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Cliff Lee: New Directions by Paul F

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Cliff Lee: New Directions by Paul F June/July/August 1999 1 2 CERAMICS MONTHLY JunelJulylAugust 1999 Volume 47 Number 6 “Stacked Bowls with Vase,” 21 inches in diameter, by Bobby Silverman; at materia/ The Hand and the Spirit Gallery, Scottsdale, Arizona. FEATURES 48 35 Visiting Ryoji Koie by Kelvin Bradford Trailblazing beyond Japanese tradition 39 Formulating Glazesby Richard A. Eppler “Plain View,” 32 inches in Limits for glaze calculation using mole percent height, painted ceramic, by John Woodward; at 43 Billy Ray Mangham by Gary C. Hatcher Riley Hawk Galleries in Humor and pathos in raku sculpture Columbus and Cleveland. 47 Limitless Low Fire 50 Vessels and sculpture at the Brookfield Craft Center, Connecticut 48 Bobby Silverman Stacked bowls and vases evoking floral forms 50 Looking in the Mirror: Aspects of Figurative Ceramics Contemporary sculpture at Riley Hawk Galleries in Ohio 52 Cliff Lee: New Directions by Paul F. Dauer Meticulously carved organic porcelain forms 57 Different for Me by Ken Vavrek Change doesn’t always come easy 60 English Urban, American Rural by Claire Wilcox Contemplating the capacity of pottery to express humanity 65 A Wood-Firing Raku Kiln by Nesrin During A low-tech way to raku anywhere Bottle, 9 inches in height, by Rob Barnard, 68 Castles in Spain by Frangoise Melville Timberville, Virginia. Three approaches to production 60 105 Unusual Pottery Markets by Brad Sondahl Finding new sales outlets Nesrin During describes construction and firing of a 107 Flash Reduction by Heather Young wood-fueled raku kiln, Low-fire lusters Oosterend, The Netherlands. The cover: A pair of 108 A Limp Ice-Cream Box, Stiff Paper, “Yellow Prickly Melons,” 65 to 14½ inches in height, a Couple Pieces of Magic Tape and by Cliff Lee; see page 52. a Sticky Seal to Close the Lid by Dick Lehman Photo: Holly Lee Attention to packaging June/'July/'August 1999 3 UP FRONT 14 Rachelle Chinnery Coiled and altered stoneware vessels at the Gallery of BC Ceramics, Vancouver Editor 14 Michael Stowell Ruth C. Butler Associate EditorKim Nagorski Ceramic sculpture at Oregon College of Art and Craft, Portland Assistant EditorConnie Belcher 14 AnnaJalickee Assistant EditorH. Anderson Turner III Boldly colored vases at Creative Partners Gallery in Bethesda, Maryland Editorial AssistantRenee Fairchild 14 Ron Meyers and Michael Simon DesignPaula John Functional ware at Signature Shop and Gallery in Atlanta Production SpecialistRobin Chukes 16 Artists Survey Advertising ManagerSteve Hecker Research center studies how artists are faring economically Customer ServiceMary R. Hopkins Circulation AdministratorMary E. May 16 Louis Mendez PublisherMark Mecklenborg Work included in the International Juried Show at New Jersey Center for Visual Arts 18 Transformations Through Clay Editorial, Advertising and Circulation Offices 735 Ceramic Place Sculpture by 11 artists at Elements of Art Gallery in Columbus, Ohio Post Office Box 6102 18 Ceramic Treasures Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Artwork from the Philadelphia Clay Studio’s permanent collection Fax: (614) 891-8960 18 Baltimore Clayworks to Expand E-mail: [email protected] Large building donated to nonprofit arts center [email protected] [email protected] 18 Ceramics and Print Symposium in Hungary by Moira Vincentelli [email protected] Contemporary practices in this former communist country Website: www.ceramicsmonthly.org 20 Yukinori Yamamura Ceramics Monthly (ISSN 0009-0328) is published monthly, Work from residency at the National Academy of Art and Design in Oslo, Norway except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodicals postage 20 Peter VandenBerge paid at Westerville, Ohio, and additional mailing offices. Figurative sculpture at John Natsoulus Gallery, Davis, California Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American 22 Irene “Niki” Martinelli Ceramic Society. Sawdust-smoked vessels at la Bottega d’Arte di Umberto d’Arceto in Rome Subscription Rates: One year $26, two years $49, three years $70. Add $ 12 per year for subscriptions outside North America. 22 Katherine McLean In Canada, add GST (registration number R123994618). Clayworks from a series presented at Foster/White Gallery in Seattle Change of Address: Please give us four weeks advance notice. 24 A Workshop with Linda Christianson by Anita Wetzel Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, New ceramic art program established at women’s art center Westerville, OH 43086-6102. 