright Gallery in Van­ submission from emerging artists seek­ of all genres were considered and se­ couver, British Columbia. A 46 CERAMICS MONTHLY right “Mon Oncle Degustant sa Partie de Hockey (My Uncle Savoring His Hockey Game),” approximately 10 inches in length, handbuilt clay with mixed media , by Bruno Simard, Montreal. below “Trilogy 4” approximately 10 inches in height, “Pneumatic 39”and “Pentagonal 4” banded porcelain covered jars, by Roseline DeLisle, Montreal.

April 1989 47 PHOTOS: JEAN LONGPREPHOTOS: JEAN LONGPRE

above “Vine Plate ” approximately 18 inches in diameter, thrown and glazed stoneware, by Maureen Marcotte, Farrellton, Quebec. left “Salad Bowl ” approximately 14 inches in diameter, thrown, excised and glazed earthenware, by Bruce Cochrane, Mississauga,Ontario.

48 CERAMICS MONTHLY Proved: A Strong Resale Market for Ceramics Contemporary Ceramics at Christie’s

Ceramic history was made with the sale of the alphabet were adversely affected. In the end, Earl Millard collection (nearly a who’s who of though, well over 40% had sold for more than American contemporary daywork) at Christie’s the catalog high estimate. New York City auction house February 13—a One bidder, who was there to buy a particu­ first for the field. Its success erased any doubt lar work, had been to England for the “anx­ that there is a viable secondary or resale market iously awaited auctions of contemporary British for the works of known American ceramists. ceramics,” and was pleased that a similar secon­ Both pots and sculpture sold well. dary market for American work had been estab­ Millard, the Saint Louis lawyer whose collec­ lished. She noted that the New York auction had tion realized over $250,000 at Christie’s, began attracted an unusually large percentage of pri­ buying ceramics about ten years ago, acquiring vate collectors and that prices were excellent— a significant number of pieces directly from the unlike at the sale of glass that followed where artists. According to auctioneer Kathleen Guz­ dealers “bought to hold the market up.” man, the staff at Christie’s had been looking for Christie’s, too, was surprised by the support a “legitimate” collection to sell for some time; from the private sector. Auctioneer Guzman said they didn’t want to introduce contemporary ce­ that, at a typical auction, 60% of the lots is pur­ ramics to the auction public by simply offering chased by dealers, while 40% goes to collectors. dealers’ overstock. And it appears waiting for But the Millard collection went almost entirely the right moment paid off. to private buyers; even when a dealer was the Interest was much greater than expected. high bidder, he/she was usually acting on be­ There was standing room only even after the half of a specific client. space was expanded (by opening a sliding wall) There had been some “uncertainty before­ and more chairs added. The crowd included hand,” Guzman commented. “We had all hoped dealers, gallery and museum personnel, a few the auction would do well, but just didn’t know. journalists, as well many individual collectors. Prices bore out that there is terrific interest in Moreover, the usual absentee and telephone this material.” bids were handled by Christie’s personnel. Some dealers are reported to resent the auc­ Guzman conducted the auction from a po­ tion house’s entrance into their rather exclusive dium, without the actual work in view. Instead, contemporary market, but a broadening of sales a slide of the lot (auctionese for one or more outlets for top works, old or new, seems inevi­ pieces offered as one item; e.g., a set of Ken table in light of current levels of artists’ mastery Ferguson plates, a matching charger and sev­ and collector demand. eral drawings was one lot) was projected on a One prominent dealer noted that the sale screen to her right. The actual works remained finally makes the field of ceramics “artistically in nearby viewing rooms where they could have acceptable.” But followed with, “Is it good for been examined prior to the sale. As the bidding the field? We will begin to see a larger number of progressed, a computer-activated board quickly previously unknown pieces emerge from casual converted the amount bid in dollars to pounds, collections which will assist in the historical con­ francs, marks, yen, lira, etc. struction and evaluation of the field. This auc­ The 65 lots from the Millard collection were tion reflected the distinction, intuitively, be­ sold in alphabetical order by maker. With the Christie’s “specialist” and auctioneer tween art and non-art as the audience separated exception of spirited competition for a 1979 Kathleen Guzman selling a Graham these issues through the level of bidding. The Rudy Autio piece, bidding was sluggish at the Marks untitled form for $8800—with a [size of the] audience was equal to a major main­ beginning, but soon gained momentum—lead­ tap of her pencil rather than the typical stream art auction—the future will hopefully ing some in attendance to wonder if bids for auction hammer—as a slide of the piece produce an audience for great work regardless works by those artists at the beginning of the is projected for bidders9 reference. of medium.” April 1989 49 Ken Ferguson Thom Bohnert Tom Coleman

Victor Babu Stephen De Staebler “Wine Ewer,” ash-glazed porcelain, 14x8x8 inches, “Stele with Missing Toes,” stoneware, 88x12x15 Prices 1981 inches, 1979 Christie sprice estimate...... $350-$450 Christie sprice estimate...... $30,000-$35,000 Sold for...... $528 Sold for...... $23,100 Listed here are Christie’s estimated price ranges Bennett Bean Richard De Vore for each work, as published in the auction cata­ “Pit-Fired Form,” earthenware, 7x9 inches, 1981 “Vessel #193,” multifired stoneware, 4x11 inches, log, followed by the actual selling price—the Christie sprice estimate...... $600-$800 with drawing, 1979 high bid plus a 10% premium. (A common prac­ Sold for...... $770 Christie sprice estimate...... $3000-$3500 tice at major auction houses, Christie’s takes a “Anagama Vase,” wood-fired porcelain, 7x7 inches,Sold for...... $5500 10% premimum from the buyer, as well as a 1981 Rick Dillingham 20% commission from the seller.) Of course, Christie sprice estimate...... $700-$1000 “Gas Can Form,” fired, broken and reassembled, prices may have been influenced by the vagaries Sold for...... $495 18x13x29 inches, 1981 Christina Bertoni Christie 5 price estimate...... $1500-$2000 of competing egos during the sale. But, as im­ “Bi-Bearing,” earthenware with graphite, 18x13x3 Sold for...... $1650 perfect as it is, the tally of this auction is a start in inches, 1984 Ken Ferguson verifying the rising prices for significant j^meri- Christie’sprice estimate...... $1000-$1500 “Teapot Form,” glazed stoneware, 15x11x8 inches, can ceramic works. Works listed as unsold failed Sold for...... $715 1983 to meet the reserve (minimum) bid. Thom Bohnert Christie sprice estimate...... $400-$500 “Untitled Construction,” glazed clay and wire, 23x18Sold for...... $660 Robert Ameson inches, 1980 “Deep Footed Basket,” glazed stoneware, 19x14 “Urn for Hiroshima,” stoneware sculpture, 22x18 Christie sprice estimate...... $2000-$2500 inches, 1981 inches, with drawing on paper, 1984 Sold for...... $1980 Christie sprice estimate...... $600-$800 Christie sprice estimate...... $8,000-$12,000 Robert Brady and Sandy Simon Sold for...... $1045 Sold for...... $7700 “Platter, Courtship Series,” porcelain, 20x3 inches, “ Ten Dinner Plates,” salt-glazed porcelain, 12 inches Jen Au 1984 in diameter, with matching charger and six draw­ “Bundle,” stoneware vessel form wrapped with caneChristie sprice estimate...... $1000-$1500 ings, 1982 and paper, 7x9 inches, 1981 Sold for...... $935 Christie sprice estimate...... $4000-$6000 Christie sprice estimate...... $250-$350 Robert Brady Sold for...... $7700 Sold for...... $352 “San Simon,” ceramic, stone and wood, 69x15x17 Christine Federighi RudyAutio inches, 1981 “Litde House Horse Rider,” glazed terra cotta, “Beauty and the Beast,” handbuilt vessel sculpture, Christie 5price estimate...... $7500-$9000 31x6x8 inches, 1983 stoneware, 40x29x14 inches, 1979 Sold for...... $13,200 Christie 5price estimate...... $1500-$2000 Christie sprice estimate...... $16,000-$20,000 Tom Coleman Sold for...... $1045 Sold for...... $28,600 “Teapot,” porcelain and raffia, llxl0x8 inches, 1982 Viola Frey “Lady with Green Band Vessel,” stoneware vesselChristie 5price estimate...... $200-$300 “Platter,” glazed whiteware, 26 inches in diameter, sculpture, 27x20x16 inches, 1980 Sold for...... $440 1980 Christie’s price estimate...... $4000-$6000 Philip Cornelius Christie sprice estimate...... $2000-$2500 Sold for...... $9680 “Charcoal-FiredJar,” glazed stoneware, 12x8 inches,Sold for...... $7150 “Lady with Water Buffalo,” porcelain vessel sculp­ 1980 Andrea Gill ture, 19x13x10 inches, 1980 Christie’sprice estimate...... $1200-$1800 “Camouflage Man,” painted earthenware, 17x7x8 Christie sprice estimate...... $7000-$9000 Sold for...... $1430 inches, 1981 Sold for...... $5280 Christie 5price estimate...... $1000-$1500 “Lady with Crossed Legs and Fish,” porcelain vesselVal Cushing Sold for...... $1870 sculpture, 19x13x10 inches, 1980 “Emerging Acorn,” stoneware (with finial restored), Christie’sprice estimate...... $7000-$9000 18x19 inches, 1982 John Gill Sold for...... $4950 Christie sprice estimate...... $1200-$1800 “Teapot Form,” stoneware, 12x11x7 inches, 1982 “Three Geishas Vessel,” porcelain vessel sculpture,Sold for...... $935 Christie sprice estimate...... $500-$750 29x20 inches, 1980 William Daley Sold for...... $1430 Christie 5price estimate...... $16,000-$20,000 “Floor Pot with Drawing,” unglazed stoneware, 15x24John Glick Sold for...... $12,100 inches, 1980 “Bowl,” stoneware, 5x18 inches, 1980 Christie’sprice estimate...... $4000-$6000 Christie’sprice estimate...... $500-$700 Sold for...... Sold for...... $935

