Cover: Bryan Hopkins functional constructions Spotlight: A Potter s Pots, by Suze Lindsay Clay Culture: An Exploration of Jun ceramics Process: Lauren Karle s folded patterns ver had a s ne pro ha ht it in bl t oug 1974 em en I b .” — r Mark Isse nb e b erg, Lo v oko y ut e Mo unt r ain M Po ! tter “ y, R isi ng F aw n , G A

T h y e t n on ra ly ar w w he ear el with a 10 y

(800) 374-1600 • www.brentwheels.com www.ceramicsmonthly.org october 2012 1 “I have a Shimpo wheel from the 1970’s, still works well, durability is important for potters”

David Stuempfle www.stuempflepottery.com

2 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 3 monthly ceramic arts bookstore Editorial [email protected] telephone: (614) 794-5867 fax: (614) 891-8960 editor Sherman Hall associate editor Holly Goring associate editor Jessica Knapp editorial assistant Erin Pfeifer technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production production editor Melissa Bury production assistant Kevin Davison design Boismier John Design Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Publisher Charles Spahr Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of pub- lished glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recommended safety measures, according to toxicity ratings. subscription rates: One year $34.95, two years $59.95. Canada: One year $49, two years $89. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, NEW plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $9 for shipping outside North America. Allow 4–6 weeks for delivery. CERAMICS AND 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, P.O. Box THE HUMAN FIGURE 15699, North Hollywood, CA 91615-5699. contributors: Writing and photographic guidelines Edith Garcia $39.95 are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at The human figure has been represented in clay throughout✹ history and www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, continues to evolve today. Artists are working with the figure in new ways, daai (design and applied arts index). copies: Authorization to photocopy items for internal playing with materials and forms, and making use of new technologies to or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic produce challenging and unconventional work, from the intact whole figure Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 to the fragmented, hybrid and abstract. Divided by broad themes, each Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom chapter in Ceramics and the Human Figure features a variety of different use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general expressive works from a range of international ceramic artists. This book distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. explores the role of figurative ceramics through history and in contem- Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company; a subsidiary porary contexts, and also reveals the methods of six key contemporary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. artists, using a series of how-to images to illustrate their techniques. postmaster: Send address changes to Ceramics Monthly, P.O. Box 15699, North Hollywood, CA 91615-5699. Form 3579 requested. Copyright © 2012, The Ceramic Publications Company; a subsidiary ceramicartsdaily.org/bookstore of The American Ceramic Society. All rights reserved. www.ceramicsmonthly.org

4 october 2012 www.ceramicsmonthly.org $1559 $1679

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www.ceramicsmonthly.org october 2012 5 contentsoctober 2012 volume 60, number 8

editorial

10 From the Editor Sherman Hall 12 letters techno file

12 Casting Rheology by Jonathan Kaplan If you understand a few of the complex interactions between clay and water, you can do some pretty cool things. tips and tools

16 hang tags by Mea Rhee Sometimes the best tools are those that help us sell work. Whether the results show in your work or in your sales, a good tool is tough to beat! exposure 18 Images from Current and Upcoming Exhibitions reviews 42 to Wander out of Place An exhibition of works by artists living in the US whose aesthetics are connected to Asian art and culture was on view at the Seattle Design Center during the 2012 National Council on Education for the Ceramic Arts conference in Seattle, Washington. Reviewed by Tony Merino 52 Peter Shire Cups 19742 012: Ceramic and Steel Cups and Works on Paper Shire’s solo exhibition at Lora Schlesinger Gallery in Santa Monica, California, is more wide ranging than the title suggests. These are certainly not your grandma’s teacups. Reviewed by Kathleen Whitney resources 61 Gallery Guide 2013 No matter where you are, clay is close at hand. Use our comprehensive listing of galleries and museums to locate a venue that loves clay as much as you do. 133 Call for Entries Information on submitting work for exhibitions, fairs, and festivals. 134 Classifieds Looking to buy? Looking to sell? Look no further. 135 Index to Advertisers 20 spotlight

136 A Potter s Pots Suze Lindsay All potters collect pots to some extent, but some take it a step further, embracing a particular type of form both in collecting and in the studio.

6 october 2012 www.ceramicsmonthly.org clay culture 26 Rewarding an Innovator Guggenheim fellowships have been awarded to people working in science, social science, and the creative arts since 1926. This year, the foundation recognizes ceramic and multimedia artist Ron Nagle.

28 Jun Factory life by Maggie Connolly Production of Jun ceramics in China has had its ups and downs over the last 1400 years. Factories in Yuzhou City, the historical center of Jun production, are helping to bring it back after techniques were lost during the Cultural Revolution. studio visit 32 John Britt, Bakersville, north Carolina A purpose-built studio for workshops and classes includes some details that could be applied to any clay studio. features 36 Bryan hopkins: Dissonance and Reconciliation by Glen R. Brown A potter brings two seemingly opposing sensibilities to bear on a body of work that is in some ways quiet and refined, but rough and abrupt in others. monthly methods Building Simply by Bryan Hopkins 47 Extending a museum Exhibition s (out)Reach by Diana Lyn Roberts The Smithsonian Museum’s Freer and Sackler galleries in Washington, DC, have figured out a way to help an exhibition live on after it closes, and reach a far wider audience with their website dedicated to images and research on the Southeast Asian ceramics in their collections.

54 Sewing Cultures through Pottery by Lauren Karle Taking influences from Guatemalan textiles, Karle creates surface designs and layers pigments prior to forming her vessels. The result is that her pieces appear to be made with methods similar to sewing fabric, and this connection to their inspirational source is important to their meaning. recipes 14 Scooter s off-white Casting Slip tom Spleth Casting Slip

42 cover: Bryan Hopkins’ cup set, 4½ in. (11 cm) in height, wheel-thrown and altered porcelain, fired to cone 11 in a gas kiln, platinum luster, and cast mortar, 2011.

www.ceramicsmonthly.org october 2012 7 from the editor respond to [email protected]

So I just made a bunch of bats out of scrap laminate counter top I baby step that really can help on the sales end of the cycle is making had left over from putting my studio together (yes, that was about hang tags for your work. Making these can seem like a small, pesky six years ago; and yes, that scrap has been in my garage since then). thing to do, but Mea Rhee explains and illustrated the advantages It’s perhaps not quite as satisfying as making a bunch of new work, of making and using them on page 16, and I think I’m going to but then it’s a different kind of work. There are so many tasks like start designing my own immediately. After all, the success of large this that surround studio pottery, and I think most of us actually endeavors comes down to the small details, doesn’t it? And if you’re enjoy them. And this one just about doubles the amount of work I looking for a brick-and-mortar venue to sell your work (and test out can throw in a single session. It’s not that I will now expect myself your new hang tags), check out our annual Gallery Guide listing to make twice the work I made before, which is admittedly not starting on page 61. very much, but it will mean I don’t have to stop when I get on a roll at the wheel. I won’t need to force dry things or try to handle wet work that really should be left alone for a day, and I have enough bats to make an entire set of something all at the same time. I’m not sure why I had not planned this before, perhaps when I was making a dinner set, but it only occurred to me after the bats were made that there may be an advan- tage to having them that would translate into more consistency in my work. That may not end up being the case, but I think we all have experienced hitting our stride and really getting a These are eight of the fifteen bats I cut in an afternoon. It may seem like a silly thing to be excited about, but these circles of wood are going to make my studio life a lot easier. form dialed in, only to have to leave the work for a while (sometimes for a day, because of the capacity of our tools or studio; So, whether your baby step is taken with a circle-cutting band- sometimes for longer because life just tends to happen), only to saw jig and some scrap counter top, or it’s an actual step through a return and realize the groove is gone, and we need to start from the gallery door, take it with confi dence—with the knowledge that it bottom and warm up all over again, maybe never quite getting that only feels awkward because it’s your fi rst, and that it will teach you form the same as the last time. Well, at least having enough bats something, and that it will get easier very soon. Bigger steps are removes one small barrier to that. right around the corner. Maybe it’s because I actually spend a fair amount of time with a pre-toddler, but I am appreciating baby steps—and not just when it’s the baby taking them. If I can do one small thing in the studio to improve something, then that is a step in the right direction, regardless of how small. These small improvements can happen outside the studio as well, and sometimes that is where makers need the most help. One Sherman Hall

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Studios, Such as They Are and can be wall-mounted. If you keep glazes Many of your readers must be hobbyist mixed in lidded buckets, place the buckets potters like myself, with a “kind of” home on low and sturdy plant stands with casters studio. So here’s an article topic idea for so you can easily push the buckets under you: “In Some Corner: Home Studios.” work tables when you don’t need them. The locations are varied (garage, basement, Celia Walker, Fort Collins, Colorado extra bedroom, kitchen table, add-on space). The issues dealt with are even more varied: Over the Moon water freezing; access to water; drainage I wanted to send a note of thanks to all the and traps; electrical needs; venting/fumes; folks at CM that made this [September] issue entrained dust and fl oor dust; effi cient stor- possible. I’m beyond thrilled to be on the cov- age; fl ooring; getting materials and pots to er, and absolutely delighted with the layout and from the studio. What about an article and article inside. Your editor’s note and email laying out some of the issues related to set- message to subscribers, plus the contents ting up a home studio for the casual potter, blurb, were wonderful to read. Thank you, emphasizing creative solutions for this kind thank you, so much. A true dream come true. of minimalistic, fi t-it-in-because-you-love-it I couldn’t be happier and am very appreciative approach? To prime the pump: Look for an for all the work by you and your team. Check out the digital issue with Kristen’s work old CD rack at the local thrift store. It neatly Kristen Kieffer, Baldwinville, Massachusetts on the cover (and more inside, of course) at stores kiln furniture, takes minimal space, P.S. My mom is over the moon! www.ceramicsmonthly.org.

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10 october 2012 www.ceramicsmonthly.org Our NOVA series Cone 4/6 glazes are now available in pints. Plain Colors To the left are the basic plain colors. There are also three types of Clear Glaze available: 1500 - Clear, 1501 - Clear Crackle, and 1502 - Satin 1510 1511 1512 1513 1514 1515 Clear White Black Yellow Cobalt Blue Chrome Green Burgundy

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www.ceramicsmonthly.org october 2012 11 TECHNO FILE

casting rheology by Jonathan Kaplan Clay exhibits remarkable properties that, with the help of some basic chemistry, allow it to be fully dispersed in water to become a casting slip. With an understanding of some basic concepts of rheology, we can increase our skill set and formulate smarter casting slips.

Define the Terms Fluid Flow Casting Slip: A suspension of plastic and Rheology is a broad term that covers the flow of fluids. Newtonian fluids are simple fluids that non-plastic ingredients, chemicals, and water, have constant viscosity regardless of shear. The viscosity of non-Newtonian fluids changes with a high concentration of solids and a low depending on the shear rate. Mayonnaise and ketchup are good examples of non-Newtonian water content. fluids: shaking or mixing them up will change the viscosity. Water is a Newtonian fluid and Deflocculants (deflocculation): Materials a casting slip is a non-Newtonian fluid. that increase a liquid clay’s fluidity by The relationship between clay and the water suspending it is the foundation of slip casting. affecting the charge on the clay particle and The water molecule plays a very important role in a clay-water system. The structure of preventing flocculation. water exhibits a dipole—there are positive and negative charges on opposite sides of the Dipole: A molecule in which a concentration molecule. Further, water molecules are attracted to each other. The positive charge of one of positive electric charge is separated from a side of the molecule is attracted to the negatively charged side of another water molecule concentration of negative charge. (unlike charges attract, like charges repel). This is called dipole-dipole attraction.1 Flocculation: The opposite of deflocculation, When a clay particle is suspended in water a “water-hull” forms around it, wherein the it is the process of making a thin and liquid minute clay particle is totally surrounded by water molecules. The size of clay particles clay slurry into a gel in order to improve suspended in water is quite small, but there is a large concentration of solids.2 The water suspension. Flocculated slips have a high 3 water content, thus a higher shrinkage. molecules attracted by the surface of the clay particles form a very ordered structure. This means that the arrangement, or fit, of the ions and molecules is tight and closely packed.4 Gelation: Excessive thickening that occurs The arrangement of the water structure with the principal clay mineral, kaolinite, is critical when ceramic bodies containing soluble materials are suspended in a liquid. in a clay-water system. When clay settles out into the bottom of the container, this is a clear demonstration of Meniscus: The curved upper surface of a the attraction of oppositely charge particles. These clumps of materials are called flocs. liquid in a cylinder. However, in casting, combining a high concentration of solids with low water content and Rheology: The study of how fluids flow, in this an added deflocculant results in a fully dispersed volume of material where the clay particles case the array of characteristics that ceramic are repelling each other. Deflocculants allow the dispersion in water of both plastic and slurries exhibit (viscosity, thixotropy, etc.) over non-plastic materials. an entire range of applied shear conditions. What we wish to accomplish in casting slips is to deflocculate the mixture, preventing Shear Stress: Stress applied parallel to the the clay particles from forming flocs. This is accomplished with the addition of materials surface of a material. that contain sodium ions (+Na). With the additions of soda-based materials such as sodium Shear Thinning: The property of a slurry to silicate or Darvan products, often referred to as electrolytes, the result will be a stable clay flow more readily as shear is increased. This occurs because the shear, usually induced by stirring, breaks up a gel structure.

Slip: A slurry made of clay and other clay body ingredients suspended in water.

Slurry: Suspension of solids in a liquid.

Specific Gravity: The weight of a volume of liquid divided by the weight of the same volume of water. Sometimes referred to as specific density.

Thixotropy: The property of a slurry’s viscosity to decrease when subjected to shear, followed by a gradual increase in the viscosity deFlocculated Flocculated when the shear is stopped. A While the science is more complex, it is convenient to visualize a deflocculated slip as Viscosity: Resistance to flow of any fluid, being like a deck of cards, densely stacked, and a flocculated slip as like a jumble of cards, caused by internal friction. High viscosity fluids resulting in much lower stacking density of the particles. The shrinkage in a flocculated are thick (think cold honey), low viscosity system is greater as there is more water in the space between each clay particle. Diagram fluids are thin (think water). adapted from W.G. Lawrence & R.R. West, Ceramic Science for the Potter, figure 5-4, page, 79.

12 october 2012 www.ceramicsmonthly.org slip that has negatively charged particles. Through blunging, the casting slip B Particle orientation resulting from slip casting. becomes uniformly mixed and the solids in it will not settle out.5 In a deflocculated system, The packing in deflocculated clay systems is quite dense. The clay particles the particles systematically arrange themselves parallel to each other with negative charges on all surfaces. repel each other as the electrostatic charges are Flocculated clay systems are more randomly arranged and much more loosely made the same and orient packed, with the positive charges at the end surfaces (A). A greater amount of plaster mold themselves parallel to one water is retained in flocculated clay systems and that causes in a more shrinkage casting slip another. As the amount of water is reduced, the in a casting made from a flocculated slip. A closely packed deflocculated clay concentration of clay particles system has a smaller water content and therefore less shrinkage. And in slip becomes greater, hence the casting, the clay particles arrange themselves parallel to the casting surface, shrinkage is less. Diagram adapted from W.G. Lawrence & similar to a deck of playing cards (B). Flocculated systems have very low green R.R. West, Ceramic Science for strength, and conversely, deflocculated slips have high green strength. the Potter, figure 7-4, page, 98.

Casting Slip By Design

To design a casting slip from raw materials, the general ratio, derived Deflocculants from traditional bodies and the greenware industry, is 50 parts of For deflocculation, sodium silicate in conjunction with soda ash is plastic materials (clays) and 50 parts non-plastic materials (silica, common. However, like other deflocculants they have a very tight feldspar, fillers, etc). In contrast, a body designed for wheel throwing range of effective concentration with little or no room for error. or handbuilding might have a ratio of 70–95 parts plastic materials Sodium silicate deflocculation is also very hard on plaster mold life. to 5–30 parts non-plastic materials—these are ratios Other sodium-based products, Darvan 7 and Darvan that have been tested and proven to work, although 811 (generally considered a more superior product for there are many other possibilities. slip casting) are sodium poly-electrolyes, are much more forgiving, and do not adversely affect mold life. They Plastics help obtain higher solid content slips, improved viscosity Casting bodies can be built around most, but not all, stability, fewer soda or hard spots in the castings, are clays. First, it is important to have a variety of materials easier to reclaim without constant adjustments with including kaolins, ball clays, fire clays, and even red clays more deflocculant, and have little tendency to thicken if desired. There are both ball clays and kaolins that on standing.6 are specifically designed for casting such as Opticast (formerly Velvacast) Kaolin from Imerys and Old Hickory Water FC340 (Fast Cast 340 ball clay). Second, it is also Water content will vary depending on the materials used. important to pay attention to the particle sizes of the In general, to mix a 10 pound batch of casting slip, the component clays so that the rate of water migration amount of water will be between 28–45% of the dry through the clay wall and into the plaster mold can be weight. A good starting point for using Darvan products optimized. For example, a cone 04 terra-cotta casting for deflocculation would be 0.35%. These amounts will body containing Cedar Heights Red Art and a ball clay for need to be fine tuned for each particular casting slip. plasticity, which both have extremely fine particle sizes, will cast very slowly. The addition of a coarse-grained Measuring Specific Gravity kaolin such as Opticast will appreciably speed up the Since a casting slip needs a very specific ratio of solids casting rate without affecting the desired terra-cotta to water to work properly, measuring specific gravity Standard device for color. Using FC340 will also help as ball clays are the C is important. Specific gravity can be measured with a measuring viscosity: a #2 glue that holds everything together in a casting slip by Zahn Cup. hydrometer, but a hydrometer can be inaccurate. A promoting gelling. more precise method is to weigh a known volume of casting slip and divide that number by the weight of the Non-Plastics same volume of water. While any container can be used to measure For the 50 parts non-plastic side of the formula, feldspars, talc, specific gravity, it is important to use the same container for weighing pyrophyllite, and flint are necessary. The amounts and selection of the water and the casting slip. Water always has a specific gravity of these materials are based on the desired maturing temperature of 1.00. In both cases, the weight of the container must be considered, the clay body. as well as the presence or absence of a meniscus. For example, if the

www.ceramicsmonthly.org october 2012 13 weight of 1 pint of casting slip is 795 grams, and 1 pint of water is Mixing 454 grams the specific gravity of the slip is 1.75 (1.75 times heavier To mix the Scooters Off-White Casting Slip, start with hot water and than the same volume of water). While every casting slip has its own add the deflocculant, then blunge until it is well dispersed. For best unique specific gravity, a good rule of thumb is 1.75–1.76. results, add a small amount, about 10%, of the plastic materials and blunge again, add the feldspar minerals and blunge, then the Measuring Viscosity remaining non-plastic materials. Blunge well, then begin to add the Viscosity is best measured with a viscometer. A standard one used plastic materials and blunge thoroughly. The resulting slip will be heavy in slip casting is a #2 Zahn Cup (C). Using a stop watch, the slip is and thick to start out. Start to add water in small amounts. Test the timed as it flows out of the cup, stopping the timing at the first break specific gravity after each addition of water until the specific gravity in the stream. Each casting slip will have its own unique time, and of the slip starts to approach the correct number (adding water will there is no standard reference to use for comparison. An inexpensive reduce the specific gravity of the slip). Next, test for viscosity and add viscometer can be purchased at any paint supply store. 25 ml of Darvan until the time through the viscometer is about 31 seconds. Continue blunging until thoroughly mixed, let the mixture Scooter’s off-White Casting slip sit overnight allowing all the materials to fully absorb, then take Cone 6–10 Oxidation/Reduction additional readings the next day and make the necessary adjustments. Custer Feldspar ...... 25.0 % FC340 Ball Clay...... 18.0 Troubleshooting the Mix Greenstripe Fireclay...... 11.0 • If too much deflocculant is accidentally added, the slip becomes Opticast or Velvacast Kaolin. . . 21.0 thixotropic and should be discarded. While an undisturbed slip will Pyrophyllite ...... 12.5 show signs of thixotropy (For example, a good casting slip remains Silica ...... 12.5 fluid after being agitated and while in use, but when allowed to stand 100.0 % without disturbance it gels, thus preventing settling of the materials. Start with 30% water and adjust to achieve Mixing will make the slip more fluid. a specific gravity of 1.78 • If the specific gravity is too high, water can be added insmall amounts, but note this will also affect the viscosity. Start with .35% Darvan 811 and adjust until the correct deflocculation is achieved. Casting • If the slip has the correct specific gravity but the viscosity is extremely a small test sample and timing the casting for slow, additional deflocculant can be added which will thin the mix optimum wall thickness is the only way to to attain the correct flow. This will not change the specific gravity. determine if the specific gravity and viscosity • Check specific gravity and viscosity before each use. are correct. Every slip is different. • Always sieve any casting slip before use to remove the LOI (loss on ignition) and related tramp materials. Specific gravity should start at 1.80 and end at between 1.75–1.78: Add small amounts of both water and Darvan until the correct Tom Spleth Casting Slip numbers are reached. Blunge between ad- Cone 9-10 (from Cushing’s Handbook) ditions so that the materials are completely Custer Feldspar ...... 18 % dispersed. Adding small amounts of materials Ball Clay...... 8 will help prevent going too far on that bell Grolleg...... 30 curve and over deflocculating or thinning the Pyrophyllite ...... 12 slip with too much water. Velvacast...... 12 Silica ...... 20 Viscosity should around be 31 seconds. 100 % Add: Darvan 7...... 0.35 % Water...... 40.00 %

Jonathan Kaplan’s test tiles of Scooter’s Off-White Casting Slip, fired in an electric kiln to cone 6 with a cooling cycle.

End Notes 1 W.G. Lawrence & R.R. West, Ceramic Science for the Potter, 1982, second edition, pg 61–65 2-4 Ibid, pg 69 Tom Spleth’s cast vessels using the above recipe, unglazed, fired to 5 Ibid, pg 75 cone 10 in oxidation, and polished with diamond abrasives. They are 6 Tony Hansen, Digitalfire, http://digitalfire.com/index.html. (accessed July 9, 2012). translucent in the light.

14 october 2012 www.ceramicsmonthly.org Look at what’s new!! The Bailey “Quick-Trim II” Bat The low cost Bailey QT2 (patent pending) is an exciting centering/trimming bat for tooling the feet on your pots. The Quick-Trim II has greater flexibility for trimming symmetrical, asymmetrical and multi-sided forms. It’s all done with (4) easily positioned holders with super holding power. Pricing starts at only $90.

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www.ceramicsmonthly.org october 2012 15 TIps aNd TOOLs

hang tags by Mea Rhee Tools for selling your ware are just as important as the tools you use to make them. Try this subtle but effective tool for proudly introducing your pots to their prospective new owners.

I have a secret weapon for selling pottery. I consider this such a doing this for my pots at art festivals, and while all the other artists powerful tool, I almost didn’t want to talk about it. I know it works were moaning about poor sales, all of my show sales remained steady because I started doing this in 2009, and while the economy was or improved during the worst of the recession. sucker-punching so many other arts businesses, my business was All of my pottery designs contain a great deal of thought, but so growing like crazy. I’m talking about hang tags. much of that is invisible to a customer. The hang tags help to reveal I started attending wholesale trade shows with my pottery in 2007. my thoughts. They tell you that the pot has a name, and sometimes For the first two years, after shipping my work out to galleries, it I include a sentence or two about it. But overall, I think the most felt like I never heard back from them. My work must have been important thing the hang tag says is “the person who made this pot dying out there. I knew I was good at selling my own pots when I is really proud of it.” was standing right next to them. If only I could travel with the pots At the beginning of each year, I try to figure out which hang tags to these galleries to be their salesperson! This is where the idea of I need, and how many, for an entire year. Then I spend about three hang tags began. Now I send the pots out into the world with a little hours designing, printing, and painstakingly cutting all of them. salesperson attached. This way, they are ready to attach to the pot with wire or glue dots At the 2009 trade show, it’s possible that buyers didn’t even notice when I need them. It’s a little time-consuming, but worth the effort. the hang tags at first. Their presence is very subtle. But when I would To all the working potters who want to challenge yourselves to make a point to mention “all of the pots will ship with these hang grow your business this year, get thee to an art supply store and tags,” buyers responded, “nice.” Some even commented that they buy a paper cutter! really appreciated my sense of presentation, they needed more of Send your tip and tool ideas, along with plenty of images, to that in their stores. Not only did my wholesale sales grow by a lot [email protected]. If we use your idea, you’ll receive a that year, but my galleries also began re-ordering from me. I began complimentary one-year subscription to CM!

1 I print hang tags onto cardstock with a laser printer and cut them with a paper cutter.

2 I attach the hang tags to pots using glue dots…

3 ...or with wires.

4 The “little sales people” at work.

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16 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 17 exposure for complete calendar listings see www.ceramicsmonthly.org

1 Joe Singewald’s Clover Dish, 9 in. (23 cm) in diameter, stoneware, wood-fired to cone 10. 2 Matthew Krousey’s Crane Plate, 9 in. (23 cm) in diameter, stoneware, soda-fired to cone 10. Collection of the Museum of the International Folk Art. 3 Eric Rempe’s Giganteus Vase, 11 in. (28 cm) in height, stoneware, fired in reduction to cone 10. 4 Perry Haas’ mug, 4 in. (10 cm) in height, stoneware, wood-fired to cone 12. 5 Marsha Owen’s platter, 14 in. (36 cm) in diameter, stoneware, fired in reduction to cone 10. 6 Tom Jaszczak’s teapot, 6 in. (15 cm) in height, red earthenware, soda-fired to cone 3. Images 1–6 courtesy of the Strictly Functional Pottery National and the Market House Craft Center. “20th Annual Strictly Functional Pottery National,” at Market House Craft Center (www.strictlyfunctionalpottery.net) in East Petersburg, Pennsylvania, through November 4.

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www.ceramicsmonthly.org october 2012 19 exposure

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1 Shaunna Lyons’ wide-rim serving bowl, 13 in. (33 cm) in diameter, earthenware, slip, stain, terra sigillata, sgraffito, and glaze fired to cone 05, 2010. Photo: Tim Barnwell. 2 Joy Tanner’s flower basket, 8 in. (20 cm) in length, stoneware, amber celadon glaze, flashing slip, wood and soda-fired to cone 10, 2012.3 Kent McLaughlin’s large platter, 20 in. (50 cm) in diameter, stoneware, glaze, fired in reduction to cone 10, 2011.4 Lisa Gluckin’s Serrated Canvas, 11 in. (28 cm) in height, earthenware, terra sigillata, patina, fired to cone 04, 2011.5 Claudia Dunaway’s jar, 9½ in. (24 cm) in height, porcelain with carved black slip decoration, fired in reduction to cone 10, 2011. “Spruce Pine Potters Market,” at Cross Street Commerce Building (www.sprucepinepottersmarket.com) in Spruce Pine, North Carolina, October 13–14.

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1 Scott Bennett’s large two-tone bottle, 7½ in. (19 cm) in height, white earthenware, 2010. 2 Nick Bernard’s Purple Scallop, 8 in. (20 cm) in height. Photos 1–2: Stephanie Kantor. “External Views,” at Red Star Studios (www.redstarstudios.org) in Kansas City, Missouri, through January 26, 2013. 3 Julie Crosby’s basket, 8 in. (20 cm) in diameter, stoneware, wood and salt fired to cone 10, 2011. Photo: Alex Solla. 4 Brenda Quinn’s serving dish, 10 in. (25 cm) in length, handbuilt stoneware, glaze, fired to cone 6. “The Art of Dining,” at the Krikorian Gallery, Worcester Center for Crafts (www.worcester.edu/WCC/Shared%20 Documents/krikoriangallery.aspx) in Worcester, Massachusetts, through November 3. 5 Manji Inoue’s Crane’s Neck Flower Vase, 14½ in. (37 cm) in height, porcelain, 2012. “Manji Inoue,” at Ippodo Gallery (www.ippodogallery.com) in New York, New York, through October 13.

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1 Colleen Carlson’s Emerge Slant, 21 in. (53 cm) in length, handbuilt, extruded, and woven stoneware, glaze, 2012. 2 Colleen Carlson’s Triangulated Sphere, 10 in. (25 cm) in diameter, handbuilt, extruded, and woven stoneware, glaze, 2012. “Colleen Carlson,” at Cocobolo Design (www.cocobolodesign.com) in New York, New York, through October 31. 3 Mary Roettger’s Ribbonoid, 12 in. (30 cm) in length, earthenware, 2009. “Minnesota Women Ceramic Artists 2012 Juried Exhibition,” at Owatonna Arts Center (www.mnwca.org) in Owatonna, Minnesota, November 4–21. 4 Nakamura Takuo’s Maple Leaves, 15 in. (38 cm) in length, stoneware. 5 Nakamura Takuo’s Rimpa, 14½ in. (37 cm) in length, stoneware. Images 4–5: Okamura Kichiro. “Revisiting Rimpa,” at Joan B Mirviss Ltd (www.mirviss.com) in New York, 1 New York, through October 19.

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1 Ben Krupka’s mugs, 4 in. (10 cm) in length, porcelain, inlaid slips, glaze, fired to cone 6, 2012. 2 Josh Stover’s Water Tower Cup, 5 in. (13 cm) in length, earthenware, slip, underglaze, fired to cone 03, 2012. Photo: Lindsay Rogers. 3 Kari Smith’s Ghost Series Cup, 5 in. (13 cm) in height, red clay, slips, interior clear glaze, fired to cone 6, 2011. Photo: Naomi Cleary. “Source Material,” at Crimson Laurel Gallery (www.crimsonlaurelgallery.com) in Bakersville, North Carolina, November 3–December 31. 4 Margaret Haden’s tumbler, 6 in. (15 cm) in height, earthenware, underglaze, slips, gold luster, and clear glaze, fired to cone 03, 2012. 5 Ted Neal’s Expanded Cup, 5 in. (13 cm) in height, unglazed high-iron stoneware, wood-fired in reduction. Photo: Serena Nancarrow. “4th Annual National Cup Show Ceramics Exhibition,” at the Barrett Art Center (www.barrettartcenter.org) 5 in Poughkeepsie, New York, through October 6.

24 october 2012 www.ceramicsmonthly.org There are at least 12 innovative features that make the Bailey Thermal Logic Electric an amazing design. Let’s start with number one. The Bailey “Quick-Change” Element Holder System In 2007, Jim Bailey designed a brilliant new element holder system and was awarded a patent for it. Bailey continued to improve his element holder system and that’s what is at the heart of the Thermal Logic Electric. Imagine an element holder so strong that it can withstand 22 lbs of direct force and not fracture or chip. If need be, you can immediately pull the holder out and replace it in seconds if there was a kiln accident. This same innovative element holder adds to energy efficiency because it transfers more radiant heat into the load instead of the insulating brick. It doesn’t get better than this! And there’s more, much more. Look to Bailey innovation when you want the very best products and value.

The new generation of Bailey ENERGY SAVER kilns produces consistently reliable & beautiful firings. The Bailey Thermal LogicTM comes in a variety of sizes and designs. Also see our Bailey Top Loader Energy Saver Kilns on the Bailey Professionals Know website. the Difference. The Bailey Thermal LogicTM Bailey Pottery Equipment Corporation is a sustainable kiln design, www.baileypottery.com built for a lifetime of heavy (800) 431-6067 Direct: (845) 339-3721 use & easy servicing. Fax: (845) 339-5530 www.ceramicsmonthly.org october 2012 25 clay culture rewarding an innovator Guggenheim fellowships have been awarded to people working in science, social science, and the creative arts since 1926. In that time, only seven artists working with clay have received the award. this year, the foundation recognizes ron Nagle.

