September 1995 1 Spencer L. Davis ...Publisher and Acting Editor Ruth C. Butler ...... Associate Editor Kim Nagorski...... Assistant Editor Tess Galvin...... Assistant Editor Lisa Politz...... Editorial Assistant Randy Wax...... Art Director Mary Rushley...... Circulation Manager Mary E. May...... Assistant Circulation Manager Connie Belcher ...... Advertising Manager

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Ceramics Monthly {ISSN 0009-0328) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines: Printed information on standards and procedures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; Informa­ tion Access Company, 362 Lakeside Drive, For­ est City, California 94404; and from daai (design and applied arts index), Design Documentation, Woodlands, Stone Cross, Mayfield, East Sussex, TN20 6EJ, England. These services are also avail­ able through your local library. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers 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: Send address changes to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested.

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2 CERAMICS MONTHLY September 1995 3 4 CERAMICS MONTHLY VOLUME 43, NUMBER 7 • SEPTEMBER 1995

Feature Articles

Italy’s Franco Rampi by Gilda Cefariello Grosso ...... 35 Sixth Annual California Competition ...... 38 Vessel as Canvas In using three-dimen­ Hands-On Learning sional objects as settings for two-dimen­ A Ceramics Teaching Collection by Susan Carol Hauser ...... 41 sional images “that are linked, yet in conflict,” California ceramics artist Cindy Scott Jones’ Decorated Platters byJimLupia ...... 45 Kolodziejski searches “discards, people’s houses, junk heaps” for forms “that are on Shaping Abstract Ideas by Nancy Frommer LaPointe...... 49 the one hand dated, and on the other have with Process Tips and Attitudes ...... 51 a good aesthetic balance”; page 55. Robert Brady’s Vases and Bowls by Anne Schwartzburg...... 53 Hands-On Learning At Bemidji State Uni­Vessel as Canvas by Cindy Kolodziejski ...... 55 versity in Minnesota, students appreciate having the opportunity to handle all 250 Taking the Rude out of Extrude by Jean Latka...... 60 worlds in the Margaret H. Harlow Ceram­ Making Vessels by Jim Kraft ...... 63 ics Teaching Collection; see page 41. Potting in Cape Town by Hyme Rabinowitz...... 65 The Lowly Bean Pot by Delia Robinson ...... 95 Cone 5 White Glazes by Dwain Naragon ...... 97

Up Front

Ken Kohoutek Crafts Impact Local Economy...... 16 by Laurence Buxbaum ...... 12 Toledo Acquires Ancient Kottler Bequest for Ceramic Art ... 12 Greek Vase ...... 16 Sisters of the Earth by Steve Grafe ... 12 Magdalene Odundo ...... 18 Byron Temple ...... 14 Richard Milette ...... 18 Scott Jones’ Decorated Platters Although Trapp to Head Renwick ...... 14 W. Lowell Baker ...... 20 he would rather concentrate on producing Three Maryland Potters ...... 14 John Toki by Jennifer Hopkins ...... 20 platters decorated with a “tongue-in-cheek perspective,” Pennsylvania potter Scott Jones also realizes the importance of good business practices. “Creativity, good mar­ keting and a strong sense of business are Departments essential not only for success but also sur­ vival,” he says; page 45. Letters ...... 8 Solo Exhibitions ...... 78 New Books ...... 22 Group Ceramics Exhibitions ...... 80 Ceramics in Multimedia Exhibitions ...... 80 Taking the Rude out of Extrude For a Video ...... 28 Fairs, Festivals and Sales ...... 83 look at how contemporary artists are ex­ Workshops ...... 84 ploring the potential of extruded forms, Call for Entries International Events ...... 88 turn to page 60. International Exhibitions ...... 70 National Exhibitions ...... 70 Questions ...... 92 Regional Exhibitions ...... 73 The cover The first full-time studio potter Fairs, Festivals and Sales ...... 73 Classified Advertising ...... 99 in Cape Town, South Africa, Hyme Rabino- witz adheres to the production philosophy: Suggestions ...... 76 Comment: “form is number one; quality of glaze im­ Calendar A View from Abroad by Linda Kiemi Sawyer...... 102 portant; simplicity the keynote”; his story Conferences ...... 78 begins on page 65. Photo: Anthony Johnson. International Conferences ...... 78 Index to Advertisers ...... 104

September 1995 5

from time to time, minor changes were and non-Jews of forced labor battalions alike. Letters made. Nevertheless, firing was always a The memorial would also represent countless struggle, and no one was able to get it up to thousands who suffered long and perished in more than Cone 5. Soviet prisoner-of-war camps years after the Carpal Tunnel Relief After watching this for a number of years,end of the war, and those heroes who tried to When I mentioned to my father-in-law, Mel Jacobson and I decided that something save their fellow men. an internationally respected nutritionist, that major needed to be done. Last May, we tore Ervin Otvos, Biloxi, Miss. I was having problems with carpal tunnel down the stack, and I rebuilt the flues and syndrome, he checked out the science and stacks, using Nils Lou’s double-venturi prin­ Realistic Pricing medical journals and presented me with a ciple. I made a few other modifications in the As the director of a small nonprofit art handful of papers on the subject. firebox, flame entry into the kiln, setting gallery, I am often put in the position of One study I found of particular interest space and bag wall. In June, Kevin Caufield dealing with an artist who overprices work. goes back nearly 20 years and follows the took on the task of firing the kiln for the first Beginners are especially prone to “reach” for research of Folkners and Ellis on the effect oftime after these modifications. an established artist’s price scale. Is there a treating carpal tunnel syndrome (CTS) with While using a pyrometer to gauge rule of thumb? I say $4-$ 12 for a mug, $20- vitamin B 6 (pyridoxine). I think the results progress, it appeared that the kiln had stalled $80 for a casserole and $20-$ 150 for a vessel. are impressive and worth looking at, espe­ at about 2000°F, yet it looked hotter. Mel Artists should be realistic, asldng them­ cially if surgery is being considered. It is suggested that Kevin forget the pyrometer selves how much they would be willing to believed that when a pre-existing deficiency and check the cones. To everyone’s delight, pay as buyers, and whether they really want of the vitamin is present in some individuals Kevin discovered the kiln had reached to sell the work or just exhibit. that certain repetitive work brings on CTS Cone 11 in just 7½ hours—using wood Eileen Braun, Yorktown, N.Y. and other related problems. In one study, 22 alone after an overnight candling with gas. cases of severe CTS were treated, with a Once the excitement had died down, Hidden Virtues 97.4% cure rate. someone noticed a heart-shaped soot pattern As I made a final pass through my class­ There was much discussion about the on the door. We all took that as a message room with a wet sponge, a sadness that was dosage of B6. Up to 200mg of the vitamin from the kiln that it, too, was delighted. The all about endings came over me. The memo­ was safely given to pregnant women (who ries of students’ growth from beginning to apparently are more susceptible to CTS advanced techniques in ceramics put a grin because of hormonal changes), but the rec­ on my face. Students’ September pinch pots ommended dosage is 50-1 OOmg daily. It is had later been overshadowed by complex necessary to take the supplement for 12 narrative sculpture and wonderfully thrown weeks before any results can be expected, and teapots. to continue taking it indefinitely. The birth of my daughter has made me I have been talking lOOmg of B 6 daily for stop and think a bit about what I do for a seven months, with excellent results. My living—teaching high-school ceramics. It experience with CTS goes back 16 years. I dawned on me that what goes on in the have had it treated with cortisone shots and studio is about much more than clay and have had surgery recommended, which I techniques. It’s more about Ron developing refused. I have had to stop potting many patience, Joe discovering passion and Holly times over the years to give my wrists a rest. door was unbricked, then restacked in the gaining confidence. It was to a very special In the past five months, I have had one same order for the second equally successful group that I said good-bye, good luck and all bout with CTS. I had spent several days firing, and the heart remained. the best this year. making pots that were larger than I normally Kurt Wild, River Falls, Wis. Over the years, many of my students have make and began to feel the strain. After had the magical powers of clay cast upon taking one day off, I was able to return to myOutrage Unwarranted them. The lessons they’ve learned in a round­ work and, by alternating large and small In protesting a much-belated war memo­ about way are the important lessons of life: pieces, complete it. In the past, this would rial by Gyorgy Fusz (JunelJulylAugust Let­ passion, patience, cooperation and commit­ have required at least one week of rest and ters), Ms. Brand’s understanding of ment. There are virtues hidden deeply be­ many more of cautious use. Vitamin B6 has Hungarian history and the current state of tween the overwritten lines of public definitely worked for me. public mind in that country is sadly confusededucation curriculum. Anne Macaire, Watson Lake, Yukon, Canada and terribly flawed. Although unoccupied by George Howell, Hilton, N.Y. Germany until 1944, the country was under True Love Hitler’s thumb after 1938-1939. Prime College Ceramics Woes Our newly remodeled wood kiln loves Minister Count Paul Teleki killed himself to I have been reading Ceramics Monthly for us—it told us so. protest a similar forced involvement in Yugo­ about a year now, as long as I have been into Bob Holman built the original kiln in slavia. The government vainly attempted to ceramics. Since then, I have learned a lot Osceola, Wisconsin. In 1980 or 1981, he extricate the army from Russia to avoid its from the magazine, from my teachers and tore it down and rebuilt it on his “new” farm use as German cannon fodder. Knowing full from wortahops. The prevailing lesson seems near Clear Lake, Wisconsin. Over the years, a well what the local and global consequences to be that ceramics is a hard, unforgiving field number of different people fired the kiln, andwould be and looldng back at their own of work, but once in your blood, it is there history, few Hungarians wished for a Ger­ for life. Share your thoughts with other readers. All letters man victory. I go to a community college that has, in must be signed,\ but names will be withheld on Looking at the statues, it is clear that far my opinion, a very poor 3-D department request. Mail to The Editor, Ceramics Monthly, from glorifying “fascist heroes,” this memo­ with only one functional ceramics teacher, Post Office Box 12788, Columbus, Ohio 43212- rial finally honors tragic victims of that hor­ who’s teaching only one class next semester. 0788; or fax to (614) 488-4561. rible slaughter: conscript front soldiers, JewsIt seems that in order to get anything done,

8 CERAMICS MONTHLY September 1995 9 Letters last to see financing and the first to see the ax.1995). I was most interested in his glaze I believe, especially at our school, which ideas. If recipes are available, I would like to seems to be moving toward job-intended try them in my gas-fired oxidation, some­ papers have to be filled out in triplicate and studies, ceramics should be encouraged. times reduction, kiln. It is small for the same signed by every bureaucrat in administration. Please do more stories on student work reasons as his, and I have lowered firing to If it wasn’t for the teacher we’ve got, we for us newcomers who wish to continue our Cone 8-9 because of cost. Will he share? wouldn’t have anything. ceramics education. I think it would be I may lower my firing temperature fur­ This is a small school, so when our pot­ helpful to hear how other college programs ther—to the Cone 6-8 range. The “New ters’ guild sold $500 worth of stuff last week, actually operate. Look at Old Glazes” article in the February it was a big deal to us. But it made me won­ Steve Sargent, Exeter, Calif. issue was a good one. How about additions der why we in the ceramics department don’t or subtractions to these recipes that would receive as much respect as other departments.May Kudos allow firing to Cone 6-8? I enjoy painting and drawing, but I wish the The May issue was one of the best in a When CM arrives, I put a white label on public and especially the administrators long time and inspired some rereading. the front cover, then as I read, I note down would realize that ceramics is an art that the Please do more down-to-earth pieces like page numbers and subjects throughout the common person will buy. It seems we arethe the autobiography by Chris Carter (February magazine that interest me so I can refer to them quickly later. Claire Hellar, Waldron, Wash.

Disappointed with Color I was extremely disappointed to see that Susan Eisen’s work was in black and white in the JunelJulylAugust issue. CM really missed an opportunity to print her range of gorgeous rich and subtle color. Instead, color space was wasted on that hideous peacock copper glaze of Edgecomb Potters. Does it have some­ thing to do with being commercial? Martye Krainin, Palisades, N.Y.

I’s Have It I found the JunelJulylAugust issue to be the best ever. It has the three I’s: informative, insightful and inspiring. Connie McCarty, Eaton, Ohio

Recipe Style Please explain why glaze recipes are given with additions, rather than adding up com­ pletely to 100%. Loretta Costell, Ontario, Calif.

Ceramics Monthly lists recipe ingredients in the same order adopted by standard texts in the field; that is, the fluxes, followed by contributors of alumina, then the silica, which together make up the glaze melt. Chemically, this order is described as bases (RO), neutrals (R2 03 ), then acids (R02 ). The additions to the recipe are modifiers; they include opacifiers, colorants and suspending agents (such as bentonitej.—Ed.

Typo Trouble Many thanks for publishing my article “The $1200 Studio” in the May 1995 issue. Looks good; reads well. A couple of correc­ tions should be noted, though: My studio is 12x14 feet, not 12x114 feet. Also a sentence that I think was needed was dropped from a paragraph about wheels on page 92. The text should have read: “Whatever construction surrounds the wheel must be strong and stable. Nothing prevents one from bolting a wheel to wall or floor. Either might make cleanup difficult.” Lili Krakowski, Constableville, N.Y.

10 CERAMICS MONTHLY September 1995 11 Up Front “Cowboy at Home,” for instance, depicts a Matisse horse and circus wagon on the kitchen wall. The imagery of other tile paintings bears references to Picasso, Kandinsky and others who held the modernist belief in art as the source of order and truth, Ken Kohoutek an ideal that seems to be simultaneously challenged and re­ by Laurence Buxbaum newed in these worlds. Ken Kohoutek grew up in Montana, where he spent a lot of time listening to the talk in his father’s saloon. In his glazed-tile Kottler Bequest for Ceramic Art paintings recently exhibited at William Shearburn Gallery in The American Craft Museum in New York City; the Everson Museum of Art in Syracuse, New York; the Renwick Gallery of the Smithsonian Institution in Washington, D.C.; and the Seattle Art Museum recently received $75,000 bequests from the Howard Kottler Testamentary Trust to purchase ceramic works by young, emerging and mid-career artists for their permanent collections. When Kottler, a ceramist and professor of art at the University of Washington in Seattle, died in 1989, he left a will establishing and funding the trust. “This bequest, which will enable the work of emerging and mid-career artists to enter the permanent collection of the American Craft Museum, was a visionary gesture on the part of Howard Kottler,” stated museum director Janet Kardon. Each museum also received ten Kottler pieces representative of those made throughout his career. His work explored the elements of allusion, drawing from the American vernacular and employing verbal and visual puns on a variety of subjects, such as fine art, politics and sexuality. Sisters of the Earth

Ken Kohoutek’s “Cowboy at Home,” 19 inches by Steve Grafe square: at William Shearburn Gallery, Saint Louis. Since the advent of the Santa Fe railroad in the 1800s, Native American potters have enjoyed an expanding market for their Saint Louis, he presented a visual analog of that exuberant oral wares. The 20th century has brought considerable notoriety to tradition in images that, with an astounding sense of color and select individuals, and increasing public interest in Pueblo pattern, graphically document life in these chaotic and discon­ pottery has brought a corresponding increase to the value of nected times. In each of Kohoutek’s tileworks, there is a visually stimulat­ ing tension between distorted figures in distorted-perspective space and the brilliantly colored, obsessive surface pattern. He combines this tension with objects that, because of their realism and large scale, take on the role of iconic fetishes of mass con­ sumption. In “Cowboy at Home,” the fragmented rooms seen from different points of view are dominated by an enormous pair of vivid red-and-yellow cowboy boots against a flat, patterned background. Embedded in the highly charged visual field created by the contrasts of perspective, pattern, color and scale, there is an exuberant visual energy that seems to overwhelm the bemused male subjects of these tales. If these tile paintings reflect the current postmodern attrac­ tion to disorder, they also contain images that connect the viewer to an earlier time—when one could still believe in the possibility of human perfection. All are dominated by nostalgic icons, such as the cowboy boots, hair dryer, vacuum cleaner and outboard motor—all images of the 1950s consumer society, which we now see with a rosy glow from our present stance at the brink of the new millennium. Along with these consumer icons, Kohoutek also inserts visual quotes from the established canon of modernist art.

You are invited to send news and photos about people, places or events of interest We will be pleased to consider themforpublica- Roxanne Swentze|rs „The Things , Have t0 Do t0 Maintain tion in this column. Mail submissions to Up Front, Ceramics Myself,” 16 inches high, earthenware; from “Sisters of the Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Earth” at the Holter Museum of Art, Helena, Montana.

12 CERAMICS MONTHLY September 1995 13 Up Front describes as “ambiguous, residing on the precarious edge of the human and animal world.” Swentzell, also of Santa Clara Pueblo, creates earthenware figures that display significant contemporary and historic works. Pottery production in New emotion. Her rounded forms are monochromatic and their Mexico is now a minor industry and Pueblo pottery is synony­ humanity is realized through modeling. She “focuses on the mous with much of the public perception of both the American human figure in an attempt to answer these questions: How, as Southwest and Native American art in general. human beings, do we fit into the world around us? Why have The exhibition “Sisters of the Earth: Contemporary Native we made ourselves so separate from nature?” American Ceramics” presented the works of six women who “Sisters of the Earth” premiered at the Bush Barn Art Center produce ceramic art that is individual and contrary to any in Salem, Oregon, in September 1994, then traveled to various stereotype of Native American ceramics. Two of the artists claim venues, finishing its tour in June at the Holter Museum of Art. cultural affiliations outside the Southwest; two others are of Navajo descent, a group seldom associated with a ceramics Byron Temple tradition. All of the women pursue a personal vision and all Wheel-thrown worlds by Louisville, Kentucky, potter Byron work with the figurative form. Temple were on view recently at the Museum Boymans-van Organized by Peter Held, executive director of the Holter Beuningen in Rotterdam, Netherlands. Included in the exhibi­ Museum of Art in Helena, Montana; and Lillian Pitt, Warm tion were bowls and lidded vessels made by Temple during a Springs-Wasco-Yakima ceramist, the exhibition was designed to provide viewers an opportunity to see the work of Native American artists who are combining cultural traditions with contemporary thought. Arguably, the best known of the artists represented in the exhibition was Nora Naranjo-Morse of New Mexico’s Santa Clara Pueblo. Since the late 1970s, Naranjo-Morse has been acclaimed for her clay figures, and a recent series of work has generated particular interest. Unlike these better-known pieces, however, much of her work in this exhibition is on a relatively large scale. “Lito’s Fetishes,” for instance, are three nearly life-size humanoid figures. Their bodies are rendered in circular, oval and rectangular shapes, then spray painted to create a surface that is subtly stippled. Their heads bear metal adornments and ceramic jewelry. “I am especially curious when it comes to

Byron Temple lidded vessel, approximately 9 inches in diameter, porcelain; at the Museum Boymans-van Beuningen, Rotterdam, Netherlands.

three-month residency at the European Ceramics Work Center in s-Hertogenbosch, Netherlands. He was 1 of only 17 resident artists chosen from 120 applicants from 23 countries. Trapp to Head Renwick Kenneth R. Trapp, curator of decorative arts at the Oakland Museum in California, has been named curator-in-charge of the Renwick Gallery of the Smithsonian Institution in Washington, D.C. Effective October 2, Trapp will replace Michael W. Monroe, who retired from the Renwick after 21 years. During his tenure at the Oakland Museum, Trapp organized the traveling exhibition “The Arts and Crafts Movement in California: Living the Good Life,” which was presented at the Renwick in the fall of 1993. He received the National Museum of American Art’s biennial Patricia and Phillip Frost Prize for outstanding scholarship in crafts for the exhibition catalog.

Nora Naranjo-Morse “Lito’s Fetishes,” to 48 inches A graduate of the University of Cincinnati (bachelors in in height, earthenware and mixed media, $8000. industrial design) andTulane University (master’s in art history), he is currently completing a dissertation titled “Rookwood watching people,” Naranjo-Morse explains. “This offers me Pottery and the Application of Art to Industry in Cincinnati, insight into a variety of visual, as well as emotional, 1875-1890” for a doctorate from the University of Illinois. perspectives....At times I invent emotional character for a person I am watching. This may be one of the reasons I don’t mind Three Maryland Potters waiting in lines.” Wood-fired pottery by Maryland artists Michael Holter, John Roxanne Swentzell’s contributions to the exhibition included Thies and Bill Van Gilder was exhibited recently at Mary a variety of figures [see page 12] that the accompanying catalog Condon Hodgson Art Gallery, Frederick (Maryland) Commu-

14 CERAMICS MONTHLY September 1995 15 Up Front nity College. Although all three fire their work with wood, “individually we approach the technique from very different directions,” Van Gilder explained.

From left to right: Maryland potters Bill Van Gilder, John Thies and Michael Holter.

Van Gilder uses a square Roman-arch kiln, and Thies fires in a catenary-arch; both kilns can reach 2400°F in a long day. Holter’s kiln is an anagama that is about 16 feet long and 4 feet wide; a firing of 200 to 300 pots can take up to 3 days. All three artists “rely upon the burning wood fuel to color, give surface quality and character to each piece of pottery,” Van Gilder said. Thies agreed, adding, “The wood-firing process is a labori­ ous one that produces a unique variety of warm earth tones Michael Holter’s “Tray with Tumblers," to 12 inches with natural flame patterns and ash deposits that cannot be in height; at Mary Condon Hodgson Art Gallery, duplicated by any other firing method. My intentions are to Frederick (Maryland) Community College. overcome all expectations, understand the full potential of the fire, and continue to challenge myself within the bounds of this practice.” Holter likes the “contrast between the stonelike hardness of the fired clay and the visual softness of the ash-glazed surfaces. These pots can seem ancient and natural.” Crafts Impact Local Economy Craftspeople in the pottery-rich communities of western North Carolina contribute more than $122 million annually to the economy, according to a recently published report. Commis­ sioned by Handmade in America, an organization dedicated to John Thies “Bowl,” 5 inches in height, stoneware “making western North Carolina the center of handmade with slip, wood fired. objects in the nation,” researchers at Appalachian State Univer­ sity conducted a survey of the crafts industry and its contribu­ tion to the local economy. The study included data in four areas: professional produc­ ers, second-income producers, consumers of crafts and retail sellers of crafts. The largest contributor to the economy is retail sales—820 shops each sell an average of more than $86,000 in crafts annually, with a combined total of almost $71 million. Professional craftspeople contribute more than $25.7 million annually, with each craftsperson averaging $34,775. Those making crafts part time average just $6,749 annually, but together contribute over $22.7 million to the economy. “The findings...are very significant,” stated Becky Anderson, executive director of Handmade in America. “Since most craftspeople operate individually, their economic impact has often been overlooked. Through this survey we can see that craftspeople and those who market craft-related items are, collectively, a very powerful force in regional economy.” Toledo Acquires Ancient Greek Vase A 2300-year-old Greek vase made by the Darius Painter was acquired recently by the Toledo Museum of Art in Ohio. Of Bill Van Gilder “Watering Can,” 15 inches in height, course, the makers name is not actually known, but the style is wood-fired stoneware with slip. distinct. It was first recognized on a vase depicting the Persian

16 CERAMICS MONTHLY September 1995 17 Up Front to Native North American ceramics—and, more recently, to the legacy of Bernard Leach and the early-20th-century British vessel tradition.” Although her works convey a sense of movement—the unfurling of a plant, the fall of a Victorian sleeve, the posture of intimate conversation—Odundo also sees a correlation between their natural forms and womens bodies. She is fascinated by the ways in which women’s bodies have been reshaped to conform to standards of beauty. Odundo makes only a limited number of vessel types, preferring to concentrate on making the maximum aesthetic impact with small physical additions and modifications. “Often

Volute krater, approximately 3 feet in height, Greek vase with slip decoration by the Darius Painter, 335-325 B.C.; at the Toledo (Ohio) Museum of Art. king Darius in counsel with his advisers; thus, the modern use of the name the Darius Painter. Produced in the province of Apulia in southern Italy about 325 B.C., the vase measures over 3 feet tall and is called a volute krater after the cylindrical forms above the rim at the top of its two handles. The slip decoration depicts various mythological figures, with each of their names incised into the clay. Large, elaborately decorated vases like this one were buried in tombs of wealthy Greek families who had settled in southern Italy.

