William C. Hunt ...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher ... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI 6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man­ uscript is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1983 Professional Publications, Inc. All rights reserved November 1983 3 4 Ceramics Monthly Ceramics Monthly Volume 31, Number 9 November 1983

Feature Articles Rhode Island Influences...... 29 Gordon Baldwin ...... 30 Changes by Mayer Shacter...... 32 Henry Pim...... 40 Jill Bonovitz by Susan Beckman...... 41 Traditional Potters of Icheon, Korea by Mikhail Zakin...... 43 Clay Art in Industry by Deborah Horrell...... 48 Nader Khalili: Fired Houses by Jim Danisch...... 50 Salt and Form by Sarah Walton...... 55 Early Thai Civilization...... 60

Departments Letters...... 7 Suggestions...... 11 Where to Show...... 13 Questions...... 15 Itinerary...... 17 Comment: Aesthetic Vocabulary by Brian Moeran...... 21 News & Retrospect...... 65 New Books...... 81 Classified Advertising...... 86 Index to Advertisers 88 The Cover British potter Sarah Walton at her pottery in Sel- meston, Sussex. Her work is lightly salt glazed so that the form is dominant. “My chosen language is the three dimensions. My grammar and syntax are vol­ ume, texture, weight, balance, scale and line.” For additional insight to her approach, see “Salt and Form” beginning on page 55. Photo: Duncan McNeil. November 1983 5 6 Ceramics Monthly Letters September Issue duction throwing, I’ll be in more pain, some­ the hands-back position other than centering The September issue was a wonderful way times intense and local, but usually just very or wedging clay, when there isn’t much choice. to come out of the summer doldrums. sore like a sprained wrist. I’ve found taking vitamin B-6 and B-com- Special thanks to Albert Green for his no- I started going to a chiropractor weekly to plex the most helpful but a few days without nonsense, practical approach to glaze for­ have my hands, arms and back aligned, but two B-6 a day and I’m in pain again. I feel mulation. I shall pass it on to my students. it didn’t help a lot. It was recommended that there must be some natural way, be it diet, The photo color coverage from Katie Ka­ I do exercises, so I keep a spring hand ex­ yoga or wrist braces at night to cure this zan (“Colored Clay Invitational”) to Kath­ erciser in my car and if I remember, give common potter’s problem—something short mandu (“Potters of Nepal”) was superb. myself a little workout at red lights. I also of going under a surgeon’s blade. John Kudlacek was told to do push-ups with my fists closed. I’d like to hear from those who have had Emporia, Kans. In general I try not to strain my wrists in Continued There we go again: Is Linda Birnbaum’s letter (September) a critique for critique’s sake, or should we become green with envy because tax dollars don’t flow to the middle- class potter? If they can’t perceive ideas, why not pick up on the charming one by “Tamba Joe” and put Rauschenberg’s giant tiles into orbit for all the little green visitors from space to see. That at least would be more construc­ tive than trying to downgrade a great artist who taught us to think before we speak. Anne lies Penz West Vancouver, B.C. The September Suggestions were truly what I have been suggesting to myself. All those years pushing all that clay around, I had been doing things all wrong. I should have worn those plastic gloves. Squeeze please. I should have built my slab roller out of plas­ tic and plaster to achieve that true flat “slap- the-cement” surface, and why didn’t I make all my own plastic tools? Poly-Ribs for sale? I didn’t save my shards; they could have be­ come my future sculpture. Five-minute epoxy, too sloppy. And I always forgot to spray my kiln door with Rust-oleum. Guess I did things the hard way. Nancy Pene Upland, Calif.

Carpal Tunnel Syndrome Not having been afflicted with sore wrists or pains in the hands, I never took much notice of past letters about it in this column, but since I too have developed the same prob­ lem it’s now come to the forefront of my awareness. I seem to recall letters both pro and con about having an operation to relieve the problem. Talking to different potters at fairs and shows, everyone seems to know someone who also has it. So it might just be more common than most people think. My particular version started about nine months ago with several months of waking up in the middle of the night with my hand sound asleep; so much so that it seemed it would just fall off and remain limp forever. Of course once I’d flex it, the numb hand would come around and I’d forget it. Then after maybe four or five months of this I developed a pain in the back of the hand and a general soreness in the wrist and lower arm. Sometimes, especially after a lot of pro­ November 1983 1 8 Ceramics Monthly Letters we had great teachers to open doors—Glen a magazine or the style of my pottery will Lukens, Vivika Heino, Laura Andreson, surely cause either to begin its own downfall. “the operation” and have pro and con .views Richard Petterson, Daniel Rhodes. Then the The funk-functional debate is necessary. While about it. Did it help or not, how long was it Natzlers coming from Germany lifted tra­ I prefer one over the other, I still find racers before you could throw again and (years lat­ ditional pottery to aesthetic heights, while of each. er) are you still free of pain? And especially Peter Voulkos revolutionized a new approach Chic Lotz I’d like suggestions from those who have dis­ to form. Marietta, Ga. covered other, more natural solutions. After all, potters are the privileged of the Rick Urban earth, because few occupations are as en­ The ratio of arty to functional information Sylva, N.C. dearing as clay. Let us not, therefore, go in and photos in CM is approximately 2:1 (as circles about function or funk. It is good to measured by column inches). The ratio of On Conformity and Limitation respect any colleague whose approach is dif­ my income from arty/functional pieces is 1:95 There are many ways of approaching clay. ferent from ours. That we may not like what (as counted from 1982 receipts). If we look at our extraordinary world, we he does could be our own limitation. Karin Kuhl realize that all this beauty and technology Beatrice Wood Winkler, Manitoba, Canada have been created by man, each of us adding Ojai, Calif. something to the other. Civilization thus has Maybe CM doesn’t have to choose be­ come into being through these different con­ Like Opening a Kiln tween aesthetics and functional pottery. Give tributions from individuals. Therefore we do Anxiously plucking myCeramics Monthly us more pictures of both. We need infor­ not want to hold a craft world to conformity. from the mailbox is quite like the moment mation on glazes and equipment, but most Imagination cannot be compressed with rules, of opening the door of the kiln. The cover is of us can and do make our own criticism of nor life held still in the hand. often the indicator of what lies inside, much pottery. Please put in more photos (a picture Ceramics Monthly is doing an important as the first layer of pots that come into my is worth a thousand words)—especially for job showing diversity of talents. There is no view behind the kiln door. Sometimes all of a busy potter. such thing as one taste; some of us do pottery the contents are a delight, often I find a few Marie Dunn because we need to earn money, others are “racers” buried within. Much to my dismay, Biscoe, N.C. interested in recognition, and some just like sometimes CM yields some “land-fill” and to have their hands in clay—probably a re­ once or twice a year I discover an entire load Share your thoughts with other readers. All action to a mechanized life. of “under-or-overfired.” As long as Ceramics letters must be signed, but names will be See how much has been accomplished in Monthly and I both strive for more of the withheld on request. Address: The Editor; the last 50 years when no kilns were avail­ racers and less of the other, I will be happy. Ceramics Monthly, Box 12448, Columbus, able nor supply houses handy. Fortunately Striving is the key to growth. Stagnation of Ohio 43212.

November 1983 9 10 Ceramics Monthly Suggestions from our readers

Cleanup Tool Loofah sponges cut into sections 4 to 5 inches thick are ideal for cleanup jobs around the studio. The loofah can fit into tight places around the wheel head, pug mill, corners of buckets, etc. much better than a scrub brush and works better than a rag. It also won’t scratch surfaces and rinses clean from clay or glazes. —Aleta L. Boyce, Salt Lake City

Kick Wheel Care An occasional application of belt dressing (available at hardware stores) to the outside of the fly wheel of a motor-assisted kickwheel will extend the life of the rubber drive wheel and provide better traction when wet or dusty. —Lois Haatz, Normal, III.

Easily Cleaned Glaze Tools To facilitate cleaning glazing utensils, coat the inside of them with wax the next time you are waxing pot bottoms. The wax on the inside of the container will resist glaze and every last drop will roll off. —Terry Hansen, Maple Ridge, B. C.

Reusable Stencils Before making patterns or stencils, cover the sheets to be cut with clear contact adhesive paper and they will outlive their use. —Cheryl Rimmer, Mount Lawley, Western Australia

Bottle Dryer To dry narrow-necked forms more evenly, cut four long windows in large, plastic, cottage cheese or ice cream containers. Place the

pots upside down into these to dry; air can circulate inside without rims drying too quickly. —Dorothy Hillis, Madras, Ore.

Saving a Sieve When bowl-shaped screens wear loose from the plastic they are centered into, fill the gap from both sides with fast-setting clear epoxy to resecure the screen to the bowl. The epoxy will also patch worn spots or holes in the center of the mesh. —Jerry Caplan, Pittsburgh

Slip Brush Those cheap, flat (gray) sponge brushes from the paint store are excellent for laying on smooth slip and underglaze areas. You can cut designs into them and print with them, too. —Harriet Cohen, Amherst, Mass.

Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items. November 1983 11 12 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs,December 2 entry deadline Center’s 8th Annual Fall Art and Craft Show” festivals and sales at least four months before the Pocatello, Idaho “Big Sky Biennial Ill/Crafts” (November 27) is juried from 3 slides or photos. entry deadline to: The Editor, Ceramics Monthly, (March 2-30, 1984) is open to residents of Alaska, Fee: $20 for a 12x 12-foot space. For further in­ Box 12448, Columbus, Ohio 43212; or call: (614) Idaho, Montana, Nevada, Oregon, Utah, Wash­ formation contact: George King, Beach Art Cen­ 488-8236. Add one month for listings in July andington and Wyoming. Juried from slides. Awards. ter, 1515 Bay Palm Blvd., Indian Rocks Beach two months for those in August. Fee: $5 per entry, up to 4 entries. Contact: Big 33535; or call: (813) 596-4331. Sky Biennial Ill/Crafts, Department of Art, Box November 25 entry deadline 8004, Idaho State University, Pocatello 83209; or Demopolis, Alabama “Christmas on the River International Exhibitions call: (208) 236-2361 or 236-3905. Fair” (December 3) is juried from 3 slides or pho­ November 17 entry deadline December 30 entry deadline tos, 1 of display. Fee: $30 for a 10x12 -foot space. Mount Pleasant, Michigan “Small Sculpture Boston, Massachusetts “New England Re­ Contact: Mary Estes, 715 Flamingo St., Demop­ Exhibition” (February 21-March 9, 1984, then gional Clay Juried Exhibition” (April 3-May 18, olis 36732; or call: (205) 289-0539. one year tour) is juried from works. Entry should 1984) is open to residents of Connecticut, Maine, Boca Raton, Florida “Fiesta of Arts and Crafts” not exceed 40 inches in any direction or weigh Massachusetts, New Hampshire, Rhode Island and (February 4-5, 1984) is juried from 5 slides, 1 of more than 60 pounds. SI200 in awards. Fee: $10 Vermont. Juried from 6 slides. Send a self-ad­ booth. Awards. Contact: Linda Sivek, Boca Raton for a maximum of 2 works. Juror: L. Kipp. Con­ dressed, stamped (37^) envelope to: BVAU, New Community Center, 201 W. Palmetto Park Rd., tact: Director, University Art Gallery, Central England Regional Clay, 77 N. Washington St., Boca Raton 33432; or call: (305) 393-7806, or Michigan University, Mount Pleasant 48859; or Boston 02114; or call: (617) 227-3076. 393-7807. call: (517) 774-3800. January 6, 1984 entry deadline December 1 entry deadline January 10, 1984 entry deadline San Angelo, Texas “Ceramic Competition ’84” Miami Beach, Florida “Miami Beach 10th Vallauris, France Ninth “Biennale Interna­ (February 13-March 16, 1984) is open to resi­ Annual Outdoor Festival of the Arts” (February tionale. de Ceramique d’Art de Vallauris” (July dents of Arkansas, Kansas, Louisiana, New Mex­ 11-12, 1984) is juried from 3 slides. $6000 in 6-September 15, 1984) is juried from 5x7 color ico, Texas and Oklahoma. Juried from slides. Fee: awards. Fee: $125 for a 1 Ox 10-foot space. Con­ photographs, up to 2 entries. Awards. Contact: $10 for up to 3 works. Contact: Martha Witts- tact: Pearl Kipnis, Miami Beach Fine Arts Board, Comite de la Biennale, Hotel de Ville, 06220 Val­ truck, Art and Music Department, Angelo State City of Miami Beach, Box “O”, Miami Beach lauris; or call: 64-24-24. University, San Angelo 76909; or call: (915) 942- 33119; or call: (305) 673-7733. 2223. Houston, Texas “The Houston Festival” January 8, 1984 entry deadline (March 24-April 1, 1984) is juried from up to 5 National Exhibitions Detroit, Michigan “Michigan Ceramics ’84” slides or work. Fee: $15. Contact: Barbara Me- November 30 entry deadline (February 10-28, 1984) is open to former and tyko, Crafts & Arts Exposition Committee, The Saint Louis, Missouri “Tea Bowl” (January current Michigan Potters Association members, Houston Festival, 1950 W. Gray, Suite 2, Houston 1-31, 1984) is juried from 2 to 8 slides. Contact: and residents of Michigan and Windsor, Ontario, 77019; or call: (713) 521-9329. Michael Holohan, Craft Alliance, 6640 Delmar Canada. Juried from 3 works. Juror: Anne Chris­ December 16 entry deadline Blvd., or call: (314) 725-1177. tenson. Fee: $10 for members, $20 for nonmem­ Milwaukee, Wisconsin “Mayfair Art Fair” January 5, 1984 entry deadline bers. For further information contact: Michigan (January 14-15, 1984) is juried from slides. Fee: Rochester, New York “Introspectives” (March Ceramics ’84, 4241 Crestline Dr., Ann Arbor, $50. For further information contact: Cathy Brown, 17-April 28, 1984) is open to women artists. Ju­ Michigan 48103. 2500 N. Mayfair Rd., Milwaukee 53226; or call: ried from slides. SI500 in awards. Send self-ad­ January 18, 1984 entry deadline (414) 453-6026. dressed, stamped envelope to: Introspectives, Pyr­ Belleair, Florida “Ceramics Southeast” (March January 7, 1984 entry deadline amid Arts Center, 163 Saint Paul St., Rochester 23-April 22, 1984) is open to residents of Ala­ West Springfield, Massachusetts “ACC Craft- 14604; or call: (716) 232-1376. bama, Florida, Georgia, Kentucky, Louisiana, fair West Springfield,” formerly “Rhinebeck” (June February 5, 1984 entry deadline Mississippi, North Carolina, South Carolina, 19-24, 1984) is juried from 5 slides. Entry fee: Murfreesboro, Tennessee “Currents ’84” bien­ Tennessee and Virginia. Juried from slides. Fee: $20. Booth fees: $300-$650. Contact: American nial crafts competition (March 5-April 6, 1984) $12 for 2 entries. $2000 in awards. Contact: Ce­ Craft Enterprises, Box 10, New Paltz, New York is juried from slides of up to 3 works. Fee: SI0. ramics Southeast, Florida Gulf Coast Art Center, 12561; or call: (914) 255-0039.^ Contact: “Currents ’84,” Art Department, Middle 222 Ponce de Leon Blvd., Belleair 33516; or call: January 13, 1984 entry deadline Tennessee State University, Box 25, Murfreesboro (813) 584-8634. New York, New York “WBAI Spring Crafts 37132; or call: (615) 898-2455. Fair” (May 18-20 and June 1-3, 1984) is juried February 14, 1984 entry deadline from 5 slides. Entry fee: $10. Booth fee: $275. Send Highland Park, Illinois “The Cup Invitation­ Fairs, Festivals and Sales self-addressed, stamped envelope to: Matthew Al- al” (March 31-May 2, 1984) is juried from 3 slides November 10 entry deadline perin, WBAI Crafts Fair, Box 90, Warwick, New and resume. Send self-addressed, stamped enve­ Asheville, North Carolina “High Country York 10990; or call: (212) 279-0707. lope to: Martha Schneider Gallery, 124 S. Deere Christmas Art and Craft Show” (November 25-27) January 15, 1984 entry deadline Park Dr., Highland Park 60035; or call: (312) is juried from 3 slides, photos or work. Fee: $85 Rhinebeck, New York “Rhinebeck Craft Fair” 433-4420. for a lOx 12-foot space. Send self-addressed, (June 18-24, 1984) is juried from 5 slides. Entry stamped envelope to: Betty Kdan, High Country fee: $5. Booth fee: $250 for a 1 Ox 10-foot space. Crafters, 40 Hyannis Dr., Asheville 28804; or call For further information contact: Mil Productions, Regional Exhibitions (704) 253-6893. Box 93, Vernon, Connecticut 06066; or call: (203) November 11 entry deadline November 11 entry deadline 871-7914 or 745-5071. Ames, Iowa “Clay/Fiber/Paper-as-Medium Peoria, Illinois “Christmas Art and Craft Show” January 31, 1984 entry deadline ’84” (December 4-January 29, 1984) is open to (November 25-27) is juried from 3 slides or pho­ Guilford, Connecticut “27th Annual Guilford artists living within a 500-mile radius of Ames. tos. For further information contact: Bill Riggins Handcrafts Exposition” (July 19-21, 1984) is ju­ Juried from works. Fee: SI5 for 3 entries. Send Promotions, 215 Florence, Peoria 61604; or call: ried from 5 slides. Fee: $10. Awards. Contact: self-addressed, stamped envelope to: The Octagon, (309) 688-2104. Guilford Handcrafts EXPO 1984, Box 221, Guil­ 427 Douglas, Ames 50010; or call: (515) 232-5331. November 15 entry deadline ford 06437; or call: (203) 453-5947. December 1 entry deadline Scottsdale, Arizona “Scottsdale Center for the February 1, 1984 entry deadline Mesa, Arizona “6th Annual Vahki Juried Arts Festival” (March 30-April 1, 1984) is juried Indianapolis, Indiana “Talbot Street Fair” Competition” (March 12-30, 1984) is open to res­ from up to 6 slides. Fee: $10. Contact: Festival (June 9-10, 1984) is juried from slides. Awards. idents of Arizona, Colorado, New Mexico and Utah. Manager, Scottsdale Center for the Arts, 7383 Fees: $30 for Indiana Artist-Craftsmen members, Juried from slides of up to 3 entries. Fee: S7 each. Scottsdale Mall, Scottsdale 85251; or call: (602) $50 for nonmembers. For further information con­ Contact: Sue Hakala, Box 1466, Mesa 85201; or 994-2301. tact: Talbot Street Fair Committee, Box 479, Dan­ call: (602) 834-2053. Worcester, Massachusetts “Christmas Arts and ville, Indiana 46122. New Orleans, Louisiana “16th Annual Crafts Crafts Show” (December 9-11) is juried from 5 February 15, 1984 entry deadline Competition” (February 26-March 16, 1984) is slides or photos. Fee: $145 for a 10x10 -foot space. Worcester, Massachusetts “Worcester Craft open to Louisiana Crafts Council members. Fee: For further information contact: Brian Mc­ Center 14th Annual Craft Fair” (May 18-20,1984) S10. Membership fee: $5. Awards. Juried from Cartney, Mil Productions, Box 93, Vernon, Con­ is juried from 5 slides. Entry fee: $15. Booth fee: slides of up to 3 works. Contact: Louisiana Crafts necticut 06066; or call: (203) 871-7914. $120 for an 8x 10-foot space. Contact: Worcester Council, 7214 Saint Charles Ave., No. 922, New November 18 entry deadline Craft Center, 25 Sagamore Rd., Worcester 01605; Orleans 70118; or call: (504) 861-8267. Indian Rocks Beach, Florida “The Beach Art or call: (617) 753-8183. November 1983 13 14 Ceramics Monthly Questions Answered by the CM Technical Staff

