June/July/August 1995 1 Spencer L. DavisPublisher and Acting Editor Ruth C. Butler...... Associate Editor Kim Nagorski...... Assistant Editor Tess Galvin...... Editorial Assistant Randy Wax...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver .... Assistant Circulation Manager Connie Belcher...... Advertising Manager

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Post Office Box 12788 Columbus, Ohio 43212-0788 (614) 488-8236 FAX (614) 488-4561

Ceramics Monthly {ISSN 0009-0328) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address:Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, PostOffice Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:Printed information on standards and procedures for submitting materials is available upon request. Indexing:An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. These ser­ vices are also available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sug­ gestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues:When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested. Copyright © 1995 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY June/July/August 1995 3 4 CERAMICS MONTHLY Volume 43, Number 6 • June/July/August 1995

Feature Articles

Between Points in Clayby Rob Barnard...... 39 with Beyond East and West by Jane Addams Allen ...... 42 Contemporary Greek Ceramists ...... 46 Susan Eisenby Virginia L. Spaar Rauch ...... 48 Susan EisenThe first American to win the Gran Prix at the “International Biennial of Starting Over in the Mountainsby Geri Anderson...... 51 Ceramic Art” in Vallauris, France, Susan with A New Way of Working by Jonathan Kaplan ...... 55 Eisen produces sculptural vessels by pinch­ ing, paddling and stretching “layer upon Layered Cone 6 and Cone 06 Glazesby Lana Wilson ...... 56 layer of delicate rhythmic coils and textured slabs”; see page 48. Edgecomb Pottersby Mary Maynard Drake ...... 60 with Marrying Production Values and Creative Spiritby Richard Hilton ...... 65 Layered Cone 6 and Cone 06 GlazesStu­ by Tony Natsoulas dio potter Lana Wilson shares the results of From the Feet Up ...... 68 five methods used to achieve unusual glaze The Staples Street Stationby Cornelia Henderson Gates ...... 70 effects in the article beginning on page 56. Locating Glaze Materialsby Miska Petersham ...... 72 Raku Potter Charles Bohnby Linda Bynum...... 75 Uncharted Territory Contemporary Taiwanese Ceramicsa review by Elena Canavier...... 79

Up Front

Record Sales at Fairs ...... 14 Will Levi Marshalla review by Alex McErlain ...... 14 Dong Hee Suh ...... 16 Ceramic Tile in Demand ...... 16 Donna McGee ...... 16 British Delft ...... 16 Chick Schwartz a review by Barbara Feldman...... 18 Jeff Irwin ...... 20 Erik Bright ...... 20 Tamotsu Miura ...... 22 Susan Goldstein a review by Jay Kloner ...... 22 Edgecomb PottersFrom a one-room Ceramics May Improve Medical Diagnoses ...... 24 schoolhouse in 1976 to a complex of four Navy Pilot Turns to Ceramicsby Halina S. Bak ...... 24 studio buildings and three retail galleries Jill Bals ...... 26 today, Richard (above) and Christine Hilton Elizabeth Fritsch ...... 26 have expanded their business into one of America’s largest art potteries, with annual Anita Belew ...... 26 sales in the millions. Much of their success A Home for Joe ...... 28 is attributed to an ever-changing palette of John Stephenson ...... 28 crystalline and copper-red glazes; page 60.

The coverRob Barnard throwing at a Departments Japanese-style wheel in his Timberville, Letters ...... 8 Questions ...... 108 Virginia, studio. For the past 20 years, he New Books ...... 32 Classified Advertising ...... 117 has been “absorbed in exploring that space Comment: between...predictable beauty and its oppo­ Call for Entries ...... 82 True Character of the Maker site, the unaesthetic or homely”; turn to Suggestions ...... 90 by Sebastian Blackie ...... 120 page 39. Photo: Hubert Gentry. Calendar ...... 96 Index to Advertisers ...... 120

June/July/August 1995 5

politics. The soldiers Fusz memorializes and What a tragedy for a plant to take hun­ Letters Mr. Pogany is referring to as having fought dreds of years to reach a size and grandeur on the “Eastern front,” were fighting along­ easily imagined by seeing this picture, only to side the invading Nazi army, their allies, in have it end so ignominiously. Especially Eternal Values one of the cruelest battles of the second when, it seems to me, alternatives are readily Congratulations, Anthony Allison, for World War, on Russian soil, against our available and possibly might even be more putting into words so eloquently what my allies. While it would have been unthinkable economical. wife and I have been feeling about the worldto erect such a memorial under the commu­ Richard C. Schneider, Stevens Point, Wis. of pottery as reflected in Ceramics Monthly nist regime, it is now in their new-found (Letters, April 1995). Your words “complex­freedom that the Hungarians can again The cedar trunks shown in the photo on ity won’t keep a man alive” are so precise andworship heroes of their fascist past. For CM page 37 of the April issue were from fallen trees sum up the subtlety that is missing in today’s to publish this is tantamount to publishing a unsuitable for lumber.—Ed. ceramics. We enjoyed your letter immensely! picture of a monument to Japanese pilots I have noted, as a ceramics master, that fallen at Pearl Harbor. All in Fun the inexperienced potter uses excessive com­ It is particularly ironic this year, when So what do potters do for fun? At the plexity—from the belief that is perpetuated western countries commemorate the 50th recent Oregon Potters Association (OPA) in our society that novelty is equated with anniversary of the end of the war, and art partylpotluck/talent show, we had everything creativity and therefore greater value (i.e., theexhibitions reflect this event everywhere. a potter could want—good company, great “aesthetic of the new”). Daisy Brand, Newton Centre, Mass. food and crazy talent filled with “potter Shoji Hamada, with his respect for tradi­ humor.” Among the acts were the largest tion and discipline as a true artist and crafts­ Wood Worries kazoo band I’ve ever seen, fortune tellers, a man, would not indulge in the ceramics that I was shocked and grieved, even horrified,poetry reading, even a musical act done by a I see reflected in our society today. to note the photo of “over 5 cords of cedar—legitimate talent. Then there was our As a teacher, I have found that students split from trunks measuring 25 feet in length group—studio mates Carol Lebreton, Jan reject the tradition of ceramics because of and some over 4 feet in diameter” blissfully Rentenaar and Ann Selberg—debuting a their erroneous belief that it will restrict their describing the destruction of a precious song I thought other CM readers might get a freedom and creative flow. If they continue anatural resource in California. kick out of. It was inspired by OPA member meaningful study of significant work, they In a day when even wastrels are becomingLeslie Lee’s cover photo and story [Septem­ will ultimately reach the awareness that aware of such diminishing resources as spot­ber 1994], and was sung with gusto to the eternal values do not scream for attention, ted owls, snail darters and giant redwoods, it tune of Dr. Hook’s song “On the Cover of but gently illuminate their space. is unconscionable to use trees solely as kiln Rolling Stone” Will Sol Lumpkins, Santa Fe, N.M. fuel. If one can justify killing such (undoubt­ edly) magnificent titans in the first place, On the Cover ofCeramics Monthly Filling a Creative Void certainly one should be able to find a more Many of my friends who work in creativesuitable final resting place than as ashes in a We are real clay slingers. areas often express a sense of isolation. Maybekiln, however exciting that procedure and We got real strong fingers, it’s just being in Montana. Maybe it’s the charming that result may be. Here in Wis­ And were centered wherever we go. “self-employed” blues. Maybe it just goes consin, we observe a lot of logging primarily And we load our pots into antique vans with the turf. for paper-mill pulp, but most reasonably To get us to the next show. Ceramics Monthly helps me fill a creative clear and straight trunks over 10 or 12 feet void. I carry it in my briefcase. I take it to myand certainly a foot in diameter, are reserved We fire all kinds of kilns studio. It sits beside my computer (and I flip for veneer and for lumber. (We lost our 25 That give us all kinds of thrills, through it while my files print). I read the footers early in this century to lumber barons But the thrill we’ve yet to see glaze recipes, look for help on technical stuffwho plundered the pinery.) Is the thrill that it gets ya and just admire the work I see. Thanks for Those of us who consume natural re­ When you get your picture the excellent editorial work and great pho­ sources in our work must think more keenly On the cover of Ceramics Monthly. tography. about our endeavor in all its facets, not solely Joyce L. Mayer, Billings, Mont. to the point of “Is what I am making worth Chorus: making?” If any kiln’s output is so precious as Ceramics Monthly—gonna see my picture Outraged by War Memorial to destroy wood, surely the forest would on the cover I was outraged and offended by the articlecontain more than sufficient “slash” (the Monthly—gonna buy five copies for my on Hungarian artist Fusz Gyorgy in the Aprilresidue left over from logging) to be used for mother 1995 issue—what I can only interpret as fuel. In fact, it might well be easier and Monthly—gonna see my smilin' face naivete, ignorance or, worse, insensitivity oncheaper to gather this by hand than by the On the cover of Ceramics Monthly the part of CM to publish a photograph of a semi load illustrated. Even if the logs in the memorial by Fusz to Hungarian solders of photo turned out to be flawed, surely some We like to mix glaze tests the second World War. useful lumber could have been salvaged. And make a real big mess. In an enthusiastic rush to embrace East­ Further, around here where there are several We fire from 06 on up to Cone 10. ern European new democracies, Americans sawmills, there is ample slabwood produced And the gas kiln arch is about to cave in. often don’t understand their history and by squaring the logs for lumber; they can be We’llfix it someday, but we don’t know (and are) used for fuel, thus making obvi­ when. Share your thoughts with other readers. All letters ously wiser use of this resource. Besides, such must be signed,\ but names will be withheld on a by-product is already partially cut to a We don’t have time to play. request. Mail to The Editor; Ceramics Monthly, convenient size and shape as well as being Give us a ton of clay Post Office Box 12788, Columbus, Ohio 43212- more immediately conducive for adequate Cause there’s somewhere that we wan be. 0788; or fax to (614) 488-4561. drying necessary for efficient fuel. It would be so killer

8 CERAMICS MONTHLY June/July/August 1995 9 Letters on the wheel. Through Ceramics Monthly and the progress of ceramics, not anchors around books from libraries, and attending confer­ its neck. Are we going to define the future of ences and workshops, I am on my way to ceramics by turning around and running Be in full-fledged color graduate school. I want to teach college scared and crying into mommy’s arms be­ On the cover of Ceramics Monthly. ceramics one day and I want to make sure cause things aren’t like Leach wanted them to that educating people in the arts does not die.be? Looking back at the past with respect and Chorus: My advice is to always try! If you love it, dolearning from it does not mean grinding to a We make mugs, bowls, plates and sculptural it! There is help out there. Thanks CM. halt and slamming into reverse. forms. Dorilou Wemli, Lamoni, Iowa Sure things may not be the way that We get better at it every day. Leach envisioned. So what? There are a lot of We hired a genuine chemical guru A New Blend positive and beneficial effects of the western To formulate the ultimate clay. I agree that my letter “Stop the Whining” culture and its aesthetics. The blend of East in February 1995 may have been a bit harsh.and West that Leach envisioned is not the We got all our friends at the OP A, But I still stand by my comment that Hluch’sonly blend possible. Where we show each other slides for free. six-page soliloquy could have been condensed Perhaps it is that Hluch cannot see the And were not gettin richer, to one sentence. new blend because he is fixated on and glori­ But we might get our picture There comes a time when someone has tofies the past. His reference to the “non- On the cover of Ceramics Monthly. stand up and say enough is enough. This is aggressive aesthetic attributes and socially not the first Hluch tirade to which we have redeeming values of Leach’s philosophy” We’ve had a lot of laughs over this. We been subjected. It has continued ad nauseam sounds more like a blend of Mary Poppins did not get a record contract, though, so we for years. As a lover of the LeachlHamada and Newt Gingrich. Next we will have tests will continue working in clay. tradition, I will not sit back and allow it to befor politically correct and socially redeeming Ann Selberg, Portland, Ore. desecrated by the rantings of an artist “cups,” followed by studio prayer. wannabe. First, he tries to trash John Gill and Besides, since Paul Soldner doesn’t pro­ Always Try David Shaner (May 1994), then evenCeram­ vide us with any spice in the letters column, I am a student of ceramics at a very smallics Monthly (September 1994 Letters). Hluch someone has to step up to the plate. college. I became interested in clay when an needs to accept the new ceramics world and John Britt, Dayton, Ohio alumnus came back and gave a demonstra­ himself, and say, “Okay. So now what am I tion. I changed my major to ceramics and going to do about it?” Disenchanted have struggled ever since. You see, I have no Leach is dead—not Art, not Beauty and We particularly enjoy reading about teacher. I have a sculpture teacher who pro­not Ceramics. Maybe he can begin by realiz­ people who find new treatments within the vides a lot of aesthetic knowledge but none ing that Leach and Hamada were leaders in traditional forms and methods. We are not

10 CERAMICS MONTHLY June/July/August 1995 11 Letters and Tourism Division, 252B George Street, stuff, who have also been actively looking Beckley, West Virginia 25801. into earthquake proofing buildings for years. Jo St. Myers, Wheeling, W.Va. Take from their work and apply a real fix to your earthquake-prone kiln. I don’t work for particularly enchanted by so-called “artists” Shock Advice any of these guys (though right now I don’t who have never made a functional item in As an unemployed mechanical engineer work for anyone at all), but have used their their lives, and who find something to be who’s turned my pottery into a “real” paying knowledge for real applications at work. Try proud of in destruction. job during our Southern California recession,calling up either Taylor Shock Devices or W. Whedon, Parkville, Mo. I have enjoyed the nontechnical, shoot-from-Enodine, both located in Buffalo, New York; the-hip way potters describe facets of the Barry Shock Mounts in New England some State-by-State Coverage trade. I got enough number-crunching at place; and there’s a company called ACE I would like to suggest that Ceramics work; it’s fun to just swag away sometimes. located somewhere in the Northern Midwest. Monthly consider highlighting different However, this approach can get a little out ofTheir evaluation of your design problem and potters state by state—either one state at a hand, as in the March answer in the Ques­ recommendation of a standard product are time, highlighting several potters from each tions column regarding making a kiln more free. The subsequent fix is not necessarily state (of course, this would take about 4½ earthquake proof. expensive either. years to cover all the states); or four to five The methods described could, if simply In consideration of Elizabeth’s attention states per month to cover them all in one thrown together like a cake recipe, make the span (Letters, April 1995), I’ll keep it brief year. I wouldn’t like the latter as well becausewhole situation much worse via amplifying and end it here. it would mean that only one potter from the ground shaking instead of isolating the Steve Graber, Lakewood, Calif. each state could be covered, and coverage kiln as intended. A springlmass system for would have to be light because of space. earthquake shock isolation is simple in con­ Correction There is also something very exciting cept but should be analyzed by a degreed Thanks for publishing my article on happening here. West Virginia Parkways, mechanical engineer or supplier of such Hawaii functional forms [May 1995]. It Economic Development and Tourism Au­ products. Selection of the right spring (not looks great. I just wanted to point out, thority, a state-funded organization, buys necessarily a car spring rated between 500 to though, that in Hawaii the adjective “Hawai­ juried crafts from West Virginia craftspeople 1,000 pounds) is straightforward if you knowian” is used only in relation to or concerning for resale in state gift shops along the turn­ how to do it. After analysis, the use of the carNative Hawaiian people. pike and in state parks. tire may actually provide the proper damping One other item: on page 49, the red iron For more information on this wonderful characteristics. oxide addition (9.79%) was not included at program, contact Rebecca Stelling, West There are suppliers of shock-isolation the bottom of the Temmoku Glaze recipe. Virginia Parkways, Economic Developmentsystems designed for Navy gun systems, big Bob McWilliams, Waialua, Hawaii

12 CERAMICS MONTHLY June I July I August 1995 13 Up Front

Record Sales at Fairs Record sales at recent craft fairs were reported by both the American Craft Council (ACC) and the Rosen Group. Accord­ ing to preliminary figures, the 1995 ACC Craft Fair Baltimore (a wholesale/retail show) set record highs for attendance and sales in every craft category. During the wholesale days, 6,634 buyers (10% more than last year) attended and placed orders totaling an estimated $16.4 million—about 20% more than 1994 s total. “We worked hard to promote this year’s show, but these numbers are even better than we expected,” stated JoAnn Brown, director of American Craft Enterprises, the marketing arm of the ACC. “We think it’s a sign that the economy has turned around.” Exhibitors at the Rosen Groups Philadelphia Buyers Market of American Craft probably agreed. Wholesale receipts were projected at more than $22 million—a 29.5% increase from last year’s show. Ceramics artists had the highest sales, with an average of $12,949—up 59.9% from 1994.

Will Levi Marshall a review by Alex McErlain “Cobalt Green Pitcher,” approximately 14 inches in height, stoneware, with cobalt and rutile glaze, fired to My first impressions of the Scottish Gallery’s exhibition of 2340°F, by Will Levi Marshall. ceramics by Will Levi Marshall were of exuberant color and playful form. Certainly, there was variety, and the glazes were allowed more exploration of nuance within a single glaze. A brightly colored. A plethora of small works delightfully explored cobalt green glaze on a pitcher brought forth a rich variety of such forms as teapots, creamers, mugs, bowls and plates, dem­ matt, shiny and somewhat sparkling surfaces on different areas onstrating that Marshall does not shirk from dealing with the of the pot. To those who dismiss electric kilns as producing everyday, but does so in a not-so-everyday fashion. On close predictable, safe results, this pot was an object lesson in combin­ inspection, these pots revealed depth, understanding and ing a knowledge of glaze and firing. sensitivity, particularly to glaze, form and detail, with a special Cobalt Green Glaze emphasis on inventiveness. (Cone 9, oxidation or reduction) Thrown and altered, the works were bisque fired, then glazes Gerstley Borate...... 2% were applied by painting, dipping and pouring. Several glazes Whiting...... 5 Nepheline Syenite ...... 70 Petalite...... 15 Hy-plas Ball Clay ...... 8 100% Add: Cobalt Carbonate...... 1 % Rutile...... 2% Bentonite...... 2% “Cobalt normally produces blue, but in the right glaze and combining with the titanium in rutile, it creates an unusually deep green,” Marshall noted. “I first came upon this strange ceramic phenomenon, as used by Don Reitz in America, at Alfred University, where I spent two years studying, and have adapted it, using available British materials, to create a deep green, satin-matt glaze with an almost hypnotic depth to it.” Will Levi Marshall teapot and cup, thrown-and-altered stoneware with brushed, poured and dipped glazes; After firing his pots to 1280°C (2340°F) in an electric kiln, at the Scottish Gallery, Edinburgh, Scotland. Marshall then accents some with luster and enamel, and fires these a second time to 750°C (1380°F). were used on each pot, and wax resist and masking were also Responses to work such as Marshall’s in the last decade in used to define patterns. Marshall’s masterly use of glaze was Britain have been to denigrate its integrity, since it seems to have most evident in the larger jugs, where the expanse of surface little connection to mainstream studio pottery. However, Marshalls early grounding in the use of simple materials and You are invited to send news and photos about people, places or wood firing, with the attendant demands on developing strong, events ofinterest. We will be pleased to consider them for publica­ well-detailed forms, have left their legacy in his new works. The tion in this column. Mail submissions to Up Front, Ceramics prolonged period of study in the United States brought forth a Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. change, from reduction-fired, muted colors to the bright

14 CERAMICS MONTHLY June/July/August 1995 15 Up Front ceramic floor tile is expected to increase over the next five years, possibly reaching $1.7 billion by the year 2000. By 1999, ceramic tile will probably make up 8.9% of total U.S. floor- covering supplies—the highest level in a decade. oxidized range of stonewares presented in this exhibition. It has In 1994, sales of tile made in the United States reached taken time and diligence to make these new ideas work, and in about $1.3 billion. This is an estimated increase of 9.2% from the best pieces, the achievement is outstanding. 1992 to 1994. “What’s helped the industry more than anything is the decline of interest rates,” says Stuart Hirschhorn, author Dong Hee Suh of the SBI Market Profile on Ceramic Floor and Wall Tile. “The Transfiguration,” an exhibition of a series of ceramic “Lower interest rates led to more construction. And the more sculptures by Korean artist Dong Hee Suh, was on view recently homes being built, the more ceramic tile that’s needed.” at the Seoul American Center in Korea. Symbolizing the Bible Prices of ceramic tile weakened, however, because there was more competition in the industry. Since 1982, the number of U.S. ceramic floor and wall tile producers increased 44%. In 1982, there were 77 manufacturers and 97 plants; in 1994, 111 manufacturers were running 125 plants. Prices did begin to strengthen somewhat in 1994, with profits going up slightly. SBI expects larger tiles (over 6 square inches) to benefit the most from strengthening prices. The average price of larger tiles is estimated to have risen by 1.1 % during 1994, the first in­ crease in three years. The average price of mosaic tiles, however, went down by 6%. These price fluctuations reflect the demand for these two types of tiles: demand for mosaic tile rose just 15% between 1991 and 1994, while the demand for larger tiles increased 38%.

Donna McGee Wall sculpture and functional ware by Hadley, Massachusetts, ceramist Donna McGee were presented recently at Ferrin Gallery in Northampton. Her watercolorlike decoration often features the human figure. Other images depict browning fields at harvest time, country gardens, animals, and domestic scenes.

Dong Hee Suh’s “Transfiguration on the Mountain 3,” 36 inches high; at the Seoul American Center, Korea. story of the “transfiguration on the mountain,” the pieces in the series not only look at the transformation of clay from its natural to glazed states, but at the development of human Donna McGee’s “Nude, Upper Left,” 23 inches in diameter; beings from birth to death. at Ferrin Gallery, Northampton, Massachusetts. Having sliced solid masses of clay to start each of the 20 sculptures, Suh completed their forms by pinching. She then “It is my hope that while using and viewing my work people fired them to Cone 04. can share my appreciation of nature both locally and in a more universal sense,” McGee says. Ceramic Tile in Demand Studio ceramists who produce tilework may be interested in British Delft statistics compiled recently for industry. According to a report “British Delft from Colonial Williamsburg,” an exhibition of from Specialists in Business Information (SBI), demand for over 120 pieces of delftware, was presented recently at the Art

16 CERAMICS MONTHLY June/July/August 1995 17 Up Front

Institute of Chicago. Produced in Great Britain from the 16th to the 19th centuries, delftware was inspired by the Chinese blue-and-white porcelains that were imported in large numbers into Europe during the 17th century. Unable to reproduce the white, translucent body of the imported porcelain, British potters masked cruder clays with an opaque tin oxide glaze, over which colored-glaze decoration (usually blue) was applied. Though made throughout Europe, tin-glazed ware was called delft after the Dutch town Delft, which was an important manufacturing center. Because it was fairly inexpensive, delft­ ware was widely used in both Great Britain and the American

Chick Schwartz’s “Homage to Andre Kertesz,” 20 inches high, stoneware with Cone 9 reduction glazes, glass and wood; at the Museum of Fine Arts, Sherbrooke, Quebec.

Canadas sculptural heritage. Sculptor and ceramist Chick Schwartz is another good example. Recently, the Museum of Fine Arts in Sherbrooke, Quebec, presented a retrospective exhibition of Schwartz’s work. The show set attendance records. Schwartzs works toy playfully with the third dimension. His suggestive treatment of form alludes to a different dimension, an illusive presence that is felt more than emphasized. To this, he adds insight, humor and irony, as well as a touch of curiosity. The combination results in narrative appeal. Born in Nebraska and raised in Nashville, Schwartz was discouraged from pursuing his artistic goals and was directed toward becoming a “professional.” After earning a masters degree in engineering from Georgia Tech, he became a consult­ ing engineer and was ultimately transferred to Montreal. By this time, however, he was exploiting every available moment to learn how to fire large slabs of clay and high-fire glazes. Countless hours were spent striving to obtain a palette of vibrant colors with his fuel-burning kiln, which he constructed “Mr. Nobody,” 8½ inches in height, tin-glazed in the backyard of his home. earthenware, dated 1682; at the DeWitt Wallace Schwartzs neighbors, wealthy industrialists and politicians, Decorative Arts Gallery in Williamsburg, Virginia. disliked the eyesore. A protracted war with the town’s building inspectors over the presence of the kiln forced him to reconsider colonies. In fact, during the first half of the 18th century, it was his choice of residence. In 1977, Schwartz put down his slide probably the most common tableware in America. rule forever and moved to an old farm in Stanstead, just north The exhibition examines the form and function of this ware, of the Vermont border in Quebec’s Eastern Townships. There, as well as the various decorative motifs used. After closing at the he continued his glaze experiments in a large propane-fired kiln Chicago Art Institute, it returned to the DeWitt Wallace he constructed in an old milk house. Decorative Arts Gallery in Williamsburg, Virginia, where it will His research resulted in a series of works that came to be be on view through January 5, 1996. known as “perspectives”—large, multipiece wall sculptures, each taking five to six months to complete. These high-fired colorful Chick Schwartz reliefs, often socially critical and depicting narrative themes, a review by Barbara Feldman were infused with humor and tinged with irony. However, Given the artistic traditions that can be found in the Eastern maintaining the strong colors posed a constant challenge. Townships of Quebec, it is sometimes surprising to discover Schwartz had developed a wonderful chrome/tin flesh tone that sculpture stands out in the art history of a region known at Cone 9 reduction. Too often, however, the vagaries of reduc­ primarily for its landscapes. But sculptors such as Alfred La- tion resulted in green complexions, which destroyed months of liberte (1878-1953) and, more recently, Michel Goulet have work. As a result, after a lengthy philosophical debate between consistently made rich and fruitful contributions to Quebec and the purist and the pragmatist in himself, Schwartz decided that

18 CERAMICS MONTHLY June/July/August 1995 19 Up Front “This twisting of visual elements is meant to encourage the viewer to take a second look (another connection to the title ‘Second Growth’), and examine the ambiguity between reality and illusion.” he was more interested in exploiting a wide range of color in his Handbuilt from white earthenware, Irwins works are bisque work than in the uncertainty of reduction glazes. Eventually, he fired to Cone 03. They are then brushed with vitreous engobe gave up the depth of color of his high-fired palette for the consistency and range of low-fired oxidation glazes. Today, he uses nearly 850 commercial and original glazes in his work. The worlds included in his recent exhibition were divided into four categories: Perspectives, Life Stills, Homages and Sculptures. Schwartz’s Perspectives have allowed him to express his ideas about the world and its conflicting complexities. In these, he has taken his viewers to Jerusalem’s Western Wall, to various North American streets, to circuses, beach parties, historical events, and to literary adventures. Despite Schwartz’s insistence that his sculpture not be categorized, one can detect echoes of certain traditions. In his Life Stills, for instance, both the traditions of caricature and expressionism appear to underlie his work. But when asked about caricature influence, Schwartz answered that it is charac­ ter rather than caricature that interests him: “Its easy to portray Jeff Irwin’s “Love & Junk Mail,” 11 inches in height, people just as they are, to do realism,” he said. “That’s not what earthenware with vitreous engobes; at J. Maddux Parker interests me. It’s their character I attempt to capture.” Gallery, Sacramento, California. In his Homages, Schwartz pays tribute to artists who have influenced him or whom he admires, including Claude Monet, (two coats) and left to dry for one day. Next, Irwin draws on the Mark Rothko, Raimonds Staprans, Bernard Cathelin and Andre surface with a soft pencil (the graphite burns off in the firing) Kertesz. The search for simplification of form and the audacious and applies wax-resist images with brushes of various sizes. The use of color are what these artists have in common. final two coats of a black vitreous engobe are resisted by the wax drawings. Firing to Cone 04 in oxidation produces a rich, satin- JefF Irwin textured surface. “Second Growth,” an exhibition of free-standing sculpture, wall forms and sculptural teapots by San Diego ceramist JefF Irwin, Erik Bright was presented recently at J. Maddux Parker Gallery in Sacra­ An exhibition of sgraffito-decorated vessels by Rhode Island mento, California. The title of the exhibition refers to the term potter Erik Bright was presented recently at the Arts and Crafts used in forestry to describe an area that has been replanted after Society in Boston, Massachusetts. Bright works with white having been logged. “When that occurs,” says Irwin, “the trees stoneware or porcelain and black slip. “These materials provide become a brokered commodity rather than an unmanaged not only clear imagery and pattern as a result of their contrast in ecological environment.” Through the imagery in this series of value, but also create a relief that literally brings the drawings works, he addresses his “role as a consumer in a fragile environ­ forward into the viewer’s space,” he explained. ment where each decision one makes may affect nature.” “I work in a series of 5 to 10 pieces in both my patterned The series was influenced by the years Irwin lived in North­ and figurative work. Each plate or vase functions both individu­ ern California, where he took daily runs through a redwood ally and within the group—like a collection of short stories on a forest. The contrast between the untouched forest and the decimated areas that had been logged left a lasting impression. In juxtaposing the tree (his metaphor for nature) with its processed end product—paper, board, fence, picture frame, etc.—Irwin examines the origins of the products that we use every day. He also looked at the similarities between textural surfaces, such as water patterns, wood grain, a fingerprint and a topographic map. “Applying these textures out of context and onto unaccustomed surfaces...creates a questioning Erik Bright vases, to 19 inches in height, wheel thrown, with sgraffito decoration atmosphere,” he explained. through black slip; at the Society for Arts and Crafts, Boston.

20 CERAMICS MONTHLY June/July/August 1995 21 Up Front colors,” his most recent works are more subdued, neutral, with matt surfaces. A ceramist for over 20 years, Miura is also the founder and current chairman of Miura Company, a boiler manufactory in theme. These stories become a concrete functional part of the Matsuyama, Japan. Research and experimentation have proved viewer’s environment through the use of the plate and vase instrumental in both facets of his work. His studio, for instance, forms. Each piece is one-of-a-kind with every drawing relating houses two custom-made electric kilns, large enough to hold his to the specific vase or plate it is drawn on. slab paintings, “and they maintain accurate temperature control “The sources for my work are many and varied,” he contin­ ued. “I tell stories in clay that come from a combination of life experiences (past and present) and dreams. I have learned to recognize the depth and power of my childhood and under­ stand the degree to which it has influenced my art. I have traveled extensively and lived in many places, but it is both my Norwegian heritage and having spent a substantial part of my formative years in Africa that have been the most compelling. From these contrasting cultures I have gained both an apprecia­ tion of pattern as language, symbol and movement, and a sensitivity to the portrayal of stories told on functional forms. The stories I tell are sagas that come from the conscious and the unconscious.”