Ron Nagle has been making clay objects for over 50 years, as well Ceramics Monthly: What are your plans for research and studio work as working in other media, and as a musician. This year, in recogni- during your fellowship period? tion of his successful career and continual creative research he was Ron Nagle: Over the last several years my work has become much awarded one of the 220 Guggenheim Fellowship Awards for 2012, less vessel oriented, to the point where I now think of my pieces joining ranks with six other fellows who created works in clay, along as three-dimensional paintings. They sometimes take on the form with other media (Ann Agee, 2011; Anne Chu, 2010; Richard Not- of quasi-still lifes, dioramas, or objects. Currently I am working on kin, 1990; Jeffery Francis Beardsall, 1975; Mitchell Fields, 1932; a series I refer to as Snoballs. I plan to experiment and execute my and Isamu Noguchi, 1927). The fellowship grant provides financial proposal for the grant; which is to use clay as an interim material and assistance for Nagle to complete a project over the next six months convert the clay forms into translucent hollow plastic. These plastic to a year. Ceramics Monthly caught up with Nagle to find out more. forms will then be painted with automobile paint and combined with ceramic elements that will be made using traditional ceramic

Swingin’ Vegan, 7 techniques (i.e., handbuilding, slip casting, glazing, and China in. (18 cm) in length, painting, etc.). The advantage of having the fellowship is that it mixed media, 2011. provides the freedom and flexibility to do things I have not done in Photos of finished works: Don Tuttle. the past without the pressures of show deadlines. In regard to the Images courtesy of plastic pieces, I have already had success with the new process and Rena Bransten Gallery, at my last exhibit in Belgium a third of the pieces were made from San Francisco. polyester—hollow pieces created through rotational casting. This process is not that dissimilar to slip casting.

CM: What other pursuits of creative play will you explore? RN: As with any creative endeavor or process, new discoveries and mistakes reveal themselves in ways that can lead to new directions in the work. The reason that I work is habitual, meditative, calm- ing, and compulsive. I work because I have to and because I never know how things are going to come out until the piece is done. Not knowing, and making discoveries along the way, as well as the pleasure of making things is what drives my work.

26 october 2012 www.ceramicsmonthly.org Left: Circle Excellent, 5½ in. (14 cm) in length, mixed media, 2011. Right: Permanent Member, 6¾ in. (17 cm) in height, mixed media, 2011. Below: Ron Nagle. Photo: Whitney “Whitey” Irvin.

CM: Are there threads that run through, or pull together your visual My original intention of using plastic was to take advantage art and music? of its translucent quality; however, walking the line between the RN: When I refer to similarities between my music and art, I am cheap, cheesy, and synthetic qualities associated with plastic began basically referring to things that I have begun to trust over the years to fascinate me. I began to think of plastic in the same way that like intuition, trusting my instincts, losing my fear of failure (which the fine arts community often times think of clay i.e., as a lesser I had for so long), and judging the work only after it is completed. or secondary material. Plastics have the potential to have, with the My feeling is that musicians respond much more directly to the im- right color and transparency, an enigmatic quality. Using plastic mediate and spend far less time theorizing about what it all means. can be a challenge and I would hope to elevate the material by I have hopefully learned to bring this attitude to both endeavors. At making my objects believable to the extent where what it is made this point, I have no specific intentions of doing a project combining out of is irrelevant. music and art. I have come to the point where I think of my work as all one thing . . . I just work. CM: How do you keep things challenging and engaging for yourself as an artist? CM: How do you see working in plastic affecting your concepts and ways RN: At this point, I have been fortunate enough not to have to “keep” in which you approach surface? my work engaging . . . it just is. There’s nothing I’d rather do more. RN: First of all, I find that the ceramic process can be extremely limit- I am very grateful to the Guggenheim foundation for selecting ing in terms of color options, predictability, and directness. The whole me for the fellowship. The prejudices of certain media will hopefully idea of applying a surface to a piece and then placing it in a kiln, never be broken down and maybe it knowing what the results will be can be both exciting and very disap- will matter less about what the pointing. More than anything I object to the ‘touchy feely’ pseudo- piece is made of and matter mysticism about the unpredictable; I find this approach extremely more about what it feels like. hippy dippy and distasteful. That being said, there are beautiful things that can only be done with clay and glaze and that is why I still work www.ronnagle.net with the material. I believe that moving into other materials such as www.pierremariegiraud.com plastic offers more directness, an infinite range of color possibilities, www.renabranstengallery.com and more of a what-you-see is what-you-get experience while work- ing. I am not interested in what the ‘kiln gods’ have in store for me. Special thanks to Rena Brans- The color is actually airbrushed in layers on the plastic much in ten Gallery in San Francisco, the same way I airbrush China paints on clay to achieve depth and CA for their assistance with richness of surface and color. this article.

www.ceramicsmonthly.org october 2012 27 clay culture

jun factory life by Maggie Connolly Production of Jun ceramics in china has had its ups and downs over the last 1400 years, with its fortunes depending in large part on popularity with the ruling dynasties and governments, but that s changing.

A view of Xinghang Ren’s factory entrance, prepared for the Wood Kiln Festival.

Located only 40 miles from Shaolin Temple, Yuzhou is a mid-sized, (1368–1644 CE) and Qing (1644–1911 CE) dynasties until the non-descript Chinese city in Henan Province. However, hiding techniques were ultimately lost during the Cultural Revolution years within these mountains is the gem that is Jun (also spelled as “Chun” in the mid-20th century. During the Tang and Song dynasties, Jun and pronounced “jwin”) ceramics, which is a type of celadon, in was a favorite of the emperors; it therefore received government terms of the glaze makeup. Renowned for its brilliant blues, reds, funds that really allowed it to be developed. During the Tang and purples that command attention, Jun is one of the ancient styles dynasty, the colors were relatively simple, a black, white, and light of Chinese ceramics, and Yuzhou City was its historical center of blue. It wasn’t until the Song dynasty that copper was added to the production. As a master’s student of ceramics at Qinghua University glaze and the colors really took off. in Beijing, I have come to Yuzhou to experience and research the As for typical forms, Jun has them, but the forms of the kilns Jun process firsthand. are much more important. In the Tang dynasty the kiln was rela- Developed during the Tang dynasty (618–907 CE), Jun was tively small and used wood for fuel; it was rounded at the top and refined during the Northern Song (960–1127 CE) and Yuan the firebox was directly connected to the main chamber. In the (1271–1368 CE) dynasties, but later fell out of favor in the Ming Song dynasty the size of the kilns increased, and they and had two

28 october 2012 www.ceramicsmonthly.org fireboxes that could be alternately stoked. There were two chimneys located on the opposite side of the kiln, which created an updraft and allowed the flames to go through the kiln chamber and ensure that there was no oxidation. After the progress of the Tang and Song, the Ming and Qing dynasties favored the fine bone porcelain, so the kilns once again became smaller and the innovations less remarkable. Vase and plate forms tend to be relatively simple in order to provide a smooth surface for the glaze to take center stage. Decorations tend to come from molds and are stuck on, allowing for a break up of the surface when the glaze flows. My friend and classmate, Yingge Ren is the eighth generation of her family to make Jun ware. In 2004, her father, Xinghang Ren (called Master Ren), was the first person to rediscover the lost techniques needed to successfully fire a Song-era, double-chambered wood kiln, which has earned him numerous awards and distinctions. Today, the family runs a small factory and kiln museum on the out- skirts of Yuzhou, and their experience echoes that of many potters in this region who continue working in the Jun style. Soon after the Cultural Revolution, the government started to invest in re-discovering the lost techniques and arts of ancient China by opening a state run ceramics factory, where Yingge’s grandfather acted as the original head manager. The economic uptick of the past 30–40 years is what helped interest resurface in the general populace. In the government-funded and controlled factory man- aged by Yingge’s grandfather, they rediscovered the basic Jun glaze recipes and firing techniques. Today, between 30 and 50 families, 1000 people at most, are involved with Jun production. Master Ren studied under his father, but also studied kiln tech- nology at Jingdezhen Ceramics University. The kiln is considered the soul of Jun ware. To date there have been close to 200 ancient kiln sites, both official and folk, discovered in the countryside surrounding Yuzhou. Because of Master Ren’s specialty for kiln technology and design, there is also an open-air museum within the factory compound showcasing the different kiln designs dating back to the Tang dynasty, and including a couple of Master Ren’s original designs. The ancient kilns were fired using wood, coal, or some combination of both, due to the high abundance of these materials in the nearby mountains. Today, most everyone prefers to use electric or gas kilns, which are much cheaper and easier to fire. Yuzhou is a place of mystery and secrecy. Each family/factory has its own secret recipes for glazes and clays that have been whispered, ear-to-ear, down through the generations. At the factory, the raw materials arrive by the truckload from the local mines, but all the mixing and formulating is done in-house. The clay is a dull gray, Top: Jun glazed plate made by Maggie Connolly during her study but belongs to the porcelain family due to its ability to withstand trip to the Jun region. This plate is a good example of the yaobian the high kiln temperatures and fires to a rich golden tan. The glazes firing process. Connolly only applied one glaze to the surface, but the placement in the kiln was crucial to the outcome. The blue part was near are difficult to master, lending them an air of mystery, and making the kiln door and therefore the temperature was lower and you can see the successful combinations of a glaze recipe and kiln firing schedule that the raw clay on the rim is also lighter. The middle has red and black into closely guarded secrets. where the glaze flowed and accumulated.

In order to achieve the blues, reds, and purples the glaze is capable Above: Master Ren explaining the significance of different vase shapes to of, pieces must be fired completely in reduction. If the atmosphere visitors during the factory’s Wood Kiln Festival.

www.ceramicsmonthly.org october 2012 29 Workers at the Ren Factory examining pieces from a recent kiln firing.

In early June, the factory prepares for its annual Wood Kiln Festival as a way to celebrate Master Ren’s achievements and promote business. It’s something akin to an open house day for a studio potter, but much larger. Weeks beforehand the prepara- tion begins: extra pieces are made; the factory courtyard is cleaned up; the wood kilns are loaded and fired. On the day of the event, there are about 100 people, including local news reporters, in attendance. Master Ren ceremoniously lights the new wood/coal-fired kiln that was recently constructed and then has a kiln opening, all the has too much oxygen, the glaze comes out a matte gray rather than while being thronged by people taking pictures of him holding the the vivid shades desired. The high temperature is essential and the pieces and explaining the significance of the different vase shapes. glaze finicky. To reach the point where the glaze starts to flow and Yingge tells me that, even after 30 years of making Jun wares, it change color is no small task, especially when firing a wood kiln. is still impossible to know what will be waiting for you when you To help maintain the temperature, they use saggar boxes. When open the kiln door. fired successfully, the result is breathtaking. The glaze flows, creat- Based on my observations, the majority of Jun pieces are sold ing abstract swirls and bursts of color that are unpredictable. This directly to customers who come to the factory, like the visitors dur- process is called yaobian or literally, kiln transformation. Yaobian ing the wood kiln festival, or orders of goods made directly to the refers to the process of varying the temperature or atmosphere at factory, rather than through sales of works sent to other retail outlets the peak of the firing to achieve certain colors, and of holding at a or markets. Contemporary art markets in China are notoriously over certain temperature to allow the glaze to flow. When asked how she inflated and on top of that there is very little transparency when it defines yaobian personally, Yingge responds with an ancient saying: comes to economic matters. “One glaze, when fired, produces thousands of colors.” She explains Henan is a poorer area, located in China’s interior, with fewer that everything about the firing process affects how a piece will be natural locations that could have become trading hubs. The land is transformed: its position in the kiln in relation to the flames; the primarily used for farming, though there are some natural resources atmosphere of the kiln; the thickness of the glaze. When the kiln in the mountains. Henan’s slower development has hurt Jun in is opened the workers stand around and debate what the pieces are terms of its own development and recognition. Despite this, Master showing us; everyone has their own opinion. Ren’s success means he is able to show and sell work and some of The factory employs around 30 people, of which there are about the higher end stores in Beijing and with that could come a greater seven husband-and-wife couples, including Master Ren, his wife, audience that benefits all of the families working in the Jun style. their two children, and their spouses; the rest are somehow related Today, people who come to the factory directly to observe and buy to the Ren family. The idea is that family helps family, on top of pieces are from the area; if they are from farther away then they tend being more reliable than strangers. Everyone has his or her own to be from other ceramic-producing regions and therefore have more specialized area of expertise. There is the production potter, the interest in this craft. glazer, the mold-maker, etc. The factory runs seven days a week, When I ask Master Ren what his hopes are for Jun ware in 20 from 7:30am to 6pm with two and a half hours off at mid-day to years, he responds that he wants people to view it not as a product rest. The factory does its own production of popular traditional or an object, but as a true art form. designs as well as custom orders and rents out its facilities to uni- versity professors and students to make their own work. But what the author Maggie Connolly is studying for a master’s degree in ceram- makes this factory special, what no other family of Jun can do, is ics at Qinghua University in Beijing, China. In addition to contribut- that they can fire wood kilns. ing to CM, she has written for Pottery Making Illustrated magazine.

30 october 2012 www.ceramicsmonthly.org Bailey = Better Blending Using just the pugmill mode on a mixer-pugmill to wedge the clay, you would expect the pugmill to be able to take different moisture consistencies of premixed clay and blend them in only one pass to perfect uniformity. Pugging should go quickly to save your valuable time and energy, and the finished pug should be thoroughly blended and de-aired.

How can you tell if the clay is thoroughly blended? We came up with the ultimate test to determine blending efficiency. We took white and dark clay in equal amounts, and fed it alternately into the hopper. No pre-mixing, just direct pugging right through the barrel. We compared a Bailey MSV25 Mixer-Pugmill with the “short-barrel” style mixer-pugmill. Each had the same 25 lb. barrel BAILEY MSV-25 Mixer-Pugmill capacity. You will be surprised by the results! produced excellent results. Bailey’s superior 3-Stage Blending Pug Mode System Stage 3 Stage 2 Stage 1 Final Blending Vacuum Shredding Direct feed & first blending Augers Chamber Blending Screens

The Bailey’s efficient shredding/blending screens, insure that every square centi- meter of clay is thoroughly blended and de-aired. Each pug benefits from 3 stages of blending in the pugmill mode. In just 15 minutes from loading to finish, we had pugged out 237 lbs. of beautifully blended All stainless MSV25-SS Ultra clay with no effort.

The “Short Barrel” Mixer-Pugmill, We repeated the same test procedure using a “short barrel” produced poorly blended clay mixer-pugmill unit with a 25 lb barrel capacity. Short barrel mixer-pugmills don’t have extra blending augers or shredding screens like a MSV25. When pugging the two colored clays directly through the barrel, you get the inferior blending shown to the left. The white and dark clays are very poorly blended. A short barrel design forces you to run in mix mode first before pugging. Their pug process took 75% more time compared to the Bailey. Even though they claim their unit can “pug” 500 lbs an hour, in 1 hour of use, only 203 lbs could be fed + mixed + pugged out! There is a big difference between a “pug output rate” (based only on the pugging out time) and the complete process time (feed + mix + pug out). If you want the best quality pugs in 75% less time, and honest ratings, buy a Bailey.

Youtube Video Demonstraton To see how well triple blend- ing works, just type the link below into your browser. See why nothing beats Bailey 3-stage Blending! 2 Models of Pugmills http://youtu.be/PSrAfZKMMYg 6 Models of Mixer-Pugmills Bailey Pottery Equipment Corporation PO Box 1577 Kingston NY 12402 TOLL FREE (800) 431-6067 (845) 339-3721 (Fax 5530) email: [email protected] Website: www.baileypottery.com www.ceramicsmonthly.org october 2012 31 studio visit

John Britt Bakersville, North Carolina

Studio I have a 3000-square-foot building that houses a studio/apartment that I planned with my wife and built from 2005–08. I served as the general contractor and primary builder, but as with all Just the Facts large projects, it took the work of many people. At specific points of the project, I had the help of an electrician, a plumber, a framer, and many of my pottery friends as well as my family. Clay After writing my book, The Complete Guide to High Fire Glazes, I wanted to have a place to offer mostly porcelain, but all types of clay classes rather than traveling so much, so I built a studio to accommodate a variety of classes. These depending on the project include (but aren’t limited to) glaze chemistry, glazing techniques, digital photography for artists, Primary forming method making reed handles, plaster casting, reduction firing, oxidation firing, kiln building, etc. I designed wheel throwing the studio so I could run a class with only one or two people and still make as much money as if I Primary firing temperature went out to a craft center. I have had as few as one participant, and as many as ten, but between five cone 10 and cone 6, but glazes at all temperatures and eight per workshop is ideal. The participants come from all over the US—one came from as Favorite surface treatment far away as Alaska—although the majority are local or regional because I plan weekend workshops difficult or unusual glazes so they can attend without taking time off work. My workshop participants are very diverse, some Favorite tools with less than one year of experience and others with up to 60 years worth of experience. fettling knife for cutting tiles Planning the studio design involved looking at all the successful studios I have worked in and then adopting the best ideas from each. For example, I have a floor drain that runs the entire length of the studio and into a floor trap. The sinks run into this drain. It is designed for easy mopping or spraying the floor down and so that the sinks don’t clog the plumbing. Wet mopping helps keep the dust down; making it easy to do ensures that I will do it regularly. The studio is spacious, well insulated, and has great natural lighting. It is constructed with light concrete block that is a 9-inch-thick combination of concrete and Styrofoam, with a metal frame

32 october 2012 www.ceramicsmonthly.org 20' 40' 20' RADIANT FLOOR SHELVING COMPRESSOR REF HEATER

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A KILN LOUNGE CLASS ROOM/STUDIO B 12 CU FT AREA

C OUTDOOR KILN SHED 500 GAL PROPANE STAIRWAY TO OFFICE/ ELECTRICS

BEDROOM KILN 6 CU FT OVAL to mount drywall. It pro- GALLERY PORCH STORAGE KILN Images B, C, D: see KILN TEST TEST SODA vides an effective R-Value pages 34 and 35. of R-50 because it doesn’t allow air leakage. I wanted to have a clerestory so I didn’t have posts all over the studio to contend with when working. and an 8-foot roof allowing for excellent air movement. The kiln This gave me a more open feeling. The studio building’s orientation shed is also made of light concrete block that is covered with cement allows for great light in the morning and shade in the afternoon. I board. Everything else is metal so that it can’t catch fi re. I have heard have radiant fl oor heat because it provides an even heat and no fans so many stories of wooden pottery sheds that ignited during a fi ring are necessary (they blow dust around in the winter). It also allows after 20 years. I wanted to avoid this hazard. things to dry very evenly. The studio’s shutter-mounted exhaust fan My one disappointment in the space is that I didn’t make the is double the CFM (cubic feet per minute) necessary for the space, kiln yard bigger. You can never have too many kilns! so there can be a total air exchange within three minutes. I teach a lot of glaze materials workshops, so organizing the space Paying Dues (and Bills) for multiple users was important. I have home-made glazing tables, Basically, I am self-taught. More precisely, I don’t have a traditional tilt-out bins for material storage, plenty of other storage, and clearly formal education in ceramics. I studied philosophy and social agency labeled small containers that are alphabetically organized within counseling, but I also took one throwing class from Cindy Butler in reach of the weighing station. Each container has a description of the 1985 at the University of Dayton because I worked there and got materials and I have Material Safety Data Sheets (MSDS) close by. free classes. I then took independent study courses/credits to have All the kilns (gas and electric) are outside in a large covered shed access to the studio. Over the years, I took workshops at various connected to the main building. It is three sided with 6-foot walls centers, including Arrowmont and Haystack, along with summer

www.ceramicsmonthly.org october 2012 33 B C

school at The New York State School of Ceramics at Alfred Univer- then I load kilns, make some test tiles, mix glazes, do paperwork, sity. But a lot of my learning took place while teaching and working answer emails, etc. as a lab tech at many venues. I worked as the clay coordinator at I try not to be too efficient with my throwing. Around age 35, Penland School for three years and as the studio’s coordinator for I found it was better to stand while throwing rather than sit. I also a year and a half—the equivalent to taking over 100 workshops! I throw on small bats that I then put on ware boards. I make sure these picked up a few things over those years. Early on I worked many boards are two or three steps away so that after I make a bowl, I have jobs to make ends meet. I repaired and remodeled houses, rented to take it off the wheel and walk to put it down and then walk back. rooms in my house, painted houses, etc. Most of my life I worked This sounds stupid, but it keeps me moving, and keeps a variety of as a lab tech, coordinator, adjunct lecturer, or writer of ceramic muscle groups engaged rather than overworking one group. articles and books. I have always been physically active, enjoying cliff climbing, Now, I clock a minimum of 50 hours a week in the studio and I judo, running, basketball, etc. I enjoy hiking on the Appalachian often read and write at home in the evening, so it’s probably closer to Trail, which is only four miles from our house, and I’ve been an 60–70 hours per week. My main source of income, more than half, avid bicyclist all my life. is workshops. I have held up to 20 classes a year in my own studio I have always had health insurance. Sometimes it was paid for by and I average another twelve at other craft centers throughout the my employer and other times, like now, I have paid for it privately. year. I don’t consider myself an artist but rather a teacher. When I I have a high deductible and so I try not to use it, but have it for started, I found that there was a great shortage of glaze sharing and major medical emergencies or accidents. glaze teachers and so I decided to be that person. I don’t do any wholesale orders and only a small percentage of Mind online sales. I sell most of my pots through my studio gallery, work- I read extensively and have a large library of ceramics books and shop sales, and galleries. Additionally I do some consulting work. magazines. My favorite is the The Potter’s Dictionary of Materials and All of this varies from year to year. Techniques by Frank and Janet Hamer. It is almost inexhaustible. I also do a considerable amount of reading on the Internet, whether Body researching or just having general conversations on Facebook or Since I am not a production potter, I don’t have the physical pressures blogs. I have always loved reading and enjoy short stories as well of repetitive movements. I try to vary my activities during the day as non-fiction and mystery—1493 or Black Swan are some of my so I don’t overuse one muscle group. I may throw part of the day, most recent favorites.

34 october 2012 www.ceramicsmonthly.org D

I often get excited about figuring out unusual glazes or glaze mer, the marketing department, the workshop presenter, as well as the mysteries. So if I see a glaze I really like, I will try to figure out how janitor. So there is always work to do. Even when you are running a to make it work. This can often come from seeing a piece at a show, workshop, you have to be working to plan and fill the next workshop. in a book or magazine, seeing pieces online, or in a museum/shop. It is a huge task just keeping up to speed with new technologies. I The challenge of this involves the clay body, the formulation, the have been constantly learning and adapting since I started in 2008. recipe, the application, firing (speed and cone), atmosphere, cooling My blog has been a great asset. It is a group blog for our Clay cycles (oxidation or reduction), or refiring. This is complex enough to Club where we all post things, from glaze recipes, workshop an- make it infinitely challenging, which keeps me interested; however, nouncements, equipment for sale, questions and answers, etc. It is for me, the most important thing is to share it with other potters so a very vibrant blog that has been going for over four years, which is that they, too, can experience the joy of glazing. a century for online stuff. Marketing Most Important Lesson I do all my advertising for workshops online through Facebook, my Your work is never done, you never stop learning, and you had better blog, or by email. I have 5000 Facebook friends, over 500,000 views love what you do because there is no retirement! in a four-year-period on the blog, and 120,000 total YouTube views. I keep pretty active online. The obvious advantage to marketing online www.johnbrittpottery.com is that it is free and very effective. I can plan workshops very quickly, www.facebook.com/john.britt depending on student interest, rather than having a set schedule 1–2 http://ncclayclub.blogspot.com years out. I can plan a workshop and have it up and running within www.etsy.com/shop/johnbrittpottery two months. The obvious disadvantages are that I am the program- www.youtube.com/user/johnbrittpottery

www.ceramicsmonthly.org october 2012 35 Bryan Hopkins Dissonance and Reconciliation by Glen R. Brown

The stoic perseverance of classical ruins and the ghostly absence ascends to the heights of the Acropolis, rises majestically with the conveyed by fossils find close counterparts in the porcelain forms marble minarets of the Taj Mahal, and pierces a clear blue sky like of ceramist Bryan Hopkins. Stern allusions to history are, however, the lone white obelisk of the Washington Monument. Hopkins immediately blended in his work with a humbler, even domestic exploits allusions to architecture as a means of invoking monu- and quotidian, sense of time. The result is that nostalgia, a gentler mentality, but scale is a tool that he employs equally effectively to feeling of chronological remove, mingles with and softens the more rein in and pacify the towering implications of his constructions. austere aspects of the temporal sublime. This reconciliation of the Through textural details that entice the fingers and soft effects of lofty with the unpretentious is typical of the multiple material, illumination diffusing into penumbrae along shallow networks of formal, and conceptual aspects of Hopkins’ work. It comes as no shadows, Hopkins strategically draws the perceiver nearer to the surprise, for example, that he draws inspiration from both the work. “You have to become physically close to the objects to really imposing arcs of Richard Serra’s steel-walled Torqued Ellipses and get them,” he observes. “There’s a reason that these pieces are the his own memories of simple childhood forts constructed willy-nilly scale that they are.” out of scraps of wood. In Hopkins’ work the monumental and The reason has partly to do with expedience. After all, effec- the universal meld seamlessly with the intimate and the personal, tive functional work is in a certain sense constantly pleading for and the result is something like a glimpse of grandeur through a fulfillment. “It wants and deserves to be handled,” as Hopkins puts kitchen window. it. Not all of Hopkins’ works are functional however, and his aes- The grandeur derives largely from Hopkins’ medium, generally thetic of “intimate immensity”—to borrow a phrase from Gaston a Southern Ice porcelain that is bright, white, and, most impor- Bachelard’s The Poetics of Space—is applied equally throughout tant, beautifully translucent. By its very nature, such porcelain his production. The more important reason for this is not easy evokes the cool perfection of Ming anhua-decorated wares and to articulate, since it traverses the terrain of personal reflection the courtly elegance of Qianlong eggshell bowls, but when it is on the one hand and, on the other, territory as universal, though combined, as in Hopkins’ work, with allusions to architecture it ultimately ineffable, as the effects associated with emotive art.

36 october 2012 www.ceramicsmonthly.org Bryan Hopkins Dissonance and Reconciliation by Glen R. Brown

1 Cups, to 4 in. (10 cm) in height, wheel-thrown and altered porcelain, fired to cone 11 in a gas kiln, 2012.

Berry bowl, 4½ in. (11 cm) in height, wheel-thrown and 1 2 altered porcelain, fired to cone 11 in a gas kiln, 2011.

Places of intimacy in the midst of a vast or otherwise imposing environment can set off chains of associa- tions, some of which might lead to ends as specific as Hopkins’ memories of a childhood hiding place in a corner under a stairway, and others of which could trail into more metaphorical niches of security that the mind can only imperfectly grasp. The play between memory—finite, even if vague—and something that feels like memory but ultimately gives way to the in- commensurable is intuitively set in motion each time Hopkins constructs his compositions. Constructs is an apt word in the end, though Hop- kins typically begins his work by throwing cylinders on the wheel. Attuned to porcelain as a material, he seeks the peripheries of its potential when he throws. “Porcelain has to be really thin or really thick,” he argues. “When it’s in between it loses all sex appeal.” Thinness nearly always proves for him the more attrac- tive pole, since one of its most significant consequences is translucence. Thinness presents challenges though, since Hopkins’ method involves cutting the walls of his cylinders and treating the sections as slabs to be 2

www.ceramicsmonthly.org october 2012 37 In the meeting of blue collar and white porcelain, echoes of the ringing thinness of Ching bowls and glistening Meissen plates blend in strange accord with the humming of engines, the clattering of metal on metal, and the blast of air brakes.

3 Bowl, 3½ in. (9 cm) in height, handbuilt porcelain, fired to cone 11 in a gas kiln, cast mortar, 2012. 4 Serving Set, 13 in. (33 cm) in length, wheel-thrown and altered porcelain, fired to cone 11 in a gas kiln, cast mortar, 2011. Vase, 18 in. (46 cm) in height, wheel-thrown and 3 5 altered porcelain, fired to cone 11 in a gas kiln, 2012.

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textured in press molds then reintegrated into the original cylinders cut planks, are monochromatic and as hard as petrified wood. or assembled with other elements to produce more complicated Their organic properties are effectively abstract, removed from compositions. In the most complex works, planar eccentricity and the immediacy of the work both spatially and temporally and hodgepodge asymmetry create a curiously serene and sophisticated only alluded to through indices—impressions as crisp as footprints consonance. Hopkins is clearly of Kandinsky’s opinion that the in a bed of snow but still only traces. The wood from which the greatest harmony arises not from sameness but from areas of dis- textures derive bears a two-fold relationship with history, both sonance made to reconcile with one another on the level of the Hopkins’ own and that of a region of Pennsylvania. “Where I’m composition as a whole. from, near Philadelphia,” he explains, “they used to take down old Dissonance comes partly in the form of press-molded wood- barns and just burn the wood. Back in the late 1980s we used to grain textures that interject rustic informality between elegant go and grab planks once in a while. So the wood that I’m using surfaces of glazed porcelain. These textures, suggestive of roughly for the texture is about 250 years old.” The raised grain hints at

38 october 2012 www.ceramicsmonthly.org age, but in Hopkins’ compositions the stark white that imparts a bleached, fossilized, or phantasmal appearance speaks even more eloquently of the passage of time. If the ghostly wood-grained slabs, like the white plaster figures of George Segal, make absence palpable and direct the mind backward into the past, other press-molded textures employed by Hopkins are more apt to conjure the here and now. Even in unglazed porcelain, the tread-plate pattern immediately brings to mind modern machinery, industrial catwalks, and running boards on semi cabs. When areas of the tread-plate texture are coated in platinum luster, as is typical on the adjoining faces of Hopkins’ salt and pepper shakers, the effect is of steel decking laid on fine china. In the meeting of blue collar and white porcelain, echoes of the ringing thinness of Ching bowls and glistening Meissen plates blend in strange accord with the humming of engines, the clattering of metal on metal, and the blast of air brakes. Hopkins clearly thrives on the challenge of uniting disparate elements in relationships that not only epitomize harmony but raise it to an unexpected level of serenity. The allure of this challenge explains Hopkins’ integration of stained, cast-mortar bases into much of his work. With the appearance of weathered slabs of a concrete sidewalk, these bases sometimes form contrasting trays for salt and pepper shakers that might otherwise largely disappear into the back- drop of a white table cloth and in other cases make appropriate plinths for Hopkins’ architecturally reminiscent sculptural works. Conceptually, however, they are bulls in a China shop. “They’re in opposition to the way that people think about porcelain,” Hopkins explains. “It’s usually associated with the upper class, since it’s expensive and delicate. To juxtapose that association with these big, heavy—not only visually heavy but physically heavy—bases sets up the kind of tension that I like to develop.” Controlled through Hopkins’ masterful deploy- ment of form, this tension yields asymmetrical balance rather than aggressive conflict. The allusions of wooden planks, concrete slabs, and tread- plate steel to construction, and labor in general, lend important insight into Hopkins’ attitude about his work as a ceramist. Work is a key word: work conceived as labor of the hand in unmediated engagement of materials. Although Hopkins could easily slip cast much of his production, especially the cups, salt and pepper shakers, and gravy boats that form the mainstay of his sales at retail craft shows, he is steadfast in his resistance to that temptation. “When I put three bowls together I like to see the different heights, and the imperfections left by my hand. Those things make handmade work handmade. I can’t slip cast, and I don’t want somebody else to make molds of a cup that I’ve made. All of my cups have little imperfections in them because of the way that I’ve used my hand or have cut up pieces and put them back together. When the imperfections are repeated they just become contrived. It’s difficult to do what I do, but it’s a process that I don’t want to see removed from my work.” 5

www.ceramicsmonthly.org october 2012 39 BUILDING SIMPLY by Bryan Hopkins

I think my building processes are simple—the easiest way to I was a mathematics major in college, and still enjoy an end—but when I consider each step involved, I suppose the nerdy satisfaction of working precisely with rulers it is kind of complicated. Each step invites failure, and I lose and squares to ensure angles are correct (fi gure 4), which about 50% of these Dysfunctional vessels between drying actually relieves pressure from the porcelain when it dries and glaze fi ring (including this one!). But that comes with and is fi red to cone 11 in reduction. The edges of the the decision to push the material to its physical limits. slabs are very important to the fi nished piece, and they It goes a little something like this: are carefully broken or cut accordingly (fi gure 5). This I begin with a simple overhead view of what I want the piece has an end section that is perforated, and holes are MONTHLY METHODS fi nished piece to look like, done on the dry erase board in drilled with a 1/8-inch bit on a fl ex-shaft. This piece had my studio. The necessary parts are gathered, in this case over 2500 holes (fi gure 6). Finally, the clay burrs from the two wheel-thrown cylinders and some slabs, each about drilling process are scraped away when bone dry (fi gure 3–4 mm thick. The cylinders are placed on the fl oor piece, 7), all edges are touched up, surfaces cleaned, and the and decisions are made about proportion and proximity piece is dry in about 48 hours, ready to fi re (fi gure 8). (fi gure 1). Excess clay is removed from the cylinders, After bisque fi ring, I mask off surfaces that will not be leaving me with the necessary arcs, and the fl oor is cut to glazed with wax, tape, and/or toilet bowl gasket, dip the the proper size (fi gure 2). Slabs are beat into bisque-fi red piece in clear glaze, clean it up, and fi re in the gas kiln. molds, which are taken from various materials, and in this The fi nal step is a luster fi ring, for the band of platinum case, old barn planking (fi gure 3). on the thrown elements.