Q Can you explain how the treelike pattern on Mocha Ware is achieved?—C. T. Roger Little wrote about Mocha Ware in the January 1974 CM: “First a cup of mocha tea is prepared. Two of the ingredients known to produce the mocha effect are tobacco and coffee. I usually use cigar stubs, but any form of tobacco will suffice. The tobacco is shredded and placed in a small pot, then just enough boiling water is added to cover the leaves. The resulting brew is steeped for an hour. The solution is then strained, the residue discarded, and a dark [ceramic] colorant is added to the ‘tea.’ Coloring oxides such as manganese, cobalt or any readily prepared underglaze color can be used. Copper oxide, however, is considered of little use since the pattern will diffuse in firing. The ‘tea’ is now ready to apply, al­ though 24 hours maturing time will improve the desired effect. “For application, the greenware is dipped in a contrasting color of slip. Plates and bowls can be covered by simply pouring the slip into them and draining just prior to decorating. Immediately, before the slip has a chance to set, the surplus is sponged from the base of the pot. The piece is next held in an inverted position and lightly touched near the base with a large, soft, banding brush charged with ‘tea.’ With deft manipulation of the pot and good brush control, the fluid will run down and spread rapidly, forming bare winter trees. A quick sideways stroke will join the trees with hedgerows.” Q Why, when I use Zircopax, Ultrox or tin in a glaze, does the glaze come out bubbly? Large, blistery bubbles form whenever I use any of the above opacifiers, both in recipes calling for these or in other glazes I am trying to opacify. These glazes otherwise perform beautifully.—E.R. Zircopax, Ultrox and tin, in addition to being opacifiers, also act as refractory materials in the glaze; that is, they tend to raise the melting point of the batch to which they are added. During the cycle of the glaze melt, the batch gives off gas prior to settling down at its proper firing temperature; this gas results from the breaking down of oxides and carbonates, etc. as they form the new compounds required to make a durable glass. Some glazes bubble more than others during this period, some bubble closer to the appropriate firing temperature for that specific glaze. When sufficient refractory materials are added (such as these opacifiers) the bubbling range can spill over into the old proper firing range, requiring either that the glazes be fired hotter, or that additional flux be added to the glaze to overcome the refractory opacifiers. In 5% increments, try adding more of whatever material currently fluxes each of your various glazes until a new equilibrium is found. Q I have been reading about the toxic effects of barium carbonate. Can you tell me how much barium sulfate can be substituted— specifically in reduction glazes?—K.N. In order to get the same amount of barium from barium sulfate as in a recipe calling for barium carbonate, you will need 1.18 parts of the sulfate for each 1 part of the carbonate (multiply the amount of barium carbonate in the recipe times 1.18). Some glazes are completely unaffected by this change, but other recipes are pro­ foundly affected by the presence of sulfates—sometimes for the bet­ ter, sometimes for the worse. Nevertheless, it is worth making the barium sulfate substitution experimentally in some test batches to see if you like the results, as the sulfate is nontoxic, as you mention. Subscribers' inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. November 1983 15 16 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, Missouri, Kansas Citythrough November 20 the Hans Cohn and Siegfried Kramarsky Collec­ iworkshops, juried fairs and other events at least Linda Lighton; at L’Omega Gallery, 4001 Broad­ tions”; at the Los Angeles County Museum of Art, seven weeks before the month of opening to: Theway. 5905 Wilshire Blvd. Editor, Ceramics Monthly, Box 12448, Columbus, New Jersey, Newark through November 20 November 6-December 4 Beth Changstrom, Ohm 43212: or call: (614) 488-8236. Add one Mark Forman, “The Evidence of Man II”; at the porcelain; Steve Schrepferman, clay baskets; at Ro­ month for listings in July arul two months for thoseNewark Museum, 49 Washington St. dell/Retreat Gallery, 11714 San Vicente Blvd. in August. New Mexico, Santa Fethrough November 12 November 19-December 24 “Teapots”; at Garth Susan York, wall works; at the Artist’s Gallery, Clark Gallery, 5820 Wilshire Blvd. 228 Galisteo. California, Montereythrough December 3 A International Conferences New York, Brooklynthrough November 30 dual exhibition with Embree de Persiis. porcelain; Louisiana, New Orleans November 13-15 David Nelson, stoneware; at the Clay Pot, 162 at Rocklands Gallery, 375 Alvarado St. “The Arts of the Edo Period,” an international Seventh Ave. California, Oakland November 1 December symposium on Japanese art (1615-1868), in con­ New York, Croton-on-Hudsonthrough Novem­ 31 Joyce Howe, Sandra Johnstone, Eunice Prie­ junction with the exhibition “A Myriad of Autumn ber 20 Leslie Ferrin, colored clays; at Galli­ to and Jan Schachter, “For Everyday L se”; at Col­ Leaves: Japanese Art from the Kurt and Millie maufry, 1 Croton Point Ave. lector’s Gallery, Oakland Museum, 1000 Oak St. Gitter Collection,” will feature speakers from Ja­ New York, New Yorkthrough November 15 California, San Franciscothrough November 19 pan, England and the U.S.A. Contact: New Or­ Karon Doherty, “The Last Garden Party,” nar­ A group exhibition with Kris Cox, sculpture; at leans Museum of Art, Box 19123, New Orleans rative imagery; at Greenwich House Pottery, 16 Contemporary Artisans, 530 Bush St. 70179. Jones St. November 1-30 “Kakiemon Porcelains: A Col­ Puerto Rico, Rio PiedrasNovember 11-18 through November 25 Wally Mason. November orful Tradition,” early through contemporary forms The first “Latin American Crafts Congress,” in 22-December 22 Marvin Bjurlin; at Conver­ by 14 generations of potters; at the Asian Art Mu­ conjunction with the regional assembly of the World gence, 484 Broome St. seum of San Francisco, Golden Gate Park. Crafts Council in San Juan, will include exhibi­ November 1-5 George William Peterson III, California, San Jacintothrough November 10 tions of Latin American crafts, a “Latin American wood-fired work; at Japan Interiors Gallery, 814 A dual exhibition with Connie Ransom, low-tem- Craft Fair,” workshops and seminars on tradi­ Lexington Ave. perature salt vessels and wall reliefs, at Mount tional and contemporary crafts, and tours to the November 8-27 Phyllis Hammond, sculpture; at San Jacinto Community College, 21400 Hwy. 79. local craft studios. Contact: Mary Theresa Stahl Pindar Gallery, 127 Greene St. California, Westlake Villagethrough Novem­ or Magda Grissel Rosa-Betancourt, Contempo­ November 10-December 3 Paul Soldner; at Ele­ ber 14 “Scapes Fabric and Clay” with ceramics rary Crafts Center, Division of Continuing Edu­ ments Gallery, 90 Hudson St. by Nancy Valk. November 18-January 7, cation, University of Puerto Rico, Box N, Uni­ New York, Rochesterthrough November 5 J. 1984 “The Great American Tea Party”; at the versity Station, Rio Piedras 00931; or call: (809) Paul Sires, sculpture; at Merritt Gallery, Powers Retreat Gallery, 3865 E. Thousand Oaks Blvd. 751-8358, extension 3363 or 3137. Bldg., Main and State Sts. Colorado, Denverthrough December 3 “Re­ New York, SyracuseNovember 4-fanuary 8, gional Crafts Invitational”; at Sebastian-More, 1411 1984 “Beatrice Wood Retrospective”; at Everson Market St. Solo Exhibitions Museum of Art, 401 Harrison St. through January 8, 1984 “The Heritage of Tla- California, La JollaNovember 4-January 1, North Carolina, Winston-SalemNovember 18- nuwa: Prehistoric Arts from the Southeast”; at the 1984 Laura Andreson; at Gallery Eight, 7464 December 30 Ron Dale, sculpture; at South­ Denver Art Museum, 100 W. 14 Ave Pkwy. Girard Ave. eastern Center for Contemporary Art, 750 Mar­ Colorado, PuebloNovember 11 20 “23rd California, Los Angelesthrough November 6 guerite Dr. Annual Own Your Own” exhibition; at Helen T. Timothy Moore, handbuilt stoneware vessels; at Pennsylvania, Swarthmore through November White Gallery, Arts Center, 210 N. Sante Fe. Rodell/Retreat Gallery, 11714 San Vicente Blvd. 12 Mary del Bello, small figures; at the Studio Connecticut, Greenwichthrough November through November 19 Philip Cornelius, paper- in Swarthmore, 413 Dartmouth Ave. 12 A multimedia exhibition with Dick Studley, thin porcelain teapots. Betty Woodman, low-fired Tennessee, Chattanoogathrough November 25 porcelain; at the Elements, 14 Libertv Way. functional ceramics; at Garth Clark Gallery, 5820 MaryAnn Fariello, cast colored porcelain; at the Connecticut, MiddletownNovember 26-Decem- Wilshire Blvd. University of Tennessee Gallery. ber 11 “Wesleyan Potters 28th Annual Exhibit through November 20 Ruth Rippon, ceramic Washington, SeattleNovember 3-30 Ban Ka- and Sale”; at 350 S. Main St., Rte. 17. sculpture; at Tempo Gallery, Crocker Art Mu­ jitani, neriage forms; at Fireworks Gallery, Grand Connecticut, New Canaan November 5-Decem- seum, 216 “O” St. Central Arcade, 214 First Ave., S. ber 31 “Christmas ’83” at Webb & Parsons, 134 through November 25 David Gilhooly, sculp­ Wisconsin, Sheboyganthrough November 13 Elm St. ture; at This Is Not Art, 10450 Lansing St. Ken Little; at John Michael Kohler Arts Center, November 26-December 24 “Annual Christmas California, San FranciscoNovember 1-26 608 New York Ave. Exhibition and Sale” by guild artists; at Silvermine Scott Chamberlin; at Meyer Breier Weiss, Bldg. Guild Center for the Arts, 1037 Silvermine Rd. A, Fort Mason Center. Connecticut, New HavenNovember 11 -Decem­ Connecticut, New Haventhrough November Group Exhibitions ber 23 “15th Annual Celebration of American 6 Bennett Bean, pit-fired vessels; at Endleman- Alabama, Huntsville through November 6 Crafts,” national invitational and juried exhibi­ Kraus Galleries, 981 State St. “Traditional Pottery of Alabama”; at Constitution tion; at Creative Arts Workshop, 80 Audubon St. Illinois, Chicagothrough November 15 Chris Hall Park. D.C., Washingtonthrough December 31 “Jap­ Gustin, vessels; at Objects, 341 W. Superior. Arizona, Phoenixthrough November 13 anese Ceramics from Past to Present”; at the Freer November 4-23 Raymond Wetzel, assemblages; “Chinese Export Porcelain”; at the Helen Wells Gallery of Art, Jefferson Drive and Twelfth Street, at Lill Street Gallery, 1021 W. Lill St. Gallery of Decorative Arts, Phoenix Art Museum, Southwest. Kansas, Kansas City through November 4 1625 N. Central Ave. through January 8, 1984 “Art of Aztec Mexico: Rudy Autio and Peter Voulkos; at Morgan Gal­ through February 15, 1984 “Gifts of Mother Treasures of Tenochtitlan”; at the National Gal­ lery, 1616 Westport Rd. Earth: Ceramics in the Zuni Tradition”; at the lery of Art, Fourth St. at Constitution Ave., NW. Kentucky, LouisvilleNovember 6-I)ecember Heard Museum, 22 E. Monte Vista Rd. through June 17, 1984 “Clay for Walls”; at the 1 Waller Hyleck, thrown porcelain vessels; at Arizona, ScottsdaleNovember 17-January 12, Renwick Gallery, Pennsylvania Ave at Seven­ Contemporary Crafts Gallery, ArtsSpace, 2003 1984 Dora Hernandez and Lynn Smith, “New teenth St., NW. Frankfort Ave. Faces, New Spaces”; at Mind’s Eye Gallery, 4200 November 1-January 31, 1984 “Ban Chiang: Louisiana, New OrleansNovember 12-Decem- N. Marshall Way. Discovery of a Lost Bronze Age”; at the National ber 18 Toby Buonagurio, sculpture; at Contem­ Arizona, Sedonathrough November 27 “15th Museum of Natural History, Tenth St. and Con­ porary Arts Center, 900 Camp St. Annual All Clay Show” by members of the North­ stitution Ave., NW. Massachusetts, BostonNovember 1-23 Ursula ern Arizona Clay Club; at Sedona Art Center, Florida, Jacksonvillethrough November 13 Morley-Price, paper-thin, handbuilt bowls; at North 89-A. The 33rd annual exhibition by members of Flor­ Westminster Gallery, 132A Newbury St. California, Alta Lomathrough November 16 ida Crafts; at Cummer Gallery, 829 Riverside Ave. Michigan, Lathrup VillageNovember 5-26 “Shadows of the People,” pre-Columbian art; at Illinois, ChicagoNovember5-February 14, 1984 Curtis and Suzan Benzie, colored porcelain; at the Rex W. Wignall Gallery, Chaffey College, 5885 “Treasuresfrom the Shanghai Museum. 6,000 Years Venture Gallery, 28235 Southfield Rd. Haven Ave. of Chinese Art”; at the Field Museum of Natural Minnesota, RochesterNovember 5-Decem- California, Los Angelesthrough November 12 History, Roosevelt Rd. at Lake Shore Dr. ber 31 Michael Padgett, figurative sculpture; at “Clay and Fiber”; at Freehand, 8413 W. Third St. Illinois, Highland Park through November 10 Rochester Art Center, 320 E. Center St. through January 1, 1984 “German Faience from Continued November 1983 17 18 Ceramics Monthly 6-January 1, 1984 “Artisans ’83” includes func­ New York, Rochester,November 15-February Itinerary tional ceramics by Sophia Fenton, Judith Kandler, 24, 1984 “The Arts and Crafts Movement in New Tom and Marsha Berentson Benesh. November Lily Schor, Barbara Strassman and Elizabeth Sur- York State (1890s-1920s)”; at the Margaret 12-December 9 Tom and Elaine Coleman; at beck; at the Gallery at Hastings-on-Hudson, Mu­ Woodbury Strong Museum, 1 Manhattan Square. Martha Schneider Gallery, 124 S. Deere Park Dr. nicipal Bldg. November 26-December 30 “Small Works Na­ Indiana, Indianapolis November 23-January New York, New Yorkthrough November 6 tional ’83” juried exhibition; at Zaner Gallery, 100 22, 1984 “Eighteenth-Century English Porce­ David Bigelow, Annette Corcoran, Bill Ellis, Alexander St. lain”; at the Indianapolis Museum of Art, 1200 Maureen Daniel-Ellis, Rob MacConnel, Rose­ New York, Scarsdale November 19-January 7, W. 38 St. mary Ishii-MacConnel, “California Clay”; at 1984 “Craftworks Celebration 1983”; at the Iowa, Mason CityNovember 20-January 8, Convergence, 484 Broome St. Craftsman’s Gallery, 16 Chase Rd. 1984 “Iowa Crafts: 16” competition exhibition; through November 13 “Autumn Grasses and New York, White Plains through November at Charles H. MacNider Museum, 303 Second Water: Motifs in Japanese Art” includes 13th- to 10 “Students of Harriet Ross,” functional and St., SE. 19th-century porcelain; at Japan House Gallery, nonfunctional stoneware. November 21 -January Kansas, Wichita through December 10 “Trea­ 333 E. 47 St. 6, 1984 “Holiday Show,” multimedia; at the sure of the Quicksilver Galleons”; at the Ulrich November 28-December 8 Christmas celebra­ Westchester Art Workshop Gallery, Westchester Museum, Wichita State University. tion, pottery and sculpture; at the Greenwich House County Center Building. Louisiana, ShreveportNovember 18-December Pottery, 16 Jones Street. Please Turn to Page 70 5 “SPAR National Art Show ’83” juried exhi­ bition; at 800 Snow St. Maryland, Annapolisthrough November 6 “Works in Clay II”; at the Maryland Feder­ ation of Art Gallery, 18 State Circle. Massachusetts, Northampton November 19-January 8, 1984 Fourth Annual “A Tea Par­ ty”; at Craftsmarket Gallery, 150 Main St. Michigan, Detroit through November 18 “Colored Clay” national invitational. November 19-January 8, 1984 “Annual Christmas Invi­ tational Exhibit of Ceramic Art”; at Pewabic Pot­ tery, 10125 E. Jefferson Ave. through November 30 “Teapots”; at the Detroit Gallery of Contemporary Crafts, 301 Fisher Bldg. Michigan, Ypsilanti through November 23 “Ninth Invitational Michigan Ceramic Ex­ hibition”; at Ford Hall Art Gallery, Eastern Mich­ igan University. Minnesota, Rochester November 5-December 31 “New Directions”; at Upstairs Gallery, Roch­ ester Art Center, 320 E. Center St. Missouri, Kansas City through November 30 “Ceramic Echoes: Historical References in Contemporary Ceramics,” in conjunction with the Third International Ceramics Symposium of the Institute for Ceramic History, at the Nelson-At- kins Museum of Art, 4525 Oak St. Missouri, Saint Louisthrough November 27 “Mixed Media: Style and Form in 18th and 19th Century Decorative Arts”; at the Saint Louis Art Museum, Forest Park. New Jersey, Camden through December 30 “Soup Soup Beautiful Soup,” soup tureens; at the Campbell Museum. New Jersey, Newark through January 20, 1984 “Tempered by Time: 800 Years of South­ west Indian Pottery.” through January 23, 1984 “Japan: The Enduring Heritage”; at the Newark Museum, 49 Washington St. New Jersey, TrentonNovember 11-30 “Land­ scapes” juried exhibition; at Mercer County Com­ munity College Library Gallery. New Jersey, WayneNovember 17-December 4 “A Show of Hands” juried exhibition of the New Jersey Designer Craftsmen; at William Pat­ erson College Student Center Gallery. New Mexico, Albuquerque November 13- December 16 “Contemporary Crafts Exhibi­ tion”; at the University of New Mexico Art Ed­ ucation Gallery. New Mexico, Los Alamosthrough November 20 “Aspen Exhibit,” juried show. November 22-29 “Affordable Art”; at Fuller Lodge Art Center, 2132 Central Ave. New Mexico, Santa FeNovember 13-26 Am­ ber Archer and Zoe Viles; at the Artist’s Gallery, 228 Galisteo. New Mexico, Taosthrough November 12 A dual exhibition including David Joy, soda vapor vessels. November 19-January 14, 1984 A dual exhibition with Ginger Mongiello, painted por­ celain vessels; at Clay and Fiber Gallery, North Pueblo Rd. New York, Greenvalethrough November 9 “The Raw Edge: Ceramics of the ’80s”; at Hill- wood Art Gallery, C. W. Post Center, Long Island University. New York, Hastings-on-HudsonNovember November 1983 19 20 Ceramics Monthly Comment Aesthetic Vocabularyby Brian Moeran