Tamotsu Miura Exhibitions of ceramic paintings by Japanese artist Tamotsu Miura were on view recently at Cast Iron Gallery and at HLW Gallery in New York City. Using slabs as canvases, “Miura makes much of his recent work like sumi-e ink paintings with a special thick brush soaked with black ink,” explains art critic Hiroyoshi Miyoshi in a monograph essay. “The source of the paintings’ on the slabs can be found in an admiration for the Japanese view of painting that reigned

Tamotsu Miura’s "Dream at Daybreak,” 701/4 inches in height; at Cast Iron Gallery, New York City.

through the use of computers,” according to Miyoshi. “These electric Idlns make possible a free choice and expression of colors by allowing repeated firings with glazes that melt at relatively low temperatures, as well as metallic pigments such as cobalt, nickel and copper that melt and develop their colors at temperatures above 1200°C [2192°F].” Susan Goldstein a review by Jay Kloner “Fabric: Images in Clay,” an exhibition of recent work by Kentucky artist Susan Goldstein, was presented in an impressive setting at the Carnegie Center in Lexington, Kentucky. The recently restored classical building, with its ample space and natural light, established a sustaining environment for the draped folds and intense pigmentation in Goldstein’s rendering of clothing and accessories. To achieve textured surfaces, Goldstein places stoneware in a slab roller along with cloth or wire screening. She then shapes the slab into folds, working from behind to create fluid waves that appear to be the actual movement of cloth. Other works, such as the accessories, are constructed from joined parts. After Japanese ceramist Tamotsu Miura in his Matsuyama studio. a bisque firing, she sprays commercial stains over the surfaces, applying light and shadow on the curved areas. from the late Edo period through the early Meiji period,” While her intent is to replicate, she usually approaches this Miyoshi continues, “when traditional Japanese painting en­ in two ways: accessories are rendered as is, while clothes are countered the West, and the native Japanese sense of beauty executed more freely. The first group, referring to relatively flourished in an eclectic blend of Japanese and Western styles.” unchanging things, gives the impression of objects on display; While Miuras earlier works were decorated in “vivid, glowing the second, dealing with growth, conveys a sense of clothing

22 CERAMICS MONTHLY June/July/August 1995 23 Up Front would have thought that two years after he received his degree in sculpture from the University of Wisconsin his mother would be pinning wings onto his Navy uniform at Whiting Airfield in Pensacola, Florida? While growing up in Wisconsin, King discovered two major interests: art and flying. He is now fulfilling both. As a boy, King enjoyed helping his father with construction projects—everything from goat sheds to furniture. It was not until his last semester in college, though, that he understood what creating art meant to him: “I saw the world in a new way,” King explained. “I experienced the joy of discovering the unending relationships between positive and negative space—line, color, textures, rhythm and movement. A piece of rusted metal on the ground became a treasure of color and texture. Iridescent turquoise dragonflies be­ came abstract lines on a dark blue pond.” F. Michael King glazing Through the Navy, he fireplace tiles. “traveled the world and began to discover who I was. However, my interest in creating was never far from my heart.” The longer he was in the Navy, the more King felt as though something was missing. He knew he wanted to recapture that moment of discovery he had experienced in college, so he began taking art classes and attending seminars. Little by little, he Susan Goldstein “Blue Jacket,” life size, stoneware with sprayed Mason stains and copper paint; at the Carnegie Center in Lexington, Kentucky. with a gestural aspect. In combination, the accessories reflect the motion of the clothing. The restrained, undulant movements engender a sense of growth and formation, as if the objects have a life of their own.

Ceramics May Improve Medical Diagnoses Microscopic ceramic transducers may soon help doctors locate potentially fatal cholesterol buildups near a person’s heart. According to Wayne Huebner, an associate professor of ceramic engineering at the University of Missouri-Rolla, these transduc­ ers (each one is smaller than a human hair) can be inserted into arteries and carried to the heart via fiber-optic cable. Using ultrasound techniques, the ceramic transducers will locate blockages that intravascular laser surgery can then remove. Ceramic materials are crucial to the success of the ultra­ sound, because ultrasound uses a “pulse-echo” method of transmission. “The direct-current pulse causes the ceramic transducer to vibrate,” Huebner said. The pulse wave is then “sent to and bounces off the object being viewed, and returns to the transducer as an echo wave, which generates an electric signal.” The signal is used to create an image on screen, allowing doctors to see the level of cholesterol buildup.

Navy Pilot Turns to Ceramics by Halina S. Bak When F. Michael King was flying Navy helicopters off aircraft Tiled fireplace by F. Michael King, stoneware with Chun-red carriers in the middle of the ocean, who would have thought he glaze, fired in reduction to Cone 5, installed in the home of would end up producing ceramic fireplaces? Then again, who classical guitarist Pepe Romero.

24 CERAMICS MONTHLY June/July/August 1995 25 Up Front and fired to Cone 3 in an electric kiln, Bals’ works resemble the irrigation systems, tractor implements and oil-field equipment that are part of the West Texas landscape. The unglazed red clay is intended to serve as a reminder to viewers of the flat and arid refocused his perceptions to see and appreciate the world as he expanse of dirt that these tools and those who work with them had 14 years before. attempt to leave their mark on. Today, King is a full-time architectural ceramist. He recently completed a commission for a fireplace at the home of Pepe Elizabeth Fritsch Romero, one of the top classical guitarists in the world. Design­ “Order and Chaos,” an exhibition of handbuilt stoneware ing, producing and installing the fireplace took approximately vessels by British ceramist Elizabeth Fritsch, was on view re­ three months. cently at Bellas Artes in Santa Fe, New Mexico. Built from “After the design was approved, I expanded the dimensions by about 10% to allow for shrinkage and began the construc­ tion process. The two columns were formed in PVC pipe with 1-inch-thick slabs of Cone 10 sculpture clay. The base for each column was thrown on the potter’s wheel.” Plaster molds were made for the sculpted mantel motif, as well as the relief tiles that frame the firebox opening. The press- molded tiles were glazed with a Cone 5 Chun red, then fired in reduction. “Because of the unpredictable nature of firing in reduction, I actually made two complete fireplaces in order to get enough quality pieces for one. The depth, variation and richness of the Chun-red glaze made it worth the trouble.” To support the mantel tiles, King built a plywood box and covered it with expanded metal lath. The box was then attached to the wall atop the columns and tiles mounted over it.

Jill Bals “West Texas Toil,” an exhibition featuring ceramic sculpture by Odessa artist Jill Bals, was presented recently at Gallery 1114 in Midland, Texas. Handbuilt from scrap brick clay, left unglazed

Elizabeth Fritsch “Collision of Particles,” from the “Parents and Child” series, 19 inches high, handbuilt stoneware with brushed slips; at Bellas Artes, Santa Fe, New Mexico.

flattened coils or ribbons of clay joined together by pinching, the vessels were fired to 1260°C (2300°F). They were then brushed with colored slips and refired anywhere from three to six more times. Although her vessels appear ordered and formal, Fritsch improvises and experiments at every stage. Comparing her method of worldng to that of a jazz musician (Fritsch s first degree was in music), she says, “The three main channels of expression in the work are color, form and rhythm, and the primary preoccupation is with the way these three aspects can be made to activate and emphasize each other (as they do in music).”

Anita Belew Ceramic reliefs by New York City artist Anita Belew were on view recently at Callanwolde Fine Arts Center in Atlanta. Entitled “Tree People,” the exhibition is a continuation of a theme Belew calls “Unusual Weather.” “I am looking more and more, or again, at traditional human myth and religious stories for ideas that seem to hold timeless truths and through which people can relate now,” she Jill Bals’ “Rig,” approximately 44 inches in height, commented. stoneware; at Gallery 1114 in Midland, Texas. “My work deals with the figure in a context of a psychologi-

26 CERAMICS MONTHLY June/July/August 1995 27 Up Front

cal narrative. The figures are characters in a world that contains a physical life force or ‘weather.’ This represents an emotional flow, be it water, waves, wind or a sense of time passing.”

Anne Schwabe functional cup and saucer, carved porcelain; at the Fawick Gallery, Baldwin-Wallace College, Berea, Ohio.

Wisconsin-Whitewater—participated in “A Home for Joe,” the first of what will become an annual event.

John Stephenson “After the Fire,” a retrospective of sculpture by Michigan ceramist John Stephenson, was presented recently at the Michi­ gan Museum of Art, and at Slusser Gallery at the University of Michigan School of Art in Ann Arbor. The exhibition marta Stephenson’s retirement from the University of Michigan after more than 35 years of teaching. Throughout his career, Stephenson “has challenged himself to create dimensionally works that reveal his inner perceptions,” notes Paul Kotula (director of Revolution: A Gallery Project) in the exhibition catalog. “He never conformed to established expectations or predictable manners like many other schooled artists. His sculptures are his testament. They are not seductively beautiful, nor do they surrender to any visual style. For Stephenson, conceptual realization is the ultimate aesthetic. The result is undauntingly truthful, but like truth itself, Stephenson’s sculptures are often hard to confront. “Although his investigation of materials during his artistic career has been circuitous, clay has been the perfect conduit for the meeting of this mind and eye. He has transformed this plastic material and joined it with others, creating a vast vocabu­ lary of distinct abstract forms, many of which have no prece­ dents in the history of ceramics. Their diversity stems from his

Anita Belew’s “The Ladder,” 17 inches in height, porcelain, wood/soda fired; at Callanwolde Fine Arts Center in Atlanta.

Pressed in molds from various sources, such as wood, build­ ings, even gravestones, then wood and soda fired, “the work comes from a place of intuition; the middle ground between waking and sleep, reality on another level,” Belew explained.

A Home for Joe An exhibition of coffee cups and mugs was presented recently at the Fawick Gallery of Baldwin-Wallace College in Berea, Ohio. John Stephenson’s “Link #2,” 10½ inches high, low-fire clay Faculty and students from 11 colleges and universities—Arizona with brass additions; at the Michigan Museum of Art, and State University, Baldwin-Wallace College, the Cleveland Slusser Gallery at the University of Michigan, Ann Arbor. Institute of Art, Cleveland State University, Indiana University, Northern Arizona University, Ohio State University, Ohio rejection of comfort. Stephenson prefers the challenge of University, Southern Illinois University-Carbondale, State probing the unknown. The continuity of his work rises from University of New York at New Paltz and the University of the intense dialogue between concept and material.”

28 CERAMICS MONTHLY June/'July/August 1995 29 30 CERAMICS MONTHLY June/July/August 1995 31 enamels. “It is a lengthy process, using com­ New Books mercial enamels and liquid bright gold,” Lane explains. “A special pen (a miniature version of a batik pen) is used to draw the Contemporary Porcelain network of fine gold lines. Materials, Techniques and Expressions “For many people the term ‘pottery’ im­ by Peter Lane plies the making of functional vessels in­ This well-illustrated survey examines “thetended primarily for domestic use,” Lane enormous diversity and rapid development concludes, “but we have seen that the major­ which has taken place over the latter part of ity of those individuals whose work is repre­ the 20th century in international studio por­ sented in this book are more concerned with celain, and considers some of the aesthetic expressing personal feelings in response to the concerns, technical various stimuli that impinge upon their lives. ” achievements and 224 pages, including glossary, suggested fur­ working methods” of ther reading and index. 106 color and 219 150 ceramists work­ black-and-white photographs. $39.95 from ing with porcelain and Chilton Book Company, Radnor, Pennsylva­ bone china. nia; (800) 695-1214. Or £29.99 from,4&C “Porcelain offers a Blacky 35 Bedford Row, London WC1R 4JH, far wider range of op­ England; (71) 242-0946. tions and applications than those most popu­ The Art of Firing larly perceived for it,” notes the author. “Theby Nils Lou basic qualities usually associated with or re­ “We potters tend to fire kilns by the seat quired of high-fired porcelain, such as deli­ of our pants,” admits the author of this how­ cacy, translucency, fineness, whiteness, densityto manual, now in its fourth edition. Success, and purity remain available, of course, but however, “depends on knowledge—this many potters have chosen to break with book...provides information for the potter traditional expectations of the medium. wanting to know more about kilns and how “Today, there appear to be virtually no they work.” boundaries which cannot be stretched and The text begins with a look at kiln mate­ few rules that can remain inviolate in this arearials and design characteristics, including the of human invention as can be seen by the benefits of the double-venturi flue box rec­ immense variety of forms and surface treat­ ommended by Lou. “In direct contradiction ments in the work of porcelain potters aroundto conventional wisdom,” he maintains that, the world....Originality, flair and skill com­ because of the enhanced firing characteristics bine in the best work to present us with of a downdraft kiln numerous stimulating images: vessels, tiles, with a double-venturi wall panels, figurative sculptures and abstract flue box, “all sizes of objects, all created in an unusually ‘unforgiv­ kilns should use the ing’ medium.” same size exit flue!” After discussing the qualities and proper­ Following a chap­ ties of porcelain, Lane describes various form­ ter on heat and atmo­ ing processes, architectural applications of sphere (oxidation, porcelain, and inspiration in the design of reduction), the author both sculpture and vessel forms. Many con­ discusses natural gas temporary ceramists use porcelain to create and propane burners, as well as the size images from nature, while others depict his­ needed for specific kilns. Lou also covers torical forms. Jeroen Bechtold of Holland, firing with wood, salt and sawdust. for instance, “is fascinated by vestiges of Next, the firing process itself is examined, history that stimulate creative thought. He with directions for a fuel-saving Cone 10 refers to the way his imagination is triggered schedule, control of heat loss and tempera­ by visits to museums where a simple cookingture, and use of cones and pyrometers. pot prompts questions about the hands that In a chapter on troubleshooting, he sug­ made it and the lives of those who used it.” gests solutions to common problems, advis­ The author then focuses on various sur­ ing that “if you rely on an objective analysis face treatments for porcelain—brushed and and use common sense coupled with knowl­ printed decoration, water-soluble colorants, edge, you can solve most of the firing prob­ precious metals, metallic lusters and onglaze lems likely to come up. On the other hand, it enamels, carving and piercing, etc. Australianis easy to be encumbered with habit and potter Marianne Cole decorates her bowls— subjective responses to various situations.” inspired by aboriginal painting and the Aus­ The final chapter includes construction tralian Outback—with gold luster and coloredplans for Lou’s Minnesota Flat-Top car kiln,

32 CERAMICS MONTHLY June/July/'August 1995 33 New Books important. A final chapter furnishes tips for relieving specific tension trouble spots, such as headaches and eyestrain. which evolved from a kiln he built in 1961 at “When you are preparing to do anything, Hamline University in Saint Paul. “There arethink about the best way to accomplish it four essential design elements unique to the physically,” Atencio advises. “Ifyou find that MFT that account for its success and effi­ your body is resisting, do not force it. Act ciency,” he explains. “They are the flat roof, kindly. Figure out what you need to change the tapered car, the tuned flame trench and so that the body can do the work more the double-venturi flue box. The last elementeasily.... Learn what the capacity of your body is the most important as it accounts for the and mind is, and stay within those markers.” MFT’s reputation as an extremely even-firing128 pages, including glossary, index, and kiln.” 134 pages, including appendixes on a appendixes on home treatment of injuries variation of the MFT for salt firing, and chartsand plans of action. 106 drawings. $17.95, and graphs; bibliography; and index. 20 black-softcover. HWD Publishing, Post Office Box and-white photographs; 30 drawings. $30, 220, Veneta, Oregon 97487. softcover. Clay Pacific Company, Post Office Box 151, Willamina, Oregon 97396. Decorated Earthenware by Mike Levy Shoulders, Upper Back and Neck: From the Complete Potter series, this Free Yourself from Pain! manual is dedicated to “explaining a small by Rosemarie Atencio part of the process of producing a painted Of interest to part-time as well as full­ pot—the varied methods and techniques time production potters and ceramics artists, potters use to paint, glaze and finish pots,” this guide to relieving/preventing shoulder, states the author. The text begins with a upper back and neck pain begins by examin­historical overview of decorated pottery— ing the causes. “More from the “exuberant and wittily painted do­ than 50% of all re­ mestic wares” of the Mediterranean in 2000 petitive motion inju­ B.C. to today’s “brightly painted tableware.” ries involve the upper Levy then discusses inspirations for design. body and upper ex­ Sources may include museums, books, stained tremities,” states the glass or manuscript illustrations. “The scope author, a health prac­ is endless,” he says. “Open eyes and a recep­ titioner and ergonom­ tive brain can soak up designs and process ic consultant. These them into something new and exciting.” injuries are on the rise, Once a subject matter has been selected, it she says, “because our jobs now require moremust be developed to “fit” the pot. “This can upper body activity and stamina whereas ourbe achieved in two ways,” Levy explains. lifestyles are becoming more sedentary. “Firstly, the image should belong on the pot: “There are certain movements that createsubject matter and form should work’ to­ or irritate arm, shoulder, upper back and gether, a purely subjective decision which neck problems,” she explains. Some move­ experience will teach. Secondly, scale is im­ ments to avoid are reaching above the shoul­portant: the size of the shapes which make up der, resting weight on the elbow, pushing the design should be shoulders forward, and rotating the forearm in keeping with the when the wrist is bent. dimensions of the “Most of us have carried the habit of pot.” Levy then exam­ ignoring our body into our adult years,” she ines the stages an artist notes. “When we were young, our bodies goes through to create were flexible. We could break or ignore the a pattern from these images and shapes— few rules for maintaining a healthy research, development, arrangement, back­ body....However, as we age, the body gets ground, color and borders. cranky and it is not so agreeable about doing The various painting techniques used for what we want it to do. We don’t bounce backslip and glaze decoration on pots are covered as fast as we once did.” in the next few chapters. Levy also discusses After identifying several causes of pain, the production of decorated tiles. The final Atencio provides various suggestions for re­chapter provides recipes for underglazes, slips, lieving and preventing it. Proper positioningengobes, etc. 96 pages, including a list of of the body, stretching and strengthening suppliers, suggested further reading and in­ exercises, and massages for the neck and headdex. 22 color and 72 black-and-white photo­ are illustrated. She also explains correct breath­graphs; 4 sketches. $19.95, softcover.B. T. ing techniques and reminds readers that Batsford, Ltd. Distributed by Trafalgar Square, healthy eating and taking time to relax are North Pomfret, Vermont 05053.

34 CERAMICS MONTHLY June/July/August 1995 35 36 CERAMICS MONTHLY

38 CERAMICS MONTHLY Rob Barnard’s “Plate with Broken Rim,” 12 inches in diameter, wood-fired stoneware with natural ash glaze, 1974; selected for a student exhibition by Japanese avant-garde ceramist/teacher Kazuo Yagi.

Between Points in Clay by Rob Barnard

Whei, I had my first solo exhibition held up his index finger and pointed it in 1976 at Marroniere Gallery in Kyoto, straight up. This represented, he said, I called it “Between Points in Clay.” the predictably beautiful; then he turned A retrospective of wood-fired vessels by Vir­ ginia potter Rob Barnard was featured re­ The title had its origins in a conversa­ his finger 90°, parallel to the floor, say­ cently at Sasakawa Peace Foundation Gallery tion I had had with my teacher, Kazuo ing that this position represented what in Washington, D. C. Curated by JaneAddams Yagi, many months before. In an effort we all commonly think of as ugly. The Allen, the show included pots made between to explain to me what separated pedan­ two positions have a tendency to be 1974 and 1994. Concurrent with the tic and indifferent ceramic art from the fixed in culture, but—and he moved Sasakawa retrospective was an exhibition of kind of ceramic art that makes us reflect his finger to a position 45° between new works at nearby Anton Gallery.—Ed. on the very nature of our existence, Yagi those two points—it is here, he said,

June/July/August 1995 39 John Cages insistence that noise was as capable of producing moments as sub­ lime as those created by a violin or pi­ ano. The sounds of water bubbling in a kettle, the rustling of a silk kimono, the opening and closing of a fusuma (paper door) and the chosen (bamboo tea whisk) against the teabowl as it beats the tea into a green froth, have historically been thought of as the “music” of tea. The tea ceremony, as it was practiced 300 or so years ago, in fact, seemed to me more like a serious, contemplative version of the kind of museum happenings of the 1960s, rather than the staid, prescribed ritual it has now become. More than that, it seemed like a logical intellectual point of departure, as well as a success­ ful example of a context in which ordi­ nary crafts objects, like plates and bowls, had the chance to realize their full aes­ thetic and communicative potential. When I returned to the United States in 1978, Yagi’s paradigm took on new meaning for me. I began to think about the space between Eastern and Western cultures’ attitudes about art. It was the space, I felt, in between both cultures’ notions about correctness and inappro- priateness where basic human feeling and emotion operated unhindered by those cultural prejudices. I started try­ ing to reduce my work to elements that somehow seemed mysterious, provoca­ tive and believable from either perspec­ tive. It was during this period that I started looking for some irreducible kind of truth that would explain pottery’s ability to communicate to people from a variety of cultures. Wood-fired vase, 8½ inches in height, wheel-thrown stoneware, I realized that the single element that with natural ash glaze, 1983. made pottery special was its usefulness. I had always taken “use” for granted, but now I started to think of it as an active element in the aesthetic equa­ where real Art takes place, vibrating be­ able Japanese forms. Many of the ob­ tion. The works with large cracks that I tween the beautiful and the ugly. This jects I made revolved around the tea have made over the years might appear was my introduction into the philo­ ceremony. There are a number of rea­ contradictory to the everyday notion of sophical world that surrounded ceramic sons for this. One is that many of the use. Even the unglazed surface of the art in Japan. Since then, I have essen­ historical works I found so provocative wood-fired work appears at odds with tially been absorbed in exploring that were rather ordinary objects that had ordinary ideas of usefulness. What ac­ space between what Yagi described as been elevated by tea masters to the sta­ tually keeps us from using any of these predictable beauty and its opposite, the tus of aesthetic icons. Another was that pieces, however, are our own cultural unaesthetic or homely. the conceptual nature of tea seemed prejudices, not any structural or formal During my stay in Japan, I worked remarkably similar to many aspects of aspect of the work itself. And why is it on this problem, using fairly recogniz­ Western modernism. Take, for example, important to use them as opposed to

40 CERAMICS MONTHLY merely putting them on a shelf in the classical Western manner as objets d'art? John Dewey, in his collection of es­ says written in 1931 titled Art as Experi­ ence, observed, “When an art product once attains classic status, it somehow becomes isolated from the human con­ sequences it engenders in actual life ex­ perience.” Use, I believe, can be an antidote to the kind of isolation of which Dewey speaks, by making the owner or user an important and active part in the aesthetic life of the object. I don’t want to mislead anyone into thinking that I am trying to compete with Kmart in providing useful every­ day objects. My goal has never been to provide America with a good $2 mug. Rather, it has been to make a mug that compels one to be aware of every aspect of the act of drinking and, I hope, to transform that commonplace act into the kind of rare aesthetic experience that has a life beyond that fleeting mo­ ment. This may not, to some, be a very ambitious goal. But it is in this very private and domestic part of our lives, I believe, where arts ability to help us cope with the hardships of life has its greatest potential. A few years ago, I attended the Mountain Lake Symposium and was heartened by Donald Kuspit s talk “The Good-Enough Artist: Beyond the Main­ stream Avant-Garde.” He argued for Stoneware jar with natural ash glaze runs, 13 inches in height, wheel thrown, wood fired, 1987. “good-enough art”—art that helps us adapt to the mundane, given world, and that attempts to restore the generic human purpose of art. The good- enough artist, he said, stands in sharp relation as them. With other selves, he work, though, offer our culture one way contradiction to the avant-garde artist shares the vicissitudes of the world, to address the radical separation that whose outrageous and grandiose acts, rather than claiming superiority to them, currently exists between art and every­ he believes, have become nothing more or the ability to use the power of art as a day life. than academic strategies for marketing springboard to a position of privilege It is my belief that pottery capable of themselves as artists rather than any above them and the world. The good- this kind of expression positions itself, manifestation of a sense of artistic des­ enough artist does not appoint himself to use Yagi s paradigm again, somewhere tiny. He went on to say that, in contrast as the avant-garde artist-leader of the between the extremes of the highly man­ to the alienation from society that avant- world and other selves, a megalomaniac nered and purely visual stance of art gardism is predicated on, “the good- fantasizing a superior knowledge.” pottery on the one hand and the trite, enough artist attempts to reconstruct, Kuspit’s good-enough artist must cloying, sanitary air of commercial, as it were, his sense of both self and have been modeled on some of the pot­ mass-produced dinnerware on the other. world, in however cautious and tenta­ ters I know; they have struggled over It manages, somehow, to be both tradi­ tive a way. He does not regard himself the years to communicate their philo­ tional and modern, useful and aesthetic, as better than the world and/or better sophical and aesthetic concerns in an critical and accepting—in other words, than other selves, but in the same exis­ idiom that the mainstream avant-garde it reflects its maker s as well as its owner s tential dilemma and difficult worldly finds inconsequential. Their ideas and humanness.

June/July/August 1995 41 Rob Barnard cleaning shelves beside his 250-cubic-foot anagama in Timberville, Virginia.

Beyond East and West by Jane Addams Allen

Rob Barnard returned from Japan in tra-Japanese, wood-fired stoneware with in signed wooden boxes and only 1978, the same year that English potter natural ash glaze {yakishime) has long brought out on important occasions. Bernard Leach (1887-1979) published been associated with tea ceremony wares, In Japan, Barnard challenged these his last book, Beyond East and West. particularly the wabi style of tea devel­ Japanese expectations of wood-fired There is a nice continuity in this coinci­ oped by the famous 16th-century tea work. He broke with convention by dence of dates. Like Leach in 1920, master Sen no Rikyu. Wabi essentially wood firing forms associated with court Barnard came home determined to ef­ means finding satisfaction in poverty. porcelains, or by using a revered clay fect a synthesis of East and West in his Searching for indigenous tea utensils like Shigaraki to make a country-style pottery. Like Leach, Barnard is deter­ that suited his sober, stripped-down style teapot. In other words, he did the Japa­ mined to make functional work that of tea, Rikyu prized the natural dignity nese equivalent of combining a tuxedo has the authority of art. and simplicity of Shigaraki wood-fired top with jeans. While this “wild and But there are great differences as well. water jars—rustic wares made and used rough” work won him a reputation in Leach was inspired by the similarities by Japanese peasants of the time. Ironi­ Japan, it didn’t fully satisfy him. On his between English medieval pottery and cally, water jars associated with Rikyu return he decided to search for forms the folk (mingei) pottery that he, Shoji are today virtually priceless. Most con­ that could deliver the same kind of wake- Hamada and Soetsu Yanagi were so in­ temporary Japanese potters who make up call to American sensibilities he had strumental in reviving in Japan. Yakishime have no intention of turning successfully employed in Japan. Barnard s work is based on a very differ­ out low-cost functional wares; they are A marine platoon leader and Viet­ ent aesthetic. Regarded in Japan as ul­ creating serious works of art to be kept nam veteran of 30 missions behind the

42 CERAMICS MONTHLY Wood-fired stoneware teapot with Japanese wisteria handle, 8½ inches in height, thrown and altered, 1994.

June/July/August 1995 43 Vase, 9 inches in height, wood-fired stoneware, 1994.

Wheel-thrown stoneware covered jar, 9 inches in diameter, wood fired, 1994, by Rob Barnard, Timberville, Virginia.