1 2 3 4

5 6 7 8

1 Gather and arrange thrown and handbuilt parts according to a plan. 2 Cut excess clay from the cylinders to achieve the right arcs. 3 Press slabs of clay into textured bisque molds. 4 Create precise cuts using rulers and squares, which helps with both design and relieving pressure on seams as they dry. 5 Finish the edges of the slabs, then join the parts together. 6 A flexible shaft drilling tool is used for repetitive, delicate piercing work. 7 Once the piece is dry, remove clay burrs from drilling process using a metal rib or knife. 8 Clean the edges and surfaces before the piece completely dries, then bisque fire.

Process photos by Margaret McGowan.

40 october 2012 www.ceramicsmonthly.org Overall and detail: Vase, 16 in. (41 cm) in height, wheel-thrown and altered porcelain, fired to cone 11 in a gas kiln, platinum luster, 2011.

This process—a harmonizing of visually and conceptually dis- humanizes grandeur, unites the intimate with the monumental, and parate materials, textures, and representations by the hand in all its renders familiar and approachable the sublime potential of history imperfection, its humanity—is the unifying factor among Hopkins’ and scale. Porcelain retains the lofty associations of its thousand-year works as a whole, regardless of the specific elements that they in- tradition as a luxury material, but it is made equally to embrace the corporate or even the roles that they play when finished. The major humbler side of human memory and experience, the intimate and division of his production into a Functional series of utilitarian wares familiar that in the end make everything else worth contemplating. and a Dysfunctional series of vessel-related sculptures, for example, is in the end a mitigated rift, a distinction that only highlights the the author, a frequent contributor to CM, Glen Brown is professor of harmony prevailing at a higher level. In Hopkins’ work, the hand art history at Kansas State University in Manhattan, Kansas.

www.ceramicsmonthly.org october 2012 41 To Wander To ut Wander of Place O by Tony Merino Out of Place Like words, contexts define images. Try this experiment: take a paragraph, put it in the online translator Babblefish, translate it to another language, and translate it back into English. Here is how the last two sentences read after being translated into Russian and back. “Try this experiment, accept the paragraph, assumed to it into online translator Babblefish, transfer him to another language and transfer him back into English.” We live in a great age of image tourism, where almost any image, from Mochian pottery, Batman, and Mao Zedong, to Russian religious icons and the Buddha are only a few seconds away from anyone with a computer and access to a Wi-Fi hotspot. Any artist can pluck images out of another culture and shoehorn them into their own culture. Curator Valerie Zimany selected a group of US-based artists who have family or experiences connecting them to Asian cultures, and who mine, exploit, deconstruct, appropriate, and in- tentionally misappropriate images from a variety of cultures, time periods, and sources in addition to those from Asia in “To Wander Out of Place: Artists and Asia,” which was on view at the Seattle Design Center during the 2012 National Council on Education for the Ceramic Arts (NCECA) conference. The artists siphon and splat images in both banal and profound ways. Interestingly, it is the former process that resonates more in our imagistic wonderland. Two artists, Sin-ying Ho and Paul Mathieu, contributed works that subvert tenets of our culture. Sin-ying Ho bounces culturally dense images over her surfaces to create works that question how the satura- tion of images affects our culture. In Made in the Postmodern Era, Series No. 4, a conglomera-

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42 october 2012 www.ceramicsmonthly.org tion of shapes bunched into a jagged mass, Ho mixes images of da Vinci’s Vitruvian Man, and the Mona Lisa, along with those of Andy Warhol, Marilyn Monroe, and Mao swirled about a cobalt blue dragon. She creates a registry with the Mao portraits—a reference to the image being used on Chinese currency and stamping. The great Marxist leader is used to validate the authority of capital in China. Ho’s placement of Andy Warhol, who famously embraced the superficial, peering out from behind all of the chaos adds a nihilistic coun- terpoint to the work. Made in the Postmodern Era, Series No. 4 illustrates in a world where every image can be seen and appropriated, how can any image be sacred? Ho gives this thesis a feminist spin in Bella Series No. 2: Ladies. Ho taps different cultures and eras for images of idealized women. The viewer immediately recognizes Linda Carter, dressed as Wonder Woman. It is a loaded image. The image mixes archetype and glitz; the fertility goddess dressed for disco. Ho includes an image from an Asian print or drawing, a portrait of a Barbie doll, and Livia Bella, which is an image pulled from Italian maiolica. Two of 2 the images, Barbie and Wonder Woman have overt salacious content, while Ho comments that in the other two these elements are more covert. 1 Shoko Teruyama’s Commemorative plate: Kintaro Puppet Theatre, 12 in. (30 cm) in diameter, electric-fired Hirotsune Tashima and Ayumi Horie contributed pieces that, in earthenware, 2012. 2 Valerie Zimany’s Chigiri-e (Full the use of humor, are similar to Ho’s, albeit with varied sensibilities. Leaded), 13 in. (33 cm) in length, slip-cast and wheel- A slightly amusing, erudite silliness distinguishes Tashima’s work. thrown porcelain, vintage and custom silkscreen overglaze decals, Kutani overglaze, gold, 2012. 3–4 Ayumi Horie’s Instead of two-dimensional forms, the artist presents three-dimen- Whale and Cherry Blossom Plate, 8 in. (20 cm) in sional images. Each of the four works included has a single figure in diameter, porcelain with silver and gold luster, 2012. Ayumi Horie’s Love Birds and Cherry Blossom Plate, 8 in. (20 a drinking vessel paired with a plate. In Green Tea Frappuccino Girl, cm) in diameter, porcelain with silver and gold luster, 2012. the artist depicts a woman bathing in a cup of tea. It elicits snickers.

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5–6 Sin- ying Ho’s Bella Series No. 2—Ladies, 18 in. (45 cm) in height, porcelain, hand-painted cobalt pigment, high-fire reduction, computer decal transfer, enamel, 2009.

7 Sin- ying Ho’s Made in the Postmodern Era Series No. 4, 15½ in. (40 cm) in height, porcelain, hand-painted cobalt pigment, high-fire reduction, computer decal transfer, terra sigillata, 2009.

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The image questions our culture’s cult of consumerism. The same dynamic plays out in Shino Chawan Boy, in which Tashima sculpts a boy about to bathe in a shino-glazed Chawan—the type of bowl used to mix and drink green tea in a Japanese tea ceremony. Associat- ing the piece with this ceremony and placing it alongside the three other pieces, Tashima undermines the sanctity of the tea ceremony, lowering the idea of it from a sacred rite to just another consumer indulgence. Ayumi Horie’s use of humor is different. She mixes im- ages from different genres in her Cherry Blossom Plate series, which include a detailed rendering of a cherry blossom branch and car- toonish drawings of two birds and a whale. While Tashima and Ho both create strong political images, Horie’s works read as whimsical. Formally, Horie and Ho both layer images. This compositional device is repeated throughout the exhibition. Lee Somers and Daniel Bare use this device to create beautiful works. Somers constructs an implied landscape in Portable Landscape, a collage triptych made out of stoneware with engobes, underglaze decals, lattice fragments made from slip, sintered glaze chunks, porcelain shards, and Styrofoam. The narrative becomes irrelevant; the im- age is a crescendo of forms. Bare fuses several Yixing teapots into a chunk of glaze in Round Green Tea Platter. The glaze looks like a huge sea-foam-colored rice cake or a puddle of frothed tea. On 7

44 october 2012 www.ceramicsmonthly.org a conceptual level, Bare deals with issues of functional- ity, consumerism, and connoisseurship. Like the work itself, none of these contexts congeal to articulate a literal context. This is for two reasons. First—the work does not include anything in itself to decode any intended meaning. Second, the sheer visual impact of the work overwhelms any conceptual framework. Bare brilliantly creates visual rhythm and contrasts of hue, texture, and form. It is as if the work is pulsating before the viewer. Paul Mathieu’s work examines one of the more distinc- tive elements of ceramic production. In many disciplines, the less prestigious media have more leeway than those that are considered to be more respectable. One of the advantages of kitsch is that it gives an artist freedom. Dime novels, pulp fiction, underground comics, folk woodworking and black velvet painting—all have much broader criteria of what can be shown because of their kitsch quality. This dynamic reverses in ceramics. China painting, which is generally relegated to the antiquated taste of people who do not know any better is, if anything, more restrictive. Mathieu, who works with China paints, decorates Odalisque Bowl, Matt, Diego, Damian with a male nude posed in the same position of Ingres’ painting, Odalisque. Mathieu’s understanding of how people see comes through in two details. First, Mathieu’s version is 8 no more erotic than the source image, yet it reads as more

8 Daniel Bare’s Green Teapot Platter, 16 in. (41 cm) in height, Yixing teapots and glaze, 2008. 9–10 Lee Somers’ Portable Landscape, 6 ft. 8 in. (2 m) in height, stoneware with engobes and underglaze decals, sintered glaze chunks, porcelain shards, laser- etched Plexiglas, wood, and Styrofoam, 2012. 11 Paul Mathieu’s Odalisque Bowl, Matt, Diego, Damian, 16 in. (41 cm) in diameter, porcelain and overglaze, 2008. 9

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www.ceramicsmonthly.org october 2012 45 12 Jae Won Lee’s Prologue II: In Search of Streams and Mountains, 5 ft. (1.5 m) in length, porcelain, decals, 2012. 13 Paul Mathieu’s Hadron Collider with Nudes Vase, 16 in. (41 cm) in height, porcelain and overglaze, 2008. 14 Hirotsune Tashima’s Green Tea Frappuccino Girl, 12 in. (30 cm) in length, multiple- fired stoneware, 2011. 15 Hirotsune Tashima’s Shino Chawan Boy, 12 in. (30 cm) in length, multiple-fired stoneware, 2011.

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shocking. This is in part due to the fact that getting accepted into of Mathieu’s work, the viewer actually has to put themselves in a the cannon of great Western art has dulled the eroticism of Ingres’ position to be offended. work. However the change to the image removes the familiarity Two distinct qualities dominate the exhibition. Formally, most and focuses attention on the fact that eroticism is attributed more of the works create complex layered surfaces. Conceptually, most of to the female gender. The Western mind has a far more difficult the works deal with appropriation/misappropriation of images. Art- time with the objectification of a man than a woman. Second, ists like Ho and Mathieu present works tuned in to the mores and it is done in the style of a Wedgwood porcelain bowl. The work manners of images, which subvert the viewer’s assumptions not just is more discordant because Mathieu chooses China painting, a about ceramics, but about life. Other artists appropriate images, some more kitsch-oriented discipline within the ceramic field as the apparently for no more profound reason than they are cool. Zimany’s foil for the image. Finally, Mathieu plays with perception. When selection of both kinds of work makes each stronger by comparison. viewed from one exact point, the image congeals into a single image of a naked man. Viewed from any other point, the image the author Tony Merino, a frequent contributor to CM, is an artist becomes illegible. So, in essence, to be offended by the nudity and critic living in Dallas, Texas.

46 october 2012 www.ceramicsmonthly.org Extending a Museum Exhibition’s (Out)REach Diana Lyn Roberts

Presenting exquisite exhibitions is standard operating procedure Make the objects, display, and scholarship even more accessible, to for the Smithsonian Institution’s Arthur M. Sackler Gallery a wider audience, available on demand from anywhere in the world. (www.asia.si.edu) in Washington, DC. The formula is classic and Since April of 2007, visitors to the Sackler have been lured foolproof: Present a body of compelling objects, displayed with toward a hallway gallery on the lower level by a handful of large, characteristic elegance and simplicity, augmented by strong schol- spectacularly lit ceramic jars in glittering vitrines, lined with arship in the wall and label text. How do you up the ante? Simple: terra-cotta silk, placed in the center of the walkway, and visible

Bowl on pedestal foot, Ban Chiang culture, 7 in. (17 cm) in height, earthenware with white slip and red pigment, 1000–300 BCE. Gift of Victor and Takako Hauge. Courtesy of the Freer and Sackler Galleries.

www.ceramicsmonthly.org october 2012 47 Left: Jar with eight vertical lugs, Tuy Hoa, Phu Yen province, Central Vietnam, 25¼ in. (64 cm) in height, stoneware with iron glaze, Le, Tay Son, or Nguyen dynasty, 18th–mid 20th century, restored later. Right: Jar with two ornamental lugs, Middle Mekong River network, probably southern Laos, 25 in. (64 cm) in height, stoneware, combed and applied decoration with wood-ash glaze, Lan Sang period or Champassak period, 17th-19th century. Both pieces are gifts of Osborne and Gratia Hauge, and Victor and Takako Hauge. Courtesy of the Freer and Sackler Galleries.

through the doorways at either end of the space. Once past the Documenting the entirety of the Sackler’s holdings of Southeast threshold, a generous selection of nearly 200 earthenware and Asian ceramics, along with those of its sister institution, the Freer stoneware vessels, ranging from everyday cooking pots to elegant Gallery of Art, Ceramics in Mainland Southeast Asia is the first ritual objects, were displayed in an unpretentious open storage major online collections catalog for the Smithsonian’s Museums of configuration in an utterly engrossing long-term exhibit called Asian Art, an accomplishment the museum and its patrons hope “Taking Shape: Ceramics in will be the cornerstone of a larger Southeast Asia.” Spanning nearly effort to put more of their stun- 4000 years of production, usage, To see the online catalog for ning collections online. Equally and trade in the region com- the Ceramics in Mainland useful as a crash course introduc- prised of modern-day Vietnam, tion and a detailed resource for Southeast Asia collection at the Cambodia, Laos, Thailand, and advanced research, the depth and Burma, Taking Shape presented Freer and Sackler galleries, visit breadth of the Sackler’s collection a range of form, surface, process, http://seasianceramics.asia.si.edu. has been matched by a vast store- and human interaction that house of information, insight, re- captivated specialists and casual sources, and links to external sites, tourists alike. Ceding the space to other museum treasures, the creating a virtual hub for the study and appreciation of ceramic show closed and the pots returned to storage in December 2011. production and trade in Southeast Asia. Fortunately, they are still readily accessible—along with about The core of the collection comes from a major gift of over 800 700 others—thanks to an astonishingly comprehensive, well- objects from the Hauge Collection, lovingly assembled in the late designed, and impeccably researched online catalog available on 1960s and 1970s by brothers Osborne and Victor Hauge and the museum’s website. their wives, Gratia and Takako. Far from impersonal, the Hauges’

48 october 2012 www.ceramicsmonthly.org were passionate about ceramics and collected widely while living Launched in 2008, the online catalog offers a rare opportunity and traveling in the region, including works from Japan, Korea, to explore the entire Southeast Asian collection, as well as the ac- China, Iran, Thailand, and Vietnam. Ranging from the more fa- cumulated scholarship surrounding it, in a user-friendly format miliar and elegant court traditions to the less studied traditions of accessible to anyone with an interest and an Internet connection. everyday functional earthenware, the Hauges’ knowledgeable eye The catalog provides points of entry through ready-made searches for collecting was bolstered by good timing: many of these works based on “Material,” “Place,” and “Time,” providing an overview came from recently excavated kilns and other archaeological sites, within each section and more refined searches such as clay type, acquired through the most reputable dealers, as well as pieces from surface treatment, specific kilns, and so forth. The full-text search local vendors found more casually in river beds. tool also allows for remarkably precise user-generated criteria, In the mid-1990s, the Hauge family gifted the Sackler with such as accession numbers, donor name, vessel shape, function, 84 works of Khmer stoneware (Angkor period, 9th–14th century structural characteristics, or any other detail listed in the object de- CE) along with a substantial number of works from the Islamic scription and catalog information. Looking to compare lug styles? and ancient Near East (see article, “Ancient Iranian Ceramics,” A search for “lug” pulls images of all the jars in the collection with CM, December 2011, pages 58–61). Following the publication that word in the descriptive text; type “kendi” for a selection all of of these initial gifts in the print catalog, Asian Traditions in Clay the bottles of this characteristic type. (Sackler, 2000), the Hauges’ generously donated their much more The “Resource” section presents abstracts of scholarly articles substantial collection of Southeast Asian ceramics—along with and essays available as full-text PDF downloads, including Eng- funding for the online catalog—in 2004 and 2005. Augmented lish translations of major studies in non–European languages and by a handful of spectacular works from other donors and hold- foundational English texts. Extensive bibliographies on topics such ings in the Freer collection, notably those from collectors Dean as excavations, material analyses, and scientific dating issues are Frasché and Dorothy Slak, the Smithsonian’s Asian museums now provided for further research, as is a compiled list of significant hold what many scholars and connoisseurs consider the public and private collections throughout the world. broadest, most comprehensive single collection of The detailed maps and chronologies chart ceramic Southeast Asian ceramics in the world. production, distribution, and trade within, into, and outside the region, providing insight into cultural and aesthetic shifts over time. The “Place” section focuses on regional production, including detailed maps of stylistic centers and important kiln sites. Detailed curatorial records and notes complement high-quality photographic images of the body and base of each vessel and, where necessary, details of a lip, surface pattern, or additional view. The success of this massive undertak- ing is due in part to the Sackler’s Curator of Ceramics, Louise Cort, whose knowledge and passion for both ceramics and the cultures of the region permeate the en- tire project. Balancing a deep academic knowl- edge with hands-on experience, Cort made her first study trip to Thailand in 1989, where Kendi, probably north- central Thailand, 9 she “started looking at in. (23 cm) in width, ceramics in situ.” Not only earthenware with did this increase her overall black matte surface, Ayutthaya period, understanding of historical 16th–17th century. Gift ceramics, it solidified her com- of Sarah M. Bekker. Courtesy of the Freer mitment to understanding it and Sackler Galleries. as a living tradition: “When

www.ceramicsmonthly.org october 2012 49 I returned to DC, the Hauges’ Southeast Asian collection had much thing to read her eloquent essays and thorough curatorial notes, more meaning for me. I began a project that involved more or less and quite another to hear her speak with such reverence and ease annual trips to the region to survey present-day village-based earth- about the objects in her care, where her seemingly encyclopedic enware and stoneware production, as well as historical production, knowledge meets a remarkable degree of functional, practical, in Thailand, Laos, Cambodia, Vietnam, and the southern Yunnan process-driven know-how about ceramics in general and, in this province in China.” This ongoing research is apparent in her astute case, the cultures from which they come. curatorial notes, as well as the personal photographs, videos, and One key aspect of the catalog has been disappointingly unde- insights that enrich the catalog. rused: an interactive “Field Notes” section which allows users to Of particular merit is the webinar that introduces the collection, post comments, documentation, citations, questions, and other the online catalog, and the research that went into it. Hosted live at information online, both for individual works and the broader the Sackler in 2009, attendees were joined by scholars and enthu- overview sections. Intended to foster collaborative scholarship, siasts around the globe via live webcast, which has been archived Cort had hoped that other museum curators and archaeologists, in and is now accessible via the “Videography” link in the “Resource” particular, would contribute information from related objects and section. Officiated by Cort and research assistants David Rehfuss studies that could help expand general knowledge of the field, as and George Williams, who helped develop and compile the catalog well as details that might aid in dating and placing the objects in and its vast resources, it is here that Cort’s expertise shines: it’s one her care. As she states in her introduction to the catalog, “Creating

2

1 3

1 1 Water bottle, Burma, Laos, or Northern Thailand, Kon-baung, Colonial, Luang Prabang, or Bangkok, 11 ⁄4 (29 cm) in height, earthenware, blackened in firing, 19th–mid 20th century. Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Courtesy of the Freer and Sackler Galleries. 2 Stove, Chao Phraya River network, Central Thailand, 13 in. ( 33 cm) in diameter),earthenware, Ayutthaya period, 16th–17th century. Gift of Osborne and Gratia Hauge, and Victor and Takako Hauge. Courtesy of the Freer and Sackler Galleries. 3 Covered box, Sawankhalok ware, Ban Pa Yang kilns, Si Satchanalai, Sukhothai province, Thailand, 4 in. (10 cm) in height, stoneware with iron pigment under clear glaze, Ayutthaya period, 16th century. Gift of Dorothy M. Slak. Courtesy of the Freer and Sackler Galleries.

50 october 2012 www.ceramicsmonthly.org 4 Vessel on pedestal foot, Ban Chiang culture Northeast Thailand, 1 9 ⁄4 in. (23 cm) in height, earthenware with white slip and red pigment, late period, 300 BCE–200 CE. Gift of Victor and Takako Hauge. Courtesy of the Freer and Sackler Galleries. 5 Vessel with applied flange, Ban Chiang culture, Northeast Thailand, Ban Chiang culture, 8 in. (20 cm) in diameter, earthenware, incised and stamped decoration, blackened in firing, early period, 3600–2500 BCE. Gift of Victor and Takako Hauge. Courtesy of the Freer and Sackler Galleries.

new knowledge is a collaborative effort,” and Cort was hop- ing for more participation from experts and connoisseurs around the world. Still, the amount of information already assembled by Cort’s research team is staggering, and the po- tential for external contributions provides the catalog with a built-in ability to grow and change with the scholarship. What the catalog lacks is the curatorial selection and the- matic nuance of the assembled objects in Cort’s exhibition, “Taking Shape.” In it, Cort followed usage patterns and the interplay of forms, following intuitive aesthetic links while 4 simultaneously commenting on the complex interaction of culture and commerce. Along with trade-ware, her selec- tion featured the earthy, functional, and perhaps even more culturally relevant everyday earthenware and stoneware vessels that indicate how cultures function, interact, trade, and place value—aesthetic or otherwise—on the objects and processes of daily existence. In the context of an exhibition, Cort could tease out the forms borrowed from Indian or Chinese models, explore the trade routes and divisions of labor within ceramic traditions, suggest how local traditions of connoisseurship and reverence developed, juxtapose old and new, and provide enough examples for viewers to pick out how one style of lug differs from another. The catalog does not, unfortunately, allow for an easy way to carefully examine more than one object at a time, or to move between objects in an easy, intuitive way. For that, one needs the objects themselves. Fortunately, plans are afoot to reinstall a smaller selection from the collection to keep these amazing vessels on public view. While nothing on the Internet (or traditional photos, for that matter) can compare to seeing these spectacular pots en masse and in person, the Sackler and Freer galleries have done a remarkable job with their web resources in general, and the Ceramics in Mainland Southeast Asia catalog in particular. The epic nature of this endeavor may make it im- practical to duplicate for many institutions, but it certainly sets a new gold standard for museums looking for ways to use the Internet as a means of advancing scholarship, access, and appreciation of their collections. the author Diana Lyn Roberts is a freelance arts writer, cura- 5 tor, and art historian living in San Antonio, Texas.

www.ceramicsmonthly.org october 2012 51

peter shire Two found objects combined to make something radically new

by Kathleen Whitney

Peter Shire’s exhibition, “Cups, 1974–2012: Ceramic and Steel Cups, and Works on Paper,” at the Lora Schlesinger Gallery (www.loraschlesinger.com) in Santa Monica, California, provided a rare chance to focus on a ceramic artist whose career has been unusually wide-ranging. The show was especially interesting be- cause he’s better known for his non-functional teapots. Over the course of four decades, he’s produced an extraordinarily diverse body of work from many different materials—wood, steel, and ceramic. He’s been involved in numerous public and private proj- ects including the XXIII Olympiad, the Memphis design group, furniture production, paintings, prints, and drawings. Although his interests and activities are diverse, ceramics are at the core of his creativity, providing the foundation for all other pursuits. His wide-ranging influences produce objects that are beautiful, highly sophisticated, and generally about functional ceramics and their history. His work entertains, asks serious questions, and frequently challenges its own subject matter. It questions ideas about originality and utility, ceramic conven- tions, consumerism, and popular culture. In this exhibition, the works also deal with the notion of function while being mind-blowingly non-functional. All of the pieces in the show were out of proportion, off-balanced, and exaggerated. There was a sweetness intensified by his color palette—sky blues, orchidaceous pinks, yolk yellows. A Shire object reflects a mix of influences, from Chicano culture and L.A.’s car obsession, to the light and color of Southern California. Art Deco inspires his use of eccentric angles and saturated pastel colors. His work is very physical Alameda Scout, 18 in. (46 and seductive, partly due to the scale. Every ceramic object in cm) in height, steel, ceramic, the show is about 8×8×5 inches—less than life-sized yet not and enamel, 2012.

diminutive, slightly off base. Marguro Sushi Cup, 9½ in. Shire’s ceramic work is mostly constructed from clay slabs (24 cm) in height, cone 06 with thrown sections, extruded parts, and cast elements. He clay with glazes, 1978. often textures the clay with canvas. He uses earthenware be- cause he wants a clay body that is a blank slate, and he uses low-fire, lead-based glazes for all his sculptural work because of their sheen and flexibility. He employs a tremendous range of surface decoration techniques including the brushily gestural, random splatters, evenly applied solid color, and beautiful airbrushed shadings. He also uses techniques like neriage and marbleizing. He fires his work in a 70-year-old Dickenson kiln (made in L.A.).

52 october 2012 www.ceramicsmonthly.org 1 2 3

1 PS12-023, 4¾ in. (12 cm) in height, cone 06 clay with glazes, 2008. 2 Click Clack Woman, 5 ft. 7 in. (1.7 m) in height, framed, mixed media, 1990. 3 Peach Veronica, 7½ in. (19 cm) in height, cone 06 clay with glazes, 1977.

In the Cups series, every ceramic object ceramic element is 1990 watercolor Click Clack Woman is a terrific example of Shire’s transformed into a Cubist or Surrealist object. Each small tableau sensibility, his surrealist humor, and love of strong color. generally has a trio of parts: the cup, a “table” or “saucer,” plus Shire traces his influences back to his high school ceramics one other object. These major players are frequently accompanied teacher, Anthony Scaccia, the ceramic faculty and students at Ch- by a small ceramic piece of fruit or sushi. All elements are fused ouinard Art Institute, Ralph Baccerra and Adrian Saxe in particular. together into a single piece. The cups appear to be diagonally Ken Price’s drawings and sculpture inspired his way of thinking skewered to the tabletop by a ray-like cylindrical or rectangular about art making. A conversation with Vivika Heino helped him object. In nearly every instance, the plane of the “table” intersects decide on the earthenware clay body he uses—its blandness is sig- the cup and is visible from the cup’s interior. Generally, the plane nificant to him because what he does to the clay is more important of the “table” is sharply angled, with the appended cup teetering than the kind of clay used. at its edge. Shire has always been interested in art pottery and founded Echo Peach Veronica, is an almost stereotypical Shire object. Its Park Pottery in 1972. Because the Pottery is small scale, he calls it a surfaces display the range of techniques he uses for decorating, “simulacra of an Art Pottery.” Making functional ware is an impor- specifically a checkerboard of neriage, delicate transparent glazes, tant part of his artistic philosophy, allowing him to make contact and canvas texture. A cut in the interior of the cup exposes the with people in a way that’s radically different than his interactions in protruding corner of a white rectangle; the peach is skewered to the art world. Because it’s functional and affordable, it’s intended for the rectangle by a spear full of colorful kebabs. The whole as- a different audience than his sculpture. Shire says because we live “in semblage is precariously balanced on a leafy peach. Shire’s body a time when you can buy Glad containers that are disposable, and of work in clay references domesticity, the California lifestyle, pasta dishes from IKEA; this makes Echo Park Pottery post-pottery.” L.A.’s blend of cultures (Anglo, Hispanic, Asian), and its artificial Shire has an extreme commitment to the hand-fabricated relationship with the environment. The cups take on a high level object. Although he’s no Luddite, he never uses the computer as of visual energy because of the way they are wrenched from their a design tool. Regardless, a particularly wonderful program can usual functional contexts. be found on Shire’s website (http://petershirestudio.com): “make At first glance, new works such as the bush-likeAlameda Scout a 3D teapot in the manner of Peter Shire,” a program that allows seem to use an entirely different vocabulary than Shire’s earlier the viewer to make a virtual Shire teapot. work. Actually, all the same elements are present but are more Shire is one of those rare ceramists who cross back and forth elegant and delicate. His use of stainless steel and enamel-coated between boundaries that restrain many clay artists. Unlike them, metal enables Shire to achieve a different level of refinement. The he sees no contradiction in being sculptor and potter, designer, ceramic elements remain prominent, in this case cast peach forms, and fabricator. Shire has never accepted stereotypical notions of his and the contrast between the ceramic and metallic sections cre- work as an artist. His imaginative choices, humor, and consummate ates a different way of thinking about the extremes of reality and craftsmanship make him stand out in his field, an important and artificiality. These overtly precious objects resemble a Disneyland influential ceramic artist. version of nature—sweet, playful, and mechanical. It gently ridi- cules our culture’s desire to control and modify all aspects of nature Eric Minh Swenson has made a video of Shire working on one of his by taming and confining it. recent pieces that can be seen online on Vimeo. It can be found by The exhibition included a number of drawings and watercol- typing “Peter Shire Cup” into Vimeo’s search box, or via the following ors; Shire’s work has such a strong graphic quality, it’s apparent link: http://vimeo.com/41342994. how crucial drawing is to him. The drawings and paintings give his imagination a different outlet for his ideas. None of these the author Kathleen Whitney is a sculptor who lives in Los Angeles. drawings are sketches for pieces, they stand on their own. The big She has written extensively about ceramic sculpture.

www.ceramicsmonthly.org october 2012 53 Sewing CulTureS Through

by Lauren KarLe Pottery

Mug, 5½ in. (14 cm) in length, handbuilt earthenware, slip-transferred pattern and copper carbonate hand- painted slip, cone 03 oxidation, 2012.

Handmade objects are a reflection of people and place long before protectors of culture. Like them, I create objects that are cultur- the separation of utility from beauty. Nowhere is this more true ally functional in addition to being useful in everyday life. My than in the garments of the indigenous cultures of Guatemala current palette references Latin American color combinations. and Mexico. Huipiles, or Mayan blouses, relate ancient and By using color and pattern as cultural signifiers, my intention modern histories through their weave and designs that combine is to create pots that demonstrate unity within diversity. I seek patterns. After being surrounded by these textiles during the 2½ to unify different cultures by combining timeless traditions and years I lived in Guatemala, I see them as symbols of identity and modern interpretations through visual and metaphorical layering.

54 october 2012 www.ceramicsmonthly.org A pot embodies a specific feeling when all its elements speak to one thing. I harmonize the lip, feet, seams, handle, surfaces, and interior, exterior, and negative spaces. Imagining cloth wrapping around the form of a person, I try to give my pots volume from within. I dart, alter, cut, and join pieces of clay as a tailor creates a garment. Nature is another source of inspiration as pattern and parts come together in elegant ways.

Preparing a Slab To make a mug, I begin by rolling out a thin slab of red earthen- ware, a medium that I prefer for its rich color, its long tradition in Latin America, and its association with the common person. Eddie Dominguez taught me to roll a slab between two pieces of bed sheet, a technique that allows me to easily flip the slab and roll both sides. When the slab is an even, ¼-inch thick, I lay a pattern on top and carefully cut out a 13×4½-inch rectangle. When it is ready, I run a rib over it to smooth and compress the clay. The lip of a cup is the most intimate point of connection with the user, so it is essential to give it a physically pleasing form before applying the pattern. I flatten and compress one of the long edges with a roller and rib (1—see page 58) and flip the slab repeatedly to create a curve that comes gently to a point. For the handle, I cut two strips about ¾ of an inch wide by 6 inches long, then use a roller to make these even thinner, since they will be layered on top of one another. As with the lip, I smooth the edges of the handle so that they form a gentle curve for the user’s hand (2). In addition, I cut a 3-inch square for the base.