Ever SINCE Bernard Leach came back (umareta). Thus art involved the crea­ to England from Japan some 50 years tor’s consciousness ( ishiki no saku), while ago to set up his pottery at Saint Ives, mingei was made in a state of selfless­ Cornwall, many Western potters have ness (mushin no saku). In art, the artist looked toward Japan for inspiration and relied on self-power ( jiriki); in mingei, guidance. Nowadays, however, this “craft the craftsman was helped by “other” tradition” is paralleled by a second tra­ power ( tariki). We thus find an empha­ dition which prefers the notion of “ce­ sis in general on individuality ( kosei) in ramics” to “pottery” and “art” to “craft,” art, which is entirely lacking in the self- and which has emerged mainly as a re­ denial (botsuga) of mingei. This indi­ sult of the institution of ceramics courses viduality was seen to stem from intel- at art colleges. Here we find not “crafts­ lectualism, as opposed to the unlearned- men potters,” but “ceramic artists” who ness (mugaku) of mingei. It was these prefer abstract form to utilitarian func­ qualities which distinguished Yanagi’s tionalism. The differences in the way craft beauty kogeibi) ( from what he re­ these two groups of potters/ceramists view ferred to disparagingly as individualized their work are to be seen most clearly beauty koseibi( or kojinbi). in their use of aesthetic vocabulary. In describing what it was that made a straw cape, a piece of handwoven cloth The Concept of Mingei or a stoneware utensil beautiful, Yanagi The modern English pottery tradition used a number of terms. The most com­ owes much to Bernard Leach’s contact mon of these were (and still are for min­ with Japan, in particular to his friend­ gei adherents): artless beauty (soboku), ship with Muneyoshi Yanagi, founder unassuming restraint (shibui), earthy of the Japanese mingei (folk craft) (tsuchikusai), simple (tanjun), pure movement. While Yanagi owed many of (junsui), homely shisso ( ), familiar (hi- his theoretical ideas to the influence of tashii ), unpretentious (assari shita ), and William Morris, much of his aesthetic quiet (shizuka). Many of these terms are vocabulary stands within the main­ closely related to his general theoretical stream of Japanese aesthetics. The no­ premise that the beauty of folk crafts tion of shibui, for example, which has depends on their being made by hand been variously translated as quiet, sub­ (itezukuri), close to nature (shizen) and dued, unassuming and restrained, comes in cooperation ( kyodo) with others. The straight from the Japanese tea ceremony whole idea of mingei is to a large extent aesthetic, developed by Sen no Rikyu in part and parcel of social changes which the late 16th century. Other concepts like overtook Japan as a result of rapid in­ mushin (no* mind or selflessness) relate dustrialization, urbanization and the de­ directly to Zen Buddhist meditation and velopment of an advanced technology. the denial of the self. What some of us tend to overlook, per­ Yanagi contrasted his notion of min­ haps, is the way in which today’s pottery gei, which literally means popular art, aesthetics in fact closely resemble that of with bijutsu, or art proper, by setting up mingei—not just in its general theoret­ a number of conceptual aesthetic op­ ical approach, but in its vocabulary of positions between the two terms. Whereas appraisal. art consisted of “high” objects (jote- Every new school of art—whether it mono), mingei consisted of “low” or be a new wave of oil painting or a re­ “vulgar” things ( getemono). Art was cre­ discovery of traditional values in some- ated (tsukurareta), while mingei was born Continued November 1983 21 22 Ceramics Monthly Comment denial of the self in favor of a commu­ nion with nature. Man is consciously thing like pottery—has to create its own involved in the creation of beauty, and vocabulary to distinguish its ideas from it is this notion of conscious creation which those of its rivals and predecessors. Ber­ preoccupies those who would prefer to nard Leach probably realized this when see clay objects not as craft pottery but he began to write A Potter's Book and as ceramic art. we soon find echoes of Yanagi in such phrases as “incidental to nature,” “ac­ Ceramic Art Vocabulary cidental to man,” “the nature of the pot,” One of the more striking things about and so on. Yet, over the years, Leach and reading short appraisals of potters’ work his followers developed an aesthetic vo­ is the difference between craft pottery cabulary which at times appears to be and ceramic art aesthetic vocabularies. a direct translation of a set of terms used Pottery snuggles down in a cozy world by mingei critics in Japan. of genuine, natural, subdued and serene Obviously, some characteristics are to naivete—full of grace, tenderness, subtle be found in works on pottery preceding undulations and peasant coarseness. Ce­ Leach. Adjectives such as warm (ata- ramic art, on the other hand, is aggres­ takai ), soft (yawarakai), heavy (iomotai), sive, determined, assertive, flamboyant, vigorous ( chikarazuyoi), and so on are exuberant, muscular, kinetic, rugged and found in Edward Morse’s Catalogue of sophisticated. Pots (if that is the right the Morse Collection of Japanese Pot­word for these creations) are no longer tery , published in 1901. It is, therefore, simple, but complex; they do not imitate extremely difficult to pinpoint the exact tradition, but are filled with inspired origin of the craft pottery aesthetic, but creation—not intuitive and genuine, but a number of descriptive words common­ creative and challenging. Instead of the ly used in English come from the Jap­ soft, gentle, fluid and full curves of the anese: healthy kenko ( ), unpretentious craftsman’s pot, we find lean, taut and (assari shita), unsophisticated (kazarike hard-edged lines; the ceramic artist gives no nai), honest ( shojiki), intimate (hi- his work a tension, force and even up­ tashimiyasui), earthy or down to earth ward thrust. No longer are pots filled (tsuchikusai), subdued (shibui). And if, with a pregnant or round-bellied beau­ like quiet (shizuka), natural (shizen), ty; instead, we are faced with the “un­ simple (tanjun), vigorous (chikarazu­ compromisingly virile,” “resolution of yoi) or robust (jobu), the aesthetic terms tensions,” which act as statements of the already existed in English, I am sure “transitory experiences” of the ceramist. that their usage was strengthened by the Indeed, the talk seems to center more fact that their direct equivalents existed on the artist than on his work (although in Japanese mingei aesthetics. there is a tendency for all critics to dis­ Of course, mingei aesthetics were not cuss people rather than the objects which adopted in toto by craft potters in the people make). There is, then, the artist’s West. There were some aspects of what preoccupation with “introspection,” Yanagi put forward which did not fit the “timeless inner identity,” “ongoing chal­ cultural experience of potters working lenge,” “personally relevant direction,” under very different social conditions from “social commentary,” even the “human those in Japan. In particular, Yanagi’s condition.” The ceramic artist becomes concept of selflessness can be said to be the rugged individualist who battles to very much a part of the “group” ideology conquer the world with his work. The by which Japanese society is organized. craftsman potter is no less intent upon Certainly, it did not accord with the delivering the world to the “kingdom of Western concept of individuality, which beauty,” but he does so with less force, we tend to regard as the essence of West­ through a passive Oriental mask. ern society, art and hence beauty. We Probably the most remarkable thing find, therefore, that potters from Leach about the language of ceramic art aes­ onward have also included a number of thetics is its masculinity. Much of its concepts which go beyond Yanagi’s vocabulary of aesthetics consists of words Buddhist notion of selfless beauty which that could even be termed sexist. This “just happens.” Consider, for example, sexism is highlighted, perhaps, by my such words as sensitive, crafted, intense, comparison of craft pottery and ceramic vital, character, creative and free; all art; for a brief glance at such words and suggest that in craft pottery in the West, expressions as round-bellied, subtle un- beauty does not derive simply from a Continued November 1983 23 24 CERAMICS MONTHLY Comment dulations, earthy, fresh, seductive, sen­ suous and all the others quoted in this article, suggests that the aesthetic vo­ cabulary of craft pottery can be carica­ tured as feminine, while that of ceramic art (rugged, handsome, lithe, vertical thrust, virile) reflects masculinity. This ties in with the idea that the di­ vision between art and craft echoes in many respects a division between male and female worlds. Art deals with cul­ ture. It goes on in the “outside” world and is thus “exclusive,” carried on by “professionals” whose work involves no­ tions of “intellectualism,” “genius” and “authenticity.” Artists are “individuals” who produce decorative, one-of-a-kind objects. They have “creative powers” and are permitted by society to be “exotic,” “eccentric,” “unconventional,” “isolat­ ed,” “antidomestic” and “antisocial.” Craft, on the other hand, is not so much a part of culture as of nature. It is often “manufactured” (which is not an intellectual pursuit) by “amateurs” who remain in the “internal” world of the home. In this respect, they are very much a part of society—“common,” “homely,” “familiar,” “humble,” “organic” and “human.” What conclusions can be drawn from this diversion into the world of aesthet­ ics? I suppose that in a way it could be said that, by adopting the mingei aes­ thetics, Bernard Leach and other craft potters unconsciously project themselves in a feminine role, which rejected the masculine materialist world of Western industrial capitalism. At the same time, for any craftsman potter to become ac­ cepted as a full-fledged artist, he or she had to participate in the system to some extent. Hence, the necessary introduc­ tion of an aesthetic vocabulary which had something in common with that of other spheres of art. This suggests that the only way a potter can perhaps ease along the continuum from craft to art is by adopting an aesthetic vocabulary which is predominantly within the “masculine” mold. Art and aesthetics thus become further examples of the sexism of which feminists so rightly complain. The author A previous contributor to CM (see the <(Survey of Modern fapa- nese Pottery” article series beginning in October 1982), Brian Moeran is a lec­ turer at the School of Oriental and Af­ rican Studies, University of London. November 1983 25

28 Ceramics Monthly Rhode Island Influences

DEMONSTRATING the influences of crafts programs at the Rhode Island School of Design, an exhibition of 150 works by 18 current and former faculty and stu­ dents was presented at the Craftsman’s Gallery in Scarsdale, New York. Among the clay objects featured in “RISD: Leadership in Crafts” were sculpture, wall forms and decorative vessels by ce­ ramists now working in studios and teaching at schools from coast to coast. Right “Fragment 17, Fort Point Window Series ” handbuilt, 20 inches in height, by Dale Zheutlin, Pelham, New York. Below Porcelain covered jar, 11 inches in height, by Don Pilcher, Champaign, Illinois. Extruded porcelain greenware strands were dipped in a slip/starch mixture and placed on the bisqued form; the pot was glazed with an Albany slip recipe, fired, then sandblasted to accentuate the “noodles ” Photos: Bob Hansen and courtesy of the Craftsman’s Gallery

November 1983 29 Photos: Karen Norquay, Ken Paskin-Bell and courtesy of Cleveland County Leisure Services of Song pottery. Forms which have a cer­ a have which Forms pottery. Song of f ho—ho o te eg o order. of verge the on chaos—chaos verge the of on Order problems. solving of retl hlspy Oe r w pieces two or One philosophy. Oriental upie. dsrs o sye s means a as style of be distrust A to surprised. wish approach—a A nondeterminist beauty. for nonsearch classical A order. the of idea than in­ rather events An in decision. terest to opposed as Action Gordon Baldwin a tig hpe. od ad phrases. and Words happen. things way hne prtos Te c o painting. of act The operations. Chance PROCESSES. “The ui. adcp. urait games. Surrealist Landscape. Music. 30 CERAMICS MONTHLY h tcnqe. The techniques. The August 28. Since studying pottery by day by pottery studying Since 28. August h ery 90, e a ue ceramic used has he 1950s, early the through London in Gallery Council Craft events. Natural resonance. awkward tain ae o dyok crmc rs writer/ arts ceramic daywork, of cades in techniques toexpressaestheticconcerns. night by drawing and painting and the at exhibition retrospective pre­ a in was sented ceramist work whose British Baldwin Gordon on influences merous historian JohnHoustonnoted:“Mostof ytm. Tee r a at f h nu­ the of part a are These Systems.” okn bc a Gro’ tre de­ three Gordon’s at back Looking et en gvn qa epai, estab­ emphasis, equal given being ject associated with the darkness of space in­ space of darkness the with associated usually retained asymmetricalfoot. and shape, wheel-thrown altered a been from have might this how­ much form ever hollow a suggested variably side things—meaninginsideeverything. Gordon For context. dreamlike a lishes ob­ each of surface entire the with form, pro­ and form of of canon sense general overriding some an was There architec­ ture. exotic some of fragment seemed a object like Each black. be to always in­ top, the at opening an had always adi, h bak f hs ojcs was objects these of black the Baldwin, of generalization confident The portion. They pots. of aspects basic the retained made from Venetian blinds; Venetian from made paper; cartridge as matt as surfaces with 1960s early the in sculpture Baldwin’s piedw zguas dse lk nests like dishes ziggurats, upside-down iul luin, cas f quotation. of scraps allusions, visual hs mrs r famnay n mul­ and fragmentary are marks references, These are these of Many painted and marks. drawn attract objects his on all time this From bowls. raggedy-edged many colors. be may there object single a on tifarious: f h 15s o h ivnin f forms of invention the to 1950s the of pro­ turn the at had eclecticism vivid from approach gressed His them. generate re­ active an toward steadily moved has as and techniques different seven or six shadows andreflections ofrelatedworks.” leads often formula, aesthetic an avoid to f h dcd, n ok ic 17. By 1979. since work in decade, the of experiment. of forms new his shape to work his of development ten The than later. years less individuality, tough a with that processes imaginative the objects, to his of and structure both physical the applies to This material. of finement vr pee n hs xiiin r the are exhibition this in piece every Behind objects. of series a as theme each His intuitively. jux­ discovered surprise solutions: tapositions collage to him hs ie ery l te l dvcs for devices old the all nearly time this helped advance. and this sharpened paralleled games Surrealist 1970s the in and process of art leads him to deal with deal to problems him leads art unending of process and the for enthusiasm udn. ol ad ote hd reap­ had theme. or mechanism central bottles the as peared re­ and were Bowls activity dundant. chance or automatic These seriesstillcontinue. u te ao cags ae t h end the at came changes major the But B te ae 90 hs ok seemed work his 1960s late the “By Te i-90 wr wie objects white: were mid-1970s “The Truhu te 7s adi’ work Baldwin’s ’70s the “Throughout “Baldwin’s distaste for a style, his wish his style, a for distaste “Baldwin’s his first, large, first,