44 CERAMICS MONTHLY lines, Barnard left the armed forces in celain. Then, irritated because the lip Moving back was even more trau­ December of 1970 with no clear idea of had shrunk, he smashed it down, break­ matic than Barnard anticipated. Using what he wanted to do. Almost by ing the rim in five places. Surprised by money saved in Japan, he bought a cabin chance, he drifted into the University the effect, he saved it. It is this plate that in the middle of the woods in Tim- of Kentucky art department. Once there, Yagi chose for the student exhibition. berville, Virginia, and started building he was drawn to the ceramics studio Perhaps because Barnard was a for­ his workshop and anagama in the sum­ because it was a place where “people eigner and came fresh to the world of mer of 1979. didn’t care what you did.” tea, Yagi encouraged his love of older Making the decision to avoid obvi­ Then, leafing through a book of ce­ pottery and urged him to explore the ously Japanese forms, he looked through ramics, he came upon a full-page, four- range of feelings it inspired. Born into a the Smithsonian colonial American and color illustration of a Japanese tea bowl. family of potters, Yagi was all too aware medieval European ceramics for pots “That’s important?” he thought. “Give of the dangers of oversophistication. He that were culturally nonspecific, “pure me a break!” But it stuck in his mind. wrote that potters needed a mental de­ forms, untainted by exaggerated aes­ When he read Bernard Leach’s book tachment from the rhythm of produc­ thetic concerns.” Those that appealed Kenzan and His Tradition, the idea that tion at the wheel that allowed them to to him most were straightforwardly making cups and bowls could be some­ preserve the effortless “high handedness” utilitarian, such as churns, milk pails thing enormously important caught of the “amateur.” It may well have been and whiskey bottles. He felt like an Barnard’s imagination. He taught him­ this quality that drew him to Barnard’s early tea master finding rustic wares. self to throw, read books on Japanese work. After a two-year hiatus, Barnard began ceramics and began studying Japanese. With the aid of Yagi, other teachers to throw again, creating exceptionally His mother-in-law arranged an in­ and colleagues, Barnard gradually en­ plain, almost generic bottles and bowls. troduction to Josephine Knapp, a spe­ tered into the world of Japanese ceram­ By October of 1980, he was finally ready cialist in ceramics at the Freer Gallery of ics. Late in 1974, he moved out to the to fire. Art, who took him down to the store­ village of Domura about halfway be­ Using a new kiln and different clays room and let him handle some of the tween Kyoto and Shigaraki, built his and wood from those he had employed teabowls. When he left, he felt he was own wood-firing kiln, and established in Japan, Barnard experimented widely “walking on air.” With her help, he himself as an exhibiting artist. Of par­ during his early years in Timberville. applied to the Kyoto City College of ticular help was Shiro Otani, now one His first firing was sharply reductive; Fine Arts and was accepted. He didn’t of the most influential potters in the next was oxidized, producing bright realize until he got there in 1974 that it Shigaraki, but then a rising star. Ten gold ash glazes. Then he experimented was the most prestigious art school in years older than Barnard, he helped the with courtly European and Chinese pot­ Japan, that some students who didn’t young American get bricks for the kiln, tery forms in 1982 and ’83. get in had committed suicide. taught him how to fire, and introduced Barnard’s first passion is for form. His teacher, Kazuo Yagi (1918— him to influential patrons and gallery He creates infinite variations on house­ 1979), was an avant-garde ceramist re­ directors. hold standbys—teapots, bowls, vases, garded by many as the “father of modern During this period, Barnard learned pitchers, lidded jars and so forth—trans­ Japanese ceramics.” Yagi forced Barnard to work within the Japanese tradition muting their homely shapes into evoca­ to review and revise many of the opin­ while resisting its rigidities. To keep a tive art. Every element of a teapot, say, ions he had adopted wholesale from vase from being too accessible, he tore is analyzed for its expressive possibili­ Leach. One of the first ideas Barnard let its lip and deformed its shape. He gave ties—the lid, the angle of the spout, the go was the idea that functional pottery his Shigaraki teabowls a small foot and placement and material of the handle, is morally superior to nonfunctional flared lip instead of the roughly shaped, the degree of lift. His teapots can ex­ work. Another was that hand work was straight-sided style customarily used press radically different moods. Some necessarily better than machine work. with Shigaraki clay. “I wanted to make are reassuring and homey like an evening In emphasizing the artist’s responsibil­ bowls that could be used for tea but before the fire; others are refined; still ity to question everything, Yagi taught that didn’t carry all the aesthetically pon­ others have a powerful gravity. Barnard to beware of false sentiment, derous, cultural baggage of a teabowl,” Although he now feels more com­ bravado and affectation as the enemies he explains. fortable using Japanese sources than he of art. By late 1977, Barnard had the choice did in the early 1980s, Barnard’s work Nevertheless, there was more than a of committing fully to a career in Japan has qualities that are the antithesis of little bravado in Barnard’s approach to with its reciprocal relationships, obliga­ the tea mystique. His forms have a spine his own work. Against the advice of tions and relative security. Instead, he that refuses to bend, that remains up­ Yagi, he decided on wood-fired stone­ decided to return home to an uncertain right even when cracked or encrusted ware as his primary medium without future. Really he had no choice. Instead with ash. Only the most subtle intima­ going through the usual apprenticeship of imagining work that resonated within tions of playfulness cut through their of firing glazed work in an electric kiln. the Japanese cultural context, he had iconic, self-contained aura of serious­ One of the first things he made for the already begun dreaming about how this ness—a crease of the neck, a quiver of school’s wood-fired kiln was a rimmed or that form would be received in the the lip, a slightly absurd defiance of plate, a form more associated with por­ United States. spirit animating spout or handle. ▲

June/July/August 1995 45 Untitled smoked earthenware sculpture, 300 centimeters (approximately 118 inches in height), by Nikos Sklavenitis, Piraeus.

Contemporary Greek Ceramists

“From Earth and Fire: 8 Contemporary In the accompanying catalog, An­ gation, with quite a different and indi­ Greek Ceramists,” a touring exhibition gela Tamvaki of the National Gallery vidual perspective in each case, charac­ organized by the magazine Keramiki and Alexandras Soutzos Museum notes terizes them all. Techni, opened at the Cultural Center that these artists “share the same preoc­ “Theodora Chorafa draws further of the Municipality of Athens last Feb­ cupation with an immaculate treatment inspiration from ancient Greek religious ruary. Included in the show are sculp­ of their material, combined with an ab­ and philosophical concepts related to tures by Chrysa Achimastou, Stella sence of a purely decorative intent. They the elevation of the human soul toward Bakatsi, Theodora Chorafa, Vironas all focus on the exploitation of the par­ the sublime. Her expression is impos­ Dimitrakoulis, Manousos Halkiadakis, ticular qualities of the clay itself, and ing, diachronic and contemporary at Nikos Karalis, Nikos Sklavenitis and sometimes favor quite daring and ex­ the same time. Kostas Tarkassis. treme solutions....Experimental investi­ “Nikos Sklavenitis has a similar start-

46 CERAMICS MONTHLY “The Red Flower,” 170 centimeters (approximately 67 inches) in length, stoneware, iron spangles and sand, by Stella Bakatsi, Athens.

“Reverberation,” 160 centimeters (approximately 63 inches) in height, stoneware, with Cone 8 glaze, by Chrysa Achimastou, Athens.

ing point, while drawing his inspiration “Stella Bakatsi s markedly sensitive from different sources. statement sees a red flower as an opti­ “Chrysa Achimastou isolates archi­ mistic note amidst universal gloom; her tectural members evoking ancient civi­ inspiration emerges from personal ex­ lizations, especially Greek antiquity, in perience and illustrates a verse by a more or less direct way. Placement of Odysseus Elytis.” “Metamorphosis,” 204 centimeters (approximately 80 inches) in height, her creation within particular space and Tamvaki concluded that all the fea­ burnishedlraku-fired clay, with bone and the combination with other elements tured ceramists gave “ample evidence of metal, by Theodora Chorafa, Aegina. bring out its power and originality. their maturity and skill.” ▲

June/July/August 1995 47 Susan Eisen by Virginia L. Spaar Rauch

^^eramics sculptor Susan Eisen was remarkable resemblance to her own clay- children, twin boys, two years later. the first American to win the Grand work stunned her. Then, in the early 1970s, Eisen took up Prix at the “International Biennial of Natures perfection was humbling, clay again in classes at a gallery/school Ceramic Art” in Vallauris, France. Six and in her mind her work was dimin­ in Ridgewood near her home in north­ years earlier, in 1978, she had nearly ished. She felt superfluous and asked ern New Jersey. abandoned clay when she found that herself, “How can I add to what has She was still working with the potter s the forms and patterns of her sculptures already been done so well?” Eventually, wheel when she enrolled in Mikhail had already been created eons ago. though, she realized that her question Zakins class. Zakins demonstrations of This revelation occurred on a trip to was superfluous, and once again began handbuilding techniques persuaded Israel. Camping in the desert for several working with clay. Eisen to try her own hand at it. It took days, she spent long hours wandering Eisen had discovered an affinity with only a short time to wean her away in the wadis, the dry riverbeds that fill clay 19 years earlier. During 2½ years as from the wheel. only when winter storms bring torren­ a fine arts major at Brandeis University, Immersion in an intensive ten-day tial rains to the Negev Desert. The oc­ she had worked with a variety of media, workshop with Zakin at Karen Karnes’ casional rushes of water have sliced deep but after switching from Brandeis to studio in Stony Point, New York, dur­ into the desert terrain, exposing the rem­ New York University in 1959, she en­ ing the summer of 1973, firmed Eisens nants of past civilizations. Layers of earth rolled in her first ceramics course, and resolve to become a ceramist. The fol­ have entombed the succession of ages. soon knew that clay was her medium. lowing year she enrolled in classes at The patterns, colors and textures in the Serious daywork was put aside for Greenwich House in New York where, ridges lining the riverbanks and in the more than a decade following her mar­ under instructors Anna Siok and Marge desert hills fascinated Eisen, but their riage in 1960 and the birth of her first Israel, she expanded her skills and her

“Habitat Series/Soolam,” 13¾ inches in height, low-fire colored clays with oxide washes.

48 CERAMICS MONTHLY “Birthing Bowl,” 22 inches wide, reduction-fired colored stoneware.

awareness of the wide range of possibili­ Schrammel and his ideas that clay could of: “One day, while sitting quietly in ties with clay. be a natural bridge between man and my studio and looking around at the Eisen remained at Greenwich House, nature,” Eisen recalls. “With his en­ large body of work in various stages of working with Siok, for the next four couragement I began to explore build­ completion, I was struck by three sub­ years. Finally, she purchased an electric ing larger forms from multiples.” jects that had clearly emerged—dwell­ kiln and set up her own studio in her When she returned to her home stu­ ings for spirits, ancient souls and dreams, basement so she could work and do dio and looked again at her work, she which grew into my ‘Habitat Series’; bisque firings at home, but she contin­ saw meanings she had not been aware vessels, boats, which appeared ready to ued to rely upon the gas kilns of outside sail forth and which developed into my studios. A new studio, built a year after ‘Navigation Series’; and narrow cylin­ her sojourn in Israel, was equipped with drical forms, which found their voice both electric and gas kilns. years later. By the summer of 1983, Eisen felt “I was so excited! Here were new the need for stimulation and total ab­ dwelling places for some part of my sorption in her work amid a commu­ soul, and also the vessels which could nity of artists, such as she had found ten transport me to these new places. In years before at Stony Point. A work­ 1984, the first boat form in rry ‘Navi­ shop at Haystack in Deer Isle, Maine, gation Series’ took me across the ocean gave her the opportunity to work free to Vallauris, France, where it was of distraction for two weeks. While awarded the Grand Prix.” there, she also met Hungarian sculptor Success at Vallauris opened other Imre Schrammel, who encouraged her doors for Eisen at home and abroad. to expand her horizons, to work large The following year she and 17 other scale and to exhibit in the international ceramics artists from 13 countries were arena, urging her to enter the biennial invited to live and work for a month at in Vallauris. an international symposium at the Ap­ “My interest in architectural ceram­ Susan Eisen slab building in her Upper palachian Center for Crafts in Smith- ics was affirmed by my association with Saddle River, New Jersey, studio. ville, Tennessee. The artists worked with

June/July/August 1995 49 sand to deep orange, mossy greens and stony grays. It is inspired by the intense light in the desert, which effects won­ derful changes in colors during the pro­ gression of a day.” Holes of varying sizes and shapes, often arranged in patterned series, pierce the surfaces. Eisen calls them “windows.” She compares them to the “windows” in the landscape—hollows in trees, clefts in rocks and cavities under big tree roots. The sculptures’ interiors are like caves. Light filters through openings and bends around a forest of stalactite- and stalagmite-like protrusions. The setting is continually redone in shadowy, surre­ alist patterns that move and change form with the light. Windows and interior forms have evolved from Eisen’s love of surprises. “Navigators,”15½ inches high, slab-built earthenware with metal oxides, assembled with linen-wrapped wire and steel. In early pieces, the windows are closed. The way in is through an unsuspected removable top. Under the disguised lids virtually no constraints upon time, space in lichens spreading over a rock, in bar­ are interiors decorated with glaze flows or equipment, enjoying the freedom to nacles still clinging to their colony after and paintings. stretch beyond the limits normally im­ the waters have receded, and in swirls of In large leaning pieces, Eisen experi­ posed by material and temporal con­ seaweed scooped from the sea and ments with thrusts. Long ago she ob­ cerns. There, Eisen indulged her interest snagged upon rocks. served that most of the weight of water in architectural ceramics, awakened by Her sketchbooks and photo files birds extends far in front of their very Schrammel two years before, and ex­ record things in nature that nourish cre­ thin legs. Yet they do not topple over; perimented with free-standing sculp­ ativity. “Sketching,” she says, “is my not even with their long necks stretched tures and wall reliefs combining way of seeing more.” With her camera out to their limit. Their reverse knees architectural and sculptural elements. she captures what the pencil cannot— counterbalance both the weight and the In 1990, Eisen went beyond the changing light and things that pass in a extension. Eisen tests the limits of bal­ boundaries of the purely visual to a moment. Photos preserve ripples in wa­ ance in pieces with tops that flare out, multisensory experience. The impetus ter, sand and cloud as they are swept by or reach daringly away from their bases. came from composer Susan Follari who, the wind; the glint of snow crystals Unlike the meditative, tranquil tone of in seeing Eisen’s pieces, remarked, “I among scattered pebbles; or a lone most of her work, the thrust pieces cre­ can write music from this work.” creature’s tracks tracing its journey across ate tension, even evoke uneasiness. Composer and sculptor worked to­ moist earth. “My handbuilt ceramics are my re­ gether for a year, each internalizing Her work is made “without a wheel, sponse to sculptural forms and patterns musics and sculpture’s shared ele­ by pinching, paddling and stretching in nature, to the carvings of wind and ments—form, balance, texture, tonal­ layer upon layer of delicate rhythmic water, to the imprints left by past civili­ ity and rhythm—in the other’s art, and coils and textured slabs of clay,” Eisen zations,” Eisen concludes. “While work­ rendering translations into her own. explains. “My tools are paddles, shells, ing with clay I feel a connection with “I had to let her (Follari’s) music get bones and seeds. Metal oxides are often the earth, with something eternal. inside me,” Eisen explains. “I had to wedged into the clay. They are also used “My most dynamic work has evolved learn to let the instruments play into dry and as washes or slips at all stages, during times when I am so deeply in­ my forms and let sound affect shapes from wet to fired clay. Wet brushstrokes volved that I am in another time and and change details.” of shiny glaze are used as contrast with place, in harmony with some external Collaboration with Follari pushed arid, crusty surfaces. Color is further force, which seems to flow through my Eisen into large-scale work again. Work­ developed in the kiln by firing at differ­ hands. Something happens inside me. ing large seems to conflict with Eisen’s ent temperatures, by choice of atmo­ It’s an awesome feeling. My hands take orientation to detail. Details in a pan­ sphere and by single or multiple firings. over. Often I am surprised by what hap­ oramic sweep of the landscape catch “My palette of earth-colored clays pens as the clay leads me in directions I her eye. Eisen sees an entire landscape and washes ranges from sun-bleached can’t foresee.” ▲

50 CERAMICS MONTHLY Jonathan Kaplan spraying glazes in his studio in Steamboat Springs, Colorado. Located in an industrial warehouse, it has approximately 1800 square feet of production, storage, shipping, office, classroom and gallery space. Starting Over in the Mountains by Geri Anderson

In 1988, when Jonathan Kaplan de­ Another business opportunity cided to head West, he had no five-year brought them to Steamboat Springs, a plan, or even a five-day plan. Like the ski town northwest of Denver. When pioneers (and many professionals of the that venture didn’t pan out, they worked 1980s), Kaplan was starting over. for a year at odd jobs. It was a very Burned out after 15 years as a func­ difficult time—adjusting to a new town, tional potter, he left behind a successful new friends and a new marriage. “One business near Lancaster, Pennsylvania, day, we decided it was time we did and frantic days filled with production something for ourselves. We didn’t know deadlines. He had no clear road map or exactly what,” Jonathan explains. idea about where to go or what to do. In thinking about the next step, he Jonathan ended up in Telluride, a reflected on his clay past. There were small ski resort in southwestern Colo­ those years of putting business first, per­ rado. Schussing down the steep slopes, sonal fulfillment last. Back in art school, he met Elissa Joinson, a corporate mar­ however, the emphasis had been on art, keter also on the run from burnout. For not function. a couple of years, they skied and played “For me,” Kaplan says, “there’s no together. Then they opened an Asian difference between clay and art. I knew food take-out and catering service. “The if I were to start over as a potter, I business was a great experience and we needed to develop a direction that was a thought about expanding, but it would little more personal. That’s not to say have required more time-and-money that tableware isn’t art, because it is. commitment than we were willing to But previously, in producing tableware, make,” Elissa recalls. I had become more of a businessperson

June/July/August 1995 51 Elissa working at a large movable table that is used Jonathan monitoring the computer-controlled, power-vented for both casting and glazing. kilns, which fire bisque and glaze loads alternately.

and had really lost touch with the artis­ tic aspect.” One day, relaxing after a day on the slopes, Jonathan turned to Elissa and asked, “Do you want to be a potter?” “I hadn’t touched clay since I made dolls from modeling clay in kindergar­ ten,” she recalls. “But I did want to have my own business in partnership Elissa smoothing a slab made from two with Jonathan. I didn’t want to work de-aired pugs. A template will be used for somebody else any longer.” to cut a disk from the slab. The disk will As it turned out, Steamboat Springs then be inverted over a plaster mold. was a good “starting over” point. An­ other ski resort, packed with individu­ crafts are now a generational phenom­ alists and all types of entrepreneurs, the enon. Crafts were hot in the 1960s and town has a vitality that fosters both 1970s when everyone was accumulat­ business and creativity. ing. Now the accumulation is done, at Working side by side in a small ware­ least a great part of it, and the trend is house, the Kaplans now make only what nesting, so the market may not be pitch­ they want to make. And that usually ers and mugs. We don’t have to be pot­ means items that don’t appeal to the ters making functional pots. That’s broadest market. They have developed where neo-industrial art objects fit in. two product lines—slip-cast terra-cotta I’m learning how to use other materi­ tableware and neo-industrial art objects. als—glass, stainless steel, rubber.” Explaining his new market niche, Commenting on her husband’s re­ Jonathan says, “I have a feeling that turn to pottery, Elissa says, “It was a real

52 CERAMICS MONTHLY Slip-cast and assembled tea set, terra cotta with Cone 3 underglazes and glazes; 9-inch teapot with receiver, $200; cup and saucer, $50.

leap for Jonathan to go back into it in a different way. It was actually a tough decision for him to make. He and his ex-wife had been partners in his previ­ ous pottery business, and he worried about how two egos were going to fit into one business. That’s something we still deal with. It was easier for me. I didn’t have any negative experience, so I was all enthusiasm. For me, it was to­ tally new and afforded much more of a creative outlet than I had had before.” Initially, Elissa not only didn’t know much about clay, she also wasn’t schooled or experienced in form and architec­ ture, as was Jonathan. However, her background in advertising and market­ ing included working with artists and illustrators. Often, she had taken a why- don’t-we-try-it approach. She still does. Today, the Kaplans’ designs are the result of their “let’s do it and see what Large covered jar, 10 inches in height, “Still Life with Teapot,” 22 inches high, slip-cast and assembled terra cotta, cast and assembled terra cotta, with happens” attitude. Some ideas work; with underglaze, glaze and nonfired airbrushed and brushed underglazes others don’t. metallic pigments, $180. and glazes, fired to Cone 3, $400. Jonathan advises married entrepre­ neurs never to say I told you so. “You’ve

June/July/August 1995 53 high-end studio/workshop, he rented a 1000-square-foot warehouse (across the tracks from downtown). The building serves as an office, production, ship­ ping and storage space. The rent is an affordable $400 a month, which in­ cludes snowplowing and trash removal. The entranceway is divided into two aisles. The aisle dividers are storage “Single Glass Tripod,” 16 inches in height, slip-cast and shelves, which house ware in various glazed terra cotta, with steel, rubber and glass, $500. stages of production—pieces waiting to be glazed, packed for shipment, etc. The right side serves as the shipping area, with packing supplies stored on got to be able to make mistakes and ket niche. You can identify the demand shelves. The left wall serves as storage learn from them,” he notes. “And they and fill it. Or you can make what you for raw materials. can be very costly.” He takes a triangu­ want to make, then develop the niche Racks of molds separate the packing lar vase from underneath the counter at the same time. That’s what we’re do­ table from a multi-use alcove. “I call and explains that it took at least three ing. And it’s more difficult.” this my department of redundancy,” days to make the mold, “but it just Because of her former experience, Jonathan says. With planning, he uti­ didn’t work in clay.” Elissa handles most of the sales and lizes this area for rolling slabs, pouring Elissa points to a pitcher, admitting marketing. Her big-city business ap­ molds and glazing. Sometimes Elissa is that “this was my mistake. It looked proach has given way to more personal pouring molds on one side of the table, good in a sketch, but it just isn’t func­ contacts. In looking for markets, she while Jonathan glazes. tional. We both share the embarrass­ travels throughout the West and South­ Across from this multi-use section ment when it doesn’t work.” west, personally visiting art galleries and and behind the entrance storage shelves The couple say that moving to a craft shops. This approach, she says, are a potter’s wheel, a pug mill, a slip small mountain town and scaling down makes more sense than marketing at blunger and a jigger. An airbrushing from big business to more personal and trade shows where customers stroll by, and spraying nook is ventilated, and is experimental designs has many associ­ often only glancing into each booth. separated by a wall from the glazing ated adjustments. “I’m spending more “Most of our customers are small area. An L-shaped counter further de­ time doing what I want to do, ” Jonathan businesses like ourselves—a small retail fines this section and provides space for says. “Although we don’t have as many craft gallery or fine-art gallery,” Elissa the 20-gallon sediment trap and sink. A accounts now, we still have to think explains. “We sell wholesale, of course, metal cabinet stores the pigments and about the marketplace. We are still busi­ but not in large quantities.” serves as a countertop. ness people. We can make the best stuff While Elissa changed her hard-sell In November 1994, the Kaplans de­ in the world, but if it doesn’t have a hat for more personal contacts, Jonathan cided to expand their business by add­ niche in the marketplace, how are we was creative in his use of space. Finding ing a second floor to the studio. This going to sell it? an affordable studio in a resort town increased their space by approximately “There are two ways to find a mar­ was impossible. Rather than getting a 800 square feet. Now the office is up-

54 CERAMICS MONTHLY A New Way of Working by Jonathan Kaplan

One of our original intentions was to electrical components. We subcontract operate Ceramic Design Group as a small machining, anodizing and glass fabrica­ studio that not only produces our own tion. All our “CDG Tableware” is cast and “Teapot with Cups and Saucers,” lines, but also offers design and produc­ jiggered, while “CDG Dinnerware” is cups 5 inches in height, slip-cast and tion services to other artists. To date, we thrown. assembled terra cotta, with sprayed have worked in various capacities with JH underglaze and glaze, graphic CDG Terra Cotta Designs, RDE/Tache Vosburgh Designs, transfers and lusters; teapot $350, (Cone 3) cups $50 each. Rock Riffle Run Pottery, Littel Studios Custer Feldspar...... 15.0% and Frasetto Inc., to mention a few. In Cedar Heights Redart...... 30.0 this capacity, we have produced models, Edgar Plastic Kaolin...... 20.0 samples, limited production runs, work­ Kentucky Ball Clay (OM 4)..... 20.0 stairs, along with a retail gallery and ing molds and case molds in plaster and Pyrophyllite...... 7.5 classroom. rubber. Some projects have been com­ Flint...... 7.5 By reconfiguring the first floor, they pleted, others are in production, several gained more space for materials storage, never developed marketability, and a few 100.0% Add: Barium Carbonate...... 0.5% and the clay- and slip-making area; they are evolving into the commercial area. also built a separate kiln room with a I do not feel restricted or limited in CDG Casting Slip 16-foot-high ceiling and its own venti­ the use of appropriate technology for the (Cone 3) lation system. The jigger area now has potter. There is nothing sacred or noble Custer Feldspar...... 25.0% separate shelving for molds, a new wheel about a particular process or method. What is designed for duplication by hand Cedar Heights Redart ...... 25.0 for trimming and extra space for ware Edgar Plastic Kaolin...... 15.0 throwing, jiggering, pressing or casting carts. The casting and mold making Kentucl^y Ball Clay (OM 4).... 10.0 area now has enough room for a gran­ must be appropriately designed, as must work that is “one-off.” The parameters ofPyrophyllite...... 12.5 ite-topped table for mold work, a cast­ Flint...... 12.5 ing table and a plaster-turning wheel the particular forming methods must not overshadow the design elements neces­ 100.0% for model making. sary for each piece. A handle must func­ Add 280 grams barium carbonate to the Upstairs, the classroom is equipped tion as a handle regardless of whether it isdry mix. Stir 400 grams Darvan 811 into with ten wheels, a worktable, storage pulled, pressed or cast. A lid must fit ±5 gallons water. In winter, the slip’s spe­ shelves, a double-basin sink and a wedg­ whether it is thrown or jiggered. cific gravity should be 1.75-1.76; in sum­ ing table. Evening classes are offered as Our educational system overempha­ mer, 1.80-1.83. ten-week sessions, and two classes can sizes the “how to” of pottery making in meet simultaneously. deference to the teaching of design and CDG Majolica Base The 300-square-foot gallery space is the design process. While it is true that (Cone 3) open and flexible, with easily positioned the learning curve of ceramics is a con­ Frit 3124 (Ferro)...... 10% halogen track lighting in the ceiling. A tinually evolving process, so too is the Frit 3195 (Ferro)...... 40 modular display system with glass shelv­ design process continuum. As potters, we Nepheline Syenite...... 7 ing accommodates a variety of wares are also designers. Ascribing form for hu­Kona F-4 Feldspar...... 32 and arrangements. man usage embraces both the technical Edgar Plastic Kaolin...... 11 Jonathan keeps his creative time sepa­ “how to” as well as the aesthetic; those are 100% rate by letting an answering machine in the elements of good design. Each of us Add: Zircopax...... 15% the office take the telephone calls. “I has adopted ways of working that are com­ return all calls each day during business fortable, challenging and gratifying. CDG Satin Base breaks. I handle the business promptly, We currently work with Cone 3 terra­ (Cone 3) but I don’t let it interfere with creativity cotta clays for both casting and plastic Whiting...... 17% and production.” forming. One line of work, “Neo-Indus- Frit 3124 (Ferro)...... 40 Nepheline Syenite...... 17 For the Kaplans, starting over in an trial Art Objects,” combines airbrushed Edgar Plastic Kaolin...... 13 idyllic mountain setting required much commercial pigments with our Cone 3 Flint...... 13 scaling back, re-direction of priorities glazes. These pieces are specifically de­ 100% and ingenuity in workshop design. But signed for higher-end clients and use other materials in conjunction with terra cotta—Color variations are produced with the that allows them to do what they want specifically, glass, stainless steel, rubber andaddition of stains (5%-8%). to do—most of the time. A

June/July/August 1995 55 Layered Cone 6 and Cone 06 Glazes by Lana Wilson

“Ritual Teapot,” 9 inches in height, with Lana’s Red Moss Glaze, fired to Cone 06 in oxidation.

c^^ontinued interest in painterly tex- As basic procedural information: I Although I wish I had dramatic sur- tured surfaces and strong color has applied all of the glazes on white stone­ face-effect glaze recipes that were reli­ greatly influenced the surfaces of my ware. (Since many of the ingredients— able every single time I fire, almost all of ceramic work, but I haven’t always been lithium carbonate, manganese, chrome, the glazes I like the best are tempera­ able to find the glazes that closely match barium carbonate, etc.—are toxic, I al­ mental. If you are interested in testing my interests. Consequently, I recently ways wear a charcoal-filter face mask these glazes, try about five different ap­ went into partial seclusion and did about and thin rubber gloves, and use basic plication thicknesses. You may also need 800 test firings. I ended up working safety precautions when mixing and ap­ to adjust the recipes slightly for your with five methods to develop certain plying glazes.) The Cone 06 glazes have ingredients and water, or fire at a cone glaze effects, and thought the specifics also been successful on top of Cone 06 above or below the one I suggest. might be of interest and help to others. white slip on Cone 06 white clay. These methods are: 1) using simple ra­ The clay, water and glaze materials Using Simple Ratios tios of glaze ingredients, such as 80:20 from different parts of the country some­ Lana’s Red Moss Glaze illustrates the or 60:40; 2) adding fluxes to Cone 6 times make a very noticeable difference use of ratios to develop glazes. I knew glazes to produce Cone 06 glazes; 3) in results, as does a thin or thick appli­ lithium and manganese produced in­ testing fluxes with colorants; 4) altering cation. By thick I mean ½ inch thick. teresting brick reds, and when I was at existing glaze recipes; 5) adding ingre­ For thin, especially for the Purple Aqua, Robin Hopper’s glaze workshop in dients by increments. slightly thicker than milk is an appro­ Canada, Brian Gartside suggested that Layering also is an important tech­ priate consistency. Most of these glazes I try simple 60:40, 70:30 or 80:20 ra­ nique for developing textured surfaces give one color when thin and a differ­ tios of lithium and various stable ingre­ in electric firing. If a glaze is almost ent color when thick. dients like kaolin and flint. This glaze interesting, a different glaze under it Color and texture are also affected was the result of that simple ratio ap­ can give it much richer surface interest. by how glazes are layered. If the first proach. It is fired to Cone 06, but is Layered applications of glazes can be glaze is applied thickly, it will have more usually layered over a lichen glaze fired fired at one temperature; or the first one effect on the glaze layered over top. Usu­ to Cone 6, so I will give two lichen can be fired at a higher temperature, ally I fire the first glaze application to recipes first. These glazes can be dipped then a second glaze applied and fired at Cone 6, then apply the second glaze or brushed, but they are more success­ a lower temperature. and fire to Cone 06. ful if they are sprayed.