Decorating the Surface On the surfaces of my pots I capture some of the qualities of the huipiles, which have a multitude of different patterns that work together visually. By situating regular slip-transferred patterns next to painterly marks, I emulate the contrast of the tight weave of fabric and hand-sewn decoration. I combine the earthenware hues of pre-Colombian vessels with bright colors of contemporary Latin America. It is essential to layer the surface of a cup while the slab is still flat and wet. There are infinite opportunities to experiment with the order and quantity of layers, but I usually start with a low-fire Mug, 5½ in. (14 cm) in diameter, handbuilt earthenware, slip-transferred white slip with the goal of making the underglaze or wash brighter. pattern, cone 03 oxidation, 2012. The underglaze or wash can be applied as a solid background color, a gradient, or a series of painterly strokes (3). I always consider pattern. Then I print the inverse of the pattern using a laser printer the pot and how color will flatten or enhance the form, highlight on regular printer paper. An ink-jet printer will not work, since ink seams, or create an illusion of depth. does not have the resistive properties of toner. Slip sticks only to Once the background is no longer shiny, I apply a pattern the white areas of the image, which are the parts that will transfer. through slip transfer, a simple and gratifying technique that I I deflocculate the colored slip to brush on the pattern using one learned from Charlie Cummings. First, I create a black-and-white drop of Darvan 7 per cup of slip. Sodium silicate also works. Defloc- pattern on the computer by altering a picture in Photoshop, culating the slip keeps the color intense but negatively charges the creating a pattern by hand and scanning it, or finding an existing clay particles so that they slide over each other, making the slip flow

www.ceramicsmonthly.org october 2012 55 more easily with less water content. In sweeping strokes, I brush Another option is to juxtapose patterns made by hand with the the deflocculated slip over the pattern. The slip sticks to the white regularity of printed patterns. In this case, I use a copper carbonate paper and pulls back from the laser toner. If the slip bridges from low-fire slip to paint horizontal lines around a cup (9). Copper one white section to another over the toner, I just touch it gently carbonate has beautiful qualities that naturally create depth and with a finger and it immediately recedes (4). variation in value. Another option is to paint line-and-dash pat- I cut several sizes from the patterned paper, to match the size of terns directly on raw clay with a wash. I use combinations of these each of my slabs, and coat them with colored slip (5). When the techniques and materials to create a composition on the outside, slip on the pattern is leather hard, I lay it face down on a prepared inside, handle, and base of the cup. background. If the slip is still shiny, it will smear and blur; if it is too dry, it may flake off the page. I press it smoothly onto the clay Building the Form and brush a little water onto the back (6). The water causes the When the surface is no longer tacky, I start building the form paper to lie flat and helps the slip release onto the slab. The perfect by creating a cylinder. I always cut the joining edges at an angle amount of water will barely saturate the laser ink, so you can see to make a stronger joint with a greater surface area. I score with the pattern through the back of the paper. I use a rib to compress a serrated rib, add a small amount of water with a paint brush, and smooth the back of the paper (7), then peel a corner back to and score again (10). This creates slip in the joint without add- check how well the pattern is transferring (8). I brush more water ing more volume that will squeeze out along the edge and ruin on the back or rub the paper if necessary. How clearly the pattern transfers and where depends on the balance of these techniques. I continue to check it until it has transferred to my satisfaction and I can remove the whole paper. It is possible to print patterns on top of patterns, rotate, flip, block out sections, paint over parts, and experiment endlessly with layers.

Pair of mugs, 5½ in. (14 cm) in diameter each, handbuilt earthenware, slip-transferred pattern, cone 03 oxidation, 2012.

56 october 2012 www.ceramicsmonthly.org the surface pattern. I wiggle and press the two sides together to secure them, then turn the cup upside down to measure five equally spaced darts (11). Using a pattern, I cut an equilateral triangle where each dart belongs (12). It helps to angle the blade slightly out from the triangle when cutting to make the two edges flush when attached. I bend the flanges inward and attach them using the same method. It often helps to use a rib at the intersection to change and define the angle of the slab to lessen the potential of cracking (13). I compress the joints without rubbing the pat- tern on the outside and smooth and secure the joints from the inside. After stepping back to consider other adjustments in the form, I push outward from the inside, slightly curving the walls of the cup to make it look full, and pinch or shape it. To build the handle, I lay a thin strip of raw clay over my fingers to create a curve, then lay the deco- rated strip over this slightly wider raw strip and attach them (14). Because they have been curved in advance, less stretching occurs and therefore less cracking. I shape the handle and let it set up to a soft leather-hard state, then hold it up to the body of the cup and cut to the desired length, considering the angle of each attachment. After holding it up for a dry fit, I attach it securely (15).

Finishing the Inside In order to turn an industrial utensil, which forbids extravagance, into a ritual object, I embellish the inside of a cup with surprises and add small details. Before attaching the base, I place the cup on the wheel and apply a generous layer of slip to the inside as it turns (16). I set the cup on the decorated three-inch square slab and trace the inside pentagonal opening that was created by darting the cylinder bottom. When I cut the Glass, 6 in. (15 cm) in height, handbuilt earthenware, slip-transferred pattern, sprigs, shape, I keep the knife blade at an outward angle to cone 03 oxidation, 2011. create a small pedestal for the cup (17). To avoid gaps at the joint, I attach the base in the same orientation as I traced it. As with the darts, I compress the inside pot, the signature will read correctly. I choose to use my first name with without rubbing the pattern, then carefully seal the the goal of making my pots more personal. outside (18). I slip-trail a bead along the darts on the inside Firing and Glazing (19). By using the same color of slip that was applied I wrap the cup in plastic and let the moisture equalize for at least a day, then on the wheel, I acknowledge the seams without high- slowly allow it to dry. After bisque firing the cup to cone 02, I apply a thin lighting them. I also enjoy the contrast in line quality layer of clear glaze. Depending on my chosen composition, the beauty of between the slip applied on the wheel with the slip the natural clay allows me to leave some areas unglazed. The final cone 03 applied by hand. glaze firing enriches the colors and makes the cup food safe. Last, I add my signature by slip-trailing it back- The purpose of my forms and carefully layered surfaces is realized through wards on newspaper. When the slip is leather hard, the use of my pots. My pots are embedded in a tradition that unites people, I press it on the bottom of the pot (20). As when preserves culture, and conveys the beauty of history. transferring the pattern, I brush on a small amount of water and rub it with a rib. When transferred onto the To see more of Lauren Karle’s work check out http://laurenkarle.com/home.

www.ceramicsmonthly.org october 2012 57 1 2 3

4 5 6

7 8 9

1 Roll out an even ¼-inch slab, cut out the pattern, and create a lip using a 10 Cut the joints at an angle, score them, add a small amount of water, and roller or a rib while continuously flipping the slab. This creates a smooth score again. This creates slip in the joint without adding more volume curve that gently comes to a point. that will squish out along the seam and ruin the surface pattern. Press 2 Make two thin strips for the handle, smoothing the edges to form a gentle the two sides together to secure them, creating a cylinder. curve where the user’s hand will contact it. 11 Measure five equally spaced sections around the bottom edge. An MKM 3 Coat the sides, base, and handle while they are flat. Start with a white Decorating Disc is a useful tool that can equally space any number of low-fire slip so what is put on top becomes brighter. Apply an underglaze sections in concentric circles. or wash over as a solid background color. 12 Use a pattern to cut identical equilateral triangles where each dart 4 With quick brush strokes, apply a deflocculated slip over the laser ink belongs. It helps to angle the X-Acto blade slightly out from the triangle pattern. The plastic quality of laser-printer ink will resist deflocculated when cutting so the two edges will meet flush. slip—making it stick to the white paper and pull back from the ink. If the 13 Use a rib to gently bend the flanges in. Then join each dart using the slip bridges from one white section to another over the ink, just touch it same score, water, score method. Compress the joints without rubbing gently with a finger and it will immediately recede. the pattern on the outside. 5 All the pieces and parts of the cup are prepped, dry, and ready to assemble. 14 Create a small curve with the thin strip of raw clay. Layer the decorated 6 When the slip on the pattern is leather hard it is ready to transfer onto strip over it and attach them. By attaching them after they curve, less the prepared background. Press the paper smoothly onto the clay and stretching occurs and therefore less cracking. brush enough water on the back to barely saturate the laser ink—you 15 After shaping the handle and letting it set up to a soft leather hard, hold it will see the pattern through the back of the paper. up to the body of the cup and cut at the desired length and angle. Score 7 Use a rib to compress and smooth the back of the paper to help the slip the cup and handle, add water, score, and attach securely. transfer onto the slab. 16 Prior to attaching the base, apply a layer of white slip to the inside while 8 Peel a corner back to check how well the pattern is transferring. Brush the cup is slowly spinning on the wheel. Set the cup on the decorated more water on the back or continue to rub if necessary. The clarity of 3-inch square base and trace the shape of the inside opening. the transferred pattern depends on the balance of these techniques. 17 Cut on the lines you traced, keeping your X-Acto knife blade at an outward 9 Paint horizontal lines of a colored low-fire slip to give depth and variation angle. The angle will match the bottom angle of the cup for a secure fit around the cup. and provide a small pedestal.

58 october 2012 www.ceramicsmonthly.org : Ch AS e B RAzz Le SS Pho ToS PRoCe

10 11 12

13 14 15

16 17 18

19 20

18 Attach the base in the same orientation you traced it to avoid gaps. Similar to the darts, compress the joint without rubbing the surface pattern. Carefully seal the outside. 19 Slip-trail a bead of slip along the darts on the inside. Use the same color slip to acknowledge the seams without highlighting them. These lines will contrast nicely with the regularity of the slip applied on the wheel. 20 Last, I slip-transfer my signature on the bottom of the pot. By slip-trailing my name backwards on newspaper it reads correctly after transferring it onto the bottom of the pot.

www.ceramicsmonthly.org october 2012 59 60 october 2012 www.ceramicsmonthly.org gallery2013 guide

United States International 62 Alabama 78 Montana 94 Australia 62 Arizona 78 Nebraska 94 Austria 62 Arkansas 78 Nevada 94 Belgium 62 California 78 New Jersey 94 Canada 66 Colorado 78 New Mexico 98 Croatia 70 Connecticut 82 New York 98 Cyprus 70 District of Columbia 82 North Carolina 98 Denmark 70 Florida 86 Ohio 98 England 70 Georgia 86 Oklahoma 106 France 70 Idaho 86 Oregon 106 Germany 70 Illinois 86 Pennsylvania 110 Hungary 70 Indiana 90 Rhode Island 110 Ireland 70 Iowa 90 South Carolina 110 Israel 74 Kansas 90 Tennessee 110 Italy 74 Kentucky 90 Texas 110 Japan 74 Louisiana 90 Utah 110 Mexico 74 Maine 90 Vermont 110 The Netherlands 74 Maryland 90 Virginia 114 Norway 74 Massachusetts 90 Washington 114 PR China 78 Michigan 94 West Virginia 114 Scotland 78 Minnesota 94 Wisconsin 114 Switzerland 78 Mississippi 94 Wyoming 114 Taiwan 78 Missouri 114 Wales

United States listings are alphabetical by state, then cities within the state; international listings are by country and city. Contact information has been included to allow you to check current offerings and hours before visiting. To help us make the guide more comprehensive in the future, please send additions and omissions to Ceramics Monthly, Gallery Guide, 600 N. Cleveland Ave., Ste. 210, Westerville OH 43082, by email to [email protected], or fi ll out our online form at http://bit.ly/GGform.

Image: Installation view (clockwise from left) of Nick Ramey’s Shepherd’s Dream, Alex Kraft’s Fairiemonger, Max Lehman’s The Great Sunflower Project, Nick Ramey’s Wild Ride, Alex Kraft’s Sploonk, and (far right) Max Lehman’s Chac Goes a Courtin’ at Kipp Gallery, Indiana University of Pennsylvania in Indiana, Pennsylvania.

www.ceramicsmonthly.org october 2012 61 Alabama exhibiting contemporary ceramics; functional, Winfield Gallery, Dolores St. between Ocean and sculptural, and figurative works; representing 1 Seventh, Carmel CA 93921; [email protected]; Red Dot Gallery, 1001 Stuart St., Birmingham clay artist. www.winfieldgallery.com; 800-289-1950. Primarily AL 35209; [email protected]; 205-870- exhibiting contemporary ceramics. 7608; www.reddotgallery.com. Primarily exhibiting Arkansas Ruth Chandler Williamson Gallery, Scripps College, contemporary ceramics; functional and sculptural ART, 2204 SE 14th St., AR 72712; 1030 Columbia Ave., CA 91711; works; representing 2 clay artists. Bentonville Claremont gallery guide gallery 479-659-4027; [email protected]; [email protected]; 909-607-4690; The Kiln Studio and Gallery, 60 N. Section St., www.artbybeckychristenson.com. Primarily exhibiting rcwg.scrippscollege.edu. Primarily exhibiting Fairhope AL 36532; [email protected]; contemporary ceramics; sculptural, figurative, and contemporary ceramics; sculptural, functional, www.thekilnstudio.com; 251-517-5460. Primarily installation works. figurative, and installation works. exhibiting contemporary ceramics; functional, The Gallery at Terra Studios, 12103 Hazel Valley Rd., John Natsoulas Gallery, 521 First St., CA sculptural, figurative, and installation works; Davis AR 72701; [email protected]; 95616; [email protected]; www.natsoulas.com; representing 10 clay artists. Fayetteville www.terrastudios.com; 479-643-3314. Primarily 530-756-3938. Primarily exhibiting historical and exhibiting contemporary ceramics; functional contemporary ceramics; functional, sculptural, Arizona and sculptural works; artists living in Arkansas; figurative, and installation works. Bisbee Clay, 4 Erie St., Bisbee AZ 85603; representing 90 clay artists. [email protected]; www.claycontact.org, 520- Pence Gallery, 212 D St., Davis CA 95616; 249-8093; www.pottersforpeace.org. Primarily 530-758-3370; [email protected]; California www.pencegallery.org. Primarily exhibiting cont-

2013 exhibiting contemporary ceramics; functional and del Mano Gallery, 3051 Via Maderas St., CA sculptural works; representing 5 clay artists. Altadena emporary ceramics; sculptural, functional, and 91003; [email protected]; www.delmano.com; figurative works; California art. Gallery 465, 2893 W. Sullivan Ranch Rd., 626-421-6359. Primarily exhibiting contemporary Clarkdale The Artery, 207 G St., CA 95616; [email protected]; 530- AZ 86324; [email protected]; 928-634-8695; ceramics; functional and sculptural works. Davis www.eidefineart.com. Primarily 758-8330; www.theartery.net. Primarily exhibiting contemporary exhibiting contemporary ceramics; ceramics; sculptural, functional, sculptural and functional works. and figurative works. Berning Clay Gallery, 3270 Olive The Verde Gallery, Verde Valley Hill Rd., Fallbrook CA 92028; Campus, Yavapai College, 601 [email protected]; www.berningclaygallery.com; 760- Black Hills Dr., Clarkdale AZ 86324; [email protected]; 723-0870. Primarily exhibiting 928-649-5479; www.yc.edu/ contemporary ceramics; functional, content/artgallery/default.htm. sculptural, and figurative works; Primarily exhibiting historical representing 2 clay artists. and contemporary ceramics; Clay Mix, 1003 N. Abby St., functional, sculptural, figurative, Fresno CA 93701; 559-485-0065; and installation works; repre- [email protected]; www.clay-mix.com. senting 2 clay artists. Primarily exhibiting contemporary Northern Arizona University Art ceramics; functional, sculptural, Museum, 321 W. McMullen Cir., figurative, and installation works. Flagstaff AZ 86011; 928-523- Art Honors Life | The Gallery 3471; [email protected]; at FUNERIA, 2860 Bowen www.nau.edu/artmuseum. Primarily St. #1, Graton CA 95444; exhibiting contemporary ceramics; [email protected]; functional and sculptural works. www.funeria.com; 707-829-1966. Mesa Arts Center, 1 E. Main St., Primarily exhibiting contemporary ceramics; functional, sculptural, Mesa AZ 85201; artscenterinfo@ mesaartscenter.com; 480-644- figurative, and installation works; 6560; www.mesaartscenter.com. new funerary urns, vessels, Primarily exhibiting contemporary reliquaries, and personal memorial ceramics; functional works. art; representing 15 clay artists. King Galleries of Scottsdale, Gallery Eight, 7464 Girard 7100 Main St., #4, AZ Ave., La Jolla CA 92037; Scottsdale [email protected]; 858- 85251; [email protected]; Delores Fortuna’s Containment, 10 in. (25 cm) in length, porcelain, casting slip, www.kinggalleries.com; 480- 454-9781. Primarily exhibiting 481-0187. Specializing in native wire, fired to cone 01, at Kirkland Arts Center in Kirkland, Washington. contemporary ceramics. American Indian ceramic artwork. Lincoln Arts and Culture LKG Contemporary, 4223 N. Marshall Way, Foundation, 580 6th St., Lincoln CA 95648; Doster Gallery–Upstairs Backroom Gallery, www.lincolnarts.org; 916-645-9713; Scottsdale AZ 85251; [email protected]; 5970 B Entrada Ave., Atascadero CA 93423; 480-945-1209; www.leonakinggallery.com. Primarily [email protected]. Primarily exhibiting [email protected]; www.dostergallery.com; contemporary ceramics. exhibiting contemporary ceramics. 805-462-9309. Primarily exhibiting contemporary Couturier Gallery, 166 N. La Brea Ave., Paul Scott Gallery, 7173 East Main St., Scottsdale and historical ceramics; functional, sculptural, Los AZ 85251; [email protected]; figurative, and installation works; American and Angeles CA 90036; [email protected]; www.paulscottgallery.com; 480-874-3000. Primarily Japanese ceramics. www.couturiergallery.com; 323-933-5557. Primarily exhibiting contemporary ceramics. exhibiting contemporary ceramics; sculptural works; Santa Cruz Mountains Art Center, 9341 Mill St., Ben Rose Cabat, Susana Espinosa, Jay Kvapil, Gertrud Udinotti Gallery, 4215 N. Marshall Way, Scottsdale Lomond CA 95005; [email protected]; and Otto Natzler; representing 5 clay artists. AZ 85251; [email protected]; www.mountainartcenter.org; 831-336-3513. Primarily www.udinottigallery.com/; 480-946-7056. Primarily exhibiting contemporary ceramics; functional, Craft and Folk Art Museum, 5814 Wilshire Blvd., Los exhibiting contemporary ceramics; sculptural works. sculptural, figurative, and installation works; Angeles CA 90036; [email protected]; 323-937-4230; representing 20+ clay artists. www.cafam.org. Primarily exhibiting contemporary ASU Art Museum Ceramics Research Center, ceramics; craft work including ceramics. Arizona State University, Mill Ave. and Tenth St., ACCI Gallery, 1652 Shattuck Ave., Berkeley CA 94709; Edward Cella Art + Architecture, 6018 Wilshire Blvd., Tempe AZ 85287-2911; [email protected]; [email protected]; www.accigallery.com; asuartmuseum.asu.edu/ceramicsresearchcenter; 510-843-2527. Primarily exhibiting contemporary Los Angeles CA 90036; [email protected]; 480-965-2787. Primarily exhibiting contemporary ceramics; California ceramics. www.edwardcella.com; 323-525-0053. Primarily ceramics; functional and sculptural works; 4–6 exhibiting contemporary ceramics; functional, The Potters’ Studio Gallery, 637 Cedar St. at 3rd, sculptural, figurative, and installation works. exhibitions per year. Berkeley CA 94711; [email protected]; Freehand Gallery, 8413 W. Third St., CA Obsidian Gallery, 410 N Toole Ave, #130, Tucson AZ www.berkeleypottersstudio.com; 510-528-3286. Los Angeles 85701; [email protected]; 520-577-3598; Primarily exhibiting contemporary ceramics; 90048; [email protected]; www.freehand.com; www.obsidian-gallery.com. Primarily exhibiting functional, sculptural, figurative, and installation 323-655-2607. Primarily exhibiting contemporary contemporary ceramics; functional, sculptural, and works; works by artists associated with the studio; ceramics; functional works; American artists; figurative works. representing 6–15 clay artists. representing 20+ clay artists. Romero House Potters at the Tucson Museum TRAX Gallery, 1812 Fifth St., Berkeley CA 94710; Los Angeles County Museum of Art, 5905 Wilshire Blvd., CA 90036; [email protected]; of Art, 140 N. Main, Tucson AZ 85701; 520- [email protected]; www.traxgallery.com; 510- Los Angeles 624-2333; [email protected]; 540-8729. Primarily exhibiting contemporary www.lacma.org; 323-857-6000. Primarily exhibiting www.tucsonmuseumofart.org. Primarily exhibiting ceramics; functional works; pots for use with food or contemporary and historical ceramics. decorative for the table; representing 17 clay artists. contemporary ceramics; functional, sculptural, and Mendocino Art Center, 45200 Little Lake St., Mendocino figurative works; representing 19 clay artists. Lynn J. Gallery, 5731 Beach Blvd, Suite 201, CA 95460; [email protected]; Sabino Stoneware Pottery, 1019 N. Jacobus Ave., Buena Park CA 90621; [email protected]; www.mendocinoartcenter.org; 707-937-5818. Primarily exhibiting contemporary ceramics; representing 15 Tucson AZ 85705; [email protected]; www.lynnjgallery.com; 714-521-5700. Primarily www.sabinopottery.com; 520 624-5201. Primarily exhibiting contemporary ceramics; functional and clay artists. sculptural works; representing 1 clay artist. continued on page 66

62 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 63 Elemental Margeaux Claude March 15 – May 5, 2013

Joel Froehle

Audra Smith Arsts of NCC: featuring NCC staff, teachers, studio artists & students

Paula Winokur; Glacier IV: Calving McKnight Arsts May 17 – June 20

Arsts of NCC July 12 – August 25

Exquisite Pots II September 27 – November 3

2424 Franklin Avenue East Minneapolis, Minnesota 55406

612.339.8007 NORTHERN CLAY CENTER www.northernclaycenter.org

64 october 2012 www.ceramicsmonthly.org CUP the intimate object VIII

NOV 3–DEC 1 2012

ON EXHIBIT AT

Charlie Cummings Gallery

CLAYLINK.COM

www.ceramicsmonthly.org october 2012 65 The Grand Hand Gallery, 1136 Main St., Napa Blue Line Gallery, 405 Vernon St., Ste. 100, Roseville Legion of Honor, 100 34th Ave., Lincoln Park, San CA 94559; [email protected]; 707-253- CA 95678; 916-783-4117; [email protected]; Francisco CA 94121; [email protected]; 415- 2551; www.thegrandhand.com. Primarily exhibiting www.rosevillearts.org. Primarily exhibiting contemporary 750-3600; www.legionofhonor.famsf.org. Primarily contemporary ceramics; functional works; Asian- ceramics; functional, sculptural, and figurative exhibiting historical ceramics; functional, sculptural, influenced American-made ceramics; representing works; representing 20+ clay artists. and figurative works. 20 clay artists. Crocker Art Museum, 216 O St., Sacramento Eddie Rhodes Gallery, Contra Costa College, 2600 gallery guide gallery Inferno Gallery, 4401 San Leandro St., #50, CA 95814; [email protected]; Mission Bell Dr., San Pablo CA 94806; 510-235- Oakland CA 94601; [email protected]; www.crockerartmuseum.org; 916-808-7000. Primarily 7800 ext.4801; contracosta.edu/legacycontent/Art/ www.infernogallery.com; 510-798-7637. Primarily exhibiting historical ceramics; functional works; EddieRhodesGallery/index.html. Primarily exhibiting exhibiting contemporary ceramics; functional and international ceramics ranging from Neolithic to contemporary ceramics; functional, sculptural, and sculptural works. contemporary; representing 20+ clay artists. figurative works. Pro Arts, 150 Frank H. Ogawa Plaza, Oakland G C R Ceramic Design, 114 E. Lobos Marinos2674, The Myers Gallery at Muddy’s Studio, 2610 S. Halladay CA 94612; [email protected]; 510-763- San Clemente CA 92674; [email protected]; St., Santa Ana CA 92705; [email protected]; 4361 www.proartsgallery.org. Primarily exhibiting gcrceramic.blogspot.com; 949-492-1381. Primarily www.muddysgallery.com; 714-641-4077. contemporary ceramics; functional, sculptural works. exhibiting contemporary ceramics; sculptural works. TAG Gallery, 2525 Michigan Ave., Santa Monica Beatrice Wood Center for the Arts, 8560 Ojai-Santa Mingei International Museum, Balboa Park, 1439 El CA 90404; [email protected]; www.taggallery.net; Paula Rd., Ojai CA 93023; www.beatricewood.com; Prado, San Diego CA 92101; [email protected]; 310-829-9556. Primarily exhibiting contemporary 805-646-3381; [email protected]. www.mingei.org; 619-239-0003. Primarily exhibiting ceramics; sculptural and figurative works. 2013 Primarily exhibiting contemporary and historical contemporary and historical ceramics. Frank Lloyd Gallery, 2525 Michigan Ave. B5B, ceramics; functional and sculptural works; San Diego Sculptors Guild and Gallery, 1770 CA 90404; [email protected]; permanent collection of Beatrice Wood works. Santa Monica Village Pl., Studio #36, San Diego CA 92101; www.franklloyd.com; 310-264-3866. Primarily

Massarella’s Firehouse Pottery, Gallery & Clay www.sandiegosculptorsguild.com; 619-238-0522; exhibiting contemporary ceramics; ceramics from Studio, 109 S. Montgomery St., Ojai CA 93023; [email protected]. Primarily exhibiting England, Japan, Mexico, the Netherlands, and US; 805-646-9453; [email protected]; contemporary ceramics; sculptural works; representing 30 clay artists. www.firehouse-pottery.com. Primarily exhibiting representing 8 clay artists. A New Leaf Gallery | Sculpturesite, contemporary ceramics; 23588 Arnold Dr. (Hwy 121), functional and sculptural works. Sonoma CA 95476; 707-933- Xiem Gallery, 1563 N. Lake 1300; [email protected]; Ave, Pasadena CA 91104; www.sculpturesite.com. Primarily [email protected]; exhibiting contemporary www.xiemclaycenter.com; 626- ceramics; sculptural and 794-5833. Primarily exhibiting figurative works. contemporary ceramics; LH Horton Jr Gallery, San Joaquin functional, sculptural, and Delta College, 5151 Pacific figurative works; established Ave., Stockton CA 95207; and emerging local artists. [email protected]; Earthsea Pottery, 1130 Pine gallery.deltacollege.edu.; 209- St., Paso Robles CA 93446; 954-5507. Primarily exhibiting [email protected]; contemporary ceramics; earthseapottery.com; 805- functional, sculptural, and 927-8447. Primarily exhibiting figurative works; representing contemporary ceramics; 200+ clay artists. functional and sculptural works; L.A. Louver, 45 N. Venice representing 2 clay artists. Blvd., Venice CA 90291; 310- American Museum of Ceramic 822-4955; [email protected]; Art, 399 North Garey Ave., www.lalouver.com. Pomona CA 91767; 909-865- 3146; [email protected]; Colorado www.amoca.org. Primarily exhib- Arvada Ceramic Arts Guild, 5870 iting historical and contemporary Olde Wadsworth Blvd., Arvada ceramics; functional and CO 80003; 303-423-0448; sculptural works; specializing [email protected]; in presenting, collecting, www.arvadaceramicarts.org. and preserving examples Primarily exhibiting contemporary of significant, world-wide ceramics; functional and ceramic achievements, from sculptural works; representing ancient times to the present; 20 clay artists. representing 20+ clay artists. Harvey Meadows Gallery, Armstrong’s Gallery, 150 E. 0133 Prospector Rd., Ste. 3rd St., CA 91766; Pomona Roy Strassberg’s blue teapot, 9½ in. (24 cm) in length, stoneware, matte glaze, fired in 4114A, Aspen CO 81611; [email protected]; reduction to cone 10, at Craft Alliance in the Delmar Loop in St. Louis, Missouri. [email protected]; www.armstronggallery.net; 909- www.harveymeadows.com; 623-6464. Primarily exhibiting 970-920-7721. Primarily exhibiting contemporary ceramics; fun- contemporary ceramics; functional, sculptural, and ctional and sculptural works; tea bowls and tea pots. Busacca Gallery, 2010 Hyde St., San Francisco CA 94109; [email protected]; 415-776- figurative works. Red Bluff Art Gallery, 601 Walnut St., Red Bluff 0104; www.busaccagallery.com. Primarily exhibiting Boulder Arts & Crafts Gallery, 1421 Pearl St., CA 96080; [email protected]; 530- historical and contemporary ceramics; functional, Boulder CO 80302; [email protected]; 529-1332; www.RedBluffArtGallery.com. Primarily sculptural, figurative, and installation works. www.boulderartsandcrafts.com; 303-443-3683. exhibiting contemporary ceramics; functional, Primarily exhibiting contemporary ceramics; sculptural, figurative, and installation works. de Young Museum, 50 Hagiwara Tea Garden Dr., San Francisco CA 94118; [email protected]; functional, sculptural, and figurative works; The Main Gallery, 1018 Main St., Redwood www.deyoung.famsf.org; 415-750-3600. Primarily contemporary American arts and crafts. City CA 94061; [email protected]; exhibiting contemporary and historical ceramics. Carbondale Clay Center, 135 Main St., www.themaingallery.org; 650-701-1018. Primarily CO 81623; [email protected]; exhibiting contemporary ceramics; functional, Museum of Craft and Folk Art, 51 Yerba Buena Carbondale Ln., San Francisco CA 94103; [email protected]; www.carbondaleclay.org; 970-963-2529. Primarily sculptural, and figurative works; representing 6 exhibiting contemporary ceramics; functional and clay artists. www.mocfa.org; 415-227-4888. Primarily exhibiting contemporary ceramics; traditional and culture- sculptural works; representing 25 clay artists. Richmond Art Center, 2540 Barrett Ave., specific ceramics; representing Mata Ortiz style Richmond Art Students League of Denver, 200 Grant St., Denver CA 94804; [email protected]; work with work by Mike Bianco, Andrew Dewit, Atelier CO 80203; 303-778-6990; [email protected]; www.therac.org; 510-620-6772. Primarily exhibiting Dion, Judy Hummel, Peggy Loudon, Lauren Marus, www.asld.org. Primarily exhibiting contemporary contemporary and historical ceramics; functional, Jan Schacter, Erik Scollon, and Nancy Urban. ceramics; functional, sculptural, and figurative works. sculptural, figurative, and installation works. Museum of Craft+Design, 2569 3rd St., Artists on Santa Fe Gallery & Studios, 747 Santa Fe Zask Gallery, 550 Deep Valley Dr., Ste. 151, CA 94107; [email protected]; Rolling San Francisco Dr., Denver CO 80204; [email protected]; Hills Estates CA 90274; [email protected]; www.sfmcd.org; 415-773-0303. Primarily exhibiting www.artistsonsantafe.com; 303-573-5903. Primarily www.pszaskgallery.com; 310-429-0973. Primarily contemporary ceramics. exhibiting contemporary ceramics; functional and exhibiting contemporary ceramics; sculptural, sculptural works; representing 13 clay artists. figurative, installation, and some functional works; Rena Bransten Gallery, 77 Geary St., San Francisco CA 94108; [email protected]; emphasis on ceramic art, sculpture and paintings Plinth Gallery, 3520 Brighton Blvd., Denver CO 80216; that explore the senses, issues and ideas of the www.renabranstengallery.com; 415-982-3292. Pri- [email protected]; www.plinthgallery.com; earth’s environment; representing 10 clay artists. marily exhibiting contemporary ceramics; installation 303-295-0717. Primarily exhibiting contemporary and figurative works; representing 7 clay artists. ceramics; functional and sculptural works. continued on page 70