24 The Senator S Potter by Jerry and Jenni Davis Contributors: Writing and photographic guidelines are avail­ able on request. Send manuscripts and visual support (photo­ Reflections on 17 years of making pottery for John Glenn graphs, slides, transparencies, drawings, etc.) to Ceramics Monthly, 28 Mark Chatterley 735 Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. Stoneware sculptures at Mackerel Sky Gallery in East Lansing, Michigan We also accept unillustrated texts faxed to (614) 891-8960, or e-mailed to [email protected] 26 Walter Donald Kring, 1916-1999 Indexing: An index of each years feature articles appears in the December issue. Visit theCeramics Monthly website at www.ceramicsmonthly.org to search an index of all feature articles since 1953. Feature articles are also indexed in theArt Index and daai (design and applied arts index), available DEPARTMENTS through public and university libraries. 8 Letters Copies: For a small fee, searchable databases and document 28 New Books delivery are available through The American Ceramic Society’s Ceramic Information Center, PO Box 6136, Westerville, OH 74 Call For Entries 43086; e-mail [email protected] telephone (614) 794-5810. Also 74 International Exhibitions through Information Access Company, 362 Lakeside Dr., 74 United States Exhibitions Foster City, CA 94404; or University Microfilms, 300 N. Zeeb 78 Fairs, Festivals and Sales Rd., Ann jArbor, MI 48106. 80 Suggestions Authorization to photocopy items for internal or personal 86 Calendar use, or the internal or personal use of specific clients, is granted by The American Ceramic Society, provided the base fee of 86 Conferences $5.00 per copy, plus $0.50 per page, is paid directly to the 86 Solo Exhibitions Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 88 Group Ceramics Exhibitions 01923. Prior to copying items for classroom use, please contact 89 Ceramics in Multimedia Exhibitions the Copyright Clearance Center, 222 Rosewood Dr., Danvers, 94 Fairs, Festivals and Sales MA 01923; (978) 750-8400. The code for users of the Trans­ 95 Workshops actional Reporting Service is 0009-0328/97 US$5.00 + $0.50. Back Issues: When available, back issues are $7 each, includes 97 International Events shipping and handling; $10 each outside North America. 100 Questions Postmaster: Send address changes to Ceramics Monthly, PO Box 115 Classified Advertising 6102, Westerville, OH 43086-6102. Form 3579 requested. 118 Comment: Copyright © 1999 Lower-case art, Teacups and Jackson Pollock by Delia Robinson The American Ceramic Society 120 Index to Advertisers All rights reserved 4 CERAMICS MONTHLY June/July/August 1999 5 are as relevant today as they were then. I can’t Letters help but believe that many people berating Leach personally are merely jealous of his immense influence and stature because we are Circular Logic a culture that reacts to personality rather than The alternative to having a strongly ar­ to the content of someone’s ideas. ticulated viewpoint is to do what you like— William Gebben, Colfax, Wis. everything is okay. The problem with a passive attitude is it isn’t interesting; it Hardly Thriving doesn’t give you anything to bounce your Since John Britt began his Comment own ideas off of. Leach’s vision isn’t a reli­ (“Leach’s Circular Logic,” May 1999) by gion—you have to believe in it. Rather, takeblaming Bernard Leach’s erroneous view of from it what speaks to you. the Japanese aesthetic for “holding us back,” But to reject Leach’s philosophy based onI expected him to go on to suggest how we his personality is a very shallow and contem­could accomplish creating a higher regard for porary reaction. He was a man with flaws. ceramics. Instead, his essay was simply an Those flaws make the story more interestingattack on Leach’s views and an attempt to set to analyze in the context of his times. But tous straight about Buddhism and the true trash all he wrote, or did, because of his Oriental character. personal failings is like throwing the baby out I would hardly agree that ceramics and with the bath water. crafts in general are thriving in the U.S. Leach’s, Hamada’s and Yanagi’s aestheticThey exist, certainly, and are valued by some. descriptions of beauty based on Zen Bud­ But by and large, ceramists are not greatly dhist philosophy, William Blake’s mysticism,appreciated or supported by the art world, a reaction against the industrial revolution, the public or the government at any level. and the influence of William Morris are Compare crafts’ situation in the U.S. and much richer and broader than the author oftheir place in, say, Australia, where there are “Leach’s Circular Logic” (CM, May 1999)art schools that teach both art and craft in would have us believe. He’s criticizing Leachalmost every city. To narrow the discussion for holding in high esteem traditional usefuldown to ceramics, regular Australian citizens objects at a time they were threatened by buy handmade pottery to use every day on rapid industrialization. His criticism of Leachtheir tables, and there are proportionately is unfair. more lively ceramics shows and competitions The author himself, Mr. Britt, claims an across the country. I would have to work equal argument could be made that functionhard to blame crafts’ sorry state of affairs in inhibits beauty, but he doesn’t have the the United States and its relative health in rigorous or interesting argument to back upAustralia on Bernard Leach.
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