Magdalene Odundo Magdalene Odundo “Untitled,” 22 inches in height, “Ceramic Gestures,” an exhibition of 15 vessels by Kenya-born, handbuilt terra cotta; at the University Art Museum, London-based artist Magdalene Odundo, was presented re­ University of California, Santa Barbara. cently at the University Art Museum of the University of California, Santa Barbara. Primarily coil built using a blend of Odundo s pots speak’ to each other, as they do to her,” Berns red Etrurian marl and yellow brick clays, her pieces are bur­ says, “and she allows this dialogue to influence their creation, nished when leather hard, covered with slip, burnished again, final resolution and even installation.” then fired in a gas kiln. Some are fired a second time in a saggar filled with wood chips and shavings. Richard Milette While much of Odundo s work is inspired by the forms and “Words of Love and Hate,” an exhibition of seven vases by processes of African pottery, she “is equally conversant with Montreal artist Richard Milette, was on view recently at Prime Euro-American modernism,” according to Marla C. Berns, Gallery in Toronto, Ontario. Using the classic Greek hydrae University Art Museum director and the exhibitions curator. form in a postmodern manner, Milette developed this series to “Odundo brings to her work a love for the universal language of comment on the history of ceramics, museum practices, taste, clay and a familiarity with the world s ceramics history, going marginalization of ceramics as art, and political issues. back to the vessels of antiquity—to the pottery of Jomon Japan, While the classical forms may attract the viewer, the four-

18 CERAMICS MONTHLY September 1995 19 Up Front some meaning beyond the visual representation of the object,” Baker noted; however, “the representation...is often metaphori­ cally uncertain and can only be guessed at by the viewer. “The highest use of any vessel is to contain. That which they contain is often invisible. Sometimes the contained material is mysteriously hidden inside and sometimes it exposes itself through the opening of the vessel. The only thing a vessel cannot deny is containment.” One of the vessel forms he bases his work on is the boat— “an object of transportation, containment and adventure.” John Toki by Jennifer Hopkins The essence and spirit of landscape is the focus of a sculpture by California artist John Told, featured recently at the Civic Center Plaza in Mountain View, California. Constructed in 1992 while Toki was serving as technical adviser for the European Ceramics Work Centre in the Netherlands, “s-Hertogenbosch” reflects such natural elements as water, sky and mountains. In the 12-

Richard Milette’s “Hydria 13-4165 with Hate,” approximately 16 inches in height, earthenware and plaster; at Prime Gallery, Toronto, Ontario, Canada.

letter words (hate, love, AIDS, etc.) across the surfaces are intended to confront one’s ideas of propriety and sexuality. W. Lowell Baker Clay and mixed-media sculpture by Alabama artist W. Lowell Baker was presented recently at Sarah Moody Gallery of Art at the University of Alabama in Tuscaloosa. According to Baker, all his work “functions as a kind of a shrine or a quiet object of reverence. Many years ago I became intrigued with the function and nature of monuments,” he explained. “That interest in these very personal and powerful objects has stayed with me. I have studied, and continue to use in my art, references to

John Toki’s "’s-Hertogenbosch,” 12 feet in height; at Civic Center Plaza, Mountain View, California.

foot-high sculpture, Toki wanted to bring his personal experi­ ences and perspective to the Dutch environment, suggesting a “new landscape” that would contrast with the locality of the W. Lowell Baker’s “Dry Dock,” 40 inches in height, Dutch town for which the sculpture was named. clay and mixed media; at Sarah Moody Gallery of By combining a coarse, light brown, Dutch stoneware with Art, University of Alabama, Tuscaloosa. French and German inlaid colored porcelains, Toki created an abstraction that was influenced by Dutch landscape painting, as monuments, tombstones, fetishes, religious objects and ceremo­ well as by the beauty of the land itself. The varied clay also nial objects from a wide variety of cultures. I attempt to give my added to the rugged texture. The work was reduction fired to objects the enigmatic power of the ‘real monument’ and still Cone 6 over a period of four days. remain the nonparticipating, nonjudging observer; an anthro­ “I am attracted to abstraction as a way of conveying timeless- pologist in a personally invented material culture.” ness,” Toki stated. “At the same time, I like the contrast between The work in this exhibition deals with the word vessel. the malleability of the clay while I am building and the stillness “Vessels have been used through the history of art to convey it presents after firing.”

20 CERAMICS MONTHLY September 1995 21 than for any other firing process, says Troy, New Books “mainly because wood firing uniquely reveals characteristics and qualities inherent in ce­ ramic raw materials that are evident in no Wood-Fired Stoneware and other means of firing.” Recipes for various Porcelain types of clays and glazes are provided at the by Jack Troy end of each of these chapters. Before he became an avid practitioner, Next, strategies for loading are consid­ this type of firing “flew in the face of my ered. These are “very personal and have been values, which equated ‘mastery of materials’ compared to three-dimensional geometry with success in the ceramic arts,” notes the problems,” says Troy. “Generally speaking, author of this historical, technical and aes­ the shorter the firing, the more conventional thetic guide to wood-fired ceramics. “Noth­ the stacking. Longer firings demand more ing in my education had suggested that chanceplanning because they involve multiple vari­ elements might be enlisted as allies.” ables,” including position of specific clay Now he understands “why the ancient, bodies relative to heat sources, arrangement labor-intensive process of wood firing con­ of individual pieces for different effects, and tinues its appeal in an era that prizes almost draft throughout the kiln. any attempt at labor- Finally, Troy dedicates one chapter to the saving as an unques­ teaching of wood firing and another to safety tioned ‘advance.’” considerations—“because wood firing in­ In the first chap­ volves considerable activity in the prepara­ ter, Troy describes a tion of fuel, as well as working in the presence typical anagama fir­ of heat, safety should be a high priority in ing, providing a list of every aspect of both processes,” he cautions. firing reactions and 192 pages, including bibliography; index; variables as well as and appendixes on chemical analyses of clays, stoking options. He an evaluation of Troy’s ash glazes by Pamela then examines what he considers the four Vandiver, and characteristics of wood types. main historical influences on the current 41 color and 158 black-and-white photo­ interest in wood firing: medieval Japanese graphs; 27 drawings. $34.95. Chilton Book ceramics; French works centered around Company, Radnor, Pennsylvania 19089-0230; LaBorne; wood-fired, salt-glazed ceramics, (800) 695-1214. especially those from North Carolina; and alkaline-glazed ware from the Edgewater, Bridging East and West South Carolina, area. Japanese Ceramics from the Kozan Studio For the most part, the remainder of the book is devoted to firing information, with by Kathleen Emerson-Dell wood—selection, preparation and combus­ Published in conjunction with an exhibi­ tion—discussed first. “The availability of tion of pots made at Miyagawa Kozan’s wood is the single most critical factor in this Makuzu Pottery, this catalog/book pieces medium,” Troy asserts. “Consequently, manytogether the story of his life and work. All kilns are located in rural areas where logging Makuzu records—along with Kozan’s glaze and other wood-processing operations createrecipes, sketchbooks, diaries and letters— by-products that, while useful to ceramists, were destroyed during the 1945 Allied might otherwise be shredded into mulch or bombing of Yoko­ disposed of as waste.” hama, so most of the Troy then discusses appropriate sites for information was as­ ldlns, as well as materials needed for construc­ sembled through in­ tion, structural considerations, building plans terviews with other and firing schedules. Accompanying the text potters connected to are many photos and drawings of different the studio, newspaper kilns in various stages of construction—in­ articles, incomplete ex­ cluded are several anagamas; Malcolm hibition lists and other Wright’s noborigama in Vermont; the Jug- sources. town groundhog kiln in North Carolina; Born into a family of potters in Kyoto, Robert Barron’s four-chamber climbing kiln Kozan inherited the responsibilities of run­ in Australia; Robert Sanderson’s Bourry-box ning the family kiln at the age of 18, when kiln in Scotland; Daphne and Gary Hatcher’s both his father and older brother died. Ten two-chamber, Bourry-box kiln in Texas; and years later, Kozan “made the decision that Troy’s anagama in Pennsylvania. would start him down the path of fame—the Appropriate clays and glazes are also cov­ decision to move to Yokohama,” observes ered. The choice of clays is more significant Emerson-Dell. Continued

22 CERAMICS MONTHLY September 1995 23 New Books When acquiring crafts for the White House, Monroe followed strict guidelines: “The rationale and the parameters for select­ During the next eight years, he won nu­ ing objects...were narrowly defined,” he ex­ merous awards and began experimenting withplains. “The criteria for inclusion were glazes. “By the 1890s he would be considereddetermined by the architecture, the historical one of the three great masters of the period. settings and the furnishings, with careful All three were recognized primarily for their consideration given to the color, texture and innovative glazes.” scale of the period rooms....The selected craft After managing the studio for 45 years, pieces respond, each in its own way, to the Kozan officially retired in 1912, turning the preexisting style and business over to his son Hanzan, who over­ ambience of these his­ saw production for the next 25 years. “Over torical spaces.” that time, the studio produced a variety of After Monroe dis­ wares in stoneware and porcelain, for audi­ cusses various pieces ences both domestic and foreign. Because of (and their makers) in the length of time and the different personali­ the collection, Dia­ ties, as well as the range of materials and the monstein comments different markets, it is difficult to define a on crafts’ growing rec­ single style,” Emerson-Dell explains. ognition over the last “Practically nothing is known of the ce­ 30 years. “Not only is there a genuine aes­ ramic production of the Makuzu kiln during thetic regard for ‘handmade’ objects, but the early war years,” when Hanzan’s eldest there is also a desire to collect ceramics, glass, son had control of the studio. After the war, fiber arts, jewelry, metalwork, furniture and Hanzan’s youngest son tried to revive the woodwork in the same tradition that paint­ pottery, but “his specialty had evidently been ing and sculpture have been acquired,” she in kiln firing...and his works never attained notes. “Crafts have customarily been valued the level of those of his predecessors.” 64 for utilitarian purposes; today this apprecia­ pages, including selected chronology and bib­tion encompasses not only the broad spec­ liography. 41 color and 83 black-and-white trum of crafts that are both functional in use photographs (also includes 72 photos of pot­and beautiful in form, but also works that are ters’ marks and box inscriptions); 6 sketches.purely decorative.” $17.50, softcover. University of Washington The current administration’s support has Press, Post Office Box50096, Seattle, Washing­ “assured that crafts have a place in, and are ton 98145-5096; (206) 543-4050. shown with, the White House collection,” she says. 128 pages, including an exhibition The White House Collection of checklist and artists’ biographies. 92 color American Crafts photographs. US$35; Can$46.95. Harry N. by Michael W. Monroe with Barbaralee Abrams, Inc., 100 Fifth Avenue, New York, Diamonstein New York 10011. Published in conjunction with an exhibi­ tion of the same name, this book/catalog Smoke-fired Pottery “features 72 works by 77 of America’s leadingby Jane Perryman craft artists of today,” states Monroe, the “During the last decade a growing aware­ exhibition’s curator and then curator-in- ness and interest has developed among studio charge of the Smithsonian Institution’s Ren- potters into the ‘primitive’ techniques of wick Gallery of the National Museum of handbuilding and smoke firing,” states the American Art. Donated to the White House author of this how-to guide. “This has oc­ in 1993 (which had been designated the curred partly as a reaction against the ever- “Year of American Craft”), “the pieces withinincreasing sophistication surrounding kiln the collection illustrate the skill, imagination technology and partly against the preoccupa­ and vitality characteristic of craft in the 1990s.tion with high-fired stoneware and porcelain Using glass, wood, clay, fiber and metal, theseinfluenced by the Leach tradition.” artists reveal their ability to manipulate mate­ As someone “with an aversion to the rials in inventive ways, expressing their cre­ glazing process, the discovery of burnishing ative vision in objects of startling beauty. As and smoke firing ten years ago was a revela­ the most industrialized century of our historytion to me and I have never looked back,” she draws to a close, this collection stands as continues. “The polished surfaces of pots testimony to a belief in the value of works of made in this way, richly marked by smoke, the hand. Despite our increasing reliance on express qualities of softness, sensuality and computer technology, the intimate and physi­earthiness which glazed work cannot.” cal qualities of the handmade object have Before explaining the various methods never had more appeal.” used by contemporary potters, Perryman

24 CERAMICS MONTHLY September 1995 25 New Books tions but also to the self-reflective voice Kot­ tler assumed as he summarized his career.” Kottler’s interest in ceramics began at the briefly discusses the history of smoke-fired Ohio State University in Columbus, when he pottery, then describes the traditional form­ needed one more elective class to complete ing and firing techniques used in Nigeria, his B.A. degree. “T decided—I don’t know India and the Southwestern United States. why—to take a ceramics course. Maybe it For example, Nigerian and Pueblo potters was because I often walked by the art build­ prefer “complete blackness achieved by a ing. It was summer term and I graduated in total reduction atmosphere during firing, August. I hadn’t done anything whatsoever whereas the pots from India have dramatic in art as an undergraduate, even though I smoke marks as a result of a mixed atmo­ knew I was pretty good at making things.’” sphere of reduction He went on to study optometry—a worst and oxidation.” choice he couldn’t think of, he said, since he Examples ofvessels was not good in math or physics. Each quar­ and sculpture by con­ ter, though, he took a ceramics course, and temporary artists from found he enjoyed it more and more. He around the world il­ finally dropped out of the optometry pro­ lustrate the six firing gram, flunked the physical that would have techniques (in the sent him to fight in the Korean conflict, and open; within a con­ enrolled in the ceramics program at Ohio tainer, pit, saggar or kiln; or postraku smok­ State. He earned an M.A. at Ohio State, then ing) identified by the author. For instance, studied at the Cranbrook Academy of Art in British artist Elspeth Owen’s pinch pots are Michigan, and at the Central School of Arts “burnished with a pebble, then once fired to and Crafts and the Arabia Ceramics Factory, 980°C [1796°F]. The surface is prepared byboth in Finland. partly covering it with a clay slip, which will In 1964, after completing a Ph.D. at Ohio block out the smoke. The firing takes place inState, Kottler accepted a teaching position at the open, without a container. Sheets of the University of Washington in Seattle. newspaper are placed around and across the “Estranged from the Midwest and Ohio State, rim and set alight.” Kottler soon began to behave professionally The final chapter explores the possibilitiesas he had not behaved at home,” notes Fail­ of using smoke-firing techniques in a class­ ing. “Restraint, lack of contrivance, an ab­ room situation, with projects for four groupssence of mechanical intervention and a of students (ranging from four-year-olds to ‘positive attitude’ were gradually abandoned postgraduate students) given as examples. in favor of flamboyance, irreverent burlesque, “The techniques used are completely versa­ manufactured images tile and open to improvisation,” Perryman and materials, and bla­ explains. “There are no rules. Equipment is tant eroticism.” minimal and inexpensive; fuel can be any Kottler enjoyed found combustible material.” The process “is teaching and was suc­ suitable for any age and level, and can be cessful, he said, “‘be­ interpreted in a simple way as with young cause I tried to stimu­ children, or with sophistication as with art late people without school students.” 128 pages, including index. telling them what to 55 color and 166 black-and-white photo­ do. I looked for a middle ground between graphs; 17 sketches. £19.99 (approximatelybeing hard-nosed and stand-offish.... I wanted US$32). A&C Black, 35 Bedford Row, Lon­ students to develop a balance between intu­ don WC1R4JH, England; (71) 242-0946. ition—‘I’m doing it because I like it’—and critical reasoning....I would rather see bad Howard Kottler stuff that’s personal than good work that is Face to Face really the result of teacher badgering.’” After learning that he had inoperable lung by Patricia Failing cancer in early 1988, Kottler spent little time An overview of the late Howard Kottler’s in the studio. He conferred frequently, though, work and life, this book was initiated by the with his assistant, who completed many of artist after he learned of his terminal illness, Kottler’s works already in progress. 148 pages, and is based primarily on interviews con­ including a selected list of worlds in public ducted from April 1988 to January 1989, justcollections, bibliography and index. 146 color a few weeks before he died. “The subtitle, and 31 black-and-white photographs. $39.95. Face to Face, is taken from one of Kottler’s University ofWashington Press, Post Office Box double self-portraits,” explains Failing. “It 50096, Seattle, Washington 98145-5096; refers not only to the format of our conversa­(206)543-4050.

26 CERAMICS MONTHLY

Paul McCoy, assistant professor of ceramics talline combination. “Harding Black has done Video at Baylor University; Tom Turnquist, a col­ glaze development and has done experimen­ lector and writer; and Louis Marshall, an tation with glazes that nobody else in this antiques dealer and friend of the artist’s. country has done, perhaps nobody ever will,” Harding Black Viewers also have an opportunity to see asserts Turnquist. An American Treasure Harding at work in his studio, as well as Black never hesitates to share his clay and Although he has been making pottery 7 examples of his pottery, past and present. glaze recipes with other ceramists. “I wouldn’t days a week, sunrise to sunset, for over 60 Completely self-taught, Black is interna­ have my shop, I wouldn’t have nothing if it years, it’s still “such interesting work I don’t tionally famous for his glazes—see his CM wasn’t from people I helped that helped me even consider it work,” says San Antonio articles “Opening the Door to Copper Reds,”when I needed it,” he explains. potter Harding Black in this video on his life January 1953; “Iron Spotted Glazes,” Febru­ Now in his 80s, Black still works every as a potter. “I’m one of the lucky people. I’m ary 1954; and “Lava Glazes,” October 1961—day: “Even seven days a week isn’t enough to doing what I enjoy and that’s a rare thing.” and is still experimenting with glazes today. get it all done,” he says. “Course, there’s next First aired on a local PBS affiliate, this He even developed a new one just before his week.” 30 minutes. Available as VHS video- video includes interviews with the artist; with 79th birthday in 1991—a copper red/crys­cassette. $24.95, plus $4.95 shipping and handling. Alamo Public Telecommunications Council Post Office Box 9, San Antonio, Texas 78291-0009; (210)270-9000.

5 Steps to Get Your Art in a Gallery “The barriers to selling artwork are prima­ rily inside and not outside, so if you conquer those you’re going to be way ahead,” says gallery owner Jennifer Gilbert in this video commentary, the first in a two-volume series targeted at painters but general enough for any beginning artist. Along with her associate Christopher Long, Gilbert explains their plan for establishing gallery representation. The first step is identifying the local galler­ ies that sell your type of work at your pricing level. With these in mind, you can assemble a portfolio, including slides, resume, price list, business card and self-addressed, stamped envelope. When you have organized your portfolio, you are ready for the third step— approaching galleries. The fourth step, presenting your art, oc­ curs when a gallery director has expressed interest in your work. After you have found local representation, you can begin looking for national and international galleries, the final step in the process. Gilbert suggests printing brochures for this—a less costly alternative to the portfolio. Don’t be discouraged, Gilbert advises. “It will take time, but if you follow all the steps, you will be successful.” 36 minutes. Available as VHS videocassette. $42.95; $58.95 for the two-video set (10% discount offered to mem­ bers of a U.S. art association), de Havilland Fine Art, 39 Newbury Street, Boston, Massa­ chusetts 02116; (800) 867-1015.

3 Steps to Sell Your Art on Your Own In the second volume of this marketing series (see above), Gilbert and Long detail the steps involved in selling artwork. Like the first video, this is basic information intended for painters, but can be used by beginning artists working in any medium. The first step to selling your work is to realize that you are an artist. “The first people

28 CERAMICS MONTHLY September 1995 29 Video have a show, says Long, is October through volume on portrait sculpture), California December, the holiday season; the worst, sculptor A. Wasil demonstrates the steps of January and August. sculpting a female torso and a full figure in you’ll sell to will be family and friends,” so “Selling art is challenging,” says Gilbert, high relief “I love my work and look forward you must let them know about your work. “but then so is being an artist.” 26 minutes. to each new piece,” he says. “It’s fun, exciting The second step is to sell your work Available as VHS videocassette. $29.95; and I’m going to give you the information through the mail. The best method for this is$58.95 for the two-video set (10% discount that you need to make your work fun, excit­ a postcard. First, stay local—people like to offered to members of a U.S. art association).ing and easy too.” collect work of local artists, they note. Then, de Havilland Fine Art, 39 Newbury Street, In volume two, Wasil’s model is a nude you can begin to buy mailing lists. Boston, Massachusetts 02116; (800) 867-1015.female. He stresses that “people come in all Step three is “showtime.” Join nonprofit shapes and sizes; there can’t be a single rule of organizations and art associations, enter com­The Sculptor in You! proportion that applies to everyone,” but he petitions and have your own shows, suggests In volumes two and three of this three- does provide tips on average body propor­ Gilbert, as she lists the steps involved in video series for beginning artists (see page 80 tions. The figure, for instance, is usually eight having your own exhibition. The best time to in the April 1995 issue for a review of the firstheads tall and is cut in half at the crotch. He begins by adding clay to an armature mounted on a particleboard base, sculpting the torso from front to back, then deals with the sides. Work generally at first, he cautions. “Don’t get caught up in one little area.” When the torso is finished, he carefully removes it from the armature and hollows it out, explaining that the walls need to be an even thickness for firing. Volume three explains relief sculpting of a full figure. “My primary goal—and yours,” explains Wasil, “is for you to understand how relief sculpture differs from sculpting in the round, the techniques used in relief sculp­ ture, and how to make a mold and cast a copy of such a sculpture.” He begins by packing a framed rectangu­ lar piece of wood with clay. An image (from a photo, magazine, book, etc.) is then traced onto paper. The tracing is transferred to the clay by going over it with a dull pencil or stylus, pressing just hard enough to indent the clay. Pinches of clay are then added to build up the relief in various areas. To make the one-piece mold, Wasil first removes the frame from around the clay, then coats the sculpture with 6-8 layers of latex for the face mold and adds a thick layer of casting plaster to form the mother mold. WTien the plaster has set, the clay is removed from the latex face mold. A Hydrocal relief is then cast in the latex face mold (supported by the plaster mother mold). In both videos, Wasil encourages viewers to continue their efforts: “Don’t be too criti­ cal of your first effort,” he says. “There’s a lot to learn and a lot of pleasure in the learning. Each time you make a piece, you’ll be a little more confident. Each piece you make will be a little better than the last.” 90 minutes and 60 minutes, respectively. Available as VHS videocassettes. $29.95 each (or $75 for the three-video set), plus $3 shipping for first tape; $ 1 for each additional video (California residents add sales tax). Webber Marketing Co., 12584 Cresta Court, San Diego, Califor­ nia 92128; (619) 485-9355. Credit card or­ ders: (800) 548-6688, extension 101.