Left “Vase Object,” 16 inches in height, handbuilt stoneware, by British ceramist Gordon Baldwin. Below left “Windswept Bottle No. 2” earthenware, 20 inches in height. “The bottle [is] present as a hollow spine extending from a conical base; slightly bowed sheets suggest torn strips of corrugated cardboard; a few brisk marks cut across these forms like guy-ropes or egging” Below center “Dish on Base,” 19 inches in height, earthenware. Below “Developed Bottle in Sea Space,” earthenware, 27 inches in height, by Gordon Baldwin: “Bottle as subject matter, as vehicle for opening up space. The bottle and the space surrounding it have served as a tool for about three years. Vve always admired artists who have worked on and on, digging deeper and deeper into the same subject core. Currently I am in such a period, but there is a growing restlessness. ”

November 1983 31 Changes byM ayer Shacter

32 Ceramics Monthly As A 17 YEAR OLD discovering clay for ters—like my friend and mentor Dora not the great market for handmade ce­ the first time, I saw no reason to go to De Larios—were doing both art and ramics that it is today, and I traveled as college. After an aimless adolescence, production pottery. I viewed myself as far north as Big Sur to sell a barrel of finding myself so thoroughly involved in an artist, having painted before encoun­ pots for SI00. If there wasn’t enough anything was an enormous relief and I tering clay, and felt a strong urge to ex­ money for rent at the end of the month, wanted to get on with it. Following one plore the spirit in which Peter Voulkos I’d sell a few pots to friends and rela­ semester at Chouinard Art Institute with was working. It was frustrating having tives. Selling a major work from the shop Vivika and Otto Heino, I moved to a endless ideas, but neither the time nor felt like acquiring a small fortune. But closet at the Pot Shop in Venice, Cali­ the technical know-how and sensitivity it was exciting and, since my business fornia, and made myself available for to develop them. doubled every year, I felt successful. every imaginable job. In 1965, the American Crafts Council Only now, 20 years later, can I assess Those first years established a tension published a booklet by Paul Soldner with some objectivity the decision to opt between production and one-of-a-kind which took the mystique out of out of academia. The heady excitement pots which characterized my work for kilnbuilding and gave me the courage to of those early years was worth a lot, and years to come. Heavily influenced by the try. Armed withKiln Construction and desire for success was a powerful mo­ handful of successful production potters a $1000 wedding gift, I built a 30-cubic- tivator. I acquired facility with forms, working in Los Angeles in the early ’60s foot, crossdraft kiln and established the glazes and firing, and read and attended and determined to make a living with Venice Pottery Gallery. The spacious workshops to expand my repertoire of clay, I set my sights on production. When building included a retail shop so that I production techniques. What I now see Ken Price and Billy A1 Bengston came didn’t have to worry about a market for that I missed early in my career was the to the Pot Shop with their unusual, low- my one-of-a-kind ware. I was involved opportunity for intense exploration of fire, one-of-a-kind mugs, I privately made with every phase of production, as well ideas and the community of support for fun of them. Who would buy that stuff? as teaching and firing ware for other purely artistic work. On the other hand, I could not escape potters. Just as the Venice Pottery Gallery was their influences and saw that some pot­ It was hard work. Los Angeles was beginning to flourish, I decided it was Photos: Charles Frizzell, Arthur Oilman

Left “Star Shower ” thrown and altered Above “The Floating Islands of Perelandra,” double-wall form, approximately 7 inches 10 inches in diameter, thrown bowl with central in height, with various glazes. pierced slab addition, altered rim. November 1983 33 time to pursue yet another old fantasy and move to the country. Together with seven other families, my wife and I pur­ chased 160 acres of prime, river bottom, redwood forest in Mendocino County and became part of the ’60s back-to-the-land movement. It took a year to build a home and studio, including a 24-cubic-foot, downdraft kiln and a 17-cubic-foot, crossdraft salt kiln, and then reestablish my production business. By then, burgeoning interest in hand­ made pottery provided a ready market for glaze-trailed stoneware. So after three years, I moved my studio to a huge, old creamery, put up a 65-cubic-foot, down­ draft kiln and took on five apprentices. Finally, with them to run the production business, there was time to develop new ideas. Although 1974 was my best business year ever, it was a restless one. My mar­ riage had ended and I felt isolated in the country. Still lured by idealistic visions of communal living, I moved to a “uto­ pian” community in San Francisco. There emphasis was on personal relationships, with professors, lawyers and teen-age bums—rich and poor, black and white— all living together in one household. (I began to use this idea in my work, com­ bining diverse elements in one form. It remains a strong theme for me.) The community provided me with 3000 square feet, a blank check, unlimited labor as­ sistance and freedom from income re­ quirements. In six months I had built “Aurora Borealis” double-wall porcelain jar, 12 inches in height, multiglazed surface. two kilns (an 80-cubic-foot downdraft and a 14-cubic-foot) and was operating a studio lavishly equipped by donors. With over a dozen apprentices (both community residents and “outsiders”), the studio produced ware sold at fairs while I made one-of-a-kind objects. The latter were used to decorate the com­ munity facilities and as gifts for foun­ dation donors. Again, only with hindsight is it pos­ sible to assess the impact of this six-year period on my work; it is both positive and negative. Since there was no fear of being left with work which wouldn’t sell, it was possible to experiment freely, and the size of the studio and kiln allowed increased scale. With apprentices to test recipes, my palette of high-temperature glazes was greatly expanded and re­ fined. We also experimented with clay bodies and I began using porcelain, drawn “In Memory of Calvin Simmons I,” “In Memory of Calvin Simmons II,” to its translucency and brighter glazes. thrown, altered, extruded sculpture, thrown and altered porcelain, with thrown Because assistants were available to do 16 inches in height, porcelain and and extruded parts, 11 inches in height, virtually everything except make andmagnetite. with silica sand. 34 CERAMICS MONTHLY c7 Must Go Down to the Sea Again,” thrown and altered porcelain bowl, 11 inches in diameter.

“Tassajara Narrows ” 10 inches in diameter ; thrown and altered porcelain bowl, by Mayer Shacter. November 1983 35 glaze my work, my output was prolific. 1, an Oakland Recreation Department the bowls were put on a rocklike base During those years, my artistic goals facility. But for the excitement I felt, it (thrown as one piece). Then a chamber solidified, strengthened by a Peter Voul- might have been the Louvre, and I knew was made out of the base by throwing kos workshop I attended in 1975. In ad­ then it was impossible to return to pro­ a ring around the opening to that base. dition to developing large, “metaphysical duction—a commitment maintained de­ Covering the opening seemed an obvious landscape” platters by combining many spite some fairly bleak months. next step and opened up a plethora of glaze techniques, I was striving for loose, Since that first invitation, I have been possibilities for doing so. fresh, lively, yet controlled forms. Ap­ especially aware of the impact gallery As a production potter, I wanted forms pendages, which had appeared on my owners have had on my work. Their to come out the way they were planned. forms since the early years, grew larger shows provide both motivation to push Now, I work spontaneously, letting the and more tactile, exploiting the prop­ new ideas and guaranteed instant ex­ clay lead me. Confident—finally—that erties of wet clay. I continued altering posure. Gallery owners have also made I can trust my hands, I let go of specific wheel-thrown work, always using ves­ invaluable aesthetic suggestions, stood goals and give in to the process. I have sels as a basis, but stretching the shapes. learned from Oriental potters to judge a And I continued to work on surface dec­ work when it comes out of the kiln by oration using textures and glazes. what is actually there rather than by But there were drawbacks to working some preconceived idea of what should in this setting. The community was ar­ be there. tistically conservative, and discouraged Actually, I still find myself making going beyond certain limits in design. favorite functional items, but don’t Even more debilitating was their taboo wholesale this work so I’m not tied to against going outside the community for repetition. I enjoy the freedom of moving personal recognition. I was doing noth­ back and forth. It took all my courage ing to promote my work and thus was to abandon production as a livelihood, not exposed to the critical appraisal of but I have finally achieved the balance the artistic community. Only after ex­ I sensed was possible 20 years ago at the periencing the impact of actually selling Pot Shop. my new work did I realize that I had My present studio in Oakland, Cal­ missed both the pleasure of that form of ifornia, is 1700 square feet—right next affirmation, and the motivation and fo­ Mayer Shacter door to my previous 700-square-foot cus it provides. There is a great differ­ space. In the latter, the kiln, for once, ence experientially between “That’s a behind new work even if it didn’t sell was already there—built by my studio gorgeous piece,” and “I have to own that. right away, and committed themselves to partner, Peter Harris. A 36-cubic-foot, Here’s my money.” finding the right market—benefits which downdraft kiln, it is unusual in that it A teacher once said to me: “If you cannot be overemphasized. has no bag wall. The burners enter hor­ really want to know about your rela­ Making one-of-a-kind pots exclusive­ izontally through the side walls, but make tionship to art, give it up.” In 1979, the ly is a big change from production. I had a right-angle turn so that the flames shoot meaning of this statement became pain­ to convince myself to be comfortable straight up from under the kiln floor. fully clear when the community sold the making 15 pots a week rather than 50 This arrangement has the advantage of studio building and required me to do a day. Previously, I was making ware for providing an even firing without the space another job. I tried, but simply could not people to use; whereas now I almost de­ and extra bricks required by a bag wall. continue without my work. Ever since liberately make forms which are not us­ I have been working with the follow­ clay first gave my life direction it has able. Some of the bowls are so fragile ing porcelain body for the past six years: been the constant to which I have turned they seem to be saying: “Don’t touch me. Cornell Porcelain(Cone 10) for a sense of stability. Through spirit­ Put me on a pedestal. Don’t knock me ual, emotional or physical upheavals, my around the kitchen and assume I am eas­ Custer Feldspar...... 20% work has sustained me. Without it, I felt ily replaced.” I love a beautiful func­ Grolleg Kaolin...... 55 an erosion of spirit. When finally I re­ tional pot, but don’t want it to be taken Pyrophyllite...... 13 alized that the community did not intend for granted. Pots—and potters—should Flint (320 mesh)...... 12 for me to return to potting, I left. Just command the respect they deserve. 100% as I was beginning to produce mature Having abandoned the urge to find a Add: Macaloid ...... 1% work, I was faced with starting over. With beautiful form that works and stay with Bentonite ...... 2% only $85 and my potter’s wheel, I had it, I experiment in every firing. Some­ As white and translucent as more deli­ no studio and no market. times the experiments work, sometimes cate porcelains, it has unusual plasticity, My production conditioning was deep not. But a good idea is never forsaken throws easily and cracks rarely. Its only and the knee-jerk reaction was to fill because of failure the first few times. drawback is its 16% shrinkage. shelves with pots as fast as possible. I Solving the problems that arise lets me A propane torch has become a stan­ did, but could feel my resistance. Then draw on the skills acquired in all those dard tool to overcome engineering prob­ something happened which was pivotal years of production. lems encountered in throwing. With for the changes that followed: I was in­ A form often suggests its own next porcelain, certain forms (such as those vited to do a one-man show. To be sure, step. The evolution of the bowls with that close back in on themselves) have a it was simply for a glass case at Studio sculptured centers is an example. First tendency to collapse. I dry with the torch 36 CERAMICS MONTHLY Mayer’s Oakland, California, studio is a lesson in efficiency learned over the years: storage shelves line the walls, glaze is kept in 20-gallon containers that roll out from under a table when needed, infrequently used supplies are stored up and out of the way.

The author's original 700-square-foot studio (right) has been expanded Closely spaced shelf supports allow ware to be stored next door (left) to 1700-square feet with a loft. according to height. November 1983 37 Porcelain scraps are recycled into slurry, The rim of a porcelain bowl is altered by Mayer softens the harshness of the cut then poured on bats to dry. cutting with monofilament. edge, pulling and smoothing it with slip. whatever parts need to be stiffer, then Red Glaze (Cone 10,reduction) Blue/Purple Glaze continue to throw. Barium Carbonate ...... 4.5% (Cone 10, reduction) I like it when the forms have a kind Dolomite ...... 9.0 Barium Carbonate ...... 5.3% of “how-did-he-do-that?” quality. Dou­ Gerstley Borate...... 9.0 Colemanite ...... 10.5 ble-walled jars are constructed by Whiting ...... 2.7 Magnesium Carbonate ...... 5.3 throwing the outer layer upside down as Zinc Oxide...... 1.7 Whiting...... 10.5 a separate piece. While it is still “up­ Custer Feldspar ...... 21.6 Custer Feldspar ...... 15.8 right” on the bat, the rim is altered. Then Kona F-4 Feldspar...... v. . . 21.6 Kona F-4 Feldspar...... 15.8 it is inverted on a second, smaller pot Edgar Plastic Kaolin ...... 1.9 Ball Clay...... 5.3 and throwing is completed. Flint ...... 28.0 Flint ...... 31.5 Clay scraps are continually recycled. 100.0% 100.0% As soon as a 3-gallon bucket is filled, Add: Tin Oxide...... 2.7% Add: Copper Carbonate ...... 0.5% the scraps (and water) are blended with Copper Carbonate...... 0.5% Rutile...... 3.2% a Jiffy mixer powered by a drill, then Red Iron Oxide...... 1.0% Bentonite ...... 2.1% poured onto plaster slabs. When dry Bentonite ...... 2.1% enough, the recycled clay is wedged and Clear Glaze (Cone 10, reduction) stored in covered plastic buckets. This Celadon Glaze (Cone 10, reduction) Gerstley Borate...... 5.6% way cleaning up clay scraps never be­ Barium Carbonate ...... 4.4% comes a huge job—just 15 minutes a Nepheline Syenite...... 55.5 Bone Ash...... 2.7 Wollastonite ...... 11.1 couple of times a week. Whiting ...... 17.7 Ball Clay...... 5.6 Another time and energy saver is Custer Feldspar...... 53.1 Flint ...... 22.2 bisquing in an electric kiln with its floor Edgar Plastic Kaolin ...... 5.8 and lid lined with fiber insulation to re­ Red Clay (any with approxi­ 100.0% duce heat loss. At the end of a working mately 5% iron oxide)...... 4.4 Add: Zinc Oxide...... 11.1% day, I stack the kiln with dry ware, crack Flint ...... 11.9 Bentonite ...... 2.2% the lid and put the bottom switch on low. This brings the temperature up to 500°F 100.0% I have come to take great delight in overnight. In the morning, the lid is closed Add: Bentonite ...... 1.8% firing the kiln, feeling like just one par­ and all switches are turned on high to ticipant in a mysterious ceremony—the bisque to Cone 012 in about one and a Toshiko’s Semimatt Black Glaze final step in a long, spiritual process which half hours. With this system, the ware (Cone 10, reduction) began with throwing. After working with is ready to glaze at the end of a throwing Whiting ...... 20.0% this mud for weeks, I put it in a box, cycle. Kona F-4 Feldspar ...... 40.0 close the door, say the magic words and The glaze area makes testing another Cornwall Stone ...... 20.0 then dance around the kiln. Especially quick, simple job. Chemicals are stored Edgar Plastic Kaolin ...... 20.0 in the last hours of the firing, I’m push­ in recycled ice cream cartons on three 100.0% ing the damper in, raising gas pressure 12-foot-long shelves right over a 12-foot- Add: Zinc Oxide...... 7.0% on a burner, making a notation, low­ long table. Fired tests are filed on ver­ Cobalt Carbonate ...... 5.3% ering a burner, taking a measurement. tical boards kept in a 3x3x3-footcase Manganese Dioxide .... 1.1% Firing is intuitive. You get to know how which allows each board to slide out eas­ Red Iron Oxide...... 21.4% a kiln smells, how it feels. I keep a pre­ ily for review. Bentonite ...... 2.1% cise log of each firing, which allows fine Large buckets store batches of the adjustments to the choreography. I have glazes used most frequently, but new ones Heino Blue Matt Glaze been able to add an even greater measure are always being tested. If I like a 100- (Cone 10, reduction) of control recently by using a carbon gram test batch, then a 3000-gram batch Barium Carbonate ...... 26.2% analyzer—I heartily recommend one for will be tested; next maybe 9000 grams. Lithium Carbonate ...... 2.6 people having trouble achieving desired Only then will a 20-gallon bucket be Nepheline Syenite...... 57.9 reduction effects. filled. It may take a year from the time Kentucky Ball Clay...... 6.2 Then I open the door. It’s like alche­ a recipe is noted as a potential glaze to Flint ...... 7.1 my. Mud has been converted to stone, to the time it is put into active use. Cur­ 100.0% porcelain vessels exploiting the tension rently, the 20-gallon glaze buckets con­ Add: Copper Carbonate ...... 2.5% between continuity and experimenta­ tain: Bentonite ...... 2.0% tion. 38 CERAMICS MONTHLY The 36-cubic-foot kiln has no bagwall; burners enter horizontally but are turned at right angles to shoot flame up.

Glaze tests are stored on vertical boards which slide out easily to Mayer Shacter extrudes a shape that will be cut into self- provide ready access. supporting glaze test tiles.