66 october 2012 www.ceramicsmonthly.org Grounded - Bradley Keys and The Makings III November 2012 annual focus on ceramics Bradley Keys Tablelands Teapot, 2012 210 Bear Street Stoneware Banff, Alberta, Canada 9.5 x 6 x 9 (24 x 15 x 23 cm)

Gallery Artists: 403.762.2214 John Chalke RCA Barbara Tipton 1.866.859.2220 Les Manning Neil Liske [email protected] Ed Bamiling Robin Dupont www.willockandsaxgallery.com www.ceramicsmonthly.org octoberestate of 2012 Luke Lindoe RCA67 68 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 69 Spark Gallery, 900 Santa Fe Dr., Denver CO 80204; MIY Ceramics & Glass Studio, 723 S. 21 Ave., sculptural works; local clay artists, guest artists who www.sparkgallery.com; 720-889-2200. Primarily Hollywood FL 33020; [email protected]; come to give workshops and clay artists from the exhibiting contemporary ceramics; sculptural works. www.miyceramics.com; 954-927-7300. Primarily Northwest; representing 14 clay artists. exhibiting contemporary ceramics; functional and Vertigo Art Space, 960 Santa Fe Dr., Denver sculptural works. CO 80204; [email protected]; Illinois www.vertigoartspace.com; 303-573-8378. Primarily Honest Works Island Pottery Co., 928 B Truman Parkland College Art Gallery, 2400 W Bradley Ave, gallery guide gallery exhibiting contemporary ceramics; sculptural and Ave., Key West FL 33040; [email protected]; Champaign IL 61821; www.parkland.edu/gallery; installation works. www.keywestpottery.com; 419-308-9221. Primarily 217-351-2485. Primarily exhibiting contemporary exhibiting contemporary ceramics; functional works; ceramics; functional, sculptural, figurative, and The Evergreen Gallery, 28195 Hwy 74, Evergreen representing 2 clay artists. installation works. CO 80439; [email protected]; www.theevergreengallery.com; 303-674-4871. Ceramic League of Miami Gallery, 8873 SW 129th St., Ann Nathan Gallery, 212 W. Superior St., Chicago Primarily exhibiting contemporary ceramics; Miami FL 33176-5918; [email protected]; IL 60654; [email protected]; 312-664-6622; functional and sculptural works; Colorado ceramics. www.ceramicleaguemiami.org; 305-233-2404. www.annnathangallery.com. Primarily exhibiting Primarily exhibiting contemporary ceramics; contemporary ceramics. The Pottery Studio Gallery, 5739 S. Curtice St., Littleton functional, sculptural, fi gurative, and installation CO 80120; [email protected]; Douglas Dawson Gallery, 400 N. Morgan St., works; representing 20+ clay artists. Chicago thepotterystudiogallery.com; 303-738-2275. Primarily IL 60642; 312-226-7975; [email protected]; exhibiting contemporary ceramics; functional and Craftsman House Gallery, 2955 Central Ave., St. www.douglasdawson.com. Primarily exhibiting sculptural works; representing 20+ clay artists. Petersburg FL 33713; [email protected]; ancient and historical non-Western ceramics; 2013 www.craftsmanhousegallery.com; 727-323-2787. functional and figurative works; focus on pre- Shy Rabbit Contemporary Arts: Gallery, Studio & Primarily exhibiting contemporary ceramics; Columbian and African, also exhibiting ancient Workshops, 333 Bastille Dr., CO Pagosa Springs functional and sculptural works. Southeast Asian and Japanese ceramics. 81147; [email protected]; www.shyrabbit.com;

970-731-2766. Primarily exhibiting contemporary Florida Craftsmen Gallery, 501 Central Ave., St. Dubhe Carreño Gallery, 118 N. Peoria St. 2nd Fl., ceramics; functional and sculptural works. Petersburg FL 33701; info@fl oridacraftsmen.net; Chicago IL 60607; [email protected]; 727-821-7391; www.fl oridacraftsmen.net. Primarily www.dubhecarrenogallery.com; 312-666-3150. Anderson Ranch Arts Center, 5263 Owl Creek Rd., exhibiting contemporary ceramics; functional, Primarily exhibiting contemporary ceramics; CO 81615; 970-923-3181; Snowmass Village sculptural, fi gurative, and installation works; FL artists. functional and sculptural works. www.andersonranch.org; [email protected]. Primarily exhibiting contemporary ceramics. Mindy Solomon Gallery, 124 2nd Ave. NE, St. Lillstreet Art Center, 4401 N. Ravenswood Ave., Petersburg FL 33701; [email protected]; Chicago IL 60640; [email protected]; Connecticut www.mindysolomon.com; 727-502-0852. Primarily www.lillstreet.com; 773-769-4226. Primarily exhibiting contemporary ceramics; functional, sculptural, and Brookfield Craft Center, 286 Whisconier Rd., exhibiting contemporary ceramics; functional, sculptural, and fi gurative works. installation works; representing 20+ clay artists. Route 25, Brookfield CT 06804-0122; 203- 775-4526; [email protected]; Dixie Art Loft, 5911 South Dixie Hwy., West Perimeter Gallery, 210 W. Superior St., Chicago IL www.brookfi eldcraftcenter.org. Palm Beach FL 33405; [email protected]; 60654; [email protected]; www.perimetergallery.com; 312-266-9473. Primarily Creamery Gallery, Canton Clay Works llc., www.DixieArtLoft.com; 561-585-7744. Primarily exhibiting contemporary ceramics; sculptural works; exhibiting contemporary ceramics. 150 Cherry Brook Rd., Canton CT 06019; 860-693-1000; [email protected]; representing 15 clay artists. The Nevica Project, 5351 N. East River Rd., Unit #401, www.cantonclayworks.com. Primarily exhibiting Chicago IL 60656; [email protected]; contemporary ceramics. Georgia www.theNEVICAproject.com; 406-360-0164. Primarily Georgia Museum of Art, 90 Carlton St., GA exhibiting contemporary post war ceramics ceramics; Wesleyan Potters Gallery Shop, 350 S. Main St., Athens 30602; www.uga.edu/gamuseum; 706-542-4662. functional, sculptural, and fi gurative works; collectible CT 06457; [email protected]; Middletown Primarily exhibiting historical and contemporary ceramics from US, Japan, and Britian. www.wesleyanpotters.com; 860-347-5925. Primarily ceramics; sculptural and functional works. exhibiting contemporary ceramics; functional and Evanston Art Center, 2603 Sheridan Rd., Evanston sculptural works. The Gallery @ Good Dirt, 510B N. Thomas St., IL 60201; www.evanstonartcenter.org; 847-475- GA 30601; [email protected]; 5300. Primarily exhibiting contemporary ceramics; Greenleaf Pottery, 240 Chapel Rd., Athens South www.gooddirt.net; 706-355-3161. Primarily exhibiting functional and sculptural works. CT 06074; [email protected]; Windsor contemporary ceramics; functional and sculptural www.greenleafpottery.com; 860-528-6090. Primarily Neil Estrick Gallery, LLC, 888 E. Belvidere Rd., Ste. works; Georgia artists. exhibiting contemporary ceramics; functional works; 101, Grayslake IL 60030; [email protected]; stoneware pottery; representing 1 clay artist. Signature Contemporary Craft, 3267 Roswell Rd. www.neilestrickgallery.com; 847-223-1807. Primarily NE, Atlanta GA 30305; [email protected]; exhibiting contemporary ceramics; functional works. District of Columbia www.thesignatureshop.com; 404-237-4426. Primarily Robert T. Wright Gallery, College of Lake County, exhibiting contemporary ceramics; functional, Arthur M. Sackler Gallery, Smithsonian Institution, 19351 W. Washington St., Grayslake IL 60030; 847- 1050 Independence Ave. SW, DC 20013; sculptural, and fi gurative works; representing 20+ 543-2240; gallery.clcillinois.edu. Washington clay artists. 202-633-1000; [email protected]; www.asia.si.edu. Terra Incognito Studios and Gallery, 246 Chicago cross mackenzie ceramic arts, 2026 R St. NW, MudFire Clayworks & Gallery, 175 Laredo Dr., Decatur Ave., IL 60302; [email protected]; GA 30030; info@mudfi re.com; www.mudfi re.com; Oak Park Washington DC 20007; www.crossmackenzie.com; www.terraincognitostudios.com; 708-383-6228. [email protected]; 202-333-7970; 404-377-8033. Primarily exhibiting contemporary Primarily exhibiting contemporary ceramics; Primarily exhibiting contemporary ceramics. ceramics; functional works; contemporary studio functional and sculptural works. pottery with special focus on illustration, color, Freer Gallery of Art, Smithsonian Institution, Jefferson design, and narrative. Cinema Gallery, 120 W. Main St., Urbana IL 61801-2715; Dr. at 12th St., SW, Washington DC 20560; [email protected]; www.cinemagallery.cc; [email protected]; www.asia.si.edu; 202-633-1000. Goodyear Cottage Gallery, 321 N. Riverview Dr., 217-367-3711. Primarily exhibiting contemporary Jekyll Island GA 31527; 927-635-3920. ceramics; fi gurative works; Midwestern artists. International Arts and Artists, 9 Hillyer Ct. NW, The Hambidge Center for Creative Arts & Sciences, Washington DC 20008; artsandartists.org; ClaySpace, 28W210 Warrenville Rd., Warrenville [email protected]. 105 Hambidge Ct., Rabun Gap GA 30568; IL 60504; [email protected]; www.clayspace.net; [email protected]; www.hambidge.org; 706- 630-393-2529. Primarily exhibiting contemporary National Gallery of Art, Sixth St. and Constitution 746-7324. Primarily exhibiting contemporary ceramics; functional and sculptural works. Ave., NW, Washington DC 20565; [email protected]; ceramics; functional and sculptural works. www.nga.gov; 202-737-4215. Primarily exhibiting historical ceramics; functional and fi gurative, and Roswell Art Center West Gallery, 1355 Woodstock Rd., Indiana sculptural works; permanent display of French Roswell GA 30075; [email protected]; University Art Gallery, Indiana State University www.roswellclaycollective.com; 770-641-3990. and Italian Renaissance ceramics and Chinese Department of Art, Fine Arts 108, Terre Haute IN porcelains c. 1425–1750. Primarily exhibiting contemporary ceramics; 47809; [email protected]; 812-237-3720; functional, sculptural, and fi gurative works. www.indstate.edu/artgallery. Primarily exhibiting Renwick Gallery of the Smithsonian American contemporary ceramics. Art Museum, Pennsylvania Ave. at 17 St., NW, Folk Pottery Museum of Northeast Georgia, Sautee Nacoochee Center, 283 Hwy. 255 North, Washington DC 20006; [email protected]; www.americanart.si.edu; 202-633-1000. Primarily Sautee Nacoochee GA 30571; 706-878-3300; Iowa exhibiting contemporary and historical ceramics; www.folkpotterymuseum.com. Primarily exhibiting Luther College Fine Arts Collection, Preus Library, historical and contemporary ceramics; functional functional and sculptural works; American 700 College Dr., Decorah IA 52101; 563-387-1328; contemporary crafts and decorative arts. and sculptural works. [email protected]; fi nearts.luther.edu. Primarily Idaho exhibiting historical ceramics. Florida AKAR, 257 E. Iowa Ave., Iowa City IA 52240; 319-351- Clay and Paper, Gallery of Art, 362 Main St., The Art Spirit Gallery, 415 Sherman Ave., Coeur 1227; [email protected]; www.akardesign.com. ID 83814; [email protected]; Dunedin FL 34698; [email protected]; dʼAlene Primarily exhibiting contemporary ceramics; functional www.claypaper.com; 727-736-0934. Primarily www.theartspiritgallery.com; 208-765-6006. Primarily works; representing 20+ clay artists. exhibiting contemporary ceramics; functional and exhibiting contemporary ceramics; functional works; Iowa Artisans Gallery, 207 E. Washington St., representing 20 clay artists. sculptural works. Iowa City IA 52240; [email protected]; Charlie Cummings Gallery, 833 SW 5th Ave., Boulder Mountain Clay and Art Gallery, 491 Tenth St., www.iowa-artisans-gallery.com; 319-351-8686, A10, ID 83340; [email protected]; Gainesville FL 32601; [email protected]; Ketchum 877-439-6554. Primarily exhibiting functional works; www.claylink.com; 352-359-2015. Primarily exhibiting www.bouldermtnclay.com; 208 726 0773. Primarily permanent collection of contemporary American contemporary ceramics; functional works. exhibiting contemporary ceramics; functional and craft; representing 35 clay artists. continued on page 74

70 october 2012 www.ceramicsmonthly.org 450 Harrison Avenue (71 Thayer Street) , Boston, MA 02118 • 617.426.1950 • VesselsGallery.com

NOVEMBER 2 — DECEMBER 2, 2012

THE INTIMATE VESSELS OF SAKE An Exhibition of Contemporary Ceramic Sake Vessels from Japan and America www.ceramicsmonthly.org october 2012 71 16 HANDS FALL 2012 T4_Ceramics Monthly 8/24/12 11:30 AM Page 1 F all 2012

Floyd County in Southwest Virginia’s November Blue Ridge Mountains 23-25

Studio Tour

Silvie Granatelli

Josh Copus

Nan Rothwell Richard Hensley

Nick Joerling

David Crane

Laurie Shaman Donna Polseno

Bryce Brisco

Studio tour map and Ellen Shankin artist information at www.16hands.com Brad Warstler 72 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 73 University of Iowa Museum of Art, 1375 Highway Maine Pucker Gallery, 171 Newbury St., Boston MA 02116; One W., 1840 Studio Arts Bldg., Iowa City IA 52242; 617-267-9473; [email protected]; [email protected]; uima.uiowa.edu; 319-335-1727. Dowstudio Gallery, 19 Dow Rd., Deer Isle ME 04627; www.puckergallery.com. Primarily exhibiting historical Primarily exhibiting historical and contemporary [email protected]; www.dowstudiodeerisle.com; and contemporary ceramics; functional works; ceramics; functional, sculptural, and figurative 207-348-6498. Primarily exhibiting contemporary representing 18 clay artists. ceramics; functional and sculptural works; utilitarian works; contemporay American and European Society of Arts and Crafts, 175 Newbury St., ceramics; representing 20+ clay artists. ceramic work. Boston gallery guide gallery MA 02116; [email protected]; Campbell Steele Gallery, 1064 Seventh Ave., Richard Boyd Pottery, 15 Epps St., Peaks Island www.societyofcrafts.org; 617-266-1810. Primarily Marion IA 52302; [email protected]; ME 04108; [email protected]; 207-712-1097; exhibiting contemporary ceramics; functional and www.campbellsteele.com; 319-373-9211. Primarily www.richardboydpottery.com. Primarily exhibiting sculptural works. contemporary ceramics; functional and sculptural exhibiting contemporary ceramics; functional works; The Society of Arts and Crafts, 175 Newbury representing 15 clay artists. works; representing 2 clay artists. St., Boston MA 02116; [email protected]; Maine Potters Market, 376 Fore St., Portland ME www.craftboston.org; 617-266-1819. Primarily Kansas 04101; 207-774-1633; [email protected]; exhibiting contemporary ceramics; functional and The Dolphin Song, 102 S. Elm St., Gardner KS www.mainepottersmarket.com. Primarily exhibiting sculptural works; American artists; representing 66030; [email protected]; 913- contemporary ceramics; functional works; 60 clay artists. 856-7513; www.thedolphinsong.com. Primarily representing 14 clay artists. Vessels Gallery, 450 exhibiting contemporary Harrison Ave., #71, Boston

2013 ceramics; functional and MA 02118; 617-426-1950; sculptural works. [email protected]; Strecker-Nelson Gallery, 406 www.vesselsgallery.com. Poyntz Ave., Manhattan KS Primarily exhibiting cont- 66502-6039; 785-537-2099; emporary ceramics; func- [email protected]; www. tional, sculptural largely strecker-nelsongallery. in vessel shapes works; com. Primarily exhibiting emerging and established contemporary ceramics; ceramic artists from the functional, sculptural, fi gurative, US, Europe, and Asia; and installation works; representing 40 clay artists. representing 20+ clay artists. Fuller Craft Museum, 455 Alice C. Sabatini Gallery, Oak St., Brockton MA Topeka and Shawnee County 02301; 508-588-6000; Public Library, 1515 S.W. Tenth [email protected]; Ave., Topeka KS 66604; 785- www.fullercraft.org. Primarily 580-4515; [email protected]; exhibiting contemporary www.tscpl.org/gallery. Primarily ceramic work. exhibiting contemporary Mobilia Gallery, 358 Huron ceramics; functional, Ave., MA sculptural, and figurative Cambridge 02138; 617-876-2109l; works; American ceramics. [email protected]; ShiftSpace Gallery, Wichita www.mobilia-gallery.com. State University, 800 3rd Primarily exhibiting cont- St., Wichita KS 67202; emporary ceramics; scul- [email protected]; ptural and installation www.shiftspace.blogs.com. works; Contemporary The Secret Gallery, Wichita Gail Heidel’s Takings, 12 ft. (3.7 m) in length, ceramic, wood, wire rope, found ladder, cable work that displays brilliant Pottery, 300 N. Meridian ties, metal pipe, and fittings, at Clay Art Center, Port Chester, New York. technical skills and innovative use of materials; Ave., Wichita KS 67203; [email protected]; representing 7 clay artists. www.wichitapottery.com; 316-942-7075. Primarily St. George Pottery, 1012 River Rd., St. George ME Mudfl at Gallery, 36 White St, Porter Square Shopping exhibiting contemporary ceramics. 04860; 207-372-6464; [email protected]; Ctr., MA 02140; gallery@mudfl at.org; 617- www.stgeorgepottery.com. Primarily exhibiting Cambridge Wichita Pottery, 300 N. Meridian, KS 67203; 491-7976; www.mudfl at.org. Primarily exhibiting cont- Wichita contemporary ceramics; functional works; North emporary ceramics; functional and sculptural works. [email protected]; www.wichitapottery.com; American contemporary clay artists. 316-942-7075. Primarily exhibiting contemporary Lacoste Gallery, 25 Main St., Concord MA 01742; ceramics; functional, sculptural, and fi gurative works; Maryland [email protected]; www.lacostegallery.com; US artists; representing 4 clay artists. 978-369-0278. Primarily exhibiting contemporary Baltimore Clayworks, 5707 Smith Ave., Baltimore and historical ceramics; functional, sculptural, and MD 21209; [email protected]; installation works; contemporary ceramic art by Kentucky www.baltimoreclayworks.org; 410-578-1919 ext.18. internationally recognized artists including Danish Kentucky Artisan Center at Berea, 200 Artisan Way, Primarily exhibiting contemporary ceramics; and Japanese; representing 20+ clay artists. Berea KY 40403; [email protected]; 859-985- functional and sculptural works; representing 20+ 5448; www.kentuckyartisancenter.ky.gov. Primarily clay artists. Childs Studio Arts Gallery, 40 Railroad St., #3, Great exhibiting contemporary ceramics; functional, MA 01230; [email protected]; Waverly Street Gallery, 4600 East West Hwy., Barrington sculptural, and fi gurative works; representing 85 www.childsstudioarts.com; 413-429-1945. Primarily MD 20814; [email protected]; clay artists. Bethesda exhibiting historical and contemporary ceramics; www.waverlystreetgallery.com; 301-951-9441. functional and sculptural works; US artists. Kentucky Museum of Art and Craft, 715 W. Main St., Primarily exhibiting contemporary ceramics; Louisville KY 40202; [email protected]; functional and sculptural works. Juliet Rose Gallery and Studio, 191 Reimers Rd., www.kentuckyarts.org; 502-589-0102. Primarily MA 01057; [email protected]; Hood College, 401 Rosemont Ave., Monson exhibiting contemporary ceramics; representing Frederick www.julietrosegallery.net; 413-596-9741. Primarily MD 21701; 301-696-3456; [email protected]; 20 clay artists. exhibiting contemporary ceramics; African and www.hood.edu/academic/art/hodson. Primarily Jamaican ceramics; representing 2 clay artists. exhibiting contemporary ceramics; sculptural, Louisiana functional, fi gurative, and installation works. The Gallery at The Potters Shop and School, Gorse Pottery Alley, 625 B Garfi eld St.,Lafayette LA 70501; Mill Studios, 31 Thorpe Rd., MA 02494; Potters Guild of Baltimore, 3600 Clipper Mill Rd., Ste. Needham [email protected]; www.potteryalley.com; [email protected]; www.thepottersshop.com; 101, MD 21211; [email protected]; 337-267-4453. Primarily exhibiting contemporary Hampden 781-449-7687. Primarily exhibiting contemporary www.pottersguild.org; 410-325-4884. Primarily ceramics; functional, sculptural, and fi gurative works. ceramics; functional and sculptural works. exhibiting contemporary ceramics; functional, Sans Souci Fine Crafts Gallery, Louisiana Crafts sculptural, and figurative works; Ceramics by Pinch, 179 Main St., Northampton MA 01060; Guild, 219 E. Vermilion St., Lafayette LA 70501; Maryland artists; representing 20+ clay artists. [email protected]; www.pinchgallery.com; [email protected]; www.louisianacraftsguild.org; 413-586-4509. Primarily exhibiting contemporary Joyce Michaud Gallery, 6512B Putman Rd., 337-266-7999. Primarily exhibiting contemporary ceramics; functional works. and historical ceramics. Thurmont MD 21788; [email protected]; www.JoyceMichaudGallery.com; 301-696-3526. The Artisan Gallery, 162 Main St., Northampton Carol Robinson Gallery, 840 Napolean Ave., New Primarily exhibiting contemporary ceramics; MA 01060; [email protected]; 413- Orleans LA 70115; [email protected]; functional and sculptural works. 586-1942; www.theartisangallery.com. Primarily www.carolrobinsongallery.com; 504-895-6130. exhibiting contemporary ceramics; functional and Primarily exhibiting contemporary ceramics. Massachusetts sculptural works. Newcomb Art Gallery at Tulane University, Keiko Gallery, 121 Charles St., Boston MA 02114; Ferrin Gallery, 437 North St., Pittsfi eld MA 01201; Woldenberg Art Center, New Orleans LA 70118; [email protected]; www.keikogallery.com; [email protected]; FerrinGallery.com; 413-442- 504-865-5328; www.newcombartgallery.tulane.edu; 617-725-2888. Primarily exhibiting contemporary 1622. Primarily exhibiting contemporary ceramics; [email protected]. Primarily exhibiting historical ceramics; functional, sculptural, and figurative functional, sculptural, and fi gurative works. ceramics; functional works; Newcomb pottery. works; contemporary Japanese ceramic sculpture and functional pieces. continued on page 78

74 october 2012 www.ceramicsmonthly.org [email protected] [email protected] Art Gallery Design Studios 15216 Grove Road ARCHITECTURAL CERAMICS Port Washington Ohio 43837 ph 740-498-4303 (Gallery is Open by Appointment Only.) www.RadcaMcMahonCeramicArtGallery.com

Tuscany, Italy in 2013 Join Ceramic Artists Tom Radca & Brenda McMahon for their 14-day Throwing, Saggar Firing and Tile Making Workshop at La Meridiana School of Ceramics in Certaldo, Italy. For the first time ever, Brenda & Tom are expanding their popular ‘Throwing Large & Saggar Firing’ workshop to include tile making in Italy. You don’t need extra large kilns to get ‘big’ when you work with tiles & no clay experience is necessary. Come to Tuscany in 2013, get inspired by the land & let your imagination run wild. Oct. 6, 2013 thru Oct. 19th, 2013 Visit our websites for more information or to register. www.TomRadca.com & www.BrendaMcMahon.com 740.498.4303 518.692.7742

www.ceramicsmonthly.org october 2012 75 40 Beech Street Port Chester NY 10573 914.937.2047 www.clayartcenter.org

UNEARTH YOUR CREATIVITY

The Clay Art Center, founded in 1957 by Katherine Choy and Henry Okamoto, is a nationally recognized non-profit center for the advancement of the ceramic arts. Its facilities are unique in the tri-state area of New York, providing artists with studio space, offering classes to adults and children, rotating exhibitions of emerging, mid-career and established artists and a Shop featuring handmade one-of-kind works by CAC artists and invited guest artists. Its mission is to encourage the growth of the ceramic SUSAN BEINER arts for its artist members, students and the local community.

THE SHOP AT EXHIBITION: WORKSHOP: CLAY ART CENTER SUSAN BEINER: ORGANIC DISSOLUTION SYNTHETIC REALITY: Altering Nature with Susan Beiner HOURS: October 13 – November 21, 2012 Saturday, October 13, 10am – 5pm Visit www.clayartcenter.org to register Monday – Saturday, 10am – 4pm All exhibitions can be seen on our website! and by appointment Come experience the SHOP at CAC, A Look Ahead: featuring handmade, one-of-a-kind OPENING RECEPTION: CLAY-HOLIDAY: Annual Studio Sale clay art by CAC artists and guest Saturday, October 13, 6-8pm November 29 - December 22, 2012 artists from across the United States DUETS: National Invitational Exhibition of Pairings of Pots January 12 - February 23, 2012

76 october 2012 www.ceramicsmonthly.org ClassesWorkshopsExhibitionsShopClassesWorkshopsExhibitionsShop SantaFeClayCeramicsMonthlyFinals:Ceramics Monthly 8/21/12 4:31 PM Page 1

SANTA FE CLAY CONTEMPORARY CERAMICS

545 Camino de la Familia, Santa Fe, NM 87501 phone 505.984.1122 www.santafeclay.com

www.ceramicsmonthly.org october 2012 77 Clever Hand Gallery, 52 Central St., Wellesley sculptural, figurative, and installations works; North www.lafayetteclayworks.com; 973-948-3987. Primarily MA 02482; 781-235-3272; [email protected]; American ceramics. exhibiting contemporary ceramics; functional works; www.cleverhandgallery.com. Primarily exhibiting representing 3 clay artists. Natchez Clay, 101 Clifton Ave., Natchez MS 39120; contemporary ceramics; functional works; [email protected]; www.natchezclay.com; The Hunterdon Art Museum, 7 Lower Center St., representing 6 clay artists. 601-807-9797, 601-660-2375. Primarily exhibiting Clinton NJ 08809; [email protected]; The Krikorian Gallery, Worcester Center for contemporary ceramics; functional works. www.hunterdonartmuseum.org; 908-735-8415. gallery guide gallery Crafts, 25 Sagamore Rd., Worcester MA 01605; Primarily exhibiting contemporary ceramics. 508-753-8183; [email protected]; Missouri The Art School at Old Church and Mikhail Zakin www.worcestercraftcenter.org. Primarily exhibiting Centered Earth Gallery @ KC Clay Guild, 200 W. Gallery, 561 Piermont Rd., NJ 07627; contemporary ceramics. Demarest 74th St., Kansas City MO 64114; 816-363-1373; [email protected]; www.tasoc.org; 201-767-7160. [email protected]; www.kcclayguild.org. Primarily exhibiting contemporary ceramics. Michigan Primarily exhibiting contemporary ceramics; functional, Laplaca Pottery Works, 1002 A Trenton Ave., Betsy Ratzsch Pottery, 584 Ada Dr., MI sculptural, figurative, and installation works. Ada NJ 08742; [email protected]; 49301; [email protected]; 616-682- Point Pleasant Off Center Gallery @ KC Clay Guild, 200 W. 74th www.laplacapottery.com; 732-861-2276. Primarily 0266; www.betsyrpottery.com. Primarily exhibiting St., MO 64114; www.kcclayguild.org; exhibiting historical and contemporary ceramics; contemporary ceramics; functional, sculptural, and Kansas City 816-363-1373. Primarily exhibiting contemporary functional works. figurative works; American handcrafted work by ceramics; functional, sculptural, and figurative works. contemporary artisan/craftmakers; representing m.t. burton gallery, 1819 N. Long Beach Blvd.,