56 CERAMICS MONTHLY Lanas Lichen Glaze (Cone 6) Magnesium Carbonate ...... 22 % Nepheline Syenite...... 60 Ball Clay...... 18 100% A white glaze. To cut shine add 5% increments of ball clay, kaolin or alu­ mina. Apply thick and thin to test dif­ ferent results. Mark Bells Lichen Glaze (Cone 6-8) Magnesium Carbonate...... 31% Talc...... 8 Zinc Oxide ...... 6 Frit 25 (Pemco) ...... 6 Soda Feldspar...... 30 Kaolin...... 19 100% See Ceramics Monthly, February 1990, “Southern California Ritual Teapot,” 13 inches high, with Lana’s Purple Aqua Glaze. for other ways to use this glaze with stains. To achieve a cracked-earth effect, borate and flint together function as the Cone 06, adding enough flux to get some cracks should show before this or 20% in the ratio. I started with all flint, them to work. The two that follow also the previous lichen glaze is even fired. but it was too dry so I gave 5% over to happen to be based on simple ratios of Lanas Red Moss Glaze Gerstley borate to flux the mixture. I glaze ingredients. Ceramics books often (Cone 06) usually spray this thick for yellow and mention using nepheline syenite and Lithium Carbonate...... 60 % chartreuse, and thin for a purple gray. barium carbonate with copper at Cone Talc...... 40 First I spray one of the lichen glazes 6 to get striking colors. I tried this, but 100% listed above and fire it to Cone 6. Then wanted a glaze to fire at Cone 06 and Add: Bentonite...... 2 % I spray on Chartreuse Moss and refire ended up altering the formula by add­ Frit 25 (Pemco) ...... 2% to Cone 06. Occasionally the color ing a frit (in this case Ferro Frit 3289). changes over time after it has been fired. Manganese Dioxide...... 6 % Lanas Purple Aqua Glaze This is a simple ratio glaze. The manga­ Lanas Chartreuse Moss Glaze (Cone 06) nese addition can be 3% for a light (Cone 06) Barium Carbonate...... 45 grams orange, 6% for a strong rich red and Gerstley Borate...... 5 % Nepheline Syenite...... 45 Lithium Carbonate...... 80 10% for a darker red. 90 grams Flint...... 15 Add: Frit 626 (Pemco) or This is one of those temperamental glazes. It is very important to apply it 100% 3289 (Ferro) ...... 4 grams Add: Bentonite ...... 2% thickly enough (up to ½ inch) to yield Bentonite ...... 2 grams red. A thinner application yields black. Chrome Oxide...... 3 % Copper Carbonate ... 4—8 grams Tin Oxide ...... 7 % Spraying seems to give the best result, This recipe should not be used on a but I sometimes brush more on top to This glaze yields a mild purple where food container, even on the outside. thicken some areas. For good color, I thin, but often needs two or even three Spray thin for purple and thick for aqua. often do two applications and two firings applications to get a strong lime color. For more aqua, use smaller amounts of of the Red Moss, but it seems better to Results are most interesting over Mark copper carbonate. The purple color can do a thick enough application the first Bell's Lichen Glaze. be varied by adding 4% to 8% copper time than to have to refire. One variation I make requires no carbonate. My preference is the rich To produce a brown variation, add bentonite and uses kaolin instead of purple at 8% copper carbonate. 4% crocus martis or 2% Mason Stain flint. This changes the color in a subtle This glaze looks good sprayed or 6600 instead of manganese. Another way, and I sometimes layer both recipes brushed over Dry Borax Engobe. Re­ interesting brown can be made by using on one pot. sults are very dependent on the firing lithium carbonate 70 and talc 30. The temperature and will change with only bentonite and Frit 25 stay at 2%. Altering Cone 6 Glazes 50° difference. If it is too strong when it Another version of a glaze developed My second method for developing comes out of the kiln, try overspraying from a simple ratio is the following glazes is the unconventional approach with Dry Borax Engobe in some places 80:20 chartreuse recipe. The Gerstley of firing intriguing Cone 6 glazes to and refire, or apply a thin coat of Dry

June/July/August 1995 57 Borax Engobe and spray Lanas Purple Flux Color Tests with cobalt at Cone 8 in gas and electric Aqua over it, then fire to Cone 06-05. The third method of developing Idlns. First he tested several of the com­ glazes is a simple series of tests to deter­ mon feldspathic family of fluxes (Corn­ Dry Borax Engobe mine which flux yields the most inter­ wall stone, soda feldspar, potash feldspar, (Cone 06-6) esting results with a chosen colorant. To nepheline syenite, spodumene, lepido- Borax...... 15% figure out which flux I should use with lite) with 0.5% cobalt carbonate. This Kaolin...... 55 vanadium to make a rich rust, I com­ basic testing showed him how mottled Flint...... _30 bined several appropriate Cone 06 fluxes and purple cobalt can be in lepidolite. 100% (Gerstley borate, frits, borax) at 20 grams Then he added secondary fluxes (whit­ For a speckled surface, add 3% granular to 2 grams of vanadium pentoxide. Bo­ ing, dolomite, magnesium carbonate, rutile and brush on a thin coat. Some­ rax produced by far the most interest­ zinc oxide, titanium dioxide, barium times if it is too thick, it flakes off. If ing color. Then the borax and vanadium carbonate, strontium carbonate, etc.) to this happens, add 2%—5% frit. were developed into a workable vol­ the lepidolite. In a test with titanium (5 I often fire glazes at both Cone 06 ume-measured glaze with my most com­ parts lepidolite and 2 parts titanium), and Cone 6 to see what will happen. monly used stabilizers: kaolin and flint. 0.5% cobalt carbonate turned green. Even commercial Cone 06 to 04 glazes The titanium pushed the cobalt to green. can be overfired with good results to Lanas Rust Glaze Next, he needed to stabilize or fill out (Cone 06-6) Cone 6 and some to Cone 5, though the glaze formula with other ingredi­ Borax...... 1 teaspoon some run excessively. Blues, greens and ents like flint and kaolin. Kaolin...... ½ teaspoon blacks remain at these higher tempera­ This is a very visual way of learning tures, but yellows, oranges, etc., usually Flint...... ½ teaspoon the influence of basic glaze ingredients do not. The following glaze was devel­ Vanadium Pentoxide ... _¾ teaspoon on colorants. It becomes clear that the oped in relationship to the Aqua Purple: 2¾ teaspoons effects of specific feldspathic fluxes and Lanas Rust can be layered on itself, secondary fluxes can push a color like Lanas Bronze Aqua Glaze fired first at Cone 6, then more glaze cobalt from green to blue or to purple. (Cone 6) brushed on and fired at Cone 06. It is Strontium Carbonate...... 50.0% not good over Bell's Lichen Glaze. There Altering Existing Recipes Nepheline Syenite...... 50.0 are also changes in the glaze colors if it The fourth method of developing a 100.0% is mixed and then applied days later glaze is simply to alter an existing glaze. Add: Gerstley Borate...... 2.5% because the soluble borax breaks down. I actually made the following recipe Bentonite...... 3.0% For more rust, go heavier on the vana­ more unstable than the original, but Copper Carbonate...... 4.0% dium. This, of course, is quick to mix then all the glazes I tend to be interested A thin application produces aqua; because it uses volume not weight. in are temperamental and tricky to use. whereas thick yields bronze. It runs This is definitely not my most popu­ I like what lithium does to blue and wherever its thick, so use a thin appli­ lar glaze. People sometimes make a point have tested almost every lithium glaze I cation near the bottom. A better bronze of saying how much they dislike it. have come across. I found the following is produced if it is applied over a thin One of my students, Paul Holden, recipe in several places and wanted to application of Bell's Lichen Glaze. has done this basic color response test make it drier. In the process of making it drier or less shiny, I also made it somewhat unstable. Lanas Almost Stable Blue Glaze (Cone 06) Lithium Carbonate...... 27 grams Bentonite...... 3 Kaolin...... 21 Flint...... 48 99 grams For blue green, add 4—5 grams copper carbonate; for cobalt blue, add 2 grams cobalt carbonate. Apply a thin layer of Bell's Lichen, fire to Cone 6, then spray on Almost Stable Blue and fire to Cone 06. One firing seems more stable than two, but the color can be better with two appli­ cations and two firings. Try the cobalt version on top of the copper carbonate “Artifact Teapot,” 9 inches in height, with Lana's Bronze Aqua Glaze. version and by itself

58 CERAMICS MONTHLY Adding Incremental Amounts My favorite and the easiest way to alter glazes is incremental testing. I would try this approach first if you only have the time to pursue one method of glaze development. To a black engobe that was too matt, I added 10% incre­ ments of nepheline syenite to produce a slight sheen in the surface. After each 10% was added, I mixed it up, brushed it on the test tile, then added the next 10% to the same cup. Work with a minimum of about 50 grams when doing two to five incre­ mental additions in one cup. It is slightly inaccurate for the last tests because some glaze has been used up in the previous applications, but you’ll get a general idea and more accurate testing can be done later. I usually add at least 20% above what I think I will need because I “Ten Legs Teapot,” 10 inches in height, with Lana's Almost Stable Blue Glaze. see a greater range of possibilities and thus learn more. Incremental additions can be done with the feldspar, starting lower than the suggested amount and adding till you go above the original formula amount. It is also intriguing to add sec­ ondary fluxes, such as zinc oxide, barium carbonate, bone ash, lithium carbonate, etc., in increments. John Conrad s White Engobe (Cone 6) Borax or Soda Ash ...... 5 % Whiting...... 5 Nepheline Syenite...... 10 Potash Feldspar...... 15 “Ritual Teapot with Hobo Symbol,” 5 inches in height, with Altered Conrad Engobe. Kaolin...... 20 Kentucky Ball Clay...... 20 Flint...... _25 engobe very dry for other effects, drop to use either copper or cobalt as color­ % 100 the nepheline syenite completely from ants, then I work with barium carbon­ the original formula. ate, strontium carbonate, lithium Altered Conrad Engobe carbonate, borax, bone ash, Pemco Frit (Cone 6) Final Thoughts 626 or Ferro Frit 3289 and magnesium Borax or Soda Ash ...... 4 % A test kiln with a timer and kiln carbonate to encourage blues, purples Whiting...... 4 sitter is the one tool I should have bought and greens. Nepheline Syenite...... 26 earlier on, because I learn faster when I Layering offers a lot of potential for Potash Feldspar...... 12 can test more often and follow an idea surface and color development. Some­ Kaolin...... 17 through. Most glazes seem to take about times I even cover up a failed effort Kentucky Ball Clay...... 17 ten alterations before I get something I partially or totally with a dry engobe Flint...... 20 want to use. and try all over again. And therein lies 100% Over the course of the testing, if I the secret of ceramic glaze development: I brush the Altered Conrad Engobe decide to produce an iron-related glaze try again! on a textured white clay, then sponge it using rutile, crocus martis, Cedar off to create a black-and-white effect. If Heights Redart or Barnard clay, I use The author Lana Wilson is a studio pot­ applied too thickly, it will pinhole. For titanium dioxide, tin oxide, bone ash, ter in Del Mar, California. She also teaches either version, make black by adding borax, Pemco Frit 54 or spodumene to at Mesa College in San Diego and at 10% Mason Stain 6600. To make the enhance color development. If I want Grossmont College in El Cajon.

June/July/August 1995 59 Edgecomb Potters by Mary Maynard Drake

Gliding the cutting edge of ticularly brazen days,” Rich­ copper red glazes and micro- ard laughed, “I will push the crystalline glaze effects has thickness past normal ranges enabled Christine and Rich­ and joke to all in the studio, ard Hiltons Edgecomb Pot­ ‘Either these pieces or the kiln ters in Edgecomb, Maine, to shelves will be extraordinar­ become one of Americas larg­ ily beautiful.’” est art potteries. Annual sales Edgecomb Potters has from three year-round retail been pushing creative growth galleries and telephone/mail ever since Boston art student orders are in the millions. Chris Hilton introduced her Richard’s newest glaze ef­ young husband to throwing fect, Fire & Ice, combines the pots some 20 years ago. Ri­ usually reduction-fired cop­ chard became as excited per red with a generally oxi- about clay as she was, and dation-fired white crystalline began making pots just to glaze to yield a fiery red ex­ glaze and fire them. Drawn plosion of color in an icy by the difficulty and chal­ white sea. Other glaze effects lenge of copper glazes, he developed over the past 17 delved into their history, years include jadelike greens, chemistry and aesthetics. deep blues, wet-looking Today, Chris and Richard metallics, pastels flecked with trace their inspirational gold and a vivid range of cop­ sources to various periods of per reds—from pale ashes of ceramics history. Chinese and roses to deep flambes and Japanese precedents influence oxbloods. Many are achieved their work in copper reds, by layering the slips and Coffeepot, mugs, sugar and creamer on tray, porcelain saturated irons and celadons. with copper and cobalt brushwork on microcrystalline glaze. glazes; most are single fired. They also “empathize and re­ “We try to let the fire impart its spirit more exciting when I don’t control ev­ late to Hugh Robertson, who experi­ into the clay,” Richard commented. “It’s erything.” enced great financial loss as the first With the extremely fluid crystalline American potter to attempt to repro­ glazes, the risk is great that the flow duce Chinese reds,” Richard said. won’t stop ½ inch from the bottom of “When I view his ‘Twin Stars of Chelsea the pot, but Richard accepts that as part at the Boston Museum of Fine Arts, I of the process. “Because we produce feel the excitement he must have felt 30,000 pieces each year, I can throw a unloading his few successes.” few pots away in order to reach for a blessed piece,” he explained. He dis­ misses the crashing sound of substan­ dard pots as “familiar around here. Anytime we don’t lose pots, we haven’t pushed the glaze, and it isn’t as great a kiln firing.” Most potters fire crystalline-glazed ware in electric kilns, using disposable saucer systems to catch glaze runs, then grind the bottoms of the pots smooth. However, the Hiltons fire their crystal­ Christine Hilton inspecting teapots; over Richard Hilton of Edgecomb Potters line glazes in large gas kilns on standard 30,000 pieces are produced each year. glazing the outside of a bowl. refractories. Control of the specific gravity of these glazes is critical for success. “On par­

60 CERAMICS MONTHLY

Edgecomb Potters’ crystalline glazes continue the evolution begun in the American arts and crafts movement of the late 19th and early 20th centuries. “Whether it be a perfect crystalline glaze on an Adelaide Robineau vase, or a Ti­ ger Eye glaze on a piece of early Rookwood, these glazes were technical milestones in ceramic history. I’m very respectful of our own American heri­ tage and the precedent of creative glaz­ ing during this period,” Richard noted. Among the many contemporary art­ ists who have helped the Hiltons both literally and inspirationally is David Davidson of the Museum School, Bos­ ton, a former professor at Massachu­ setts College of Art, Chris’ alma mater. “He made us believe we could make a studio work artistically and financially. He was also the first to encourage con­ stant tests for new glazes.” Richard is happy that he never went to art school “because no one told me “Lightning Strikes,” 18 inches in diameter, porcelain bowl with copper flambe glaze. what I couldn’t do.” Over the years, he has designed and built all the kilns the pottery has used. These include 60-, 90- and 200-cubic-foot double-car kilns in which he does all the high firing, and a 50-cubic-foot raku kiln that is ele­ vated with a winch. He also developed multiple glaze-layering techniques, which combine brushing, pouring and spraying on the same piece. Early on, the Hiltons learned that pots with spectacular glazes “flew off shelves in jewelry stores or wherever they were displayed individually as fine art,” so, in 1976, they decided to open their own retail outlet. They bought an abandoned one-room schoolhouse on Route 27 in Edgecomb, Maine, and moved in. “It was our studio, our gal­ lery and our bedroom,” Chris recalled. “We had no running water, so we had to take showers down at the Y.” The first summer tourist season they Chris and Richard have added four studio made $3500. That was a fortune, they buildings and two larger retail galleries to the thought, until January came. When­ one-room schoolhouse bought in 1976 for a ever they had enough stock, Richard studio and retail outlet. drove to Boston, and sold pots from a pushcart at Faneuil Hall Marketplace. Today, the schoolhouse, still used as a gallery, is dwarfed by Edgecomb Pot-

62 CERAMICS MONTHLY ters’ four studio buildings and two larger retail galleries. The entire complex of studio, retail and offices encompasses over 20,000 square feet. The 28-mem- ber staff includes 7 potters and assis­ tants who produce ware by throwing, pressing, slip casting, handbuilding and extruding; the rest of the staff are in retail sales, management and shipping. Richard oversees production, while Chris spends summers shuttling be­ tween Edgecomb and their other retail galleries, one in nearby Boothbay Har­ bor, and one in Freeport, near L. L. Bean. In winter, she throws pots deco­ rated with sgraffito images that corre­ spond to the stages of her life. In the early years, Richard had little time or energy to devote to glaze chem­ istry. Because he painstakingly tested each ingredient, many of his earlier glazes took a year or two to develop. With copper glazes, alkalinity is of extreme importance, and “every single brand of Bulbous vase, 8 inches in height, porcelain with gloss and microcrystalline glazes. whiting, of feldspar, even copper and silica from different mines, reacts differ­ ently because of slight variations in chemical properties.” Today, teamwork in the studio plus his experience make it easier to bring a glaze along faster. “Now I know more what I’m looking for,” he said. “There are no tricks to developing a great pal­ ette of glazes. Its a discipline. Every time we fire a kiln, we include test pieces with potential new glazes. After glazing 500-1000 pots in 25 buckets of glaze, its exhausting to stop, calculate a chemi­ cal formula, mix the experimental batch and apply it. But that’s the only way to find out what works.” Richard has learned that location within a kiln also affects color develop­ ment. Some glazes only work in one section of one kiln. “Sometimes we hold two shelves for copper reds, because the fire blesses the piece in that one spot.It can be tiring to mix up a small batch of glaze just to round out a kiln. Despite the size of our operation, that’s exactly what we do every day.” Carved-lip dinnerware with “sea and sky” crystalline-glaze decoration. Because Edgecomb Potters produces only limited editions, frequently retir­ ing or changing designs and glazes, it is

June/July/August 1995 63 I

“Swirl” mugs, 20-ounce capacity, porcelain with copper flambe glaze.

not tied to producing only past suc­ bers recommend alternate items or glazes mer guides and magazines. They be­ cesses. “Its important to follow your when necessary. All orders come with lieve in aggressively marketing their ware, creative side, to move on. If people want 100% satisfaction guaranteed. allocating over $50,000 annually to pro­ exactly the same thing year after year, Both Richard and Chris credit their motion and advertising. “However,” Ri­ then we are not the studio for them,” success to their “phenomenal crew, our chard observed, “the best advertising Chris said. “Were lucky that we have a extended family.” Five have been with comes from the 350,000 pots that wonderful group of people out there them more than seven years. Richard people have bought and taken home.” who recognize that our work is on the hires employees because “a gut feeling Chris and Richard enjoy meeting the edge and support us.” tells me this person is meant to be here, people who buy their work. But they Their most popular items are drink­ not for skill in throwing pots. And al­ are surprised at the number who say, “I ing vessels that sell for $16 to $20. ways I have grown and learned from can’t believe you found a way to make a Many small pieces, including pitchers, each one.” living doing what you love.” jam jars and candle holders, start around The couple tries to “do the right To them, and to all the aspiring $20. Plates and platters run $75 to $200, thing,” providing congenial working young potters, glassblowers and other oil and electric lamps $45 to $500, and conditions, plus paid vacations, sick artists who come into the shop, they dinnerware from $90 per place setting. leave and health insurance. All employ­ say, “Find the work you love. Work at Large pieces may run up to $ 1500. Over ees, even sales and business staff, work it. Take the risk. Doors will open up.” 30% of their sales come from repeat some in the studio, to be a part of the “When I hold a Charles Binns vase, customers. process and be better able to answer a George Ohr mug or an Artus Every purchaser and about 25,000 customers’ questions. A business man­ VanBriggle sculpted piece, I feel a spiri­ “loyal customers” receive a 2 5-page, full- ager copes with government regulations tual connection that is our mutual love color catalog from which they can se­ and paperwork. Payroll, mailing, ship­ for the beautiful in clay,” Richard ex­ lect items to order through Edgecomb ping and business records are maintained plained. “Chris and I can only hope Potters 800 telephone number. Since on a Macintosh computer. that 100 years from now people will specific items in specific glazes are made Together the Hiltons create the ad­ recognize the risk, energy and love that only in limited-edition runs, staff mem­ vertising for local papers, regional sum­ go into our pots.” ▲

64 CERAMICS MONTHLY Marrying Production work. Our approach today, in both stu­ potter turned to me and said, “There dio and retail stores, is one that empha­ must be something that goes wrong Values and Creative Spiritsizes teamwork. every day.” This is one of the greatest Of greatest importance is the mood by Richard Hilton gifts that working with clay affords. Solv­ in the studio; the atmosphere must be ing problems is the only way we truly free, creative and genuinely caring. Since become problem solvers. Throughout the early years of Edge­ our work ultimately reflects the spirit in Producing thousands of pieces a year comb Potters, the entire company con­ which it is made, this is an even greater is physically a great challenge, but more sisted of just Chris and myself. The challenge than technical problems. In challenging yet is assuring that each pot growth of the large production pottery our peak season with 28 or more em­ is alive and worthy of its own existence. that we are now came in spurts, which ployees, there is always some issue or Certainly the fact that we retail 95% of related to our personal needs and the personal problem that must be ad­ our work in our own shops has helped. growth of the work itself It became dressed. I accept this—along with the With few exceptions, all of our pots are apparent by the late 1970s that both cracked handles, the lids that don’t fit created on speculation. This allows us Chris and I were happier working with and the glaze that runs—as part of my to sidestep the sometimes painful pro­ other people in our day-to-day opera­ personal work. cess of filling orders from a clipboard. tion. Because we lived in a rural area, Once, after a tour of our 12,000- When completing a special order, I of­ our coworkers became our friends and square-foot workspace with thousands ten would rather do any other form extended family, and they have had sig­ of pots everywhere, kilns firing and than the one that needs to be made to nificant input on the direction of the handles being applied, a northern Maine meet someone else’s expectation.

Covered bowl, 9 inches in height, porcelain with copper crystalline glaze.

June/July/August 1995 65 To keep things exciting, every kiln thicken. The desired viscosity varies load includes something new. Some­ greatly, depending on whether it is ap­ times we fire new forms, always new plied to once-fired greenware, bisque- glaze tests, combinations or experiments ware or as part of a layering effect. of some sort. Like most potters, I shine Many of our pots are brushed with a flashlight into peepholes as soon as oxides, sprayed with one glaze, then possible—as impatient as my children dipped into yet another glaze. Both unwrapping a gift. proven and totally experimental combi­ About three days a week, I become nations are tried. Working with one the mad glazer. Currently, I have about A stainless-steel pug mill is used to assistant, I can generally glaze 300 to 25 large barrels of different glazes ready prepare porcelain for throwing, press 600 pots in a day. for use. I have a row of blenders that molding, extruding and handbuilding. Getting off the treadmill of person­ allows me to mix slips, engobes and ally throwing the production runs has small glaze tests without sieving. Gen­ allowed me time to introduce many erally, assistants will prepare 500 to 1000 ringes; basters; ladles; spray guns; and new glaze effects. I could certainly make pieces by waxing, sponging and then sponge, bristle and hake brushes. the search for the next great glaze a full­ stacking the wares in my glaze area. I Because the base glazes are in large time job. Although I have experimented usually start slowly by mixing glazes up barrels under the working bucket, I can with magnesium, calcium and barium from the bottoms of the barrels, then keep the main batch very thick. This glazes, my personal bias has been in placing buckets of glazes at working allows me to change the specific gravity working with copper reds and crystal­ heights. I like to have several glazes go­ of the glaze in the bucket by simply line glazes. Both groups require a fluid ing on at once. My tools include sy- adding water to thin or more glaze to glaze melt.

Porcelain steins, 16-ounce capacity, with layered glazes, fired to Cone 9-10 in reduction.

66 CERAMICS MONTHLY For crystals, the glaze must be very barium carbonate or magnesium car­ used. Also, adding 1%-2% bentonite fluid and have at least 20% zinc oxide; bonate will help check fluidity. The will aid suspension. add an alkaline frit or feldspar, and problem is keeping glaze on vertical sur­ When testing, always try different enough clay for application, then crys­ faces at a specific gravity that still cre­ locations in the kiln; I have certain glazes tals will grow, even with only slight slow­ ates crystals. that only fire well in one location. Also, down during cooling. A rutile addition Copper reds also need to be fluid, when working with copper glazes, re­ acts as a catalyst and produces its own but much less so. Whether you seek member that copper volatilizes. The kind of crystal. I also use a matt glaze oxblood, peach bloom, flambes or ashes bricks in two of my kilns are green from with magnesium carbonate and various of roses, all of the following variables copper, and I know my best reds are colorants under the crystalline glaze to will affect your end result: particle size produced there. Frequently, iron glazes form yet another crystal shape and color. and amount of copper used; firing (celadons and iron blues) will flash cop­ My favorite crystalline-glazed pots have schedule, rate of climb, soak periods, per effects just from firing in these kilns. many crystals of different shape, size reduction to oxidation and final tem­ I am always amazed at the effects and color. perature; specific gravity and method of copper glazes can create. The variables application (spray, dip or pour); and are endless. Since most chemical analy­ Crystalline Glaze #1 glaze relationship to other constituents, ses of raw materials are theoretical, only (Cone 9-10) particularly the alkaline earths (calcium, testing the different materials will really Zinc Oxide...... 25 % barium, strontium and magnesium). prove how they affect the copper colors. Feldspar...... 15 Remember, ceramics is history’s all-time Frit 3110 (Ferro)...... 50 Copper Glaze #1 leader in trial-and-error technology. Flint...... 10 (Cone 9-10, reduction) On a final note, I should emphasize 100% Barium Carbonate...... 2.00% my experience with rate of climb when Add: Rutile...... 2-10% Whiting...... 13.00 firing my kilns. Both crystalline and Zinc Oxide...... 4.00 copper glazes are greatly affected by the Crystalline Glaze#2 Feldspar...... 52.00 rate of temperature increase and total (Cone 9-10, oxidation or reduction) Frit 3134 (Ferro)...... 6.00 firing time. All of our work is fired in Whiting...... 8 % English China Clay...... 5.00 large brick kilns powered by natural Zinc Oxide...... 25 Flint...... 18.00 draft burners. Nepheline Syenite...... 40 100.00% During unusual weather conditions, English China Clay...... 5 Add: Copper Carbonate.. 0.25-0.50% delayed firings have created effects I can­ Cullet...... 10 Tin Oxide...... 0.50-1.00% Flint...... 12 not duplicate. These specially touched pieces are a source of great inspiration 100% Copper Glaze #2 or supreme humility, for which I am Add: Rutile...... 2-10% (Cone 9-10, reduction) forever grateful. Barium Carbonate...... 6.00% Crystalline Glaze #3 Talc...... 2.00 (Cone 9-10) Whiting...... 14.00 Barium Carbonate...... 15 %Zinc Oxide...... 2.00 Zinc Oxide...... 22 Nepheline Syenite...... 43.00 Nepheline Syenite...... 48 English China Clay...... 4.00 Flint...... 15 Flint...... 29.00 100% 100.00% Add: Rutile...... 2-10% Add: Copper Carbonate.. 0.25-0.50% To aid suspension for each of the pre­ Tin Oxide...... 0.50-1.00% ceding recipes, add 1% Epsom salts. Copper Glaze #3 Matt Glaze (Cone 9-10, reduction) (Cone 9-10, reduction) Gerstley Borate...... 10.00 % Dolomite...... 16% Whiting...... 15.00 Whiting...... 6 Zinc Oxide...... 2.50 Feldspar...... 35 Feldspar...... 15.00 English Clay China...... 9 Nepheline Syenite...... 20.00 Flint...... 34 English China Clay...... 2.50 100% Flint...... 35.00 This recipe was developed for use un­ 100.00% der crystalline glazes. Add 3% magne­ Add: Copper Carbonate.. 0.25-0.50% Edgecomb’s kilns include a 50-cubic- sium carbonate and colorant as desired. Tin Oxide...... 0.50-1.00% foot raku kiln, and 60-, 90- and 200- In experimenting with crystalline The tin oxide addition should equal cubic-foot double-car kilns. glazes, I found that small additions of twice the amount of copper carbonate

June/July/August 1995 67 From the Feet Up by Tony Natsoulas

For the past 15 years, I have been expressions are often exaggerated to artists—Honore Daumier, Red Grooms, sculpting life-size ceramic figures, using make the figures appear as if they are Robert Arneson, David Gilhooly, humor, gesture, expression and color as frozen in a moment of great effort. Clayton Bailey, Big Daddy Roth and basic tools to carry out ideas. One of I use humor as a psychological tool Arthur Gonzalez, to name a few. my first themes was inter-personal rela­ to make the work more accessible to After choosing the subject, I simply tionships, in which I tried to come to viewers. I also try to involve viewers in abegin sculpting the feet or shoes, then grips with certain situations that I find physical way with the use of different work my way up. Sometimes I make a absurd or worrisome. “Whole in One,” props. Sometimes viewers are provided base first for stability, but I like the idea for instance, addresses the different so­ chairs to sit on, or mirrors to share with of these figures standing right on the cietal roles of men and women. It de­ the figures. ground. I do not usually make a sketch picts a female figure inside a male figure Inspiration is an elusive thing. Ab­ or model, although I sometimes look at (I completed the woman, then built the surd TV shows, commercials, toys, car­ photos for facial references. I like not man around her). You can look through toons, plays and movies inspire me the knowing how the piece will turn out the design in the mans clothing and his most. I also look at the work of other and not being tied down to a specific mouth to see the woman inside. figure or face. Other ongoing themes are social sat­ Lately, I have been doing sculptures Above: “Great Fit,” 49 inches in height, ire and musicians (capturing the ges­ handbuilt low-fire commercial sculpture that are intuitive from the start, removed tures and expressions they make when clay, brushed with Cone 06 commercial from any preconceived ideas. I just start playing from the heart). Facial and body glazes, on found stool. with the shoes, and the idea and per­

68 CERAMICS MONTHLY sonality grow with the sculpture. The plied situation as with the free-standing notion of creating the whole piece intu­ figures. I also have the liberty of enlarg­ itively came from the frustration of try­ ing and cropping different parts of the ing to convey specific messages to figure. viewers who inevitably came up with Techniques are ever changing to en­ their own interpretations, thereby miss­ hance each sculpture’s individuality. ing my point. I realized that what was Trusting intuition gives me freedom to important was that the image sparked a develop the sculptures’ personalities and viewer to think or react. to watch them unfold as I work. A When I am going full speed, I use a ton of clay a month. After years of mix­ ing my own clay, I now purchase sculp­ ture clay from a local supplier. Not only does this allow me to put my time to better use, it also protects my back and lungs, and I get a more consistent and plastic clay body. Mixing and testing Tony Natsoulas with works from glazes is also a thing of the past. I am the “TV Series” at his studio in happy to buy the hundreds of low-fire Sacramento, California. glazes I need for my work. The figures are built in sections that fit into an electric kiln. Smaller sections 200 pounds. My largest kiln is 28 inches also make transportation much easier, in diameter by 36 inches deep. I slowly since one sculpture can weigh up to bisque each piece (for about three days) to Cone 02, which allows me to build the walls as thick as needed. After the bisque firing, the pieces are brushed with Cone 06 gloss glazes, usually three lay­ ers for deep, rich colors. The figures separate at natural divi­ sions—shoes from pants, pants from shirt, arms or hands from shirt sleeves and head from collar. The shoes are sculpted solid for strength and weight. Most of the time they remain separate from the pants. Tubes for pants are made from slabs cut from blocks of clay. The slabs are ½ to ¾ inch thick, but will still sag like cloth. More slabs are added until I get to the belt, but I can only work about a foot a day before the soft clay gives, so I work on several figures at a time. Once the pants are done, I add a flange inside the top to support the shirt. When the pants are leather hard, I build the shirt from slabs. The head and hands are modeled solid, then hollowed “Whole in One,” 8 feet in height, out. The neck and wrists are formed “Who’s Next?” 6 feet in height, sculpture clay handbuilt in sections, from tubes that slip (corklike) into the handbuilt, bisqued, glazed and painted brushed with low-fire glazes. collar and sleeves. low-fire clay; and plastic comb. My latest work is a series of TV sets placed on found or constructed tables. With the TV format, I can have several figures interact with one another and create an environment, not just an im­

June/July/August 1995 69 The Staples Street Station by Cornelia Henderson Gates

The Staples Street Station project incorporated community-decorated tile in the arch, planter boxes and bands around the columns.

ublic art by the people and for the Station started with discussions between tion had already been received from the people became a reality for South Texans Mary Herr, public relations director for Federal Transportation Administration. in the form of a tilework integrated into CAC; and Steve Ortmann, chief devel­ The grant included money for CAC and the facade of the Staples Street Station, opment officer for RTA and the project its designated project artist, Gates. the major bus transfer station in Corpus manager for the Staples Street Station. As project artist, Gates was respon­ Christi, Texas. The Regional Transporta­ The two felt that the community needed sible for choosing the materials and tech­ tion Authority (RTA), the Creative Arts a large resident-created public art project niques for the tile project. He also worked Center (CAC), artist-potter Ed Gates of and that such a project could be accom­ with John Wright Architects to integrate Aloe Tile Works, and the citizens of Cor­ plished by marrying the resources of their the design into the overall architecture of pus Christi collaborated on the project. organizations. Because one of RTA’s other the transit center. After some research, The plan called for 73 panels of hand­ bus transfer stations had already been Gates decided to make the tiles from a made tiles surrounded by a mosaic of decorated with commercial tile in a mo­ Cone 6 stoneware, then decorate with commercial tiles to be placed on selected saic pattern designed by Corpus Christi slips and a clear glaze developed by ven­ vertical faces at the station. In all, some artist-potter William Wilhelmi (and it erable San Antonio potter Harding Black 1600 6x6-inch and 6x8-inch handmade was holding up well to the South Texas (Ceramics Monthly, December 1992). The and hand-decorated tiles were needed, weather and the pedestrian traffic), Herr iron-rich, heavily grogged clay reacted and the RTA wanted these tiles to be and Ortmann recognized the viability of with the clear glaze to create a beautiful decorated by Corpus Christi residents. tile as an accent material for the new bus iron blue, a color usually associated with The idea for the inclusion of a com­ station. By the time the tile project was a reduction-fired stoneware, while the slips munity tile project in the Staples Street reality, funding for the Staples Street Sta­ remained bright under the glaze.