50 CERAMICS MONTHLY Peter Voulkos Don Pilcher Robert Arneson

Chris Gustin Graham Marks Paul Soldner “Teapot,” stoneware, 18x11x9 inches, 1982 “Untitled Podlike Form,” glazed earthenware, “Kimono,” raku, 19xl4x7inches, 1981 Christie sprice estimate...... $400-$600 31x30x32 inches, 1979 Christie sprice estimate...... $3000-$3500 Sold for...... $440 Christie sprice estimate...... $3500-$4000 Sold for...... $3300 “Platter,” stoneware, 25x5 inches, 1981 Sold for...... $8800 Toshiko Takaezu Christie sprice estimate...... $700-$900 Ron Nagle “Full Moon,” glazed stoneware with interior pebbles, Unsold “Stuccoyama, No. 1,” whiteware with glaze and china 28x30 inches, 1978 Wayne Higby paint, 4x5x4 inches, 1978 Christie sprice estimate...... $8,000-$ 12,000 “White Table Canyon Bowl,” raku-fired earthenware,Christie sprice estimate...... $3000-$4000 Sold for...... $17,050 11x16x16 inches, 1981 Sold for...... $4620 Irv Tepper Christie’sprice estimate...... $3000-$3500 Jeff Oestreich “Cup and Saucer,” slip-cast, broken and reassembled Sold for...... $4620 “Untided Platter,” stoneware, 19x3 inches, 1983 porcelain, with drawing, 4x5 inches, 198 1 Chuck Hindes Christie sprice estimate...... $300-$500 Christie sprice estimate...... $3000-$3500 ‘Japanese Vase,” saggar-fired stoneware, 23x15 Sold for...... $385 Unsold inches, 1982 Mark Pharis Robert Turner Christie sprice estimate...... $400-$600 “Covered Teapot,” stoneware, 6x4 inches, 1981 “Ashanti,” stoneware, 11x9 inches, 1978 Sold for...... $605 Christie sprice estimate...... $300-$500 Christie sprice estimate...... $2500-$3000 Jun Kaneko Sold for...... $308 Sold for...... $7150 “Platter,” stoneware, 25 inches in diameter, 1982 Don Pilcher “Ife,” sandblasted porcelain, 10x9 inches, 1980 Christie’sprice estimate...... $1500~$2000 “Covered Form,” porcelain, 11x11 inches, 1982 Christie sprice estimate...... $2500-$3500 Sold for...... $1430 Christie’sprice estimate...... $300-$500 Sold for...... $2420 “Dango,” glazed stoneware, 6x11x9 inches, 1979 Sold for...... $715 “Akan,” stoneware, 16x11 inches, 1981 Christie’sprice estimate...... $2000-$2500 Ken Price Christie’sprice estimate...... $3000-$3500 Sold for...... $2420 “Woman Inflating Doll Man Tequila Cup,” earthen­Sold for...... $4180 Karen Karnes ware, 3x3 inches, with drawing, 1981 “Dome Form,” stoneware, 10x8 inches, 1980 “Covered Casserole,” wood-fired stoneware, 10x15Christie sprice estimate...... $4000-$6000 Christie sprice estimate...... $2000-$3000 inches, 1982 Sold for...... $6820 Sold for...... $1540 Christie’sprice estimate...... $400-$600 “White Vessel,” sandblasted stoneware, 9x9 inches, Sold for...... $715 Ted Randall 1981 “Covered Footed Vessel,” stoneware, 8x11x11 Christie’sprice estimate...... $2500-$3500 Eva Kwong inches, 1982 Sold for...... $3960 “Blue Door Stele,” stoneware, 34x21x9 inches, 1984Christie’sprice estimate...... $400-$600 Christie sprice estimate...... $1000-$ 1500 Sold for...... $935 Peter Voulkos Sold for...... $1210 “Platter,” stoneware, 22 inches in diameter, 1978 Daniel Rhodes Christie sprice estimate...... $6000-$8000 Jim Lawton “Teabowl,” glazed stoneware, 4x5 inches, 1983 Sold for...... $6820 “Teapot Form,” raku, 7x17x8 inches, 1982 Christie sprice estimate...... $300-$500 “Untided Stack Pot,” thrown and slab-built stone­ Christie sprice estimate...... $500-$700 Sold for...... $495 ware, 29x11 inches, 1956 Sold for...... $1320 Dale Ruff Christie sprice estimate...... $10,000-$ 15,000 James Makins “Vessel,” salt-glazed porcelain, 8x11 inches, 1981 Sold for...... $20,900 “Coffee Set,” coffeepot (8 inches in height), five cupsChristie sprice estimate...... $300-$500 Robert Winokur and tray, 1980 Unsold “Soaring Effigy (Winged Vessel Series),” salt-glazed Christie sprice estimate...... $1000-$ 1500 David Shaner stoneware, 17x14x8 inches, 1979 Unsold“Covered Jar,” wood-fired stoneware, 10x14 inches, Christie’sprice estimate...... $400-$600 Kirk Mangus 1982 Sold for...... $308 “Girl with Ponytail,” earthenware with slips, Christie’sprice estimate...... $700-$900 “Winged Jar with Neck,” salt-glazed stoneware, 34x12x10 inches, 1984 Sold for...... $1430 20x9x13 inches, 1979 Christie sprice estimate...... $1000-$ 1500 Peter Shire Christie fsprice estimate...... $400-$600 Sold for...... $770 “Mexican Bauhaus Teapot #2,” earthenware, Sold for...... $275 Philip Maberry 10x14x15 inches, 1981 Betty Woodman “Bowl,” slip-cast porcelain, 7x12 inches, 1981 Christie sprice estimate...... $800-$1200 “Fruit Bowl,” glazed earthenware, 9x26x12 inches, Christie sprice estimate...... $2500-$3000 Sold for...... $1760 1979 Unsold Christie sprice estimate...... $3500-$4000 Sold for...... $2640

April 1989 51 Part One

Paulina Mosquera finishing the neck of an ovoid form supported by a cloth strip. Spanish Folk Pottery

Editor’s note:This is the first article in a being made today share shapes with the more skillful I was, the more serious two-part series focusing on tradition and the pots displayed in archaeological would be the response to my inquiries. change in Spanish pottery. Author Lucy museums. The Romans used the white However, most of the time I wasn’t Breslin, a former artist-in-residence at the Archie Bray Foundation in Helena, Mon­ clay cantaros, as did the Arabs. At Prie- asked to prove myself and was simply tana, received a Fulbright fellowship to study go, in the region of Aragon, pots are accepted equally. folk pottery and kilns in Spain. While there, still decorated with red iron oxide snail But this was not the case in Alcora, a she met Marcia Selsor, a ceramics professor patterns and waving lines, just as they town I visited with Marcia Selsor and at Eastern Montana College in Billings, who were when the Iberians made them Beal Mossman. Driving into town, we had also received a Fulbright grant to study 2000 years ago. The more decorative saw factory after factory for industrial Spanish pottery; and Beal Mossman, a pro­ ceramics date from medieval times to ceramics and wondered whether there fessor of social psychology and community the 19th century. The Decorative Arts were any traditional potters left. It was psychology at Eastern Montana College, Museum in Madrid, the National Ce­ dark and Confirmation was taking who took a sabbatical leave to research the ramic Museum in Valencia, and the place in the church, so the whole town organizational behavior in the potteries and the traditional village life in Agost, Spain. Ceramic Museum in Barcelona, are all was out in the plaza. After several in­ Together, the three traveled to more than devoted to preserving and displaying quiries, we met a man, who said he 50 villages, documenting the pottery tech­ this rich legacy. Perhaps the most fa­ knew the only two potters still working niques and kilns they encountered. mous and beautiful displays of decora­ there. He agreed to take us to the Nom- tive ceramics are in the Alambra in dedeu brothers: Antonio and Pedro. The Alfareros Granada and the Alcazar in Seville. We met Antonio first; tall and thin, by Lucy Breslin Their impressive heritage is a source he showed us the kiln and told us how As GIVING as the soft, aged clay they of great pride to many of the potters. it worked. Then he took us to the up­ work with, and tough as their fired They were quick to offer sympathy that per floor to see the workspace. His wares, the folk potters of Spain con­ we in the United States were missing a brother (of completely contrasting phy­ tinue a tradition that stretches back to long cultural history. Without the abil­ sique) was working at the wheel and prehistory. ity to build on traditional sources they Antonio returned to smoothing the For nine months, I lived with the wondered where, then, could I have bottoms of the birdfeeders he had been kindnesses of the alfareros (potters). A learned to make pots? When I told making before being interrupted. He potter myself, I repeatedly marveled at them, “in school,” the potters informed began to tell Pedro that we were “hobby­ their mastery of clay. Proud of their me that I was an artista, not an alfarera. ists” from the United States who had skills and eager to show techniques, Because of the high level of skill come to Spain on vacation. The man they are also proud of their finished necessary to succeed at their craft, as who brought us to the pottery said, ware, and delighted in holding up a fa­ well as the physical strength and stami­ “They are not hobbyists. They are pro­ vorite pot for critique. Its beauty might na needed, these potters do not invite fessionals. I asked them!” Antonio re­ be raw, dark, uneven or scarred—often anyone into their ranks until they have plied, “If they are professional potters, the look of traditional pots. But the been tested. A few times I was asked to they could not afford to come to Spain. ” rawness was alive to touch, the dark­ sit at a wheel, the likes of which I had Until then, Pedro had been quiet, ness armed by the flame, and the irreg­ never seen before, given a type of clay I but he looked up from his wheel, his ularities defined great character. had never used, and asked to make a dark eyes twinkling. “So you are profes­ It is possible to tell the story of Spain form I had never previously thrown. It sionals?” he asked. “Yes,” Marcy and I through ceramics. Many of the pots was important to me to succeed; I knew assured him. “And you sell your pots 52 CERAMICSMONTHLY Dolores Cruz Nanjavacas of Mota del Cuervo, one of the few villages where women are potters.

Two water bottles (a botijo valenciano, 15 inches in height, left, and a cantaro del col) made in Agost.

TOP and middle The two-piece Moveros wheel dates back to Roman times: metal secured to the underside of the wooden wheel head fits over a shaft imbedded in a piece of rock or wood. When at Aguardiente (a strong liquor) bottle, 14 inches in height, work, the potter kneels on a pillow, while coiling/throwing pots on by Paulina Mosquera, Moveros. the hand-turned wheel. April 1989 53 Slip-decorated botijo, 12 inches in height, single fired, made in Buno.

Firing the kiln at Ninodaguia; although the lower half of the outer wall is rectangular, the interior is circular—true to Celtic design.

top Botijo, 10 inches in height, partly burnished, heavily reduced by sealing the kiln with sod and ash at the end of the firing, by Jesus Rodriguez Garrido of Llamas de Mouro. Cantarofrom Traiguera, 18 inches in height, with brushed iron oxide decoration. middle 13-inch bowl by Juan and Eusebio Larios Morales, Lorca. 54 CERAMICS MONTHLY for money?” “Yes,” we confirmed. Pe­ their two-piece wheels dates back to ing. Now these needs are met by mod­ dro: “And you do nothing else to earn Roman times: The base is a pointed ern materials. So, while continuing to a living?” Marcy replied, “I teach ce­ shaft wedged into a piece of rock or make the traditional forms, they also ramics, also.” “So do I,” I said. “Hobby­ wood; attached to the underside of the make pottery to tempt the urbanites ists,” asserted Antonio, proud that his wheel head is a short metal tube or a who use such pieces for decoration. insight had been borne out. small piece of sheet metal with a depres­ Few people now come to Moveros for After an hour or so of talking, the sion which fits on top of the shaft. The kitchen ware, but some buyers come men insisted on walking us back to our head is made of wood and can easily be from Madrid and carry away boxfuls car, even though it was at the other end carried inside/outdoors. A more por­ that they will later resell to tourist or of town. Along the way they told us that table studio I have never seen. ceramic specialty shops. A few aficio­ their profession was a hard one, re­ White-haired, round-faced, full- nados from France and Germany also quiring more than ten hours of work a bodied, with upturned lips, Paulina stop by. Because the work here is so day, and that they would make more Mosquera works on her knees at a wheel distinctive, the women can still sell most income as truck drivers. I debated ask­ turned by her hand. Starting with a of what they make. The low prices also ing the simple, potentially self-evident pad of clay, she raises the walls by add­ help business. But no young women question, “Do you like being potters?” ing several rows of coils. As the wheel are continuing the tradition. “I love it,” Pedro broadly smiled. Anto­ spins, the coils are thinned. Because Moveros is definitely not on the nio didn’t answer. the shapes are bulbous and the clay tourist route, yet villagers here are In most of Spain, the skill of potting soft, Paulina ties a cloth strip around aware of their small celebrity status, has been handed down from father to the belly of the pot for support as she and the national as well as some of the son. In Moveros, however, all the pot­ finishes the neck and rim. Then she provincial governments are trying to ters are women. Moveros, about 16 removes the strip, spins the wheel again, preserve in some form the processes miles west of Zamora, near the Portu­ and reworks the surface of the pot with and talents involved. Nine years ago, a guese border, is the origin for some of a rib (a split piece of reed). She contin­ video crew recorded Paulina throwing; the most beautiful folk pots being made ues “ribbing” until satisfied with the fi­ then, along with her husband, loading today. The pots flash with oranges, reds, nal shape. and firing her kiln. And in the few pub­ yellows and blacks—marks of the flame. Women such as Paulina have been lications which name the towns and The surfaces sparkle with light reflected practicing their craft since they were villages where Spanish folk potters con­ from tiny specks of basalt found in the children, and all are now masters. Yet tinue to work, Moveros is always men­ clay. The forms resemble the gourds few of them look on their work as much tioned. So the people are not surprised used by the pilgrims during the Middle more than the means of earning some when occasionally a strange car drives Ages to carry water on their journeys extra income. One woman has a con­ in on the dirt road, and unfamiliar to the holy shrine of Santiago. tract with a shop in Barcelona and sells faces look up and down the street. It was February when I first visited directly. The others store their pots in A tourist market is also making up Moveros and none of the women were barns or sheds and open up when a for the loss of traditional markets for working. When I returned in May, I potential customer visits. potters in other towns. Many have dis­ saw why. Most of them work outside Until a few years ago, they were still covered that bright colors sell. But their homes under a sun roof made making ware for functional needs, bright colors are difficult to obtain in from a cotton sheet. The design of mainly for storing water and for cook­ the traditional wood-fired kilns, so

In a sideroom of her bam, Paulina Mosquera randomly stores a wide assort­ ment of pots ready for sale. April 1989 55 PHOTOS: MARK JOHNSON, LUCY BRESLIN

Sgraffito-decorated plate, 10 inches in diameter, lead glazed, by Pedro Hidalgo of Ubeda.

His wristwatch hanging on a nail, Paco Martinez throws at a motorized kick wheel in the Tito Pottery, Uheda.

Filigree plate, 13 inches in diameter, thrown and coil built, slip decorated, by Amiano Perez Gomez of Alba de Tormes.