November 1983 39 Photos: Karen Nor quay ador o lnlu hl tgte with together held linoleum or cardboard 40 CERAMICS MONTHLY structs a full-size model from stiff paper, stiff from model full-size a structs pro­ whole—the the to parts the of scale shape. functional yet abstract, with face sur­ polychrome com­ textured, Pim roughly Henry bines artist British vessels, e s atclry ocre wt the portional relationships. with concerned particularly is He stoneware large his within and around Henry Pim NET N ANIMATING ON INTENT fe secig n da Hny con­ Henry idea, an sketching After h Space the sufficiently hardenedtobearweight. added or taken away. When satisfied with satisfied When away. taken or added s osbe n te otm etos are sections bottom the little and as possible handled as is surface that textured so assembled the are slab prepared the ue wt a avd lse rlig pin. rolling plaster carved a with tured use to apart model the takes he form, the easily be can parts that so tape masking h prs u (rud tmlt) from template) a (around cut parts The each pieceasatemplate. ly lb ae old u, hn tex­ then out, rolled are slabs Clay and glazes,multifired. assembled whenfirm,withlayersofslips Handbuilt vessel,approximately20inches ■with acarvedplasterrollingpin, in height,constructedfromslabsrolled ok a peetd t h Biih Crafts British the at presented was work the desiredvarietyofcolor. achieve to required frequently are firings s ple o tp f frd lz. Many glaze. fired a of top slip on times applied is other at glazing; certain during mask to areas used is resist Some­ wax form. times the over poured simply or Centre inLondonthroughJune18. Left lp ae ple wt a rs, trailer, a brush, a with applied are slips oemn hw f er’ recent Henry’s of show one-man A aiu sui-ie ad commercial and studio-mixed Various Henry PiminhisLondonstudio.

Jill Bonovitz byS usan Beckman

The landscape, the people, the colors Terra Sigillata Slip of the Southwest have all had a deep Calgon ...... 7.5 grams effect on Jill Bonovitz’s new work re­ Bentonite ...... 60.0 cently exhibited at the Nexus Gallery in Edgar Plastic Kaolin . . . 1170.0 Philadelphia. Terra sigillata images on Kentucky Ball Clay her large handbuilt vessels and wall con­ (OM 4) ...... 270.0 structions reflect the surrealist manner 1507.5 grams of unconscious drawing. Mixed with 14 cups of water and al­ Jill sketches constantly, recording lin­ lowed to settle for 24 hours, the slip di­ ear memories of past feelings and ex­ vides into three layers. Jill siphons off periences. When her clay vessels are fin­ (and discards) the top watery layer, re­ ished, she chooses a drawing that relates taining the middle layer for the base to to the form, and a similar image is ap­ which colorants are added by eye. Al­ plied to the greenware. “Iwork in se­ though the fired slips vary little in color ries—each piece explores a struggle to from the raw batch, the works are some­ know myself at that particular time,” Jill times brushed with additional terra sig­ commented. illata, and refired. For further subtle She begins with slabs of the following surface variation, salt was also sprinkled clay: on a few forms before the final Cone 08 Raku Clay Body(Cone 08-04) firing. K-200 Feldspar...... 10 pounds Her wall constructions are three-di- Bentonite...... 2 mensional representations of drawings Kentucky Ball Clay applied to the vessels. Transported from (OM 4)...... 25 a vessel’s interior, the image is repeated Missouri Fireclay...... 65 on the vertical wall-mounted surface. Grog...... 20 Although based on modern abstrac­ 122 pounds tions, such as an animal, figure, skyline Draped over a mold, a vessel is hand- or landscape, “my work often gives peo­ built with large coils, then is paddled ple the impression of past existence, an and scraped until its shape is achieved. Philadelphia artist Jill Bonovitz. archaeological quality,” Jill observed. Terra sigillata patterns brushed on the form are burnished with cotton cloth (the By adding commercial stains to the The authorClay artist and teacher Su­ inside of a sweatshirt), before Cone 08 following terra sigillata recipe, Jill de­ san Beckman maintains a studio in Phil­ firing in an electric kiln. velops a range of colors: adelphia.

Wall construction, 8 feet in width, slab built, with terra sigillata, fired to Cone 08 in an electric kiln.

November 1983 41 Above Installation view of Jill Bonovitz’s show at Nexus Gallery. Below Earthenware vessel, 25 inches in diameter, drape molded, The wall constructions are linear extensions of the decoration with added coils, paddled and scraped, terra sigillata decoration, around the bowls' rims. burnished, fired to Cone 08 in an electric kiln.

42 CERAMICS MONTHLY Traditional Potters of Icheon, Korea by Mikhail Zakin

Last Year, as codirector of the newly in Japan where the tea ceremony and formed East-West Institute for the Arts, an informed public create a constantly I went to Korea in search of master pot­ appreciative market. ters for an exhibition at Sarah Lawrence Despite taboos against a woman’s College in Bronxville, New York. My presence during firing (women usually interest was in the phenomenon of a craft decorate the ware), I was fortunate to tradition enduring centuries of disrup­ witness an entire firing at Eun-Koo Lee’s tion—by foreign occupations, changes in kiln. Here there was a spiritual element government, and the ensuing shifts in in the potters’ approach to the fire— national economy, politics, religion and rituals involving personal purification, philosophy. propitiation of kiln spirits with a roasted The Korean Cultural Service of the pig’s head, anointing of the kiln with Ministry of Arts and Culture provided wine; prayers were followed by a com­ documentation on 400 working potters. munal feast for all the potters and “fire There are hundreds of privately owned men.” All this, together with 30 hours climbing kilns and over 230 officially re­ devoted to stoking an eight-chambered corded traditional potters, as well as pot­ kiln with 10 tons of wood, produced jew- ters working more consciously toward a el-like, blue-green celadons, glowing purely aesthetic goal. porcelains and in some chambers an ox­ Everywhere I went the potters pre­ idized ware called punch’ong. pared their own materials; they have no Four hours south of Seoul at Kyong- support system of local suppliers and must San, I found pottery similar in form to spend a portion of their time searching the Icheon ware, though less formal. It for suitable stones to grind for glazes. also has a strong connection with the Yi Another interesting difference that sets dynasty ware that inspired so much Jap­ a Korean pottery apart from the typical anese pottery, particularly teabowls in Western studio is that their tube and styles associated with the tea ceremony. chambered kilns are essentially made of A local potter informed me that the rice local clay brick, dried but not fired. After bowl of Korea became the teabowl of construction, a long, slow firing dries the Japan; Koreans are not generally a tea- kiln. From then on firings take place drinking people. until the kiln is fired through. This may In Kyong-San I learned of the pe­ take up to seven years, at which point culiar economics of the pottery trade be­ the kiln is probably taking longer to reach tween Korea and Japan. A small, ash- temperature since the bricks’ insulating glazed tea caddy could be purchased from factor is reduced. That kiln is then torn a Korean potter for $200. In Japan the down and a new one built. dealer would order an ivory cover and a In Icheon I found celadon ware of re­ handwoven silk bag; then the tea caddy markable quality in the workshops of would be sold for $2000. Eun-Koo Lee and Kwang-Yeoul Yoo, The Korean potters I visited live well whose father established the Hae Kang now, but this has been true only for the Koryo Celadon Studio in 1960. Korea last ten years. In previous years they has no living national treasure desig­ struggled economically and spiritually to nates in pottery; however, if it did, Keun- survive, and to recapture lost skills. The Young Yoo would surely be named one vitality of these traditional potters comes for his efforts in rediscovering the secrets from a kind of cultural taproot to the of Koryo dynasty celadon glazing. Among best ceramics of their past, and foretells the various skills employed at his pottery a vigorously growing future. are the throwing downward of large ves­ sels, and inlaying colored clay into carv­ The author A previous contributor to ings then scraping to reveal detailed pat­ Ceramics Monthly, ceramist Mikhail terns. Most of these wares, descendants An ever-growing shard pile in Icheon Zakin teaches at Sarah Lawrence Col­ of Koryo and Yi dynasty styles, are sold attests to rigorous standards. lege, Bronxville, New York. November 1983 43 Photos: courtesy oj East- West Institute for the Arts Bisqued wastersawaittheshardpileatatubekilninIcheon. 44 CERAMICS MONTHLY founder oftheHaeKang secrets ofKoryodynasty skills torediscoverthe celadon ware. Studio, researchedancient Studio, Icheon,Korea. Far left and inlayingcoloredclay Koryo dynastyproduction Left tea ceremonyinJapan. ware findsamarketforthe into carvings.Muchofthe throwing oflargeforms include thedownward Techniques revivedfrom The HaeKang Keun-Young Yoo,

Wide dirt steps between two Built of raw clay brick, Korean kilns are Newly split wood is stacked to dry. An multichambered, climbing kilns allow easy fired repeatedly until vitrification of the eight-chambered kiln may take 30 hours access for loading as well as a stable resting walls makes it difficult to reach stoking with 10 tons of wood to produce place for ware and kiln supplies. temperature. This may take seven years. jewel-like, blue-green celadons.

Potters keep up a steady production of large forms at Hae Kang Studio.

November 1983 45 Large vessels are thrown by first centering a tall, narrow cylinder; then, on opening, compressing the walls in a downward motion. The resulting cylinder is approximately the intended height of the finished form; further shaping is also executed in a downward fashion, until the final throwing of the rim.

Controlled carving into a leather-hard wall, Hae Kang Koryo Celadon Studio, Icheon, Korea.

46 Ceramics Monthly Slip is painted over the carved areas on When the slip becomes leather hard, it is With few ceramics suppliers in Korea, leather-hard ware—one of the Koryo scraped flush with the surface, revealing an most potters must spend part of their time dynasty techniques revived at the Hae inlaid design. searching for stone to grind for glazes. Kang Studio. Bisqued pots with a variety of inlay designs await celadon glazing and a final firing.

November 1983 47 Photos: P. Richard Eells, Ed Mindock with graphite, watercolor, prismacolor pencil,bytheauthor with graphite,watercolor,prismacolor otr udr cru tn, u porce­ our tent, lain sliptransportedviahoses. the circus a outside under worked pottery We a basis. on 24-hour available are more and dispensers, and ahalfmonths). two for residencies Kohler awarded had been (we me and artists other six to space Feh n Bns” at n asmld ocli, fe i height, in feet 6 porcelain, assembled and cast Bones,” and “Flesh 6-foot- with kilns meaning cycle; per-day working and assistance technical terials, offered factory plumbingware the past this year Arts, the for Endowment tional and cast a 5-foot, 5-inch slab figure. The figure. slab 5-inch 5-foot, a cast and 48 plaster/water ratioed glazing, tomated au­ hoses, of out flowing slip beds, long ma­ through support philanthropic its Na­ the from funding facili­ some With and ties. technology work industrial own their using develop to to artists designed allow was Program Arts/Industry hr cn one can Where icni. hd er ta te Kohler the that in heard had Company I Wisconsin. Kohler Answer: dreams? Clay ArtinIndustry h fcoy ucin o a three-shift- a on functions factory The hd rpsd o ul a -ot nest 6-foot a build to proposed had I C eramics M onthly elz lresae clay large-scale realize depended on the factory workers for aid— for workers factory the on depended iig fxn eupet laig kilns, loading equipment, fixing firing, artists The time. with developed finity af­ However, skepticism. of full initially asked: “Why not simply make two smaller two make simply not “Why asked: well astransition—life,death,limbo. and dayfortwomonths. night casting to servitude my began then mold, slab and steel-reinforced mold) 200-pound, per a bones three (with molds ugsig seta spot lmns as and elements support as essential functioning suggesting symbol, become personal had Bones a scale. relevant a on opihd Khe ws t I ae five made I it. was Kohler complished, and Purity together?” them put and slabs hr a et uh s hs ol b ac­ be could this as such feat a where U.S.A. the in places few the Of tenacity. would engineers (which the size), my to inches fire and shrink 70x25x1 slab a When I proposed to make a mold to cast to mold a make to proposed I When n gon: lre et f oe built bones of nest large a ground: nest­ personal ing a define to was intention h amshr i te atr was factory the in atmosphere The The process began with mold making. mold with began process The

sections overStyrofoam.Aftertheepoxyset,nestwasrighted. The nestwasassembledfromfiredporcelainbonesinthree off thecarsuccessfullyfired. o gig o un t vr” n h end the In over?” it turn to going you w kl laes epd e net the invert me helped nest anditheldtogetherwell. loaders kiln two are How weight? strong the used porcelain support to the you’ve enough Is sure epoxy? you enough “Are workers: days two and mistakes, through learned et brae b qetos rm the from questions the by epoxying barraged and nest, building when faith three in it man­ built I be piece, not one would in ageable nest 6-foot a that ucsfly lpe. hd ucind on functioned be had to I flipped. needed successfully still nest the But sections. Realizing set. epoxy the while together came figure the departure my to prior no h kl ws ey ifcl; ot of most difficult; very was kiln the into netd o rvt cud od h bones the hold could gravity so core, inverted Styrofoam a around built been had u atmt wr uscesu. We unsuccessful. were attempts our fered responsiveears. ugsin—n te utmtl of­ ultimately they suggestions—and Effectively loading a 70-inch-long slab 70-inch-long a loading Effectively y ao cnen a te et It nest. the was concern major My by D eborah H

orrell Industrial technology, such as casting slip from hoses, £*7rcs with 6-foot beds and automated glazing, make large-scale works readily feasible for those in the Arts/Industry Program at Kohler. Understanding the artists’ intensity, the workers became an important sup­ port system. Kohler altered my percep­ tion of the artist as an independent, self- sufficient agent. Never before had I thought of my work benefiting from in­ teraction with others, or affecting their lives so directly. The artist in a role out­ side the university system was an issue I had ignored, assuming the work to be the public’s educator. My understanding of this potential has changed. Perhaps the workers did not have a clear under­ standing of the content of the work, but they could clearly identify the perse­ verance and intensity of the artists’ ac­ tivity. Within such situations of inter­ action and curiosity, exchanges and growth occur, benefiting both artist and worker. Through the Arts/Industry Program, the sculpture “Flesh and Bones” was The slab figure for the author's sculpture was cast from a 200-pound, steel-reinforced mold made possible. It represents my home, (middleground). Loading the 70-inch-long slab into the kiln took several tries before my nest, my place from which to evolve. evolving a successful method. The silhouette and winged shadow sug­ gest the transformation beyond human­ ity into a being capable of flight. November 1983 49 Nader Khalili: Fired Houses byJ im Danisch

After observing that village kilns were often the only structures withstanding the rain, snow and earthquakes, architect Nader Khalili decided to fire adobe homes on site.

“I WILL SCULPT FROM CLAY a shell, a often killing entire families in the night. ers, but not until the whole interior had space large enough for living, large Riding his motorcycle one day, Nader glowed bright orange. enough to sit, sleep, walk in. I will set happened to pass by an abandoned kiln Nader left the scene for two days while a great fire within my clay shells—now on the edge of a village. Stopping to look the house cooled. On returning, he found immense kilns—and bake them, fuse at it, he was struck by the realization it wide open, still warm and apparently them. They will become human living that here was the exact same structure— vandalized—with hammer and pick spaces impervious to the heat of the sun the same vaulted roof of adobe—that was marks all over the interior. However, the and the cold of the winter, giant hollow collapsing in the villages, but this one villagers explained that in the hard rain rocks that no rain or flood can wash away, had been through rain, snow, flood and of the previous night several people had no earthquake destroy. Then my mind earthquakes for a hundred years. slept in the fired house, fearing their own races to the beauty of glazing such Leading the villagers to the old kiln, dwellings might collapse. In the wonder houses. . . .”—Nader Khalili, Racing Nader asked them why all their houses of acceptance, the walls were tested for Alone: Houses Made with Earth and Fire, were on the verge of collapse, when this their strength and pieces taken for sou­ recently published by Harper & Row, old kiln was still standing. One old man venirs. San Francisco. answered: “Don’t you understand? This Once firing proved successful, the is baked by fire to a rocklike brick. Even question arose, how do you glaze an en­ Six years ago, Nader Khalili quit his a cannonball can’t break it.” And after tire house? The answer was with insec­ architecture businesses in Tehran and a silent moment: “So this is what you ticide sprayers owned by all the vil­ California, bought a motorcycle and be­ want to do to our houses.” In a few min­ lagers, and low-fire glazes made from gan touring the Iranian desert villages utes each villager had offered his house simple mixtures of ground glass and clay. to study the vernacular architecture of a to be fired first. One by one the dozen houses in the vil­ country with little structural timber. Working with an old potter who knew lage were fired; most of them by the vil­ Adobe arches, domes and vaults, com­ the secrets of firing, the villagers blocked lagers themselves. bined in wonderful flowing forms, pro­ up the doors and windows of a house, After this project, Nader designed a vide a perfect answer for housing in an created fire channels and flues, set up 15-room school, built in four months by environment which bakes in the summer homemade kerosene burners and with a master adobe worker and one helper. and freezes in the winter. Here Nader some fear began their first house firing. Made permanent by fire, it cost only found a clay technology that had been As the heat slowly built, great clouds one-third the price of a conventional perfected over thousands of years but still of steam escaped from the old adobe, building and has survived two years of had one major drawback: when satu­ followed by hordes of roaches, mice and heat, rain and snow. Calling the process rated with rain or snow, the sun-baked lizards—an unexpected bonus. Twenty “geltaftan” (in Persian gel means clay adobe roofs would soften and collapse, hours later the wind blew out the burn­ and taftan means firing, baking and 50 Ceramics Monthly Photos: Nader Khalili providing entrancetotheclassrooms(right),whichwillhave vaulted roofs. School, Iran.Thearcadeattheleftwillbecoveredwithdomes, Above The completedwallsfortheJavadabadElementary

keep theadobesinplace. mudmortar scaffolding, neednoarchforms,sincegravityand onwall-supported against thebackwall.Workers,standing Below To build the classroom arches, coursesofbrickareleaned To buildtheclassroomarches, November 1983