70 CERAMICS MONTHLY Gates and two other Corpus Christi tute classes studied existing public art­ was the one decorating the central front artists, Terri Compton and Frank Gady, work in the city and participated in the arch of the station; including the legs of made the 6x6- and 6x8-inch tiles at project by decorating their own tiles. the arch, it was 10 feet high by 10 feet Aloe Tile Works. Slabs for the tiles were Additionally, CAC hosted several Sat­ wide. In order to properly lay out the rolled to a 7/i 6-inch thickness on a slab urday public art tile decorating sessions arch, Gates papered a 12x12-foot sec­ roller, roughly cut to just larger than a on the patio of a downtown restaurant; tion of the floor and, with the help of template for either a 6x6- or 6x8-inch these were directed by Gates with help architect Wright, drew a full-size outline tile and stacked. from Compton, Gady and the CAC staff. of the arch. When the rough-cut tiles were leather Most significantly, CAC worked with the The purpose of laying out each panel hard, each was then smoothed on one Corpus Christi Housing Authority to co­ was fourfold: each panel needed to be side to remove any inconsistencies or ordinate decoration of the tiles by chil­ coordinated by imagery, color and tile canvas marks. Thereafter, each tile was dren living in local housing projects; these orientation, and each tile needed to be cut to exact size and beveled on the edges, sessions were directed by Gates at the labeled regarding which panel it belonged then stacked on a board, wrapped in CAC. in and its numbered position within that black plastic and stored until needed for panel. After coordinating and labeling, decoration. the tiles were packaged in marked boxes Gates worked with Compton to de­ containing photocopies of the architec­ sign and oversee the actual decorating of tural plans for the tile panels with num­ the leather-hard tiles. The decorating pro­ bers corresponding to those on the tiles. cess—applying slip to leather-hard tiles— This marking facilitated correct installa­ was recommended by Black, based on tion on site. his years of teaching experience; it is eas­ Also designed, press molded and in­ ily accessible and nonintimidating to first­ stalled by Gates were the 10-inch-high time tile artists. ceramic letters that make up three Gates and Compton, both of whom “Staples Street Station” signs. WTien the were previous CAC artist/teachers, letters were leather hard, two screw holes worked with the current CAC artist/ were drilled in each. Before installation, teachers to implement the design con­ Gates followed a suggestion by architect cept, so that the tiles would be decorated Wright and used the arch pattern on the in themes depicting scenes indigenous floor as the guide for a sign template. On to the region. As a result, many of the site, the template was hung in place and tiles show beach and water scenes, as used to mark locations for the screws. well as cactus and cattle scenes. In order Gates used stainless-steel screws, lead an­ to maintain some uniformity in the deco­ chors and two-part epoxy to attach each ration and simplicity in application, the letter to the building. slip palette was limited to three cool and The act of involving the present and three warm colors: blue, green, white, The plan called for 73 panels of future transit patrons in the creation of orange, pink and yellow. 6x8-inch handmade tiles surrounded the transit center has served to insure Gates and Compton then organized by mosaics of commercial tiles. public pride in and a sense of ownership kits of leather-hard tiles, the six slips, and responsibility for the facility. In fact, brushes and texture tools, and scheduled the Housing Authority was so proud of pickup and delivery by the CAC teach­ their Icids’ involvement that they held ers. Included in the kits were circular After return of the decorated tiles, their own press conference at the Staples pieces of cardboard (pizza trays), on Gates and Compton examined each for Street Station. which each tile was placed for decora­ distortion and set them in racks to dry. Moreover, connections made during tion by individual artists. The cardboard For the bisque firing, the tiles were loaded the project have mushroomed into other diminished the amount of handling each on edge in a herringbone pattern in the projects: CAC now has an art and drama tile received and helped preserve its ar­ kiln. The bisqued tiles were then waxed program called “Art and Sole” at each of chitectural integrity. on their backs, dip glazed and fired to the Housing Authority Developments; CAC coordinated the project through Cone 6. After the glaze firing, the tiles Aloe Tile Works recently finished an­ its art classes with children and adults, its were sorted by size (6x6 or 6x8inch), other project with the Housing Author­ Arts After School program (at 20 Cor­ vertical image or horizontal image, over­ ity, a resident-decorated commemorative pus Christi campuses) and ArtReach, all color (clear, blue, yellow, orange, white, wall at a new development named after a which goes to 11 locations including pink or green), and stored on racks. South Texas man killed in the Persian Coastal Bend AIDS Foundation, Nueces After all the tiles had been fired and Gulf Conflict; and one of the Corpus County Juvenile Justice Center, Rustic sorted came the time-consuming task of Christi public schools received a grant and Rainbow House for the homeless, laying them out in panels. Gates built an for a student-designed and decorated tile Women’s Shelter, and Heartland Retire­ 8x8-foot table on which most of the 73 mural to be coordinated by Aloe Tile ment and Harbor View Health Care for panels were laid out, one at a time. The Works and Rebecca Moore, the schools senior citizens. The CAC Fine Arts Insti­ only panel that did not fit on the table art teacher. A

June/July/August 1995 71 Locating Glaze Materials by Miska Petersham

The location and identification of suit­ able materials for glazes present a some­ what more difficult problem than does the locating of clay sources (see “Using Natural Clays” in the June/July/August 1994 CM). Much depends on what temperature you want the glaze to ma­ ture at, as well as your geographical location. For example, in south Florida there will be a much more limited selec­ tion than in Montana. First consider which basic materials are needed to produce the different kinds of glazes. A glaze is a glass containing 50% to 60% silica. It needs some alu­ mina to control viscosity and enough flux so that it will melt at the desired temperature. Table 1 gives percentages of flux, alumina and silica for various maturing temperatures and for some common related ceramic materials. From the table, we can see that at Cone 06 a high percentage of a strong flux is needed, while Cone 10 requires much less. This is because many com­ mon minerals either melt or act as fluxes at Cone 10. Table 2 gives some comparisons of the actual percentage compositions and

72 CERAMICS MONTHLY the theoretical compositions of some common ceramic materials. We use the theoretical composition in calculations, because they are much simpler and seem to work quite well for most circum­ stances. The actual composition varies enough from deposit to deposit that it would be impractical to analyze each batch before use, especially as there seems little difference in the final result. During firing, all ceramic materials convert to oxides—sometimes linked with other oxides, passing off as a gas or remaining as single oxides. No matter in what form the material is introduced, it will become a basic oxide in the firing. A few materials will form other than basic oxides if the kiln atmosphere is in a reducing condition. It is this fact that allows us to produce such things as cop­ per reds, celadons, etc. The melting point of a particular oxide is not the most important factor in temperature adjustment, although it sometimes gives an indication as to the general range of the glaze. The melting point of a mixture of two or more ox­ ides can be much lower than the melt­ ing point of any one of them alone. This mixture of the proper proportion of oxides to melt at the lowest possible temperature is called a eutectic. It is the reason we can tailor-make glazes to melt at a particular temperature. There are many different eutectic combinations and each has a specific melting point. varying proportions with a flux such as and produced a pleasant color and tex­ Tables listing most of the common eu­ Gerstley borate. Sometimes outcrops of ture. I therefore labeled it Ians White tectics are available, but they are not of rock are softer and therefore more easily Stuff, had it analyzed at the local ce­ particular value when working with ground. Such material is usually worth ment plant, and developed a simple frit complex natural materials whose exact testing, even if you have no idea what it known as IWS frit. Three glazes based compositions are not known. Table 3 is. If it works as a glaze, you can always on this frit are still in use at the small gives the common ceramic oxides, their have an analysis made at a later date. factory we set up on Fiji, but no doubt uses and melting points. While working in Fiji, I had put the Ians connection is long lost. It is possible to work empirically word out that I was looking for white All rocks contain good amounts of (without calculations or analysis) to de­ or light-colored clays. One day an En­ silica and other necessary ceramic mate­ velop glazes that can be used on decora­ glish friend, Ian, who worked for the rials, so after crushing and grinding, tive ware. There is a good chance you agriculture department, came in with a most can be used as part of a glaze. will get some crazing, but if it is not too big bag of white stuff, saying “Miska, I There are enough impurities and other bad, you can call it a crackle and live have found your white clay.” It was not variables in natural materials that one with it. clay, of course, but a partly weathered can achieve unique results impossible A good starting point is to test a whitish rock. Nevertheless, I did some to duplicate with refined oxides. The series of natural materials (ground to additional testing and found that it fused better idea you have of the actual min­ approximately 100 mesh if possible) in readily when mixed 60:40 with borax, erals present, the better chance of a suc-

June/July/August 1995 73 Research can be done in the library, but the closest university geology de­ partment is one of the best sources of information. Before you talk to some­ one on the staff, have a list of what you would like to locate, and he or she will be able to tell you quickly whether there are any deposits that you can get to easily. There are also clubs in most large towns whose members collect crystals and mineral specimens. They are usu­ ally very happy to meet an interested person and to share information. So many materials are usable for glazes that the only feasible thing is to explore the materials in your area and then branch out if needed. At earthen­ ware temperatures, the flux is the criti­ cal factor. If you do not have a local source, as most will not, simply pur­ chase a flux and add the natural materi­ als to it. At Cone 4 and above, the necessary amount of flux is consider­ ably reduced and so more natural mate­ rial can be utilized. At Cone 10, many rocks (when ground) will fuse, with little or no additional flux. Many red clays also produce a glaze at Cone 10 and all will melt with the addition of a little flux. Rudy Autio and Peter Voulkos—when they were work­ ing at the Archie Bray Foundation in Montana—used a greenish clay that they called trail slip; it yielded a really hand­ some celadon in high-fire reduction. Many of these clays will also make a good low-fire terra sigillata. Terra sigillata is composed of the finest particles separated from the bulk of the clay and is used as a slip. The separation is facilitated by adding a small percent of water softener such as Cal- gon, sodium silicate or sodium hydrox­ ide. Some clays will separate easily and some not at all. The only way to tell is cessfiil glaze resulting—but even a hit- consists primarily of keeping your eyes to try a small quantity. The water soft­ or-miss approach can be fun and, as open while traveling. Look for anything ener is added in amounts of 0.25% to with Ians stuff, sometimes very good. that seems the least bit unusual, such as 2% of the weight of the clay. The slip is There are two methods of locating sparldes, odd colors or textures different allowed to settle in a glass jar so the glaze materials. The first consists of re­ from the norm. I use both methods, layers of clay can be seen after a day or searching the source of the specific rock depending on my needs. As with Ians two; usually there will also be a layer of or mineral you are interested in. The stuff, things found without pre­ clear water. The top layer of suspended second is a bit more serendipitous, and knowledge can produce good results. Please turn to page 112

74 CERAMICS MONTHLY Raku Potter Charles Bohn by Linda Bynum

^^haos and destruction created raku “The only time we could understand hands on the bat while throwing. The 400 years ago. In the urgency to re­ each other was when we were drinking, square bat was a pallet of boards nailed build, Korean potters in Japan tried dif­ so we started drinking a little earlier together. ferent clay bases and hurriedly pulled every day,” Bohn recalls. Another lesson learned in Takaharas pieces from the fire with tongs. In an­ On meeting Takahara, Bohn pointed shop was throwing on a stick-turned other era of upheaval—the 1960s—raku to some large storage jars (about 7 feet wheel. After about 40 seconds, the drag became popular as a way to vent expres­ high and 4 feet wide), and indicated would bring the wheel to a stop. Time sion and break rules. that he wanted to learn to throw those. and time again, the American would Flames of raku kilns are still burning Takahara seemed to be concerned about manage to raise a large piece, but when brightly in this country. But, as with Bohns ability to work on a large wheel, he had to put the stick back in to restart everything else revolutionary, the pro­ but he communicated his confidence. the wheel, he would knock the piece off cess has matured and more control has The master potter must have been with his arm. Finally, the master was been achieved. It was the unpredict­ convinced because he nodded at Bohn, able to enlighten the Westerner. The ability of raku that first attracted New then waved his Japanese apprentice away. stick wheel was for small pieces only. Orleans potter Charles Bohn; predict­ The apprentice laughed, got up and Bizen had over 300 kiln sites. Every­ ably, though, he’s been working to con­ graciously motioned for the newcomer one in the community seemed to have trol it ever since. to take his place—turning the wheel by something to do with pottery, from After a family retail business was sold, running in place while Takahara added keeping shops to running inns for cus­ Bohn went to Bizen, Japan, to appren­ and pulled the coils at the wheel. tomers. Others custom-made wooden tice with Shoji Takahara. The experi­ After starting below the bottom, boxes for each piece of pottery. ence proved that teaching isn’t just talk, Bohn moved to the top in just a few Takahara had a noborigama, a mul­ because neither Takahara nor Bohn weeks. Here he was quickly taught by tichambered climbing kiln. Firing took could speak the others language. splinters and sharp edges not to rest his ten days and was done once every eight

Bohn throws large pots in sections. The top cylinder is thrown first, then set aside. Next, the bottom is thrown; as soon as it is firm enough to support the additional weight, the top section is attached—rim to rim. Further throwing expands the form and shapes the lip.

June/July/'August 1995 75 to ten months. It took another three incorporate an imperfection, so it be operated by one person more safely weeks to cool. No glazes were used; wouldn’t conflict with the gods. than other raku kilns requiring two instead, ash buildup on surfaces was Upon his return to New Orleans, he people. In a shop that was basically a encouraged. Thousands of pieces were entered Tulane-Newcomb School of Art one-man show—firing, throwing, teach­ produced at a time, and people came as an M.FA. candidate concentrating ing, selling and packaging, often more from all over the Orient for the kiln on raku. Six years ago, he opened than one simultaneously—this was a opening. Shadyside Pottery, a studio/showroom big plus. On his way to work every day, Bohn on historic Magazine Street. Firing was also faster. Pieces take ½ rode his bike past a wood-fired raku In Bohn’s undergraduate classes at to 1 ½ hours to fire, compared to 2 or 3 kiln. This was the first time he had seen nearby Xavier, renowned sculptor and hours in some kilns. The mortality rate raku. The contrasts were striking. MacArthur Award winner John Scott is below 1%. Faster firing and fewer “In Bizen, raku was different,” he and his colleague Lloyd Bennett em­ losses are the result of insulation that observes. “Very impure glazes were used; phasized mastery of every part of the distributes the heat more evenly. no ball-milled glazes were used. Chemi­ artistic process. While in Japan, Bohn Another development at Shadyside cals were not well mixed, so they got noted that the potter’s involvement with has been an adjustment to the electric chunks and bubbles. Glazes were much his craft usually included building his wheel. Bohn modified the ones he uses thicker. Pieces were overfired.” own kilns. by adding a transmission. This makes Potters in the area were not con­ He decided to redesign the raku kiln. the wheel more responsive, with no lag cerned with perfection, he was told. If The completed model was equipped time starting, accelerating or stopping. they made a perfect piece, they would with cranks and pulleys so that it could Work is thrown from commercially prepared raku clay, then bisque fired to Cone 04 in an electric kiln. After glaz­ ing, the pots are rapidly fired in the propane kiln at temperatures up to 2000°F. When the glazes are mature, the pots are removed from the kiln with tongs, then quickly placed in a reduc­ tion chamber—a metal garbage can— filled with combustion materials (e.g., wood shavings, shredded newspaper, straw, etc.). During postfiring reduc­ tion, the smoke and flames work their magic. With Bohn’s emerald-green glaze, the pattern of the combustion material is discernible on the piece. With the turquoise and copper glaze, the pieces have to be re-oxidized or flashed (by lifting the garbage-can lid). With his cobalt glaze, the blue dominates and re­ Once the rim has been defined with a rib, the pot is removed from the wheel. oxidation isn’t necessary.

For postfiring reduction, Bohn removes pots from the kiln with gloved hands, quickly placing each in a metal garbage can filled with combustible materials.

76 CERAMICS MONTHLY Raku ginger jar, 30 inches in height, with crackle glaze.

June/July/August 1995 77 With raku, a lot of variation is pos­ sible with the same glaze. Some vari­ ables can be manipulated; others, such as the weather, are beyond control, ex­ cept to fire when the desired result is more likely to appear. All of Bohn’s raku ware is functional. He produces dinnerware sets, teapots, cups, lamps, candlesticks, ginger jars, communion sets and planters. For prac­ tical purposes, glazes are nontoxic and vases are sealed. For a contemporary craftsman to be supported by his craft is a powerful validation. Retail experience, including time as a personal shopper at Neiman- Marcus and nine years as manager of a juvenile furniture department, has helped make this possible. He also pays close attention to ship­ ping, advertising, sales contracts, light­ ing, catalogs, etc. This is a potter who likes to talk about the low breakage rate from his packing. Its part of the pro­ cess, too. “When you start a business, do ev­ erything yourself. It gives you an op­ portunity to analyze. Hire only when you cant keep up with production, and then hire on a part-time basis,” Bohn advises any small-business owner. Volume and attention to detail have made it possible for him to do the work he believes in. The shop turned a healthy profit the first year and recorded in­ creases in years after that. Bohn also wholesales to 25 other retail outlets in the U.S. and abroad. Bohn calls himself a classical potter and would rather be considered a crafts­ man than an artist. “A craftsman is an artist with skills,” he distinguishes. His Ginger jar, 18 inches in height, wheel-thrown raku clay, goal is to continuously improve those with cobalt and copper glazes, fired to 2000°F in a propane skills. kiln, reduced in a garbage can, by Charles Bohn, New Orleans. In graduate school, he was told that he had to do sculptural work or he would not graduate. He resisted, but up, took 10 different cups of 10 differ­ Every craftsperson brings to the cho­ then thought of an unorthodox ap­ ent glazes, threw them on it, fired it, sen media a unique mixture of experi­ proach that was acceptable. and everyone said, ‘What a beautiful ence, attitudes and skills that determine “What I did was throw a very classi­ piece of sculpture.’ the interaction and results. Or, as Bohn cal piece about 3 feet tall, beat it with a “I got my master’s degree, then I says, “I was the only kid in my neigh­ 2x4, put a metal pipe through it, pitched the piece off the roof of the art borhood making mudpies who was dumped a bucket of slip on it, fired it department.” training for a career.” ▲

78 CERAMICS MONTHLY Uncharted Territory Contemporary Taiwanese Ceramics

a review by Elena Canavier

“A brown and metallic show. Looks like That was my first reaction when I Further enlightenment came from rusted steel, concrete and rocks,” I walked into the “Uncharted Territory: the exhibition catalog. A finely written mused. But no, it is a dark-colored clay Contemporary Taiwanese Ceramics” essay by Patricia Yuen-Wan Lin, assis­ sculpture. I paused in consternation. showing in the Decker Gallery at the tant researcher at the National Palace “Am I in the right gallery?” I wondered. Maryland Institute College of Art in Museum in Taipei, gives a historical “Is this the Taiwanese ceramics show? Baltimore. But then I learned that the overview of the push and pull of politi­ Where’s the porcelain? The color? The exhibition featured the works of 16 Tai­ cal and cultural forces that have influ­ pattern? The exquisite carving? Where wanese artists/sculptors, most of whom enced and shaped the course of modern are the sumptuous glazes and fearsome had studied ceramics at American uni­ ceramic art in Taiwan. technical mastery that I associate with versities. Ah, so that offered a glimmer Consider that all artists who seek Oriental ceramics?” of light. unchartered territory begin by pushing

Untitled sculpture, 16 inches in length, pit-fired stoneware, by Ching-Yuan Chang, Taipei, Taiwan.

June/July/August 1995 79 “Great Ugly Angel Broods Like the Day,” 15¾ inches in height, by Pang-Ling Chou, Taipei, Taiwan.

Untitled sculpture, 25 inches in height, slab-built porcelain, by Yih-Wen Kuo, De Kalb, Illinois.

80 CERAMICS MONTHLY away from the familiar; they begin by the conflict, assimilate Western ways of versity with an M.A. in ceramics in 1952. rejecting the assumptions and close-by creating art, and through it all, to ex­ Kuo’s simplified earthenware forms, traditions that bind them. The artists in periment with the material. It is a be­ richly tactile, talismanic, dense and her­ this show try on the cloak of American ginning.” metic, seem to allude to ancient knowl­ abstract expressionism in its various Ching-Yuan Chang received his edge, to wordless secrets that may be guises in the same way that we freely M.FA. from the Rochester Institute of revealed through contemplative touch­ borrow and embrace such orientalisms Technology in 1991 and is currently ing of the object. as fine surface carving on porcelain, cel­ teaching at the National Academy of Yih-Wen Kuo, an assistant professor adon and copper red glazes, and teapots Arts in Taipei, Taiwan. A recipient of at Northern Illinois University, earned with dragons. These borrowed costumes numerous awards in the U.S. and his M.FA. in ceramics from Southern pose no danger to our artistic identities. abroad, he demonstrates a formidable Illinois University. Kuo stands out in It is the invisible skeins of our own technical mastery of clay that is placed the show for his use of color as an inte­ cultures that we fear. in service of his ideas. Changs untitled gral part of his sculpture. Color and In his catalog statement, curator pit-fired stoneware sculpture embeds form are inseparable, as in one untitled Ching-Yuan Chang, who is also one of highly polished, bronzelike forms into piece that is emotionally perceived as a the best-known artists in the show, notes rough, unglazed clay as if caught in a volumetric blue form rather than a form that ceramics as an expressive medium lava flow. covered with blue glaze. is generally not taught in Taiwanese high “Great Ugly Angel Broods Like the A touring exhibition that opened at schools or university art departments. Day,” an abstracted gestural shape over­ the Hand Workshop in Richmond, Vir­ Artists who have studied painting, sculp­ looking a boatlike vessel by Pang-Ling ginia, “Uncharted Territory: Contem­ ture and printmaking in Taiwan need Chou, hints at symbolic narrative mean­ porary Taiwanese Ceramics” was to go abroad to study clay. This explains ing. Chou received an M.F.A. in ceram­ sponsored by Baltimore Clayworks and the exodus to American art schools with ics from the University of Georgia in coordinated by the Chinese Informa­ strong ceramics departments. 1986 and now maintains a studio in tion and Culture Center in New York Chang says, “The best statement we Taipei. City. It concluded its tour at the Roch­ could make to an American audience Shida Kuo, who lives and works in ester (New York) Institute of Technol­ would be to interpret the tradition, find SoHo, graduated from New York Uni­ ogy in January. ▲

“Untitled #1,” 20 inches in diameter, low-fired clay and porcelain, by Shida Kuo, New York City.