Botija (water storage jar), 10 inches in height, by Eliodoro middle Lead-glazed plate, 12 inches in diameter, with glaze-trailed Juarez of Valdeverdeja. decoration, by Angel Lores Segura of Nijar. 56 CERAMICS MONTHLY At the Tito Pottery, pots are dipped into lead (galena) glaze, then set in the sun to dry before loading into the kiln. some potters have turned to electric Ubeda potters allow the kilns to have a where the pot was made, but some­ kilns similar to industrial ones. The say in how the pot will look. times, such as when he bought from end product has none of the quiet However, the types of pots made are Gypsies, it was more difficult to be ac­ beauty of traditional pots. Even the changing. Much production now con­ curate. clay is pre-processed, all uniform in sists of pieces that can serve decorative It is also hard to know exactly when color. But the bright blues, reds, yel­ as well as functional needs. Plates are a pot was made. Because the shapes lows and greens do sell. And some made with two small holes in the foot remained unchanged for generations, family potteries have become factories so a string loop can be tied there for or were altered very slightly, it is almost to meet demand. wall hanging. And new forms—vases, impossible to date by sight many of the Yet most potters have not aban­ candelabra, cruets and teapots have pieces in his collection. It is sometimes doned tradition. The majority contin­ been added to the modern output. possible to guess if it is known when a ue in the manner handed down to One of the better-known pottery pottery stopped operating or when a them. And some, who have been forced families of Ubeda is nicknamed “Tito.” specific form was no longer used. to adapt their products to the modern The patriarch, Pablo Martinez, now All the works in Martinez’s collec­ market, have been able to do so with­ 84, divides his time between the stu­ tion are part of Spanish history. One of out sacrificing the virtue of their work. dios of his two sons. He makes clay stilts the more fanciful pieces is a high In Ubeda, in the province of Anda- that go between plates so they can be Roman bathtub. But the most noble lucia, potters now make ware glazed fired in stacks. Pinched out from one are the old cantaros. Most of these, with a copper-lead green or an iron- piece of clay, they look like three coils, with their elegant narrow necks ex­ lead yellow—still fired with wood. They joined at the center, then stretched out tending up from their round bodies, keep the old brick kilns because it is flat only to turn up at the pointed have two graceful handles which stretch still more economical to use wood than ends. Pablo Martinez, always wearing outward from the neck and curve back electricity, and the combustion and black glasses and a black beret, sits by around to some point in the middle. flames provide certain surprises that the window and pinches stilts for hours. Oils have been rubbed onto the sur­ the electric kilns eliminate. Even when he helps a customer, he faces by the many hands that used them In a wood-burning kiln, certain ar­ brings along his clay and works as he to carry and pour water. This burnish­ eas get hotter than others, so on some sells. His title of tito, or uncle, and the ing gives the colors of the cantaros a pieces the glaze might be more fluid name of the family business, has been soft, deep radiance. The hand-rubbed and result in a glassier surface than on passed on to his oldest son, Juan. shine makes it impossible to look at another piece with the same glaze in In addition to running a large stu­ these warm yellow oranges, chestnut another part of the kiln. Where it is dio which employs three to four pot­ browns, burnt blacks, and creamy cooler, the glaze might have a more ters and four other full-time workers, whites and not wonder about the peo­ matt finish. Some pieces might be matt Juan has founded a museum for the ple who once used them. on one side and glossy on the other. folk pots he began collecting 15 years In the past ten years, several other And if the flame hits the pot directly, it ago. The pots, now several hundred, private museums of alfareria have leaves a mark, either a slight change in come from all over Spain and Portu­ opened, but none that I saw could color or a running streak. The differ­ gal. When he began collecting, the old match the beauty exhibited by the can­ ence between the past and present is unglazed pots were not considered to taros in the Museo Alfarero “CasaTito.” that once the heat and flame left their have value, so he bought from people Perhaps that is because they were col­ mark on the bare clay; now they affect who were only too glad to sell. Often lected by a master who understands the glaze. But like their ancestors, the the previous owner could tell him and loves his craft.A April 1989 57 Untitled sculpture, approximately 6 feet in length, wheel-thrown terra cotta, branches and metal rods, fryHiromu Okuda, Shiga Prefecture.

CHANGE AND PROGRESSION are key words in The major influence is contemporary art proach to dimension and technique. The the succession ofjapan’s contemporary ce­ on an international scale. The artists who artists do not restrict themselves by scale or ramic generations. The “first generation,” exhibited at Shiga represent the third gen­ arrangement, and in this way, pursue ex­ called Sodeisha, was a group formed in eration of contemporary ceramic artists perimentation with the clay medium often 1948 by a coterie of ceramic artists, includ­ after Sodeisha. Only in ideology can they in combination with other elements to ing Kazuo Yagi, Osamu Suzuki and Hikaru be linked.” produce unique structural and decorative Yamada. After World War II, many young The third “Shiga Annual—the Repro- variations.” Japanese ardsts looked to the West in order action of Form,” at the Shiga Museum of The eight artists invited to exhibit at to broaden their viewpoints and to con­ Modern Art, drew together a cross section Shiga come primarily from the two large struct new principles. So began Sodeisha’s of these third-generation artists. Curator contemporary cultural districts of Kanto quest for new insight into society, individu­ Toshimichi Kuwayama sees the disparity and Kansai. alism and internationalism. between the traditional and the contem­ Yo Akiyama, a graduate of Kyoto Uni­ Today, the quest continues, though the porary as a form of liberation. “Traditional versity of Art, is now an assistant professor directions of the “third generation” are as ceramists are bandaged by the constric­ at the same school. Like many of the other diverse in physiogony as they are in con­ tions placed upon them by fundamental­ third-generation artists, he produces work cept. Suzuki, now a senior professor of ce­ ist interpretation, whereas the works of the on a grand scale. The tubular structures of ramics at Kyoto University of Art, defines new generation are free from tradition. If the “Semiplan Series” appear to be forged the nature of present day trends in the fol­ they make reference to it, it is to convey out of metal rather than clay. His work lowingway: “There are three major streams concept rather than aestheticism. Their in­ presents us with a further paradox in its of ceramics in Japan. One, stretching far novation is inspired by multifarious sources: surface treatment, which resembles the back into our past, preserves pure aesthetics Sodeisha and second-generation contem­ texture of reptilian skin, tree bark or of Japanese traditions. The historic forms porary Japanese ceramic artists, the inter­ cracked earth. There is a disquieting sense are reproduced with time-honored shaping, national ceramic works of the 1960s and of stepping into an environment of daunt­ glazing and firing techniques in potteries ’70s, modern architecture and, of course, ing objects that fuses together visions of all over Japan. The second stream employs present-day contemporary art; including antiquity and futurism. traditional processes and references in con­ sculpture, installation, environment and Akiyama describes his work as being junction with modern techniques and/or mixed-media works. about the geology of our planet; the earth’s forms. The third is an extension, not of the “In addition, another important aspect crust, clouds and the surface of the sea. “In processes, but of the concepts of Sodeisha. of their work incorporates their fresh ap­ essence, I am influenced by Beuys’s philo­ 58 CERAMICS MONTHLY sophical stance on the use of material. Ac­ doing so, Nakamura builds up layers of appetite for individual and international cordingly, it is essential that I use clay to color and texture suggesting the compres­ influences, stood confidently as ‘artists’ express my concerns. As clay is to earth, so sion of unrecognizable fossils, unfamiliar working in the clay medium. They were too is a kiln to the earth’s core.” industrial waste, dull metals, glistening inevitably drawn to working in the overlap In his free-form environmental works, minerals and encrusted fabrics embedded between ceramics and sculpture, and works Masayuki Inoue, an assistant professor at into a metamorphic earth. which embody conceptual freedom. Tama Art College in Tokyo, defies the grav­ Hiromu Okuda, who lives in Shiga Pre­ “The third generation are first and fore- itational limitations imposed by clay. Over fecture, is concerned with the spirit of na­ mostly different, in that they have not nec­ a skeleton of wire mesh and fiber glass, he ture—the sounds of wind, water and the essarily been instructed in the traditional applies slip and low-temperature borax/ woods. He is the only artist in the Shiga methods of wheel throwing and the making frit glazes, then fires with a blowtorch. In Annual using the potter’s wheel to form of tea ceremony utensils. Indeed, the major­ addition, metal rods and burnt wooden part of his work, but that has no traditional ity of their instructors are artists from the stakes are incorporated as functional props bearing on its function. Stacked on top of first and second generations, now professors to further underline the play between large each other, his terra cottas are propped up at leading universities of art around Japan. scale and fragility. by strong branches. Other times, they lie Unlike their predecessors, the third gen­ Yukiko Kasahara graduated from Tama fallen on the floor, like pieces of shed tree eration mostly received their education Art College. In contrast to Inoue, she ex­ bark that become troughs for rainwater or from an art school, not at a pottery. It is at ploits the density of clay for effect. Her flutes for the wind. Fired clay rings punc­ the art school where the influences and stacked pillars, roughly hewn and softly tured by metal rods are located at one end intersections of other fields of art are close colored, form pedestals and archways. of each work. They simulate wind or water at hand.” Toshio Matsui, a graduate of Kyoto mills perforated by tuning forks waiting to Nakanodo is quite definite in his exami­ University of Art, is now a college art pro­ be stirred into action by natural forces. nation of the connections that lie between fessor in Kyoto. Matsui spent some years in Nobuko Tsutsumi is an Osaka Univer­ the three generations of contemporary ce­ Italy, on scholarship, studying and exhibit­ sity of Art graduate and now an art teacher ramic artists. Namely, their rejection of the ing there. It is from this experience that he in Osaka. She is interested in Japanese making of utsuwa (bowls) and their hunger draws much of the reference for his boat­ memorabilia and Western kitsch, also a for international stimulation. He further­ like shapes. They are long and low, some­ recent trend in contemporary Japanese more points out that young ceramists today times commanding well over 4 feet of floor painting and sculpture. Her florid environ­ do not have to form exchange groups in space, and are sprayed a matt and chalky, ment of totems, fountains, swimming pools order to broaden their spheres of influence. intense ultramarine blue. and animals, imitates a mad playground of They work independently and, although Hideo Matsumoto is both a graduate of naive exotica. the themes are often parallel, their ideas Tokyo Agricultural College and Kyoto Uni­ Although the works of these eight artists spring from individual pursuits. versity of Art. His compositions (like the are physically dissimilar and the artists them­ “They are stimulated by an extensive carefully placed elements of stone, water selves work in an entirely independent man­ sphere of influence that encompasses not and vegetation in Japanese gardens) are ner, one can sense common motivations only the enclaves of the art world, but also delicate and planned. Blue stain is rubbed behind the works of this third generation. the areas of science, mass media, commer­ over the white porcelain and finished with Kazunobu Nakanodo, craft curator at cial design and cross cultural information. a clear glaze. Moreover, his work uses the the National Museum of Modern Art, Kyo­ It is not surprising that they are also famil­ traditional method of filling cracks with to, believes that the distinctions between iar with the modern concept of promotion, gold. the generations are not in style, but as a publicity and the business of art. To this Also a graduate of Tama Art College, result of consequence and circumstance. end they have exhibited often in both solo Tokyo, Kouhei Nakamura now lives and ‘The artists of the first generation were and group shows. works in Aichi Prefecture. His boxlike works initially potters, trained by a master in the ‘Young Japanese artists today are the were each displayed atop a metal frame traditional ways. They discarded the bind­ recipients of a Japan at the height of eco­ dais in grid formation. Illumination from ings of tradition to work as artists, in order nomic power and of international immer­ above pierced, like laser beams, the other­ to freely express without the encumbrances sion, not experienced, to this extent before, wise darkened room. The pieces are fired and limitations imposed by the tradition of by their predecessors.” many times with several glaze applications, function. The second generation, much It is in this arena that innovations of the including salt, barium and metallics. In inspired by the first and increasing their third generation flourish. ▲

FAR LEFT Blow- torch-fired form, slip and glaze over fiber glass on wire mesh, approximately 8 feet in height, by Masayuki Inoue, assistant professor at Tama Art College in Tokyo.

left Sculpture from the “Semi­ plane Series,” approximately 3 feet in length, by Yo Akiyama, Kyoto University of Art assistant professor. April 1989 59 Chick Schwartz by David Kannel

CHICK SCHWARTZ lives and works on a others view city life, warts and all. The cracking. People, animals, benches, hilltop farm in Quebec, almost strad­ viewer looks down on streakers, hook­ flags and other focal points are hand- dling the border with Vermont. In fact, ers, hold-up artists, drunks, bag ladies, built individually, bisqued, glazed and his studio overlooks Canusa Road, half three-card monte games, sidewalk ven­ fired; then they are attached to the of which is in Canada, the other half in dors of all sorts, and catatonic police. prepared backgrounds with epoxy. the U.S.A. While one might think his Schwartz’s work begins with sketch­ The slab-built backgrounds are fired life in these beautiful, rural surround­ ing on a quarter-inch-thick, hand-rolled in a 55-cubic-foot propane kiln housed ings would be exquisitely peaceful, a stoneware slab. Each may vary in size in a converted milkhouse. Smaller parts quick look at his work reveals the art­ from 12x20 inches to 7x25 feet. He are fired in one of two electric kilns. A ist’s thoughts are on cold reality. then adds background elements (re­ panoply of surface colors is achieved For nearly 20 years, Schwartz has lief buildings, trees, etc.) by joining with more than 500 glazes, from stu- been creating high-relief wall forms of very thin slabs to the moist clay. The dio-mixed Cone 9 recipes to eight dif­ social commentary. One piece might backgrounds are dried carefully over ferent commercial brands of low-fire depict a “ban the bomb” protest; while several weeks to control warping and polychromes and lusters. A

top “Looking Down ,” 42 inches in length, social commentary wall relief, by Chick Schwartz.

left “Tightrope Walker,” wall form, 27 inches in height, slab- and handbuilt, with high- and low-fire glazes.