2013 15 clay artists. Red Star Studios, 2100 Walnut St., Kansas Surf City NJ 08008; [email protected]; MO 64108; [email protected]; www.mtburtongallery.com; 609-494-0006. Primarily Clay Gallery, 335 S. Main St., MI 48104; City Ann Arbor www.redstarstudios.org; 816-474-7316. Primarily exhibiting contemporary ceramics; functional, [email protected]; www.claygallery.org; exhibiting contemporary ceramics; functional, sculptural, figurative, and installation works; 734-662-7927. Primarily exhibiting contemporary

sculptural, figurative, and installation works; representing 20+ clay artists. ceramics; functional, sculptural, and figurative representing 20+ clay artists. works; Michigan and the Midwest; representing Trenton City Museum, Ellarslie Mansion, 20+ clay artists. Sherry Leedy Contemporary Art, 2004 Baltimore Ave., Cadwalader Park, Parkside Ave., Trenton NJ 08606; MO 64108; www.sherryleedy.com; 816- [email protected]; 609-989-1191; www.ellarslie.org. Cranbrook Art Museum, 39221 Woodward Kansas City 221-2626; [email protected]. Primarily Primarily exhibiting historical and contemporary Ave., MI 48303-0801; 248- Bloomfield Hills exhibiting contemporary ceramics; sculptural works; ceramics; commercial pottery; permanent collection 645-3300; www.cranbrookart.edu/museum; representing 10 clay artists. including Trenton Belleek, Boehm, Ceramic Arts [email protected]. Primarily exhibiting Company, Cybis, Lenox, Maddock, Mercer Pottery, contemporary ceramics. Daum Museum of Contemporary Art, State Fair Community College, 3201 W. 16th St., Ott & Brewer, Scammel, Stangl, and Willets; River Gallery, 120 S. Main, MI 48118; representing 1 clay artist. Chelsea Sedalia MO 65301; [email protected]; 734-433-0826; [email protected]; www.daummuseum.org; 660-530-5888. Primarily www.chelsearivergallery.com. Primarily exhibiting exhibiting contemporary ceramics. New Mexico contemporary ceramics. Craft Alliance Delmar Loop Gallery, 6640 Delmar Blvd., Mariposa Gallery, 3500 Central Ave. SE, Albuquerque Pewabic Pottery, 10125 E. Jefferson Ave., NM 87106; [email protected]; 505- Detroit St. Louis MO 63130; [email protected]; MI 48214; [email protected]; www.pewabic.org; www.craftalliance.org; 314-725-1177. Primarily 268-6828; www.mariposa-gallery.com. Primarily 313-626-2000. Primarily exhibiting contemporary exhibiting contemporary ceramics; sculptural, exhibiting contemporary ceramics; functional and ceramics; functional works. functional, and figurative works. sculptural works; New Mexico artists. Mackerel Sky Gallery, 211 MAC Ave., East Craft Alliance Grand Center Gallery, The Kranzberg The Fisher Gallery, 1620 Central Ave., SE, MI 48823; [email protected]; NM 87106; [email protected]; Lansing Arts Center, 501 N. Grand Blvd., St. Louis MO 63103; Albuquerque www.mackerelsky.com; 517-351-2211. Primarily [email protected]; www.craftalliance.org; www.artscrawlabq.org; 505-247-1529. Primarily exhibiting contemporary ceramics; representing 314-534-7528. Primarily exhibiting contemporary ceramics. exhibiting contemporary ceramics; functional, 25 clay artists. sculptural, and figurative works. Duane Reed Gallery, 4729 McPherson Ave., St. Louis Khnemu Studio, 6322 113th Ave., Fennville MI 49408; MO 63108-1918; [email protected]; 314- RottenStone Gallery, 486 SR 150, Arroyo Seco NM [email protected]; www.khnemustudio.com; 361-4100; www.duanereedgallery.com. Primarily 87514; [email protected]; 575-776- 269-236-9260. Primarily exhibiting contemporary exhibiting contemporary ceramics; sculptural works. 1042. Primarily exhibiting contemporary ceramics; ceramics; functional, sculptural, and figurative functional, sculptural, and figurative works; wood- works; representing 20+ clay artists. Montana fired work. Buckham Gallery, 134 1/2 W. Second St., Flint MI Archie Bray Foundation for the Ceramic Arts, 2915 Rift Gallery, 2249 Highway 68, Rinconada, New 48502; [email protected]; 810-239- Mexico, NM 87527; [email protected]; 505- Country Club Ave., Helena MT 59602; 406-443- Dixon 6233; www.buckhamgallery.org. Primarily exhibiting 3502; [email protected]; www.archiebray.org. 579-9179; www.riftgallery.com. Primarily exhibiting contemporary ceramics. Primarily exhibiting historical and contemporary contemporary ceramics; functional, sculptural, figurative, and installation works; regional artists. Schaller Gallery, 210 State St., St. Joseph MI ceramics; functional, sculptural, figurative, and 49085; [email protected]; 269-983-7404; installation works; representing 20+ clay artists. Wannamaker Gallery, 1208 Paseo Del Pueblo Norte, www.schallergallery.com. The Clay Studio of Missoula, 1106 Unit A El Prado NM 87529; [email protected]; 575- 770-4334; www.loganwannamaker.com. Primarily Hawthorne St., Missoula MT 59802; 406-543- Minnesota 0509; [email protected]; exhibiting contemporary ceramics; functional works. Tweed Museum of Art, University of Minnesota www.theclaystudioofmissoula.org. Primarily exhibiting Bellas Artes, 653 Canyon Rd., Santa Fe NM Duluth, 1201 Ordean Ct., Duluth MN 55812; 218- contemporary ceramics; functional, sculptural, and 87501; [email protected]; 505-983-2745; 726-8222; [email protected]; www.d.umn.edu/tma. figurative works. www.bellasartesgallery.com. Primarily exhibiting Primarily exhibiting historical and contemporary Red Lodge Clay Center, 123 S. Broadway, contemporary ceramics. ceramics; Glenn C. Nelson Collection of ceramics. Red Lodge MT 59068; [email protected]; 406- Blue Rain Gallery, 130 Lincoln Ave., Santa Fe NM Northern Clay Center, 2424 Franklin Ave. E, 446-3993; www.redlodgeclaycenter.com. Primarily 87501; [email protected]; 505-954-9902; Minneapolis MN 55406; 612-339-8007; nccinfo@ exhibiting contemporary ceramics; functional and www.blueraingallery.com. Primarily exhibiting northernclaycenter.org; www.northernclaycenter.org. sculptural works; representing 80 clay artists. contemporary ceramics; sculptural and figurative Primarily exhibiting historical and contemporary works; native American art and contemporary non- ceramics; functional, sculptural, figurative, and Nebraska native Southwest art. installation works; representing 55–60 clay artists. Cooper Studio & Gallery, 1526 Silver St., Ashland Clark + Del Vecchio, 223 N. Guadalupe #274, Fired Up Studios, 1701 E. Hennepin Ave., Minneapolis NE 68003-1848; [email protected]; Santa Fe NM 87501; [email protected]; MN 55414; 612-852-2787; [email protected]; www.merchantcircle.com/business/Cooper.Studio. www.garthclark.com; 917-318-0768. www.firedupstudios.com. Primarily exhibiting And.Gallery; 402-944-2022. Primarily exhibiting Jane Sauer Gallery, 652 Canyon Rd., contemporary ceramics; functional works; work contemporary ceramics; functional, sculptural, and Santa Fe NM 87501-2722; [email protected]; 505-995- made by member artists; representing 40 clay artists. figurative works; representing 3 clay artists. 8513; www.jsauergallery.com. Primarily exhibiting The Grand Hand Gallery, 619 Grand Ave., St. Paul LUX Center for the Arts, 2601 N. 48th St., Lincoln contemporary ceramics; sculptural works. MN 55102; [email protected]; 651-312- NE 68504; [email protected]; www.luxcenter.org; Patina Gallery, 131 W. Palace Ave., NM 1122; www.thegrandhand.com. Primarily exhibiting 402-466-8692. Primarily exhibiting contemporary Santa Fe 87501; 505-986-3432; [email protected]; contemporary ceramics; functional works; Asian- ceramics; functional, sculptural, figurative, and www.patina-gallery.com. influenced American-made ceramics; representing installation works; representing 20+ clay artists. 40 clay artists. Robert Nichols Gallery, 419 Canyon Rd., Santa Fe Nevada NM 87501; [email protected]; 505- Mississippi Pottery West, 5026 N. Pioneer Way, 982-2145; www.robertnicholsgallery.com. Primarily Las Vegas exhibiting contemporary ceramics; sculptural works; Ohr-O’Keefe Museum of Art, 386 Beach Blvd., MS NV 89149; [email protected]; 702-685- Biloxi Southwestern US native American pottery. 39530; [email protected]; www.georgeohr.org; 7573; www.potterywest.com. Primarily exhibiting 228-374-5547. Primarily exhibiting historical and contemporary ceramics; functional, sculptural, and Santa Fe Clay, 545 Camino de la Familia, Santa Fe NM contemporary ceramics; sculptural works. figurative works. 87501; [email protected]; www.santafeclay.com; 505-984-1122. Primarily exhibiting contemporary Conner Burns Studio and Gallery, 209 Franklin ceramics; functional, sculptural, figurative, and St., MS 39120; [email protected]; New Jersey Natchez installation works; contemporary American ceramics; www.connerburns.com; 601-446-6334. Primarily Lafayette Clayworks, 22 Wantage Ave., PO Box 289, representing 20+ clay artists. exhibiting contemporary ceramics; functional, Branchville NJ 07826; [email protected]; continued on page 82

78 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 79 5731 Beach Blvd., 201 Buena Park, CA 90621 714.521.5700 www.lynnjgallery.com

www.patrickshiacrabb.com Bottle Form: Untitled (Shard Bottle Series) Dimensions: 29”h x 10”d x 7”w Wheel Image Transfer/Oxidation/ Construction: Raku/Slip Resist firings

80 october 2012 www.ceramicsmonthly.org representing local and national artists including:

ken baskin, sCott bennett, susie bowMan, MaR y louise CaR teR, Fong Choo, MaR ia DonDeRo, estella FRansbeRgen, annette gates, ChRis gReenMan, ChRis gRyDeR, ChRis gustin, RiCk hiRsCh, beRtiCe MCPheRson, bRanan MeRCeR, sCott MeyeR, Ron Meye Rs, sebastian Moh, Ronan Pete Rson, s t u d i o & g a l l e r y loRi PhilliP s, aMy s anDeRs, ChaR les sMith, anD ChuC k s olbeRg.

Fong Choo Ron MeyeRs estella FRansbeRgen

beRtiCe MCPheRson sebastian Moh bRanan MeRCeR

loRi PhilliPs MaRy louise CaRteR ChuCk solbeRg

for information about our weekly adult classes & guest artist workshops visit www.thekilnstudio.com

251-517-5460 • THEKILNSTUDIO.COM • 60 N.Section Street,www.ceramicsmonthly.org Fairhop october 2012e, AL81 The William & Joseph Gallery, 727 Canyon Rd., Santa Fe exhibiting contemporary ceramics; sculptural and contemporary ceramics; functional, sculptural, NM 87501; [email protected]; figurative works; representing 15+ clay artists. figurative, and installation works; representing 60 clay artists. www.thewilliamandjosephgallery.com; 505-982- Meulensteen, 511 W. 22nd St., NY 9404. Primarily exhibiting contemporary ceramics; New York 10011-1109; [email protected]; 212-633- Art Sites LLC, 651 W. Main St., Riverhead NY 11901; sculptural works. 6999; www.meulensteen.com. Primarily exhibiting [email protected]; www.artsitesgallery.com; 631- Touching Stone Gallery, 539 Old Santa Fe Trail, contemporary ceramic 591-2402. Primarily exhibiting contemporary ceramics. gallery guide gallery NM 87505; [email protected]; Santa Fe Mugi Studio, 993 Amsterdam Ave., New York Firehouse Gallery, 713 Monroe Ave., Rochester NY www.touchingstone.com; 505-988-8072. Primarily NY 10025; [email protected]; 212-866- 14607; [email protected]; 585-271-5183; exhibiting contemporary and historical ceramics; 6202; www.mugipottery.com. Primarily exhibiting www.geneseearts.org. Primarily exhibiting cont- functional and sculptural works; Japanese ceramics contemporary ceramics; functional works; emporary ceramics; functional and sculptural works. by contemporary artists from major pottery centers representing 15 clay artists. in Japan; representing 25 clay artists. Imagine That, 38 E. Genesee St, Skaneateles Museum of Arts and Design, 2 Columbus Cir., New NY 13152; [email protected]; New York York NY 10019; [email protected]; 212-299- www.imagineskaneateles.com; 315-685-6263. 7777; www.madmuseum.org. Primarily exhibiting Primarily exhibiting contemporary ceramics; The Schein-Joseph International Museum of Ceramic contemporary ceramics; international ceramics. functional and sculptural works. Art, NY State College of Ceramics at Alfred University, Alfred NY 14802; [email protected]; Nancy Margolis Gallery, 523 W. 25th St., Everson Museum of Art, 401 Harrison St., Syracuse ceramicsmuseum.alfred.edu/; 607-871-2421. Primarily Ground Floor, New York NY 10001; 212-242- NY 13202; [email protected]; www.everson.org;

2013 exhibiting contemporary and historical ceramics. 3013; [email protected]; 315-474-6064. www.nancymargolisgallery.com. Primarily exhibiting Gloria Kennedy Gallery, 28 Old Fulton St., Brooklyn Celadon Clay Art Gallery, 41 Old Mill Rd., Water contemporary ceramics; American, Asian, and NY 11963; [email protected]; NY 11201; [email protected]; www.gkgart.com; European artists. Mill 718-858-3346. Primarily exhibiting www.hamptonsclayart.org; 631-726-2547. Primarily contemporary ceramics. exhibiting contemporary ceramics; functional works. Chameleon Gallery, 53 Albany St., Cazenovia NY 13035; Portage Hill Art Gallery, 6439 South [email protected]; Portage Rd., Westfield NY 14787; www.chameleongallery.net; 315- www.portagehillgallery.com; 655-3444. Primarily exhibiting audrey.donald.dowling@gmail. contemporary ceramics; functional com; 716-326-4478. Primarily and sculptural works. exhibiting contemporary ceramics; functional, sculptural, Gandee Gallery, 7846 Main St., and figurative works; representing Fabius NY 13063; 315-416- 1 clay artist. 6339; [email protected]; www.gandeegallery.com. North Carolina gallery gen, 47-09 36th St., Long American Folk Art & Framing, NY 11101; 718-392- Island City 64 Biltmore Ave., Asheville NC 7717; [email protected]; 28801; www.amerifolk.com; 828- www.gallerygen.com. Primarily 281-2134; [email protected]. exhibiting contemporary ceramics; Primarily exhibiting contemporary functional and sculptural works. ceramics; functional and Barry Friedman Ltd., 515 W. figurative works; functional, 26th St., New York NY 10001; wood-fired, and locally hand- [email protected]; dug clay work. www.barryfriedmanltd.com; 212 Bella Vista Art Gallery, 14 239-8600. Primarily exhibiting Lodge St., Asheville NC 28803; contemporary ceramics; [email protected]; 828- functional, sculptural, and 768-0246; www.BellaVistaArt.com. figurative works. Primarily exhibiting contemporary Cheim & Read, 547 W. 25th St., ceramics; sculptural and New York NY 10001; 212-242- figurative works; raku work; 7727; [email protected]; representing 8 clay artists. www.cheimread.com. Primarily Blue Spiral 1, 38 Biltmore Ave., exhibiting contemporary ceramics; Asheville NC 28801; 828-251- functional and sculptural works. 0202; [email protected]; Claire Oliver Gallery, 513 W. 26th www.bluespiral1.com. Primarily St., New York NY 10001; 212- exhibiting contemporary 929-5949; [email protected]; ceramics; functional works. Becky and Steve Lloyd’s jar, 8½ in. (22 cm) in height, carved porcelain, at the Ohio www.claireoliver.com. Primarily Odyssey Gallery, 236 Clingman exhibiting contemporary ceramics; Craft Museum, Columbus, Ohio. Photo: Craig Clark. Ave., Asheville NC 28801; sculptural works; representing 1 [email protected]; clay artist. Sara Japanese Pottery, 950 Lexington Ave., New York 828-285-0210; www.OdysseyCeramicArts.com. NY 10021; [email protected]; www.saranyc.com; Cocobolo Gallery, 195 Chrystie St. 402D, New York Primarily exhibiting contemporary ceramics; fun- NY 10002; [email protected]; 917-847- 212-772-3243. Primarily exhibiting contemporary ctional, sculptural, and figurative works. ceramics; functional and sculptural works. 7846; www.cocobolodesign.com. Primarily exhibiting Crimson Laurel Gallery, 23 Crimson Laurel Way, contemporary ceramics; sculptural and installation The Asia Society, 725 Park Ave., NY 10021; New York Bakersville NC 28705; [email protected]; works; contemporary American ceramics. [email protected]; www.asiasociety.org; 212-288- www.crimsonlaurelgallery.com; 828-688-3599. 6400. Primarily exhibiting contemporary and historical Dai Ichi Arts, Ltd., by appt. only, New York NY Primarily exhibiting contemporary ceramics; 10019; [email protected]; www.daiichiarts.com; ceramics; East and Southeast Asian ceramics. functional works; studio ceramics; representing 212-230-1680. Primarily exhibiting contemporary Flat Iron Gallery, Inc., 105 S. Division St., Peekskill NY 175+ clay artists. ceramics; Japanese and Chinese ceramics from 10566; [email protected]; flatiron.qpg.com; Burnsville Gallery, Toe River Arts Council, 102 Main the 20th and 21st century. 914-734-1894. Primarily exhibiting contemporary St., Burnsville NC 28714; [email protected]; ceramics; figurative and functional works. Greenwich House Pottery, 16 Jones St., New www.toeriverarts.org; 828-682-7215. Primarily York NY 10014; [email protected]; Hudson Valley Center for Contemporary Art, 1701 Main exhibiting historical and contemporary ceramics; www.greenwichhouse.org; 212-242-4106. Primarily St., Peekskill NY 10566; 914-788-0100; [email protected]; functional, sculptural, and figurative works; exhibiting contemporary ceramics; functional, www.hvcca.org. Primarily exhibiting contemporary representing 20+ clay artists. sculptural, figurative, and installation works. ceramics; sculptural and installation works. Frank Gallery, 109 E. Franklin St., Chapel Hill NC Jane Hartsook Gallery @ Greenwich House New Prospect Pottery, 2646 New Prospect Rd., Pine 27514; [email protected]; www.frankisart.com; Pottery, 16 Jones St., New York NY 10014; 212- Bush NY 12566; [email protected]; 919-636-4135. Primarily exhibiting contemporary 242-4106; www.greenwichhousepottery.org; www.newprospectpottery.com; 845-744-6787. ceramics; functional, sculptural, installation, and [email protected]. Primarily exhibiting Primarily exhibiting contemporary ceramics; functional figurative works. historical and contemporary ceramics; functional, works; wood-fired and salt-glazed ceramics. Lark & Key Gallery, 128 E. Park Ave., Ste. B, sculptural, figurative, and installation works. Clay Art Center, 40 Beech St., Port Chester NY 10573; Charlotte NC 28203; [email protected]; Joan B. Mirviss Ltd., 39 E. 78th St., 4th Fl., New York [email protected]; www.clayartcenter.org; www.larkandkey.com; 704-334-4616. Primarily NY 10075; [email protected]; www.mirviss.com; 914-937-2047. Primarily exhibiting contemporary exhibiting contemporary ceramics; functional and 212-799-4021. Primarily exhibiting contemporary ceramics; functional, sculptural, figurative, and sculptural works; representing 15 clay artists. ceramics; functional and sculptural works. installation works; representing 130+ clay artists. Mint Museum of Art, 2730 Randolph Rd., Charlotte Loveed Fine Arts, 575 Madison Ave., Ste. 1006, The SHOP at CAC, 40 Beech St., Port Chester NC 28207; [email protected]; New York NY 10022; [email protected]; NY 10573; [email protected]; 914-937- www.mintmuseum.org; 704-337-2000. www.loveedfinearts.com; 212-605-0591. Primarily 2047; www.clayartcenter.org. Primarily exhibiting continued on page 86

82 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 83 84 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 85 Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor Clayspace Gallery 831, 831 S. Front St., Columbus www.oldholleypottery.com; 541-409-1039. Primarily NC 27522; [email protected]; OH 43206; [email protected]; exhibiting contemporary ceramics; functional and www.cedarcreekgallery.com; 919-528-1041. Primarily www.clayspace831.com; 614-449-8144. Primarily sculptural works; rustic stoneware and earthenware. exhibiting contemporary and historical ceramics; exhibiting contemporary ceramics; functional, functional, sculptural, and figurative works. sculptural, figurative, and installation works; Pennsylvania representing 20 clay artists. Claymakers, 705 Foster St., Durham NC 27701; Historic Yellow Springs & Chester Springs Studio, gallery guide gallery [email protected]; www.claymakers.org; 919- Muse Gallery, 188 E. Whittier St., Columbus OH 1685 Art School Rd., Chester Springs PA 19425; 530-8355. Primarily exhibiting contemporary 43206; [email protected]; 614-565-8813; [email protected]; www.yellowsprings.org; ceramics; functional and sculptural works; www.amusegallery.com. Primarily exhibiting 610-827-7414. Primarily exhibiting contemporary representing 30+ clay artists. contemporary ceramics; sculptural and figurative ceramics; functional and sculptural works. works; mid-career contemporary; representing 5 Hand in Hand Gallery, Inc., 2720 Greenville Hwy., Bruce Gallery, Edinboro, Douceite Hall, 215 Meadville clay artists. Flat Rock NC 28731; [email protected]; St., Edinboro PA 16444; [email protected]; www.handinhandgallery.com; 828-697-7719. Ohio Craft Museum, 1665 W. Fifth Ave., Columbus www.brucegallery.org; 814-732-2513. Primarily Primarily exhibiting contemporary ceramics; OH 43212; [email protected]; www.ohiocraft.org; exhibiting contemporary ceramics. functional, sculptural, and figurative works; functional 614-486-4402. Primarily exhibiting contemporary Allen Stoneware Gallery, 2602 W. 8th St., Erie PA work by Western NC potters. and historical ceramics; sculptural, functional, 16505; [email protected]; 814-836- figurative, and installational works. The Bascom, A Center for the Visual Arts, 323 Frankllin 0345; www.allenstonewaregallery.com. Primarily Rd, Highlands NC 28741; [email protected]; Sherrie Gallerie, 694 N. High St., Columbus exhibiting contemporary ceramics; functional, 2013 www.thebascom.org; 828-526-4949. OH 43215; [email protected]; sculptural, and figurative works. www.sherriegallerie.com; 614-221-8580. Primarily Gregg Museum of Art and Design, 2610 Cates Ave., WheelHouse Pottery & Fine Arts Gallery, exhibiting contemporary ceramics. Rm. 3302, Tallery Student Center, NC State University, 1259 Liberty St., Franklin PA 16323;

Raleigh NC 27695-7306; [email protected]; The Museum Of Ceramics, 400 E. Fifth St., East [email protected]; 814-657-1345. www.ncsu.edu/gregg; 919-515-3503. Primarily Liverpool OH 43920; 330-386-6001 or 1-800- Primarily exhibiting contemporary ceramics; exhibiting contemporary and historical ceramics; 600-7180; [email protected]; functional and sculptural works; arts & crafts style North Carolina and regional ceramic artists. www.TheMuseumOfCeramics.org. Primarily exhibiting lamps and votives; representing 7 clay artists. historical and contemporary ceramics; functional Waterworks Visual Arts Center, 123 E. Liberty St., Bridgette Mayer Gallery, 709 Walnut St., and figurative works. Philadelphia Salisbury NC 28144; [email protected]; 704- PA 19106; [email protected]; 636-1882; www.waterworks.org. Primarily exhibiting Starbrick Gallery, 21 W. Columbus St., Nelsonville www.bridgettemayergallery.com; 215-413-8893. contemporary ceramics; American ceramics. OH 45764; [email protected]; www.starbrick.com; Primarily exhibiting contemporary ceramics; 740-753-1011. Primarily exhibiting contemporary sculptural works. North Carolina Pottery Center, 233 East Ave., ceramics; sculptural, functional, and figurative NC 27341; [email protected]; Fleisher/Ollman Gallery, 1616 Walnut St., Ste. 100, Seagrove works; regional and national ceramics. www.ncpotterycenter.com; 336-873-8430. Primarily Philadelphia PA 19103; www.fleisherollman.com; exhibiting contemporary and historical ceramics; Cowan Pottery Museum at Rocky River Public 215-545-7562; [email protected]. North Carolina and native American pottery. Library, 1600 Hampton Rd., Rocky River OH Primarily exhibiting historical and contemporary 44116-2699; [email protected]; www.rrpl.org; ceramics; sculptural and installation works; Art on Depot: A Studio & Gallery, 250 Depot St., 440-333-7610 x3763. Primarily exhibiting historical representing 10 clay artists. NC 28786; [email protected]; Waynesville ceramics; functional, sculptural, figurative, and www.artondepot.com; 828-246-0218. Primarily Institute of Contemporary Art, University of installation works. exhibiting contemporary ceramics; functional, Pennsylvania, 118 South 36th St., Philadelphia PA sculptural, figurative, and installation works. Toledo Museum of Art, 2445 Monroe St., Toledo 19104; [email protected]; www.icaphila.org; OH 43620; [email protected]; 215-898-7108. Primarily exhibiting contemporary Twigs and Leaves Gallery, 98 North Main St., www.toledomuseum.org; 419-255-8000. ceramics; installation works. Waynesville NC 28786; www.twigsandleaves.com; [email protected]; 828-456-1940. Primarily Zanesville Museum of Art, 620 Military Rd., Zanesville PATRAJDAS Contemporary, please call or write, exhibiting contemporary ceramics; functional works. OH 43701; [email protected]; Philadelphia PA 19106; [email protected]; www.zanesvillemuseumofart.org; 740-452-0741. www.patrajdas.com; 917-737-2784. Primarily New Elements Gallery, 201 Princess St., Wilmington Primarily exhibiting historical and contemporary exhibiting contemporary ceramics; sculptural, NC 28401; [email protected]; 910- ceramics; functional, sculptural, and figurative figurative, and installation works; representing 3 343-8997; www.newelementsgallery.com. Primarily works; Ohio pottery 1870s to the present and clay artists. exhibiting contemporary ceramics; sculptural and American studio pottery. functional works. Philadelphia Art Alliance, 251 S. 18th St., Philadelphia PA 19103-6168; [email protected]; Port City Pottery and Fine Crafts, 307 N. Front St. Oklahoma www.philartalliance.org; 215-545-4302. Primarily in The Historic Cotton Exchange, Wilmington NC Firehouse Art Center, 444 S. Flood, OK exhibiting contemporary ceramics. 28401; 910-763-7111; [email protected]; Norman 73069; [email protected]; 405-329-4523; Philadelphia Museum of Art, 26th St. and the www.portcitypottery.com. Primarily exhibiting cont- www.normanfirehouse.com. Primarily exhibiting emporary ceramics; functional and sculptural works. Benjamin Franklin Pkwy., Philadelphia PA 19101; contemporary ceramics. 215-763-8100; [email protected]; Piedmont Craftsmen, 601 N. Trade St., Winston- www.philamuseum.org. Primarily exhibiting cont- Salem NC 27101; [email protected]; Oregon emporary and historical ceramics; functional and www.piedmontcraftsmen.org; 336-725-1516. Primarily Paul Scott Gallery, 869 NW Wall St., Ste. 104, Bend sculptural works; Dutch ceramics, including tiles, exhibiting contemporary ceramics. OR 97701; [email protected]; 541-330- Delft earthenware, and 16th–20th century porcelain. 6000. Primarily exhibiting contemporary ceramics; Snyderman-Works Gallery, 303 Cherry St., Ohio sculptural and figurative works; representing 1 PA 19106; [email protected]; clay artist. Philadelphia Canton Museum of Art, 1001 Market Ave. N., Canton 215-238-9576; www.snyderman-works.com. Primarily OH 44702; 330-453-7666; [email protected]; Guardino Gallery, 2939 NE Alberta St., Portland exhibiting contemporary ceramics; sculptural, www.cantonart.org. Primarily exhibiting American OR 97211; [email protected]; 503-281- functional, figurative, and installation works; contemporary ceramics ceramics; functional and 9048; www.guardinogallery.com. Primarily exhibiting representing 20 clay artists. sculptural works. contemporary ceramics; sculptural works; Northwest The Clay Studio, 137–139 N. Second St., 5th Street Gallery, 55 W. 5th St., artists; representing 15–20 clay artists. Cincinnati Philadelphia PA 19106; [email protected]; OH 45202; [email protected]; Hoffman Gallery, Oregon College of Art and Craft, www.theclaystudio.org; 215-925-3453. Primarily www.5thstreetgallery.com; 513-579-9333. Primarily 8245 S.W. Barnes Rd., Portland OR 97225; 971-255- exhibiting contemporary ceramics; functional exhibiting contemporary ceramics; functional 4211; [email protected]; www.ocac.edu. Primarily and sculptural works; national and international; and, and sculptural works; ceramic artists in exhibiting contemporary ceramics; sculptural, representing 100 clay artists. the southwest Ohio, northern Kentucky area; functional, figurative, and installation works. representing 1 clay artist. Carnegie Museum of Art, 4400 Forbes Ave., Museum of Contemporary Craft, 724 Northwest PA 15213; www.cmoa.org; 412-622-3131. Cincinnati Art Museum, 953 Eden Park Dr., Pittsburgh Cincinnati Davis St., Portland OR 97209; 503-223- Primarily exhibiting contemporary and historical OH 45202-1596; [email protected]; 2654; [email protected]; ceramics. www.cincinnatiartmuseum.org; 513-721-ARTS. www.museumofcontemporarycraft.org. Primarily Society for Contemporary Craft, 2100 Smallman St., Primarily exhibiting historical and contemporary exhibiting contemporary ceramics. ceramics; functional works. Pittsburgh PA 15222; www.contemporarycraft.org; The Real Mother Goose, 7000NE Airport Way #2253, [email protected]; 412-261-7003. Thomas J. Funke Gallery, 3130 Wasson Rd., Portland OR 97205; [email protected]; Primarily exhibiting contemporary ceramics; Cincinnati OH 45209; [email protected]; www.therealmothergoose.com; 503-223-9510; functional, sculptural, figurative, and installation www.funkefiredarts.com; 513-871-2529. Primarily 800-968-1070. Primarily exhibiting contemporary works; representing 40 clay artists. exhibiting historical and contemporary ceramics; ceramics; representing 100 clay artists. functional, sculptural, figurative, and installation The Mattress Factory, 500 Sampsonia Way, works; representing 20+ clay artists. Mary Lou Zeek Gallery, 335 State St., Salem Pittsburgh PA 15212; [email protected]; OR 97301; [email protected]; 503-581- www.mattress.org; 412-231-3169. Primarily exhibiting Circle Galleries, 190 E. Whittier St., Columbus 3229; www.zeekgallery.com. Primarily exhibiting contemporary ceramics. OH 43206; [email protected]; 614- contemporary ceramics; sculptural and figurative GoggleWorks, 201 Washington St., PA 565-0314; www.circlegalleries.com. Primarily works; representing 20+ clay artists. Reading exhibiting contemporary ceramics; sculptural and 19601; [email protected]; 610-374- figurative works; mid-career contemporary artists; Old Holley Pottery, 26371 Old Holley Rd., Sweet 4600; www.goggleworks.org. Primarily exhibiting representing 5 clay artists. Home OR 97386; [email protected]; contemporary ceramics; sculptural works. continued on page 90

86 october 2012 www.ceramicsmonthly.org fullerCRAFT museumTM Let the art touch you Chris Gustin masterworks in clay

October 20, 2012 – February 24, 2013 Opening Reception, Sunday, October 21, 2012

New England’s home for contemporary craft Fuller Craft Museum • 455 Oak Street • Brockton, MA 02301 508.588.6000 • www.fullercraft.org Chris Gustin, Stirrup Vessel, #9505, 1995, 15” x 11” x 10” www.ceramicsmonthly.org october 2012 87 Presented by Hill Center Galleries October 26-28, 2012 www.potteryonthehilldc.com

Featuring the works of: Briscoe • Chapman • Dalglish • Finnegan • Frederick gholson • greenheck • henneke • hyleck • hunt 1st Annual Show and Sale Kline • shapiro • snyder • taylor • White