June/July/August 1995 81 Call for Entries entry fee. For application, contact Regina Brown, $10 for accepted artists only. For details, send NCECA Executive Secretary, Post Office Box SASE to Vermont State Craft Center at Frog Hol­ Application Deadline for Exhibitions, 158, Bandon, Oregon 97411; or telephone (800) low, Post Office Box 816, Manchester 05254. Fairs, Festivals and Sales 99-NCECA. Middlebury, Vermont “Revisiting the Arts and August 15 entry deadline Crafts Style” (September 8—October 16). Juried Chicago, Illinois “Currents 1995” (November from slides. Fee: $ 10 for accepted artists only. For 2-5), open to works in ceramics, glass, metal, further information, send SASE to Vermont State International Exhibitions textiles and wood. Entry fee: $20. Awards: $2500. Craft Center at Frog Hollow, 1 Mill Street, July 5 entry deadline For prospectus, contact Currents 95,1021 W. Lill Middlebury 05753. Manises, Spain “European Biennial of Ceram­ St., Chicago 60614; telephone (312) 477-0484. June 20 entry deadline ics” (November 16—December 31), open to ce­ Florence, Alabama “Kennedy-Douglass Cen­ ramists residing in Europe. Juried from 2 slides National Exhibitions ter for the Arts 1995 Monarch National Ceramic per entry; up to 3 entries. Awards: Gallego Vilar, Competition” (September 5-October 13). Juried 800,000 pesetas (approximately US$6050); Presi­ June 12 entry deadline from slides. Entry fee: $15 for up to 3 works. dent de la Generalitat Valenciana, 500,000 pese­ Helena, Montana “ANA 24” (August 11-Sep­ Awards. For prospectus, contact Ceramic Com­ tas (approximately US$3800); Diputacio de Valen­ tember 17). Juried from up to 3 slides. Entry fee: petition, Kennedy-Douglass Center for the Arts, cia, 300,000 pesetas (approximately US$2250). $20. Juror: Lloyd Herman. For prospectus, con­ 217 East Tuscaloosa Street, Florence 35630. Contact Biennial of Manises, Museo de Ceramica tact Holter Museum of Art, 12 East Lawrence July 8 entry deadline de Manises, Calle Sagrario, 22,46940 Manises; or Street, Helena 59601; telephone (406) 442-6400 Alexandria, Virginia “Beads on Target” (Oc­ telephone (52) 10 44, fax (52) 04 53. or fax (406) 442-2404. tober 26-November 25). Juried from up to 2 July 15 entry deadline June 15 entry deadline slides per work. Fee: $15 for up to 3 entries. Rochester, New York “Triaxial Blend: Clay, New Haven, Connecticut “The Celebration of Jurors: Penny Diamanti De Widt, bead designer; Industiy and T echnology, 1996 N CECA Exhibi­ American Crafts” (November 11-December 24). Paula Owen, executive director, Hand Work­ tion” (in conjunction with the National Council Juried from slides. For prospectus, send SASE to shop, Richmond, Virginia; and Joyce Scott, bead on Education for the Ceramic Arts 1996 confer­ the Celebration, Creative Arts Workshop, 80 artist. For entry form, send SASE to the Friends of ence), open to ceramists who have explored artis­ Audubon Street, New Haven 06510. the Torpedo Factory Art Center, 105 North Union tic and practical applications of the technical Denton, Texas “Materials Hard and Soft” (Sep­ Street, Alexandria 22314. capabilities of industries within the United States tember 17-October 27). Juried from slides. Juror: July 11 entry deadline and abroad. Juried from 12 slides and resume. No Jane Sauer. Awards: $3000. For application, send Mesa, Arizona “It’s All Relative” (October 17- SASE to Greater Denton Arts Council, 207 S. Bell, November 11), open to works reflecting the theme Send announcements of juried exhibitions, fairs, fes­ Denton 76201; or telephone (817) 382-2787. of family. Juried from slides. Entry fee: $20 for up tivals and sales at least four months before the event’s Burlington, Vermont “Ebb and Flow” (Sep­ to 4 slides. Awards: $1500. For prospectus, con­ entry deadline (add one month for listings in July and tember 8-October 16). Juried from slides. Fee: tact It’s All Relative, Galeria Mesa, Post Office two months for those in August) to Call for Entries, $ 10 for accepted artists only. For further informa­ Box 1466, Mesa 85211-1466; or telephone (602) Ceramics Monthly, P. O. Box 12788, Columbus, tion, send SASE to Vermont State Craft Center at 644-2242. Ohio 43212-0788; or telephone (614) 488-8236. Frog Hollow, 85 Church Street, Burlington 05401. July 20 entry deadline Fax (614) 488-4561. Regional exhibitions must be Manchester, Vermont*Creative. Harvest” (Sep­ Hazleton, Pennsylvania “The Hazleton Art open to more than one state. tember 20-0ctober 31). Juried from slides. Fee: League Open Juried Exhibition” (October 7-20),

82 CERAMICS MONTHLY

84 CERAMICS MONTHLY Call for Entries Pottery, 10125 East Jefferson, Detroit 48214; or Broadway, Eugene 97401; or telephone (503) telephone (313) 822-0954. 342-6411. Corvallis, Oregon “Invention” (July 1996). October 10 entry deadline Juried from proposals in which the artist inter­ Mesa, Arizona “18th Annual Vahki Exhibi­ open to artists working in clay, glass, wood or prets the theme of invention; themes connected to tion” (January 2—February 3, 1996), open to metal. Juried from up to 3 slides. Awards: $3500. Leonardo da Vinci and art and science are encour­ craftwork. Juried from slides. Entry fee: $20 for For application, contact Jayne Persico, 50 North aged. No entry fee. Contact Corvallis Arts Center/ up to 4 slides. Awards: $1500. For prospectus, Vine Street, Hazleton 18201; or telephone (717) Linn Benton Council for the Arts, July 1996 contact Vahki Exhibition, Galeria Mesa, Post 454-3789. Exhibition, 700 S.W. Madison, Corvallis 97333. Office Box 1466, Mesa 85211-1466; or telephone July 22 entry deadline August 10 entry deadline (602) 644-2242. New Castle, Pennsylvania “14th Hoyt Na­ Spokane, Washington “Terra Firma” (Novem­ November 1 entry deadline tional Art Show” (October 8-November 4), open ber 2-30), open to artists working in functional or Pensacola, Florida “It’s a Small World” (Janu­ to works under 48 inches in any dimension. Juried sculptural ceramics. Juried from slides. Fee: $5 per ary 29-March 2, 1996), open to miniature works from slides. Fee: $20 for up to 3 entries. Juror: entry; up to 3 entries. Juror: Juan Granados, in any media. Juried from up to 3 slides. Juror: Louise Fishman. Over $3000 in awards and pur­ Eastern Washington University faculty artist. For Allan Peterson, chair, visual arts department, chase prizes. For prospectus, send SASE to Hoyt prospectus, contact Terra Firma, Spokane Arts Pensacola Junior College. Entry fee: $25. Awards: Institute of Fine Arts, 124 East Leasure Avenue, Commission, 808 West Spokane Falls Boulevard, $1000 in cash and/or purchase. Send SASE to New Castle 16101. Spokane 99201; or telephone (509) 625-6050. SOHO Gallery, 23 Palafox Place, Pensacola 32501; July 31 entry deadline August 15 entry deadline or telephone (904) 435-7646. Staten Island, New York “Staten Island Bien­ Cheney, Washington “Clay on the Wall” (Janu­ nial Juried Craft Exhibition” (November 17-May ary 5-26, 1996). Juried from up to 5 slides of no 5, 1996). Juried from slides of up to 5 works. more than 5 works. Entry fee: $15. For prospec­ Regional Exhibitions Entry fee: $10 for first entry; $5 for each addi­ tus, send SASE to Juan Granados, Department of July 1 entry deadline tional submission. Contact Staten Island Institute Art, Eastern Washington University MS-102,526 Saint Petersburg, Florida “Spotlight ’95” (Sep­ of Arts and Sciences, 75 Stuyvesant Place, Staten Fifth Street, Cheney 99004-2431; telephone (509) tember 24—November 19), open to artists resid­ Island 10301 -1998; or telephone (718) 727-1135. 359-2788; or fax (509) 359-7028. ing in Alabama, Washington, D.C., Florida, Geor­ August 1 entry deadline September 1 entry deadline gia, Kentucky, Louisiana, Mississippi, North Caro­ Guilford, Connecticut “Artistry: A Holiday Lima, Ohio “National Teapot Exhibition” lina, South Carolina, Tennessee, Virginia and Festival of Craft” (November 4-December 24). (October 27—November 26). Juried from slides. West Virginia. Juried from slides. Juror: Bill Juried from 5 slides or photos. Entry fee: $10. Juror: Chris Staley. Entry fee: $15 for up to 3 Strickland, director, Manchester Craftsmen’s Send SASE to the Guilford Handcraft Center, works. For prospectus, send SASE to ArtSpace/ Guild, Pittsburgh. Fee: $18 for up to 3 entries. Artistry, Post Office Box 589, Guilford 06437; or Lima, 65/67 Town Square, Post Office Box 1948, Cash and purchase awards. For prospectus, send telephone (203) 453-5947. Lima 45802; or telephone (419) 222-1721. SASE to Florida Craftsmen, Inc., 237 Second Ave­ Detroit, Michigan “Tile as Concept, Orna­ September 28 entry deadline nue, South, Saint Petersburg 33701; or telephone ment, Artifact” (October 18-November 8). Ju­ Eugene, Oregon “Le Petit 3 Small Format Com­ (813) 821-7391. ried from slides. Jurors: Jim Melchert, Farley petition” (November-December). Juried from September 1 entry deadline Tobin and Betty Woodman. Entry fee: $ 15 for up slides. Fee: $6 per entry. Awards: $2200. For Amherst, Massachusetts “Ceramics/Northeast” to 3 works. For prospectus, send SASE to Pewabic prospectus, send SASE to Alder Gallery, 160 East (November 16-December 20), open to artists

June/July/'August 1995 85 Call for Entries

living in the 6 New England states or New York. Juried from 8 slides. Juror: Leon Nigrosh, author, Low Fire and Sculpting Clay. Entry fee: $ 15. Cash and purchase awards. For prospectus, send SASE to John Taylor, Ceramics/Northeast, do Art De­ partment, Fine Art Center, University of Massa­ chusetts, Amherst 01003.

Fairs, Festivals and Sales June 10 entry deadline Pittsburgh, Pennsylvania “26th A Fair in the Park” (September 8-10). Juried from 5 slides of work. Entry fee: $5. Booth fee: $135 for a 10x10- foot space. Contact A Fair in the Park, 340 Bigbee Street, #2, Pittsburgh 15211. June 15 entry deadline San Francisco, California “1995 Celebration of Craftswomen” (December 2-3 and 9-10). Ju­ ried from 5 slides. Application fee: $ 12. For appli­ cation, send SASE to Celebration of Craftswomen, San Francisco Women’s Building, 3543 18th Street, San Francisco 94110; or telephone (415) 361-0700. Manitou Springs, Colorado “Commonwheel Artists 21st Annual Labor Day Arts and Crafts Festival” (September 2-4). Juried from slides. Jury fee: $15. Entry fee: $60. Commission: 10%. Contact Commonwheel Fairs, Post Office Box 42, Manitou Springs 80829; or telephone (719) 685-1008. July 1 entry deadline Fort Lauderdale, Florida “Harvest Festival” (November 24-26). Juried from 4 slides of work plus 1 of booth. Booth fee: $450 for a 1 Ox 10-foot, indoor space. No jury fees or commission. Con­ tact Harvest Festival Florida, 6915 Red Road, Suite 228, Miami, Florida 33143; or telephone (305) 666-5944. Orlando, Florida “Harvest Festival” (Novem­ ber 17—19). Juried from 4 slides of work plus 1 of booth. Booth fee: $450 for a 10x10-foot, indoor space. No jury fees or commission. Con­ tact Harvest Festival Florida, 6915 Red Road, Suite 228, Miami, Florida 33143; or telephone (305) 666-5944. July 15 entry deadline Nashville, Tennessee “17th Fall Crafts Fair” (September 29-October 1). Juried from 5 slides. Entry fee: $10. Booth fee: $225 for a 12x12-foot space. No commission. For prospectus, contact Tennessee Association of Craft Artists Fall Crafts Fair, Alice C. Merritt, Director, Post Office Box 120066, Nashville 37212; or telephone (615) 665-0502. July 30 entry deadline Columbia, South Carolina “1995Southeast­ ern Art and Craft Exposition” (October 13-15). Juried from 5 slides. Jury fee: $20. Booth fee: $195for an 8x10-foot space,$240 for a 10x10, $295for a 10x15;additional $30for a corner space. Awards: over $12,000in cash and pur­ chase. For application, contact Southeastern Art and Craft Exposition, do the Columbia Museum of Art, 1112Bull Street, Columbia 29201;tele­ phone Janna Cotterill or Libby Rich (803) 799- 2810, (803)or fax 343-2219. October 12 entry deadline Washington, D. C. “Smithsonian Craft Show” (April 24-28, 1996). Juried from slides of 5 works. Entry fee: $25. Booth fee: $825-$975 for a 10x10-foot space. Contact the Smithsonian Women’s Committee, Smithsonian Institution, A &: I Building, Room 1465, Washington, D.C. 20560; or telephone (202) 357-4000.

86 CERAMICS MONTHLY June/July/August 1995 87 88 CERAMICS MONTHLY June/'July/August 1995 89 backing, one end of each is incised with a performs over textures/throwing ridges, and Suggestions small wooden comb and the other end is how it looks over slip and your regular body. From Readers swiped with knuckles to approximate throw­And if the glaze runs, it flows onto the base ing ridges. When firm enough, the tiles are coil, not your kiln shelf.—Anthony Allison, peeled from the canvas and set on wallboardPalisade , Minn. bats to dry. After a bisque firing, they are Making Test Tiles stored in various bowls. Photocopied Templates We do a lot of glaze testing and have To use, a tile is dipped into a test glaze, I recently discovered that photocopying developed an efficient system using tiles thatcoating the entire surface on both sides. For machines are great tools for making tem­ are made on a slab roller. A large slab is rolledthe firing, the glazed tiles are propped uprightplates for such things as light-switch and plug about ¾6 inch thick, then brushed on one sidein coils of clay (rolled about Vs inch in diam­covers. I had lost my templates that I had with one of our stock slips. When the sheen eter, flattened on one side and pierced with aworked out mathematically, considering is gone from the slip, the slab is cut into 1x2-fork)—like cone pads. shrinkage for squares, circles and octagons. inch tiles, using a ruler and a fettling knife. These tiles will tell you everything you But, as I was copying a science final last While the tiles are still stuck to the canvas need to know about the test glaze; i.e., how itspring, I noted all the “bells and whistles” on the new photocopier and realized that I only needed to enlarge a copy of a light-switch cover by an appropriate percentage to make a template that would allow for clay shrink­ age. I use a body that shrinks about 12%, so I put the light-switch cover on the photo­ copier and changed the “increase” setting to 113%. I then transferred the photocopy to sturdier template material.—Arne Handley, Medicine Hat, Alberta

Dryer-Assisted Throwing To throw walls thinner and bowls wider, try mounting a hair dryer (the kind with a hose) in a position to blow on the pot being thrown. A floor-to-ceiling rack (the kind designed to fit over toilet tanks) works well; it’s handy for storing throwing needs too.— Shirley Johnson, Spokane, Wash.

Quick and Easy Press Molds When making press molds from plaster of paris, you really do not have to clean up anything but your hands. I begin by lining a plastic bucket (large enough to accommo­ date the object from which the mold will be cast) with two plastic bags (used to carry groceries from the supermarket). After smoothing the bags’ bottoms and folding the tops back over the rim of the bucket, I pour in hot water. If either bag leaks, I replace it at this time. If the bags are watertight, I then sift in plaster and stir. Using warmer water en­ courages the plaster to set up quickly, and I can place my master form in the plaster without a lengthy waiting period. After the plaster has set, I can remove the master and clean up the mold, removing any scratches or irregularities. I then allow the mold to dry thoroughly, usually overnight. Because the plaster is encased on the bottom and sides by the bags, it takes longer for the moisture to evaporate. Tapping out the mold is usually very easy to do, as I can help it along by pulling on the plastic bag handles. Leaving the mold in the handled plastic bags makes it easy to carry, and protects it from dust in storage. Just be sure the mold is

90 CERAMICS MONTHLY June/July/August 1995 91 Suggestions Keep a bucket of water nearby to sub­ merge and rinse hands between throwing pots or working with wet glazes. The water thoroughly dry before storing.—-June Ross, can be reused as the clay and glaze settle, but West Winfield, N.Y. should be changed periodically. Use a nail brush to ensure that cuticles and nails do not Vacuum Gripper for Glazing harbor any residue. If you have a de-airing pug mill, you have Always wear rubber gloves when applying more vacuum than you need for this handy wet glazes. gadget. If not, you can get a small vacuum Finally, if cracking does occur, try a water­ pump from a supplier like Grainger’s. I madeproof barrier, such as petroleum jelly or Bag Balm (sold at farm-supply stores). Use on clean hands before and after throwing. Be aware, however, that this and other products will leave greasy fingerprints on bisqueware.— Lisa Conley, Cerrillos, N.M.

Shoe Polish to the Rescue To develop “skin tones” on clay sculpture that didn’t get enough reduction or just needs some touch-up, use shoe polish. Applying a combination of the many colors available can produce a variety of effects.—Linda Mau, Saratoga, Calif.

Paint Guard Equals Large Rib The flexible metal paint guard used for two sizes: one for small pieces like mugs, andedging works equally well as an extra-long rib one about 2½ inches in diameter for every­ for smoothing large slabs of clay. It can also be thing else (even a 10x23-inch platter). easily cut to a specific size or serrated for To assemble, pull the rubber washer overtexture ridges. The price is right too—usually the end of the pipe, creating a flange. Secure just over a dollar at paint stores.—Gayle it with a hose clamp. Place the semicircular Tustin, Wilmington, N. C. flap over the release holes and secure it with the other hose clamp. Screw in the hose barb,Height and Mobility connect the hose to the vacuum and glaze I recently acquired a kick stool (a step stool away. The vacuum pressure can be reduced on wheels that disengage as soon as you put with a relief valve or some extra holes drilledweight on it) for use in my studio. Hitherto, in the pipe. The unit is lightweight and easy I had struggled to lift pots onto or off high to handle. shelves—having to guess how far to push a Be careful not to suck any glaze into your wareboard, being far too short to ever actually vacuum pump—that would quickly make see what was happening. this inexpensive project a costly repair. I The bonus has been that the stool is simply don’t get the thing under the glaze; exactly the right height for a glaze bucket. but there are commercially made safety Moreover, you just lift up a little on the valves to prevent damage.—Gordon Ward, handle and you can pull the bucket around Eugene, Ore. on the stool to exactly where you need it without having to carry all the weight your­ No More Drain Clogs self Sacks of materials can be moved in the To avoid clogging drains with clay, I use same way. Once you release the weight, the a two-compartment bucket when washing wheels disengage. up. One side is reserved for the first wash, the The stool is also light enough to grab with other to rinse. Using the bucket rather than one hand for a bit of a sitdown when the the sink saves water as well as plumbing.— phone rings. Suzanne Hershey, Rocky Hill, Conn. It has proved so versatile in my studio, I now have several at school too. They can be Avoiding Cracked Hands ordered from education supply catalogs or In the winter, hands and fingertips are purchased from hardware and department especially vulnerable to the drying qualities ofstores.— Susan Bennett, London, England clays and glazes. To avoid dry-skin cracldng, try the following: Preventing Attachment Cracks Throw with a sponge in at least one hand When you are really “pushing” to finish a to guard against abrasion from grog. pot and can’t afford the time to dry it slowly

92 CERAMICS MONTHLY June/'July/August 1995 93 Suggestions

under plastic, try brushing wax over attach­ ments to avoid cracking at the joins. I always apply wax to mug and lid handles or even simple “doodads,” brushing it on the inside (opposite the join) as well as over the whole attachment on the outside. Instead of drying too quickly, the attachment will actually dry slower than the pot. The wax burns ofTin the bisque.—-John Wear, Narberth, Penn.

Sponging Glaze from Pot Bottoms As I do not like waxing the bottoms of my pots, I do my glazing near a sink and place a very wet, large, flat sponge on the counter. After dipping a pot into the glaze, I hold it upright and wipe the bottom over the wet sponge. Most of the glaze will come off (with a clean line) after this initial swipe. When the glaze is sufficiently dry for safe handling, I then sponge off any glaze remaining on the bottom. This method is especially useful for small objects such as mugs.—MargritBeesley, Ennismore, Ontario

Making Molds I have a small slip-cast line in addition to my thrown work, and often make simple two-piece molds from castings or thrown pieces. Since they are hollow and somewhat fragile, they frequently collapse in the mold- making process. Casting (no pun intended) about the studio for something to fill them with, I found some old dry white beans. In addition to supporting the original, the beans also helped when I separated the two mold halves. The beans had begun to swell from the moisture and heat of the curing plaster, forcing the mold to separate along the seams from internal pressure. This sure beat trying to separate the halves with a wedge or knife. — Barbara Flynn, Los Osos, Calif.

Vision Quest One of the handiest tools I have in my studio is a mechanic’s mirror—a small mirror mounted with an adjustable screw at the end of a long handle. It is ideal for double­ checking clearance when loading a glaze kiln.—Millie Ravani, Sebastopol\ Calif.

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

94 CERAMICS MONTHLY June/July/August 1995 95 D.C., Washington August 25-January 1, 1996 Calendar “Rick Dillingham (1952-1994): A Retrospec­ Events to Attend—Conferences, tive”; at the Renwick Gallery, National Museum of American Art, Smithsonian Institution. Exhibitions, Workshops, Iwj Florida, Miami Beach through July 8 Peter Kuentzel, “Dwellings,” raku-fired sculpture; at Barbara Gillman Gallery, Sterling Building, 939 Lincoln Road. Conferences Georgia, Atlanta through June 6Neil Tetkowski; Maryland, Baltimore September 15-17“C\:ah. Busi­ at Dorothy McRae Gallery, 3193 Roswell Rd., NE. ness Institute” will include lectures/presentations by Idaho, Boise July 3-28 Bob Hayden; at Boise Carolyn Bennett, president, C. Bennett Scopes; State University, Student Union Gallery, 1910 Curtis Benzie, owner, Benzie Applied Artslchair, University Drive. American Craft Association; Kathy Borrus, retail Illinois, Chicago June 3-July 15 Jun Kaneko, marketing consultant; Donna Brescia, product di­ sculpture; at Klein Art Works, 400 N. Morgan. rector for television shopping channels and Guthy- Indiana, Evanston through June 8 Corinne D. Renker Corporation; Rick Faulkner, founder, Longs Peterson, “True Stories and Other Tricks,” clay Park Craft Show and Barrick Design Candles; Bill and bronze sculpture; at Dittmar Memorial Gal­ Hunt, former editor, Ceramics Monthly; Laura lery, Norris University Center, Northwestern Kaufman, president, the Art Resource; Thomas University, 1999 Sheridan Road. Mann, studio jeweler/production designer/gallery Massachusetts, Boston through June 30 Ed Risak, owner; Guy McDonald, president, Arts and Crafts sculptural raku vessels; at Alianza Gallery, 154 Business Solutions; Courtney Miller, studio Newbury Street. metalsmith, Courtney Design; Nancy Panaccio, Michigan, Detroit through June I7Laura Andre- buyer, QVC; Wendy Rosen, president, the Rosen son; at Pewabic Pottery, 10125 East Jefferson. Group; Marilyn Stevens, editor, the Crafts Report; New York, Alfred through June 11 “The Charles and Steve Swan, owner, 19th Street Gallery and Redfern Collection” of early functional work by Artifax. Fee: $369, includes programs, lodging and Robert Turner; at the Museum of Ceramic Art at meals. Contact Linda McCormick, the Rosen Group, Alfred, Ceramic Corridor Innovation Center, 3000 Chestnut Avenue, Suite 300, Baltimore 21211; Route 244. or telephone (410) 889-2933, fax (410) 889-1320. New York, Binghamton through July 2 Pamela New York, Rochester March 20—23, 1996 Earnshaw Kelly, sculpture; at the Roberson Mu­ “NCECA ’96—30th Annual Conference.” Con­ seum and Science Center, 30 Front Street. tact Regina Brown, Executive Secretary, NCECA, New York, New York through June 10 Bill Post Office Box 1677, Bandon, Oregon 97411; Shillalies; at 14 Sculptors Gallery, 164 Mercer St. telephone (800) 99-NCECA. through June 18 Sylvia Nagy, “Ceramic-design Sculptures”; at Janos Gat Gallery, 572 Fifth Ave. International Conferences through June 25 William Daley, “Inside/Outside: Ceramic Works and Drawings”; at the American Wales, Dyfed July 14-16 “Fifth International Craft Museum, 40 West 53rd Street. Potters’ Festival” will include demonstrations by June 6-July 8 Carme Collell. Tony Marsh. July John Glick, Yasuo Hayashi, Gwen Heeney, Gillian 11-August 4Ah. Leon. Gary DiPasquale; at Garth Lowndes, Peteris Martinsons, Andrew McGarva Clark Gallery, 24 West 57th Street. and Trupti Patel; seminars, kilnbuilding and firing. Ohio, Findlay through June 16 Kathy Rea, “Earth Also includes exhibitions “Contemporary Tea­ Spirit II: River of Souls,” terra-cotta effigies and pots from Yixing,” “One from the Heart,” “Figu­ paintings; at the McClelland Gallery, Findlay rative Sculpture by Leading British Ceramists” Area Arts Council, 112 West Front Street. and “Young Potters from Wales.” For further Oregon, Ashland August 12—30 Jim Kraft; at information, send SASE to Jenny Fell, Interna­ Hanson Howard Gallery, 82 North Main Street. tional Potters’ Festival, Aberystwyth Arts Centre, Oregon, Grants Pass June 22-July 22 Darlene Dyfed SY23 3DE; or telephone (970) 622889, fax Nguyen-Ely, “Memories: The Vietnam Experi­ (970) 622883, e-mail 11a @ aber.ac.uk. ence,” mixed-media sculpture; at the Firehouse Gallery, Rogue Community College, 3345 Red­ Solo Exhibitions wood Highway. Pennsylvania, Pittsburgh through June 28 Bill Alabama, Huntsville July 30—September 24 “En­ Stewart, “Tools, Toys and Mysteries,” sculpture; counters: Clifton Pearson”; at the Huntsville at the Clay Place Gallery, Mineo Building, 5416 Museum of Art, 700 Monroe Street, Southwest. Walnut Street. California, Los Angeles June 3—July 5 Leopold Texas, Houston through June 24 Marsha Harris, Foulem. Richard Milette. July 8-29Marvin Fang; “Light and Life”; at Archway Gallery, 2013 West at Garth Clark Gallery, 170 South La Brea. Gray. California, Oakland July 22-November 12 “The Washington, Kirkland July 13-August 6 Larry Art of Peter Voulkos”; at the Oakland Museum of Halvorsen, sculpture; at Foster/White Gallery, California, Oak and Tenth streets. 126 Central Way. California, San Rafael through July 8 Sarah Klein, Washington, Seattle June 1-July 2 David Shaner, “Long Horizons: A Bay Area Landscape,” sculp­ stoneware sculpture. August 3—September 3 ture; at the Falkirk Cultural Center. Katherine McLean, sculpture; at Foster/White California, Santa Cruz August 18-September 17 Gallery, 311½ Occidental Avenue. Helen Slater, retrospective; at Santa Cruz Art June 1-July 30 Kathryn Allen, “Clay: Architec­ League, 526 Broadway. tural Expression,” large-scale ceramic murals, and Send announcements of conferences, exhibitions, ju­ door, window and fireplace surrounds; at Art­ ried fairs, workshops and other events at least two works Gallery, 155 South Main. months before the month of opening (add one month Wisconsin, Milwaukee through July 15 Jeffrey for listings in July; two months for those in August) to Noska; at Marnie Pottery, 2711 -13 North Bremen. Calendar, Ceramics Monthly, Post Office Box 12788, Wisconsin, Sheboygan through July 30]\xdy Hill, Columbus, Ohio 43212-0788; or telephone (614) cast-glass and raku self-portraits; at John Michael 488-8236. Fax announcements to (614) 488-4561. Kohler Arts Center, 608 New York Avenue.

96 CERAMICS MONTHLY Wyoming, Cheyenne June 1-August 1 Gregory Zeorlin, sculpture; at Laramie County Community College Fine Arts Gallery, 1400 E. College Dr.

Group Ceramics Exhibitions California, La Jolla through June 24 “Current Clay IV: A Southern California Juried Exhibition of Ceramics Works”; at Gallery Eight, 7464 Girard Avenue. California, Lincoln through June 17 “Feats of Clay VIII”; at Gladding, McBean and Co. Reser­ vations required: telephone (916) 645-9713. California, San Francisco June 3-August 6 Otto and Vivika Heino, “Master Potters”; at the San Francisco Craft and Folk Art Museum, Landmark Building A, Fort Mason. Georgia, Atlanta through August 1 “Fit for a King: Ceramics of Royalty and Nobility”; at the High Museum of Art, 1280 Peachtree St., NE. Hawaii, Honolulu through June 18 “Tomb Trea­ sures from China: Buried Art of Ancient Xi’an”; at the Honolulu Academy of Arts. Iowa, Belmond June 16-July 30 “Art for the Table: Contemporary American Functional Ce­ ramics,” work by 16 potters; at the Jenison- Meacham Memorial Art Center. Maryland, Baltimore through July 16 “Ceramics Israel”; at the Norman and Sarah Brown Art Gallery, 5700 Park Heights Avenue. Massachusetts, Ipswich through June 30 “In and Around the Garden”; at Ocmulgee Pottery, 317 High Street. Massachusetts, Lincoln through June 25 “Five Expressions in Clay,” works by Alice Abrams, Joan Carcia, Liz Goibus, Ronnie Gould and Pao- Fei Yang; at the DeCordova Museum School Gallery, 51 Sandy Pond Road. Massachusetts, Northampton through June 26 “The Narrative Teapot”; at Ferrin Gallery, Pinch Pottery, 179 Main. Michigan, Detroit through June 17 Ceramics by Frank and Polly Martin. June 24-July 15 Ceram­ ics by Pewabic students, faculty and staff. July 22- August 12 “Pewabic Craftsmen in Residence: Sandra Muthig, Nicole Pangas and Annette Siffin”; at Pewabic Pottery, 10125 East Jefferson. Michigan, Kalamazoo June 11-July 30 “Revolu­ tion in Clay: The Marer Collection of Contempo­ rary Ceramics”; at the Kalamazoo Institute of Art, 314 South Park Street. Minnesota, Saint Paul through June 30 “The Marks of an Artist,” with works by Nancy Blum, Mary Carroll, Matthew Metz and Linda Sikora; at Northern Clay Center, 2375 University Ave., W. Missouri, Saint Louis through June 24 “Third Annual Teapot Exhibition”; at Craft Alliance Gallery, 6640 Delmar Boulevard. Montana, Helena through June 25 “Sisters of the Earth: Contemporary Native American Ceram­ ics”; at the Holter Museum of Art, 12 East Lawrence Street. New Jersey, Newark through June “American Art Pottery: An Uneasy Evolution, 1880-1930”; at Newark Museum, 49 Washington St. New York, Alfred through June 11 “Casual Col­ lection, 1960-1980: The Robert Turner Gloryhole Collection.” July 6-September 17“White White- wares”; at the Museum of Ceramic Art at Alfred, Ceramic Corridor Innovation Center, Route 244. New York, New York through June 18 “New Finds, Old Treasures: Early Chinese Ceramics from the Meiyintang Collection”; at the Asia Society, 725 Park Avenue. July 13—October 8 “Facets of the Same Nature: A Survey of Contemporary Dutch Ceramics”; at Amer­ ican Craft Museum, 40 W. 53 St. Continued

June/July/August 1995 97 Calendar Women and Wood Fire Show”; at Art Decor Ceramics in Multimedia Exhibitions Gallery, 136 High Street, Southeast. Pennsylvania, Philadelphia June 2-25 “The Arizona, Tempethrough July 30 “Redefining the Sounds of Clay.” “Made at the Clay Studio.” July Figure in Contemporary Art”; at the Tempe Arts New York, PoughkeepsieJune 3—July 31 Ceram­ 5-23 “The Clay Studio Associate Artists.” July Center, Mill Avenue and First Street. ics by Jessica Dubin, Jin-Kyoung Kim, Mike 28-August 12 “Annual Student Show”; at the Arizona, Tucson June 1—August 26 Exhibition Serfis and Lois Toolin; at Lorraine Kessler Gal­ Clay Studio, 139 North Second Street. including ceramics by Michael Corney, Juilianne lery, 196 Main Street. Virginia, Alexandria through July 2“ A Gathering Harvey and Doug Schuneman; at Obsidian Gal­ Ohio, Canton August27-October 75 “Revolution of Tea,” works by members of the Ceramic Guild; lery, Saint Philips Plaza, 4340 North Campbell in Clay: The Marer Collection of Contemporary at Scope Gallery, Torpedo Factory, 105 North Avenue, Suite 90. Ceramics”; at the Canton Art Institute, 1001 Union Street. June7-July 9“Biennial Seven State Juried Exhibi­ Market Avenue, North. Virginia, Williamsburg through January 5, 1996 tion”; at the Dinnerware Artists’ Cooperative Oregon, Corvallis through June 23“ Influence and “British Delft from Colonial Williamsburg”; at Gallery, 135 East Congress Street. Introspection: Pacific Northwest Ceramics,” ju­ DeWitt Wallace Decorative Arts Gallery, Colo­ Arkansas, Fayettevillethrough June 16 “13th ried exhibition of current/former ceramics gradu­ nial Williamsburg. Annual Women’s National Juried Art Exhibi­ ate students and faculty of the universities of Wisconsin, Sheboygan through June 18 Exhibi­ tion”; at the Walton Art Center. Oregon and Washington; at the Corvallis Art tion of ceramic vessels by Donna Anderegg and California, Downey June 8-July 23 “20 Years Center, 700 S.W. Madison. Wesley Anderegg; at Artspace, John Michael After the Fall: Vietnamese American Art”; at the Oregon, SalemJune 2—30 “Second Annual Kohler Arts Center, 608 New York Avenue. Downey Museum of Art, 10419 S. Rives Ave. California, La Jolla through June 24 “Figures in Five,” with ceramic figures by Simi Berman. July 1—August 31 “Teapot VI”; at Gallery Alexander, 7850 Girard Avenue. July 1-August 16 “An Architectural Review: A Home Is...,” with ceramics by Randall Au, Patrick Crabb, Johanna Hansen and Lana Wilson; at Gallery Eight, 7464 Girard Avenue. California, Sacramento June 7-30 Three-person exhibition with ceramics by Miriam Davis; at Michael Himovitz Gallery, 1020 Tenth Street. California, San Diego through February 19, 1996 “And the Bead Goes On!”; at the San Diego Museum of Man, 1350 El Prado, Balboa Park. California, San Luis Obispo July 23—September 4 “Craftmakers ’95”; at the San Luis Obispo Art Center, 1010 Broad at Mission Plaza. California, San Rafael August 13-October 15 “Myth and Magic: Oaxaca Past and Present”; at Dominican College of San Rafael, 50 Aracia Ave. California, Santa Ana through August 20 “Be­ tween Empires: The Artistic Legacy of Prehispanic Panama,” more than 200 ceramic and gold works; at the Bowers Museum of Cultural Art, 2002 North Main Street. California, Walnut Creek June 14—August 20 “Forces of Change: Women Artists of the Arab World”; at Bedford Gallery, Regional Center for the Arts, 1601 Civic Drive. Colorado, Golden through June 11 “North Amer­ ican Sculpture Exhibition”; at Foothills Art Cen­ ter, 809 15th Street. Colorado, Snowmass Village August 28—Septem- ber 22 Two-person exhibition with porcelain by Jan Edwards; at Dow’s Gallery, Anderson Ranch Arts Center, 5263 Owl Creek Road. D.C., Washington through June 18 “Uncommon Beauty in Common Objects: The Legacy of Afri­ can-American Craft Art.” through September 4 “The White House Collection of American Crafts”; at Renwick Gallery, National Museum of Amer­ ican Art, Smithsonian Institution. through January 1, 1996“On the River,” includes four ceramic works; at Freer Gallery of Art, Smith­ sonian Institution. Florida, Pensacola July 10-August 19 “Woman 2 Woman”; at SOHO Gallery, 23 Palafox Place. Florida, Tampa throughJune2£“Flora and Fauna”; at Artists Unlimited, 223 North 12th Street. Florida, West Palm Beachthrough June 17 “Ar­ mory Annual Small Works Show”; at the Armory Art Center, 1703 South Lake Avenue. Georgia, NewnanAugust 4—30“Manget-Brannon Alliance for the Arts First Annual Art Exhibition”; at Annex Studios, 15½ Greenville Street. Illinois, Chicago through June 11 “Spring Show and Celebration—The 20th Anniversary”; at Lill Street Gallery, 1021 West Lill Street.