60 CERAMICS MONTHLY

Itinerary Continued from Page 14

Lee, Jon Hur and Arthur Kyung Jae Park; at Swidler Gallery, Washington Square Plaza, 308 West Fourth Street. Massachusetts, Ipswich April 1-30 “North Shore Clayworks: A Spring Celebration”; at the Ocmul- gee Pottery, 263 High Street. Missouri, Kansas Citythrough April 28 “Kansas City Clay Guild Juried Show”; at Mark Twain Bank, 11 and Baltimore. through April 30 “Fired with Enthusiasm,” con­ temporary soup tureens; at Kansas City Gallery of Art, University of Missouri. Missouri, Saint Louisthrough April 11 “The Unique, the Unusual and the Utilitarian: Func­ tional Clay,” works by American and English potters; at Craft Alliance, 6640 Delmar Blvd. April 8-May 2 Porcelain vessels by Chris Staley, and figurative works by Gina Bobrowski; at Pro Art, 5595 Pershing. New York, New Yorkthrough May 28 “Yi Dynasty Korean Porcelains”; at the Asia Society, 725 Park Avenue. April 26-May 27 “Dansk Keramisk: A Survey of Contemporary Danish Studio Pottery,” includes works by Clara Andersen, Edith Sonne Bruun, Finn Hansen, Richard Kjaergaard, Bo Kristian­ sen, Mette Augustinus Poulsen, Inger Rokkjaer and Inger Thing; at Contemporary Porcelain, 105 Sulllivan Street. Ohio, CantonApril 2-May 28 “Third National Ceramic Invitational Exhibit”; at the Canton Art Institute, 1001 Market Avenue, North. Ohio, Clevelandthrough April 16 “Ceramic Invi­ tational ’89,” with works by Louis Mendez, Jim Romberg and Malcolm Wright; at Sylvia Ullman American Crafts, 13010 Larchmere Boulevard. Ohio, Columbusthrough May 14 “Icons of Piety, Images of Whimsy: Asian Terra-Cottas from the Walter Grounds Collection,” 90 South and Southeast Asia secular and religious sculptures from 300 B.C. to the 17th century; at the Colum­ bus Museum of Art, 480 East Broad Street. Ohio, ParmaApril 10-May 2 “Amitay and Wit- czak,” sculpture and drawings by Sandra Amitay; and constructions and paintings by Dann Wit- czak; at Gallery West, Cuyahoga Community College, 11000 Pleasant Valley Road. Oregon, Corvallisthrough April 28 “100 Years of Willamette Clay,” 19th-century Oregon pottery, brick and tile; at Corvallis Arts Center, 700 South­ west Madison. Pennsylvania, Philadelphia April 1-June 4 “American Clay Artists 1989,” works by 14 na­ tionally known artists, 34 artists associated with the Clay Studio and 54 artists living within a 50- mile radius of Philadelphia; at Port of History Museum, Penn’s Landing, Delaware Ave. at Walnut St. Pennsylvania, Pittsburghthrough April 7 9 “South­ west Flavor,” stoneware, raku and saggar works by Nicholas Bernard, Lou Ann Gallanar, Dawnn Hedman and Pete Lafferty; at the Clay Place, 5416 Walnut Street. April 23-June 11 “In Pursuit of the Dragon: Tra­ ditions and Transitions in Ming Ceramics,” 90 works from the mid 14th to the mid 17th cen­ turies (Yuan to the Ming dynasty); at Carnegie Museum of Art, 4400 Forbes Avenue. Pennsylvania,Willow GroveApril 1-May 31 “Clay 89,” contemporary works by 12 artists; at Lang- don Gallery, Willow Grove Park. Texas, San AngeloApril 20-May 28 “The Fourth Annual Monarch Tile National Ceramic Com­ petition”; at San Angelo Museum of Fine Arts, 704 Burgess Street. Texas, Wichita Fallsthrough April 20 ‘Works in Clay VI,” juried regional; at University Art Gal­ lery, Midwestern State University, 3400 Taft Boulevard. Utah, Loganthrough April 18 “NCECA Juried Members Exhibition”; at Nora Eccles Harrison Museum of Art, Utah State University, 650 North 1100 East. Virginia, RadfordApril 28-May 28 “Clay U.S.A.”; at Flossie Martin Gallery, Radford University. 62 Ceramics Monthly Wisconsin, Sheboyganthrough May 14 “Surreal Ceramics,” contemporary works characterized by images of death, sleep, dreams, eroticism, ir­ rationality and the subconscious mind; at John Michael Kohler Arts Center, 608 New York Ave. Wyoming, CasperApril 1-30 ‘Wyoming Clay Show”; at Nicolaysen Art Museum, 596 North Poplar. Ceramics in Multimedia Exhibitions Arizona, Mesa through April 29 “Earth Views,” personal landscapes; at Galeria Mesa, 155 North Center. Arizona, Tempethrough April 30 “School of Art Faculty Exhibition”; at Arizona State University Art Museum, Matthews Center. California, Chula Vista April 3-21 “Four Traditions,” includes large thrown and coiled sculptures and wall platters by Jamie Walker; at Southwestern College Art Gallery, 900 Otay Lakes Road. California, Los Angelesthrough April 16 “Hispan­ ic Art in the United States: Thirty Contemporary Painters and Sculptors,” includes “cityscape” vessels by Lidya Buzio; at Los Angeles County Museum of Art, 5905 Wilshire Boulevard. California, SacramentoApril 29-June 8 “64th Annual Crocker-Kingsley Exhibition,” works by Northern and Central California artists; at the Crocker Art Museum, 216 O Street. California, San Diegothrough April 7 “Relation­ ships,” four-person show including ceramic and metal sculpture by Toby Buonagurio; at Faith Nightingale Gallery, 535 Fourth Avenue. April 29-January 2, 1990 “Traditional Crafts of Saudi Arabia,” includes ceramics; at San Diego Museum of Man, 1350 El Prado, Balboa Park. Colorado, Pueblothrough May 25 “Wood, Paper, Clay,” includes wall sculpture by Sally Chapman; sculptural vessels by Douglas Fey; raku ware by Robert Smith; and large sculpture by Richard Usrey; at Hoag Gallery, Sangre de Cristo Art Center, 210 North Santa Fe. D.C., Washingtonthrough June 18 “Treasures from the Fitzwilliam Museum: The Increase of Learning and Other Great Objects”; at the Na­ tional Gallery of Art, East Building, Fourth Street at Constitution Avenue, Northwest. April 14-July 9 “Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Cen­ tury,” over 180 Islamic works from private and public collections in Europe, the Near East, the United States and the U.S.S.R.; at Arthur M. Sackler Gallery, Smithsonian Institution, 1050 Independence Avenue, Southwest. Florida, Orlandothrough May 14 “The Eloquent Object: The Evolution of American Art in Craft Media Since 1945”; at the Orlando Museum of Art, 2416 North Mills Avenue. Florida, Saint Petersburgthrough April 7 “Florida Craftsmen Create”; at Florida Craftsmen Gallery, 235 Third Street, South. Illinois, Chicagothrough May 7 “The Human Figure in Early Greek Art,” 67 works from the ninth through the fifth centuries B.C., includes terra-cotta sculptures and vessels, through May 24 “The Human Figure in Greek Art: A Preview, Part 1,” works from the Geometric through the Archaic periods, through May 24 “The Human Figure in Greek Art: A Preview, Part 2,” works from the early Classical through the Hellenistic periods; at the Art Institute of Chicago, Michigan Avenue at Adams Street. Illinois, GraftonApril 1-June 3 “Women in Fo­ cus,” includes clay tables by Susan Bostwick; geometric porcelain sculpture by Luci Mauricio McMichael; and handbuilt, pit-fired bowls and paintings of pottery by Martha Chadwick Pa- quin; at the Potter’s House, 25 East Main, Great River Road. Illinois, Highland ParkApril 29-May 31 Four- person exhibition including works by Curtis and Suzan Benzie, and Mary Seyfarth; at Martha Schneider Gallery, 2055 Green Bay Road. Illinois, Rockfordthrough May 12 “The Fine Art of Craft”; at Gallery Ten, 221A East State Street. Kansas, TopekaApril 2-May 1 “Topeka Compe­ tition 13,” clay, glass, metal/jewelry, fiber and wood by residents of Kansas, Missouri, Nebraska April 1989 63 Braithwaite Art Gallery, Southern Utah State Itinerary College, 351 West Center. Utah, Salt Lake City through May 6 Dual exhibition with porcelain works by Sharon Mik- and Oklahoma; at Gallery of Fine Arts, Topeka kelson; at Utah Designer Craftsmen Gallery, 38 Public Library, 1515 West Tenth. West 200 South. Louisiana, New Orleans through April 16 West Virginia, Huntingtonthrough April 22 “East “Shapes of Power, Belief and Celebration: African Meets West in Design: Archaeology of the Pres­ Art from New Orleans Collections,” includes ent,” includes ceramics by Marek Cecula and terra-cotta funerary heads and animals; at New Beth Forer; at Huntington Art Museum, 2033 Orleans Museum of Art, City Park. McCoy Road. Massachusetts, ConcordApril 2-21 “Photog­ raphy and Clay,” includes sculpture by April Bascom; at Concord Art Association, 37 Lexing­ Fairs, Festivals and Sales ton Road. Alabama, Birmingham April 7-8 Sixth annual Massachusetts, Worcesterthrough April 15 “New “Magic City Art Connection”; downtown. Traditions,” four-person exhibition including Arkansas, Mountain ViewApril 14-16 “The 27th porcelain vessels by Tom Turner; Worcester Annual Spring Craft Show and Sale” and the Center for Crafts, 25 Sagamore Road. “Arkansas Folk Festival”; behind Arkansas Craft Michigan, Detroitthrough April 30 “Cleopatra’s Gallery, junction of Highways 5, 9 and 14. Egypt: Age of the Ptolemies,” includes terra­ D.C., WashingtonApril 20-23 The “1989 Wash­ cotta figures, sculpture and faience; at the Detroit ington Craft Show”; at Departmental Auditori­ Institute of Arts, 5200 Woodward Avenue. um, 1301 Constitution Avenue, Northwest. Minnesota, MinneapolisApril 6-23 “Contempo­ Florida, PlantationApril 29-30 “Plantation/ rary Crafts for the Home,” works by residents of Jacaranda 1989 Arts & Crafts Festival”; at South­ Illinois, Iowa, Minnesota, North Dakota, South ern Bell Building, Sunrise, east of Pine Island. Dakota and Wisconsin; at International Design Florida, SarasotaApril 8-9 “Tenth Annual Siesta Center, 100 Second Avenue, North. Fiesta Arts and Crafts Festival”; at Naples Beach April 8-May 13 Three-person show including Hotel, Gulf Road. sculpture by Richard Hirsch and Marvin Sweet; Florida, TampaApril 22-23 “Carrollwood Vil­ at M.C. Gallery, Wyman Building, Suite 332, 400 lage Arts & Crafts Festival”; at N. Dale Mabry. First Avenue, North. Maryland, GaithersburgApril 14-16 “14th An­ Nebraska, Omaha April 22-June 4 “Treasures of nual Spring Arts 8c Crafts Fair”; at Montgomery American Folk Art from the Abby Aldrich Rocke­ County Fairgrounds. feller Folk Art Center”; at Joslyn Art Museum, Maryland, TimoniumApril 28-30 “12th Annual 2200 Dodge Street. Spring Crafts Festival”; at Maryland State Fair­ New Jersey, Garden Citythrough April 29 “Fine grounds. Crafts”; atFirehouse Gallery, Nassau Community Michigan, TroyApril 20-22 “The 18th Annual College, Stewart Avenue. Somerset Fine Arts Invitational”; at Somerset— New Mexico, HobbsApril 20-May 5 “South­ The Mall, 2801 West Big Beaver Road. western Regional Exhibition,” works by artists Tennessee, Nashville April 7-9 “Pride of Ten­ from Arizona, California, Colorado, Kansas, nessee Arts 8c Crafts Show”; at the Creative Arts Nevada, New Mexico, Oklahoma, Texas and Building, Tennessee State Fairgrounds. Utah; at Watson Hall, New Mexico Junior Col­ Texas, HoustonApril 13-23 “The 1989 Houston lege, Lovington Highway. International Festival Arts and Crafts Exposi­ New Mexico, Los AlamosApril 7-May 7 “Que tion...A Salute to France”; downtown. Pasa: Art in New Mexico”; at Fuller Lodge Art April 21-23 “Texas Gulf Coast Ceramic Society Center, 2132 Central Avenue. 33rd Annual Show”; at Astroarena, Astrodome North Carolina, Cullowheethrough April 7 Complex. “Decade of the Eighties”; at the Art Gallery, Belk Texas, San AntonioApril 15-16 “Fiesta Arts Building, Western Carolina University. Fair”; at Southwest Craft Center, 300 Augusta. North Carolina, GoldsboroApril 11-30 “Tenth Washington, Mount VernonApril 7-9 “Sixth Annual National Juried Fine Arts Exhibition”; at Annual Skagit Valley Tulip Festival Street Fair”; Community Arts Council, 901 East Ash Street. along First Street, downtown. North Carolina, Winston-SalemApril 8-May 21 “Southeast Seven 12,” includes works by Xavier Toubes; at Southeastern Center for Contempo­ Workshops rary Art, 750 Marguerite Drive. California, DavisApril 29 Sandra Johnstone, North Dakota, Valley CityApril 3-21 “16th Bi­ slide lecture and wheel throwing large forms ennial National Juried Art Exhibition”; at 2nd demonstration; at Davis Clayworks. Fee: $25; Crossing Gallery, Valley City State University. students and senior citizens, $20; includes pot- Ohio, Columbusthrough April 9 Liturgical Art luck lunch. Contact Yolo County Arts Council, Guild of Ohio’s “Eleventh Biennial Contempo­ Box 2252, Woodland, California 95695; or phone rary Religious Works Exhibition”; at Schumacher (916) 756-2529. Gallery, Capital University, 2199 East Main Street. California, FremontApril 29-30 Pipe sculpture April 2-May 7 “Ohio Designer Craftsmen: The workshop with Deborah Horrell and John Toki; Best of 1989”; at Columbus Cultural Arts Center, at Mission Clay Products. Fee: $50; students, 139 West Main Street. $40. Contact Bryan Vansell, Box 2062, Fremont Ohio, Delaware April 7-30 “Annual Juried Stu­ 94536; or phone (415) 797-3239. dent Spring Show”; at the Memorial Union Build­ California, MendocinoApril 22 “Brushmaking ing, Ohio Wesleyan University, University Ave­and Decoration” with Gary Holt, airbrushing on nue at South Sandusky Street. green- and bisqueware, latex/wax resist and slip Oklahoma, Oklahoma Citythrough May “Young7 decoration. May 13 “Architectural Mosaics” with Americans,” juried national of craft works by Peter Veres, includes slide lecture and demon­ artists between the ages of 18 and 30; at Oklaho­ stration, plus a discussion of public art commis­ ma Arts Center, 115 Park Avenue. sions; at the artist’s studio. May 20 “Ceramic Pennsylvania, ShippensburgApnl 5-May 5“Pfan- Decals” with Peter von Wilken Zook, includes nebecker Contemporary American Crafts Exhi­ screening of underglazes, china paints, glazes bit”; at Kauffman Gallery, Huber Art Center, and overglazes onto decal paper, plus application Shippensburg University. of decals, firing and luster accents. Fees: $35; Rhode Island, Providencethrough April 23 “Chi­ members, $30 per session. Contact Mendocino nese Sculpture from the Permanent Collection”; Arts Center, 45200 Little Lake Street, Box 765, at Rhode Island School of Design Museum of Mendocino 95460; or phone (707) 937-5818. Art, 224 Benefit Street. Connecticut, BrookfieldApril 22-23 “Colored Tennessee, Gatlinburgthrough April 29 “Faculty Clay—Surface Techniques” with Kendra Conn. and Staff Exhibition.” through May 20 “Animal Fee: $125; members, $115. Contact Brookfield Imagery: New Forms, New Functions”; at Arrow- Craft Center, Box i22, Route 25, Brookfield mont School of Arts and Crafts, Gallery, 556 06804; or phone (203) 775-4526. Parkway. Connecticut, New MilfordApril 5 “Plaster Work­ Utah, Cedar CityApril 6-28 “Exhibition 48”; at shop,” using plaster in the pottery studio. May 3 64 CERAMICS MONTHLY April 1989 65 Itinerary