921 Pennsylvania avenue se Washington, DC 20003 telephone 202-549-4172 hillCenterDC.org

88 october 2012 www.ceramicsmonthly.org RICHARD ZANE SMITH

Wyandot Floral Natural clay and pigments 18.25" h x 14" d

Blue Rain Gallery | 130 Lincoln Avenue, Suite C Santa Fe, NM 87501 | 505.954.9902 Blue Rain Contemporary | 4164 N Marshall Way Sco sdale, AZ 85251 | 480.874.8110 www.blueraingallery.com

www.ceramicsmonthly.org october 2012 89 Marywood University Art Galleries, 2300 Adams Booker-Lowe Gallery, 4623 Feagan St., Houston Russell Hill Rogers Gallery, Southwest School of Art, Ave., Shields Center for Visual Arts, Scranton TX 77007; [email protected]; 1201 Navarro, San Antonio TX 78205; 210-224- PA 18509-1598; [email protected]; www.bookerlowegallery.com; 713-880-1541. Primarily 1848; [email protected]; www.swschool.org. Pri- www.marywood.edu/galleries; 570-348-6211. exhibiting contemporary ceramics; sculptural works; marily exhibiting contemporary ceramics; functional, Primarily exhibiting contemporary and historical Australian ceramics. sculptural, figurative, and installation works. ceramics; sculptural works; Asian and European Foelber Pottery, 706 Richmond Ave., TX Mossrock Studio & Fine Art Gallery, 26002 ceramics circa 19thC–early 20th C. Houston gallery guide gallery 77006; [email protected]; foelberpottery.com; Oakridge Dr., The Woodlands TX 77380; Wayne Art Center, 413 Maplewood Ave., Wayne 713-529-1703. Primarily exhibiting contemporary 281-684-4411; www.mossrockstudio.com; PA 19087; [email protected]; www.wayneart.org; ceramics; functional, sculptural, and figurative [email protected]. Primarily exhibiting 610-688-3553. Primarily exhibiting historical and works; representing 7 clay artists. contemporary ceramics; functional, figurative, and contemporary ceramics; functional and sculptural sculptural works; representing 12 clay artists. Goldesberry Gallery, 2625 Colquitt St., works; representing 20+ clay artists. Houston TX 77098; [email protected]; www.goldesberrygallery.com; 713-528-0405. Utah Rhode Island Primarily exhibiting contemporary ceramics; Red Kiln Studio and Gallery, 393 East 1700 S., Salt Newport Potters Guild, 302 Thames St., Newport functional, sculptural, and figurative works; regional Lake City UT 84115; [email protected]; RI 02840; [email protected]; and national clay and metalwork. www.redkiln.org; 801-484-4016. Primarily exhibiting www.newportpottersguild.com; 401-619-4880. contemporary ceramics; functional works; Utah Primarily exhibiting contemporary ceramics; functional Houston Center for Contemporary Craft, 4848 Main potters; representing 12 clay artists. St., Houston TX 77002; [email protected]; 2013 and sculptural works. www.crafthouston.org; 713-529-4848. Primarily exhibiting contemporary ceramics; functional and Vermont South Carolina sculptural works; representing 20 clay artists. Bennington Museum, 75 Main St. (Rt. 9), Cone 10 Studios and Clay Gallery, Bennington VT 05201; 802-447- 1080 Morrison Dr., Charleston SC 1571; [email protected]; 29403; [email protected]; www.benningtonmuseum.org. Primarily www.cone10studios.com; 843-853- exhibiting historical ceramics; 3345. Primarily exhibiting contemporary sculptural, functional, and figurative ceramics; functional and sculptural works; Early American work; works; representing 25 clay artists. Permanent collection of pottery made in Bennington, including Norton Pottery, Southern Pottery, 3105 Devine St., the United States Pottery Company, SC 29205; 803-251-3001; Columbia and early American Redware. [email protected]; www.southern-pottery.com. Primarily Frog Hollow Vermont State Craft Center, exhibiting contemporary and historical 85 Church St., Burlington VT 05401; 802- ceramics; functional and sculptural 863-6458; [email protected]; works; southern pottery; representing www.froghollow.org. Primarily exhibiting 30 clay artists. contemporary ceramics; Vermont artists, multimedia exhibitions. Tennessee Sandra J. Blain Gallery, Arrowmont Virginia School of Arts and Crafts, 556 Scope Gallery, The Torpedo Factory, Parkway, Gatlinburg TN 37738; 105 N. Union St., Studio 19, Alexandria 865-436-5860; [email protected]; VA 22314; www.torpedofactory.org/ www.arrowmont.org. Primarily exhibiting galleries/scope.htm; 703-548-6288; contemporary ceramics; functional works. [email protected]. Primarily Bennett Galleries, 5308 Kingston exhibiting contemporary ceramics; functional and sculptural works. Pike, Knoxville TN 37919; 865-584- 6791; [email protected]; Workhouse Arts Center, 9601 Ox www.bennettgalleries.com. Primarily Rd., Lorton VA 22079; 703-584- exhibiting contemporary ceramics. 2982; [email protected]; Appalachian Center for Craft, 1560 www.workhouseceramics.org or www.workhousearts.org. Primarily Craft Center Dr., Smithville TN 37166; 931-372-3051; [email protected]; exhibiting contemporary ceramics; fun- www.tntech.edu/craftcenter. Primarily ctional, sculptural, figurative, and inst- exhibiting contemporary ceramics. allation works; representing 6 clay artists. Baron and Ellin Gordon Art Galleries, Texas Old Dominion University, 9032 Batten ClayWays Pottery Studio & Gallery, Arts and Letters Bldg., Norfolk VA 23529; [email protected]; 757-683- 5442 Burnet Rd., Austin TX 78756; 512-459-6445; [email protected]; 3020; al.odu.edu/art/gallery/index.php. www.clayways.com. Primarily exhibiting Primarily exhibiting contemporary contemporary ceramics; functional works. ceramics; sculptural, figurative, and installation works. iota, 3107 Knox St., Dallas TX 75205; 214-522-2999; [email protected]; DeWitt Wallace Decorative Arts www.iotadallas.com. Primarily exhibiting Museum and Abby Aldrich contemporary ceramics; functional and Rockefeller Folk Art Museum, Colonial sculptural works. Williamsburg Foundation, 325 W. Francis St., Williamsburg VA 23185; Center for the Visual Arts, Greater [email protected]; 757-229-1000; Denton Arts Council, 400 E. Hickory, www.colonialwilliamsburg.org/history/ Denton TX 76201; [email protected]; David Harris’ Insulated Cup 2, 5 in. (13 cm) in height, porcelain, fired in museums. Primarily exhibiting historical www.dentonarts.com; 940-382-2787. reduction to cone 10, at LUX Center for the Arts in Lincoln, Nebraska. ceramics; functional works; focus on Primarily exhibiting historical and American, British, Chinese, English, contemporary ceramics; functional, Museum of Fine Arts, Houston, 1001 Bissonnet, and German antique ceramics. sculptural, figurative, and installation works. Houston TX 77005; [email protected]; Sunset Canyon Pottery, 4002 E. Hwy. 290, Dripping www.mfah.org; 713-639-7300. Primarily exhibiting Washington Springs TX 78620; [email protected]; historical and contemporary ceramics; sculptural, The Island Gallery, 400 Winslow Way E., #120, 512-894-0938; sunsetcanyonpottery.com. Primarily functional, figurative, and installation works. Bainbridge Island WA 98110; 206-780-9500; exhibiting contemporary ceramics; functional and San Angelo Museum of Fine Arts, 1 Love St., [email protected]; www.theislandgallery.net. sculptural works; Texas artists; representing 28 San TX 76903-3092; [email protected]; Primarily exhibiting contemporary ceramics; wood- clay artists. Angelo www.samfa.org; 325-653-3333. Primarily exhibiting fired work. Uncommon Angles, 2600 W. 7th St., Ste.159, contemporary ceramics; sculptural, functional, Bellevue Arts Museum, 510 Bellevue Way NE, Fort Worth TX 76107; [email protected]; figurative, and installation works; Our continually Bellevue WA 98004; [email protected]; www.uncommonanglestx.com; 817-335-9933. Primarily growing ceramics collection mainly consists of www.bellevuearts.org; 425-519-0770. Primarily exhibiting contemporary ceramics; functional and American artists, but is expanding to include artists exhibiting contemporary ceramics; functional and sculptural works; representing 15 clay artists. from Australia, Asia, Europe, and the UK. sculptural works. 18 Hands Gallery, 249 W. 19th St., Ste. B, Gallery Nord, 2009 NW Military Hwy., San Antonio TX Good Earth Pottery, 1000 Harris Ave., Bellingham Houston TX 77008; [email protected]; 78213; [email protected]; www.gallerynord.com; WA 98225; [email protected]; www.18handsgallery.com; 713-869-3099. Primarily 210-348-0088. Primarily exhibiting historical and www.goodearthpots.com; 360-671-3998. Primarily exhibiting contemporary ceramics; functional, contemporary ceramics; functional, sculptural, and exhibiting contemporary ceramics; functional and sculptural, and figurative works; representing 20+ installation works. sculptural works; local artists; representing 20+ clay artists. clay artists. continued on page 94

90 october 2012 www.ceramicsmonthly.org Clary Illian A POTTER’S POTTER

Now through February 17, 2013

Clary Illian, Va s e , soda-fired stoneware, 13 x 10 in., collection of Michael McCombs. Clary Illian, Teapot, 1983, stoneware, 8 ¾ x 6 ½ in., collection of Clary Illian.

This exhibition is supported in part by the Momentum Fund of The Greater Cedar Rapids Community Foundation. 410 Third Avenue SE Cedar Rapids, IA 52401 Companion volume funded by a generous grant from the 319.366.7503 Windgate Charitable Foundation. www.crma.org www.ceramicsmonthly.org october 2012 91 BS1_CerMonOct2012_BS1 CermicMAd Oct07 8/22/12 3:09 PM Page 1

Gary Schlappal LARGE SCALE BOWLS + WALL CONSTRUCTIONS

Ben Owen III TRADITION / INNOVATION

Gary Schlappal, Jazz Bowl (detail), ceramic, 7˝H x 20-1/4˝DIA.

Ben Owen III, MiSe Vase Trio in Blue Stardust, multi-layered iron and cobalt glazes on porcelain, 16˝H x 7˝DIA (tallest).

Blue Spiral 1 is a stunning 15,000 sq. ft. gallery specializing in Southeastern fine art and craft for over 20 years. Ceramics are featured prominently in solo and group exhibitions. The gallery represents work by more than 25 Southern clay artists. October 4 - December 31 NEW WEBSITE at www.bluespiral1.com

38 Biltmore Avenue • Downtown Asheville, NC • 828.251.0202

“LIKE” US on FACEBOOK to stay current on gallery events and read articles about our artists.

92 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 93 Kirkland Arts Center, 620 Market St, Kirkland www.ramart.org/ram/Wustum-Museum; 262- www.sabbiagallery.com; [email protected]. WA 98033; [email protected]; 636-9177; [email protected]. Primarily exhibiting Primarily exhibiting contemporary ceramics; functional, www.kirklandartscenter.org; 425-822-7161. contemporary ceramics. sculptural, figurative, and installation works; representing 9 clay artists. Childhood’s End Gallery, 222 4th Ave. W., Olympia WA 98501; [email protected]; Wyoming Shepparton Art Museum, Eastbank Centre, www.childhoods-end-gallery.com; 360-943-3724. Margo’s Pottery & Fine Crafts, 1 N. Main St., 70 Welsford St., Shepparton Victoria 3632 gallery guide gallery Primarily exhibiting contemporary ceramics; Buffalo WY 82834; [email protected]; Australia; [email protected]; functional, sculptural, and figurative works; Pacific www.margospottery.com; 307-684-9406. Primarily www.sheppartonartmuseum.com.au; 61 3 5832 Northwest artists. exhibiting contemporary ceramics; functional works. 9861. Primarily exhibiting contemporary and historical ceramics; Australian ceramics. Foster/White Gallery, 220 Third Avenue S. #100, Australia Seattle WA 98104; [email protected]; Object: Australian Centre for Craft and Design, www.fosterwhite.com; 206-622-2833. Primarily JamFactory, 19 Morphett St., Adelaide South 417 Bourke St., Surry Hills, Sydney New South exhibiting contemporary ceramics; sculptural and Australia 5000 Australia; [email protected]; Wales 2010 Australia; [email protected]; figurative works; representing 2 clay artists. www.jamfactory.com.au; 61 8 8410 0727. Primarily www.object.com.au; 61 2 9361 4511. Primarily exhibiting contemporary ceramics; functional, exhibiting contemporary ceramics; Australian artists. Grover Thurston Gallery, 319 3rd Ave. S., sculptural, and figurative works; Australian ceramics; Robin Gibson Gallery, 278 Liverpool St., Darlinghurst, Seattle WA 98104; [email protected]; representing 20+ clay artists. www.groverthurston.com; 206-223-0816. Primarily Sydney New South Wales 2010 Australia; exhibiting contemporary ceramics; sculptural and The Potters Beechworth, 56 Ford St., Beechworth [email protected]; www.robingibson.net; 2013 figurative works. Victoria 3747 Australia; [email protected]; 612 9331 6692. Primarily exhibiting contemporary www.onetreehillpottery.com.au; 061 0 3 5728 2636. ceramics; functional, sculptural, figurative, and JFX MODERN, Division of J. Franklin Fine Art, Inc., Primarily exhibiting contemporary ceramics; functional, installation works. The Fairmont Olympic Hotel, 411 University St., Ste. sculptural, and figurative works. 1200, Seattle WA 98101; [email protected]; Watson Arts Centre, 1 Aspinall St., Watson www.JFranklinFineArt.com; 206-300-0235. Primarily Yarralumla Gallery and The Oaks Brasserie, Australian Capital Territory 2602 Australia; exhibiting historical ceramics; functional, sculptural, Cottage 1, Yarralumla Nursery Weston Park [email protected]; 61 2 6241 1670; and figurative works; mid–late 20th–century American Rd., Canberra Australian Capital Territory 2600 www.canberrapotters.com.au/wcac_exhibitions. studio pottery; representing 20+ clay artists. Australia; [email protected]; 61 2 6260 html. Primarily exhibiting contemporary ceramics; 5253; www.yarralumlagallery.itgo.com. Primarily functional and figurative works. KOBO (Capitol Hill), 814 E. Roy St., Seattle WA 98102; exhibiting contemporary ceramics; functional works; Falls Gallery, 161 Falls Rd., New [email protected]; www.koboseattle.com; representing 16 clay artists. Wentworth Falls 206-726-0704. Primarily exhibiting contemporary South Wales 2782 Australia; [email protected]; ceramics; functional and sculptural works; Skepsi on Swanston, 670 Swanston St., Carlton www.fallsgallery.com.au; 61 2 4757 1139. Primarily representing 25 clay artists. Victoria 3053 Australia; [email protected]; exhibiting contemporary Australian ceramics www.skepsionswanston.com.au; 61 3 9348 2002. ceramics; Japanese influenced studio ceramics. KOBO Gallery (at Higo), 602-608 S. Jackson, Primarily exhibiting contemporary ceramics; Seattle WA 98104; [email protected]; Australian ceramics. www.koboseattle.com; 206-381-3000. Primarily Austria exhibiting contemporary ceramics; functional and Helen Stephens Gallery, All Hand Made, 1 Genuss Galerie Kunst und Kulinarik, Gertrudplatz sculptural works; representing 25 clay artists. Murray St., Collector New South Wales 2581 3, am Kutschkermarkt, Wien A-1180 Austria; Australia; [email protected]; [email protected]; www.genussgalerie.at; Pottery Northwest Gallery, 226 First Ave. N., www.allhandmadegallery.com; 61 2 9386 4099. 01 409 09 33. Seattle WA 98109; [email protected]; Primarily exhibiting contemporary ceramics; Galerie Freihausgasse / Galerie der Stadt Villach, www.potterynorthwest.org/Gallery.htm; 206-285- functional works; Australian and Japanese artists. 4421. Primarily exhibiting historical and contemporary Freihausgasse, Villach Carinthia A-9500 Austria; ceramics; functional, sculptural, figurative, and Rosedale Street Gallery, 2A Rosedale St., [email protected]; www.villach.at; 0043 0 4242. installation works. Dulwich Hill New South Wales 2203 Australia; Primarily exhibiting contemporary ceramics. [email protected]; 61 423 253 Seattle Art Museum, 1300 First Ave., Seattle 448; www.rosedalestreetgallery.com. Primarily WA 98101; [email protected]; Belgium exhibiting contemporary ceramics; functional and Puls Contemporary Ceramics, Edelknaapstraat 19 www.seattleartmuseum.org; 206-654-3100. Primarily sculptural works. exhibiting contemporary and historical ceramics; rue du Page (Châtelain), Brussels 1050 Belgium; sculptural, functional, figurative, and installation Bendigo Pottery Interpretive Museum, 146 [email protected]; www.pulsceramics.com; works; representing 1000 clay artists. Midland Hwy., Epsom Victoria 3551 Australia; 32 2 640 26 55. Primarily exhibiting contemporary 03 5448 4404; [email protected]; ceramics; international ceramics. William Traver Gallery, 110 Union St. #200, www.bendigopottery.com.au. Primarily exhibiting Seattle WA 98101; [email protected]; historical ceramics. Canada www.travergallery.com; 206-587-6501. Primarily exhibiting contemporary ceramics. Potiche Gallery at Bendigo Pottery, 146 Willock & Sax Gallery, 210 Bear St., Banff Alberta Midland Hwy., Epsom Victoria 3551 Australia; T1L 1C2 Canada; www.willockandsaxgallery.com; West Virginia [email protected]; 61 3 5448 4404; 403-762-2214; [email protected]. www.bendigopottery.com.au/potichegallery.asp. Primarily exhibiting historical and contemporary David L. Dickirson Fine Arts Gallery at Tamarack, Primarily exhibiting contemporary ceramics; Central ceramics; sculptural and functional works; Canadian One Tamarack Park, Beckley WV 25801; Victoria ceramics. and Albertan artists; representing 11 clay artists. [email protected]; www.tamarackwv.com; 304-256-6843. Primarily exhibiting contemporary Innercity Clayworkers Gallery, corner of St. Burlington Art Centre, 1333 Lakeshore Rd., ceramics; functional and sculptural works. Johns Rd. and Darghan St., Glebe New South Burlington Ontario L7S 1A9 Canada; 905- Wales 2037 Australia; [email protected]; 632-7796; [email protected]; Wisconsin www.clayworkers.com.au; 61 2 9692 9717. Primarily www.thebac.ca. Primarily exhibiting contemporary exhibiting contemporary ceramics; functional and ceramics; Canadian ceramics. Chazen Museum of Art, University of Wisconsin- sculptural works; Australian ceramics. Madison, 800 University Ave., Madison WI Blue Mountain Foundation for the Arts, 163 53706-1479; [email protected]; Guildford Village Potters, 22 Meadow St., Hurontario St., Collingwood Ontario L9Y 4E8 www.chazen.wisc.edu; 608-263-2246. Primarily Guildford Western Australia 6055 Australia; Canada; [email protected]; www.bmfa.on.ca; exhibiting historical ceramics; functional works. [email protected]; 61 8 9279 9859; (705) 445-3430. Primarily exhibiting contemporary www.guildfordpotters.webs.com. Primarily exhibiting ceramics; functional works. Higher Fire Clay Studio, 2132 Regent St., Madison contemporary ceramics. WI 53726; [email protected]; The Potters Place, 180B 5th St., Courtenay British www.higherfireclaystudio.com; 608-233-3050. Cudgegong Gallery, 102 Herbert St., Gulgong Columbia V9N 1J4 Canada; [email protected]; Primarily exhibiting contemporary ceramics; New South Wales 2852 Australia; 61 2 www.thepottersplace.ca; 250-334-4613. Primarily functional and sculptural works. 63741630; [email protected]; exhibiting contemporary ceramics; functional and www.cudgegonggallery.com.au. Primarily exhibiting figurative works. Riverrun Center for the Arts, 6938 Bridge Rd., PO contemporary ceramics; functional, sculptural, Box 95, WI 54543; 715-277-4224; Alberta Craft Council Gallery, 10186 106 St., McNaughton figurative, and installation works. Edmonton [email protected]; www.riverrunarts.com. Alberta T5J 1H4 Canada; [email protected]; Primarily exhibiting contemporary ceramics; sculptural, Craft Victoria, 31 Flinders Ln., Melbourne Victoria 780-488-6611; www.albertacraft.ab.ca. Primarily functional, figurative, tile installation works; 3000 Australia; [email protected]; 61 3 9650 exhibiting contemporary ceramics; functional and representing 12 clay artists. 7775; craftvic.org.au. sculptural works; representing 130 clay artists. Artisan Gallery, 6858 Paoli Rd., Paoli WI 53508; Creative Spaces, Council House 2, 240 Little Gardiner Museum, 111 Queen’s Park, Toronto Ontario [email protected]; www.artisangal.com; 608-845- Collins St., Melbourne Victoria 3000 Australia; M5S 2C7 Canada; [email protected]; 6600. Primarily exhibiting contemporary ceramics; [email protected]; 03 9658 8593; www.gardinermuseum.on.ca; 416-408-5078. functional, sculptural, figurative, and installation www.creativespaces.net.au. Primarily exhibiting historical and contemporary works; representing 20+ clay artists. ceramics; functional, sculptural, figurative, and Newcastle Region Art Gallery, 1 Laman St., installation works; permanent collections, including Racine Art Museum, 441 Main St, Racine WI 53403; Newcastle New South Wales 2300 Australia; ceramics from Europe and the Americas, 15th [email protected]; www.ramart.org; 262-638-8300. [email protected]; www.nag.org.au; 61 and 16th c. Italian maiolica, 17th c. Delftware, Primarily exhibiting contemporary and historical 2 4974 5100. Primarily exhibiting contemporary 18th c. Meissen, and English, French, German, ceramics; functional and sculptural works. ceramics; Australian and Japanese ceramics. and Viennese porcelain, blue-and-white Chinese Charles A. Wustum Museum of Fine Art, 2519 Sabbia Gallery, 120 Glenmore Rd., Paddington porcelain, and contemporary work; representing Northwestern Ave., Racine WI 53404-2299; New South Wales 2021 Australia; 61 2 9361 6448; 20+ clay artists. continued on page 98

94 october 2012 www.ceramicsmonthly.org CRIMSON LAUREL GALLERY • SPECIALIZING IN STUDIO CERAMICS 23 Crimson Laurel Way, Bakersville NC 28705 • 828.688.3599 C L G www.ceramicsmonthly.org october 2012 95 HOOD COLLEGE CERAMIC ARTS

Featuring works by ceramic artists in two galleries

GIAN PIEROTTI JACK TROY

HODSON GALLERY, TATEM ARTS CENTER De-Natured by Gian Pierotti and Travis Childers August 24-October 7 Exhibit and artists’ reception: September 5, 5-7 p.m. Gallery hours: 9 a.m.-7 p.m.

WHITAKER GALLERY Jack Troy: An Exhibition of Ceramic Work September 20-October 30 Exhibit and artist reception: September 20, 5-7 p.m. Gallery hours: 10 a.m.-5 p.m. The exhibit is in conjunction with his workshop, Unrounding, September 21-23, which will explore how thrown objects can take on new and unfamiliar identities as they are being made, and by off-the-wheel manipulation.

TRAVIS CHILDERS CERAMIC ARTS, M.F.A. The Master of Fine Arts in Ceramic Arts combines academic training in the science, technology, aesthetics and management of a career in the ceramic arts, along with individual research and skill building to provide a basis for producing exhibition quality work that demonstrates a personal aesthetic expression.

CERTIFICATE IN CERAMIC ARTS The Graduate Certificate in Ceramic Arts, a post-baccalaureate program providing an advanced studio experience, is designed to assist students in the development of technical proficiency, refinement of personal aesthetic expression and production of a comprehensive body of work.

JON VEROCK TRISH TALARCO WILSON

HOOD COLLEGE GRADUATE SCHOOL CERAMIC ARTS PROGRAM • (301) 696-3456 • FAX (301) 696-3531 • WWW.HOOD.EDU/CERAMICS 96 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 97 Canadian Guild of Crafts, 1460 rue Sherbrooke Croatia The Ropewalk, The Ropewalk, Maltkiln Rd., Barton W, Ste. B, Montréal Québec H3G 1K4 Canada; upon Humber North Lincolnshire DN18 5JT England; 514-849-6091; www.canadianguildofcrafts.com; Croatian Ceramic Association- KERAMEIKON, [email protected]; www.the-ropewalk.co.uk; [email protected]. Primarily exhibiting Križaniceva 13, Varaždin 42000 Croatia; 01652 660380. Primarily exhibiting contemporary contemporary ceramics; functional and sculptural [email protected]; www.kerameikon.com; 385 ceramics; functional works; British ceramics; works; Canadian ceramics. 42 211 227. Primarily exhibiting contemporary representing 20+ clay artists. ceramics; sculptural and figurative works. gallery guide gallery CREA Gallery–Contemporary Fine Craft, Bonsecours Gallery Nine, 9B Margarets Buildings, Bath Market, 350 St. Paul St., E, Montréal Québec BA1 2LP England; [email protected]; H2Y 1H2 Canada; [email protected]; Cyprus www.gallerynine.co.uk; 44 12 2531 9197. Primarily www.creagallery.com; 514-878-2787 x2. Primarily Gallery K Nicosia, 14 Evrou St., Strovolos, exhibiting contemporary ceramics; sculptural and exhibiting contemporary ceramics; sculptural works; Nicosia 2003 Cyprus; [email protected]; functional works; British ceramics. Québec ceramics. www.gallery-k.co.uk; 357 22 341123. Primarily exhibiting contemporary ceramics; sculptural works. Beaux Arts Bath, 12-13 York St., Bath Somerset Nanaimo Art Gallery, 330-900 Fifth St., Nanaimo British BA1 1NG England; [email protected]; Columbia V9R 5S5 Canada; [email protected]; Denmark www.beauxartsbath.co.uk; 44 12 2546 4850. www.nanaimoartgallery.com; 250-740-6350. Primarily Primarily exhibiting contemporary ceramics; exhibiting contemporary ceramics. Kunstindustrimuseet, Danish Museum of Art & functional and sculptural works. Design, Bredgade 68, Copenhagen DK-1260 L. A. Pai Gallery, 13 Murray St., Ottawa Ontario Denmark; 45 33 18 56 56; [email protected]; Bilston Craft Gallery, Mount Pleasant, Bilston K1N 9M5 Canada; [email protected]; 613-241- Wolverhampton, W. Midlands WV14 7LU England;

2013 www.kunstindustrimuseet.dk. Primarily exhibiting 2767; www.lapaigallery.com. Primarily exhibiting historical and contemporary ceramics; functional [email protected]; contemporary ceramics; sculptural works; and sculptural works; Chinese and Japanese wolverhamptonart.org.uk/bilston; 01902-552507. contemporary Canadian artists. ceramics, European from the Renaissance to the Primarily exhibiting contemporary ceramics; functional works; contemporary craft; representing

Parksville Train Station Pottery Shop, 600 Alberni present day, and contemporary Danish ceramics. 18 clay artists. Hwy., Parksville British Columbia V9P 1J9 Canada; arrowsmithpottersguild.bc.ca; RBSA Gallery, The Royal [email protected]; 250-954- Birmingham Society of 1872. Primarily exhibiting Artists, 4 Brook St., St. contemporary ceramics; Pauls, Birmingham West functional, scul-ptural, and Midlands B3 1SA England; figurative works; representing [email protected]; 20+ clay artists. www.rbsa.org.uk; 44 12 1236 MacKenzie Art Gallery, 3475 4353. Primarily exhibiting contemporary ceramics; Albert St., Regina Saska- tchewan S4S 6X6 Canada; British ceramics. www.mackenzieartgallery.ca; Blaze, 84 Colston [email protected]; St., Bristol BS1 5BB 306-584-4250. Primarily exhib- England; 44 11 7904 7067; iting historical and cont- www.blazestudio.co.uk; emporary ceramics; functional, blazestudio84@googlemail. sculptural, figurative, and com. Primarily exhibiting installation works. contemporary ceramics; Affinity Gallery, Saskatchewan functional works; contem- Craft Council, 813 porary British ceramics. Broadway Ave., Saskatoon The Devon Guild of Saskatchewan S7N 1B5 Craftsmen, Riverside Mill, Canada; 303-653-3616; Bovey Tracey Devon [email protected]; TQ13 9AF England; www.saskcraftcouncil.org. [email protected]; Primarily exhibiting historical www.crafts.org.uk; 401626 and contemporary ceramics; 832223. Primarily exhibiting functional, sculptural, figurative, contemporary ceramics; and installation works; functional, sculptural, and representing 20+ clay artists. figurative works. Petroff Gallery, 1016 Eglinton Blackwell, The Arts and Ave., W, Toronto Ontario M6C Crafts House, Bowness- 2C5 Canada; 416-782-1696; on-Windermere Cumbria [email protected]; LA23 3JT England; www.petroffgallery.com. Primarily [email protected]; exhibiting contemporary cer- Brooke Evans’ pitcher, 12 in. (30 cm) in height, slab-built porcelain, fired to cone 6, at the San www.blackwell.org.uk; 44 amics; North American artists. Angelo Museum of Fine Arts in San Angelo, Texas. 15 3944 6139. Primarily Royal Ontario Museum, exhibiting historical and 100 Queen’s Park, contemporary ceramics; Toronto Danmarks Keramikmuseum—Grimmerhus Ontario M5S 2C6 Canada; 416-586-8000; functional works. (Museum of International Ceramic Art—Denmark), [email protected]; www.rom.on.ca. Primarily exhibiting Kongebrovej 42, DK-5500 Denmark; The Garden Gallery, Rookery Ln., Broughton, contemporary and historical ceramics. Middelfart [email protected]; www.grimmerhus.dk; Stockbridge Hampshire SO20 8AZ England; Gallery of B.C. Ceramics, 1359 Cartwright St., 45 6441 4798. Primarily exhibiting historical and [email protected]; gardengallery.uk.com; 0044 0 1794 301144. Primarily exhibiting contemporary Granville Island, Vancouver British Columbia V6H contemporary ceramics; functional, sculptural, 3R7 Canada; [email protected]; figurative, and installation works; representing 20+ ceramics; sculptural works; representing 7 clay artists. www.bcpotters.com; 604-669-3606. Primarily clay artists. Primavera, 10 Kings Parade, Cambridge CB2 exhibiting contemporary ceramics; functional, 1SJ England; [email protected]; 44 12 23 decorative, and sculptural works. England 357708; www.primaverauk.com. Primarily exhibiting The Museum of Anthropology, University of British Ferrers Gallery, Melbourne Rd., Staunton contemporary ceramics; functional, sculptural, figurative, and installation works; British ceramics. Columbia, 6393 N.W. Marine Dr., Vancouver British Harold, Ashby-de-la-Zouch Leicestershire Columbia V6T 1Z2 Canada; [email protected]; LE65 1RU England; [email protected]; Contemporary Studio Pottery, 6 Mill St., www.moa.ubc.ca; 604-822-5087. Primarily exhibiting ferrersgallery.co.uk; 01332-863337. Primarily Chagford Devon TQ13 8AW England; 44 16 historical ceramics; functional works; East Asian exhibiting contemporary ceramics; sculptural and 4743 2900; [email protected]; (primarily Chinese), 15–19th century European, and functional works; British regional artists. www.studiopotteryandsculpture.co.uk. Primarily contemporary works from British Columbia. Atelier Contemporary Craft Gallery, 12 Tuly exhibiting contemporary ceramics; functional works; British studio pottery. Canadian Clay and Glass Gallery, 25 Caroline St., Barnstaple Devon EX31 1HD England; St., N, Waterloo Ontario N2L 2Y5 Canada; [email protected]; 44 0 1271 268244; The Arc, 4 Commonhall St., Cheshire Chester 519-746-1882; [email protected]; www.gallery-atelier.co.uk. Primarily exhibiting CH1 2BJ England; [email protected]; www.canadianclayandglass.ca. Primarily exhibiting contemporary ceramics; functional, sculptural, and thearcgallery.co.uk; 0 1244-348379. Primarily contemporary ceramics; sculptural, installation and, figurative works; emerging British makers and also exhibiting contemporary ceramics; sculptural, and functional works; Canadian and international established artists; representing 20 clay artists. functional, and figurative works; studio pottery and contemporary artists working in ceramic and glass. Bakewell Arts and Design Galleries & Studios, Rutland domestic wares; representing 30—40 clay artists. The Winnipeg Art Gallery, 300 Memorial Mill, off Coombs Rd., Bakewell Derbyshire DE45 New Brewery Arts, Brewery Court, Cirencester Blvd., Winnipeg Manitoba R3C 1V1 Canada; 1AQ England; [email protected]; Gloucestershire GL7 1JH England; 01285-657181; [email protected]; www.wag.ca; 204-786-6641. bakewellartsanddesign.com; 07973 730 450. Primarily [email protected]; newbreweryarts. Primarily exhibiting contemporary and historical exhibiting contemporary ceramics; functional, org.uk. Primarily exhibiting contemporary ceramics; ceramics; 17th–18th century British studio ceramics. sculptural, and figurative works. functional works. continued on page 102

98 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 99 Zanesville Museum of Art

The largest institutional collection of Ohio pottery, 1850s to the present, plus studio pottery by Toshiko Takaezu, the Scheiers, Maija Grotell, Robert Sperry, Susan Beiner, and other ceramic artists with over 400 ceramic objects always on view.

Temporary exhibitions featuring ceramics in 2012/2013:

Clay Dynamics: Tom Radca and Brenda McMahon October 6 – November 24, 2012 Exceptional vessels, plates, and art tiles from these Pt. Washington, Ohio, ceramists.

Ohio Innovators in Clay June 16 – August 31, 2013 Art and studio pottery by Frederick Hurten Rhead, Frank Ferrell, William Hentschel, Kataro Shirayamadani, Waylande Gregory, Paul Bogatay, Eugene Friley, Charles Lakofsky, Edgar Littlefield, Viktor Schreckengost, Jenny Floch, Amy Sinbondit, Charlotte Gordon, and others.

Left, Top to Bottom: Yumiko Goto; Frederick Hurten Rhead; Frank Ferrell; Owens Pottery. Top, Left to Right: Yumiko Goto; Samuel Weller; Gregg Luginbuhl; Gene Friley; John Dollings. Right: Tom Radca, Sand Dollar Plate.