30 CERAMICS MONTHLY September 1995 31 32 CERAMICS MONTHLY

34 CERAMICS MONTHLY Italy’s Franco Rampi by Gilda Cefariello Grosso

Franco Rampi at work in his studio outside the village of Fiano, in the Chianti area of Tuscany, Italy.

Italian ceramist Franco Rampi lives He was first attracted to the world of formed the backdrop for his developing and works in a stone country house just ceramics in the enchanting surround­ artistic expression. outside the village of Fiano, in the Chi­ ings of a master craftsmans workshop The extreme versatility of clay lends anti area of Tuscany, about 35 kilo­ in Turin. Toward the end of the 1970s, itself well to continuous transformations, meters from Siena and Florence, and after having worked as an apprentice in which can be witnessed both in Rampi s within 20 kilometers of the medieval Tuscany for a local potter, he moved to functional and decorative pieces. Deco­ towns Certaldo and San Gimignano. South Devon, England, to round out ration, often in a composite free-style, His work embodies continuous effort his training. On his return to Italy in is tightly linked to the logic of the forms. to harness elements of novelty to age- 1981, Rampi set up his own workshop The patterns sometimes penetrate the old ceramics traditions; various tech­ in Tuscany; there, the idyllic setting of shapes of the objects through incisions; niques, filtered down from an ancient the Florentine hills—perhaps the great­ this happens for instance in some plates culture, are enlisted in modern research est expression of the harmonious rela­ where the brims are appropriately al­ for new expressions. tionship of nature and culture—has tered so as to interrupt the flow of the

September 1995 35 “Diesis,” 21 inches in diameter, wheel-thrown and slab-built platter, slip decorated, and reduction fired to Cone 8.

contour. The same effect of balance can ware slabs characterized by irregular con­ The variety and extent of the cre­ be found in the synthesis of decorative tours, where Rampi introduces themes ative solutions offered by Franco Rampi themes and shapes for everyday ob­ in the spirit of ancient frescoes; and the through his sculptural vessels and wall jects—examples of this being the mono­ black-bodied majolica ware, where soft- works express an artistic temperament chromatic band on a stoneware plate or tone colors acquire, by contrast, a vivid in continuous pursuit of new effects a brushstroke of light slip on teapots strength. In general, the range of colors and new materials within a more global and small bowls. derives from a careful mixture of the respect for traditional codes and mod­ Of particular interest are the stone­ natural oxides. ern aesthetic canons. A

36 CERAMICS MONTHLY Vase, 31 inches in height, wheel thrown “Tribale,” 21 inches in height, stoneware and porcelain, with and slab built, once fired to Cone 8. slips and ash, once fired to Cone 8, by Franco Rampi.

Recipes Rampis functional pieces are nor­ its standard firing temperature is Cone White Slip mally wheel thrown, bisqued, glazed and 08. Both clays are mined in the sur­ (Cone 8) sometimes majolica decorated. One-of- roundings of Montelupo, a Tuscan Nepheline Syenite...... 20 % a-kind works are also thrown, then al­ town, which has had an important ma­ WBB Airflo R Ball Clay...... _80 tered, slip decorated and sprayed with jolica tradition since the 13th century. 100% ash and iron oxide; they are then once For blue slip, add 1 % cobalt oxide and fired in reduction to Cone 8 (2300°F). Majolica Glaze 2% red iron oxide. (Cone 04) Dark Majolica Body Whiting ...... 4.26% Black Slip (Cone 04) Frit U2 (Lead Bisilicate) ...... 78.72 (Cone 8) Montelupo Clay...... 50% Kaolin...... 12.76 Bentonite...... 2 parts Montelupo Flame-Proof Body.. 50 Flint...... 4.26 Montelupo Clay...... 100 100% 10000. % Cobalt Oxide...... 1 Add: Manganese Dioxide ...... 8 % Add: Tin Oxide...... 9.57% Manganese Dioxide...... 6 Red Iron Oxide...... 2% Red Iron Oxide...... 10 Montelupo clay is a very fine plastic, Standard Stoneware Body 119 parts low-temperature, terra-cotta clay; at (Cone 8) Rampi s studio is equipped with two Cone 08 it fires pink. Montelupo flame­ Montelupo Flame-Proof Body.. 47 % gas kilns: one is 40 cubic feet, the other proof body is a sandy, short clay that is Sapec FI00 Clay...... 53 is 4 cubic feet and used mostly for bisque similar to Cedar Heights Redart clay; 100% firing, glaze tests or Cone 04 glazes.

September 1995 37 Sixth Annual California PHOTOS: COURTESY OF THE ARTISTS Competition

“Seaform Oval Teapot,” 9 inches in height, stoneware, thrown and handbuilt, with wax-resisted glaze, overlays and washes, fired to Cone 11, $285 by Cathra-Anne Barker, La Jolla.

The “Sixth Annual California Clay Competition” exhibition was presented at the Artery, an artists’ cooperative in Davis, California. Scheduled to coin­ cide with the “California Conference for the Advancement of Ceramic Art” sponsored by John Natsoulas Gallery, the competition was open to all living California artists. Cash/purchase awards and gift certificates totaling $2000 were contributed by 11 California galleries and ceramics suppliers. Juror Peter VandenBerge, faculty art­ ist at California State University, Sacra­ mento, selected 33 works from 303 entries to the competition. When re­ viewing the slides, VandenBerge noted “certain qualities. Craftsmanship would most certainly be one among those; an economy of means to express the idea, another. Important, as well, was sense of humor. I was also pleasantly sur­ prised on more than one occasion to find a sense of original vision included in the work. “Although I tried to achieve a bal­ ance between the more traditional and the more conceptual approach to clay, “The Wom-Cat,” 10½ inches in height, handbuilt from sculpture clay, the integrity of the work—aesthetic as­ brushed with commercial stains, $450, fired to Cone 1, pect, form, design, concept—became by Barbara Alexander-Barnett, Carmichael. ultimately the most important underly­ ing factor in making the final selec­ tions,” VandenBerge concluded.

38 CERAMICS MONTHLY “Shining with Isnowith,” 14 inches in height, slip-cast porcelain, airbrushed with underglazes, clear glazed, fired to Cone 6, $8300, by Gary Molitor, San Leandro.

September 1995 “Matter of the Heart,” 43 inches high, handbuilt, low fired, $2200, by Catherine Schmid-Maybach, Corte Madera.

Among the award winners was Gary Molitor of San Leandro. Molitors in­ spiration for his cast porcelain sculp­ tures comes from nature and a world he has created in his imagination. This world “is somewhat larger than Earth, with a similar living environment,” he explains. “Being fully domesticated, it has no wild places. There is not 1 inch of surface above ground or below water “Portrait of Ravel,” 22 inches in height, handbuilt that is not groomed or articulated.” sculpture clay, fired to Cone 06-04, $900, Molitors sculptures are assembled by Linda Fitz Gibbon, Davis. from up to ten separately cast and fired parts. After bisquing, they are airbrushed with underglazes. Finally, a clear over- glaze is applied and fired to Cone 6. Multiple “back-up parts” are made be­ cause of a high failure rate in casting and firing. A

40 CERAMICS MONTHLY Hands-On Learning A Ceramics Teaching Collection by Susan Carol Hauser

Salt-glazed stoneware jar with wooden stopper and leather handle, 10¾ inches in height, 1984, by Sandra Johnstone.

Tom Daly is a senior in the bachelor of shelves, he places it on the cart, keeping fine arts program at Bemidji State Uni­ it there while he examines it. versity in northern Minnesota. In his Daly is studying part of the 250- hands he holds a small earthenware ves­ piece Margaret H. Harlow Ceramics sel. He turns it over carefully, stroking Teaching Collection, which includes the sides and drawing his fingers around 150 pieces by recognized contemporary the foot. artists, such as Toshiko Takaezu, Daniel “This is believed to be first-century Rhodes and Warren MacKenzie, as well Turkish,” he says, and although he has as historical examples. The contempo­ held the piece before, his voice is rever­ rary work was chosen not so much for ent. He replaces the vase firmly on its the name of the potter, but for the tech­ shelf and moves on to another piece, nique represented by the pot. The works then another, occasionally picldng up of the “famous” are displayed alongside one to trace a pattern with his fingers, those of emerging artists, also chosen peer inside and turn it over to inspect for technique. Other pieces in the col­ lection, including works by Bemidji ce­ First-Century A.D., Turkish vessel, the foot. terra cotta, 4½ inches in height. As he moves, he pulls a display cart ramics students, were purchased by the with him. Whenever he takes a piece university’s Visual Arts Department with from its permanent location on the funds from the Harlow collection.

September 1995 41 “Sometimes I just come in here and “And pictures don’t show the thick­ sit,” says Chris Colgrove, another B.F.A. ness of the clay,” adds Colgrove. Nor do senior. One time, when he was having a photos reveal as much about technique bad day in the studio, he walked across as does the object itself. the hall to the display room and ob­ From the beginning, the Harlow col­ served a bowl by James Makins. lection was used for teaching, but stu­ At first he just stared at it absently, dents were not always allowed into the then he noticed that the inside throw­ display room. Even associate professor ing rings switched direction near the Butch Holden was at first skeptical about bottom of the bowl. “Its something I hands-on experience. would never have known from a photo­ “When I first started teaching here graph,” says Colgrove. When he com­ ten years ago,” he recalls, “I was hesi­ mented on the throwing reversal to an tant to take the pieces out of the display instructor, he learned that the technique room. Understanding their value and is purposely used by Makins and by historic importance, I exhibited them some Japanese artists. It is intended as a in the gallery and in a hallway display sleight-of-hand treat for those obser­ case, but only rarely took them into the vant enough to discover it. classroom.” Both Daly and Colgrove move about After a few years, though, he became the room, cruising the shelves that line more comfortable with using them ac­ the walls, and pointing out pots that tively in his ceramics class. “Most of­ challenge or inspire them. “I like being ten,” he says, “I bring the students into in here,” says Daly, who intends to pur­ the display room, but sometimes I se­ sue a career in ceramics. “When I look lect pieces and take them on the display at a pot, I can tell its weight, and can cart into the studio.” sometimes see imperfections in even the Covered pitcher, 13½ inches in height, There he asks students to conjecture best pieces.” thrown stoneware, 1991, by Clary lllian. about the glazes, the shapes or the art­ He sets a ceramic box on the display ists’ intent. “These are accomplished, cart and lifts the lid. “See how this realized forms. Students can see the tex­ catches a little on one side? You can’t get ture, tell the weight, look inside.” This that from a picture.” way, continues Holden, they can quickly

Covered jar with tied lid, 4 inches in height, 1979, by Byron Temple. Vase with mocha diffusion decoration, 12 inches high, 1983, by Robin Hopper.

42 CERAMICS MONTHLY Wheel-thrown stoneware bowl, 11 inches in height, 1978, by Don Reitz.

Salt-glazed teapot, 8 inches in height, 1991, Six-sided covered vessel, 9½ inches by Cynthia Bringle. in height, 1984, by Ted Randall.

September 1995 43 take in the point he is making, whether it is about materials or aesthetics. When he brings in the first-century Turkish vase and the students “see a humans touch from nearly 2000 years ago,” they begin to appreciate one of the most important qualities of clay— its longevity. “We can learn much about a culture through the ceramics it pro­ duced,” comments Holden. The collection also offers lessons in comparison and biography. “I can show how one technique is used by different artists,” says Holden. And one of the favorite projects of both Holden and the students is writing reports on the potters. Instead of assigning artists, Holden takes the students to the dis­ play room and has them select a pot that appeals to them. They then re­ search the artist and write a report. Holden also uses the collection for his own research and professional de­ velopment. “When I read about an art­ ist whose work we have, I can go into the display room and look at one of their creations.” And sometimes the pieces themselves inspire consideration and research. “There are mysteries here,” he says, of the images, forms and tech­ Stoneware vase, 17½ inches in height, wheel niques. “Some are readable,” but others thrown and altered, 1974, by Daniel Rhodes. elicit such questions as why this shape, why this material, why this color? The origin of the collection is no mystery. It was started by Margaret H. ute to the historical significance of the Holden and students. Designated pieces Harlow in 1973. Harlow graduated collection. As a result, she sometimes were taken down and placed on the from the university with a degree in acquires the work of emerging artists. display cart, then Harlow told the sto­ education in 1936. “We had to travel to She also watches for opportunities to ries of their acquisition, and explained the Twin Cities or Winnipeg to see origi­ demonstrate the development of an art­ why they fit in the collection. nal art,” she says, and she wanted to ist by purchasing both earlier and later Harlow adds three to four pieces a change that. She was attracted to pot­ work. The collection includes, for ex­ year to the collection. The most recent tery because, she explains, it is a natural ample, a wheel-thrown, salt-glazed delivery included a burnished and sag­ extension of her interest in geography, stoneware pot made by Don Reitz in gar-fired porcelain vase by Scott Tubby rocks and mountains. late 1978, and a handbuilt, brightly col­ of Connecticut, and a wheel-thrown, The collection became fact when ored, earthenware piece of his from squared and faceted covered box by Harlow handed two cardboard boxes of around 1989. Nancy Utterback of Colorado. The stu­ ceramic pieces to then university presi­ The Harlow collection is housed in dents are especially taken by the Tubby dent Robert Decker. As with many later a secured room. Currently, one wall is piece and ask if they could try his firing additions, the original pieces in the col­ dedicated to a table and backdrop, which process. Holden explains that Tubby lection came from her worldwide trav­ is being used to photograph all the pieces lives on the coast and uses seaweed in els. To stay in touch with the art, Harlow for a catalog of the collection. In a show­ the saggar, but perhaps alfalfa and salt continues to study pottery techniques; case outside the room, about a dozen water would give a similar effect. she is also a frequent visitor at muse­ pieces are displayed in a rotating ex­ In the studio across the hall from the ums, conferences and shows. hibit. In alternate years, the collection is display room, one student takes out pa­ As mentioned earlier, the fame of shown in Bemidji State University’s per and pencils and begins to sketch. the artist is not a primary criterion for Talley Gallery, and occasionally in other Another takes out tools, then gets clay Harlow when purchasing new pieces. campus galleries. from the clay bin. The memory of the Rather, she chooses those that represent On a recent visit to Bemidji, Harlow Tubby pot still fresh in their minds, a spectrum of techniques and contrib­ spent time in the display room with they begin anew. ▲

44 CERAMICS MONTHLY Scott Jones’ Decorated Platters by Jim Lupia

Pay as you go. Less is best. The go-go As a potter with a degree in business 1980s are long gone. Its the lean, mean, administration/marketing, Jones is practical and pragmatic ’90s. Entering keenly aware of the realities of making a the studio of Pennsylvania potter Scott living in the new world order of re­ Jones, you may just as likely find him duced NEA budgets, benefactor cut­ at the computer drafting a new grant backs, decreased sponsorship and finite proposal, or on the telephone with a consumer dollars. But don’t form any Above: “Ice Box,” 17 inches in potential sponsor for his artistic brain­ images of an artist in a gray flannel suit. diameter, drape-molded whiteware, with slips and clear glaze, fired to child, the “Strictly Functional Pottery Jones’ studio is alive with color, whimsy, Cone 06, $500, 1993, by Scott Jones, National,” as you will at the wheel or creativity and innovation. New Cumberland, Pennsylvania. sketching plans for new works. A Pennsylvania native, Jones was ini-

September 1995 45 daily inspired by high-school teacher James Gallagher. He went on to study pottery at Shippensburg (Pennsylvania) University under the tutelage of Will­ iam Q. Hynes, then earned an M.F.A. at Kent (Ohio) State University, where he studied with John Gill and Rick Hensley. In 1988, after setting up a studio in Lancaster, Jones received a City Arts Council Grant to experiment with new work. The resulting hundred-piece show at the Community Gallery—featuring platters decorated with floating refrig­ Scott Jones in his basement studio. erators, stoves and overstuffed chairs en­ countering toasters, automobiles and an occasional human—charmed and de­ lighted viewers with his surreal vision of contemporary life. Jones, always with one eye on the practical, has also cultivated a more tra­ ditional style. His redware with sgraffi­ to designs is extremely appealing to the market enamored of early Americana. In fact, this work has twice earned him the distinction of being named one of the “200 best traditional craftsmen” by Early American Life Magazine (1991 and 1993). But while the redware has suc­ cessfully generated sales and national recognition, his first love remains the bright vibrant colors, the juxtaposition of the familiar and the bizarre, and the tongue-in-cheek perspective of his large, decorated platters. Using a combination of words and visual images in a whimsical manner, he attempts to make the viewer aware of basic connections. By looking at a plat­ ter featuring a contorted caricature of an appliance from the past in direct contrast with an object or concept of the present, the viewer is drawn to make assumptions both introspectively and from the artist s point of view. Beginning with a commercial, grog- free Cone 06-04 white clay rolled into slabs, Jones drape molds and often carves each plate. He then applies at least three layers of each colored slip to create the “Wringer,” 17 inches in diameter, drape- opaque covering he is looking for. molded and carved whiteware.with slips When dry, the plates are bisqued to and Cone 06 clear glaze, $750, 1992. Cone 04 in an electric kiln, but not too quickly. Jones usually takes up to 24 hours to achieve maximum heat and then allows slow cooling.

46 CERAMICS MONTHLY “T-Zone,” 17 inches in diameter, slab-built whiteware, with wheel-thrown foot ring, sgrafitto drawing through brushed slips, clear glazed, fired to Cone 06, $500, 1992. A clear commercial glaze is also ap­ businessperson is a concept Jones takes plied by brush, usually three to four very seriously. It is an idea he not only coats, before the final Cone 06 firing. often discusses, but also encourages other Because of the build-up of clay into artists to cultivate and pursue. distinct “bas relief” forms on the platter “Artists must be willing to under­ surface, and the long firing and cooling stand the forces that drive todays art times, cracking and warping are a con­ market,” Jones emphasizes. “Some art­ stant danger. ists look at forays into the world of As do most potters, Jones sits by his business as a sellout to their artistic side; kiln, often wondering about the success but creativity, good marketing and a of the firing. But always the pragmatist, strong sense of business are essential not he fills his kiln-firing time taking care of only for success but also survival. the business aspects of his profession. In “A sound business plan will not en­ todays competitive market, the artist as hance or improve bad or mediocre art,

September 1995 47 but it definitely will improve the chances of a talented artist getting the recogni­ tion and exposure necessary to success­ fully sell and prosper. “Art students should begin early on to think of how they can make them­ selves more marketable,” Jones advises. He also recommends that B.F.A./M.RA. candidates select a few courses in ac­ counting, marketing, typing, personal computing and photography. “In The Graduate, Dustin Hoffman was advised plastics,’” Jones says, then with a smile adds, “In the ’90s I say computers.’ In fact, I feel strongly that students should take full advantage of academic life while at college. “One good example is photography,” Jones continues. “As a veteran of many art shows and the director of a national exhibit, I find that good pots, presented in a poor photographic setting, can mean the difference between acceptance or rejection when it comes to a close call “Kunzler,” 17 inches in diameter, between a large number of pieces com­ drape-molded whiteware, with bas-relief peting for limited spaces. Students additions, slips and clear glaze, $500, should seriously consider taking some 1993, by Scott Jones. photography courses so they can present their work in a favorable light without incurring the expense of a professional photographer. if the opportunity arises, artists have a ing and personal contacts, funding from “Also learning a specific job skill with certain responsibility to try to advance the Pennsylvania Council on the Arts working experience will facilitate finding their craft for the general good of every­ and the Lancaster City Arts Commis­ employment and paying the bills while one, not just their own personal needs.” sion was secured. Finally, Jones con­ trying to attain an art-related position, Heeding his own advice, he embarked firmed additional support from a in addition to giving them a better un­ on an ambitious venture to promote number of national, regional and local derstanding of business practices in the functional ceramics several years ago. business sponsors. organization and management of their After reading letters in publications In 1993, following years of plan­ own studios. like Ceramics Monthly and speaking with ning, the first “Strictly Functional Pot­ “I would strongly advise any master’s many other potters, Jones became con­ tery National” became a reality. Jones, degree candidate interested in teaching vinced of the need for a national com­ as national director, is now concentrat­ to pursue a graduate teaching assistant- petition open only to functional potters. ing on making the fourth show the best ship in order to gain the experience that [The“Functional Ceramics” show held ever. “The previous exhibits were a tre­ is invaluable when seeking academic annually in Wooster, Ohio, is an invita­ mendous success, with potters from al­ positions. Without this experience, it tional.] When the Market House Craft most every state participating. We’ve often becomes very difficult to reach Center asked its membership for new been able to increase prizes every year that goal.” program suggestions, he proposed the and plan to do so again for 1996.” Other advice ranges from joining idea of a national functional pottery Potter, businessman and national good art organizations, which is an im­ competition, and it was accepted. With show director, Scott Jones is an artist portant part of meeting other artists the help of Jean Lehman and other long­ with both a creative and practical eye to and patrons, to developing a number of standing members, plus the support of the future. lines of work at different price ranges or the Lancaster Designer Craftsmen and considering wholesale versus retail sales. the Pennsylvania Guild of Craftsmen, The author Jim Lupia, owner ofLupia But artistic and commercial success the exhibition began to take form. After Design, is a free-lance writer and former isn’t Jones’ only concern. “I believe that many hours of phone calls, grant writ­ columnist.

48 CERAMICS MONTHLY Shaping Abstract Ideas by Nancy Frommer LaPointe

w I look over my shoulder at University of New York College of Ce­ the years that blended personal and pro­ ramics at Alfred. fessional experience, I think about the After graduation, I traveled to Penn­ individual chunks of time that reflect sylvania to work at Design Technics in transitions in my work. My early train­ Stroudsburg. The factory produced wall ing established respect for process, func­ murals and lamp bases for commercial tion and tradition. I, too, fell in love spaces of Midtown Manhattan, warm­ with the potters wheel. The quest was ing the cool cement towers with the to capture unpretentious, yet lovely, use­ look of hand-fashioned clay. Within the ful forms in sensual clay sealed forever factory walls of Design Technics, there with high-fired glaze. That was when was passionate commitment to the prin­ we straddled the decades—a time char­ ciples and ethics of the Bauhaus. Under acterized, in ceramics, by a quest to the guidance of Lee Rosen, founder, express the beauty and energy implicit head designer and owner, I studied and in primary origins. Today, my work is Nancy Frommer LaPointe with practiced textbook concepts of form fol­ still grounded in forms that contain, “Threshold,” glazed terra cotta. lows function, less is more, and bal­ that include an aesthetic function; forms anced asymmetry. In the basement, that developed their deepest roots when surrounded by plaster, I lunched daily I was an undergraduate at the State with the mold maker. There, I mar-

“Seats of Power: Pondering Pride,” 28 inches in length, with green slip, deep green, hot pink and lime green glazes.

September 1995 49 Clay mixed with a handful of nylon fibers is used to make carved press molds. veled at the ultimate expression of the Remaining concepts that Wally Higgens, at Alfred, unfired, they are used for one to had patiently tried to teach me. Today, five pressings, my studio is filled with molds, thanks then recycled. to that experience. And I am still true to my design roots when choosing systems that are rational, rhythmic and respon­ sive to the needs of the material. In search of a personal vision, I left Pennsylvania for graduate school at Michigan State University. There, provi­ dence placed my studio not in the ce­ ramics area, but in the sculpture area. My experience with abstract design over­ lapped with themes of organic systems. This culminated in a three-month in-

“Power with a Central Axis,” 31 inches in length, handbuilt, with slip and glaze.