“Tilemaking Workshop,” includes choosing a good clay body, plus forming, drying, glazing and firing tiles. Fees: $40 per session. Both ses­ sions with Jeff Zamek. Contact Jennifer Scalzo, Cutter Ceramics, 106 Fort Hill Rd., New Milford 06776; or phone (203) 355-2366. Maine, South PortlandMay 6 “Raku Workshop” with Jeff Zamek, includes clay and glaze recipes, plus building and firing a raku kiln. Fee: $40. Participants asked to bring 2 bisqued pots. Con­ tact Cathy Schroeder, 3 Maine Mall Business Building, South Portland 04106; or phone (207) 772-0516. Maryland, BeltsvilleApril 22 “Teacher Work­ shop” with Jeff Zamek, includes elementary- to secondary-level ceramics teaching methods, plus safety procedures and choosing the best clays. Fee: $65. Contact Donna Stinson, 11908 Old Baltimore Pike, Beltsville 20705; or phone (301) 595-0720. Massachusetts, Waltham April 13 “Plaster Work­ shop,” using plaster in the pottery studio. Fee: $40. May 25 “Tilemaking Workshop,” includes choosing a good clay body, plus forming, drying, glazing and firing tiles. Fee: $40. Both sessions with Jeff Zamek. Contact Doreen Mastandrea, Cutter Ceramics, 478 Athletic Field Rd., Waltham 02254; or phone (617) 893-1200. Massachusetts, Worcester April 15-16 Demon­ stration and discussion on forming, glazing and firing porcelain vessels with Tom Turner. Con­ tact Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; or phone (508) 753-8183. New Jersey, TrentonApril 16 “The Development of Porcelain in America” with Alice Cooney Frelinguysen; and “Sublime and Sanitary: The Porcelain Industry in Trenton” with Ellen Den- ker. Contact Cultural History Lecture Series, New Jersey State Museum, Division of the Dept, of State, 205 W. State St., Trenton 08625. New York, New YorkApril 7 Lecture with Akio Takamori. April 8 Akio Takamori workshop. May 5 Lecture with Karon Doherty. May 6 Karon Doherty workshop. Contact Greenwich House Pottery, 16 Jones Street, New York 10014; dr phone (212) 242-4106. New York, West NyackApril 8 or 15 “Ceramic Jewelry” with Ina Chapler. April 9 “Raku Work­ shop” with Rosemary Aiello. April 23 “Throwing Big Pieces” with Cliff Mendelson. Contact Rock­ land Center School for the Arts, 27 Greenbush, West Nyack 10994; or phorte (914) 358-0877. New York, White PlainsApril 17-18 “The Wheel as a Handbuilding Tool,” lecture, demonstra­ tions and study of Cone 04 glazes, slips and terra sigillatas with Woody Hughes. Fee: $52. Contact Westchester Art Workshop, Westchester County Center, White Plains 10607; or phone (914) 684-0094. North Carolina, BrasstownApril 9-15 “Raku” with Lynn Jenkins, forming, glazing and firing techniques. April 23-29 “Porcelain Utilitarian Pottery that Goes Beyond Function” with Leah Leitson. May 14-20 “Wheel-Thrown Forms and Handbuilding” with Steve Loucks, includes glaz­ ing and raku firing. May 26-28 “Marketing Crafts” with Lin Oglesby. ContactJohn C. Camp­ bell Folk School, Brasstown 28902; or phone (704) 837-2775 or 837-7329. North Carolina, PenlandApril 10-28 “Kiln Design and Construction” with Tracy and Cath­ erine Dotson, building a hardbrick salt kiln, in­ cludes making and firing pots. Or “Pottery” with Will Ruggles and Douglass Rankin, throwing and altering, plus slip decorating, raw glazing and various firing methods. Or “Ceramic Tile” with Susan Parks, includes design, fabrication and installation of functional/decorative tiles. Contact Penland School, Penland 28765; or phone (704) 765-2359. Ohio, AkronApril 20 Lecture with Jun Kaneko. April 21 Jun Kaneko demonstration. Contact Beth Lindenberger, University of Akron, Ceram­ ics Department, 150 East Exchange Street, Akron 44325; or phone (216) 375-5967. Please Turn to Page 70 66 Ceramics Monthly South, Outdoor Arts and Crafts Fair, Box 8426, July 8 entry deadline Where to Show Mobile 36698; or phone (205) 343-2667. Manitou Springs, Colorado “Commonwheel Continued from Page 10 Prospect, Pennsylvania “Sixth Annual Penn’s Artists’ 15th Annual Arts 8c Crafts Festival” (Sep­ Colony Festival” (September 23-24 and Sep­ tember 2-4) isjuried from slides. Booth fee: $55 Arts, 4 North Broad Street, CN 306, Trenton, tember 30-0ctober 1) is juried from slides. For for a 10x10-foot space. Contact Corhmonwheel NewJersey 08625; or phone (609) 292-6130. further information contact Raymond Rush, Artists, Box 42, Manitou Springs 80829. April 28 entry deadline Penn’s Colony Festival Association, 1635 El Paso July 14 entry deadline Birmingham, Michigan “Art in the Park 1989— Street, Pittsburgh, Pennsylvania 15206; or phone Pittsburgh, Pennsylvania The 20th annual “A A Community Festival of the Arts” (September (412) 441-9178. Fair in the Park” (September 8-10) is juried 9-10) is juried from 5 slides. Booth fee: $150 for July 1 entry deadline from 5 slides. Entry fee: $5. Booth fee: $90. Con­ a 10x10-foot space. $1500 in awards. For further Mason City, Iowa “Summer Arts Festival Art tact Kay Christy, Craftsmen’s Guild of Pittsburgh, information contact Art in the Park 1989/Com­ Market” (August 20) is juried from 5 slides or A Fair in the Park, Box 10128, Pittsburgh 15232; mon Ground, 751 Hendrie Boulevard, Royal photographs. Booth fee: $10. For further infor­ or phone (412) 361-8287. Oak, Michigan 48067. mation contact Charles H. MacNider Museum, August 15 entry deadline May 1 entry deadline 303 Second St., SE, Mason City 50401; or phone Nashville, Tennessee “12th Annual Tennessee Long Beach, California “29th Annual Artists’ (515) 421-3666. Fall Crafts Fair” (September 2-4) isjuried from Market” (June 3-4) is juried from slides. Juror: Gaithersburg, Maryland “The 14th Annual Na­ 5 slides, including i of display. Entry fee: $10. Eudorah Moore, past director of the National tional CraftFair” (October 13-15) isjuriedfrom Booth fees: $225 for a 10x10-foot space; or $340 Endowment for the Arts’s crafts program. Entry 5 slides. Booth fees: $200-$650. Contact Noel for a 10x15-foot space. $2000 in cash awards. fee: $10. Booth fee: $200 for a 10x10-foot space. Clark, National Crafts Ltd., 4845 Rumler Road, For further information contact Tennessee Fall Contact Artists’ Market, Long Beach Museum Chambersburg, Pennsylvania 17201; or phone Crafts Fair, Box 120933, Nashville 37212; or of Art, 2300 East Ocean Boulevard, Long Beach (717) 369-4810. phone (615) 383-2502. 90803; or phone (213) 439-2119. Saint foseph, Michigan “Saint Joseph’s 28th Annual Art Fair” (July 7-8) is juried from slides. Fee: $80 for a 20x20-foot space. Contact Ann Palenske, Krasl Art Center, 707 Lake Boulevard, Saint Joseph 49085; or phone (616) 983-0271. Philadelphia, Pennsylvania “Philadelphia Craft Show” (November 2-5) is juried from slides. Contact Terry Hoff, Philadelphia Craft Show, Box 7646, Philadelphia 19101; or phone (215) 787-5448. May 15 entry deadline Marble, Colorado “The Marble Art Associa­ tion’s Third Annual Art & Craft Fair” (July 1-2) is juried from slides. Booth fee: $30. Contact Marble Art Association, 118 East Silver Street, Marble 81623; or phone (303) 963-2022. Las Vegas, Nevada “Las Vegas Arts Festival Eighth Annual Craftworks Market” (September 30-0ctober 1) is juried from slides. Booth fee: $150 for a 10x10-foot space. Contact Patricia Karlock, KNPR, 5151 Boulder Highway, Las Vegas 89122; or phone (702) 456-6695. New York, New York “18th Annual WBAI Holi­ day Crafts Fair” (December 1-3,8-10 and 15-17) is juried from 5 slides. Entry fee: $20. Booth fee: $690-$725. Send sase to Matthew Alperin, WBAI Crafts Fair, Box 889, Times Square Station, New York 10108; or phone (212) 279-0707. June 1 entry deadline Memphis, Tennessee “Seventh Annual Mud Is­ land Folkfest” (August 26-27) is juried from 3-5 slides. Jurors: David Less, Steve Masler and Lynn McLarty. Booth fee: $75. Contact Kate Dixon, Mud Island Folkfest, 125 North Front Street, Memphis 38103; or phone (901) 576-7230. Richmond, Virginia “The 14th Annual Rich­ mond Craft 8c Design Show” (November 17-19) is juried from slides. Booth fee: $190 for an 8x10-foot space; $290 for an 8x15-foot space; and $385 for an 8x20-foot space. For further information contact the Hand Workshop, 1812 West Main Street, Richmond 23220; or phone (804) 353-0094. June 2 entry deadline Telluride, Colorado “Artfest ’89” (August 12- 13) is juried from slides. Send sase to Artfest ’89, Telluride Council for Arts 8c Humanities, Box 152, Telluride 81435. June 15 entry deadline Madison, Indiana “Chautauqua of the Arts” (September 23-24) is juried from 4 slides, in­ cluding 1 of display. Booth fee: $100 for a I7x 12- foot space. Contact Chautauqua of the Arts, Dixie McDonough, 1119 West Main Street, Madi­ son 47250;or phone (812) 265-5080. Chester Springs, Pennsylvania “Studio Days/ Design ’89—The Sixth Annual Exhibition of Contemporary Crafts” (October 13-15) is ju­ ried from 5 slides. Entry fee: $10. Cash awards. Contact Chester Springs Studio, Box 329, Ches­ ter Springs 19425; or phone (215) 827-7277. June 30 entry deadline Mobile, Alabama “25th Annual Outdoor Arts and Crafts Fair” (September 23-24) is juried from slides. Entry fee: $10. Booth fee: $75. $6500 in cash, purchase and merit awards. Contact Ginger Coppersmith, Fine Arts Museum of the April 1989 67 68 Ceramics Monthly Compulsive as daywork may be, what any­ tions in exchange for donations. Pewabic one would do to a vase over that much time bought a year of CM for any member con­ is beyond even the wildest stretch of imagi­ tributing a minimum of $125 annually as nation. Still the story has