51 To build a dome, small arches are begun at the four corners of a square room. As they grow toward the; the center separate sections interlock. The walls, two courses (16 inches) thick, lend added support to the heavy brick roof

Seen from the interior; a dome nears completion. The center Arch forms for windows and doors are made of loosely stacked opening can be kept as a flue during firing, and later serves as a adobes, which can be easily knocked out after firing. The skylight. traditional Iranian brick is 8x8x2inches and weighs 5 pounds. 52 Ceramics Monthly weaving), Nader presented documenta­ traditional Iranian adobe brick is only tion of the work on the school in “Les 8x8x2 inches and weighs only 5 pounds. Architectures de Terre,” an exhibition Made in a wooden form, the brick is at the Pompidou Center in Paris. quickly sun dried, then laid with adobe Shortly after this, he returned to the mortar. United States where there appear to be To make a vault without wooden forms, more possibilities to realize the dream a double-course brick foundation is laid of an architecture that can be used any­ for the back and side walls. Successive where in the world. He sees ceramists arch courses are tilted against the rear as essential to the success of this project wall so that gravity holds each row to since they have knowledge of the nec­ the previous one. The mason requires essary elements. “Now the time has come only a simple one-board scaffold to stand to create a new scale in the ceramic world, on, and as the vault proceeds toward the to walk from the womb of a pot to the front of the building, he simply moves space of a room,” he commented. it forward. Potters have been more responsive to Domes are assembled in a similar Nader’s ideas than have architects, since fashion. Starting from a square vertical potters relate easily to the familiar forms wall, the dome begins at the four corners of dome and vault, and since the work and grows toward the center. is done on a very human scale. Another Windows and skylights are easily in­ factor is that these houses are also kilns; corporated into the walls and roof. Arched they can be producers rather than con­lintels over doorways and windows are sumers of materials. When a space is temporarily supported with adobe brick; completed, it can be filled with pots, once the building is fired, this temporary Top and aboveIn Iran, buildings were fired with kerosene, though any fuel should sculpture, roof tiles and bricks (for fa­ filler can easily be knocked out. Interiors suffice. Adobe bricks were loosely stacked in cades, retaining walls and walkways) for also can be adapted to individual taste, a window or door opening, with a port left another firing. with shelves, niches, coat hooks, etc. carved for the burner. Oil drums were placed on It is true that adobe making is hard into the unfired adobe. the roof of the adjoining house to provide work, but unlike the large adobe blocks The forming and glazing process in gravity feed to simple torches. typical of the American Southwest, a the interior could well create a new vo­ November 1983 53 The arcade of the Javadabad Elementary School after firing. The walls were plastered, but may be left natural (like the roof) or even glazed. cabulary for the integration of ceramics house to provide gravity feed to simple ble. If an adobe dome is built on a sand into architecture. Nader relates the pot­ torches. Wood or propane could also be foundation, it is then free to ride over ter’s combining of art and function to used, depending on availability. the seismic waves and shift slightly. Clay the Persian rug, which is not only pleas­ The house-as-kiln can be either up­ buildings are also ideal for setting par­ ing to look at in its multileveled com­ draft or downdraft. Ventilation is pro­ tially in the earth, in which case the earth plexity, but covers the floor as well. “Art vided by traditional Middle Eastern and structure move as one. After the 7.7 in our Eastern world has never been “wind catchers,” towers with air chan­ magnitude earthquake in Tabas, Iran, something you hang in a museum. The nels that are oriented to the prevailing Nader studied the city and found that fine arts are the arts that people use. The wind. These can be made to double as often, when steel-and-concrete struc­ Persian rug is the most beautiful piece fireplace flues, heating in the winter and tures were twisted wreckage, many brick of art, but it’s not created for art. It’s cooling in the summer. Natural convec­ and adobe domes were still standing— created to put under your foot.” tion currents are also set up by the curved proof that compression-type structures Many firing variations are possible. roof, since it always has a sunny and a are the most appropriate for resisting Most adobe clay fires to 1832°F shady side—an advantage over flat roofs gravity and seismic force. (1000°C), and the depth of the walls, which absorb sunlight all day. Currently a professor of architecture roof or floor is a function of the firing When he talks about earthquake re­ at the Southern California Institute of time—the longer the firing, the more clay sistance, Nader enjoys turning a ceramic Architecture, Nader Khalili does not see is hardened. Vertical spaces between the bowl upside down on a tabletop to dem­ his ideas solving housing problems brick are left free of mortar and thus onstrate its stability by shaking the ta- everywhere. But in a world where 80 allow the heat to penetrate more easily. percent of the shelterless are untouched Often there is an advantage in only fir­ by government programs, even a small ing the walls and roof part way, since percentage housed this way would be the raw adobe on the outer surface is significant. With geltaftan techniques, a better insulation. This also permits a sod family should be able to walk to a piece roof. If the surface is plastered with straw- of land and build themselves a home mud near the end of the firing period, without timber, steel or concrete. Just the entire thickness of 8-inch adobe can the earth alone should suffice. be made into solid brick. Another pos­ sibility is to fire glazed roofing tiles in­ The author California ceramist Jim side the building which are then laid in Danisch teaches at Ventura College and place on cooling. is artist-in-residence at the Ojai Foun­ Almost any fuel will suffice. In Iran, In tenor walls may be glazed with simple dation, where he works with Nader Nader used kerosene burners. Oil drums mixtures of ground glass and clay, applied Khalili on designs for fired adobe con­ were placed on the roof of the adjoining with an insecticide sprayer, then fired. struction. 54 Ceramics Monthly Salt and Form byS arah Walton

Salt-glazed teapots, tea caddies, pitch­ ing the woods one begins to climb, over must be elevated on clay wads. After each ers, bowls, vases and “tulip bricks” by pasture land and around the edges of firing, it takes three days for grinding British potter Sarah Walton were re­ cornfields, toward the Downs. Ancient the residue of these wads from the bases cently featured (for the first time in the chalk tracks lead to the summits from of the pots and cleaning up the shelves, U.S.) at Findlay College in Ohio.—Ed. where one catches glimpses of the sea. props and kiln. One week out of my five- The profound silence of this landscape to six-week cycle of work is taken up At the outset I was attracted to salt is also a thousand sounds and the still­ with packing, firing, cooling down the glazing by the rich colorings and the ness is an infinity of movements. This kiln, unpacking, grinding the pots and dramatically varied surfaces. I also found is also an inspiration. cleaning up the kiln. This to many pot­ the firing process exciting. One could I have great difficulty in writing at ters will appear extremely uneconomical never hope to control it exactly and yet length about my work. I not only take in financial terms. At the moment I do so many wonderful things happened de­ a great deal of time to produce it, but I not find it uneconomical in other terms. spite (or because of) that. It was clear am always doubtful of the value of the If the firing process is protracted, the the art lay in learning to exploit the pos­ writing exercise in the first place—the methods open to one when making pots sibilities to one’s own advantage. process seems to threaten to dissipate that are certainly not. Because so much hap­ I began to make pots when I was 26. very energy I want to reserve for my pens in the kiln during the firing, one By that time I’d spent four years study­ is encouraged not to overdecorate. ing painting and five and a half years Combing and sgraffito methods, either training and working as a nurse in Lon­ under or through slips, lend themselves don. I value both experiences. However, well to salt glazing, as do spontaneous on seeing a collection of ancient Chinese throwing, handling and turning. pottery at the Musee Guimet in Paris, I think the “bonyness” mentioned ear­ I resolved to return to work in the cre­ lier also suits my intention to be a little ative arts. Realizing that pottery with its reserved and formal. I do this in the hope three dimensions and decorative aspects that emotion under a little restraint may could be a medium that might suit me convey a greater sense of energy than better than painting, I attended the stu­ when it is given full rein. Clearly, to dio pottery course at Harrow Art School choose to work in such a manner one under its initiators, Michael Casson and runs the risk of being dull and even cold. Victor Margrie. Infusing inanimate material with life From the salt kilns other students were The author in the showroom of her pottery is a mysterious business. Hans Coper, getting superb pots, with rich oranges, at Selmeston, Sussex, England. the German potter who worked in Eng­ pearly lusters, reds, tans and pinks. I work. My chosen language is the three land from 1939 until his death two years became involved both mentally and dimensions. My grammar and syntax ago, wrote eloquently of this: “A pre- physically in the process—watching the are volume, texture, weight, balance, scale dynastic Egyptian pot, roughly egg- pyrometer, the cones, the burners, the and line. I want my work to say every­ shaped, the size of my hand, made thou­ color and density of the flames in the thing and require no footnote. sands of years ago possibly by a slave, kiln and the flue, the amount of salt A friend has said that my pots are has survived in more than one sense. A thrown in; developing an awareness or “bony” in appearance. If that means they humble, passive, somehow absurd ob­ sense of when things are going well and are dominated by the form then I think ject—yet potent, mysterious, sensuous. in balance and when they are not; not that is fair comment. Certainly I am It conveys no comment, no self-expres- only learning to recognize trouble at an preoccupied with form, and the fact that sion, but seems to contain and reflect its early stage, but trusting when something my pots are salt glazed only serves to maker and the human world it inhabits, goes wrong that you have met the prob­ emphasize this. For salt glaze is such a to contribute its minute quantum of en­ lem before and will understand how it thin glaze, one made from the clay of ergy—and homage. An object of com­ has happened and how you coped with the pot itself or at most from a slip ap­ plete economy made by man; Giacometti it last time. Most of the practical infor­ plied over the surface. Recently I have man; Buckminster Fuller man. A con­ mation about salt glazing is not in books. been inclined toward drier and drier stant.” There’s been a lot of rediscovery in the qualities to the glaze in the belief that I suppose I want what every potter last few years. this best emphasizes the form. wants for his or her work. I want my To that course at Harrow I owe the On the whole, salt glazing is a more pots to have all the qualities I admire: knowledge of how to establish a work­ protracted process of firing pots than a quiet “presence,” reserve to the point shop. After some working experience with straightforward stoneware glazing. of understatement, vitality and that kind David Leach, then Zelda Mowat, I set Though it is a once-fired ware, there is of strength that doesn’t exclude ten­ up my own pottery at Selmeston, Sussex, an enormous amount of cleaning up af­ derness. How one gets a pot to convey in 1974. The place stands on a hill look­ ter each firing. The salt eats into the an impression of the totality of such elu­ ing out over a large expanse of country, brickwork of the kiln, drastically short­ sive qualities is the intriguing mystery. It and the sky above seems vast. Behind is ening its life; likewise with shelves and is a formidable goal and yet the trying a dense wood of ash, oak, poplar and props [posts]. To prevent pots being glazed must be satisfaction enough. Certainly field maple intercepted by paths. Leav­ to the shelves by the salt vapors, theyone becomes addicted to the search for it. November 1983 55 Photos: Duncan McNeil

56 Ceramics Monthly Wheel-thrown bowl, approximately 12 inches in diameter, incised.

Left Two-quart, salt-glazed pitcher, 10 inches in height. “Recently I have been inclined toward drier and drier qualities to the glaze in the belief that this best emphasizes the form.”

Two “eared” pots, each approximately 5 inches in height, Stoneware dinner plates, 10 inches in diameter, thrown, incised, salt-glazed stoneware. thrown, single-fired salt glaze, by the author. November 1983 57 Wheel-thrown bowl, 12 inches in diameter, with slip, incising.

Sarah Walton’s studio showroom. “I want my pots to have all the qualities I admire: a Small bowls, each 5 inches in height, quiet presence,’ reserve to the point of understatement, vitality and that kind of strength wheel-thrown stoneware, incised, single that doesn’t exclude tenderness.” fired, salt glazed.

Tulip or flower bricks, handbuilt stoneware, each 3V2 inches square, incised, salt glazed.

58 Ceramics Monthly Four-cup teapot, 5 inches in height, wheel-thrown stoneware, with incising, combing. “Because so much happens in the kiln during the firing, one is encouraged not to overdecorate.”

Two views of Sarah Walton’s kiln. One week out of her five- to six-week cycle is taken up with loading, firing, cooling, unloading, grinding pots and cleaning up the kiln—perhaps uneconomical financially, but “not uneconomical in other terms.” November 1983 59 Early Thai Civilization d the Smithsonian Institution Photos: Joan Broderick and courtesy of the University Museum, Pennsylvania an

Cannated (ridged) pot, 19 inches in height, handbuilt white clay, slip decoration under the rim, from Ban Chiang, Thailand, circa 1000 B.C.

Southeast Asia was thought to be a “Ban Chiang,” which recently began a from the ground. Looking about, he saw cultural backwater to China and India two-year national tour at the University that these pot rims were eroding out all until the accidental discovery of some of Pennsylvania in Philadelphia. along the road. Since the shards were 4000-year-old pots in 1966. Subsequent According to Joyce White, exhibition unglazed, he assumed that they were quite excavations at Ban Chiang in northeast curator, the site was discovered by a old. Thailand during the 1970s revealed a Harvard University junior in the course “Samples were sent to the University new “cradle of civilization.” Among the of sociological research. “One day while of Pennsylvania for thermoluminescence discoveries were the ceramic figures, in­ walking down a village road, he fell over dating. When the results became known cised rollers and red-on-buff pottery in the root of a kapok tree and came face- to the public, collecting pots became the Smithsonian Institution’s exhibition to-face with the rim of a pot emerging highly fashionable. Villagers started to 60 Ceramics Monthly dig up their backyards to supply shop­ limited time spans, the ceramics as a “In addition to their decorative con­ ping expeditions, and the pots went from whole are highly diverse, individualized tinuity, the Ban Chiang ceramics exhibit meaningless curiosities to a source of in­ and resistant to simple categorization. a formal coherence even though specific come. There are, however, decorative treat­ shapes have restricted time ranges. “When the archaeologists arrived in ments that characterize the tradition as Rounded bases to which a foot has some­ 1974, the immediate problem was where a whole. In particular the freehand ap­ times been added are characteristic, but to dig. The mound at Ban Chiang was plication of abstract designs can be found handles, spouts or other utilitarian mod­ entirely covered by a living village of throughout the ceramic sequence. These ifications are rare. The range of shapes tightly spaced houses. The first exca­ designs, usually simple to complex cur­ is in part a product of the manufacturing vation was located in the unlooted yard vilinear scrolls and spirals plus geomet­ technology which employed the paddle of a villager. In 1975 the archaeologists ric motifs, may be incised as in some and anvil in construction of the vessels. sought an area closer to the center of the Early Period (3600-1000 B.C.) pots; in­ This technique was widespread mound and selected the only undis­ cised and painted as is most often found throughout prehistoric southeast Asia and turbed area they could find—down the in late Early Period and Middle Period indeed is still used by potters in north­ center of a village road. Yet these limited (1000-300 B.C.) pots; or painted only east Thailand today. excavations produced a wealth of ma­ as in the red-on-buff ware of the Late “One variant of the paddle and anvil terial: more than 5000 bags of shards. Period (300 B.C.-A.D. 200). The in­ technique is used to make water jars and “The red-painted pottery that cap­ tricate and precise composition of the de­ cooking pots in the village of Ban Kham tured public attention was literally the sign field for the red-on-buff pottery is Oo, located about 5 kilometers north of tip of the iceberg. It was found in only equally remarkable in the incised ware Ban Chiang. Contemporary potters col­ the uppermost layers, underneath which of the Early Period. The rarity of de­ lect clay from a meander in a local stream were uncovered a great variety of other pictions of humans, animals or other bed. Grog is made from a mixture of equally distinctive ceramics. natural forms is as characteristic of the rice husks and clay which is shaped into “Although stylistic treatments can be Ban Chiang aesthetic as is the popular­ balls, baked, ground and finally sifted. discerned which are characteristic of de­ ity of abstract designs. The potter mixes the grog with more

Handbuilt vase, approximately 10 inches in height, white clay with painted red slip. Painted pots such as this drew attention to Ban Chiang as an archaeological site. November 1983 61 clay on a woven mat by kneading and two days and then fired in the open for well. Additives to the clay included whole stamping the two materials with her feet. about 30 minutes on bamboo frames us­ rice husks and occasionally sand and lat- Vessels are begun from lumps of this mix ing rice straw as fuel. erite. The distinct contours of some pots by forming open-ended cylinders. The “Of the many techniques employed by indicate that methods other than the cylinder is placed on an upright log and the ancient potter but not used in the simple paddle and anvil were used to the potter forms the rim first by grasping area today, the most notable example is shape them. In particular, the large car- the top with a wet leaf and moving quickly cord marking. Although there may have inated ware of the Middle Period ap­ and smoothly around the log. When the been a function for impressing cord pears to have been constructed in parts. rim has been thus formed, the potter holds onto the surface of pottery, it was clearly The sinuous shape of their bases sug­ the cylinder in her lap and beats the applied as an aesthetic element in Ban gests that they were paddled over molds, exterior with a wooden paddle while Chiang ceramics. Cord impressions possibly another pot base, before the up­ supporting the interior with a fired clay were applied usually by paddling the pot per body was added. Although technical anvil. The beating process closes the base with a cord-wrapped paddle, or rolling analyses have not yet been completed, it of the cylinder and shapes the globular a cord-wrapped cylinder down the is evident from the variation in color, contour of the pot. If a foot is to be added, surface of the pot. Cord width varied particularly with the blackish ware of the pot is replaced rim down on the log considerably from coarse to very fine. the Early Period, that some effort at ma­ and a second cylinder of clay is pinched Beyond cord marking, the ancient potter nipulating firing conditions was being and pressed onto the base. This in turn used, at one time or another, applique, made. is smoothed and shaped using the same rocker stamping, combpricking, freehand “The ongoing vitality and creativity procedure employed in forming the rim. painting and incising, and burnishing; of the ceramics made over the course of The only decoration that might be ap­ often more than one technique was used 4000 years at Ban Chiang make this site plied is a geometric pattern stamped onto per pot. stand out. No other site in the region the shoulder from a carved wooden pad­ “Manufacturing techniques beyond has yet produced ceramics of compara­ dle. Otherwise the pots are dried for about those of the present day were utilized as ble artistic variety in such quantity.”