50 CERAMICS MONTHLY Pressing moist clay into dry Process Tips and Attitudes clay molds. Molds keep me sane. Without the option of doing-it-again, I wouldn’t have the nerve to build large works in segments. Wliat if I lost a part in the firing? I have made over 100 molds in the last four years. I make them rela­ tively quickly. They are beginnings, not ends; this ensures that each piece is unique. Molds make back and front sym­ metry simple—you only have to build one side. I’m not a mold maker by nature. My molds are not pro­ duction molds. They are often made from clay mixed with a handful of chopped nylon fibers; dried, but not fired, they are used for one to five pressings, then recycled. My plaster molds are often just slabs. (I avoid making complex molds by simply joining the parts later.) Assembling Avoiding surface undercuts is easy; press-molded I carve them later. My molds give clay slabs. me about 60% of the surface; the rest is sculpted. I think of molds like a Xerox machine that can appropri­ ate images, but molds are better since they grab the third dimension. Commercial glazes scare me; they are expensive, come in small bottles and never look like their test tiles. Nevertheless, I thank the day that they arrived in my studio. They give me fabulous colors. For depth, I over­ lap a transparent gloss onto an opaque matt glaze. I usually once fire to Cone 01. Sometimes, I need to lay yet another glaze over the sur­ face and refire (Cone 05). When us­ ing leaded glazes, I wear plastic gloves; never spray, recycle or melt down the glaze that settles in my wash bucket; vent my kiln outside; and clean up any spills. My studio time is divided into quarters: mold making, fabricating, glazing and firing/shop maintenance. Designing and making full-scale drawings require another equally sized chunk of my time—time re­ cently shortened by the computer.

September 1995 ternship in Arizona, working for the With an M.F.A. in hand, I moved to ing the eight years that followed, I moved architect Paolo Solari. Solari believes that the bucolic setting of Peters Valley Crafts to Bedford Stuyvesant in Brooklyn, mar­ an artist/designer can shape peoples Center in New Jersey to be a resident ried, maintained a heavy studio sched­ spiritual growth by shaping their every­ artist. There, I settled into making func­ ule, helped renovate two buildings, day environment. tional objects that could remind the taught full time at Pratt Institute and Solaris vision imprinted me with a users of eroded rock, bone or shell. Time became a mother. The clock ticked faster. much deeper meaning for form follows then seemed endless. I worked to cap­ It was an exciting, turbulent time, but function. Pure decoration could no ture the stoic power of rock, within a my work stopped reflecting my own longer justify my actions. When I re­ vessel—a vessel that could hold more inner or outer world. As I learned to turned to grad school, the word justifi­ than nourishment. For me, in the ’70s, master new tools and techniques, the cation haunted me. I labored with cast the heart was still the clock that you set rapid transport system of my image concrete, attempting to bring Arizona your time by. making carried me into exciting areas to Michigan, then returned to coarse As the decade was coming to a close, that often led off to dark tunnels. clay, to build vessels reminiscent of the I sensed a softness in my work and in One winter Sunday, a New York wind-sculpted desert. me. We lacked dynamic contrast. Dur­ Times classified ad announced an open­ ing for an assistant professor in ceram­ ics at the University of Massachusetts. I applied, was offered the job and shortly thereafter moved to Amherst. My first pots almost made themselves, a sign that I was at last at home. Anchoring my next seven years of studio work were heavy, double-walled forms, emphasizing the relationships of parts. These forms, including guardian vessels, stone boats and totem forms, lent stability to my human struggles of babies, deaths and body breakdowns. For three years now, my edges have grown sharper. Color and images have become stronger. I rely less on the ves­ sel. I try to give shape to situations or abstract ideas. I make work now that suggests analogies or paradoxes. My four-wheeled vehicle sculpture titled “Power with a Central Axis” speaks of a kind of strength relying on torque, a power that potters know well. In other works, I choose signifiers that reflect specific animal and gender roles to strengthen or question stereotype. But mostly I want my work to provide strong, sensual handles, a “grip” that “Peeling Back the Layers,” 29 inches in height, whiteware with slips and glazes, by feels good when exploring a reverence Nancy Frommer LaPointe, Pelham, Massachusetts. for life. A

52 CERAMICS MONTHLY F„, the first time in his career, sculp­ but was then drafted into the Navy. On tor Robert Bradys functional ware was returning to civilian life, Brady painted the subject of a solo exhibition—“Vases houses and tried to sell pots from his and Bowls” at TRAX Gallery in Berke­ studio. ley, California. Well-known for his In 1973, after seeing work by Isamu Robert Brady’s figurative pieces in clay and wood, Brady Noguchi, he entered his studio and be­ carries his sculptural approach over to gan making a large number of sculp­ the vessel format. His shallow bowls tural pieces in succession, essentially Vases and Bowls and tall vases feel like ritual objects, working without stopping. Deciding to by Anne Schwartzburg meant for use at ceremonies or for hold­ return to graduate school, he chose the ing precious goods. As with his figures, University of California at Davis to study a powerful sense of spirit is combined with Robert Arneson. At Davis, expres- with a dose of natural funldness that sionistic work was encouraged, and makes the work approachable. These function was less emphasized. Hand- bowls and vases are made to be used, building and a sculptural attitude be­ turned in the hand, investigated, rubbed. came increasingly significant to him, Few people know about Bradys pots. and the wheel-generated pot moved into While his students at Sacramento State the background, although thrown forms University and at summer workshops have continued to appear in his sculp­ across the country have seen him throw, tural work, and his fascination with the glaze and decorate, this work rarely ap­ bowl is visible in his ceramic masks and pears in the galleries that represent him. handbuilt vessels. Anyone who has watched him work is Numerous influences fill Bradys talk struck by the loose and unorthodox ways about art and pots. First, he mentions he approaches clay. His bowls are testa­ Peter Voulkos: as a student at CCAC, he ments to the act of throwing; each is saw an exhibition at the San Francisco manipulated on the wheel to evidence Museum of Modern Art called “Ab­ the plasticity of the raw clay. The ges­ stract Expressionist Ceramics,” a show ture of the vessel is enhanced by the of Voulkos’ sculptural pieces and works way he experiments with slips and glazes, by his students at Otis, including Ken finishing each with a mark or a simple, Price, Ron Nagle, Paul Soldner and Billy thoughtful drawing. A1 Bengston. This exposure to Voulkos’ Brady started working with clay in way of handling clay affected Brady pro­ high school in Reno, Nevada. With his foundly, and the work of that group of teachers encouragement, he enrolled at artists is a continuing presence in Brady’s the California College of Arts and Crafts life. The baskets of Ed Rossbach and (CCAC), earning a B.F.A. in 1969. In John McQueen also come up in con­ graduate school at Mills College, he was versation, as well as the sculpture of doing mostly high-fire thrown work, Anish Kapoor, Martin Puryear and

Vase, 27 inches in height, stoneware with black stain, Drawing is done with black stain on bisqueware. Shino and Oribe glazes.

September 1995 53 Jackie Windsor. These artists build in a teabowl, a form that Brady has worked quiet, stoic way that Brady relates to on intermittently during the last few spare, functional pottery. He brings up years. He is drawn to the teabowl’s deep the metalwork of Gary Knofke as well; connection to ritual, but as a Western he admires the way Knofke is always artist, he knows that the deeper sig­ focused on function. nificances of the tea ceremony and the Another influential show featured the bowls place in it elude him. “Just mak­ Johnson Wax Collection at the Oak­ ing bowls” feels most natural to him, land Museum; he remembers walking but the abstract perfection of the tea­ through the vast collection of ceramics bowl is always present in his pursuit of and glass. Near the end of the show, he form. The bowls ideally have “a good came upon two “very simple, beautiful, weight, not too heavy, not too light. salt-fired” covered jars by Byron Temple The lip of the pot has to be sensuous that embodied the power of the well- and full, and the foot is extremely im­ formed pot. portant: a pot whose landscape is con­ Mimbres pots are some of his “favor­ stantly changing as the pot is turned in Wheel-thrown stoneware bowl, ite things in the world of art, period.” the hand, a pot that is somewhat asym­ 15 inches in diameter, with black stain The humor and skill seen in the Mim­ metric but doesn’t seem forced. It should brushwork, Shino and Oribe glazes. bres pots are central to Bradys interests feel as if the whole pot just happened.” in art making. He is drawn to well- The attitude toward form, function crafted work that has a certain spirit, and firing expressed in the Leach tradi­ like a person: humorous, but quiet and tion rounds out his collection of prefer­ wise as well. ences for finely made pots. Brady claims The asymmetry of much of Japanese that his throwing sensibility is most pottery inspires Bradys bowls and vases. closely aligned with that of potter Ron A continuous challenge has been the Meyers. “Ron always says he wants his pots to look as if theyve been hung up to dry.” Brady likes to use a high-fire stone­ ware for his pots; he tends to pick up whatever is locally popular where he is working or teaching. He particularly likes making the open-bowl form. “I love looldng down into that hole—it provides a good surface to draw and make marks on, and works better for me as a drawing surface than a plate.” The glazes are meant to complement each other, and he often uses two or three on a vessel. Some drawing is done with a black stain, applied with a wide range of brushes. Sometimes he paints white slip on an iron body, draws on the brushmarked surface, then covers that with a transparent glaze. Other times bits of color appear: stains or splashes of a colored glaze. These are sturdy, strong vessels with graceful rims and feet. Handling the pots, one can feel where Brady pulled out a side, smoothed the lip with his fingertips and placed a quick incised mark or fingerprint. As he says, “I cant really imagine making a pot without Stoneware platter, 18½ inches in diameter, with black stain, marks—it wouldn’t feel like mine un­ Shino and Oribe glazes, by Robert Brady, Berkeley, California. less I leave a trail on it.” ▲

54 CERAMICS MONTHLY Vessel as Canvas by Cindy Kolodziejski

Based on traditional ves­ my own. With an artist’s eye, sels with traditional func­ I am always examining un­ tions, my work transmutes likely objects for possible use industrial, domestic, decora­ in my work, so I scan dis­ tive, pictorial and narrative cards, people’s houses, junk elements into stage sets where heaps, items in everyday use imagined dramas can occur. in my constant search for The brushed images provide shapes that are on the one characters and events. View­ hand dated, and on the other ers must intuit their own in­ have a good aesthetic balance. dividual plots. The images, In addition to the Windex intentionally provocative bottle and lamp hardware, rather than definitive, only For California artist Cindy Kolodziejski, each three- I’ve used car parts and, once, suggest a direction. dimensional object serves as a setting for two- a facial steamer. I like to defy conventions dimensional images that are linked, yet in conflict. I make plaster molds out about what goes with what. of the objects I find. The A vessel that ends up looking as though staghorn beetles with a pileup of green- molded form tells me what it will be­ it sprang whole from the Victorian, the helmeted football players. I have paired come as a new whole and, most impor­ baroque or the classic period will actu­ a group of Chinese women, sitting tantly, with what it belongs to achieve a ally be a composite of forms as con­ around a tureen of soup, with a pigs sense of unity. I assemble slip-cast pieces; temporary as a Windex bottle, as old- head boiling in a vat. sometimes up to ten different molds are fashioned as a part from a 1930s lamp, Viewers have said my images are used for a single vessel. as recognizable as watch gears. Yet the feminist, or political, or personal, or The bisqued form is my three-di­ entire cast-and-assembled object will rooted in the psyche, or ironic, or witty, mensional canvas. To prepare the sur­ give the impression of going back at or creepy, or combinations of some of face, I start sanding, holding the form least a hundred years. these things, but I cant fit them into in my hands, exploring its possibilities My tricks for the eye and the mind any one category. I can say, though, that in what becomes a meditative process. extend beyond illusions about time. A whether my images are as cozily domes­ It takes my mind and body hours to piece that appears to be, say, a teapot, is tic as Vermeers, as lofty as Greek my­ know a piece well enough to imagine actually an object designed to be looked thology, or as literal as a biology which colors and what sort of images at; its function as a holder of tea is an textbook, an underlying darkness dis­ belong on it. element in the story it contains rather turbs their surface serenity. Though I Once I have that Jmowledge, I go to than a reality. And if my vessels look may include a pretty picture, I’m deal­ the library to search for the images that old, often at least one of the images I ing with bigger issues than prettiness. I want. The picture has to fit the shape incorporate will announce it as a prod­ My molds come from found objects, and my still unconscious story. I may uct of the last half of the 20th century. my images from found images. T. S. know I want insects or sports figures, Each three-dimensional object is a Eliot once said that lesser artists bor­ but only by looking through many setting for a couple of two-dimensional row; great artists steal. Aiming for great­ books will I recognize the particular in­ images that are linked, yet in conflict. ness, I am a thief, but once I recombine sects as beetles or bees. For example, I have juxtaposed mating my stolen elements, they are very much In the case of “Gemelli,” the mold

September 1995 55 Kolodziejski’s home/studio is in Venice, California; the living quarters are upstairs while the converted garage below serves as studio space.

(taken from a screw-on light fixture) fit much shorter, and not instantly explain­ piece is fired four or five times and takes into my hands in a way that suggested a able or simple to locate. I’ve got to have two to three weeks to complete. heart or some other anatomical organ. a gut reaction, knowing my second pic­ The angst I experience about whether As soon as I found twins in utero pic­ ture has to create a dialogue with my I will be able to come up with the right tured in a medical textbook, I knew the first. (I have erased a pencil drawing, combination of images for individual space was theirs. but I’ve never had to scrape off a painted pieces is similar to the angst I feel when Any image I use has to have evoca­ image.) This is always for me a time of I am asked to assemble an exhibition. tive potential. It has to suggest high agonizing tension. Choosing the com­ I’m looking for objects that suggest a drama to capture an event that is either panion image is the hardest part of my theme, work that will be interesting happening or about to happen. It may work process. enough to justify the months I will have take hours, or even days, before that The obvious choice for the “Gemelli” to give to it, pieces that will stand on image calls out to me. Once it does, twins—the Double Mint girls, or a Nar­ their own while being varied yet con­ knowing I should find the image with cissus reflection—was too corny to be nected to the other pieces in the show. I which it will be juxtaposed, I almost usable. I had to dig deeper, scouring find this conceptualizing to be agoniz­ always take my first picture home, scan books until finally my intuition con­ ing, delicious and, as I learned at the the image into a computer to size it nected with an apple, shown split on a Otis Art Institute, as essential as techni­ properly, stretching or shrinking it to fit plate along with the knife used. What cal proficiency. the shape. this suggests, I think, is the traumatic I knew from kindergarten that I Graphite is applied to the back of breaking of the bond between twins wanted to be an artist. When I drew the printout. I then trace the image that will occur at some point. The cir­ horses, I saw realistic horses, while oth­ onto the form. The picture is painted cumstance of the rupture is left to the ers saw stick figures. One kindergarten with a white underglaze base mixed with viewer to intuit. My still life appears to teacher asked why my horse had five stains to achieve a palette of colors, much be still, but the knife implies past and legs. I couldn’t believe he didn’t see it the way Renaissance painters mixed col­ future action. was a tail. Drawing was something I did ors before tube oil paints had been in­ Once I have painted the second im­ for pleasure. People said I was good at vented. I work from light to dark, age, I fire the object so the underglaze it, but while at Otis, where I was a fine building up layers of underglaze. will be fixed and any mistakes in glaz­ arts major with a minor in ceramics, I After I’ve finished painting that first ing can be corrected without damaging found out that technique is only part of image, I’m in the soup. I have commit­ the imagery. Then I apply a clear glaze, what an artist has to know. ted myself to a certainty, without know­ and various texture glazes, submitting The ceramics department offered an ing what its opposite will be. The list of each subsequent glaze to further firings. ideal learning environment. To master possibilities for the second image is Luster also requires its own firing. Each the technical skills I would need, I was

56 CERAMICS MONTHLY Front and back views of “Tureen,” 9 inches in height, slip-cast and assembled earthenware, with underglazes, clear glaze and gold luster.

September 1995 57 “Beehive,” 9 inches in height, earthenware urn, slip cast and assembled, wheel trimmed, with underglaze painting, clear and matt glazes.

58 CERAMICS MONTHLY “Gemelli,” 12 inches in height, slip-cast and assembled earthenware, with brushed underglazes and matt glaze, multifired.

“Tackle,” 14 inches in height, slip-cast earthenware, assembled, wheel trimmed, brushed with underglazes, clear glazed, by Cindy Kolodziejski.

encouraged to learn by making many each piece to have content, to have a rection of my work. My studio is a things and making them well. The in­ reason for choosing how and what I converted garage under my house. I struction was rigorous. made. I had to learn to be ruthless in support myself through gallery sales and The fine arts department made me my evaluation of my art, rather than part-time teaching. realize my subjects mattered. Critiques just being proud of and complacent Through my work, I strive to touch from ten advisers, all of them well- about whatever I produced. viewers as deeply as great novels have known L.A. artists, convinced me that I When I left art school, painting and touched me. By combining dualities of couldn’t just love my work because it ceramics were separate. Working alone images, I want to reach strangers whose was mine. I had to love my work only in my studio, I combined these two personal narratives fit my visual infor­ when it was actually good. This meant I elements. This was an essential break­ mation because my drama and theirs had to consider what I did, to expect through and has led to the current di­ uncannily coincide. A

September 1995 59 Taking the Rude out of Extrude by Jean Latka

Mid. all the new extruding systems currently on the market, one might think that the extrusion process is a relatively new phenomenon. Not so! Its history is actually closer to the wheel than the Industrial Revolution. The story has it that Archimedes, some 2000 years ago, was the first to use a giant helix turned by a few donkeys in order to move water from a lower plain to a higher one. This rotating screw churned through the civilized world for about 1800 years until another inventor in­ serted it into the barrel of a cylinder and produced the first pug mill. Basically, a pug mill is a clay mixer with extruding capabilities. The end of the mixing barrel is fitted with various shapes, called dies. Under compression, the clay flows from the tip like icing from a cake-decorating tool. The simple step of attaching a die to the end of the pug mill gave birth to the industrial giant of mass production—extrusion.

Extruded vase, 18 inches in height, with white reticulated glaze on black glaze, fired to Cone 03, by Tom Latka, Pueblo, Colorado.

Wall form, 20 inches wide, assembled from layered and extruded colored Earthenware sculpture, 20 inches in clays, by Elina Brandt-Hansen, Norway. height, extruded and assembled, by Brenda Richardson, Cincinnati, Ohio.

Teapot, 14 inches in height, extruded, with low-fire glazes and luster, by Jim Klingman, Greeley, Colorado.

60 CERAMICS MONTHLY Extruded, thrown and handbuilt bottles, ranging to 20 inches in height, by Nancy Hall, Australia. Wall sculpture, 20 inches in length, assembled from triangular extrusions, by Robert Harrison, Helena, Montana. Ever since Archimedes’ wondrous moment, numerous applications have been found for the extruder. Around 1850, the Italian food industry was us­ ing extrusion in the production of maca­ roni. Many products, from the bricks in a kiln to the round O’s in your break­ fast cereal, are extruded. Steel, rubber, plastic, aluminum are just a few of the materials that are subjected to the ex­ trusion process for mass production. There are two types of extruders used by potters and clay artists. The one most commonly found in ceramics studios is a simple blunger type. Manually pow­ ered, the handle pushes against the bil­ let, which in turn forces the clay down the barrel and out the die. The other Glazed teapot, 16 inches in height, assembled from type of extruder is derived from the extruded elements, by Richard Montgomery, Lenoir, studio pug mill. Here an auger is en­ North Carolina. cased in the barrel and mixes the clay before it exits through the die. Many potters extrude coils, straps for handles and decorative elements. Several have taken extrusion one step further. Fabricating their own custom dies, they extrude, manipulate, entwine and combine an assortment of forms, creating pieces that range from the strictly functional to the sculptural. As

September 1995 61 Extruded stoneware vase, approximately 12 inches in length, high fired in reduction, by Malcom Wright, Marlboro, Vermont.

Earthenware sculpture, 18 inches in length, extruded and altered, by Judy Moonelis, New York, New York.

Colorado potter Tom Latka claims, “Ex­ truding clay takes on a wonderful new meaning when you use the extruder as you would any tool—as one step in the making process, not as an end in itself. The extruders contribution to the stu­ dio is as profound and influential as the potter s wheel—a stepping-off place for the imagination to run wild.” Fenestrated form, 18 inches in height, extruded and altered, To the clay artist, the extruder is by William Shinn, Santa Maria, California. simply another tool, providing yet an­ other opportunity to push the clay world into the artistic realm. A

62 CERAMICS MONTHLY I believe there’s a magic in the human Making Vessels ability to make something that didn’t exist before, and that the act of making by Jim Kraft deepens our humanity and our under­ standing of ourselves. My work is mani­ fested principally in the vessel form. I believe the vessel is probably the purest sculptural form, but my attrac­ tion is visceral and spiritual, not con­ ceptual or academic. The vessel form and its making serve as a metaphor on several levels—the material is the stuff of the earth, of warm colors and geo­ logical textures; the form itself is sen­ sual, womblike, consisting of an inside and outside, with the rim representing the dimension where inside and outside meet, where one becomes the other. And because these are open forms, you can see inside where the core of the thing is. On another level, these vessels are related to self-identity—the facade of texture and color with an imprinted leaf inside, symbolizing the core iden­ tity of the object. Similarly, the black lines on my ves­ sels work on different levels. The line in “Cusp,” 11 inches in height, slab-built earthenware, $500. itself is strongly, intimately connected to the written word. I love the look of the written word on a page, a feeling that goes back to my early love of read­ ing. I’ve incorporated the line in my vessels as an homage to the written word,

“Basket Forms,” ranging from 6 to 18 inches in height, coil- and slab-built earthenware, fired to Cone 04, by Jim Kraft, Seattle, Washington.