98 CERAMICS MONTHLY Illinois, Rockford through June 23 “2x2x2”; at August 2-September 24 “Elvis and Marilyn: 2 X “Crafts National 29”; at Zoller Gallery, Penn Gallery Ten, 514 East State Street. Immortal”; at the Cleveland Museum of Art, State University, 102 Visual Arts Building. Iowa, Sioux City through June 11 “53rd Annual 11150 East Boulevard. June 27-July 21 “Images ’95”; at HUB Galleries, Juried Exhibition”; at the Sioux City Art Center, Ohio, Columbus through June 23 “Best of 1995,” Penn State University, 111 Kern Building. 513 Nebraska Street. juried all-Ohio exhibition; at the Ohio Craft Pennsylvania, West Chester /u«e2-2<} “Nuptial Kansas, Wichita July 28-September 4 “Wichita Museum, 1665 West Fifth Avenue. Bliss”; at the Potter’s Gallery, Sharpless Square, National 1995”; at the Wichita Center for the Ohio, Toledo July 16—August ^“Toledo Area 323 East Gay Street. Arts, 9112 East Central. Artists 77th Annual Exhibition”; at Toledo Mu­ Pennsylvania, Youngwood June 4—18“Westmore­ Kentucky, Berea July 1-August 27 “Beadwork: seum of Art, Canaday Gallery, 2445 Monroe St. land Nationals”; at Westmoreland County Com­ Beyond Boundaries”; at Contemporary Artifacts Oregon, Eugene July 5—September 2 Three-per­ munity College. Gallery, 128 North Broadway. son exhibition with ceramics by Jennifer Guske; Tennessee, Chattanooga through June 30“ Artis­ Massachusetts, Boston July 1-August 31 “Bare at Alder Gallery, 160 East Broadway. tically Speaking in Clay-Glass-Printmaking,” with Essentials: The Sensuality and Power of the Hu­ Oregon, Portland through June 10“ A Garden of ceramics by Mary Dashiell; at River Gallery, 400 man Figure”; at Signature Gallery, Dock Square, Earthly Delights”; at Contemporary Crafts Gal­ East Second Street. 24 North Street. lery, 3934 Southwest Corbett Avenue. Tennessee, Gatlinburg through August 11 “Sum­ Massachusetts, Cambridge through June /^“Set­ Pennsylvania, Allentown through July 1 “Out­ mer Faculty and Staff Exhibition”; at Arrowmont ting the Place: Art for the Table”; at Cambridge side In”; at Open Space Gallery, 913 Hamilton School of Arts and Crafts, 556 Parkway. Artists Cooperative, 59A Church Street. Mall. Utah, Salt Lake City through June 27 “Earth­ through October 8 “Asian Art: Recent Acquisi­ Pennsylvania, University ParkJune 4-July 23 works,” two-person exhibition with ceramics by tions”; at Arthur M. Sackler Museum, Harvard University Art Museums. Massachusetts, Chestnut Hill July 1-August 31 “Bare Essentials: The Sensuality and Power of the Human Figure”; at Signature Gallery, the Mall at Chestnut Hill, 165 Boylston Street. Massachusetts, Mashpee July 1—August 31 “Bare Essentials: The Sensuality and Power of the Hu­ man Figure”; at Signature Gallery, Mashpee Com­ mons, 10 Steeple Street. Massachusetts, Northampton July 8-August 30 “Recycled,” functional objects in mosaic and col­ lage; at Ferrin Gallery, 179 Main. Minnesota, Saint Paul through June 17 “Gallery Members’ Show,” including ceramic sculpture by Denise Tennen; at Craft Connection Gallery, 1692 Grand Avenue. Missouri, Saint Louis through June 24 “Third Annual Teapot Exhibit”; at Craft Alliance Gal­ lery, 6640 Delmar Boulevard. June 16—September 4 “Made in America: Ten Centuries of American Art”; at the Saint Louis Art Museum, 1 Fine Arts Drive, Forest Park. Montana, Great Falls August 19-October 1 “ 1995 Art Equinox: A Regional Survey of Contemporary Art”; at Paris Gibson Square Museum of Art, 1400 First Avenue, North. Montana, Helena August 11-September 17“ANA 24”; at Holter Museum of Art, 12 E. Lawrence St. New Jersey, Oceanville June 18—September 3“P e- ters Valley Artists in Residence: Celebrating 25 Years of Crafts”; at Noyes Museum, Lily Lake Rd. New Mexico, Albuquerque through July 15 Three- person show with coiled bowls by Mia Blocker; at Ken Dewey Fine Art Gallery, 323 Romero, NW. June 16—July 28 “Time, Space and Consensual Reality,” three-person exhibition with ceramics by David Westmeier; at Weyrich Gallery, 2935-D Louisiana Boulevard, Northeast. New Mexico, Cerrillos June 10—July 8 “First Annual Juried Tombstone Show”; at the Adobe Gallery, 9 First Street. New York, New York through June 25 “Jewelry from the Permanent Collection of the American Craft Museum”; at American Craft Museum, 40 West 53rd Street. through September 10“Monkey”; at the Asia Soci­ ety, 725 Park Avenue. New York, Rochester through June 18 “From Brant Point to the Boca Tigris: Nantucket and the China Trade”; at the Memorial Art Gallery, Uni­ versity of Rochester, 500 University Avenue. North Carolina, Charlotte through June 30“Elvis and Marilyn: 2 X Immortal”; at Mint Museum of Art, 2730 Randolph Road. Ohio, Cleveland through June 30 “Art in the Garden XIV”; at American Crafts Gallery, 13010 Larchmere Boulevard.

June/July/August 1995 99 Calendar Michigan, Rochester August 19-20 “New Art at Meadowbrook”; on Oakland University campus. Minnesota, Minneapolis June 24-25 “Minne­ sota Crafts Festival”; on the College of Saint Francesc Burgos; at Atrium Gallery, Salt Lake Catherine campus. City Public Library, 209 E. 500, S. Nevada, Las Vegas August 18-20“Contemporary Vermont, Manchester through June 10 “Teapots Crafts Market”; at Cashman Field Exhibition by Vermont Artisans”; at Vermont State Craft Hall, 850 Las Vegas Boulevard, North. Center at Frog Hollow, Historic Route 7-A. New Hampshire, Newbury August 5—13 “League Vermont, Middlebury June 2—26 Two-person of New Hampshire Craftsmen’s 62nd Annual exhibition with ceramics by Martha Von Ammon; Craftsmen’s Fair”; at Mount Sunapee State Park. at Vermont State Craft Center at Frog Hollow, 1 New Jersey, Layton July 29-30 “Peters Valley Mill Street. Craft Fair”; at Peters Valley Craft Center, 19 Virginia, Norfolk through June 25 “D’Art Center Kuhn Road. Fifth Annual Mid-Atlantic Art Exhibition”; at New York, Catskill July 20-22 “Old Catskill d’Art Center, 125 College Place. Days in the Historic Village of Catskill”; along Washington, Bellevue July 1-16 “1995 Pacific Main Street. Northwest Arts and Crafts Fair Preview ” July 28- New York, Chautauqua July 7—9 and August 11— September 7(7“ Bellevue Art Museum Pacific North­ 13 “Crafts Festivals ’95”; at Bestor Plaza, Chau­ west Annual”; at Bellevue Art Museum, 301 tauqua Institution. Bellevue Square. New York, Corning August 19—20*y\.2sVsx Street, Wisconsin, Madison through August 6*Breaking A Festival of Art”; along Market Street. Barriers: Recent American Craft,” with ceramics New York, New York June 24 “Third Annual by Viola Frey, Michael Lucero and James Tanner; Jones Street Fair”; along Jones Street, from Bleecker at the Madison Art Center, 211 State Street. to West Fourth streets. July 1-2 and 8-9 * 19th Annual American Crafts Fairs, Festivals and Sales Festival.” September 2—3 “10th Annual Autumn Crafts Festival”; at Lincoln Center for the Perform­ California, Laguna Beach July 7-August 25 “Fes­ ing Arts. tival of Arts/Pageant of the Masters”; at Irvine New York, Tuxedo July 29—September 17, week­ Bowl Park, 650 Laguna Canyon Rd. ends and Labor Day * 18th New York Renaissance California, San Diego June 10—11 “Museum of Festival”; at Sterling Forest. Man Indian Fair”; at the San Diego Museum of North Carolina, Asheville June 15-18 “Highland Man, Balboa Park. Heritage Art and Craft Show”; at Asheville Mall. California, San Francisco August 11-13 “ACC Craft July 20-23 “49th Annual Craft Fair (Summer) Fair San Francisco”; at Fort Mason Center. of the Southern Highlands”; at Asheville Civic Colorado, BeaverCrzzkAugust 12—13 “Beaver Creek Center. Arts Festival”; at Beaver Creek Resort. Ohio, Bay Village June24—25 “Victorian Garden Colorado, Manitou Springs June 17*Fifth Annual Party.” September 2-4 “Renaissance Fayre”; at Clayfest and Mudball”; along Canon Avenue, Baycrafters, 28795 Lake Road, Cleveland Metro- downtown. parks Huntington Reservation. September 2-4 “Commonwheel Artists 21st Annual Ohio, Columbus June 9-11 “ACC Craft Fair Labor Day Arts and Crafts Festival”; at Memorial Columbus”; at the Greater Columbus Conven­ Park. tion Center, downtown. Colorado, Vail July 8-9 “Vail Arts Festival”; at June 10-11 “Arts and Crafts Festivale”; at the Lionshead. Continent, Busch Boulevard. Connecticut, Groton August 5— “Second Annual Ohio, Kettering August 13 “Art on the Com­ Groton Art and Craft Show”; at Burrows Field, mons”; on the Civic Commons. Route 1. Ohio, Mount Vernon^4u^ust72-73“Dan Emmett Connecticut, Guilford July 20-22 “The 38 th An­ Music and Arts Festival”; along the Main Street nual Guilford Handcrafts Exposition”; on the district. Guilford Green. Ohio, Shaker Heights June 16-18* The Craftfair Connecticut, South Norwalk August 5-6 “SoNo at Hathaway Brown”; at Hathaway Brown School. Arts Celebration”; along the waterfront. Ohio, Worthington June 24—25 “Worthington Georgia, Newnan June 17“Magnolia Arts Festival”; Artfest”; on the Village Green. on the Court Square. Oklahoma, Norman July 14-15 “Eighteenth Idaho, Coeur D’Alene August 4—6 “Art on the Annual Midsummer Nights’ Fair”; at Lions Park, Green”; on the North Idaho College campus. 400 South Flood. Illinois, Chicago August 18-20 “Chicago’s New Oregon, Salem July 21—23 “Salem Art Fair and East Side ArtWorks”; along Michigan Avenue at Festival”; at Bush’s Pasture Park. Lake Street. Pennsylvania, Greensburg July /-^“Westmore­ Illinois, Evanston August 25-27 “Eleventh An­ land Arts and Heritage Festival”; at Twin Lakes nual American Craft Exposition and Sale”; at the Park, off Route 30. Henry Crown Sports Pavilion, Northwestern Pennsylvania, Pittsburgh June 2-18 “1995 Three University campus. Rivers Arts Festival National Juried Artists Mar­ Kansas, Salina June 9-11 “Smoky Hill River ket”; at Gateway Plazas 1, 2, 3 and Equitable Festival”; at Oakdale Park. Plaza. Maryland, Baltimore August 19-20 “Fells Point Virginia, Marion July 14-16 “22nd Annual Hun­ Craft Show”; along the waterfront. gry Mother Arts and Crafts Festival”; at Hungry Massachusetts, West Springfield June 16-18 Mother State Park. “ACC Craft Fair West Springfield”; at Eastern Washington, Bellevue July 28-30* 1995 Pacific State Exposition. Northwest Arts and Crafts Fair”; at Bellevue Michigan, Kalamazoo June 3* 19th Annual South Square. Street Art Fair”; along South Street. Washington, Richland July 28-29*45th Annual Michigan, between Pontiac and Flint August 12— Sidewalk Show”; at Allied Arts Gallery, 89 Lee September 24, weekends “16th Annual Michigan Boulevard. Renaissance Festival”; at Hollygrove, Dixie Hwy. West Virginia, near Weston September 1-4 “The

100 CERAMICS MONTHLY June/July/August 1995 101 Calendar Massachusetts, Boston June 12—August 11 Three-, six- and eight-week workshops on all methods of building, glazing and firing. Instructors: Mark Cooper and Mary Roettger. Beginning through Stonewall Jackson Heritage Arts and Crafts Jubi­ advanced. Fee: $450-$850, includes materials lee”; at Jackson’s Mill. and firing. Contact Donald Grey, School of the Wisconsin, Cambridge June 10—11 “The Fourth Museum of Fine Arts, 230 The Fenway, Boston Annual Cambridge Pottery Festival”; at West Side 02115; or telephone (617) 267-1219. Park. Nebraska, Valentine July 21—22 Demonstration, Wisconsin, Madison July 8-9 “Art Fair on the slide presentation and lecture with Paul Soldner. Square”; along eight blocks around the State Capi­ Fee: $120; ANAC members, $100. Contact Pat tol building. Schemmer, HC 15, Box 51 A, Valentine 69201; Wisconsin, Sheboygan July 15—16“25th Annual or telephone (402) 376-2335. Outdoor Arts Festival”; on the grounds of John Nevada, Incline Village Summer “Visiting Artist Michael Kohler Arts Center, 608 New York Ave. Workshops,” with Virginia Cartwright, Bob and Wisconsin, Spring Green June 24-25“ 26th An­ Jenny Kizziar, Masakazu Kusakabe, Marc Lancet, nual Spring Green Arts and Crafts Fair”; along John Mason, Fred Olsen, and Richard White. For Jefferson Street, downtown. further information, contact Ken Rowe, Sierra Nevada College, Post Office Box 4269, Incline Workshops Village 89450; or telephone (800) 332-8666. New Hampshire, Wilton August, 2 weeks“ Wood- California, Bear Valley (Sierras) July 10-15 firing Workshop,” making pottery and firing a 4- “Handbuilding Workshop” with William Shinn, chamber noborigama. Contact John Baymore, surface techniques, mold and tool making, repair­ River Bend Pottery, 22 Riverbend Way, Wilton ing, photographing, packaging and shipping. Be­ 03086; or telephone (603) 654-2752. ginning and advanced skill levels. Fee: $575, North Carolina, Brasstown September3—9“Por­ includes lodging and meals. Contact Bill Todd, celain: On the Wheel and Under the Brush” with 645 Caudill Street, San Luis Obispo, California David Voorhees. Fee: $225. Contact John C. 93401; or telephone (805) 543-7487. Campbell Folk School, Route 1, Box 14A, California, Berkeley September 23 A session with Brasstown 28902; or telephone (800) 365-5724. Ron Meyers. Contact Trax Gallery, 1306 Third Oregon, Portland August 6—12 “Ceramics: Raku Street, Berkeley 94710; or telephone/fax (510) in Your Environment” with Gail Pendergrass. 526-0279. August 13—19 “Ceramic Sculpture” with Leslie California, Hesperia September 9-10“Earth and Lee. Fee: $475/one week, $875/two weeks, in­ Ceramic Architecture” with Nader Khalili. All cludes lodging and meals. For further informa­ skill levels. Fee: $275, includes materials. Contact tion, contact the Creative Arts Community, Post Iliona Outram, Cal-Earth/Geltaftan Foundation, Office Box 4958, Portland 97208; or telephone 10376 Shangri-La Avenue, Hesperia 92545; or (503) 236-4109 or 236-3837. telephone (619) 244-0614. Pennsylvania, Cheltenham August 14-20“ Form California, Sierra Madre July 8 “The Ceramic and Texture” with Neal Patterson and Sandi Mural,” hands-on workshop with Frank Matranga. Pierantozzi: throwing; handbuilding; applying July 29 “Thrown and Altered: Sculptural Clay slips, terra sigillata and textures on the wheel. Fee: Forms,” hands-on workshop with Ingrid Lilligren. $350, includes 50 pounds of clay. Contact August26“Goddesses and Amulets—a Hands-on Cheltenham Center for the Arts, 439 Ashbourne Workshop” with Virginia Cartwright. Contact Road, Cheltenham 19012; or telephone (215) Foothill Creative Arts Group, 108 North Baldwin 379-4660. Avenue, Sierra Madre 91024; or telephone (818) Tennessee, Memphis September 16A session with 355-8350. Ruth Duckworth. Free. Contact Nancy White, Colorado, Carbondale August 7-18, weekdays Associate Professor, Art Department, the Univer­ “Majolica-Glazed Terra Cotta” with Diane Ken­ sity of Memphis, Memphis 38152; or telephone ney. Fee: $325/one week, $500/two weeks, in­ (901) 678-2216. cludes lab fee. Contact Valley Folk Arts, Colorado Vermont, Bristol September 8—11 “Experiencing Rocky Mountain School, 1493 County Road the Fire” with Robert Compton, firing pots using 106, Carbondale 81623; or telephone (303) 963- five different methods and kilns, including a salt; 1344 or 963-2562. raku; sawdust; pit; and climbing, multicham­ Colorado, Gunnison June 12-17 “Raku in the bered, wood kiln. Intermediate. Fee: $430, in­ Rockies,” throwing, handbuilding, glazing and cludes materials, firing and meals. Contact Robert firing with A1 Caniff. Fee: $275, includes clay and Compton Pottery, RD 3, Box 3600, Bristol 05443; materials. Contact Kate Meyer, Western State or telephone (802) 453-3778. College of Colorado, Gunnison 81231; or tele­ Vermont, Middlebury September 15—17 “Tile phone (303) 943-2063. Making” with Adam Zayas. Fee: $195, includes Colorado, Manitou Springs June 16 A session materials. Contact Mary Lou Willits, Vermont with Paul Soldner. Contact Clayfest, 20 Ruxton State Craft Center Frog Hollow, 1 Mill Street, Avenue, Manitou Springs 80829; or telephone Middlebury 05753; or telephone (802) 388-3177. (719) 685-5795. Virginia, Front Royal September29—October 1 “A Maine, Portland June 14 or July 19 “Free Kiln Potter’s Weekend in the Blue Ridge,” featuring School,” loading, setting the sitter, firing and simple “Teapots” with Rick Berman, “Earthenware with repair. June 22 “Raku and Barbecue” with Stephen Polychrome Slips” with Ron Myers, and “Forms” Fasciana; participants should bring pottery. Fee: with Michael Simon. For further information, $30, includes glazes and firing for up to 4 medium- contact the Clay Connection, Post Office Box size pieces. June25 “Centering at the Sea: Sculpting” 3214, Merrifield, Virginia 22116-3214; or tele­ with Alex Tomasulo. Fee: $30, includes clay. July phone (800) 718-7999. 29-August 1 “Luster Workshop” with Toby Rosen­ Virginia, Richmond June 10 “Slip, Underglaze berg. Fee: $45, includes lusters and firing. Contact and Glaze Decorating Techniques” with Gordon Portland Pottery, 8 Fox Street, Portland 04101; McVay. fee: $60; members, $50. July 1-2“South- telephone (207) 772-3273 or (800) 539-4301; fax west Pottery Traditions” with Christopher Garcia. (207) 780-6451. Fee: $95; members, $85. Contact the Hand Work-

102 CERAMICS MONTHLY shop, 1812 West Main Street, Richmond 23220; or telephone (804) 353-0094. Washington, Spokane June 10 “Mold Making” with Laura Mears. Fee: $30; members, $25. Ad­ vanced registration required. For registration or information, send SASE to YWCA Pottery Pro­ gram, 829 W. Broadway, Spokane 99201; or to reserve with credit card, telephone (509) 326-1190.

International Events Canada, Alberta, Banff August 7-18 “Rockies Raku” workshop with Ed Bamiling. Fee: Can$495 (approximately US$365). Application deadline: June 19. Contact the Banff Centre for the Arts, Office of the Registrar, Box 1020, Station 28, 107 Tunnel Mountain Drive, Banff T0L 0C0; or telephone (403) 762-6180, fax (403) 762-6345. Canada, British Columbia, Burnaby June 24-25 Tozan kilnbuilding workshop with Yukio Yama­ moto. Fee: Can$90.95 (approximately US$67). To register, call Burnaby Arts Center (604) 291 - 6864. For further information, contact Jan Krueger, Potters’ Guild of British Columbia, 1359 Cartwright St., Granville Island, Vancouver, Brit­ ish Columbia V6H 3R7; or call (604) 683-9623. Canada, Ontario, Brockville July 3—7“Advanced Raku” with Leta Cormier. July 10-14 “Basic Pottery Wheel Technique” with Ann Dodge. July 17-21 “Raku” with Leta Cormier; “Crafts as a Business” with Hanna Back. Fee (for Crafts as a Business session): Can$88 (approximately US$65). July 24-28 “Ceramic Sculpture” with Christina MacEwen. Fee (unless noted above): Can$133 (approximately US$95), includes materials. For further information, contact Thousand Islands Summer School of the Arts, Saint Lawrence Col­ lege, Registration Center, 2288 Parkedale Ave­ nue, Brockville K6V 5X3; or telephone (613) 345-4555, fax (613) 345-2231. Canada, Ontario, Toronto through August 8“ The Sculpture of Georges Jeanclos.” July 9-August 9 Exhibition of porcelain by Maureen Marco tte and David McKenzie; at the George R. Gardiner Mu­ seum of Ceramic Art, 111 Queen’s Park. Canada, Ontario, Waterloo June 18-September4 “Biennale Nationale de Ceramique”; at Canadian Clay and Glass Gallery, 25, Caroline Street, North. Denmark, Copenhagen July 21-31 “The Fish Breaks Free,” graduate projects of 56 designers and craftspeople from Kunsthandvaerkerskolen; on the ferry Kronborg. Denmark, Kolding June 9-10 “The Fish Breaks Free,” graduate projects of 56 designers and craftspeople from Kunsthandvaerkerskolen; at Koldinghus. England, Hatfield August 11-13 “The National Pottery and Ceramics Festival 1995”; at Hatfield House. England, Liverpool August21-September24“ The Breakfast, Lunch and Dinner Party,” exhibition of tableware by Morgen Hall; at Bluecoat Display Centre. England, London through June 18 Exhibition of ceramics by Takeshi Yasuda. June 21-July 16 “New Faces: Selected Setting-up Grant Recipi­ ents, 1993 to 1994,” including ceramics by Julie Wood. July 19—September 3 “Summer Color,” three-person exhibition including ceramics by Kate Malone; at the Crafts Council Shop at the Victoria &C Albert Museum, South Kensington. through June 23 “Images of Faith.” June 6-July 8 Exhibition of early Chinese works of art, includ­ ing pottery; at Eskenazi, 10 Clifford Street. June3-18“Fired Up,” exhibition ofsculpture and decorative ceramics. July 15-30 “Porcelain Sa­ fari,” exhibition of works by Dimitra Grivellis; at

June/July/August 1995 103 Calendar

the Ice House, Holland Park, off Kensington High Street. June 7—July 21 Exhibition of ceramics by Gutte Eriksen; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. June 8-18 Exhibition of work by the graduating students of the Royal College of Art, including ceramics; at the Royal College of Art, Darwin Building, Kensington Gore. June 9-September 17 “The Genius of Wedg­ wood”; at the Victoria and Albert Museum. June 15-24 “The 1995 Grosvenor House Art and Antiques Fair”; at Grosvenor House, Park Lane. June 16*The Wedgwood Bicentenary Auction”; at Bonhams, Montpelier Street, Knightsbridge. June 26—July 8 Khaled Ben Slimane, arabic letters and folk symbols on ceramics and wood panels; at Leighton House Museum and Art Gallery, 12 Holland Park Road. August 4-September 3 “Figures in Clay”; at the Crafts Council Gallery Shop, 44a Pentonville Rd. August 10-23 “Balls Pond Studio; Feats in Clay,” exhibition of ceramics by 12 artists; at the Orangery, Holland Park. England, Oxford through July 2 “Bridging East and West: Japanese Ceramics from the Kozan Studio”; at Ashmolean Museum. July 10—August 9 “Time and Tide,” exhibition including ceramics by Christine Constant; at Oxford Gallery, 23 High Street. England, Stoke-on-Trent June 18—October 1 “Josiah Wedgwood: The Man and His Mark,” exhibition of works (plus tools, documents, paint­ ings and prints) by Wedgwood, as well as by William Greatbatch, James Neale, Josiah Spode, John Turner, Ralph Wedgwood, Thomas Whieldon and Ralph Wood; at the City Museum and Art Gallery, Hanley. France, Graulhet July 10-17 Workshop with Nathalie Jourdain, handbuilding, slip casting, glaz­ ing, kiln design. Instruction in French. Beginning skill level. Fee: 1900 Fr (approximately US$300). Contact Marcel Legras, Secretariat CEDTE, 11, Rue du Cap Horn, 33700 Merignac, France; or telephone (56) 34 33 40. Germany, Dusseldorf June 18-August27^xh.\b[- tion of works by Gerd Knapper. June 21 Lecture with Gerd Knapper; at Hetjens-Museum, Schul- strasse 4. Germany, Hannover through June 17 Retrospec­ tive exhibition of ceramics by Carmen Dionyse; at Galerie Bowig, Friedrichstrasse 2A (Am Rathaus). Jamaica, Falmouth August27-September3Work­ shop with David Pinto, firing an anagama; plus demonstration of African handbuilding methods by Jamaican potter Munchi. Fee: $980, includes materials, meals, lodging, transportation to and from airport. Registration deadline: July 31. Con­ tact David Pinto, Good Hope Great House, P. O. Box 50, Falmouth; telephone/fax (809) 954-3289 or fax David Pinto (809) 979-8095. Telephone Adam Zayas (215) 345-6722; fax (215) 345-1361. Lithuania, Panevezys July 1—August 4 Exhibition of works by participants of the Seventh Panevezys International Symposium; at Panevezio Dailes Galerija, Respublikos 3. Netherlands, Amsterdam through June 17 Exhi­ bition of ceramics by Helly Oestreicher; at Galerie de Witte Voet, Kerkstraat 135. June 9— /^Exhibition of ceramics by Kars Persoon; at KunstRai/Loerakker Galerie. Netherlands, Deventer through/une25Exhibiiton of ceramics by Esperanza Romero, through July 1

104 CERAMICS MONTHLY June/July,/August 1995 105 Calendar

“Showcase,” with ceramic jewelry by Christiane Pluvy; at Loes and Reinier International Ceram­ ics, Korte Assenstraat 15. Netherlands, Dordrecht through June 14 “Het tijdelijk oponthoud,” with ceramics by Rein Dool; at Dordrechts Museum, Museumstraat 40. Netherlands, Oosterbeek through June 12 “Ab­ stract Compositions in Clay IX,” works by Wim Borst, Wil Broekema and Andrea Stotzer; at Galerie Amphora, Van Oudenallenstraat 3. Netherlands, Oosterwolde September 11-15“ Re­ duction Stoneware and Porcelain”; September 18- 22 “Sculpting Clay” with Kees Hoogendam. All skill levels. Fee: 475fl (approximately US$290), includes materials, firing, lodging and meals. Contact Kees Hoogendam, De Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or telephone (51) 608-8238. Netherlands, ’s-Hertogenbosch June 18-Septem- ber 3 “Selections from the European Ceramics Work Centre’s Collection.” Exhibition of ceram­ ics by “Angus Suttie 1946-1993”; at Museum Het Kruithuis, Citadellaan 7. Netherlands, Vlissingen through June I5?“Tussen Beiden 1992,” with ceramics by Willem Speek- enbrink; at Watertorn, Vlissingestraat 239/Oost Soeburg. Netherlands, Voorthuizen July 1-August 30 Ex­ hibition of large ceramic sculptures by Margot Berkman; at Galerie Artterre, Hoofdstraat 185. New Zealand, Auckland June 2—July 2 “1995 Fletcher Challenge Ceramics Award”; at the Auckland Museum. Spain, Gijon June 19-24“Basic Ceramics Course” with the TEXTURA staff. June 26-July 1 “Kilns and Thermal Processes” with Antonio Garcia Bermejo. July 3-8 “Ceramics in Architecture” with the TEXTURA staff. July 10-15 “The Ce­ ramic Portrait” with Andrea Caruso. July 31- August 5 “Urban Furniture” with Emidio Galassi and Josune Ruiz. August 7-12 “Decoration in Ceramics” with Mirta Moriggi. August 21—26 “Visual and Artistic Education” with Pino Lampariello. For further information, contact TEXTURA Ceramica, Camino de Cefontes a Deva, Casa las Torres, Cabuenes, 33394 Gijon; or tele­ phone (98) 513-4160. Switzerland, Geneva July 7—September 24“ Otto­ man Art from the Khalili Collection”; at Musee Rath, Place Neuve. Switzerland, Nyon June 24- October 2.9“Triennale de la Porcelaine”; at the History and Porcelain Museum in the Castle. Switzerland, Vallorbe June 3-July 2 Exhibition of functional ceramics by Hugues de Crousaz and sculpture by Nikola Zaric; at Gallery Artcadache. Wales, Carmarthen June 3—July 8“ The Breakfast, Lunch and Dinner Party,” exhibition of tableware by Morgen Hall; at Oriel Myrddin. Wales, Corbridge July 14—August 13 “The Break­ fast, Lunch and Dinner Party,” exhibition of tableware by Morgen Hall; at Corbridge Gallery. Wales, Machynlleth August 5 and 12 Hand­ building, decorating and raku firing. Fee: £40 (approximately US$65), includes materials, firing, lunches and beverages. June 5—9 or July 24—28 Weekly sessions on making, decorating and raku firing. Fee: £160 (approximately US$260), in­ cludes materials, firing, lunches, Wednesday sup­ per and beverages. For further information, con­ tact Meri Wells/Steve Mattison, Caecarrog, Aber- hosan, Machynlleth, Powys SY20 8SE; or tele­ phone (65) 470-3247.