Round-bottomed pot, 20 inches in height, handbuilt buff clay, with painted red slip decoration.

62 CERAMICS MONTHLY Top Ceramic cylinders, the longest approximately 3 inches. Though they echo the patterning of painted pottery, these deeply carved cylinders are thought to have been used in textile printing.

Above Fired clay anvils, the largest 5 inches in length, are thought to have been used to support the inside wall of a pot while the exterior was beaten with a wooden paddle (left), a handbuilding technique common throughout Southeast Asia today. Paddle marks on prehistoric pottery indicate the practice has been employed for thousands of years.

November 1983 63 64 Ceramics Monthly News & Retrospect

Vessels Aesthetic Jurors’ Comments cept drawn from ancient ritual, was strongly with my peers. Later, Jorge Oteiza saw my To recognize and show the versatility of represented in a contemporary and often hu­ work and gave me some positive criticism; he clay as a medium for aesthetic expressiveness morous context. Realistically portrayed or as pushed me to follow the path I was already in forms alluding to the vessel, Taft College an abstraction, landscape elements have found starting along. in California recently presented the second a place as surface enrichment or as part of Interviewer: How did your clay work evolve? national “Vessels Aesthetic” competitive ex­ the form. The animated, decorative or paint­ Garraza: I began working clay as an inter­ hibition. While viewing the 541 slide entries erly surface also is increasingly a part of con­ mediate medium, as a means to get to another by 270 ceramists, juror Catharine Hiersoux, temporary expression.” Text: Jack Mettier; matter. In the beginning it did not interest Berkeley, “felt an intense awareness of the photos: courtesy of the artists. me by itself—i-as it does now. collective energy being directed through clay— Interviewer: How did you learn technique? identifying with the subjective struggle to Angel Garraza With whom? control the medium, to define ideas and to Present-day Basque sculpture is the result Garraza: At that time, in Basque country, breathe spirit into form. My responsibility of three developmental stages. The first— folk pottery production had disappeared; so was to select pieces which, independent of a during the 1950s—was an opening of new I had to go out. I went to some workshops body of work, most successfully reflect that roads. The artists started with a new aes­ in Sargadelos. I also had some contact with synthesis.” A juror’s citation was presented thetic, between the formal and the rational, Catalan ceramists. Later, everything I learned to James Irwin, San Francisco, for this bur- although they followed traditional compo­ was by doing. I bought a kiln and started nents in media and form. The second stage— working very seriously. Now I use refractory during the ’60s—went farther along this road, clays, some stoneware, some mixes, always toward the informal. The third stage involves guided by the effect I want. I fired in a me- artists born in the ’50s; and even though it dium-capacity electric kiln to 2336°F is still a continuation, some predominant (1280°C). I am interested by the whole mass, characteristics have emerged. Spanish artist the volume, the work in one block—so I dis­ Angel Garraza, born in Alto, Navarra, be­ like casting. I want emptiness to be under­ longs to this loosely defined third generation. stood in a sculptural sense. That is why I His objective is to study mass as presence prepare my clays to work as solid concepts, and as absence. Angel feels that matter has as a whole, in pronounced thicknesses. needs of its own, and he respects its structure, Interviewer: You have spoken about the fact volume, behavior. He tends to order, to ra­ that matter is strongly connected to tech­ James Irwin s 13-inch burnished bowl tionalize the design as an individual poetic niques. What is the relationship of this to nished earthenware bowl, 13 inches in di­ on which the intuitive and the personal play the concept? ameter, smoke fired. Also shown (below) is a part. His background and current direction Garraza: My working process starts with a a purchase award winner, “Baking Box,” 10 are discussed in a recent interview: small sketch, analyzing it, purifying it, inches in length, glazed stoneware, reduction Interviewer: How did you get started as an searching for the form. At the same time, the fired to Cone 10, by James Robinson, Phoe­ artist? chosen material plays its part. I make certain nix, Oregon. Garraza: When I was 17, I began drawing the material and concept are suited for one Of the 51 vessels selected for the exhibi­ and painting at the School of Arts and Crafts another. Finally, I let the material act. To tion, 22 were low fired, 22 were high fired in Pamplona. At the beginning, my studies give the-form definitive character, I let the (Cone 6-10), 6 were raku and 1 was unfired. were “classic”; impressionism was the main matter speak, breathe. The clay itself will style. Two or three years later I discovered give the work its fundamental essence. clay as a medium for three-dimensional con­ Interviewer: Why do you interrelate mate­ cept. rials as different as wood and ceramics? We planned a trip to Paris to see what was going on in art, outside our very isolated locale. In particular, an outdoor sculpture exhibition left me open-mouthed because of the scale of the show. This impression was so great that on returning home I started working with slabs, bent and painted with bright colors. After this first contact, I thought seriously about my art work. I went to the Fine Arts School in Bilbao, and began conscientiously with sculpture. At that time, I don’t think James Robinson's Cone 10 reduction box there was a decisive influence from anybody; Cojuror Elaine Levin, Northridge, Califor­ maybe the most important part was contact nia, “drew several conclusions. Raku contin­ ues to engage a large number of potters and to reveal some exciting surface treatments. I You are invited to send news and photo­ graphs about people, places or events of29-inch clay and wood form was surprised at the limited number of plate- interest. We will be pleased to consider plaques. A large number of entries featured Garraza: Maybe because of the need, or whim stunning glazes on poorly constructed forms, them for publication in this column. Mail or interest that I always have had for mixing as though glaze technology had advanced to submissions to: News and Retrospect, different materials. It is like a dare. And it the detriment of competent throwing. The Ceramics Monthly, Box 12448, Colum­ is not a new phenomenon of our times by vessel as an expression of the figure, a con­ bus, Ohio 43212. Continued November 1983 65 News & Retrospect far. Brancusi mixed materials in his towers. Also, working with two different materials gives me a new set of problems, such as an­ chorings, supports. On the other hand, I don’t always try to interrelate; each work has a determined quality and concrete character. Interviewer: What about color? In your ce­ ramic and wood sculpture, the clay remains unglazed.

38-inch, unglazed clay and wood sculpture Garraza: Lately, since I have been interested in clay by itself, I have experimented with colored bodies. I want the clay body to be all one color, so nothing is hidden. I use glaze color in those places where I think I can enhance the form. Interviewer: How do you see ceramics, in terms of artistic creation? Garraza: As a means of expression. Maybe the difference with other means is that ce­ ramic technology is more complex. It takes time and work. Also, it has a high degree of surprise because of the firing process. For me it is a creative process, with the same value as any other. Ceramics should not be apart from the rest of the arts. Interviewer: Do you believe in a new Ce­ ramics, with a capital letter, in the face of a more traditional or popular ceramics? Garraza: No, I think that makes no sense. Popular ceramics are made by people who do not seek the same aesthetic goals as sculp­ tors, but they do create form. I have a strong interest in the popular, not only in ceramics, because I think it is very real. And that which is artistic is based on what is real and au­ thentic. Lately, we have had some defor­ mation in the media because of speculation and “snobbism.” Interviewer: How do you qualify your work? Garraza: I don’t like to brand myself. I want to be an artist of my times above all else. Perhaps I would be willing to forget tech­ niques if I could learn new concepts. Interviewer: Then, do you consider yourself a follower of the Basque school? GcCrraza: Maybe I am, but I would not define myself as such. Maybe since I value my sur­ roundings very much, I try to belong and be 66 CERAMICS MONTHLY coherent with them. Today art is a melting pot where everything is valid. We have to have a worldwide view. But we cannot deny that our habitat gives us an art for the mo­ ment, with the characteristics of a specific place. Interviewer: Xabier Saenz de Gorbea; photos: Joan Abasolo. Southeastern Invitational Work by 14 potters who use the vessel as a primary means of artistic expression was featured recently in “Southeastern Ceramics Invitational 1983” at Virginia Polytechnic Institute and State University in Blacksburg. “I enjoy my work. I get a kick out of making it—the images, the process of glazing and firing, and the reaction to it,” commented Charles Malin, Atlanta, who exhibited “Green Striper Vase” (left) and “Salmon Vase,” each 20 inches in height, handbuilt red earthen-

Charles Matin’s 20-inch earthenware fish vases ware, decorated when leather hard with polychrome slips, bisqued, lead glazed and fired to Cone 04. “But [my work] is more than the obvious image connotations,” he continued. “It exists not just on a frivolous or humorous level; it’s an image that avails itself to a color/shape/decorative context that I am interested in using.” New Look at Appalachiana Joan Farrell and Ann Powell have suc­ cessfully operated their Appalachiana crafts store in Bethesda, Maryland, for over 13 years. Recently, however, they altered the store’s merchandising approach to concentrate on American handcrafted home furnishings and related objects. This change was based in part on Joan’s beliefs that following hard on the heels of the “cute” country look will be a real and abiding interest in handcrafts, and that such ware Continued November 1983 67

News & Retrospect (including breakables) should be “related to living and using.” Seeking to dispel the gal­ lery image of crafts as things to be collected and displayed, they feature handmade ce­ ramics, textiles, furniture and accessories in homelike settings that enable shoppers to see a total picture. Tableware, such as these

Appalachiana dinnerware: Norstad (top) and Brunell stoneware settings by Bob Brunell, Jackson­ ville, Vermont; and Eric Norstad, Richmond, California, is open stock, which of course means replaceable and matchable. There is a certain amount of consumer education involved as well. The displays are designed to illustrate the spectrum of styles available, from the heavier casual look to “finer” forms. Many prospective purchasers are surprised to see that a place setting of handmade tableware is no more costly, and in many cases less expensive than commerical china. As do major department stores, Appala­ chiana also offers a bridal registry, and the staff assists customers in the selection of ob­ jects which will blend with patterns chosen. To encourage major purchases of entire sets, Continued November 1983 69 son, porcelain jewelry, vases and boxes; at Lang- “Minnesota Christmas Craft Sale”; at the Hyatt Itinerary man Gallery, Willow Grove Park. Regency Hotel Exhibition Hall, 1300 Nicollet Mall. Continued from Page 19 Tennessee, Gatlinburg November 5-January 7, New Jersey, Wegt OrangeNovember 11-13 1984 “The Figure: New Form, New Function” “New Jersey Craft Experience”; at the South North Carolina, Raleighthrough November national juried exhibition; at the Arrowmont School Mountain Arena. 20 “Functional Ceramics ’83”; at the Craft Cen­ of Arts and Crafts. New Jersey, Woodcliff LakeNovember ter Gallery, North Carolina State University. Tennessee, Oak Ridge November 19-December 5-9 “Art of Our Time ’83”; at Temple Emanuel, North Carolina, Winston-Salemthrough No­ 18 “Southeastern Potteries,” contemporary folk 87 Overlook Dr. vember 27 “Crafts Invitational”; at Southeastern works; at the Children’s Museum, 461 West Outer New York, AlbanyNovember 25-27 “Craft Center for Contemporary Art, 750 Marguerite Dr. Drive. Expo”; at New Scotland Armory. Ohio, Athens through November 20 “Noritake Texas, Austin November 3-December 31 “Latin New York, Herkimer November 12-13 Art Deco Porcelains”; at Trisolini Gallery, Ohio American Art from University of Texas Collec­ “Eighth Annual Herkimer County Arts and Crafts University. tions,” includes contemporary and pre-Columbian Fair”; at Herkimer County Community College. Ohio, Cincinnati through November 19 “Cup works; at the Ransom Center, University of Texas. New York, SchenectadyNovember 5-6 “De­ and Saucer Invitational” includes works by Stanley Vermont, Middleburythrough November 5 A signer Crafts Council Festival 1983”; at the Sche­ Anderson, Mike Imes, Pam Korte, Mario Petri- dual exhibition with Caroline McKinney, porce­ nectady Museum and Planetarium, Nott Terrace rena, John Stephenson, Barbara Tipton, Sandra lain; at the Vermont State Craft Center at Frog Heights. Wyner and Georgette Zirbes; at Vertu, 320 W. Hollow. New York, Valhalla November 5-6 “West­ Fourth St. chester Art Workshop 5th Annual Craft Fair”; at Ohio, Cleveland through February 26, Westchester Community College Physical Edu­ 1984 “Highlights of the Rococo: Norweb Ce­ Fairs, Festivals and Sales cation Bldg. ramics and Related Arts”; at the Cleveland Mu­ Alabama, Birmingham November 12-13 North Carolina, AshevilleNovember 25-27 seum of Art, 11150 East Blvd. “Hands at Work Fair”; at the Birmingham Bo­ “High Country Christmas Art and Craft Show”; November 22-December 31 “Clay Invitational tanical Gardens. at the Asheville Civic Center. 1983”; at DBR Gallery, 13225 Shaker Square. Colorado, BoulderNovember 11-13 “14th North Carolina, Winston-SalemNovember Ohio, Columbusthrough November 20 “Re­ Annual Boulder Potter’s Guild Fall Sale”; at the 4-6 “Piedmont Crafts Fair”; at Winston-Salem flections on Genoa’s Golden Age,” 16th- to 18th- Armory Bldg., 4750 N. Broadway. Coliseum, Coliseum Dr. century decorative ware; at the Columbus Mu­ Colorado,Goldenthrough December 11 “Hol­ Ohio, Cincinnati November 25-27 “The Cin­ seum of Art, 480 E. Broad St. iday Art Market”; at the Foothills Art Center, 809 cinnati Crafts Affair”; at the Cincinnati Conven­ Oregon, Portlandthrough November 10 Fifteenth St. tion Center. Charles Gluskoter and Kriz Kizak Jacobs, stone­ Connecticut, Greenwich November 5-6 “Green­ Pennsylvania, Camp Hill November 19-20 ware and porcelain masks; at the Real Mother wich Handcraft Show and Sale”; at Central Junior “The Creative Source, A Market of Professional Goose Gallery, Washington Square. High School, Stanwich Rd. Craftsmen and Artists”; at Penn Harris Motor Pennsylvania, PhiladelphiaNovember 20-Jan­ Florida, Lake Buena Vista November 11-13 Inn. uary 29, 1984 “Contemporary Artifacts 1983,” “Ninth Annual Festival of the Masters”; at Walt Pennsylvania, Philadelphia November 11-13 third annual invitational exhibition of Judaic crafts; Disney World Village. Seventh annual juried “Philadelphia Craft Show”; at the Museum of American Jewish History, 55 Illinois, Oak Park November 6 “9th Annual at the 103rd Engineer’s Armory on Thirty-third N. Fifth St., Independence Mall. Craft Fair”; at Oak Park/River Forest High Street. Pennsylvania, Willow GroveNovember 7- School, 201 N. Scoville. Pennsylvania, PittsburghNovember 25-27 30 Don Cornett, large vessels, and Roberta Han­ Minnesota, Minneapolis November 24-27 Continued

70 Ceramics Monthly News & Retrospect outside financing is available. Text: Nylene Singelstad; photos: Gary Putnam. Mary Lou Deal An exhibition of red- and/or turquoise- glazed raku ware by Mary Lou Deal (Ash­ land, Virginia) was recently presented at Cu­ dahy’s Gallery in Richmond. Among the

Coiled raku basket handbuilt vases, lamps and vessels was this basket, 11 inches in height, coil built, with red selenium glaze and silver and copper brushwork. Photo: Katherine Wetzel. Gary Schlappal “Summer Fun,” 40 inches in height, was among the handbuilt vessels by Gary Schlap­ pal (Frostburg, Maryland) exhibited at DBR Gallery in Shaker Heights, Ohio, through