September 1995 63 “Align,” 18½ inches in height, slab-built earthenware, on metal stand, $1600.

as a reflection of the peace and serenity I associate with lines of words on a page. But it also works on a geological level, as an element on the vessels’ sur­ faces that symbolizes the horizon or a line in a cave, and incorporating the visual strength and power of both. In college, I worked with all the vi­ sual art media offered; however, clay was the one that tapped into me the strongest. When I heard about clay art­ Jim Kraft in his studio: “The work has a ists saying things like “It was love at first flow and rhythm of its own. I recognize touch,” or “I found my center when I the importance of...taking a break to found clay,” I thought that was really pull back, rest, learn something new.” corny. But there is truth here. I believe you and clay recognize each other, or you don’t. It is very interesting to me thing. Now I recognize the importance The challenge is to evolve creatively, that in this high-technology world, I of “down time,” taking a break to pull so I don’t just fizzle out at some point. have my hands in clay. It must mean back, rest, learn something new or ex­ The forms are intuitive. They mean something to me on a deeper level. perience other things. something to me, though I’m not sure I began with the vessel form on the The studio is next to my house, what that is. I like that. If I had the potter’s wheel and will probably end which is very convenient. I work in the creative process figured out, I would my days with some form of the vessel. morning and peter out in the early af­ not want to continue doing it. I try not The work has a flow and rhythm of its ternoon. Then it’s time to do other to think too much about it. It could own. I used to feel I had to work every chores or read; one afternoon a week I become contrived. One piece leads to day, always had to be making some­ do volunteer work. another. ▲

64 CERAMICS MONTHLY Potting in Cape Town by Hyme Rabinowitz

When I was in Saint Ives in the mid fore I was able, at the age of 42, to set the only way to gain some training in 1950s, Bernard Leach asked me what I up a full-time operation on the farm, ceramics techniques. intended doing on my return to South Eagles Nest. My own preference, right from the Africa, and he asked me my age (36 I was lucky to find such a place for start, has been to follow the Leach/Ha- years). “Become a potter,” I said. “Too my pottery. It sits among pines and mada/Cardew philosophies, and I see late,” he replied. I understood his rea­ oaks on the slopes of the Constantiaberg no need at this stage to forsake their sons, but I was determined to make Mountains, partway down the Cape good advice. Michael Cardew had the potting my future life. Peninsula, on the southernmost tip of strongest impact on my work. His an­ As a younger man leaving the ser­ Africa. Sir Francis Drake described this ecdotes and words of wisdom surface vice after World War II, I had realized as “the fairest Cape in all the circumfer­ constantly. Foremost among them are I needed to change direction from my ence of the globe.” He must have en­ his theories that repetition is the basis of previous occupation—I knew I did not joyed fair winds, for other seafarers have creative work and that form is of pri­ want to be an accountant for the rest called it the Cape of Storms. mary importance. of my life. It was nearly five years, how­ The production of craft pottery in It took a long time for me to arrive at ever, before I chanced upon what I South Africa has been influenced mainly the pottery scene. In 1956,1 was able to really wanted to do, which was to make by the philosophical values of Bernard spend six months in Saint Ives with pottery—a risky choice of occupation, Leach and his contemporaries, Shoji Kenneth Quick (a former Leach Pot­ as there was no certainty of eventual Hamada and Michael Cardew; and tery product of 11 years), working there support in Cape Town, South Africa, at many of us have gone overseas (e.g., to along with Warren and Alexis MacKen- that time. It took another nine years of the U.K.) to further our experience. zie. Quick later returned to the Leach intensive spare-time pottery activity be- Indeed, apart from magazines, this was Pottery, but a promising career was cut

Oblong dish, 21 inches in length, with Celadon Glaze A under wax-resist patterning and Kaki Glaze, fired to Cone 10 in reduction.

September 1995 65 short when he drowned in a boating accident in Japan. After my stay at Quicks Tregenna Hill Pottery, I returned home in 1957 by backpacking down through Africa. The main purpose of my “pilgrimage” was to meet up with Cardew and visit his training center at Abuja in Nigeria. Some years later, a similar spell with our premier potter, Esias Bosch, work­ ing at White River in the Eastern Transvaal, gave me the necessary confi­ dence to launch myself on the unsus­ pecting public of Cape Town. And ten years after my first Cornwall experi­ ence, I was able to spend an invaluable six months with Michael Cardew at Wenford Bridge. Where pottery is concerned, I have followed the dictum “explore a narrow field in depth, rather than a wide field superficially.” As a result, I have avoided Hyme Rabinowitz throwing a platter on an electric wheel becoming involved in other areas of ce­ at his pottery in Cape Town, South Africa. ramics. From the start, I have wanted to make stoneware for domestic use, and I still have the same regard for and re­ sponse to its subtle qualities. There is still, however, much in present-day work that I find interesting, attractive and significant. Eagles Nest was the first full-time craft pottery operation in Cape Town. I had no idea how the public would re­ spond. Well, the interest grew as I grew, but it still took ten years to get my head above water. Today, a small amount of work comes from orders. Mostly I pro­ duce what I enjoy making, and hope for the best. Apart from solo and joint exhibi­ tions, sales are made largely at the pot­ tery itself. The customers are typically Cape Town residents, with some visi­ tors from up-country and abroad. The best results come from the annual year- end “open day.” My only assistant is Ncamekile Kokane, a Xhosa man hailing from the Transkei, who succeeded his brother and has worked here for 20 years. In addi­ tion to helping me, he produces and Lidded jar, approximately 6 inches in height, stoneware, triple dipped in contrast­ sells his own slab pots, animals and birds. ing glazes, with wax-resist application between the first and second coats. His brother Makwaziwe became fore-

66 CERAMICS MONTHLY man of the newly established Izandla Craft Pottery at Umtata in the Transkei. On a fair day, a 15-minute walk from my house through the woods—a good start to the day—brings me to my work­ shop, which is really a rough shed, open on both ends. A Mediterranean-type climate with a wet but sunny winter, enables daywork and glazing to go on outside. Fortunately, we don’t have to endure the extremes of northern-hemi- sphere winters. Rabinowitz’s assistant, Ncamekile Kokane, is in charge of The equipment consists of an elec­ clay preparation: here, he is screening slaked clay as his tric wheel and a European-type kick son, Vusumusi, and two friends look on. wheel, which is used for decorating also. There is a pug mill, and an electric motor and fan for oil firings. Initially, I built the Cardew/Wenford Bridge dome-shaped, downdraft, wood-fired kiln. Regrettably, after some years, I had to give up wood, and began oil firing in a 180-cubic-foot kiln. This used to give me five firings a year, but is used less now with advancing age (mine, more than the kiln’s). A recently acquired 25- cubic-foot gas kiln is handy for inter­ mittent bisque and glaze firings. The temperature varies at different levels in the oil kiln, with the warmest area reaching slightly more than 1350°C (2460°F). This could be evened out by reorganizing the bagwall, but I am con­ tent to use the differences. Glaze firings last about 24 hours, followed by a slow 5 or 6 days of cooling. Claymaking is rather primitive, but a nice human outdoor activity, which also ensures maximum plasticity. Pipe clay is delivered from a nearby quarry, crushed here, blunged by hand, and sieved through a 20-mesh screen. This is almost a natural stoneware body, but needs an addition of 5% or more feld­ spar to prevent the ubiquitous disease of edge chipping and spiral cracking. Grog is also added. After settling, the slip is poured onto plaster bats to dry to Teapot, 5½ inches wide, wheel-thrown stoneware with incising working consistency. and Celadon Glaze C, fired to Cone 10 in reduction. I also use a David Leach recipe for porcelain, which I treat more as a white stoneware, firing it in the cooler areas of the kiln. Most glaze materials are available lo-

September 1995 67 cally. The recipes have all been devel­ oped empirically, by getting used to what the materials tell me. Despite the men­ tal laziness of not facing up to chemis­ try and molecular formulas, I believe that some good glazes have emerged, even though some may be considered on the conventional side. After all these years, I am still committed to celadons and temmokus. I have a great feeling for their colors and depth qualities, and appreciate that the challenges of cela­ don are never-ending. All the pots are bisque fired, then dipped (after waxing the bases, etc.) in glaze, using double and triple applica­ tions with intermediate wax decoration and glaze trailing where necessary. These can give free and exciting effects. Some­ times I brush wax resist on the glaze, then iron oxide overall; lately, I’ve been using a subtly different combination in Kokane stacking pugs of freshly milled clay (a natural body a double dip with my version of kaki mixed with 5% or more feldspar and grog). over celadon. Each firing sees a number of glaze tests, mostly variations of the following recipes: Celadon Glaze A (Cone 10, reduction) Dolomite ...... 4.67 % Whiting...... 6.54 Feldspar ...... 42.06 Kaolin...... 21.50 Flint...... 25.23 100.00% Add: Black Iron Oxide...... 0.93% An opaque celadon from which many variations have emerged; takes iron-ox- ide brushwork or a double dip of kaki glaze very well. Celadon Glaze B (Cone 10—11, reduction) Dolomite ...... 4.55% Whiting...... 7.27 Feldspar...... 40.91 Kaolin ...... 12.73 Flint...... 34.54 100.00% Add: Black Iron Oxide...... 0.91%

Slab-built sushi dish, 7½ inches in length, and handbuilt chopstick rest, stoneware This celadon prefers more heat; also with layered glazes, Cone 10 reduction fired . does well under iron oxide or kaki glaze.

68 CERAMICS MONTHLY Shallow stoneware bowl, 12½ inches in diameter, with Ash Glaze trailed over Kaki Glaze, by Hyme Rabinowitz.

Celadon Glaze C Kaki Glaze Ash Glaze (Cone 10—11, reduction) (Cone 10, reduction) (Cone 10, reduction) Dolomite...... 4.46% Whiting...... 20 % Wood Ash...... 25 % Whiting...... 10.71 Feldspar...... 30 Calcined Red Clay...... 25 Feldspar...... 40.18 Kaolin ...... 20 Red Clay...... 50 Kaolin ...... 8.93 Flint...... 30 Too% Flint ...... 35.72 100% It seems to me that there is very little 100 00 Add: Red Iron Oxide...... 9 % .% in pottery made for use that has not Add: Black Iron Oxide ...... 0.89% This saturated-iron recipe works well been done before, so I am not looking This watery celadon was developed for over wax decoration on Glazes A and B. to make anything original. I prefer bas­ the cooler spots in the kiln, but can It is also good as the base coat under the ing my work on traditional shapes; how­ handle the hot spots; it works best over following Ash Glaze, which is too dry ever, these can still have an individual sgraffito decoration through iron oxide. to use on its own. and lively presence. ▲

September 1995 69 Call for Entries lenge Ceramics Award” (Summer 1996). Juried Brookfield 06804; or telephone (203) 775-4526, from 3 slides of 1 work. Awards: Premier award, fax (203) 740-7815. Application Deadline for Exhibitions, NZ$20,000 (approximately US$13,500), plus as­ October 10 entry deadline Fairs, Festivals and Sales sistance to travel to opening of exhibition; 4 Mesa, Arizona “18th Annual Vahki Exhibi­ awards of merit, NZ$5000 (approximately tion” (January 2-February 3, 1996). Juried from US$3370) each. For further information, contact slides. Entry fee: $20 for up to 4 slides. Awards: International Exhibitions Fletcher Challenge Ceramics Award, Post Office $ 1500. For prospectus, contact Vahki Exhibition, Box 33-1425, Takapuna, Auckland; or telephone/ GaleriaMesa, Post Office Box 1466, Mesa 85211- October 13 entry deadline fax (94) 80 63 69 or (94) 45 88 31. 1466; or telephone (602) 644-2242. Warrensburgy Missouri “Greater Midwest In­ October 27 entry deadline ternational XI” (January 22-February 25, 1996). National Exhibitions Tempe, Arizona Sculpture garden project com­ Juried from up to 2 slides per entry. Juror: Keith mission (installed March-April 1996), open to Crown. Fee: $20 for a maximum of 3 entries; $25 September 8 entry deadline sculptural works suitable for arid climate expo­ for 4-5 entries. Awards: 4 totaling $1600, plus Milwaukee, Wisconsin “Interiors” (October). sure. Juried from up to 15 slides of site-specific exhibition contracts. For prospectus, send busi­ Juried from slides. For prospectus, contact Con­ and/or sculptural work, plus resume. Project con­ ness-sized SASE by October 4 to Morgan Dean stance Lindholm Fine Art, 3955 North Prospect, tingent on grant funding. Contact Tempe Arts Gallatin, Gallery Director, Central Missouri State Milwaukee 53211; or telephone (414) 964-6220. Center, Post Office Box 549, Tempe 85280- University, Art Central Gallery, Warrensburg September 10 entry deadline 0549; or telephone (602) 968-0888. 64093; or telephone (816) 543-4498. Longview, Washington “Self Portraits—Beyond November 1 entry deadline November 15 entry deadline Reflection” (January 11-February 1, 1996), open Pensacola, Florida “It’s a Small World” (Janu­ New Haven, Connecticut “Women in the Vi­ to artists who have created a series of self-portraits. ary 29-March 2, 1996), open to miniature works sual Arts 1996” (March 6-29, 1996). Juried from No entry fee. No awards. Send SASE to Trudy in any media. Juried from up to 3 slides. Entry fee: slides. Juror: Ann Langdon, writer/gallery man­ Woods, the Art Gallery, Lower Columbia Col­ $25. Awards: $1000 in cash and/or purchase. ager, Very Special Arts, Washington, D.C. For lege, P. O. Box 3010, Longview 98632-0310. Send SASE to SOHO Gallery, 23 Palafox Place, prospectus, send SASE to Women in the Visual September 28 entry deadline Pensacola 32501; or telephone (904) 435-7646. Arts 1996, Erector Square Gallery, 315 Peck St., Eugene, Oregon “Le Petit 3 Small Format Com­ University Park, Pennsylvania “Holiday Orna­ New Haven 06513; or telephone (203) 865-5055. petition” (November-December). Juried from ment Juried Sale and Exhibition” (November 17— December 1 entry deadline slides. Fee: $6 per entry. Awards: $2200. For 19), open to ornaments weighing up to ½ pound. Auckland' New Zealand “20th Fletcher Chal- prospectus, send SASE to Alder Gallery, 160 East Juried from actual work. Entry fee: $10 for up to Broadway, Eugene 97401; or telephone (503) 5 ornaments. Award: one commission to create Send announcements of juried exhibitions, fairs, fes­ 342-6411. the “Special Limited Edition Ornament” for 1996. tivals and sales at least four months before the event's October 1 entry deadline For entry form, send SASE to True Fisher, Friends entry deadline (add one month for listings in July and Brookfield, Connecticut 44 19th Annual Holiday of the Palmer Museum of Art, Penn State Univer­ two months for those in August) to Call for Entries, Craft Exhibition and Sale” (November 17-De- sity, University Park 16802-2507; or telephone Ceramics Monthly, P. O. Box 12788, Columbus, cember 24). Juried from 5-10 slides, color prints (814) 865-7672. Ohio 43212-0788; or telephone (614) 488-8236. or product sheets. No entry fee. Send SASE to November 3 entry deadline Fax (614) 488-4561. Regional exhibitions must be Holiday Craft Exhibition and Sale, Brookfield Cambridge, Massachusetts “Images of Women open to more than one state. Craft Center, Post Office Box 122, Route 25, in Craft” (February 22-March 31, 1996). Juried

70 CERAMICS MONTHLY

72 CERAMICS MONTHLY Call for Entries September 15 entry deadline Pasadena, California “Contemporary Crafts Market” (May 10-12, 1996). Juried from 5 slides or photos plus resume. Entry fee: $ 15 (one fee for from slides and work. No fee. For application, up to 3 shows). Booth fee: $300 to $750 for 10x6- send SASE to Cambridge Artists Cooperative, 59A to 15x10-foot spaces. Contact Roy Helms &C Church Street, Cambridge 02138; or telephone Associates, Roy Helms or Chris Andrews, Direc­ (617) 868-4434. tors, 1142 Auahi Street, Suite 2820, Honolulu, November 30 entry deadline Hawaii 96814; telephone (808) 422-7362, or fax Milwaukee, Wisconsin “Teapots, Funky and (808) 423-1688. Functional” (January 23-February 23, 1996). San Francisco, California “Contemporary Juried from slides. For prospectus, send business- Crafts Market” (March 15-17,1996). Juried from size SASE to Joan Houlehen, A. Houberbocken, 5 slides or photos plus resume. Entry fee: $ 15 (one P. O. Box 196, Cudahy, Wisconsin 53110; tele­ fee for up to 3 shows). Booth fee: $300 to $750 for phone (414) 276-6002, or fax (414) 481-4000. 10x6- to 15x10-foot spaces. Contact Roy Helms January 2, 1996, entry deadline &C Associates, Roy Helms or Chris Andrews, Di­ Lafayette, Louisiana “National Juried Compe­ rectors, 1142 Auahi Street, Suite 2820, Hono­ tition of Two- and Three-Dimensional Art” lulu, Hawaii 96814; telephone (808) 422-7362, (March 9-April 12, 1996). Juried from slides. or fax (808) 423-1688. Fee: $25 for 3 entries; $8 for each additional entry; San Francisco, California “ACC Craft Fair San limit 5. Awards. For prospectus, send #10 SASE to Francisco” (August 7-11,1996, wholesale/retail). NJS Chairman, 700 LeeAve., Lafayette 70501; or Juried from 5 slides. Entry fee: $20. For applica­ telephone/fax (318) 269-0363 Tuesday-Friday. tions, contact American Craft Enterprises, 21 S. January 10, 1996, entry deadline Eltings Corner Rd., Highland, New York 12528; Corvallis, Oregon “Women’s Vision” (March telephone (800) 836-3470, fax (914) 883-6130. 13-April 5, 1996), open to women artists. Juried Santa Monica, California “Contemporary from slides. No entry fee. Awards. For brochure, Crafts Market” (June 21-23, 1996). Juried from send SASE to Corvallis Arts CenterlLinn Benton 5 slides or photos plus resume. Entry fee: $ 15 (one Council for the Arts, Women’s Vision, 700 S.W. fee for up to 3 shows). Booth fee: $300 to $750 for Madison, Corvallis 97333. 10x6- to 15x10-foot spaces. Contact Roy Helms February 1, 1996, entry deadline 6 Associates, Roy Helms or Chris Andrews, Di­ Ephrata, Pennsylvania “Fourth Annual Strictly rectors, 1142 Auahi Street, Suite 2820, Hono­ Functional Pottery National” (April 29-May 22, lulu, Hawaii 96814; telephone (808) 422-7362, 1996). Juried from slides. Juror: Phyllis Blair or fax (808) 423-1688. Clark. Cash, purchase, business awards. Fee: $10, Atlanta, Georgia “ACC Craft Fair Atlanta” 1 entry; $15, 2; $20, 3. For prospectus, send #10 (March 16-17, 1996, retail). Juried from 5 slides. business-size SASE to Fourth Annual S.F.P.N., Entry fee: $20. For application, contact American 1005 Oak Lane, New Cumberland, Pennsylvania Craft Enterprises, 21 South Eltings Corner Road, 17070-1329. Highland, New York 12528; or telephone (800) 836-3470, fax (914) 883-6130. Regional Exhibitions Baltimore, Maryland “ACC Craft Fair Balti­ more” (February 27-March 3, 1996, wholesale/ September 30 entry deadline retail). Juried from 5 slides. Entry fee: $20. Con­ Saint Louis, Missouri “New Works: Four Art­ tact American Craft Enterprises, 21 S. Eltings ists” (December), open to artists residing in Ar­ Corner Rd., Highland, New York 12528; tele­ kansas, Illinois, Iowa, Kansas, Missouri or Okla­ phone (800) 836-3470, fax (914) 883-6130. homa. Juried from 10 slides. Juror: Sherry Leedy, West Springfield, Massachusetts “ACC Craft Fair director/curator, Leedy Voulkos Art Center Gal­ West Springfield” (June 14-16, 1996, retail). lery, Kansas City, Missouri. Entry fee: $25. For Juried from 5 slides. Entry fee: $20. For applica­ entry form, send SASE to New Works: Four Artists, tion, contact American Craft Enterprises, 21 S. Art Saint Louis, 917 Locust Street, #300, Saint Eltings Corner Rd., Highland, New York 12528; Louis 63101-1413; or telephone (314) 241-4810. telephone (800) 836-3470, fax (914) 883-6130. October 1 entry deadline Saint Paul, Minnesota “ACC Craft Fair Saint Helena, Montana “Winter Showcase” (No­ Paul” (April 11-14, 1996, wholesale/retail). Ju­ vember 16-December 31), open to artists resid­ ried from 5 slides. Entry fee: $20. For application, ing in Idaho, Montana, Oregon, Washington or contact American Craft Enterprises, 21 S. Eltings Wyoming. Juried from slides or photos. No entry Corner Rd., Highland, New York 12528; or tele­ fee. Send SASE to Holter Museum of Art, 12 East phone (800) 836-3470, fax (914) 883-6130. Lawrence Street, Helena 59601; or telephone Columbus, Ohio “ACC Craft Fair Columbus” (406) 442-6400. (June 29-July 1, 1996, wholesale). Juried from 5 October 14 entry deadline slides. Entry fee: $20. Booth fee: $545 for a New Rochelle, New York “The New Rochelle 10x10-foot space. Contact American Craft En­ Art Association 81st Annual Open Juried Exhibi­ terprises, 21 S. Eltings Corner Rd., Highland, tion” (October 14-November 4). Juried from New York 12528; or telephone (800) 836-3470, works hand-delivered on October 14 from 10 fax (914) 883-6130. A.M. to 1 P.M. Entry fee: $25 for up to 2 entries; September 29 entry deadline members, $20. Awards: over $2500 in cash and Gaithersburg, Mary land “Sugarloaf s 21st An­ art materials. For prospectus, send #10 SASE to nual Spring Gaithersburg Crafts Festival” (April Mary La Greca, 153 Hilburn Road, Scarsdale, 12-14, 1996). Juried from 5 slides, including 1 of New York 10583. booth. Booth fee: $350-$450. No commission. For information/application, send 3 loose first- Fairs, Festivals and Sales class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., Ste. 215, September 8 entry deadline Gaithersburg 20878; telephone (800) 210-9900. Santa Barbara, California “Artwalk ’95” (Oc­ Timonium, Maryland “Sugarloaf s 19th An­ tober 28-29). Juried from slides. Awards. For nual Spring Timonium Crafts Festival” (April prospectus, send large SASE to Museum League, 26-28, 1996). Juried from 5 slides, including 1 of 2559 Puesta del Sol Rd., Santa Barbara 93105; booth. Booth fee: $425. No commission. For telephone (805) 682-4711, ext. 344. application, send 3 loose first-class stamps for