persisted, partic­ part of his/her membership privileges. The 8c ularly among those who have never worked result is a better informed membership News Retrospect porcelain. As a result, the “Scarab Vase” with increased exposure to the field of ce­ also became known as “The Apotheosis of ramics. Not such a bad idea. the Toiler,” and riding on this wave of turn- More Thefts: Scarab Vase Stolen of-the-century hype, it was awarded the Maria Kuczynska Besides the $250,000 Ming bowl report­ grand prize in ceramics at the ‘Turin Inter­ Ceramic and bronze sculpture by Maria ed stolen from the Columbus [Ohio] Mu­ national Exposition” in 1911, thereafter Kuczynska was featured in a solo exhibition seum of Art in last month’s issue of CM being shown in nearly every published sur­ at Allrich Gallery in San Francisco through (page 55), the FBI is investigating thefts of vey of American ceramics here and abroad. February 25. A grand prize winner at the the famed Adelaide Alsop Robineau “Scarab The Everson acquired the vase in 1930, a “Concorso Internazionale della Ceramica year after Adelaide Robineau’s death. d’Arte” in Faenza, Italy, Kuczynska was bom Insured for a half million dollars, it was and educated in Poland, but currently re­ removed from a Plexiglas case, and a vase sides in Australia. of lesser value substituted sometime be­ According to critic Peter Haynes, her work tween 7:30 A.M. Monday and 10:00 A.M. is “concerned with the place of humanity in Tuesday, February 13 or 14, respectively, the contemporary world. The contrasts be­ (when a guard noticed the switch). In the tween the individual and the cosmos, be­ museum, several other pieces and displays tween mortality and immortality are also are equipped with alarm systems, but there evoked, as is the importance of the individ­ was no alarm attached to the “Scarab Vase” ual’s contribution to that history of which or its display case—the thieves simply re­ he/she is a major component. For Kuczyn­ moved four screws holding the cover, lifted ska, art’s role is that of a witness to, a judge it, made the switch and absconded. of, and a participant in the continuum of Ironically, earlier that Tuesday morn­ life.” ing Kuchta had noticed an article in the Shown from the exhibition, “Thrusted newspaper about the weekend theft of a Leg Figure” was initially formed over an grouping of three 18th-century English por­ celain figures from the Albany (New York) “Thrusted Leg Figure,” 41 inches in height, Institute of History and Art, and had circu­ stoneware patinated with graphite; $11,000 lated it among the staff to alert them to the potential danger. Authorities think, however, that they have in custody the men responsible for some or all of the crimes. FBI agents arrest­ ed George Athanasotos in New York City, fol­ lowing a tip from a Madison Avenue an­ tiques dealer who had been asked to ap­ Valued at $500,000, Adelaide Alsop Robin­ praise several watches that he recognized eau ’s “Scarab Vase ”was stolen from the Ever­ as stolen. When apprehended, Athanaso­ son Museum in Syracuse, New York tos was disguised with a wig, false eyebrows, Vase” from the Everson Museum in Syra­ nonprescription glasses, and carried sev­ cuse, New York, and a $2 million Meiping eral fake IDs. A search of his apartment (Chinese) vase from the Museum of Fine provided evidence believed to link him to Arts, Boston. the ceramics thefts. During that search, The Robineau vase is probably the most FBI agents discovered a photo of the Co­ well-documented extant work of American lumbus bowl (reportedly shot in the sus­ ceramics. In fact, the vase is so famous, it is pect’s home); and thereafter matched the almost inconceivable that thieves could find fingerprints of Athanosotos and an alleged anyone to buy it, even for concealed dis­ accomplice, Ronald Corticelli, to those found play. “It’s like the ‘Mona Lisa,’” said Ever­ on the Museum of Fine Arts, Boston, dis­ son director Ronald Kuchta. “Who would play case. This and other “overwhelming” have the gall to show it? I don’t believe evidence convinced authorities that Atha­ there is a dealer, or collector, who would nasotos and Corticelli are involved in thefts touch it. It’s too well known.” at six museums—but, as this issue goes to Extremely fragile, the 1634-inch porce­ press, none of the stolen ceramic objects lain vase was made in 1910, reportedly re­ has yet to be recovered. quiring some 1000 hours for Robineau to complete the Egyptian beetle design carved Pewabic Fund-Raising into the surface. It’s a good story, but that is Fund-raising can be quite demanding equal to nearly a half year of 40-hour weeks. and difficult. Art and craft groups are in­ creasingly turning to a variety of incentive- related techniques in order to come up You are invited to send news and photos with creative approaches to interest donors about people, places or events of interest. in We their worthy but competing causes. But xvill be pleased to consider them for publica­Pewabic Pottery in Detroit has raised this tion in this column. Mail submissions to“art form” to a new level with its recent, News & Retrospect, Ceramics Monthly, Box successful campaign using (among other 12448, Columbus, Ohio 43212. inducements) Ceramics Monthly subscrip­ April 1989 69 Itinerary Continued, from Page 66 Ohio, KentApril 22 Workshop with Jun Kaneko. Contact Beth Lindenberger, University of Akron, Ceramics Department, 150 East Exchange Street, AJkron, Ohio 44325; or phone (216) 375-5967. Ohio, WoosterApril 20-22 “Functional Ceramics 1989 Workshop,” includes construction of a ma­ jor work by Paul Soldner; and a discussion on the self-supporting potter with Angela Fina; at Wayne Center for the Arts. Contact Phyllis Blair Clark, 102 Oakmont Court, Wooster 44691; or phone (216) 263-2388 or 345-7576. Oregon, PortlandMay 16 “Smithsonian Lecture: Contemporary American Artists and Their Craft” with Michael Monroe. Fee: $4. May 20-21 “Hand­ building with Colored Clay,” hands-on session with Maria Simon. Fee: $70. Contact Oregon School of Arts and Crafts, 8245 S.W. Barnes Rd., Portland 97225; or phone (503) 297-5544. Pennsylvania, HarrisburgApril 22-23 “Round Forms in Porcelain” with Valda Fox; at Third Street Pottery. Fee: $95. Contact Pennsylvania Guild of Craftsmen, Box 820, Richboro, Pennsyl­ vania 18954; or phone (215) 860-0731. Pennsylvania, HuntingdonApril 10-21 “Anagama Firing Workshop” with Jack Troy; at the artist’s studio. Fee: $150. Contact Pennsylvania Guild of Craftsmen, Box 820, Richboro, Pennsylvania 18954; or phone (215) 860-0731. Pennsylvania, ReadingApril 8 “Marketing Strat­ egies for Your Craft Business” with Nancy Todd; at the Reading Inn. Contact Pennsylvania Guild of Craftsmen, Box 820, Richboro, Pennsylvania 18954; or phone (215) 860-0731. Pennsylvania, WayneMay 17, 24 and 31 “Raku Workshop” with Marianne Tebbens. Fee: $42, plus materials. Contact Wayne Art Center, 413 Maplewood Avenue, Wayne 19087; or phone (215) 688-3553. Texas, San AntonioApril 24-30 Slide lecture with Ron Nagle. Contact Southwest Craft Center, 300 Augusta, San Antonio 78205; or phone (512) 224-1848. Vermont, MiddleburyApril 22-23 “Introduction to Mold Making for Ceramics” with Bob Comp­ ton. For further information contact Vermont State Craft Center at Frog Hollow, Middlebury 05753; or phone (802) 388-3177. Wisconsin, MilwaukeeJune 11 “Clay: A Healing Way,” an American-Soviet mural project; at Maier Festival Park. Open to all. Participants will mix clay, spread it over a flat surface, then make im­ pressions or inscriptions personally symbolic of peace. The resulting mural will be cut into sec­ tions, salt glazed and shipped to Leningrad for installation. Contact Joel Pfeiffer, 617 East Capi­ tol, Hardand, Wisconsin 53029. International Events Canada, British Columbia, Vancouverthrough May 7 “Third National Biennial of Ceramics”; at the Cartwright Gallery, 1411 Cartwright Street, Granville Island. Canada, British Columbia, VictoriaJune 3-4 “Fired Up,” sculpture workshop with Chuck Wis- singer; at Camosun College. Fee: Can$40 (ap­ proximately $34); students, Can$20 (approxi­ mately $17). Contact Arlene Yarnell, Box 7, Matheson Lake Road, RR #2, Victoria V9B 5B4; or phone (604) 474-2697. Canada, Ontario, Brockvillethrough April “Miss8 Tale and Legend: Mixed Media,” includes works by Carolyn Gibbs and Garry Moxam; at Heritage Crafts, Sheridan Mews, 182-186 King St., W. Canada, Quebec, Montreal April 21-May 6 “Exhibition of Students’ Work”; at Centre des Arts Visuels, 350 Victoria Avenue. England, ChichesterMay 26-28 “General Pottery Workshop” with Alison Sandeman. Contact West Dean College, West Dean, Chichester, West Sus­ sex P018 0QZ; or phone (0243) 63301. England, Londonthrough April 9Nancy Angus, decorative vases, dishes and boxes; at Crafts Council Shop at the Victoria & Albert Museum, South Kensington. Please Turn to Page 88 70 Ceramics Monthly News 8c Retrospect armature from solid clay. Next a plaster mold was made. Stoneware was then pressed into the mold, removed, dried and fired twice in an oil-burning kiln—first to 1100°C (approximately 2000°F); second to 900°C (approximately 1650°F). After the second firing, it was patinated with graphite pow­ der. Photo: Frank Nilsen. Nancee Meeker Pit-fired vessels by Rhinecliff, New York, potter Nancee Meeker were on view at the Vermont State Craft Center at Frog Hollow recently. As on this classically shaped vase, the surfaces of Meeker’s pots are covered