40-inch “Summer Fun ” vase September 27. The forms were constructed from narrow strips of stoneware, covered with contrasting engobes when leather hard, then incised with a variety of tools. After drying, they were fired to Cone 2. “Some of the work Continued November 1983 71 Ohio, Athens November 12 Joe Zeller and Hal orated stoneware; at Pagurian Gallery, 13 Ha- Itinerary Stevens, “Marketing and Selling your Work.” Fee zelton Ave. SI4, lunch included. For further information con­ England, London through November “Second Annual Pittsburgh Art and Crafts Ex­ tact: Susan Abramovitz, Athens Artisans’ Guild, 20 “Craftsmen Potters Association Silver Jubilee position”; at David Lawrence Convention Center, Box 32, R.D. 4, Athens 45701. Exhibition”; at Victoria and Albert Museum, Room 1001 Penn Ave. Ohio, ColumbusNovember 18-19 Jeff Oest- 138, South Kensington. Tennessee, Memphis November 18-20 “Mid- reich, “Functional Pots: A Personal View,” a ses­ November 4-December 12 “December Collec­ South Arts and Crafts Show/Sale”; at Cook Con­ sion on throwing, altering and decorating, plus tion”; at British Crafts Centre, 43 Earlham St., vention Center. slide presentation. Fee $25. For further informa­ Covent Garden. Tennessee, Oak RidgeNovember 4-6 “17th tion contact: Stephen Tipton, Columbus Clay November 15-26 Michael Casson, “Pots from 3 Annual Foothills Craft Guild Show and Sale”; at Company, 1331 Edgehill Rd., Columbus 43212; Kilns: Salt/Wood/Oil”; at the Craftsmen Potters the Civic Center, Oak Ridge Turnpike. or call: (614) 294-1114. Association, William Blake House, Marshall St. Virginia, RichmondNovember 10-13 “Eighth England, NottinghamshireNovember 22-Jan- Annual Richmond Craft Fair”; at the Richmond uary 8, 1984 Bill Brown, John Gibson, John Arena. International Events Pollex, and Robin Welch, “Plates”; at Rufford Craft Australia, New South Wales, Darlinghurst Centre, Rufford Country Park, Ollerton, Near through November 12 Alistair Whyte. Novem­ Newark. Workshops ber 15-December 3 Stephanie Livesey and Rolf England, Oxfordthrough November 23 Roger New Jersey, LaytonNovember 19-20 Jun Bartz; at the Potters’ Gallery, 48 Burton Street. Perkins, vessels. November 28-December Kaneko, a session on the development and rhythm Belgium, Brussels through November 26 Marc 28 Alison Britton, earthenware; at Oxford Gal­ of his work. Fee: SI00. For further information Fevillien, sculpture. November 30-January , 1 lery, 23 High St contact: Sheila R. Stiven, Peters Valley, Layton 1984 Francis Behets, sculpture; at La Main, 209 France, Charleville-Mezieres through Novem­ 07851; or call: (201) 948-5200. Chaussee de Charleroi. ber 13 Anne Dangar and Genevieve Dalban, New York, AlbanyNovember 28 Jayne Shatz, Canada, British Columbia, VancouverNo­ “Two Potters”; at the Musee Rimbaud. “The Business of the Production Potter.” Fee: $5. vember 5-6 “Ceramic Artist Craftsmen ’83”; at France, Paris through November 9 Marc Uzan, For further information contact: Albany Ceramic Sheraton Landmark Hotel’s Trade Center Room, stoneware; at Interieurs, 16 rue Dauphine. Institute, 305 Hamilton St., Albany 12210; or call: 1400 Robson St. through November 26 “Fetishes, Talismans, (518) 393-5963. November 22-December 2 “Cooking with Clay— Amulets and Reliquaries”; at Le Sorbier, 70 rue New York, White Plains November 10 Connie Ceramics 83” juried exhibition; at Robson Square Vieille du Temple. Sherman, “Egyptian Paste.” Fee: SI7.50. No­ Media Center. through December 12 “L’Expo des Expos”; at vember 18 Roger Baumann, “Throwing Large Canada, Ontario, OttawaNovember the Musee des Arts Decoratifs, 107 rue de Rivoli. Pots.” Fee: $17.50. Contact: Westchester Art 16-20 “Christmas Craft Show”; at the Congress through December 31 Paul Badie, stoneware and Workshop, County Center Bldg., White Plains Centre, Rideau and Sussex Sts. porcelain; at Boutique Plaisances, 38 rue de Quin- 10607; or call: (914) 682-2481. Canada, Ontario, Torontothrough November campoix. North Carolina, RaleighNovember 12-13 10 “Quebec Connections”; at Tatay Gallery, 101 France, St-Amand-Les-Eaux through Novem­ Mary and David Farrell, earthenware decoration. Niagara St., Suite 200C. ber 27 Joulia, sculpture 1950-1953; at Musee Fees: $50; S40, students; includes clay. For further through November 20 Robin Hopper, “The Ce­ Municipal, Grand Place. information contact: The Craft Center, North ramic Spectrum”; at the Craft Gallery, Ontario Spain, Valencia, Manises through November Carolina State University, Box 5217, Raleigh 27650; Crafts Council, 346 Dundas St., W. 14 The 12th “National Ceramic Competition”; or call (919) 737-2457. November 5-26 Alexandra McCurdy, slip-dec­ at the Museo Municipal, Calle Sagrario 22.

72 CERAMICS MONTHLY News & Retrospect takes on human form,” Gary commented. “In others the surface imagery indicates human presence through arrangement. Almost all my work ranges between 36 and 42 inches in height. I see this as a personal size—per­ sonal in the sense that as the work approach­ es human scale it begins to demand consid­ eration of human qualities.” Larry Clark An exhibition of salt-glazed stoneware by Sandpoint, Idaho, potter Larry Clark was presented recently at Lodestone Gallery in Boulder, Colorado. The thrown and altered

12-inch lidded jar forms, such as this lidded jar, 12 inches in height, were decorated with slip trailing and salt glazed in a Cone 10 wood firing. John Toki “Black Tide,” a ceramic sculpture by John Toki (Richmond, California), was commis­ sioned by the city of Sacramento as an ab­ stract environmental landscape seating ar­ rangement. Design through installation of

14-foot-diarrteter stoneware “Black Tide” the 4½ ton sculpture took 13 months. A solid form was handbuilt from stoneware mixed with 40% grog and aggregates to reduce Continued November 1983 73 74 Ceramics Monthly News & Retrospect shrinkage, then was drilled out in a honey­ comb pattern. Firing was staged over a three- month period, with the largest sections (ap­ proximately 700 pounds each) requiring a nine-day preheat/firing schedule. The Cone 01 to 9 firing range produced a variety of colors from light to dark browns with purple hues, to dark black. At the installation site near a swimming pool in South Natomas, on a 4-inch-thick reinforced concrete slab, the 51 sections were assembled with black mor­ tar. New York Gallery Opening November 1 marks the opening of a second Garth Clark Gallery at 24 West 57 Street, New York City. In keeping with the two- year-old operation in Los Angeles, the new space will deal exclusively with ceramic art. There will be historical exhibitions as well as solo and group showings of contemporary work by American and European artists. New Zealand Sawdust Firing Mark Chadwick , a potter from the Bay of Plenty, Maketu, New Zealand, recently pre­ sented a one-week workshop on sawdust fir­ ing at Victor Valley College in Victorville, California. Using a 50-gallon oil drum as a kiln, he begins the process by filling the bot­ tom with 10 inches of sawdust and covering it with burlap soaked in kerosene. Then the largest burnished (unbisqued) earthenware forms to be fired are placed upright in the drum, followed by another layer of saw­ dust at least 3 inches thick and more kero- sene-soaked burlap. The key to keeping the sawdust burning is extra soaking of the cir-

Mark Chadwick’s sawdust kiln cumference of each layer of burlap during the loading so that it acts like a continual wick. Reserving room for a 10-inch layer of sawdust and 6-8 inches of air space at the top, he fills the drum with additional layers of pots, sawdust and burlap. The kerosene-soaked burlap laid over the top strata of sawdust is ignited and allowed to burn for 20-30 minutes; then the drum is covered with corrugated tin which presents a vented air space allowing good circulation for slow and even burning. The sawdust and Continued November 1983 75 76 CERAMICS MONTHLY News & Retrospect burlap will smolder for two or three days, slowly burning down to the bottom. Mark cautioned that some students may think the fire has gone out when it hasn’t: if the outside of the kiln is hot, it is still burn­ ing. When the drum is cool, the tin is removed and the pots unloaded. The glossy surfaces of the sawdust-fired ware are patterned with subtle transitions from black to gray. Text: Diane Butcher and Gene Kleinsmith. Laura Peery Arlington, Virginia, ceramist Laura Peery recently presented a series of sculptures based on ladies’ accessories—shoes, hats, purses— at Convergence Gallery in the Soho district of New York City. Handbuilt from rolled

The artist assembling fabric-textured form porcelain, the forms frequently have surfaces textured with canvas and trimming strips patterned with lace. This pair of “Boots” and

Porcelain “Boots” and “Hat” coordinating “Hat,” the latter approximately 12 inches in height, were bisqued, rubbed with pink, orange and turquoise commercial stains, fired to Cone 8, detailed with plati­ num luster, and embellished with actual rib­ bons and fabric. Photo: Richard Rodriguez. Jill Manos Slip-decorated earthenware plates, bowls, vases, mugs and assembled thrown forms by Jill Manos (Parker, Colorado) were featured at Lodestone Gallery in Boulder through Oc­ tober 15. Once coated with a background slip, Continued November 1983 77 78 CERAMICS MONTHLY News & Retrospect the greenware was decorated with pink, mauve, green, bright blue and/or turquoise brushwork or stencil patterns. This vase, 16

16-inch terra-cotttu vase with black and pink slips inches in height, has black slip over the terra­ cotta body and brushwork in two shades of pink. After bisquing, a clear gloss glaze was applied overall. Photo: John Manos. In Boston An exhibition of sculpture and functional ware by Massachusetts ceramists Sally Fine (Brighton), Frankie Gardiner (Cambridge), Sally Goodman (Brookline) and Julie Ter- estman (Jamaica Plain) was presented at Boston University through August 5. Char-

Sally Fine’s “New Fauve 2” acteristic of Sally Fine’s large-scale, animal­ like ceramic and bamboo forms is the work shown, 5 feet in height, earthenware with Please Turn to Page 83 November 1983 79 80 Ceramics Monthly New Books

The Ceramic Review Book of pensive, but permanent housing handbuilt Rikyu. Generally characterized by iron line Clay Bodies & Glaze Recipes from materials found throughout the world decorations on one half of the pot and splash­ edited by Eileen Lewenstein and (see the article beginning on page 50). On a es of copper green glaze on the other half, Emmanuel Cooper motorcycle trip visiting the desert villages of Oribe ware may also be covered completely An extended and updated edition of The Ce­ Iran, he found the solution—taking their with green or black glaze, or glazed black ramic Review Book of Glaze Recipes, this centuries-old, domed-adobe construction and white with iron decoration. After Oribe’s handbook provides approximately 400 reci­ method one step further and actually firing death in 1615, the style gradually faded, but pes for earthenware, stoneware, porcelain, the entire structure. The house becomes a was revived late in the 18th century and has salt-glazed and raku bodies and glazes, as kiln, or the kiln a house, and can be glazed been produced since. 44 pages including plate well as information on luster firing and for “the beauty of a ceramic vessel.” The re­ notes. 81 color plates; 5 black-and-white Egyptian paste. Professional potters from the sult is a village of ceramic houses impervious photographs; map of kiln sites. SI7.75. Ko- United Kingdom and the United States pro­ to fire, flood and earthquake. 241 pages in­ dansha International/USA, 10 East 53 Street, vided the recipes, often including notes about cluding chronology and measurement con­ New York City 10022. composition, mixing procedures, applications version table. SI4.95. Harper & Row, 10 East and firing. A conversion table for tempera­ 53 Street, New York City 10022. Karatsu tures (Staffordshire, Seger and Orton cones), by Tarouemon Nakazato and a list of U.K./U.S.A. materials substi­ Oribe Ninth in the “famous ceramics of Japan” se­ tutions complete the text. 113 pages includ­ by Takeshi Murayama ries, this large-format volume illustrates the ing list of British suppliers. $10 (includes Eighth in the “famous ceramics of Japan” varieties of stoneware shipped through the postage). Ceramic Review, 21 Carnaby Street, series, this large-format volume describes the port of Karatsu beginning in the 17th cen­ London W1V 1PH. early 17th-century ware made at several dif­ tury; “in much of the Japan Sea coastal area ferent kiln sites according to the designs of the term Karatsu was and is used to mean Furuta Oribe, a master of the tea ceremony. pottery in general.” Influenced by Korean tea Racing Alone These teabowls, caddies, water containers and ceremony vessels, the forms were thrown (on by Nader Khalili plates reflect Oribe’s personal preference— a kick wheel), coiled then thrown, or coiled Written in prose and poetry, this is an au­ “robust, rough, free in form”—an aesthetic and paddled. Decorating techniques included tobiographical account of a Western-trained surprisingly distant from the modest black incising, stenciling, combing, white slip inlay Iranian architect’s search for simple, inex­ teabowls promoted by his teacher Sen no Please Turn to Page 88

November 1983 81 82 CERAMICS MONTHLY News & Retrospect Continued from Page 79 Cedar Heights Redart terra sigillata deco­ ration, Cone 04 fired, airbrushed with finely milled acrylic paints, assembled with five lengths of airbrushed bamboo. Collectors’ Role Defined Collectors are “the runners and pickers for the museums of the future,” observed Jack Lenor Larsen (president of the American Crafts Council) at “Crafts Today,” the recent national forum on connoisseurship and col­ lecting held in Washington, D.C. The Smith­ sonian conference brought together approx­ imately 60 collectors, gallery directors and craft artists to discuss developments in their fields, to share thoughts on connoisseurship and to define the role of the collector in to­ day’s society. Addressing the subject of collecting in gen­ eral, Jack Larsen noted that collectors are responsive to crafts; museums are not. He believes that as crafts appear more and more in public places the museums will change. He also pointed out that collectors are guard­ ians, collections temporary. Eventually, the objects will go back on the market, or into museums and universities. The forum’s ceramics panel was composed of Ken Deavers, Judith Schwartz and Robert Pfannebecker. Drawing on his experience as owner of the American Hand Gallery in Washington, D.C., Ken Deavers defined four elements that shape a collection: an enor­ mous amount of study, and lots of reading, looking, talking and watching; understand­ ing of technique, the quality of which has much to do with the execution of the artist’s idea; knowing what the collection wants to say; taste and luck. In turn, taste has two definitions which come into play here: per­ sonal preference, and the faculty for discern­ ing what is aesthetically excellent. Judith Schwartz (educator/author/con- sultant and collector of ceramic sculpture) emphasized that the important aspect of the work is the idea—what the artist makes with the material, not what is done to the material. Quality happens when form and content are fused. Robert Pfannebecker (attorney and crafts collector) was introduced to collecting in the early 1960s by a friend who owned a gallery. He collects work in all media, and is espe­ cially interested in discovering new talent. His advice is to “be careful who you listen to and where you get your information. Don’t not go to a show because you’ve seen it before; go and see it again. Go to shows you don’t like and find out why you don’t like them.” Predictions and thoughts for the future were voiced throughout the forum. Jack Larsen believes that growth of interest in crafts in the private sector will influence the pieces that are created; they will be smaller, more Continued November 1983 83 84 Ceramics Monthly News & Retrospect poetic, more personal. Ken Deavers believes that ornamentation and embellishment in clay are now' inappropriate; to him the most ex­ citing thing in clay today is the development of a low-temperature color palette. Arts advocate Joan Mondale spoke, at the closing luncheon, of people’s innate need for the touch of the soul of the craftsman, a need which is fulfilled by the act of collecting. Col­ lectors, by sharing their knowledge and en­ thusiasm with others, can make enormous strides in the education of the public and institutions, she said. In Boulder “Four Potters,” a recent show curated by local ceramist Betty Woodman at the Boulder (Colorado) Center for the Visual Arts, con­ sisted of works by Andrea and John Gill, Kent, Ohio; Jenny Lind, Santa Fe; and Mark Pharis, Houston, Minnesota. All four em­ ploy the vocabulary of useful form: vessel, platter, bowl, box. Clad in ocher and umber glazes, Mark’s work included teapots, rectangular dishes and tall, narrow, four-sided vases, such as this stoneware slab-built form, approximately 2 feet in height. Where pattern was used, it

Murk Pharis\ 2-foot vase was simple, consisting of painted lines and checkerboards applied with restraint. At the same time, the soft, speckled glazes suggest things that have long lain in the earth, worn and burnished by time. Text: Jane Fudge. 1983 Fletcher Brownbuilt Award Four Americans (Jack Boydston, Kevin Illuch, Barbara Newport and Ross Webb) were among the 115 potters whose work was selected by Japanese potter Asako Watanabe Continued November 1983 85 86 Ceramics Monthly News & Retrospect for the seventh annual Fletcher Brownbuilt Award exhibition, presented recently in Auckland, New Zealand. The NZ$3000 top prize for this international competition went to Ray Rogers of Birkenhead, Auckland, for his pit-fired, spherical “Fungoid Form.” Merit

Royce McGlashen's porcelain teapot Award works included this porcelain teapot, approximately 8 inches in height, copper glazed, saggar fired, by Royce McGlashen, Brightwater, Nelson, New Zealand; and these salt-glazed stoneware forms, to approxi-

John Anderson ’.vsalt-glazed forms mately 22 inches in height, byJohn Ander­ son, Wellsford, New Zealand, winner of the 1977 Fletcher Brownbuilt Pottery Award. According to Auckland potter Peter Collis, nearly 20,000 visitors attended the show— an indication of the popularity of ceramics in New Zealand considering that the total population of the country is only 3,125,000. Text: Bert Fink. November 1983 87 New Books Continued from Page 81 and iron brush patterns. Glazing practices varied from kiln to kiln. Production was gradually overpowered by Arita porcelain and almost all the kilns were abandoned by the end of the 19th century. 44 pages including color plate notes. 62 color plates; 18 black- and-white photographs; map of kiln sites. SI 7.75. Kodansha International/USA, 10 East 53 Street, New York City 10022. Studio Ceramics by Peter Lane Of interest to students, professional potters and collectors, this book describes and illus­ trates the work of 180 British, North Amer­ ican and Australian ceramists “who have ex­ tended or broken established traditions.” The author’s intention is “to present a wide range of forms and imagery supported by working methods, rather than to produce a chrono­ logical treatise on 20th-century studio pot­ ters.” Textual emphasis is placed on the re­ lationship of ideas to materials, methods, function and form; different building tech­ niques; decorative treatment; and processes used to alter the color, surface or visual im­ pact of a work. 256 pages including list of museums and galleries exhibiting studio ce­ ramics, and index. 104 color plates; 302 black- and-white photographs. S40. Chilton Book Company, Radnor, Pennsylvania 19089.

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