September 1995 73 Call for Entries Gaithersburg, Maryland11 Sugarloaf s 19th An­ nual Winter Gaithersburg Crafts Festival” (De­ cember 13-15, 1996). Juried from 5 slides, in­ cluding 1 of booth. Booth fee: $275-$425. No postage to Sugarloaf Mountain Works, Inc., 200 commission. For information/application, send 3 Orchard Ridge Dr., Ste. 215, Gaithersburg, Mary­ loose first-class stamps to Sugarloaf Mountain land 20878; telephone (800) 210-9900. Works, Inc., 200 Orchard Ridge Dr., Ste. 215, Novi, Michigan “ S ugarloaf s 2nd Annual Spring Gaithersburg20878; or telephone (800) 210-9900. Novi Art Fair” (April 19-21, 1996). Juried from Timonium, Maryland “Sugarloaf s 20th An­ 5 slides, including 1 of booth. Booth fee: $425. nual Fall Timonium Crafts Festival” (October No commission. For information/application, 11-13, 1996). Juried from 5 slides, including 1 of send 3 loose first-class stamps for postage to Sugar- booth. Booth fee: $425. No commission. For loaf Mountain Works, Inc., 200 Orchard Ridge information and application, send 3 loose first- Dr., Ste. 215, Gaithersburg, Maryland 20878; or class stamps to Sugarloaf Mountain Works, Inc., telephone (800) 210-9900. 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, Somerset, New Jersey “Sugarloaf s 3rd Annual Maryland 20878; or telephone (800) 210-9900. Spring Somerset Crafts Festival” (May 17-19, Novi, Michigan “Sugarloaf s 2nd Annual Fall 1996). Juried from 5 slides, including 1 of booth. Novi Art Fair” (October 25-27, 1996). Juried Booth fee: $425. No commission. For informa­ from 5 slides, including 1 of booth. Booth fee: tion and application, send 3 loose first-class stamps $425. No commission. For information and ap­ for postage to Sugarloaf Mountain Works, Inc., plication, send 3 loose first-class stamps for post­ 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, age to Sugarloaf Mountain Works, Inc., 200 Or­ Maryland 20878; or telephone (800) 210-9900. chard Ridge Drive, Suite 215, Gaithersburg, Fort Washington, Pennsylvania “Sugarloaf s 2nd Maryland 20878; or telephone (800) 210-9900. Annual Spring Fort Washington Crafts Festival” Somerset, New Jersey “Sugarloaf s 3rd Annual (March 29-31, 1996). Juried from 5 slides, in­ Fall Somerset Crafts Festival” (September 27-29, cluding 1 of booth. Booth fee: $425. No commis­ 1996). Juried from 5 slides, including 1 of booth. sion. For information and application, send 3 Booth fee: $425. No commission. For informa­ loose first-class stamps for postage to Sugarloaf tion and application, send 3 loose first-class stamps Mountain Works, Inc., 200 Orchard Ridge Dr., for postage to Sugarloaf Mountain Works, Inc., Ste. 215, Gaithersburg, Maryland 20878; tele­ 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, phone (800) 210-9900. Maryland 20878; or telephone (800) 210-9900. Manassas, Virginia “Sugarloafs 1st Annual Fort Washington, Pennsyl^ania“Sugarloaf s 2nd Spring Manassas Crafts Festival” (May 3-5,1996). Annual Fall Fort Washington Crafts Festival” Juried from 5 slides, including 1 of booth. Booth (November 1-3, 1996). Juried from 5 slides, fee: $425. No commission. For information and including 1 of booth. Booth fee: $425. No com­ application, send 3 loose first-class stamps for mission. For information and application, send 3 postage to Sugarloaf Mountain Works, Inc., 200 loose first-class postage stamps to Sugarloaf Moun­ Orchard Ridge Dr., Ste. 215, Gaithersburg, Mary­ tain Works, Inc., 200 Orchard Ridge Drive, land 20878; or telephone (800) 210-9900. Suite 215, Gaithersburg, Maryland 20878; or October 12 entry deadline telephone (800) 210-9900. Washington, D. C. “Smithsonian Craft Show” Manassas, Virginia “Sugarloaf s 16th Annual (April 24-28, 1996). Juried from slides of 5 Fall Manassas Crafts Festival” (September 6-8, works. Entry fee: $25. Booth fee: $825-$975 for 1996). Juried from 5 slides, including 1 of booth. a 10x10-foot space. Contact the Smithsonian Booth fee: $350-$450. No commission. For in­ Women’s Committee, Smithsonian Institution, formation and application, send 3 loose first-class A &: I Building, Room 1465, Washington, D.C. stamps to Sugarloaf Mountain Works, Inc., 200 20560; or telephone (202) 357-4000. Orchard Ridge Dr., Ste. 215, Gaithersburg, Mary­ November 13 entry deadline land 20878; or telephone (800) 210-9900. Indio, California “ 10th Annual Southwest Arts January 16, 1996, entry deadline Festival” (January 21-22, 1996), open to works Columbus, Ohio “Columbus Arts Festival” with a Southwestern motif or theme. Juried from (June 6-9, 1996). Juried from 3 slides of work slides or photos. Entry/application fee: $140. Con­ plus 1 of booth. For prospectus, contact Colum­ tact Indio Chamber of Commerce, 82-503 High­ bus Arts Festival, 55 East State Street, Columbus way 1 11,Indio 92201; telephone (619) 347-0676. 43215; or telephone (614) 224-2606. December 15 entry deadline February 1, 1996, entry deadline Blacksburg, Virginia “25th Annual Brush Frederick, Maryland “22nd Annual Frederick Mountain Arts and Crafts Fair” (March 29-31, Craft Fair” (May 17-19, 1996). Juried from 5 1996). Juried from slides or photos. For applica­ slides of work plus 1 of display (and resume for tion, send SASE to Brush Mountain Arts and new exhibitors). Entry fee: $10. Booth fee: $300- Crafts Fair, The Voluntary Action Center, Post $390. No commission. For further information, Office Box 565, Blacksburg 24060-0565. contact National Crafts, Ltd., 4845 Rumler Road, January 12, 1996, entry deadline Chambersburg, Pennsylvania 17201; or telephone San Mateo, California “Sugarloaf s 1st Annual (717) 369-4810. San Mateo Crafts Festival” (November 8-10, Gaithersburg, Maryland“21 st Annual National 1996). Juried from 5 slides, including 1 of booth. Craft Fair” (October 18-20,1996). Juried from 5 Booth fee: $425. No commission. For informa­ slides of work plus 1 of display (and resume for tion and application, send 3 loose first-class post­ new exhibitors). Entry fee: $10. Booth fee: $340- age stamps to Sugarloaf Mountain Works, Inc., $425. No commission. For further information, 200 Orchard Ridge Dr., Suite 215, Gaithersburg, contact National Crafts, Ltd., 4845 Rumler Road, Maryland 20878; or telephone (800) 210-9900. Chambersburg, Pennsylvania 17201; or telephone Gaithersburg, Maryland “Sugarloaf s 21st An­ (717) 369-4810. nual Fall Gaithersburg Crafts Festival” (Novem­ Philadelphia, Pennsylvania “Manayunk Arts ber 21-24, 1996). Juried from 5 slides, including Festival” (June 29-30, 1996). Juried from 4 slides 1 of booth. Booth fee: $400-$500. No commis­ of work plus 1 of booth. Entry fee: $15. Booth fee: sion. For information/application, send 3 loose $275 for a 10x15-foot space. For application, first-class postage stamps to Sugarloaf Mountain send SASE to Manayunk Arts Festival, 4320 Main Works, Inc., 200 Orchard Ridge Dr., Ste. 215, Street, Suite 2, Philadelphia 19127; or telephone Gaithersburg 20878; telephone (800) 210-9900. (215) 482-9565.

74 CERAMICS MONTHLY September 1995 75 Suggestions From Readers

Glaze Mixer Don’t throw out the beaters from your kitchen mixer when it dies. Just grind off the knobs on the sides and use the beaters in your electric drill when mixing small batches of glaze or slip.—Cynthia Bringle, Penland, N. C.

Panty Hose Release Get a leg up on sticlsy clay problems by covering your templates, hump molds, etc., with recycled panty hose. The fine knit leaves little texture, but allows the clay to release easily.—Gordon Ward, Eugene, Ore.

Low-Tech Kiln Bracing A common problem in kilnbuilding is the lack of welding experience needed to con­ struct a steel frame. At the University of Illinois, we devised a tie-rod system to secure angle-iron corner braces without welding. The intent of the project was to construct a sprung-arch kiln using only simple tools and Tie-rod- and angle-iron-braced kiln at the University of Illinois, Urbana-Champaign. technology—skills immediately available to an aspiring potter. inch-deep channel ran the length of each wall with threaded tie rods run through the chan- During construction, the exterior hard- at the bottom. We then drilled holes in the nels and secured with washers and nuts. For bricks were laid so that a 21/2-inch-tall by 4½-angle-iron corner braces, and stabilized them insulation purposes, we filled the channel

76 CERAMICS MONTHLY with softbricks and cut grooves to accommo­ date the tie rods.—Daryl McCracken, Champaign, III

Avoiding Glaze Crawling and Pinholing Some glazes are worse about crawling and pinholing than others. Often, though, crawl­ ing can be avoided by simply removing dust from bisqueware. Before glazing, use a soft, clean paintbrush to dust the inside of pots, around handle attachment points and around the rim and sides. Vary the size of the brush according to the size of the pot. When glazing, be sure the first applica­ tion is dry to the touch but not completely dry before overlapping. Otherwise, the wet­ ter glaze could pull the dry glaze underneath off the pot. The glaze consistency (thickness) should be similar. Some glazes pinhole because of content (e.g., recipes high in rutile), but rubbing out bubbles in the dry glaze coat with a dry finger can reduce the number and intensity of pinholes. Some glazes respond well to a slightly hotter spot in the kiln as well.—Lisa Conley, Cerrillos, N.M.

Bat Substitute I recently found that I had more clay wedged than bats available, so I substituted 6-inch-square, unglazed commercial tiles for the particleboard bats I have used for more than 20 years. The tiles worked perfectly. They adhere well to the same centered and scored clay pad; the clay adheres well to the tile, and pots cut off cleanly. I like the tiles so much, I am now using them exclusively for all small production items, such as mugs, soup bowls, honey jars, etc. The only draw­ back is that they are square and I have to be careful not to injure my hands on the corners when the wheel is rotating.—Carol Hutchinson, Nelson, British Columbia

Cone Pad Placement In a teaching studio, where a variety of folks may be helping place shelves and pots in a front-loading kiln, it’s a good idea to use a ruler or marked stick to determine cone pad placement. Held vertically, it will indicate where the cones will be visible through the peephole.—Van Moore, College Park, Md.

Dollars for Your Ideas Ceramics Monthly pays $10for each sugges­ tion published; submissions are welcome indi­ vidually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788; or fax to (614) 488-4561. Sorry, but we cant ac­ knowledge or return unused items.

September 1995 77 Paul J. Bremrose, antiques and fine-art consult­ Calendar ant; Bernard Dragesco, art historian; Hugh Tait, keeper of medieval and later antiques at the British Events to Attend—Conferences, Museum; Alfred Ward from Winthrop Univer­ Exhibitions, Workshops, Fairs sity; and Bernard Watney, English Ceramic Circle president. Will also include a visit to the Catawba Indian Reservation. Fee: $225. Contact M. Conferences Mellanay Delhom, Historical Pottery and Porce­ lain Consultant, Mint Museum of Art, 2730 Alabama, Montevallo October 4-6“Alabama Clay Randolph Road, Charlotte, North Carolina 28207; Conference X” will include master classes by or telephone (704) 337-2073. Juroemon Fujita (October 1-6; limited enroll­ ment) and workshop by Yih-Wen Kuo, as well as lectures, demonstrations and exhibitions. Fee: $50; International Conferences students, $30. Contact Alabama Clay Conference Australia, Canberra July 6—9, 1996 “Interna­ X, Station 6400, University of Montevallo, tional Connections,” national ceramics conference, Montevallo 35115; or telephone (205) 665-6400. will include discussion forums, master classes, Florida, Saint Petersburg October 5-8 “Bringing demonstrations, exhibitions. International artists Back the Soul: Our Material Culture,” the Amer­ welcome. Contact Anita McIntyre, ANU School ican Craft Council Southeast Conference, will of Art, Ceramics Workshop, Baldessin Crescent, feature keynote speaker Paulus Berensohn plus a Acton, ACT 2601; telephone (62) 49 58 21. lecture by “Spotlight ’95” exhibition juror Bill Strickland. Also includes panel discussions and Solo Exhibitions hands-on workshops, plus a session with ceramist Harvey Sadow, and demonstrations/lectures with Alabama, Huntsville through September 24 “En­ potters Joe Bennion, Charles Counts and Kevin counters: Clifton Pearson”; at the Huntsville Crowe. Registration deadline: September 15. Send Museum of Art, 700 Monroe Street, Southwest. SASE to Florida Craftsmen, 501 Central Avenue, Arizona, Phoenix through September 15 Darlene Saint Petersburg 33701. Nguyen-Ely, “This, That and the Other,” multi- Maryland, Baltimore September 15-17 “Craft media sculpture; at A. P. Tell Gallery, Grand Business Institute” will include lectures/presenta- Canyon University, 3300 West Camelback Road. tions by Carolyn Bennett, president/C. Bennett California, Berkeley September 23-November 12 Scopes; Curtis Benzie, owner/Benzle Applied Arts, Ron Meyers; at TRAX Gallery, 1306 Third Street. chair/ American Craft Association; Kathy Borrus, California, Davis September 2-October 1 Arthur retail marketing consultant; Donna Brescia, prod­ Gonzalez, “Summer Subjects,” sculpture. October uct director/television shopping channels and 7-November 5 Ruth Rippon, ceramic sculpture; Guthy-Renker Corporation; Rick Faulkner, at John Natsoulas Gallery, 140 F Street. founder/Longs Park Craft Show and Barrick De­ California, Irvine September 22—November 5 sign Candles; Bill Hunt, studio potter; Laura Darlene Nguyen-Ely, mixed-media sculpture; at Kaufman, president/ Art Resource; Thomas Mann, the Irvine Fine Arts Center, 14321 Yale Avenue. studio jeweler/production designer/gallery owner; California, Los Angeles September 9-October 4 Guy McDonald, president/Arts and Crafts Busi­ Anna Silver. Scott Schoenherr. October 7-Novem­ ness Solutions; Courtney Miller, studio metal- ber 1 Anne Hirondelle. John McQueen; at Garth smith, owner/Courtney Design; Nancy Panaccio, Clark Gallery, 170 South La Brea. buyer/QVC; Wendy Rosen, president/Rosen California, Oakland through November 12 “The Group; Marilyn Stevens, editor/ Crafts Report; and Art of Peter Voulkos”; at the Oakland Museum of Steve Swan, owner/19th Street Gallery and Artifax. California, Oak and Tenth streets. Fee: $369, includes programs, lodging and meals. California, Santa Cruz through September 77Helen Contact Linda McCormick, Rosen Group, 3000 Slater, retrospective; at Santa Cruz Art League, Chestnut Avenue, Suite 300, Baltimore 21211; or 526 Broadway. telephone (410) 889-2933, fax (410) 889-1320. Colorado, Breckenridge through September 10 Michigan, Detroit October 18-22 “Tiles in the Steve Schrepferman; at Hibberd McGrath Gal­ Motor City: Crafting a Lustrous Place in History” lery, 101 North Main Street. will include slide lectures, workshops, demonstra­ D.C., Washington through January 1,1996“ Rick tions, tile auction, antique and contemporary tile Dillingham (1952-1994): A Retrospective”; at sale, and tours of historic tile installations. Con­ the Renwick Gallery, National Museum of Amer­ tact Tile Heritage, Post Office Box 1850, Healds- ican Art, Smithsonian Institution. burg, California 95448; or telephone (707) 431 - September 18-22 Christine Pendergrass; in the 8453, fax (707) 431-8455. Rotunda of the Russell Senate Building. New York, Rochester March 20-23, 1996 Indiana, Goshen October 1—31 Dick Lehman; at “NCECA ’96—30th Annual Conference.” Con­ Goshen College Gallery. tact Regina Brown, Executive Secretary, NCECA, Iowa, Waterloo September 8-November 72JoAnn Post Office Box 1677, Bandon, Oregon 97411; Schnabel, “Garden of Delights: Current Works in telephone (800) 99-NCECA. Clay”; at Forsberg Riverside Galleries, Waterloo South Carolina, Rock Hill September27-30“ Cel­ Museum of Art, 225 Commercial Street. ebrating 250 Years of English China-ware Manu­ Massachusetts, Northampton September9—Octo­ facture” will include a round-table discussion and ber 15 Mara Superior, porcelain tiles; at Ferrin lectures on the Chelsea and Bow manufactories, Gallery, 179 Main. Pomona Potworks, Limehouse, Vauxhall and oth­ Michigan, Pontiac September 8-30 John Mason. ers by Elizabeth Adams, English ceramics author; October 6-28 Laszlo Fekete; at Habatat/Shaw Gallery, 7 North Saginaw. Send announcements of conferences, exhibitions, ju­ New Hampshire, Concord September 20 “Studio ried fairs, workshops and other events at least two Night,” sculpture by Cheryl Haynes; at Phil A. months before the month of opening (add one month Buster’s, 1 Eagle Square. for listings in July; two months for those in August) to New York, New York September 12-October 7 Calendar, Ceramics Monthly, Post Office Box 12788, Stephen Dixon. Philip Eglin. October 10—Novem­ Columbus, Ohio 43212-0788; or telephone (614) ber 4 Edward Eberle. Richard Notkin; at Garth 488-8236. Fax announcements to (614) 488-4561. Clark Gallery, 24 West 57th Street. Continued

78 CERAMICS MONTHLY September 1995 79 Calendar J. Arbuckle, Mary Jo Bole, William Brouillard, Phyllis Kloda and Farraday Newsome Sredl; at the Northern Clay Center, 2375 University Ave., W. September 14-October 15 Barbara Nanning; at Montana, Helena September 22-November 4 Nancy Margolis Gallery, 251 West 21st Street. “Autio and Voulkos: Early Works,” sculpture and North Carolina, Charlotte September 5-30 functional pottery by Rudy Autio and Peter Voul­ “Thrown and Altered: The Pottery of Suze Lind­ kos; at the Holter Museum of Art, 12 East Lawrence say.” October 3-28 “New Visions: The Pottery of Street. Ben Owen III”; at Gallery W.D.O., Suite 610 at New Mexico, Albuquerque September 22-No­ Atherton Mill, 2000 South Boulevard. vember 3 “New Mexico Clay ’95”; at Weyrich Oregon, Portland October5-28 Dharma Strasser, Gallery, 2935 D Louisiana. wall pieces and vessels; at BonaKeane Decorative New York, Alfred through September 17 “White Arts Mezzanine Gallery, 205 S.W. Pine St. Whitewares.” October 19-December 10 “Vivika Pennsylvania, Harrisburg October 5-29 Beverlee and Otto Heino: A Retrospective”; at the Mu­ Lehr, “Visual Inquiries: Sculptural Paintings in seum of Ceramic Art at Alfred, Ceramic Corridor Glazed Stoneware”; at Doshi Center for Contem­ Innovation Center, Route 244. porary Art, Harrisburg Transportation Center, New York, New York through October 1 “Facets of 441 Dr. Martin Luther King Jr. Blvd. the Same Nature: A Survey of Contemporary Dutch Pennsylvania, Pittsburgh September 8-30 Robert Ceramics”; at the American Craft Museum, 40 West Brady; at Manchester Craftsmen’s Guild, 1815 53 Street. Metropolitan Street. North Carolina, Charlotte through January 7, Texas, Houston October 7-28 Sharon Dennard, 1996 “Built Upon Honor: The Ceramic Art of porcelain; at Artables Gallery, 2625 Colquitt. Ben Owen and Ben Owen III”; at the Mint Texas, San Antonio September 14—November 25 Museum of Art, Bridges and Levine galleries, Tre Arenz, “Sameness”; at Emily Edwards Gal­ 2730 Randolph Road. lery, Southwest Craft Center, 300 Augusta. Ohio, Canton through October 15 “Revolution in Texas, San Marcos through September 21 Darlene Clay: The Marer Collection of Contemporary Nguyen-Ely, multimedia sculpture; at the Uni­ Ceramics”; at the Canton Art Institute, 1001 versity Gallery, Southwest Texas State University. Market Avenue, North. Washington, Kirkland October 12-November 5 Ohio, Cleveland September 19-December3 “Early Richard Fairbanks; at Foster/White Gallery, 126 Ceramics from Japan and Korea”; at the Cleve­ Central Way. land Museum of Art, 11150 East Boulevard. Ohio, Lancaster October 6-28 “Sewer-Pipe Art,” Group Ceramics Exhibitions with ceramic sculpture by curator Jerry Caplan, Nan Coffin-Welty, Barbara Kindler, Jeff Kohut, Alabama, Birmingham October 7-December 8 Sally Mclnerney, Mitchell Messina, Eva Rase, “Echizen: 800 Years of Japanese Stoneware”; at Denise Romecki, Carol Sandberg, Ted Soens, and the Birmingham Museum of Art, 2000 Eighth Carole Stremple; at the Gallery at Studio B, 140 Avenue, North. West Main Street. Alabama, Florence September 5-October 13 Ohio, Lima October 27-November 26 “National “Kennedy-Douglass Center for the Arts 1995 Teapot Exhibition”; at ArtSpace/Lima, 65/67 Monarch National Ceramic Competition”; at the Town Square. Kennedy-Douglass Center for the Arts, 217 East Pennsylvania, Chester Springs September 23- Tuscaloosa Street. October 1 “Hero Pots,” including works by 22 California, San Francisco October 5-28 Ceramic ceramists, curated by Jack Troy; at Chester Springs sculpture by Jeff Irwin and Annabeth Rosen; at Studio, 1668 Art School Road. Dorothy Weiss Gallery, 256 Sutter Street. Virginia, Alexandria through September 24 “New October 31-February 19, 1996“Vessels of a Cul­ Creations from Fire,” works by Ceramic Guild ture: Korean Ceramics from the Asian’s Collec­ members. September 27-October 22 “Past Influ­ tion”; at Asian Art Museum, Golden Gate Park. ences—Present Interpretations,” works by Wash­ Illinois, Chicago through December 31 “Eigh­ ington Kiln Club members; at Scope Gallery, teenth-Century French Vincennes-Sevres Porce­ Torpedo Factory, 105 North Union Street. lain”; at the Art Institute of Chicago, 111 South Virginia, Emory through October 8 Exhibition of Michigan Avenue. works by Ben Owen and Ben Owen III; at Emory Maryland, Baltimore September 23—October 14 &C Henry College, the 1912 Gallery, Emory Train “Some of the Best from the Midwest: MFA Alumni, Depot. Southern Illinois University at Carbondale,” works Virginia, Williamsburg through January 5, 1996 by 15 ceramists; at Baltimore Clayworks, 5706 “British Delft from Colonial Williamsburg”; at Smith Avenue. DeWitt Wallace Decorative Arts Gallery, Colo­ Maryland, Columbia October 5-November 5“\n- nial Williamsburg. fluence,” works by Byron Temple, plus Chris September 1-October 14“ 1995 Clay National”; at Baskin, Sheila Hoffman, Mary Law, Jim Makins, Muscarelle Museum of Art, College of William David Schwartz, Scott Shafer and Bill Van Gilder; and Mary. at Columbia Art Center, 6100 Foreland Garth. Massachusetts, Ipswich September 16-October Ceramics in Multimedia Exhibitions 31 “The Bountiful Bake In”; at Ocmulgee Pottery and Gallery, 317 High Street—Route 1A. Arizona, Scottsdale October I-30“Mixed-Media Michigan, Detroit October 18-November 5 “Tile Still Life,” ceramic/multimedia works by June as Concept, Ornament, Artifact”; at Pewabic Pot­ Raymond and Gregory Zeorlin; at Joanne Rapp tery, 10125 East Jefferson. Gallery: The Hand and the Spirit, 4222 North Michigan, Royal Oak September 7-October 14 Marshall Way. “Steeped in Tradition: The Contemporary Tea­ Arizona, Tempe through September 24“ Contem­ pot,” exhibition of ceramics by 100 United States porary Statements in Craft,” works by Arizona and Canadian potters; at Ariana Gallery, 119 Designer Craftsmen members; at Tempe Art Cen­ South Main. ter Satellite Gallery at Tempe Library, 3500 South Minnesota, Saint Paul September 15-November 3 Rural Road. “Majolica/Maiolica,” exhibition of works by Linda Arkansas, Little Rock October 8-November 16