106 CERAMICS MONTHLY June/July/August 1995 107 and it provides me with all the informa­ Questions tion I could ever need. QuickBooks (In­ Answered by the CM Technical Staff tuit) is a new entry into the accounting field that is also receiving positive reviews from its users. Q In an effort to become more organized, It would probably be time well spent to my husband and I have been trying to put visit your local computer store for demon­ more of our business records on a computer. strations of these programs. Check out the We would like to keep all of our inventory up staff recommendations too. to date, as well as track shop and gallery sales Jonathan Kaplan more efficiently. Ceramic Design Group This brings us to our question. Is there an Steamboat Springs, Colorado IBM-compatible computer programfor keep­ ing track of work? We would want it to track Q The once-in-a-lifetime disaster always where the work is and how much money it happens at the worst time. Thank you, Mr. represents at the various discounts. —M. B. C. MurphyI While I am sure that there are some I had a pot that had been bisqued, glazed dedicated applications or utilities that just and fired to Cone 6, but needed some glaze track inventory, I would suggest that you patchup. When refired at Cone 6, it blew consider a database management program itself into smithereens, sending little chips all that can be customized to match your over the kiln. Clearly, a strong explosion. particular needs. There are many such I assume all bits of leaf debris that some­ programs available for a Windows/DOS times get into my stored-outdoors-in-tubs platform, as well as a Macintosh platform. clay do their stuff in the bisque. I also assume Excel (Microsoft) is a spreadsheet pro­ that my ingredients (Cedar Heights Goldart gram that can be tailored in detail to and Redart, A. P. Green Fireclay, XX Sagger provide you with any or all the informa­ Clay, nepheline syenite andpetalite) will not tion you might require. Some may con­ cause an explosion, even if (as sometimes sider many of the spreadsheet functions to happens) they are not mixed 100% and form be overly cumbersome or involved; none­ a coffee-ground sized lump. So what hap­ theless, Excel can be easily set up with pened?-—L.K. formulas and macros in each cell, column Your pot blew up for the same reason or row. You can create a list of your items, that greenware blows up—water trapped prices, costs, etc., by month or week, or in the body turned into steam. When the even set up a spreadsheet for each retailer. pressure of the steam overcame the strength This might require some involved set-up of the clay body, the clay gave way. time, but once the information is entered, Even stoneware fired to maturity will the calculations are performed for you. have some remaining pores. If a pot is FileMaker Pro (Claris) and Panorama reglazed, these pores can fill with water. (ProVue) can also be customized for your Because these pores are less interconnected particular needs. than in bisqueware, the steam has fewer These “stand alone” applications are avenues of escape. quite useful, but what might serve all of When you pop a balloon, it makes a your needs best is the Maker’s Automated pretty good noise, but does little damage. Clerk or MAC (Industrious Software). The When an automobile tire blows, it makes best totally integrated small-business man­ a bigger noise and is capable of doing far agement program that I have seen, it com­ more damage. The difference between the bines inventory management with a host two is the amount of force contained of other functions. before the container gives way. There are also many accounting pack­ When a hard-fired pot blows up, it ages that offer inventory management sends shards much farther and is more along with their accounting features. I run likely to damage the ware around it than my business using Peachtree Accounting, explosions of greenware. The glaze-coated bits will then fuse themselves to the sur­ Subscribers’ questions are welcome and those of face of other pots, the kiln shelves and general interest will be answered in this column. walls, and, most disastrously, to electric Due to volume, letters may not be answered kiln elements. personally. Address your questions to the Techni­ If a pot blows up in an electric kiln, it cal Staff, Ceramics Monthly, Post Office Box is a good idea to make certain that no 12788, Columbus, Ohio 43212-0788. shards have lodged themselves in the kiln

108 CERAMICS MONTHLY June/July/August 1995 109 Questions

sitter tube. Sticking your head into most electric kilns far enough to see if the sitter tube is clear is difficult. Shining a flashlight into a mirror should allow the tube to be inspected easily. In the future, try placing all refires at the top of the kiln, where they will be sure to dry out in a long preheat. Louis Katz Texas A&M University Corpus Christi

Q I recently bought the contents of a studio y which include a few materials whose use I am not familiar with—namely molybde­ num trioxidey hectorite and neodymium oxide. Any ideas?—P. C. Molybdenum trioxide is rarely used by studio potters, but has some applications in ceramic industry. Some manufacturers add it in very small amounts (0.1% to 0.2%) as a “wetting agent,” that is, some­ thing that lowers the surface tension of a melted glaze, glass or enamel. This would have the practical effect of reducing sur­ face defects, such as bubbling, pinholing and crawling. As a colorant, molybdenum trioxide is said to produce a smoky blue color, except in raw lead glazes, where it is sometimes used to produce yellow. It also has a ten­ dency to act as an opacifier, but is not reliable enough to be used alone for this purpose. Neodymium oxide is even more rarely used by potters, though it is used in glassmaking. A member of the rare earths group on the periodic table of elements, it is related to praseodymium, which is used in yellow stains by potters. Although I could find no information as to its potential toxicity, neodymium oxide is slightly soluble in water, and because soluble materials are more readily absorbed by the body, you should handle it with care. Hectorite is a very fine, white clay. It has a trilayered structure that is very simi­ lar to bentonite. Like bentonite, it can be used either as a plasticizer in clay bodies or as a suspending agent in glazes (1% to 2%). Macaloid and Veegum are among the commercial suspending agents made from purified hectorite. Peter Pinnell University of Nebraska Lincoln, Nebraska

110 CERAMICS MONTHLY June/July/August 1995 111 Locating Glaze Materials Continued from page 74

clay particles is siphoned off, then some­ rials, and some general indications of times thickened by boiling or evapora­ where they are found: tion to the consistency of normal slip, Galena PbS is the chief ore of lead and brushed on the greenware. Red clays and is a source of lead oxide, which is a are generally preferred for color and strong flux at low temperatures. Galena compatibility with the earthenware occurs in veins in both igneous and body. The result will be a semigloss sur­ sedimentary rock, and is often associ­ face (like old varnish), which can be ated with silver, arsenic and other im­ enhanced by burnishing before firing. purities. It is found in many locations Another possible natural glaze mate­ in the western and midwestern United rial is plant ash. Ash contains silica, States. It is often associated with the sometimes alumina and other oxides sulfides sphalerite, pyrite and chalcopy- (Table 4 on page 74 gives analyses of rite, and with quartz, siderite, dolomite, various ashes). At low temperatures, the fluorite, calcite or barite. Extreme cau­ same problem occurs with ash that is tion should be taken if the natural ore is common with other natural materials— used, as it is toxic if ingested or inhaled. that is, the need for additional flux. If linked correctly with other oxides in a Each ash source yields different charac­ glaze, it can be used with no danger, but teristics. They differ in both color and when the glaze is poorly constituted, it surface quality because each plant con­ can be deadly. Lead was the common tains its own unique blend of oxides. flux used by early potters because it was The plant material should be burned easy to get, and made an excellent glaze in a controlled area so the ash does not when mixed with a little red clay. Un­ blow away. If the burning is incom­ fortunately, when used this way, it can plete, the unburned material can be put poison both the user and the potter; in in a clay bowl, which is then fired to fact, lead poisoning was known as 900°C (1652°F). If it happens to fuse potter s disease before it was understood into chunks, just grind it. how toxic lead is. There is a difference of opinion about In Pakistan, I was once asked to check washing the burned ash before using. out a pottery making dinnerware used The tests I have conducted have not by almost everyone in the foreign com­ shown a major difference in results be­ munity. From a first inspection of the tween washed and unwashed ash, but ware, I suspected a lead glaze and so I many people disagree. I would suggest planned a visit to the pottery. that for the initial tests the ash remain The foreman spoke no English, and unwashed; if the results are promising, we had a rather strange talk with much wash some and compare. arm waving and hand gestures. He To wash, put the ash in a pail, cover finally got it across that they purchased with water, then stir. Unburned mate­ something in town to which they added rial will float to the top, where it can be clay. I thought the something might be skimmed off, while nails, rocks, etc., a frit, but decided I should check it out. will sink to the bottom. Let it settle, I asked to see the container and was not pour off the clear water, add more wa­ too surprised to read genuine red lead ter, stir, settle; repeat the washing pro­ written on it. cess two to four times. The wet ash I told him as best I could that he was should then be passed through a 20- poisoning his clients, but he assured me mesh screen and spread out to dry. It that it was all okay since they heated the may then be ground to reduce the par­ red lead, which changed color, showing ticle size, but I prefer the somewhat that the poisons were driven out. I could uneven results of rough screening. not convince him otherwise, so I went The following is a listing of some of back and suggested that these people the more common minerals, ores and use the ware for decoration and not to rocks that may have value as glaze mate­ eat from.

112 CERAMICS MONTHLY Boron Oxide BO is a strong flux at all mica mineral that fuses easily, occurs in temperatures. Though water soluble, it lithium-bearing pegmatites. There are is nontoxic. This means that it occurs deposits in New England and Califor­ naturally only in desert areas where nia, as well as Brazil, Sweden, Madagas­ evaporation has created deposits of one car, Southwest Africa, Australia, Russia or more of the boron minerals, such as and Germany.

borax Na2B4Oy- 10H20, howlite Spodumene LiAlSi206 is not a strong Ca2SiB5 09(0H)5 , ulexite NaCaB5 09 • flux at low temperatures, but it has other

8H.O or colemanite2 _ 2 6 ^ 11Ca_B.O. 2 • 5H.O. desirable properties; it does act as a high- There are deposits of borax in Tibet (an temperature flux. It occurs in lithia-bear- early European source), and in Nevada ing pegmatites and is often associated and California. Other boron minerals with one or more of the other lithium are also found in these areas, plus in minerals. There are deposits at Kings South America; while howlite can be Mountain, North Carolina; and Dixon, found in Nova Scotia as nodules in New Mexico; plus it is found wherever gypsum. there is lepidolite. Sodium NaJD and Potassium K20 Al­ Calcium Carbonate CaC03 is a strong kalis are strong fluxes at all tempera­ high-temperature flux. It is also useful tures, but are so highly soluble that they at low temperatures, but not as a lone are seldom found in nature. flux. There are many calcium minerals Sodium Nitrate NaN03 occurs in that will introduce CaO to a glaze; some desert areas as a residual surface deposit easily obtainable sources are chalk, lime­ left from evaporation. It is abundant in stone, sea shells, marble and marl. Chile on the west slopes of the Andes, Wollastonite CaSiOis a good source and there are small deposits in dry lake of both calcium and silica for a glaze. It beds in California and Humbold occurs where limestone has been County, Nevada. strongly metamorphosed. Deposits in Cryolite Na^AlF6 is the only non- the U.S. are in Texas, New York, Cali­ soluble source for sodium to be found fornia and New Jersey. Other sources in nature. The main commercial de­ are in Finland and Romania. posit is in Greenland, but there is also a Barite BaSO^ a source of barium small one in Colorado. oxide, occurs in sedimentary rocks and Soda Ash Na2CO i does occur in natu­ gangue minerals (those mineral residues ral alkali deposits in the southwestern left after the metallic ore is removed). United States, but most sold commer­ Veins of pure barite exist in Canada, cially is the result of the chemical pro­ England, Mexico, the U.S. Midwest and cessing of brine. Georgia. Sodium Bicarbonate NaHC03 is Witherite BaC03 is a rare mineral highly soluble and is normally manu­ usually associated with low-temperature factured from soda ash, though there lead and fluorite veins. It has been found are some small natural deposits in dry alone in southern Illinois, California, lakes in the Southwest. and Ontario, Canada. Potassium Nitrate KN03 is also highly Talc Mg3Si4 010(OH)2> a source of soluble and is found in small amounts magnesium oxide, is a common min­ as an efflorescence on cave walls, under eral formed from the alteration of mag­ cliff overhangs and in the dirt of cave nesium silicates. In the United States, it floors in Kentucky and Tennessee. is found as soapstone in the Appala­ Lithium Carbonate Li2C03 is a good chian Mountains, and as talc in New low-temperature flux and, like the other York and Pennsylvania. soluble fluxes, it can be found in small Serpentine Mg3Si205 (0H)4 is the re­ amounts in dry lake beds. sult of a slightly different step in the Amblygonite Li • AIF• P04 is a natu­ alteration of magnesium silicates by hot ral flux that is typically not known to water. It is very common and is found potters because it is not used commer­ wherever dark-colored magnesium sili­ cially. It is insoluble and can occur in cate rocks occur. There are great masses large masses in pegmatite dikes. There at Hoboken, New Jersey; Staten Island, are deposits in Brazil, Australia and the New York; Eden Mills, Vermont; and United States. in Quebec. Lepidolite LiF • KF- Al203 • 3Si02, a Dolomite CaMg('COJ2, a source of

June/July/August 1995 113 Locating Glaze Materials

both calcium and magnesium, usually for dark, heavy sands. It is commer­ occurs in sedimentary rocks and ore cially mined at Sanford Lake, New York; veins. It is found in the Missouri, Kan­ and Allard Lake, Quebec. sas and Oklahoma lead districts, and Rutile Ti02 also occurs in plutonic also as pockets in limestone quarries. and metamorphic rocks, often in seams Magnesite MgCO is the result of hy­ and crystals in gneiss and schist. It is drothermal action on serpentine. It oc­ also hard and heavy, and therefore con­ curs in sedimentary beds, often found centrates in sands.

as white veins in the parent rock. Large Strontium Carbonate SrC03 is be­ quantities are mined in Washington and ginning to be used as a whitener in California. high-temperature bodies and is said to Cassiterite Sn02 occurs in pegmatites, be a superior replacement for calcium and is associated with tungsten ores and and zinc in high-temperature glazes. It silicate gangue minerals. It is found as is found as strontianite in veins and waterworn pebbles in Cornwall, En­ concretions in sedimentary rock. The gland, which have been mined since main commercial source is Germany, Roman times. Major alluvial deposits but it is found in England and the U.S. are still worked in China, the Malay (as nodules in limestone at Schoharie, Peninsula and the Dutch East Indies. New York; and in Pennsylvania and In the U.S., it occurs in pegmatites in California).

California and Virginia, but these de­ Celestite SrSO' occurs4 in sedimen- posits are not of commercial value. tary rocks. The best sources are in the Hemimorphite Zn/Si2OyOH2 • HjO United States, in limestone quarries on (Calamine) occurs in the oxidized zones Kellys Island in Lake Erie, and at Clay of zinc deposits in Colorado, Montana, Center, Ohio. It is also found in Texas; New Jersey and Mexico. Kansas; Colorado; and Blairs County, Spinel MgAl204 (Gahnite) occurs in Pennsylvania. plutonic, pegmetic and metamorphosed Quartz Si02 is the common glass limestone in New York and New Jersey. former in ceramics. It occurs in every It is often of gemstone quality and there­ class of rock. The veins and large crys­ fore of less importance to the potter. tals are hard to process, so a good pure SmithsoniteZnCO3 (Calamine in Eu­ silica sand (that can be more easily ropej occurs in dry climates in lime­ ground) is the preferred source. stone regions; it is found in caves in Potash Feldspar KJD Al20 6SiO^ a Arkansas and southwest Africa. The constituent of granite and often an as­ common type is called “dry bone ore.” sociate mineral with quartz, occurs in Sphalerite ZnS, the primary ore of plutonic and metamorphic rock. It can zinc, alters in oxidation to the other be found in most areas of the world and zinc minerals. It occurs in sulfide ore often in fairly large pure deposits. veins and is often associated with galena Leucite KAlSi206is a feldspathic min­ veins. eral found in lava flows. There are de­ Willemite Zn2Si04 is a secondary posits near Mount Vesuvius in Italy; material found in the oxidized portions Magnet Cave, Arkansas; and in the Leu­ of zinc veins. The original deposits were cite Hills in Wyoming. identified in Belgium, but it is also in The following minerals are common Franklin, New Jersey, and there were colorants: some recent finds in the southwest Chromite FeCr204 occurs as segrega­ United States. tions in magma. Sometimes it is found Ilmenite FeTi03 occurs in metamor- as isolated crystals in veins or scattered phic rocks, plutonics and pegmatites. It through serpentine. It also occurs as is a common accessory mineral grain in lenses in altered basic rock. There are igneous rock and therefore, after weath­ deposits in New York, Maryland, North ering, often concentrates in sands. Look Carolina and California. Outside the

114 CERAMICS MONTHLY U.S., commercial deposits are found in tary formations, pegmatites and ore Russia, Africa, Turkey, Brazil and Cuba. veins where it may be associated with Smaltite (Co,Ni)As3 (also known as calcite, barite and sulfides. It also forms Skutterudite and Chloanthite) occurs in concretions in sedimentary rocks called medium-temperature veins associated “clay ironstone.” with silver and nickel. It is abundant in Manganese Mn is usually associated North America, and there is a large with iron ores, where it exists in small commercial deposit at Cobalt, Ontario. quantities. An important source there­ It is also found in Germany, France, fore is the slag from open-hearth fur­ Spain, Morocco and Chile. naces. It also occurs as nodules on the Cobaltite CoAsS occurs in sulfide ocean floor in the Pacific and on the veins and in metamorphic rock. Fairly bottom of Lake Michigan. rare, it is found in Cobalt, Ontario; Pyrolusite Mn02 is a common sec­ Sweden and Norway. ondary mineral formed from manga­

Azurite Cu3(OH)2(COJ2 and Mala­ nese phosphate (rhodomite or rhodo- chite Cu2C03(OH)2 are secondary min­ chroris) by oxidation. erals that occur in copper deposits. Their ManganiteMnO(OH) is a fairly com­ bright blue color often stains the sur­ mon mineral but often difficult to rec­ rounding rock, which helps in locating ognize. It occurs in veins, often with copper. They are found in Russia, South other manganese ores, and is associated Africa and the southwestern U.S., par­ with barite, calcite and siderite. It can ticularly in Arizona. be a secondary deposit associated with

Chalcocite Cu2S occurs as both a pri­ pyrolusite or limonite. mary and a secondary mineral in sul­ RhodochrositeMnCO3 occurs in meta­ fide veins in Cornwall, England; an morphic manganese deposits. It is asso­ ancient mine in Bristol, Connecticut; ciated with copper and lead, and and in Butte, Montana. sometimes occurs in pegmatites. Found Chalcopyrite CuFeS2 is the most im­ in the western United States (Montana portant ore of copper. Widely distrib­ and Colorado) and elsewhere, it alters uted, it often occurs in association with to black manganese oxide on weather­ galena, sphalerite and pyrite. Upon ing, and stains the deposit black. weathering, it can alter to covellite CuS Nickel Ni ores are sulfides and ox­

or bornite Cu5 FeS4. It can be found in ides; they occur in cobalt ores such as Utah, Nevada and Arizona in associa­ skutterudite or erythrite. tion with igneous rocks; crystals come Annabergite (Ni,CO)3(AsOJ2-8H20 from Pennsylvania and California, as is a rare mineral that occurs near the well as Cornwall, England; and Japan. surface of cobalt, nickel, silver and ars­

Cuprite Cu20 occurs in the oxida­ enide sulfide veins. Called nickel bloom tion zones of copper sulfide ores. It is for its greenish color, it is a guide to quite common and there are many de­ locating the ore. It is found in Ontario, posits in the southwestern United States. Canada; Cuba; Norway; and the Do­ Hematite Fef)3 is a common min­ minican Republic. eral that occurs in beds of sedimentary Camotite K2(U0J2(V0J-3H20 oc­ origin. It also occurs as veins in igneous curs as a secondary mineral in sedimen­ rock. The locations are numerous, but tary rocks. Found in Colorado, Utah, three of commercial value are the Mesabi Arizona and New Mexico, it is mined range in Minnesota, Clinton Red beds primarily as a source of radium and in Alabama and the micaceous schist in uranium.

Michigan. VanadinitePb5 (VOJ3Cl occurs in the Limonite FeO(OH)'NH2 is a weath­ secondary weathered zones of lead ore ered iron mineral; it is an ambiguous deposits in desert country. It is found in name used when speaking of a mixture Arizona and New Mexico. of unidentified hydrous iron oxides. Magnetite Fe304 occurs in plutonic The author A globe-trotting potter who rocks and pegmatites. It is hard grained has made the most of local materials for and often weathers out to become black government-supported ceramics projects on sand. It is very common throughout islands in the Pacific and the Caribbean, the United States. Miska Petersham currently resides in East Siderite FeC03 occurs in sedimen­ Bend, North Carolina.

June/July/August 1995 115 116 CERAMICS MONTHLY June/July/August 1995 117 118 CERAMICS MONTHLY June/July/August 1995 119 Comment fresh, if often disconcerting, usually ex­ occasion we spoke before her stroke, when pressed as a fact or a question rather than I told her that I felt I was only just begin­ as an opinion. Often said with humor, ning to understand clay? She replied, “I True Character of the Maker always with economy, her comments were feel exactly the same.” by Sebastian Blackie deceptively simple and thus more effec­ I was recently in Vienna and visited tive. It was in her eyes, however, that her the college where Lucie began her career power and humanity shone most brightly. with clay. The ceramics department was I first met Lucie Rie 26 years ago. It was Perhaps more than any other medium, in the process of being reformed as a memorable for a number of reasons. I pottery reveals the true character of the design area, and basic physical making still recall the quiet intensity of her place, maker. With no discernible structure of skills were marginalized in favor of paper which seemed like an oasis; it lingered its own, everything that happens to the concepts, the remaining ceramics lecturer long after the event, and sustains me in a clay is the result of the potters work; clearly isolated by a new ideology. Any way that still seems mysterious and won­ either directly when formed by hand or trace of a connection with the city, mutu­ derful. In her studio and home, ally rejected, seems to have dis­ the relationship of maker and The uncompromising clarity found in her pots was in appeared except perhaps with pot took on a new and excit­ the desolate open wound of a ing meaning. Her genuine cu­ her conversation also. She had an uncanny capacity to memorial to the Holocaust riosity to know what I thought expose the false and reveal the truth in a manner that placed at its center. The im­ was a flattering encouragement perative of such public work to a young student, as well as a was fresh\ if often disconcerting expressed as a fact or a appears unable to embrace the test of insight. She told me question rather than as an opinion. individual stories on which years later that she also remem­ they are founded. bered this meeting because she Lucies work, for me, su­ had written down and sent to Hans Coper indirectly in the kiln. Pots can communi­ premely triumphs over both memorial something I had said about his work; it cate intelligence, feeling, sensuality; they and its causes. It is about life—an ex­ was tantalizing but typically wise that she allow us to touch that part of us we may traordinary, powerful, unique life. For me, had forgotten what it was. never really Icnow with ever-increasing her pots assert freedom. They take it as Although she was always hospitable fascination. distinct from expressing it. They also re­ and generous with her time, my occa­ I believe Lucie would have dismissed veal the paradox of both fragility and sional visits to Lucie were hard work. The such talk; probably with the briefest, but strength: an enduring gift. uncompromising clarity found in her pots devastating, word or look. Despite a pene­ was in her conversation also. She had an trating intellect, she firmly refused to theo­ The author Artist/educator Sebastian uncanny capacity to expose the false and rize or romanticize ceramics. Might this Blackie resides in Farnham, Surrey; Dame reveal the truth in a manner that was account for her comment, on the last Lucie Rie passed away in March.

Index to Advertisers

A.R.T. Studio...... 17, 27 Contemporary Kiln...... 118 L&L...... 118 Rosen...... 32 Aegean...... 94 Continental Clay...... 98 L&R...... 102 Santa Fe Clay...... 106 Aftosa...... 13 Corey...... 113 Laguna Clay...... 84 Sapir...... Ill Air Purification...... 94 Cornell...... 106 Leslie...... 107 Scott Creek...... 12 Amaco ...... 38 Creative Industries...... 90 Lockerbie...... 107 Sheffield...... 86 American Craft...... 11 Creek Turn...... 110 Marjon...... 104 Shigaraki Park...... 91 Amherst Potters...... 110 Davens...... 95 Mendocino Art Center ...... 114 Shimpo...... Cover 2 Anderson Ranch...... 116 Dedell...... 118 Miami Clay...... 103 Sierra Nevada College...... 108 Artfair Sourcebook...... 93 Del Val...... 110 Mid-South ...... 2 Skutt...... Cover 4 Ashurst...... Ill Dolan ...... 110 Mile Hi...... 34 Soldner...... 9 Axner...... 30, 31 Duralite...... 112 Minnesota Clay USA...... 88, 89 Southern Pottery...... 104 Bailey...... 1, 6, 7, 19 Euclid’s...... 92 Modern Postcard...... 102 Spectrum...... 101 Bennett’s...... 3 Exhibition Team ...... 115 National Artcraft...... 92 Standard...... 109 Bluebird...... 101 Falcon...... 119 New Century...... 106 Studio Potter...... 106 Bracker Ceramics...... 104 North Star...... 83, 105 Summit...... 112 Geil...... 36, 37 Brent...... 33 Georgies...... 96 Old Gap...... 106 Tallat...... 23 Brickyard...... 94 Olsen...... 91 Giffin...... 25 Tara...... 29 California Pot-Tools...... 105 Great Lakes Clay...... 99 Paragon...... 91 Thomas-Stuart...... 105 Trinity...... 103 Canadian Potter...... 85 Hammill & Gillespie...... 82 Pebble Press...... 96 Truro Center...... 104 Cedar Heights...... Cover 3 Handmade Lampshade...... 94 Peter Pugger...... 10 Ceramic Arts Library...... 104 Highwater Clays...... 93 Peters Valley...... 114 Tucker’s...... 15 Ceramic Design...... 114 Hood...... 119 Pewabic...... 109 U.S. Pigment...... 95 Ceramic Review...... 109 Philadelphia Pottery...... 95 IMC...... 119 CeramiCorner...... 114 Piedmont Pottery...... 106 Venco ...... 21 International Technical...... 113 Ceramics Monthly...... 87, 97, 107 Potter’s Service...... 110 Vent-A-Kiln...... 116 Cheltenham Center...... 118 Jepson...... 35 Potters Shop...... 106 Ward ...... 100 Christy Minerals...... 115 Kickwheel...... 4 Pure & Simple...... 119 Wasil ...... 114 Classified...... 117 Kiln Sitter...... 112 Ram...... 93 Westerwald ...... 101 Clay Connection...... Ill KLM...... 112 Randall ...... 94 Wise ...... 104 Clay Factory...... 119 Kraft Korner...... 104 Rings & Things...... 86 Wolfe...... 94 Claytime Companion...... 112 Krueger...... 118 RivenOak...... 118 Worcester Center...... 108

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