“Geometric Etched Vase, ”16 inches in height, with terra sigillata, sawdust smoked with terra sigillata (made from natural clays found in Canada, Hawaii and the North­ east), then carved and etched, and bur­ nished. Smoke patterns are the result of pit firing with sawdust. Graham Marks “I work with clay to enlist the rich and rnultileveled references that ceramic mate­ rials can have to time, man and structure,” says Graham Marks, faculty artist at Cran- brook Academy of Art in Bloomfield Hills, Michigan. “I am moved by a quality present in ce­ ramics from many neolithic cultures...one senses their makers gathering sources from their world and using that information to inform structure and decoration. There is a feeling of trying to grasp forces much larger than the individual—chaos, storms, change. Aside from utilitarian needs, these vessels are an attempt to give intuitions form, trying to capture their essence with an abstract language.” His sculpture shown at Helen Drutt Gal­ lery in New York City through January 14 April 1989 71 News & Retrospect

Untitled sculpture, 34 inches in height, coil-built earthenware, by Graham Marks was “constructed from coils because I am know the importance of transforming both intrigued with their ability to make connec­ self and environment through the power tions between architecture (animal and hu­ of human creativity, through the presence man) , natural forms, anatomy and pottery. of works that offer refuge to the imagina­ I work on a scale that is somewhat imposing tion and the spirit, through images that for ceramics because I want the work to offer hope and comfort.” start to have a one-to-one relationship with As a member of Artists’ Equity, I was one the human body, so that the pieces can ex­ of many who agreed to donate a piece; but ist as autonomous beings, not models of I also made arrangements to meet Moss things. ” Photo: Douglas Danks. and tour the shelter. I took along several ceramic wall plaques (transported in the Ceramics and the Homeless trunk of my car) from which he was to by Jane Larson choose. I felt that the durable nature of ce- About a year ago, a volunteer from the Committee for Creative Non-Violence, which is working to help the homeless in Washington, D.C., brought ceramics into the effort. Harold Moss, with a Ph.D. in biol­ ogy and ten years’ research at the National Institute of Health under his belt, deter­ mined that the Federal City Shelter needed upbeat artwork throughout its corridors and stairwells in order to boost morale and take away the grim, institutional look. The Federal City Shelter is a block-long, four-story, former city college building with clinics in the basement and cafeterias on each floor. Eventually, it will be able to Jane Larson setting tile over mounting bolt house 1000 homeless men (the women’s section is still to come), and may be fur­ ramies and its ability to be cleaned might nished with bunk beds in order to double be particularly useful in a public facility. that number. There is plenty of room for To my surprise, Moss looked at one pan­ artwork. el with tiles cut in an unusual pattern and So Moss wrote to Artists’ Equity, a na­ said: “Why that’s the chlorophyll molecule.” tional organization with many members in I have rarely encountered such an in­ the Washington area. His letter stated in stant (and accurate) observation, even from part: “As someone involved with art, you Please Turn to Page 78 72 CERAMICS MONTHLY April 1989 73 Tihany and Budapest (July 15-28,July 29-August 8 or Summer Workshops 12—25). Instruction in English or German. Fee: DM700 (approximately $392) per session; includes materials, Continued from Page 42 evening events and medical insurance. Room and board: DM478 (approximately $268). For further in­ formation Contact Kali Basin Environment Protec­ tion Society, 8254 Kovagoors Pf 9. Italy, Cortona Summer making, casting, handbuilding and decorating; at the “U.G.A. Studies Abroad Program” with Kirk Mangus; Royal College of Art. Fee: $2495; includes related working in a 15th-century monastery/studio with lo­ field trips, accommodations and breakfast. Contact cal clays, glazes and firing techniques. For further in­ UCLA Extension, London Program, Box 24901, Uni­ formation contact U.G.A. Studies Abroad Program, versity of California at Los Angeles, Los Angeles, Cali­ Visual Arts Building, University of Georgia, Athens, fornia 90024; or phone (213) 825-9676. Georgia 30602. England, LoughboroughJuly 31-August 10 Handbuilding, throwing, slip casting and glazing with Italy, Faenza July 2-29 Gus Mabelson and Geoff Townsend. Beginning “Arte Aperto,” sessions on preparation and study of through advanced. Fee: £325 (approximately $574); clay bodies and glazes, plus visits to artists’ studios. includes lodging and meals. For further information For further information contact Emidio Galassi, Arte contact Mrs. S. R. Sandover, Loughborough Summer Aperto, via Castellina 4, 48018 Faenza; or phone School, University of Technology, Loughborough, (546) 661655. Leicestershire LE11 3TU; or phone (509) 222773. July 4-August 5 Summer session at Istituto Statale d’Arte per la Cer- England, Maidenhead Summer amica with Anna Calluori Holcombe. Instruction in Two- to 4-day sessions on throwing and decoration English or Italian. Fee: $2600, New York residents; with Renee Rubinstein. Fee: from £40 (approximately $3000-$3200, nonresidents; includes round-trip air $71), includes materials. Instruction in English, transportation from New York City, housing and ma­ French, German. Live-in accommodations available. terials. April 25 registration deadline. For further Contact Kingsbury Pottery, 4 Boyn Hill Road, Maid­ information contact Office of International Educa­ enhead, Berkshire SL6 4JB; or phone (628) 27984. tion, Center for Student Services, SUNY College at England, Peasmarsh Summer Brockport, Brockport, New York 14420; or phone “Slipware and Throwing”; beginning through ad­ (716) 395-2119. vanced. Fee: £95 (about $168) per week; includes Ivory Coast July 8-August 2 materials, firing and meals. Live-in accommodations “Parsons in West Africa,” includes studies on tradi­ and camping available. Contact John Solly Pottery, tional African art and architecture, traditional meth­ Goldspur Cottage, Flackley Ash, Peasmarsh, Rye, East ods of clay preparation, forming and firing, plus visits Sussex TN31 6YH; or phone (797) 21276. to pottery villages. Instructors: Victor Diabete, Phyllis England, Tenbury Wells Summer Galembo, Christine Mullen Kreamer, Alpha Oumar Weekend/weekly individual instruction on stoneware Konare, Gerard Santoni, Jerome and Susan Vogel and terra cotta, throwing, handbuilding, glazing and and village craftspeople. Fee: $3960, includes round- firing. Instructor: Martin Homer. All skill levels. Fee: trip air transportation from New York City, land trans­ £79-£189 (approximately $139-$334); includes ma­ fers and hotel accommodations. Contact Parsons terials, firing, lodging, meals and transportation from School of Design, Office of Special Programs, 66 Fifth nearest train station. Camping available. Contact Tina Avenue, New York, New York 10011; or phone (212) Homer, Pottery & Painting Summer School, Lower 741-8975. Aston House, Aston Bank, Tenbury Wells, Worcester­ Japan, Kyoto August 7-27 shire WR15 8LW; or phone (584) 79404. ‘Japanese Ceramics: Shaping an American Art Form,” England, Uxbridge July 24-September 2 includes visits to Japanese ceramics centers (Arita, “Terra-cotta Modeling from Life” with Jo Miller (July Bizen, Fukuoka, Hagi, Kyoto, Shagaraki and Tamba), 24-28). “Mold Making/Slip Casting” with David Cow­ the National Museum of Kyoto, Ohara Museum and ley (July 31-August 4). “Learning about Glazes” with artists’ studios. Instructors: Kiyoshi Ike and Barbara Harry Horlock-Stringer (August 7-12). “Experiments Perry. Fee: $4295; includes round-trip air transporta­ with Clay for Teachers” with George Wilson (August tion from Washington, D.C., land transfers, hotel ac­ 14—18). “Claywork with or without the Model (Sculp­ commodations, tours* entrance fees, some meals, two ture)” with Alan Thornhill (August 21-25). “Throw­ stage/musical performances, etc. Contact The Sum­ ing” with Brian Dewbury (August 29-September 2). mer Programs Office, Syracuse University—DIPA, All skill levels. Fee: £110—£125 (approximately $194— 119 Euclid Avenue, Syracuse, New York 13244; or $221) per session; includes materials and firing. Bed phone (315) 443-9421, extension 20. and breakfast: £13 per night (approximately $23). Continued Camping available. Contact Christine Garner, Arts Centre, Brunei: The University of West London, Stoking the raku kiln at Phil Rogers’s Uxbridge, Middlesex UB83PH; or phone (895) 73482. Marsden Pottery, Rhayader, Wales. England, West Dean May 28-September 1 “Development of Ideas in Porcelain” with Gordon Cooke (May 28-June 2). “Throwing and Turning” with John Gunn (June 4-8). “Clay Modeling for Fir­ ing—Small-Scale Figure Groups” with John Gunn (June 23-25). “From the Landscape: Ceramic Ob­ jects” with Gordon Cooke (August 5-11). “Pottery” with Alison Sandeman, includes raku firing (August 27-September 1). For further information contact Heather Way, West Dean College, West Dean, Chich­ ester, West Sussex P018 0QZ; or phone (243) 63301. France, Saint Ambroix July-September Two-week throwing, glazing and firing sessions; fee: F3700 (approximately $629). Also a one-week raku session; fee: F1800 (approximately $306). Fees in­ clude materials, firing, lodging and meals. Beginning through advanced. Instruction in English or French. Contact Michel Simonot, Mas Cassac, Allegre F-30500, Saint Ambroix; or phone (66) 24 85 65. Greece, Evia Summer Two-week sessions on functional, sculptural, thrown and handbuilt forms; plus gas, wood, electric, pit and saggar firing. Instruction in English. Fee: £325-£375 (approximately $574-$662); includes materials, firing, lodging and meals. Contact Alan Bain, Candili Pot­ tery, 340-04 Procopi, Evia; or phone (0227) 41298. Hungary, KovagoorsJuly 15-August 25 Traditional techniques and new processes in ceram­ ics, plus visits to artists’ studios and excursions to

74 Ceramics Monthly April 1989 75 Summer Workshops Netherlands, OosterwoldeJune 12-July 14 “Primitive and Traditional Pottery” (June 12-16). “Raku” (June 19-23). “Reduction Stoneware and Porcelain” (July 3-7). “Salt Glazing” (July 10-14). Instruction in English or Dutch. Fee: fl200 (ap­ proximately $99) per session; includes materials and firing. Lodging and meals: f!200. Contact Kees Hoogendam, De Knolle 3a, 8431 iy Oosterwolde (Fochteloo); or phone 5160^8238. Netherlands, Veghel June 25-August 26 “Stoneware and Porcelain, Reduction and Salt Glaze” with Petra van Heesbeen (June 25-July 1 or August 13-19). “Experimental Raku” with Wimvan Nuenen (July 2-8). “Salt Firing Workshop” with Beate Reinheimer (August 20-26). All skill levels. Fee: fl 175 (approximately S87) per week. Live-in accommodations and camping available. Contact Instituut Pieter Breughel, Middegaal 23-25, 5461 XB Veghel; or phone 41306-5675. Switzerland, Chur July 1-9 “Experimenting with Clay” with IngridJecklin-Buol, stoneware handbuilding, throwing, glaze making, plus raku and primitive firing. Beginning through advanced. Instruction in English, French, German or Italian. Fee: $780; includes firing. Live-in accom­ modations and camping facilities available. For fur­ ther information contact Ingrid Jecklin-Buol, Ate­ lier Hegis, Sennhofstrasse 11, 7000 Chur; or phone (81) 22 81 23. Switzerland, MuggioJune 5-August 19 “Porcelain and Serigraphy”with Maria Geszler (June 5-10). “Columns/The Balance of Form” with J. Paul Sires (June 2^-July 1). “Experimental Ceram­ ics—Art Experiences” with Gustav Weiss (July 17-22). “Throwing On the Wheel” with Wendelin Stahl (July 24-29). “Exercises in Form” with Karl Fulle (August 7-12). “Creating with Plaster Molds” with Dick Lion (August 14-19). Intermediate through professional. Instruction in English or Ger­ man. Fee: SF1050 (approximately $683) per ses­ sion; includes materials, firing, room and board. For further information contact Elisabetta Mellier, Centro Sperimentale d’Arte, CH 6831 Muggio; or phone (91) 49 14 62. Wales, Aberystwyth July 14-16 “International Potters Camp 1989,” demonstrations, lectures, exhibitions, slide shows, kilnbuilding and firing, plus social events. Contact Phillip Munford, Aberystwyth Arts Centre, University College of Wales, Aberystwyth, Dyfed 5423 2AX; or phone (286) 831263. Wales, Rhayader May 29-August 14 Throwing, glazing and wood firing with Phil Rogers (May 29-July 31 or August 7-14). All skill levels. Fee: £135 (approximately $238); includes materi­ als, firings and lunches. Live-in accommodations: £45 (approximately $79) for 6 nights and breakfast. Camping available. Contact Phil Rogers, Marston Pottery, Lower Cefn Faes, Rhayader, Powys; or phone (0597) 810875. Wales, Wolfcastle July 2-15 “Clay Massage and Aroma Therapy” with Philip and Maddy Cunningham, includes handbuilding, throw­ ing, glazing and pit firing (July 2-8 or 9-15). Begin­ ning through advanced. Fee: £165 (approximately $291); includes materials, firing, lodging and meals. Contact Philip Cunningham, The Pottery, Wolf­ castle, Pembrokeshire; or phone (437) 87609. Cho Chung Hyun demonstrates incising at Southern Illinois University, Edwardsville.