80 CERAMICS MONTHLY September 1995 81 Calendar Art Equinox: A Regional Survey of Contemporary Art”; at Paris Gibson Square Museum of Art, 1400 First Avenue, North. Montana, Helena through September 17 “ANA “Visual Overload: Objects and Drawings”; at the 24”; at Holter Museum of Art, 12 E. Lawrence St. Decorative Arts Museum, Seventh and Rock sts. New York, New York through September I ^“Mon­ California, Claremont October 29-December 31 key”; at the Asia Society, 725 Park Avenue. “Myth and Magic: Oaxaca Past and Present”; at October 26-February 25, 1996“Crab in the Ma­ Lang Gallery, Montgomery Gallery, Pomona chine Age: European Influence on American College, 333 North College Way. Modernism, 1920-1945”; at the American Craft California, La Jolla October 21-November 15 Museum, 40 West 53rd Street. “Festival of Lights,” exhibition of menorahs, can­ New York, Rochester October 7—November 19 delabra and other Judaica; at Gallery Alexander, “White House Collection of American Crafts.” 7850 Girard Avenue. “54th Rochester-Finger Lakes Exhibition”; at the California, Los Angeles September 7-January 7, Memorial Art Gallery, University of Rochester, J5?i?6^“Frank Lloyd Wright and Japan”; at the Los 500 University Avenue. Angeles County Museum of Art, 5905 Wilshire New York, Windham through September 11 “Art Boulevard. in Bloom—Inspiration for the Garden”; at Greene California, Sacramento September 6-October 6 County Council on the Arts, Mountaintop Gal­ “Artful Urnz,” creative crematory containers; at lery, Main Street. Michael Himovitz Gallery, 1020 Tenth Street. Ohio, Cincinnati October 1-January 1, 1996 California, San Diego through October 8 “Kin­ “Mingei: Japanese Folk Art from the Montgom­ dred Spirits: Eloquence of Function in American ery Collection”; at the Cincinnati Art Museum, Shaker and Japanese Arts of Daily Life”; at the Eden Park. Mingei International Museum of Folk Art, 4405 Ohio, Cleveland through September 2^ “Elvis and La Jolla Village Drive. Marilyn: 2 X Immortal”; at the Cleveland Mu­ through January 3, 1996“Tmrimg Back the Sky,” seum of Art, 11150 East Boulevard. exhibition of contemporary Native Hawaii art Ohio, Toledo October 13-January 7,1996“Made and life, through February 19,1996“And the Bead in America: Ten Centuries of American Art”; at Goes On!”; at the San Diego Museum of Man, Toledo Museum of Art, 2445 Monroe Street. 1350 El Prado, Balboa Park. Oregon, Portland September 7—October 1 “Art- California, San Francisco through October 22 ists-in-Residence Exhibition: Work by Artists in “Land of the Morning: Treasures of the Philip­ the 1994—’95 Collins Residency Program,” in­ pines”; at the San Francisco Craft and Folk Art cluding ceramics by Lisa Conway; at the Oregon Museum, Landmark Building A, Fort Mason. School of Arts and Crafts, Hoffman Gallery, 8245 California, San Rafael through October 15 “Myth Southwest Barnes Road. and Magic: Oaxaca Past and Present”; at Domini­ Pennsylvania, Chester Springs September 23— can College of San Rafael, 50 Aracia Ave. October 1 “Studio Days ’95,” including ceramics Colorado, Snowmass Village through September by Linda Christianson, Eddie Dominguez, Mat­ 22 Two-person exhibition with porcelain by Jan thew Metz, Ron Meyers, Jeff Oestreich, Will Edwards; at Dow’s Gallery, Anderson Ranch Arts Ruggles and Douglass Rankin, and Linda Sikora; Center, 5263 Owl Creek Road. at Chester Springs Studio, 1668 Art School Road. D.C., Washington through January 1, 1996“On Pennsylvania, Hazleton October 7-20“The Hazle­ the River,” includes four ceramic works; at Freer ton Art League Open Juried Exhibition of Works Gallery of Art, Smithsonian Institution. in Clay, Glass, Wood and Metal”; at Hazleton Art Florida, Belleair September 16-November 19 League, 225 East Broad Street. “Southeastern Fine Crafts Biennial Invitational, Pennsylvania, New Castle October 8-November 4 I”; at the Florida Gulf Coast Art Center, 222 “14th Hoyt National Art Show”; at Hoyt Institute Ponce de Leon Boulevard. of Fine Arts, 124 East Leasure Avenue. Florida, Saint Petersburg September 8-October Tennessee, Chattanooga through August 1996 21 “Skillful Rendering: National Craft Leaders”; “ 1995-1996 Sculpture Exhibit”; at River Gallery, at Florida Craftsmen Gallery, 501 Central Ave. 400 East Second Street. September 24-November 19 “Spotlight ’95,” in Tennessee, Smithville September 8-October 12 conjunction with American Craft Council “Faculty Show,” including ceramics by Vince Southeast’s annual conference (see Conferences); Pitelka; at the Appalachian Center for Crafts, at the Museum of Fine Arts, 255 Beach Dr., NE. 1560 Craft Center Drive. Georgia, Albany September 16-January 1, 1996 Texas, Denton September 17-October 27“Mate­ “Breaking Barriers: Recent American Craft,” in­ rials Hard and Soft”; at Meadows Gallery, Greater cludes ceramics by Viola Frey, Michael Lucero Denton Arts Council, 207 South Bell. and J ames T anner; at the Albany Museum of Art, Texas, Houston through September 9 “A Multi- 311 Meadowlark. Dimensional Show of Pedestal, Wall and Wear­ Illinois, Chicago October 20—November 5 “Cur­ able Art,” works by Pat Moberly Moore and Joan rents ’95”; at “SOFA Chicago 1995,” Navy Pier. Nixon; at Archway Gallery, 2013 West Gray. Massachusetts, Cambridge through October 8 Vermont, Burlington September 8-October 16 “Asian Art: Recent Acquisitions”; at the Arthur “Ebb and Flow”; at the Vermont State Craft M. Sackler Museum, Harvard University Art Mu­ Center at Frog Hollow, 85 Church Street. seums. Vermont, Manchester September 20-0ctober 31 Massachusetts, Stockbridge through October 10 “Creative Harvest”; at the Vermont State Craft “Contemporary Sculpture at Chesterwood,” in­ Center at Frog Hollow. cluding ceramics by Phyllis Kulmatiski; at Vermont, Middlebury September 8-October 16 Chesterwood, off Route 183, 4 Williamsville Rd. “Revisiting the Arts and Crafts Style”; at the Montana, Browning through September30“ 12th Vermont State Craft Center at Frog Hollow, One Annual Summer Sales Exhibit of Native Ameri­ Mill Street. can Arts and Crafts”; at the Museum of the Plains Vermont, Shelburne September 23—October 15 Indian and Crafts Center, junction of Highways 2 “Envisioned in a Pastoral Setting”; at Shelburne and 89. Farms, 102 Harbor Road. Montana, Great Falls through October 1 “1995 Virginia, Alexandria October 26-November 25

82 CERAMICS MONTHLY “Beads on Target”; at Target Gallery, Torpedo Factory Art Center, 105 North Union Street. Washington, Bellevue through September 10 “Bellevue Art Museum Pacific Northwest An­ nual”; at Bellevue Art Museum, 301 Bellevue Sq.

Fairs, Festivals and Sales California, Los Angeles October 14—15 “Interna­ tional Festival of Masks”; at Hancock Park. California, Mill Valley September 16—17 “Mill Valley Fall Arts Festival”; at Old Mill Park, down­ town. California, San Francisco September 30—October 1 “Contemporary Crafts Market”; at the Con­ course at Showplace Square. California, Santa Monica November 3-5 “Con­ temporary Crafts Market”; at the Santa Monica Civic Auditorium, 1855 Main St. at Pico Blvd. Connecticut, West Hartford September 16-17 “Wadsworth Atheneum Craft Show”; at Univer­ sity of Hartford Sports Center, 200 Bloomfield Avenue. D.C., Washington September 22-24 “Simply Pots!” functional works by 28 potters; at the Broadmoor, 3601 Connecticut Avenue. For open­ ing-night reservations, telephone (202) 387-4653. Florida, Jacksonville September 9—10 “Riverside Arts and Music Festival”; at Riverside Park. Georgia, Atlanta September 16-24“ Arts Festival of Atlanta”; in and around Piedmont Park. Illinois, Chicago November 2-5 “SOFA Chicago 1995”; at Navy Pier. Illinois, Winnetka November 4-5 “Sixth Annual Modernism Show”; at the Winnetka Community House, 620 Lincoln Avenue. Indiana, Columbus September 16-J7“Chautau­ qua of the Arts”; at Mill Race Park. Indiana, Indianapolis September 9 “Penrod Arts Fair”; at the Indianapolis Museum of Art, 1200 West 38th Street. Maryland, Gaithersburg October 13-15 “20th Annual National Craft Fair”; at Montgomery County Fairgrounds. Maryland, Solomons September30“ Artsfest’95”; at Annmarie Garden on Saint John, Dowell Road. Maryland, Timonium October /3-I5“Sugarloaf s Fall Timonium Crafts Festival”; at the Maryland State Fairgrounds. Massachusetts, Boston November 30-Dec ember 3 “The 10th Anniversary of Crafts at the Castle, 1995”; at Park Plaza Castle, Arlington and Co­ lumbus Avenue. Michigan, Grosse Pointe October 22 “Antique and Contemporary Tile Sale,” in conjunction with the tile symposium (see Conferences); at Grosse Pointe War Memorial, 32 Lake Shore. Michigan, Novi October27-29 “Sugarloaf s Novi Crafts Festival”; at the Novi Expo Center. Michigan, between Pontiac and Flint through September 24, weekends “16th Annual Michigan Renaissance Festival”; at Hollygrove, Dixie Hwy. Nevada, Elko October 6—8 “Second Annual Craftasia: Celebrating American Craft and Salut­ ing Native American Craft”; at the Elko Conven­ tion Center, 700 Moren Way. New Jersey, Flemington October 7-8“ Flemington Crafts Festival”; at the Flemington Fairgrounds. New Jersey, Somerset September 29-October 1 “Sugarloaf s Fall Somerset Crafts Festival”; at the Garden State Exhibit Center. New Mexico, El Rito October 14—15 “El Rito Studio Tour,” tour of 30 studios of artists and craftspeople; along Route 554. New York, New York Sep tember 9-10 “Washing­ ton Square Outdoor Art Exhibit”; along Univer­ sity Place, Greenwich Village. Continued

September 1995 83 Calendar Fall Manassas Crafts Festival”; at the Prince Wil­ liam County Fairgrounds. Workshops September 21-24 “The New York Autumn Art Fair”; at the New York Coliseum. Arizona, Mesa October 14-15 A session with New York, Setauket September 16-17“30th An­ Joseph Bennion. Fee: $35; Arizona Clay mem­ nual Gallery North 1995 Outdoor Art Show”; at bers, $30. Location: Mesa Community College. Gallery North, 90 North Country Road. For further information or registration, send SASE New York, Staten Island September 29-October 1 to David Bradley, 2233 North 56 Avenue, Phoe­ “1995 Snug Harbor Crafts Fair”; at Newhouse nix, Arizona 85035; or telephone (602) 269-1244. Center for Contemporary Art and Great Hall. California, Berkeley September 23 A session with New York, Tuxedo through September 17, week­ Ron Meyers. Contact Trax Gallery, 1306 Third ends and Labor Day “ 18th New York Renaissance Street, Berkeley 94710; or telephone/fax (510) Festival”; at Sterling Forest. 526-0279. New York, White Plains September 23-24“St c- California, Concow November 23— 25“Fall Wood- ond Annual Westchester Craft Show”; at West­ fire Workshop” with Nolan Babin, glazing and chester County Center, Central Avenue and Route firing. Participants must bring bisqueware and 119 at the Bronx River Parkway. favorite Cone 10 glaze. Fee: $150, includes lodg­ North Carolina, Asheville September 16 “Cele­ ing or camping. Contact Nolan Babin, 13191 brate Folk Art”; at the Southern Highland Craft Mullen Way, Oroville (Concow), California Guild’s Folk Art Center, Milepost 382, Blue 95965; or telephone (916) 534-9137. Ridge Parkway. California, Hesperia September 9-10 or October October 5-#“Indian Summer Art and Craft Show”; 7-8 “Earth and Ceramic Architecture” with Nader at Asheville Mall. Khalili. All skill levels. Fee: $275, includes mate­ North Carolina, Charlotte October 6-8 “1995 rials. Contact IlionaOutram, Cal-Earth/Geltaftan Mint Museum Antiques Show”; at the Charlotte Foundation, 10376 Shangri-La Avenue, Hesperia Merchandise Mart, 2500 E. Independence Blvd. 92545; or telephone (619) 244-0614. North Carolina, Winston-Salem October 20-22 California, Mendocino September 9— 10 “Journey “32nd Annual Piedmont Crafts Fair”; at the M. to the Goddess” with Gillian Hodge and Mina C. Benton Convention Center. Marmol, a mixed-media exploration of the inter­ Ohio, Archbold September 23 “Arts and Crafts action of the universal goddess myth with partici­ Festival,” will include demonstrations by special pants’ own stories. Fee: $125; members, $100. guest ceramist Greg Luginbuhl; at Sauder Farm September 16—17 “Bridging-Over” with Joel and Craft Village, State Route 2. Magen. Fee: $95; members, $75. November 4-5 Ohio, Athens September 17“Barn Raisin’”; at the “Obsidian Orchids and Ancient Seas (Within the Dairy Barn Southeastern Ohio Cultural Arts Cen­ Mountains of Mendocino)” with John Roloff. ter, 8000 Dairy Lane. Fee: $ 125; members, $ 100. November 11—I2“Clay Ohio, Bowling Green September 8-10 “Black Faces” with Beverly Mayeri. Fee: $95; members, Swamp Arts Festival”; downtown. $75. November 7#-I.9“Ceramic Mystical Winds” Ohio, Canal Fulton September 9-10, 16-17 or with Janie Rezner, making musical instruments. 23-24 “Yankee Peddler Festival”; at Clay’s Park Fee: $95; members, $75. Contact the Mendocino Resort. Art Center, 45200 Little Lake St., P. O. Box 765, Ohio, Columbus September 8-10 “10th Annual Mendocino 95460; or telephone (707) 937-5818. German Village Oktoberfest”; at the corner of California, Mountain Center September 6—10 Grant and Livingston avenues. “Indigenous Ceramics Survey” with Tom Fresh, Ohio, Dublin September9-10“ 15th Annual Fes­ clay collection and preparation, tool making and tival of the Arts”; at Coffman Park. several traditional pit-firing techniques for black Ohio, Groveport September 23—24 “Groveport and polychrome pottery. Fee: $450, includes Festival of the Arts”; on Main Street. materials, tools, meals and lodging. Limited to 10 Pennsylvania, Fort Washington September 30- participants. Contact Seishin, Zen Mountain October 1 “Pennsylvania Crafts Fair”; at the Fort Center, Post Office Box 43, Mountain Center Washington Expo Center. 92561; or telephone (909) 659-5272. October 20-22 “Sugarloaf s Fort Washington California, Sierra Madre September 9 “Contain­ Crafts Festival”; at the Fort Washington Expo ers, Underglazes and Raku” with Mary Ichino. Center. Contact Foothill Creative Arts Group, 108 North Pennsylvania, Pittsburgh September 8—10 “26th Baldwin Avenue, Sierra Madre 91024; or tele­ A Fair in the Park”; at Mellon Park in Shadyside, phone (818) 355-8350. Fifth and Shady avenues. California, Torrance September23—24 Demonstra­ Pennsylvania, Wrightstown September 9-10 tion with Michael Sherrill, using a pug mill to create “Pennsylvania Crafts Festival”; at the Grange Fair­ unique vessels. Fee: $35. Contact Neil Moss, El grounds. Camino College, 16007 Crenshaw Boulevard, Tor­ South Carolina, Columbia October 13— ^“South­ rance 90506; or telephone (310) 390-0941. eastern Art and Craft Exposition”; at the Carolina California, Walnut Creek October 28 “The Lan­ Coliseum. guage of Shapes,” demonstration and slide lecture South Carolina, Greenville September23-24“ Art with Seth Cardew. Fee: $40. Contact Walnut Creek in the Park”; at Cleveland Park. Civic Arts Education, Post Office Box 8039, Walnut Tennessee, Nashville September 29-October 1 Creek 94596; or telephone (510) 943-5846. “17th Fall Crafts Fair”; at Centennial Park. Connecticut, Brookfield September 30—October 1 Texas, New Braunfels October28-29“The Texas “A Ceramics Workshop” with Chris Staley. October Clay Festival”; on the grounds of Buck Pottery, 14—15“Ceramic Jewelry” with Ina Chapler. October 1601 Hunter Road, Gruene Historic District. 21—22 “A Day at Cornwall Bridge Pottery” with Texas, Round Top October 7—8 “23rd Annual Todd Piker. October28-29“Making Teapots” with Winedale Oktoberfest”; on the grounds of the Angela Fina. November 4-5 “Salt Firing” with Doug University of Texas at Austin Winedale Historical Signorovich. November 17-72“Ceramic Tiles” with Center. Lynn Peters; “Artist Survival Skills” with Susan Virginia, Manassas September 8-10 “Sugarloaf s Sager. November 18—19 “Master Pottery Work-

84 CERAMICS MONTHLY September 1995 85 Calendar 22“Ringling School of Art and Design’s Wildacres Art Workshops,” includes sessions in ceramics, watercolor, printmaking, etc. Fee: approximately $375, includes lodging and meals. Contact Sandra shop” with Jeff Shapiro. Contact Brookfield Craft MacDonald, Director of Continuing Education, Center, Post Office Box 122, Route 25, Brookfield 2700 North Tamiami Trail, Sarasota, Florida 06804; or telephone (203) 775-4526. 34234; or telephone (813) 359-7577. Kentucky, Somerset October 7-8 and 14—15 “Fire Pennsylvania, Chester Springs October 21—22 and Clay” with Meg McClorey, throwing, hand- “Sculptural Installations” with Ron Fondaw. Fee: building, glazing and raku firing. Beginning and $140; members, $125; includes materials. Octo­ intermediate. Fee: $140, includes materials and fir­ ber 28 “Silk Screens and Ceramics” with Mark ing. Contact Meg McClorey, Fire and Clay, 2535 Lueders. Fee: $75; members, $65; includes mate­ Pumphouse Road, Somerset 42501; or telephone rials. November 11-12 “Mold Making and Slip (606) 679-7897. Casting” with Barbara Botting. Fee: $100; mem­ Maryland, Columbia October 7 Demonstration bers, $90; includes materials. Contact Chester and slide lecture with Byron Temple. Contact Co­ Springs Studio, 1668 Art School Road, Chester lumbia Art Center, Long Reach Village, 6100 Springs 19425; or telephone (610) 827-7277. Foreland Garth, Columbia 21045; or telephone Pennsylvania, Pittsburgh September23—24Kszs- (410) 730-0075. sion with Robert Brady. Contact the Manchester Massachusetts, Plimoth Plantation September 29- Craftsmen’s Guild, 1815 Metropolitan Street, October 1 “ 17th-Century Slipware T echniques” with Pittsburgh 15233; or telephone (412) 322-1773. Irma Starr. Limited enrollment. For reservations, Tennessee, Memphis September 16A session with telephone Plimoth Plantation (508) 746-1622, ex­ Ruth Duckworth. Free. Contact Nancy White, tension 358; for technical questions, telephone Associate Professor, Art Department, the Univer­ Debbie Mason (617) 837-5125. sity of Memphis, Memphis 38152; or telephone Massachusetts, Williamsburg October 7-9 “Tiles: (901) 678-2216. For Large Installations or Small Projects” with Sandy Tennessee, Smithville October 14, 21 and 28 Farrell. October 21—23 “Native American Form­ “Ancient Clay: Handbuilt, Burnished, Bonfired ing and Firing Techniques” with Connie Talbot. Vessels” with Vince Pitelka. Contact Appalachian Contact Horizons: The New England Craft Pro­ Center for Crafts, 1560 Craft Center Drive, gram, 108 N. Main St., Sunderland, Massachu­ Smithville 37166; or telephone (615) 597-6801. setts 01375; or telephone (413) 665-0300. Texas, Fort Worth October27-29h. session with Michigan, Detroit October 16-18 Two tile-mak­ Robin Hopper. Fee: $45. Contact Carole Stand- ing workshops with David Ellison and Frank ridge, 941 Riverview Road, Millsap, T exas 76066; Giorgini. Location: Pewabic Pottery. Contact Tile telephone Carole (817) 682-4782 or Bettie (817) Heritage, Post Office Box 1850, Healdsburg, 249-3372. California 95448; or telephone (707) 431-8453, Texas, Houston November 3—4 Slide lecture and fax (707) 431-8455. demonstration with Yoshiro Ikeda. Fee: $30. Pre­ Nevada, Las Vegas October 28-29 Demonstra­ registration required. Contact Roy Hanscom, Art tion of glaze and slip techniques on single-fired Department, North Harris College, 2700 W. W. ware with Steven Hill. Fee: $70. Contact Tom or Thorne Dr., Houston 77073; or telephone (713) Elaine Coleman, Coleman Clay Studio, 6230 443-5609. Greyhound Lane, Suite E, Las Vegas 89122; or Texas, San Antonio October 14—15 “Small Func­ telephone (702) 451-1981. tional Objects/Big Dysfunctional World,” slide New Mexico, Santa Fe October 14—15 Slide lec­ lecture and hands-on workshop with George ture and demonstration with Paul Soldner. No­ Bowes. Contact the Southwest Craft Center, 300 vember 4-5 Slide lecture and demonstration with Augusta, San Antonio 78205; or telephone (210) Robert Turner. Contact Santa Fe Clay, 1615 224-1848. Paseo de Peralta, Santa Fe 87501; or telephone Vermont, Bristol September 8-11 “Experiencing (505) 984-1122. the Fire” with Robert Compton, firing pots using New York, New York October 14 “Japanese Pot­ five different methods and kilns (a salt; raku; tery Techniques” with YujiYasui. Fee: $75; mem­ sawdust; pit; and climbing, multichambered, wood bers, $50. October 21 “Sawdust Firing Work­ kiln). Intermediate. Fee: $430, includes materi­ shop” with Liz Surbeck Biddle. Fee: $80; mem­ als, firing and meals. Contact Robert Compton bers, $65. October 28 “Hands-on Glaze Work­ Pottery, RD 3, Box 3600, Bristol 05443; or tele­ shop” with Arthur Gerace. Fee: $80; members, phone (802) 453-3778. $65. September27(lectureonly), November 1 (glaz­ Vermont, Middlebury September 15—17 “Tile ing) and November 4 (firing) “Raku Workshop: Making” with Adam Zayas. Fee: $195, includes Handbuilding and Wheel Throwing” with Bobbie materials. Contact Mary Lou Willits, Vermont Hodges. Fee: $165; members, $145. Contact the State Craft Center Frog Hollow, 1 Mill Street, YWCA of the City of New York, 610 Lexington Middlebury 05753; or telephone (802) 388-3177. Avenue, New York 10022; for information, tele­ Virginia, Emory September 21 “Ben Owen: Ca­ phone (212) 735-9731; to register, telephone reer and Influence of a Southern Master Potter,” (212) 735-9722. symposium including keynote speech by Charles North Carolina, Brasstown September 3—9“Por­ G. Zug, chair of the Curriculum in Folklore celain: On the Wheel and Under the Brush” with program at the University of North Carolina, David Voorhees. Fee: $225. October 1-6“Porce­ Chapel Hill. Will also feature Ben Owen III, plus lain—The Aristocrat of Clays” with Gwen Heffner. a round-table discussion with Andrew Glasgow, Fee: $205. October 8—14 “New Techniques in assistant director, Blue Spiral Gallery, Asheville, Handbuilding” with Barbara Joiner. Fee: $225. North Carolina; Mrs. Ira Julian, collector; and Jill Contact John C. Campbell Folk School, Route 1, Severn, curator of the “New Ways for Old Jugs: Box 14A, Brasstown 28902; or telephone (800) Tradition and Innovation at the Jugtown Pottery” 365-5724. exhibition at the McKissick Museum of the Uni­ North Carolina, Durham October 6Slide lecture versity of South Carolina at Columbia. Contact with Paul Soldner. Fee: $6. Contact Durham Arts Gloria W. Surber, Public Relations Office, Emory Council, (919) 859-6847 or (919) 387-5750. &; Henry College, Emory 24327-0947; or tele­ North Carolina, Little Switzerland October 16— phone (540) 944-6130. Continued

86 CERAMICS MONTHLY September 1995 87 Calendar

Virginia, Front Royal September 29-October 1 “A Potter’s Weekend in the Blue Ridge,” featuring “Teapots” with Rick Berman, “Earthenware with Polychrome Slips” with Ron Myers, and “Forms” with Michael Simon. Fee: $175, includes lodging and meals. Contact the Clay Connection, Post Office Box 3214, Merrifield, Virginia 22116- 3214; or telephone (800) 718-7999.