76 Ceramics Monthly April 1989 77 News and Retrospect Continued from Page 72 other scientists. (See “Technology and the Artist-Craftsman” in the January 1974 CM.) Continued discussion affirmed his in­ terest. Apparently religion is a moot point at the shelter, and the fact that the tiles that shaped the molecule in my piece could al­ so be construed as representing the shape of a cross, added some risk to the venture. But the medical clinic was run by nuns, he said; and the Catholic Church was there. Plus he liked the fossil-like imagery, with its overtones of “telling it like it is. ” I wound up

Grouting after the mural was mounted making a 10-foot-high tile mural, based on the plaque he saw that day, for the lobby. On a Saturday morning, the mural was bolted to the wall and its studs. Previously it had been separated into seven sections, with the tiles glued to marine plywood and partially grouted. Some tiles were left out to accommodate the bolts, then were at­ tached after mounting was completed. On Sunday morning, we grouted the remain­ ing seams and installed a mite red frame. Guests and volunteers at the shelter wanted information about the mural, called “The Protoporphyrin Molecule—Basis of Life,” so a descriptive handout evolved. It reads as follows: “The mural features a mo­ lecular structure called protoporphyrin (pro-tow-POR-fer-in), which is thought to be the basis for chlorophyll and by exten­ sion the entire plant kingdom. When the central atom is iron rather than magne­ sium, it becomes the basis for the creation of blood and the animal kingdom instead. As Carl Sagan said (in Cosmos), ‘An oak tree and I are made of the same stuff.’ “The ceramic tiles compose a study of this finding. “The magnified structure of the mole­ cule presides over the life it heralds—life

78 Ceramics Monthly April 1989 79 News and Retrospect

Jane Larson zvith Harold Moss (holding “Chlo­ rophyll”) in front of “The Protoporphyrin Molecule—Basis of Life. ” which is recorded with archaeologically relevant ceramic methods in clay. The medium at its finest has the ability to re­ cord a very precise impression which can remain intact for thousands of years. As our weathering earth changes with the pas­ sage of time, the mural stands as a precise testament to local realities, both in dimen­ sions of natural growth and human knowl­ edge. “In the ordered arrangement of the an­ cient molecule, small blue circles repre­ sent the atoms involved, with a central core atom added. In the body of the work, scat­ tered ‘atoms’ wait to add themselves to the molecule to form chlorophyll. They could also be gathering to make the heme in he­ moglobin. “The two all-encompassing possibili­ ties—chlorophyll and hemoglobin—are ex­ plored in pressings: Blossoms and vines are fossil-like impressions of the Lord Balti­ more Hibiscus and eastern wisteria, em­ bedded in the unfired soft clay medium. The animal kingdom at its most magnificent is suggested by varicolored profiles of peo­ ple. The images were made with clay stamps derived from photographs. Scale is an issue in the mural, where the reduced size of people is compared to the reality of plant imagery and the gigantic proportions of the molecule. “The mural was pressed and cut from a single large sheet of clay. Glazes were based upon ancient celadon, muttonfat and ox- blood formulas well-known for varied reac- 80 CERAMICS MONTHLY April 1989 81 News and Retrospect

tions at high temperatures in a reduction atmosphere. They have echoes in the chem­ ical patterns of nature and, through fire, in the plant kingdom’s reactions to weather and stress.” Barbara Schaff An exhibition of current work by New Jersey ceramist Barbara Schaff was on view through February 27 at the James Howe Gallery of Kean College in Union, New Jersey. The show marked a departure for the artist from creating three-dimensional porcelain and stoneware vessels to painting on porcelain tiles. “In 20 years of working in ceramics, the desire to express ideas through the three- dimensional form has evolved into a need to express them in painting, using the ma­ terials I know best: glaze and fire,” Schaff observed. “I wish to be led by the work itself into a discovery of the unknown,” she continued. “This is done by keeping all options open, by admitting no preconceptions of what the work should be.” Schaff starts by rolling out tiles, drying, bisque firing, then assembling them in rows as a “canvas.” Traditional Oriental reduc-

“Flight, ” 30 inches in length, porcelain tile composition, with high-fired, reduction glazes tion glazes (copper red, Chun blue, cela­ don, temmoku, etc.) were then applied in wide swaths with a large, house-painting brush. After high firing, the tiles were re­ arranged in various positions. Said Schaff: “It is startling and exciting to let the tiles relate to one another—a new way of seeing. The work becomes itself and you have to be prepared to let that happen. The work ends up leading you—an intui­ tive approach.” When satisfied with the ar­ rangement, Schaff attaches the tiles with epoxy to mahogany plywood. Niles Wallace Sculptural stoneware vessels and wall platters by Tennessee ceramist Niles Wallace were exhibited in a three-person show at Dimensions in Boca Raton, Florida, through March 31. Wallace considers the vessel “an appropriate metaphor for the conditions of being human in both a phys­ ical and spiritual sense. It is very difficult for us, as finite beings, to grasp any concept of limitless space. In an effort to under- 82 CERAMICS MONTHLY April 1989 83 with a core of newspaper, I stuff the hollows with old clothing (socks, pantyhose, any soft fabric will do) to make it retain the desired shape until leather hard.— Valenti­ Suggestions na Vega, Santiago, Chile from our readers Alleviate Back Stress For the potter who has a sore back from long hours at the wheel, a kidney belt could Great Glaze Mixer help alleviate the stress. Used primarily by An effective glaze mixer can be made motorcycle racers, this wide elastic belt acts from a 10-inch length of galvanized (or as a girdle, keeping your guts from bounc­ stainless steel) chain and a %-inch-diame- ing all over, but also taking tension off your ter rod. Simply weld back. I find it comfortable to wear one one end of the rod to when I throw pots all day. You can get such the center link in the a belt at your local motorcycle shop for chain. Insert the other about$20.— Gary Velcam, Westfield, N.Y. end of the rod into the to add extra work/storage space for water chuck of a variable- Overcoming Plate Deformation container, tools, etc. I slipped a small piece speed drill (like you If a large plate has a slight dome or dip of plywood under the front edge of mine to would any drill bit), in the center after bisquing, try flattening give greater stability. Also, a silverware drain­ and tighten it well. The it by glaze firing at a particular place in an er (plastic) can be hooked onto the edge of resulting power mixer electric kiln. With my clay, centering the the tray to serve as an additional tool hold­ works great for mixing new glazes, stirring plate on the floor of the kiln and firing it er; and this can be easily carried to other during glazing and remixing well-settled with the kiln fully loaded flattens out a work areas for finishing pots.— Suzanne glazes. What’s more, it cleans easily with dome. Conversely, the center of the plate Hershey, Rocky Hill, Conn. water.—DougGanshom, Regina, Sask. will pull up if the plate is fired on the top shelf, close to the lid.— Douglas Grimm, Dollars for Your Ideas Manipulating Large Slabs Missoula, Mont. Ceramics Monthly pays $10 for each sugges­ When slab-building large forms, I roll tion published; submissions are welcome individ­ the slabs between old bed sheets, which Extra Wheel Work/Storage Space ually or in quantity. Include an illustration or permits me to carry them quite easily. I can There is a $3.99 plastic bed tray avail­ photo to accompany your suggestion and we will also easily manipulate the clay, pushing able at discount stores which can be se­ pay $10 more if we use it. Send your ideas to CM, from underneath to achieve the form I cured (with ordinary C-clamps) to your Box 12448, Columbus, Ohio 43212. Sorry, but want. Then, instead of supporting the form electric wheel’s existing tray or splash pan we can’t acknowledge or return unused items.

84 CERAMICS MONTHLY News and Retrospect stand, we tend to divide or put limits on space, thereby automatically containing it. “Using a sort of homemade geometry that refers to center, I have tried to subdi­ vide my vessels and handle them as parts in order to define the whole,” Wallace ex­ plained. “The scheme, then, is to fit various parts into the puzzle and see how the rela­ tionships fit.” With his latest series of vessels, he has “tried to juxtapose rich, textural surfaces that imply great depth and character, with strong color. I often placed objects in the subdivided spaces of the plates and bowls to provide information in an archaeologi­ cal sense and also increase or direct focus. These objects may be recognizable or more

Stoneware platter, 21 inches in diameter, wheel thrown, once fired to Cone 7 in oxidation, by Niles Wallace, Memphis abstract. Hopefully, they provoke memories or emotions. Sometimes they are about the vessel itself; sometimes they are about the viewer. In either instance, they set the tone for the work.” Franklin Mint Commission by Beth Changstrom While exhibiting at the Chicago “New Art Forms Exposition” with Susan Cum­ mins Gallery, I was pleased to hear Lynda Resnick, co-owner of the Franklin Mint, ad­ miring my work. As a result, we were soon discussing a commission to create eight wall forms for the Mint’s employee cafete­ ria. Needless to say, I was delighted and eager to begin. Several weeks later, I found myself in Franklin Center, Pennsylvania, measuring and photographing the space. As with my other “assemblages,” I wanted to convey feelings of comradeship, companionship, a sense of home, with scenes that were rem­ iniscent of particular rooms. One stipulation was that I incorporate Franklin Mint works. The company sent a huge box of literature to my studio in Penn- grove, California; and as I began sifting through, the sculptures became clear. Each April 1989 85 86 Ceramics Monthly News and Retrospect would contain similar elements—windows, doors, flooring, wainscoting—thereby ty­ ing one to another. (Open, airy “windows” were important because the cafeteria has no natural light or outdoor openings.) When looking over the Franklin Mint products, I decided to use my own inter­ pretations of these designs (rather than the actual items). Most of the products I chose are presently available, so incorporating actual ware might have dated the work. Representations would also be novel for the employees. In my studio, I built a full-size set of the cafeteria, painting the wall to match the forest green and peach color scheme. I even made scale tables and chairs. Next, cardboard maquettes of the sculptures were pieced together with a hot glue gun. The maquettes were done at half size, then pho­ tographed and projected into the set as full-size images. This enabled me to play with the different shapes as if they were still

Beth Changstrom and carpentry crew install­ ing sculpture at the Franklin Mint in Franklin Center, Pennsylvania lifes, thereby fine tuning scale, lighting and colors. The maquettes were also used to get Lynda Resnick’s approval, before I began producing the actual works. The still-life elements were constructed from Cone 06 whiteware and brushed with commercial glazes. The painting back­ grounds were done on Masonite, which had been glued (with GE RTV 108 Sili­ cone) and screwed to ¾-inch plywood. With the painted scene established, I attached individual ceramic elements fol­ lowing the maquettes; but was free to make final adjustments in position and to add depth with overlapping. Several times dur­ ing this last stage, I removed glued pieces to include painted shadows. Almost a year after arranging the com­ mission in Chicago, I loaded my van for the 3000-mile drive to the corporation’s head­ quarters in Pennsylvania. Each of the eight sculptures was carefully bubble wrapped and crated. At the Franklin Mint cafeteria, I helped a carpentry crew hang the sculp­ tures on Aluminum Panel Clips (from Charles Grant & Co. of Portland). With the commission successfully com­ pleted, I celebrated with visits to friends, galleries and museums in Philadelphia and New York! April 1989 87 Itinerary Continued from Page 70 through April 18 “Sandy Brown: The Complete Picture,” includes pots, figures and wall reliefs; at Barbican Centre, Silk Street. England, Manchester through May 6 Works by Julian King-Salter; at the Craft Centre Royal Ex­ change Theatre, Saint Ann’s Square. France, Paris through April 20 “The Art of Paul Gauguin,” approximately 250 works, including ceramics; at the Galeries Nationales d’Exposition du Grand Palais, avenue Eisenhower. Hungary, SiklosApril 15-May 5 or September 18- October 8 Workshop on forming with plaster molds, and firing in salt and raku kilns. Instruc­ tors: Maria Geszler, Zsofia Hajdu and Imre Schrammel. Instruction in English or German. Fee: $1500, includes materials, firing, cultural programs, lodging and meals. Contact Istvan Komor, Baranya Creative Colonies, Siklos, Vajda Janos ter 2, H-7800; or phone (operator assisted) Siklos 462. Italy, Faenzathrough May 15 “Second Internation­ al Quadriennial Competition: Ceramics in the Urban Setting,” juried show of future uses for ceramics in an urban setting and works already existing; at Palazzo delle Esposizioni di Faenza. Netherlands, MiddleburgApril 8-May 5 “Marja Hooft/Danielle Janssen”; at Zeeuws Kunstenaars Centrum, Kousteensedijk. Scodand, EdinburghApril 3-May 3 “New Ce­ ramics by Irene Bell,” plates and bowls; at the Scottish Gallery, 94 George Street. Wales, Ruthin through April 14 “Breath of the Dragon,” raku; at Ruthin Craft Centre, Park Road, Clwyd.

88 Ceramics Monthly