International Events Canada, B.C., Vancouver September 30 Work­ shop on throwing and altering with Sarah Coote. Fee: Can$48.15 (approximately US$35). Con­ tact J. Krueger, Potters Guild of B.C., 1359 Cartwright Street, Vancouver V6H 3R9; or tele­ phone (604) 669-5645. Canada, Ontario, Don Mills October21 “Fusion: The Ontario Clay and Glass Association’s Eighth Annual Silent Auction.” Fee: before October 13, Can$10 (approximately US$7); at the door, Can$15 (approximately US$11). Location: Civic Garden Centre, Edwards Gardens, 777 Lawrence Avenue, East. For ticket information, contact Fusion, (416) 504-9899, or fax (416) 504-9905. Canada, Ontario, Toronto through September 30 “Signs of Our Times,” exhibition of ceramics by Laima Bruveris, Ann Elliott, Judith Graham, Attila Keszei, Noella Kyser, Irit Lepkin and Victoria MacMillan; at John B. Aird Gallery, 900 Bay St. September 7-30Exhibition of ceramics by Leopold L. Foulem; at Prime Gallery, 52 McCaul Street. September 27—January 28, 1996 “Fakes: Decep­ tion in European Ceramics”; at George R. Gardiner Museum of Ceramic Art, 100 Queen’s Park. Denmark, Copenhagen through September 25 Exhibition of ceramics by Jill Crowley, Sten Lykke Madsen and Sys Thomsen. September 29-October 28 Exhibition of ceramics by Richard Kjaergaard and his students Gunhild Aaberg, Beate Andersen, Bente Hansen, Torben Jorgensen, Niels Laursen, ErikMagnussen, Malene Miillertz, Ursula Munch Petersen, Jane Reumert, Alev Siesbye and Per Weiss; at Galleri Norby, Vestergade 8. England, Liverpool through September 24 “The Breakfast, Lunch and Dinner Party,” exhibition of tableware by Morgen Hall; at Bluecoat Display Centre. England, London through September 17 “The Genius of Wedgwood”; at the Victoria and Albert Museum. September 7-20 Alan Thornhill, figurative terra cotta and bronze; at the Orangery, Holland Park, off Kensington High Street. September 13-October 6 “Lucie Rie: A Tribute from Her Friends.” October 12—November 10 Ex­ hibition of works by Danish potters; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. September 16—October 1 Karen Bunting, “Off the Wheel,” stoneware; at the Ice House, Holland Park, off Kensington High Street. September 19-October 22 Exhibition of ceramics by Gordon Baldwin; at the Crafts Council Shop, Victoria and Albert Museum, South Kensington. England, Oxford September 25-0ctober 25Two- person exhibition with ceramics by John Maltby. October 30-November 2J?“Body Language,” exhi­ bition of ceramics by Tony Bennett, Sandy Brown, Geoffrey Fuller, Mo Jupp and Linda Gunn Russell; at Oxford Gallery, 23 High Street. England, Stoke-on-Trent through October 1 “Josiah Wedgwood: The Man and His Mark,” exhibition ofworks (plus tools, documents, paint-

88 CERAMICS MONTHLY September 1995 89 Calendar

ings and prints) by Wedgwood, as well as by William Greatbatch, James Neale, Josiah Spode, John Turner, Ralph Wedgwood, Thomas Whiel- don and Ralph Wood; at the City Museum and Art Gallery, Hanley. France, Mulhouse through September 30 Jacques Kaufmann, “No Where, Now Here”; at Maison de la Ceramique, 25, rue Josue Hofer. France, Vallauris through September 70“Vallauris au Temps de Picasso: Ceramiques de Peintres et de Sculpteurs”; at Musee de la Ville de Vallauris, Place de la Liberation. Germany, Dusseldorf October 1-January 14,1996 “Meissner Porzellan des 18 Jahrhunderts”; at Hetjens-Museum Dusseldorf, Schulstrasse 4. Germany, Koblenz October 22-November 12 “Cans—But with Lids”; at Galerie Handwerks- kammer Koblenz, Rizzastrasse 24-26. Germany, Munchen through September 12 “Ves­ sels from Another World,” exhibition of ceramics by Elisabeth Fritsch; at Bayerischer Kunstgewerbe- Verein E.V., Pacellistrasse 6—8. Greece, Evia October 8-18 Wood-, raku- and pit- firing workshop with Alan Bain. All skill levels. Fee: £725 (approximately US$1160), includes materials, firing, lodging, meals and field trips. Contact Schoniad Bain, 340 04 Procopi, Evia; or telephone (22) 74 12 98. Italy, Faenza September 16-October 22 “49th International Ceramic Art Competition”; at Palazzo delle Esposizioni, Corso Mazzini, 92. Japan, Tajimi City October28-November5“The Fourth International Ceramics Competition”; at Tajimi Special Exhibition Hall (Tajimi City Gym­ nasium), 2-150 Obata-cho. Mexico, Oaxaca region October 26-November 3 “Ceramics: From the Zapotec Tradition and Be­ yond,” workshop with Bob Green. For further information, contact Horizons, 108-P North Main Street, Sunderland, Massachusetts 01375; or tele­ phone (413) 665-0300. Netherlands, Delft through October 7Exhibition of porcelain by Hein Severijns. October 14-No- ^em^er25Exhibition of porcelain by Frans Ottink; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer September lO-October 6 Exhibition of salt-glazed ceramics by Sue Atkins and Jane Hamlyn. October 8—November 3 Exhibi­ tion of thrown and sculptured earthenware by Gerard Lachens; at Loes and Reinier International Ceramics, Korte Assenstraat 15. Netherlands, Oosterwolde September 7 7-75 “Re­ duction Stoneware and Porcelain”; September 18- 22 “Sculpting Clay” with Kees Hoogendam. All skill levels. Fee: 475fl (approximately US$290), includes materials, firing, lodging and meals. Contact Kees Hoogendam, De Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or telephone (51) 608-8238. Switzerland, Basel September 16-24 “TEFAF Basel,” art and antiques fair; at Building 4, Messe Basel, Messeplatz. Switzerland, Geneva through September 24 “Ot­ toman Art from the Khalili Collection”; at Musee Rath, Place Neuve. Switzerland, Nyon through October29^Triennale de la Porcelaine”; at the History and Porcelain Museum in the Castle. Switzerland, Vallorbe September 21-October 22 Exhibition of ceramics by Vincent Potier. October 28-November 26 Exhibition of ceramics by Micotte Pernot; at Galeries Artcadache, Rue des Grandes-Forges 5.

90 CERAMICS MONTHLY September 1995 91 tium also dissociates earlier in the firing than Questions calcium carbonate (whiting) or barium carbon­ Answered by the CM Technical Staff ate, and causes less pinholing than zinc, whiting or barium carbonate in bodies and glazes. Past objections to the use of strontium carbonate were mainly due to the cost. With Q I’ve just started to become interested in increased interest, however, availability has in­ making my own glazes. I’ve been carving porce­ creased and cost has come down some. lain and would like to have a celadon that can Linda Arbuckle be fired in oxidation. Can you provide any University of Florida recipes?—G. G. Gainesville, Florida A true celadon is a feldspathic glaze col­ ored with iron oxide and fired in reduction; Q I am having a problem trying to work with however, similar color responses can be glass and glazes. The reason for my special achieved in oxidation by replacing the iron interest in glass is a midden of all kinds of with copper carbonate. Several recipes for artifacts. We bought a home that hadpreviously clear and celadon glazes were given on page been an Episcopal rectory. Apparently, the rec­ 42 of the October 1989 CM. You may also tor had stomach trouble, attested to by the many want to experiment with the following recipe, blue Milk-of-Magnesia bottles. Tve also found which yields a gray green in oxidation: some crystal, brown and green beer bottles, plus a few red glass candleholders. Fake Celadon Glaze Tm looking for a Cone 4—6glaze recipe that (Cone 9) is especially sticky, one that can hold the glass Tin Oxide...... 4.08 % bits (I smash the bottles into pieces of ½ inch or Whiting...... 22.45 less) through the firing. Tve tried mixing the Zinc Oxide...... 8.16 pieces into the glaze—not a really good effect. G-200 Feldspar...... 32.66 What Td like to be able to do is press the pieces Kaolin...... 6.12 into a glaze before it has completely dried so the Flint...... 26.53 glass is on top. I am at heart an environmental­ 100.00% ist and wish others would join me to help clear For light gray green, add 0.41 % copper carbon­the land of discarded glass. Can you recommend ate and 0.25% black nickel oxide. Darker a good gluey glaze base for us?—K. S. celadonlike results can be achieved by adding Glazes with Gerstley borate usually dry 1.22% copper carbonate and 0.82% black nickelslowly, as do those with a high clay content, oxide. Ball-mill for uniform color. such as Albany slip glazes. They should be able Margaret Fetzer to hold onto glass pieces after they’ve been Ohio State University (retired) pushed in. Gum arabic, CMC gum or even Dublin, Ohio white glue added to the glaze might help. You could also try binding the glass to the glaze with Q I have recently set up a studio after a ten-year a mixture of Gerstley borate, glue and water. break and am concerned aboutpossible changes in Another recycling possibility is using recipes information since I was last involved in pottery. I incorporating cullet. While in high school, I have a barium glaze that I fire in a propane kiln: built a wood-burning raku kiln in my backyard. Limited funds led me to glazes made from Barium Glaze ground beer bottles, clay, borax (Twenty Mule (Cone 9) Tearn from the laundry room) and rust. Ground Barium Carbonate...... 20.0% glass (powdered cullet) is readily available from Dolomite...... 10.0 suppliers, but you could make your own with a Nepheline Syenite...... 65.0 hammermill and ball mill. I used to put glass in Edgar Plastic Kaolin...... 5.0 an old cut-off, blue-jeans leg and beat it with a 100.0% hammer. Add: Tin Oxide...... 2.5 % Be wary of using old glass on the interior of Copper Carbonate...... 1.0% functional pots, though, as it is likely to contain Bentonite...... 2.0% lead. Also, be careful during any smashing or I realize that barium carbonate is toxic in the raw grinding operation; wear a respirator to prevent state and am careful (using gloves and mask), but inhaling particles of ground glass and wear good is it okay to use this recipe on coffee mugs?—E.H. eye protection. Because of the concern about barium toxic­ Louis Katz ity in the raw state and the potential for leaching Texas A&M University from some glazes in use, it has been recom­ Corpus Christi mended that 0.75 part strontium carbonate be substituted for each 1.0 part barium carbonate Subscribers’ questions are welcome and those of gen­ in glazes used on food and beverage containers. eral interest will be answered in this column. Due to Strontium is not toxic in liquid glazes or in volume, letters may not be answered personally. Ad­ the fired glaze, and color and surface effects aredress the Technical Staff, Ceramics Monthly, Post similar to those produced by barium. Stron­ Office Box 12788, Columbus, Ohio 43212-0788.

92 CERAMICS MONTHLY September 1995 93 94 CERAMICS MONTHLY The Lowly Bean Pot by Delia Robinson

Traditional bean pot, wheel-thrown stoneware with saturated- iron glaze, by Harley Strader, Peacham, Vermont.

By necessity, the early settlers to the The dried bean is tough and requires Even when cooking above ground, the new world quickly adapted to the foods both soaking and prolonged cooking. prototype open bean pot had some of the indigenous inhabitants. Beans, In Colonial times, a deep earthenware drawbacks. An absent-minded cook corn and squash, the Indian staples, all pot was placed in the hot coals for the could easily let the beans dry out. There­ became “typical” New England foods, many hours required to make the beans fore, the bean pots first improvement but for the potter, beans deserve special tender. An alternative method was the was a fitted lid. admiration. Beans have carried the ce­ “bean hole” dug in the ground, lined Strict religious practices in old New ramic bean pot with them from the with rocks and heated by a fire. A pot­ England did a lot to advance the bean open hearth into the modern kitchen. tery container of beans was lowered into pots popularity. No work, including These simple clay pots have been a stan­ this primitive Crockpot, covered, and cooking, was allowed on the Sabbath. dard production item of potters since left to bake. By modern standards, this In preparation, the provident house­ before the Revolutionary War and are sounds a little gritty, especially as the keeper would load several bean pots still in demand today. early bean pots had only makeshift lids. into the hot coals or a communal oven.

September 1995 95 Glazed stoneware bean pots made in the style of Japanese water jars, by Roger Roberge, Groton, Vermont.

At sundown Saturday, all work was to the firing kiln. The heat radiating plain, unornamented and unsigned— cease, but a hot bean-pot dinner was through the hardbrick used in early kiln hard-working utility ware. waiting, as well as a warm bean break­ construction must have been intense. Though the bean has traveled the fast and a cold bean lunch on Sunday. Around 1840, in reaction to new world over and come home with some This custom earned Boston the nick­ methods of food preparation inspired new ideas, not so the pot in which it is name of Bean town, where every house­ by iron cookstoves, potters made the traditionally cooked. Beans have become hold had the “best” recipe for Boston bean pot squatter in shape. They also ethnic favorites almost everywhere and baked beans, and each owned the “best” added one small handle so that the pot are prepared in a promiscuous variety bean pot. There were those who swore could be pushed out of the way to the of vessels, but nothing equals the New by the open bean pot, and others by the back of the oven for hours of baking. At England bean pot. Connoisseurs main­ “closed” or “lidded” variety, so potters dinnertime, the cook would snag the tain that the 1840s design—a stout produced both. little handle with the crook of a poker wheel-thrown vessel with a narrow Potters not only made the pots, but and pull the pot forward. mouth and a lid, with or without a some even advertised their willingness Given the 300-year tradition, enor­ handle or two—has not been surpassed. to cook the beans as well. This service mous numbers of bean pots have been It is said to keep the flavor and moisture was offered in exchange for only “the produced in both earthenware and in, and to allow the beans to cook with­ smallest favors” (the Connecticut Nor­ stoneware in New England potteries. out disintegrating. It is also an attractive wich Packet, 1788). What those small Except for tiny copies made for childrens serving dish and is suitable for storing favors might have been, as well as the toys or as advertising gimmicks, they leftovers in the refrigerator. Without a method of cooking, remains a mystery. are the soul of functional pottery. Sur­ doubt, the lowly bean pot deserves a Perhaps they set the bean pots on top of viving examples are almost invariably place on every potters list of wares. A

96 CERAMICS MONTHLY Cone 5 White Glazes by Dwain Naragon

The following white glazes are tried-and-true recipes for Cone 5 oxidation. They have been tested on porcelain, red stoneware and buff stoneware bodies. All work well on porcelain; most work well on stoneware. Color response is good for all, though some are bright while others are more subdued. Most of these recipes were developed in my studio; the rest are altered versions of base glazes from other sources.

G184 Base (Conrad) Altered Glaze Naragon White Glaze (Cone 5) (Cone 5) Colemanite...... 13.54 % Colemanite...... 25.74% Dolomite...... 6.25 Dolomite...... 3.96 Whiting...... 8.33 Whiting...... 5.94 Kona F-4 Feldspar ...... 47.92 Kona F-4 Feldspar ...... 31.69 Kaolin...... 3.13 Kaolin ...... 7.92 Flint...... 20.83 Flint...... 24.75 100.00% 100.00% For gloss white, add 10.42% Zircopax. Add: Zircopax...... 11.88% For matt white, add 2.08% magnesium carbonate and 10.42% Zircopax. For N2/NT41/HGB Waxy White Glaze antique matt white, add 2.08% magne­ (Cone 5) sium carbonate, 10.42% Zircopax and Colemanite...... 5.49% 1.56% Barnard Slip. Dolomite...... 8.79 Talc...... 3.30 Spodumene White Glaze Wollastonite...... 15.39 (Cone 5) Kona F-4 Feldspar ...... 41.76 Colemanite...... 12.73% Ball Clay...... 7.69 Dolomite...... 21.82 Kaolin...... 7.69 Spodumene...... 27.27 Flint...... 9.89 Potash Feldspar...... 19.09 100.00% Kaolin...... 8.18 Add: Zinc Oxide...... 0.55% Flint...... 10.91 Zircopax...... 10.99% 100.00% Add: Zircopax...... 4.45% NT33 White Glaze For a matt glaze, decrease the amount (Cone 5) of colemanite. Barium Carbonate...... 9.68% Dolomite...... 4.30 N2 Satin White Glaze Whiting...... 17.20 (Cone 5) Dolomite...... 3.19% Potash Feldspar...... 35.48 Whiting...... 4.26 Ball Clay...... 11.83 Wollastonite...... 19.15 Flint...... 21.51 Kona F-4 Feldspar ...... 44.68 100.00% Ball Clay...... 14.89 Add: Zinc Oxide...... 7.53% Kaolin...... 3.19 Zircopax...... 12.90% Flint...... 10.64 The author Dwain Naragon maintains 100.00% a production pottery studio in Issaquah, Add: Zircopax...... 10.64% Washington.

September 1995 97 98 CERAMICS MONTHLY September 1995 99 100 CERAMICS MONTHLY September 1995 101 Comment

A View from Abroad by Linda Kiemi Sawyer

After years of studying pottery, working so many ingenious ideas and are eager to with other potters and working as an try them out. Few established potters in independent potter in Japan, I had the Japan would even dare to think of, let chance to go back to the United States, alone try, the innovations freely suggested my native country, and study the art in the U.S. (more often referred to as “craft” in the Naturally, a young potter just starting Americas) as it exists there. What little I out needs to experiment with various ideas had seen of U.S. pottery from afar had to develop his or her (usually, it is ‘his’ as always seemed cold and uninteresting most professional potters are men in Ja­ compared to the warm and alive feeling pan) distinct style. But even these initial of the ever-so-pure and simple Japanese explorations are bound by a several-hun- ceramics. dred-year tradition; and once a reputa­ Admittedly, in general, I am very par­ tion for a particular style has been tial to Japanese daywork, but as I looked established, the potter is less likely to be at the ceramics shown in magazines and interested in experimenting. The work in books sent from the U.S., I couldn’t help later years tends to become stagnant. but wonder, “Why are pots so different When everyone is saying, “Oh, so-and- over there?” so always draws those beautiful apples on The photos made the pieces look cold his pieces,” how can he suddenly start and uninviting. “That must be because drawing oranges, let alone come up with they’re just pic­ a completely new tures, I thought. What is lacking in 99.9% of style? So, at the “They’ll be better outset, while the when I really see the finished pieces in America American potter them.” Now I have is the feeling of care. has a vision of to say that it is, un­ something special, fortunately, just the the Japanese is tied opposite. To me, American pottery actu­ to certain standards, in fear of drastic ally looks better in pictures. experimentation. Perhaps at the root of it all is the basic What is lacking in 99.9% of the fin­ fact that pottery just isn’t held so close to ished pieces in America is the feeling of the hearts of most Americans. At my care. After a few weeks of looking at pot­ friend’s house in Japan, I am offered a tery on the West Coast and seeing noth­ drink in a smallish, delicate, stoneware or ing of interest (nothing that was any bit porcelain cup. In the U.S., I often re­ more than technically sound), I came ceived a drink in a huge, unattractive, across a small vase in Southern Califor­ plastic cup that looked like it was meant nia. I was filled with joy—at last a piece for a child. From which cup does the that the creator put some care into! But beverage taste better? Surely the answer is when I turned the piece over to see the obvious to all of us who make pottery, potter’s mark, I found it had been made even if the average American might say by a Japanese potter. the taste is the same. As we all know, pottery is made up of My time studying pottery in the U.S. natural elements: earth, water, fire. The showed me that beyond this fundamen­ potter needs to remain respectful of these tal difference in appreciation lay many elements throughout the process. Clay more variances in the creating process, should be prepared (dug, dried, sieved, which negates a more complete and satis­ mixed and wedged) in tune with nature, fying pot. taking into account natural changes due If looking only at the very beginning to season and weather. You don’t put all of the process, one might be surprised to your reclaimed clay out to dry on a day find that the finished pieces come out when the air is full of moisture; and on a better in Japan. One way American pot­ dry day, you keep it out of direct sunlight ters are a big step ahead is that they have or wind. And you certainly don’t try to

102 CERAMICS MONTHLY September 1995 103 Comment sieved through at least an 80-mesh screen wound that is deeper than the surface. (depending on the ingredients), unless Those pinholes for example—in the U.S., the artist is looking for a special effect of I was told over and over again that the speed up drying using unnatural meth­ some sort. Some potters in the United way to get rid of them is to change the ods, such as sticking it in an open kiln on States don’t sieve because they are lazy. firing so the glaze won’t be bubbling and low or, much to my surprise, putting it This type of potter, much to my initial boiling after it reaches its melting point. under a hair dryer. horror, might even use a kitchen blender This might work to smooth the holes on Good pottery cannot result from clay or electric mixer to prepare glazes. It is the surface, but they’re still there. Whether that is not prepared in rhythm with na­ common knowledge in Japan that glazes it can be seen or not, if a flaw is there, it’s ture. Not only will the naturally prepared should be mixed slowly. This prevents air there, and it takes away from the piece. clay be more pliable, but the finished pot bubbles in the glaze, and makes for an The United States is a land of as-yet will have more presence. This is common even and complete mix of chemicals. The unfulfilled, but immense, pottery poten­ sense in Japan. If you don’t believe it, do a glaze will also stick to the piece more tial. Right now, a lot of creativity is going comparison test. Care at this early stage is evenly if left to soak in water a day, then to waste. You in the West are so lucky not essential. to be restricted by Similarly, it is American potters spend a lot of time considering problems and coming up the chains of tradi­ not natural to use tion. But you heating devices to with some unique solutions, but most of the time they’re just putting a should take more speed up the dry­ bandage over a wound that is deeper than the surface. care realizing ideas. ing of pots that So many Japa­ are waiting to be nese have asked me, trimmed or fired. (Here again, I have remixed. In the U.S., many people told “Is there pottery in your country?” Well, witnessed the hair-dryer technique!) We me various methods of avoiding com­ my answer is “Yes, but it’s just not the all feel time pressures now and again, but mon glaze problems, such as pinholes, same there.” I hope that one day soon I the rule still holds—respect the natural but the simplest way is to make sure that can instead answer with a positive “yes,” process. Again, care is letting your pots the glaze is mixed with care. knowing that the creativity potential in dry for trimming. Remember, this is the American potters spend a lot of time the United States is being fulfilled. stage that will determine the final shape considering problems and coming up with and weight of the piece. some unique solutions, but most of the The author Linda Kiemi Sauryer main­ Glazes, including tests, need to be time they’re just putting a bandage over a tains a studio in Hioki-gun, Japan.

Index to Advertisers

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104 CERAMICS MONTHLY