620 Military Road, Zanesville, OH 43701 • 740.452.0741 • www.zanesvilleart.org

This project is supported in part by an award from hours: W, F & Sa, 10-5 pm, Th. 10-7:30 p.m., Closed: Sun, M, T & Holidays the National Endowment for the Arts. 100 october 2012 www.ceramicsmonthly.org lacCMfull0812_v2:Layout 1 8/27/12 11:55 AM Page 1 CONTEMPORARY LACOSTE GALLERYCERAMICS

2 012 2 012 2 013 SOFA CHICAGO JEFF SHAPIRO AND CONTEMPORARY SPINS ON BLUE ANNE CURRIER HIGASHIDA SHIGEMASA AND WHITE CERAMICS NOVEMBER 1- 4 BREAKING BARRIERS INTERNATIONAL NOVEMBER 10 - DECEMBER 2 GROUP EXHIBITION PREVIEW PARTY FEBRUARY 9-MARCH 10 AT NAVY PIER WARREN MACKENZIE NOVEMBER 1ST DECEMBER 15 - JANUARY 12 KOICHIRO ISEZAKI MARCH 23 - APRIL 14

STEVE HEINEMANN SEPTEMBER 7- OCTOBER 6

TIM ROWAN OCTOBER 12TH

JAN MCKEACHIE JOHNSTON NOVEMBER 16TH

LACOSTE GALLERY 25 MAIN STREET CONCORD MA 01742

WWW.LACOSTEGALLERY.COMwww.ceramicsmonthly.org october 2012 101 Jonathan Garratt FRSA, Hare Lane Farmhouse, Bluecoat Display Centre, The Bluecoat, College Marsden Woo Gallery, 17-18 Great Sutton St., Cranborne Wimborne, Dorset BH21 5QT England; Lane Entrance, Liverpool Merseyside L1 3BZ London EC1V 0DN England; 44 20 7336 6396; [email protected]; jonathangarratt.com; England; [email protected]; [email protected]; www.marsdenwoo.com. 01725-517700. Primarily exhibiting contemporary www.bluecoatdisplaycentre.com; 44 151 709 Primarily exhibiting contemporary ceramics; fun- ceramics; functional works; frostproof, wood-fi red 4014. Primarily exhibiting contemporary ceramics; ctional, sculptural, and fi gurative works. thrown, terra cotta garden pots and slipware for the functional and sculptural works; UK ceramic artists; Paul Rice Gallery, 105 Arlington Rd., table; representing 4 clay artists. representing 20+ clay artists. London gallery guide gallery NW1 7ET England; [email protected]; Simon Drew Gallery, 13 Foss St., Dartmouth Cecilia Colman Gallery, 67 St. John’s Wood 44 207419 6280. Primarily exhibiting historical Devon TQ6 9NR England; [email protected]; High St., London NW NW8 7NL England; 44 ceramics; functional and sculptural works; 20th– 44 18 0383 2832; www.simondrew.co.uk. Primarily 0207 722 0686; [email protected]; century British studio ceramics. exhibiting contemporary ceramics; functional and www.ceciliacolmangallery.com. Primarily exhibiting Red Door, 10 Turnpin Ln., London SE10 9JA England; sculptural works. contemporary British ceramics; sculptural and 44 20 8858 2131; [email protected]; fi gurative works; representing 40 clay artists. Derby Museum & Art Gallery, The Strand, Derby www.reddoorgallery.co.uk. Primarily exhibiting cont- Derbyshire DE1 1BS England; [email protected]; Contemporary Applied Arts Gallery, 2 Percy St., emporary ceramics; representing 10+ clay artists. www.derby.gov.uk/museums; 01332 641901. Primarily W1T 1DD England; [email protected]; London The British Museum, Great Russell St., London WC1B exhibiting historical ceramics; functional works; www.caa.org.uk; 44 20 7436 2344. Primarily exhibiting 3QQ England; [email protected]; Collections of Derby porcelain from 1750 to present, contemporary ceramics; functional, sculptural, www.britishmuseum.org; 44 0 20 7323 8299. Primarily plus Derbyshire pottery from Langley Mill, Woodville, figurative, and installation works; British artists; exhibiting historical ceramics.

2013 Denby, and the Chesterfi eld area, including 20th representing 90+ clay artists. century studio pottery. Vessel, 114 Kensington Park Rd., London W11 2PW England; 44 20 Bluestone Gallery, 8 Old Swan Yard, 7727 8001; [email protected]; Devizes Wilts SN10 1AT England; 44 13

www.vesselgallery.com. Primarily exhibiting 8072 9589; [email protected]; contemporary ceramics; functional and www.bluestonegallery.com. Primarily figurative works; tableware, ceramic exhibiting contemporary ceramics; vessels, sculpture, fi gurines; representing functional, sculptural, and figurative 14+ clay artists. works; representing 15 clay artists. Victoria & Albert Museum, Cromwell Ditchling Museum Shop, Church Ln., Rd., London SW7 2RL England; Ditchling Sussex BN6 8TB England; [email protected]; www.vam.ac.uk; [email protected]; 44 020 7942 2000. Primarily exhibiting ditchling-museum.com; 01273-844744. contemporary and historical ceramics; Primarily exhibiting ceramics. ceramics from Asia, the Middle East, The Beetroot Tree Gallery, South and Europe. St., Derbyshire DE72 3PP Draycott The Lion Gallery, 15B Broad St., Leominster England; [email protected]; Herefordshire HR6 8BT England; www.thebeetroottree.com; 0044 1332 873 01568-611898; [email protected]; 929. Primarily exhibiting contemporary liongallery.com. Primarily exhibiting ceramics; functional, sculptural, and contemporary ceramics; functional works; fi gurative works. Contemporary British art and craft; JaM Eton, 81 High St., Eton Berkshire representing 16+ clay artists. SL4 6AF England; [email protected]; The Sussex Guild Shop & Gallery, www.jam-eton.co.uk; 44 17 5362 2333. The North Wing, Southover Grange, Primarily exhibiting contemporary Southover Rd., Lewes Sussex BN7 1UF ceramics; British ceramics. England; [email protected]; New Ashgate Gallery, Wagon Yard, off www.sussexguild.co.uk; 01273-479565. Lower Church Ln., Farnham Surrey GU9 Primarily exhibiting contemporary 7PS England; [email protected]; ceramics; functional works; work of www.newashgate.org.uk; 01252-713208. Sussex Guild members; representing 8 Primarily exhibiting contemporary clay artists. ceramics; functional and sculptural Oakwood Gallery, 5 Kenmore Close, works; traditional British ceramics. Mansfield Nottinghamshire NG19 Bowie & Hulbert, 5 Market St., Hay-on- 6RA England; 44 16 23 635777; Wye Hereford HR3 5BQ England; 44 [email protected]; 14 9782 1026; [email protected]; www.oakwoodceramics.co.uk. Primarily www.hayclay.co.uk. Primarily exhibiting exhibiting contemporary ceramics. contemporary ceramics; functional gallerytop, Chatsworth Rd., Rowsley, and sculptural works; British ceramics; Ikuko Miklowski’s vase, 8 in. (20 cm) in height, at River Gallery in Matlock Derbyshire DE4 2EH England; representing 20-30 clay artists. Rocky River, Ohio. 44 16 2973 5580; [email protected]; The GreenTree Gallery, Borde Hill Garden, www.gallerytop.co.uk. Primarily exhibiting Borde Hill Ln., Haywards Heath Sussex Contemporary Ceramics Centre, 63 Great Russell contemporary ceramics; functional, RH16 1XP England; [email protected]; St., London WC1B 3BF England; 020 7242 9644; sculptural, and fi gurative works; nationally acclaimed greentreegallery.co.uk; 01444-456560. Primarily www.cpaceramics.com; contemporary.ceramics@ and emerging contemporary ceramics; representing exhibiting contemporary ceramics; sculptural, virgin.net. Primarily exhibiting contemporary 20+ clay artists. fi gurative, and functional works. ceramics; functional, sculptural, and figurative Surrey Guild Craft Gallery, 1 Moushill Ln., Milford works; British ceramics. Bircham Gallery, 14 Market Pl., Holt Norfolk Surrey GU8 5BH England; 01483-424769; NR25 6BW England; [email protected]; David Mellor, 4 Sloane Sq., London SW1W 8EE [email protected]; surreyguild.com. Primarily www.birchamgallery.co.uk; 44 12 6371 3312. England; [email protected]; exhibiting contemporary ceramics; functional and Primarily exhibiting contemporary ceramics; davidmellordesign.co.uk; 020-7730-4259. Primarily sculptural works. functional, sculptural, and fi gurative works; British exhibiting contemporary ceramics; functional works. Twenty Twenty Gallery, 3-4 High St., studio ceramics; representing 30+ clay artists. Much Wenlock Flow Gallery, 1-5 Needham Rd., London W11 Shropshire TF13 6AA England; 01952-727952; The Potteries Museum & Art Gallery, Bethesda 2RP England; info@fl owgallery.co.uk; 44 2072 430 [email protected]; twenty-twenty.co.uk. St., Hanley Stoke-on-Trent ST1 3DW England; 782; www.flowgallery.co.uk. Primarily exhibiting Primarily exhibiting contemporary ceramics; www.stoke.gov.uk/museums; 44 17 8223 2323; contemporary ceramics; functional and sculptural fi gurative, sculptural, and functional works. [email protected]. Primarily exhibiting works; international ceramics; representing 20 The Harley Gallery, Welbeck, Nottinghamshire historical and contemporary ceramics; functional, clay artists. S80 3LW England; [email protected]; and sculptural works; Staffordshire, 20th century Frivoli, 7a Devonshire Rd., London W4 2EU www.harleygallery.co.uk; 44 01909 501 700. British industrial and studio pottery, East Asian and Primarily exhibiting historical and contemporary Islamic ceramics, and Italian Renaissance maiolica. England; [email protected]; 020-8742-3255; devonshireroad.com/frivoli.html. ceramics; functional, sculptural, and figurative Quay Arts, Sea St., Newpourt Harbour, works; representing 20+ clay artists. Isle Geffrye Museum, 136 Kingsland Rd., of Wight Hampshire PO30 5BD England; The Hannah Peschar Sculpture Garden, Black & [email protected]; www.quayarts.org; 44 Shoreditch, London E2 8EA England; 44 20 7739 9893; www.geffrye-museum.org.uk; White Cottage, Standon Ln., Ockley Surrey RH5 19 8382 2490. Primarily exhibiting contemporary 5QR England; [email protected]; ceramics; functional and sculptural works. [email protected]. Primarily exhibiting historical ceramics; functional works. hannahpescharsculpture.com; 01306-62269. The Craft Centre and Design Gallery, City Art Primarily exhibiting ceramics; sculptural works. Harlequin Gallery, 2 St. Merryn Close, London Gallery, The Headrow, Leeds West Yorkshire LS1 The Ashmolean, Beaumont St., OX1 2PH 3AB England; [email protected]; SE18 2RF England; [email protected]; 44 20 854 Oxford 0330; www.studio-pots.com. Primarily exhibiting England; [email protected]; www.craftcentreleeds.co.uk/thegallery.htm; 44 0 www.ashmolean.org; 44 18 6527 8000. Primarily 1132 478 241. Primarily exhibiting contemporary contemporary ceramics; functional works; emphasis on wood-fi red work. exhibiting historical and contemporary ceramics; ceramics; domestic and studio ceramics; functional and sculptural works. representing 50 clay artists. continued on page 106

102 october 2012 www.ceramicsmonthly.org The Canadian Clay and Glass Gallery 25 Caroline Street N, Waterloo ON N2L 2Y5 519.746.1882 www.theclayandglass.ca 2010. Photo: Michel Dubreuil Photo: Vulnerable, 2010. Claire Brunet,

Art-0-Matic Art meets New Technologies October 28, 2012 to March 17, 2013

The Canadian Clay and Glass Gallery 25 Caroline Street N, Waterloo Ontario N2L 2Y5 • 519.746.1882 www.theclayandglass.ca/art-o-matic www.ceramicsmonthly.org october 2012 103

Art-O-Matic Ad.indd 2 22/08/12 3:36 PM Andrew Cho Peter PinCus

show your work June 2013: College Clay Collective | september 2013: history in the Making Currently accepting exhibition proposals for the 2013–2014 gallery calendar

The Firehouse Gallery become a resident at genesee pottery April 2013 | Applications due 713 Monroe Avenue, Rochester, NY 14607 585-271-5183 | [email protected] geneseearts.org/submissions.php

104 october 2012 www.ceramicsmonthly.org Pottery at

171 Newbury Street Pucker Gallery Boston, MA 02116 t. 617.267.9473 Pucker Gallery, established in 1967 on Newbury Street www.puckergallery.com in Boston, exhibits a significant collection of international contemporary ceramics.

REPRESENTED POTTERS Svend Bayer (1946 – ) Danish, working in England Brother Thomas (1929 – 2007) Canadian-American Sung-jae Choi (1962 – ) Korean Fance Franck (1931 – 2008) American, worked in France Yoshinori Hagiwara (1974 – ) Japanese Shinsaku Hamada (1929 – ) Japanese Shoˉji Hamada (1894 – 1978) Japanese, former National Living Treasure Tomoo Hamada (1967 – ) Japanese Randy Johnston (1950 – ) American Jan Kollwitz (1960 – ) German Young-jae Lee (1951 – ) Korean Ken Matsuzaki (1950 – ) Japanese Hideaki Miyamura (1955 – ) Japanese-American Onda Yaki (est. 1705) Japanese Folk Pottery Phil Rogers (1951 – ) Welsh Southern African Ceremonial Vessels Tatsuzoˉ Shimaoka (1919 – 2007) Japanese, former National Living Treasure SHOJI HAMADA Makoto Yabe (1947 – 2000) Square vase with kaki glaze and dripped blue green and white design Japanese-American Stoneware | 9 x 7 x 6 ¼” | H64

www.ceramicsmonthly.org october 2012 105 The Gallery at Waterperry, Waterperry Gardens, Lantic Gallery, 38 Gold St., Tiverton Devon Galerie Capazza, 1 rue des Faubourgs, Nançay Wheatley, Oxford Oxfordshire OX33 1JZ EX16 6PY England; [email protected]; 18330 France; [email protected]; England; [email protected]; lanticgallery.co.uk; 01884-259888. Primarily www.capazza-galerie.com; 33 2 48 51 80 22. Primarily waterperrygardens.co.uk; 01844-338085. Primarily exhibiting contemporary ceramics; functional and exhibiting contemporary ceramics; sculptural, exhibiting contemporary ceramics; functional and sculptural works; work from West Country artists; functional, and figurative works; national and sculptural works; British handmade ceramics; representing 24 clay artists. international ceramics; representing 30 clay artists. representing 25 clay artists. gallery guide gallery Yorkshire Sculpture Paark, Centre Shop and Galerie Helenbeck, 6 rue Defly,Nice 06000 France; Mid-Cornwall Galleries, St. Blazey Gate, Par Cornwall Concourse, West Bretton, WakefieldYorkshire WF4 [email protected]; www.helenbeckgalerie.com; PL24 2EG England; [email protected]; 4LG England; [email protected]; ysp.co.uk; 01924- 33 0 4 93 54 22 82. Primarily exhibiting contemporary 44 17 2681 2131; www.midcornwallgalleries.co.uk. 832631. Primarily exhibiting contemporary ceramics; ceramics; functional and sculptural works. functional works; representing 20 clay artists. Primarily exhibiting contemporary ceramics; sculptural, Fondation d’entreprise Bernardaud, 11 rue Royale, functional, and figurative works; British and European Forge Gallery, The Street, Walberton West Sussex Paris 75008 France; [email protected]; ceramic art; representing 30+ clay artists. BN18 0PQ England; [email protected]; www.bernardaud.fr; 33 01 43 12 52 06. Primarily Old Chapel Gallery, East St., Pembridge www.forgegallerywalberton.co.uk; 01243 554818. exhibiting contemporary ceramics; functional and Herefordshire HR6 9HB England; 01544 Primarily exhibiting contemporary ceramics; sculptural works; representing Kerstin Abraham, 388842; [email protected]; functional, sculptural, and figurative works; Ruth Borgenicht, Piet Hein Eek, Dick van Hoff, Ted www.oldchapelgallery.co.uk. Primarily exhibiting representing 20+ clay artists. Neal, Pekka Paikkari, Herve Rousseau, and Robert contemporary ceramics; sculptural, functional, and Winokur clay artists. Staacks, 144 Banks Rd., West Kirby Wirral CH48 2013 figurative works; British contemporary ceramics. 0QB England; [email protected]; staacks.co.uk; Musee de la Poterie Mediterraneenne, 14, rue Yew Tree Gallery, Keigwin, Morvah, Penzance 0151-6250229. Primarily exhibiting contemporary de la Fontaine Maison de la Terre, 30700, Saint- Cornwall TR19 7TS England; 44 17 3678 6425; ceramics; functional works; UK arts and crafts artists; Quentin-la-Poterie France; 00 03 04 66 03 65 86; [email protected]; www.yewtreegallery.com. representing 10–20 clay artists. [email protected]; musee-poterie-

Primarily exhibiting contemporary ceramics. Walford Mill Crafts, Stone Ln., Dorset mediterranee.com. Primarily exhibiting historical Wimborne ceramics; functional works; Traditional ceramics 45 Southside, 45 Southside St., BH21 1NL England; [email protected]; Plymouth from mediterranean countries. Devon PL1 2LD England; 44 1752 224974; walfordmillcrafts.co.uk; 01202-841400. Primarily [email protected]; www.45southside.co.uk. exhibiting contemporary ceramics. Terra Viva Galerie, 14 rue de la Fontaine, Saint Primarily exhibiting contemporary Quentin la Poterie 30700 ceramics; functional, sculptural, France; [email protected]; and figurative works; Devon and www.galerie-terraviva.com; 33 4 Cornwall artists; representing 20 66 22 48 78. Primarily exhibiting clay artists. contemporary ceramics; fun- ctional and sculptural works; Rugby Art Gallery and French and European ceramics. Museum, Crafts Conservatory, Little Elborow St., Rugby Sèvres - Cité de la céramique, 2 Warwickshire CV21 3BZ Place de la Manufacture, Sèvres England; 01788-533533; 92310 France; 3301 46 29 22 [email protected]; 00; [email protected]; ragm.org.uk. Primarily exhibiting www.musee-ceramique-sevres.fr. contemporary ceramics. Primarily exhibiting contemporary and historical ceramics. Rye Art Gallery, Easton Rooms, 107 High St., Rye Sussex TN31 A.I.R. Vallauris (Gallery Aqui 7JE England; 01797 222433; Siam Ben & Gallery le Cabanon), [email protected]; Place Lisnard, 1 Boulevard ryeartgallery.co.uk. Primarily des Deux Vallons, Vallauris exhibiting contemporary 06220 France; 33 616 58 39 ceramics; sculptural, functional, 56; [email protected]; figurative, and installation works. www.air-vallauris.com. Primarily exhibiting contemporary Farfield Mill Arts & Heritage ceramics; resident artist work; Centre, Garsdale Rd., Sedbergh representing 80 clay artists. Cumbria LA10 5LW England; [email protected]; Musée Magnelli, Musée www.farfieldmill.org; 015396- de la Céramique, Place de 21958. Primarily exhibiting Liberation, Vallauris 06220 contemporary ceramics; France; [email protected]; sculptural and figurative works; www.vallauris-golfe-juan.fr; 33 4 representing 12 clay artists. 93 64 16 05. Primarily exhibiting historical and contemporary The National Centre for Craft and ceramics; functional, sculptural, Design, Navigation Wharf, Carre Chuck Aydlett’s Face to Face, 11 in. (28 cm) in length, handbuilt porcelain, under- figurative, and installation works; St., Lincolnshire NG34 Sleaford glaze pencil, and China paint, at The Art Spirit Gallery in Coeur d’Alene, Idaho. representing 20+ clay artists. 7TW England; 01529 308710; [email protected]. uk; www.nationalcraftanddesign.org.uk. Primarily Bevere Gallery, Bevere Ln., Worcester WR3 Germany exhibiting contemporary ceramics; sculptural and 7RQ England; [email protected]; Galerie Theis-Keramik, Schustehrusstr. beveregallery.com; 01905 754 484. Primarily functional works; representing 15 clay artists. 15, Berlin 10585 Germany; 030 321 23 22; exhibiting contemporary ceramics; functional and [email protected]; www.galerietheis.de. Primarily Craftco, 40A High St., Suffolk IP18 6AE Southwold sculptural works. exhibiting contemporary ceramics; functional and England; [email protected]; 01502- sculptural works; studio pottery from Germany, 723211; www.craftco.co.uk. Primarily exhibiting Pyramid Gallery, 43 Stonegate, York North Austria, and Switzerland; representing 50 clay artists. contemporary ceramics; functional, sculptural, and Yorkshire YO1 8AW England; 44 19 0464 1187; figurative works. [email protected]; Zentrum für Keramik—Berlin, Pestalozzistr. 18, www.pyramidgallery.com. Primarily exhibiting 13187 Germany; [email protected]; Leach Pottery, Higher Stennack, Cornwall Berlin St. Ives contemporary ceramics; sculptural, functional, and www.ceramics-berlin.de; 0049 0 30 49902591. TR26 2HE England; [email protected]; figurative works; British ceramics. Primarily exhibiting contemporary ceramics; www.leachpottery.com; 44 0 1736 799 703. Primarily functional and sculptural works. exhibiting historical and contemporary ceramics; Porta Dextra Gallery, 1A High Petergate, York functional works. N. Yorkshire YO1 7EN England; 01904-673673; Keramik-Museum Berlin (KMB), Schustehrusstr. [email protected]. Primarily exhibiting 13, Charlottenburg 10585 Germany; New Craftsman, 24 Fore St., Cornwall Berlin St. Ives contemporary ceramics. [email protected]; 49 17 732 12322; TR26 1HE England; [email protected]; www.keramik-museum-berlin.de. Primarily exhibiting newcraftsmanstives.com; 01736-795652. Primarily York Art Gallery, Exhibition Square, York YO1 historical and contemporary ceramics; functional exhibiting contemporary ceramics; sculptural and 7EW England; [email protected]; and sculptural works; central European ceramics. functional works; representing 25 clay artists. www.yorkartgallery.org.uk; 01904 687687. Primarily exhibiting historical and contemporary ceramics; Keramik-Museum Buergel, Am Kirchplatz St. Ives Ceramics, 1 Lower Fish St., Cornwall St. Ives functional and sculptural works. 2, D-07616 Germany; 49-0-36692- TR26 1LT England; [email protected]; Buergel 37333; [email protected]; www.st-ives-ceramics.co.uk; 44 17 3679 4930. France www.keramik-museum-buergel.de. Primarily exhibiting Primarily exhibiting historical and contemporary historical and contemporary ceramics; sculptural ceramics; functional works. Centre céramique contemporaine La Borne, 18250 Henrichemont, La Borne France; and functional works; Buergel pottery. The Wills Lane Gallery, Wills Lane, Cornwall St. Ives [email protected]; www.laborne.org; 02 48 26 Kontrapunkte, Neue Weyerstraße 9, TR26 1AF England; [email protected]; Cologne 96 21. Primarily exhibiting contemporary ceramics; D-50676 Germany; [email protected]; willslanegallery.co.uk; 01736-795723. Primarily functional and sculptural works; representing 50+ www.kontrapunkte.net; 49 0 221 39757631. Primarily exhibiting contemporary ceramics; functional and clay artists. exhibiting contemporary ceramics; functional, sculptural works; representing 6 clay artists. sculptural, and figurative works. continued on page 110

106 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 107 2012 - 2013 Exhibition Series CERAMICS NOW

LINDA SORMIN KENYON HANSEN, JASON HESS, SIMON LEVIN & TARA WILSON JOSH DEWEESE JESSICA STOLLER & ROBERT RAPHAEL STEVEN YOUNG LEE GHP ARTISTS CHRISTOPHER ADAMS FACULTY EXHIBITION LINDA LOPEZ JANE HARTSOOK GALLERY greenwichhousepottery.org

This program is supported by the Windgate Charitable Foundation and by public funds 108 fromoctober the New 2012 York www.ceramicsmonthly.org City Department of Cultural Affairs in partnership with the City Council. 4

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Fins, 12 Fur, and 6 Feathers II November 28, 2012 - January 19, 2013

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Louis Ballard Erin Furimsky Laura O’Donnell 120 W. Main 1 Clinton Berry 4 Bruce Grimes 9 Denise Romecki Urbana, IL 61801-2715 2 Chris Berti Clara Hoag Angela Rose Susan Bostwick 5 Jeri Hollister 10 Laurie Sharkus 217-367-3711 Mark Chatterly 6 Roxanne Jackson Rimas VisGirda 10am-5pm 3 Kelly Connole Todd Frahm Michaelene Walsh Wednesday-Saturday Harris Deller 7 Eugenia Frith Meltzer 11 Catherine Wiesener

Ilena Finocchi 8 Marlene Miller 12 Janis Mars Wunderlich www.cinemagallery.cc Jacob Foran Dwain Naragon Elizabeth Zacher

www.ceramicsmonthly.org october 2012 109 Internationales Keramik-Museum, Luitpoldstraße Galerie Marianne Heller, Friedrich-Ebert-Anlage The Shigaraki Ceramic Cultural Park, Chokushi 2188- 25, D–92637 Weiden Germany; 49 0961 320 2, Im Stadtgarten Heidelberg, BW D-69117 7, Shigarakicho, Koka City Shiga pref. 529-1804 30; [email protected]; Germany; [email protected]; 49 6221 619090; Japan; [email protected]; www.sccp.jp; www.die-neue-sammlung.de. Primarily exhibiting www.galerie-heller.de. Primarily exhibiting 81 74 883 0909. contemporary ceramics; sculptural and vessel historical and contemporary ceramics; functional Gallery St. Ives, 3-5-13 Fukasawa, Setagaya-ku works; representing 100+ clay artists. works; international works. Tokyo 158-0081 Japan; [email protected]; gallery guide gallery Belinda Berger Gallery, Muehlenbrink, D-26655 Hungary www.gallery-st-ives.co.jp; 81 33 705 3050. Primarily Westerstede Lower Saxony Germany; exhibiting contemporary and historical ceramics; 49 0 44 88 52 53 91; www.belindaberger.de. MUSEION KECSKEMET, Kápolna u.11, Kecskemét functional works; 20th– and 21st–century British and [email protected]; Primarily exhibiting H-6000 Hungary; [email protected]; 36 76 Japanese ceramics. contemporary ceramics; functional, sculptural, 486 867; www.icshu.org. Primarily exhibiting and figurative works; contemporary ceramic art contemporary ceramics; exhibitions by Hungarian Mexico and international artists; functional and sculptural displayed in a historic countryside setting. ZOHO Gallery, Casa 1C, works; representing 12 clay artists. San Miguel de Allende Lotte Reimers Keramik, Stadtmauergasse 17, Mexico; [email protected]; 415-462-1747; D-67146 Deidesheim Germany; lottereimers.de; www.zohogallery.com. Primarily exhibiting historical 063-261-1222. Primarily exhibiting ceramics. Ireland and contemporary ceramics; sculptural and Leitrim Design House, The Dock Arts Centre, installation works; cooperative gallery. Galerie Keramikum, Untere Mühlstr. 26, Darmstadt County Leitrim, Ireland; 64291 Germany; [email protected]; Carrick-on-Shannon

2013 [email protected]; leitrimdesignhouse.ie; The Netherlands www.keramikum.de; 49 61 513 7886. Primarily 00-353-7196-50550. Primarily exhibiting ceramics. exhibiting ceramics. Kerámevo, Langegracht 14, Amersfoort 3811 Louth Craftmark at Highlanes Gallery, St. BT the Netherlands; [email protected]; Töpfermuseum Duingen, Töpferstrasse 8, Duingen Laurence St., Drogheda County Louth, Ireland; www.keramevo.com; 31 33 461 32 30. Primarily 31089 Germany; [email protected]; 00-353-4198-03283; [email protected]; exhibiting contemporary ceramics; Dutch ceramics. duingen.de; 049 5185 958919. Primarily exhibiting www.louthcraftmark.com. Primarily exhibiting European Makers Gallery, Spiegelgracht 2a historical ceramics; functional works; collection of contemporary ceramics; functional, sculptural, sous, N-Holland 1017 JR the regional historical ceramics from the middle ages and figurative works; Northeast Ireland artists; Amsterdam Netherlands; [email protected]; to modern era; representing 1 clay artist. representing 12 clay artists. www.europeanmakers.nl; 31 20 622 30 88. Primarily Hetjens-Museum Deutsches Keramikmuseum, Gallery Zozimus, 56 Francis St., Dublin Dublin 8 exhibiting contemporary ceramics; functional, Schulstrasse 4, Düsseldorf D-40213 Ireland; [email protected]; 353 1 4539057; sculptural, and figurative works; emerging and Germany; [email protected]; www.galleryzozimus.ie. Primarily exhibiting established European artists; representing 40–50 www.duesseldorf.de/hetjens; 49 21 189 94210. contemporary ceramics; functional, sculptural, and clay artists. Primarily exhibiting historical ceramics. figurative works; representing 50+ clay artists. De Nieuwe Kerk Amsterdam, Dam te Amsterdam, Museum Eckernforde, Rathausmarkt 8, Amsterdam the Netherlands; [email protected]; Eckernforde Schleswig-Holstein D-24340 Germany; Israel www.nieuwekerk.nl; 020 638 6909. [email protected]; eckernfoerde.net; Cadim Ceramics Gallery, 4 Yoel Salomon St., Nachlat Galerie Carla Koch, Veemkade 500, 49-0-4351-712547. Primarily exhibiting contemporary Shiva, 94633 Israel; [email protected]; Amsterdam Jerusalem 1019 HE the Netherlands; [email protected]; ceramics; functional works. www.cadim-gallery.co.il; 972 2 623 4869. Primarily www.carlakoch.nl; 064-239-7440. Primarily exhibiting exhibiting contemporary ceramics; functional and Kunst im Blauen Haus, Am Urselbach 4, Frankfurt contemporary ceramics; functional works. D-60439 Germany; [email protected]; sculptural works; Israeli ceramics. Galerie De Witte Voet, Kerkstraat 135, imblauhaus.de; 49-0-95810593. Primarily exhibiting ChomerTov, 27 Shabazi St., 65150 Israel; Amsterdam Tel Aviv 1017 GE the Netherlands; [email protected]; contemporary ceramics; sculptural, figurative, and www.chomertov.co.il; 972-3-5166229. Primarily www.galeries.nl/dewittevoet; 31 20 625 84 12. Primarily installation works. exhibiting contemporary ceramics; functional, exhibiting contemporary ceramics; functional and sculptural, figurative, and installation works. KERAMION Foundation, Bonnstraße 12, Frechen sculptural works; ceramic artists from France, 50226 Germany; [email protected]; 49 22 346 97690; Belgium, Britain, Japan, the Netherlands, and Spain; www.keramion.de. Primarily exhibiting historical and Italy representing 25 clay artists. contemporary ceramics; functional works. Maurer Zilioli, Via Trieste 42b, Brescia BS I-25121 Italy; [email protected]; maurerzilioli.com; JBK Gallery, Korte Leidsedwarsstraat 159, Amsterdam Galerie Frederik Bollhorst, Oberlinden 25, Freiburg 1017 RA the Netherlands; [email protected]; D-79098 Germany; [email protected]; 0039 030 5031093. Primarily exhibiting contemporary ceramics; sculptural and installation works. 31 20 624 98 71; www.jeroenbechtold.nl. Primarily www.galerie-bollhorst.de; 49 151 15 77 60 33. Primarily exhibiting contemporary ceramics; sculptural and exhibiting contemporary ceramics; representing 40+ La Meridiana, Loc Bagnano, 135, Certaldo functional works; porcelain; representing 1 clay artist. clay artists. Firenze 50052 Italy; [email protected]; www.lameridiana.fi.it; 39 0571 660084. Primarily Rijksmuseum Amsterdam, Postbus 74888, Amsterdam Craft2eu, Eppendorfer Weg 231, Hamburg D-20251 1070 DN the Netherlands; 31 020 6747000; Germany; [email protected]; craft2eu.de; 49- exhibiting contemporary ceramics; functional works; contemporary functional stoneware and porcelain, [email protected]; www.rijksmuseum.nl. Primarily 0-480-92822. Primarily exhibiting contemporary exhibiting historical and contemporary ceramics. ceramics; functional and sculptural works; contemporary terra cotta sculpture; representing 3 exclusively exhibiting European artists; representing clay artists. Galerie Terra Delft, Nieuwstraat 7, Delft 2611 HK the 30 clay artists. Ab Ovo Gallery, Via del Forno 4, (PG) 06059 Italy; Netherlands; [email protected]; www.terra-delft.nl; Todi 31 15 214 70 72. Primarily exhibiting contemporary Kasino, Kasinostrasse 7, Höhr-Grenzhausen [email protected]; www.abovogallery.com; 39 075 894 5526. Primarily exhibiting contemporary ceramics; sculptural, functional, figurative, and D-56203 Germany; [email protected]; installation works; national and international www.kultur-kasino.de; 49-0-2624-9416990. Primarily ceramics; functional and sculptural works; European contemporary applied arts. ceramics, primarily European; representing 55 exhibiting contemporary ceramics; functional, clay artists. sculptural, and figurative works; contemporary German and international ceramics. Japan Museum Het Prinsenhof, Schoolstraat 7, Delft 3114 the Netherlands; [email protected]; 0031 15 213 Keramikmuseum Westerwald, German Collection for The Museum of Contemporary Ceramic Art, Shigaraki Ceramic Cultural Park, 2188-7 Shigarakicho- 87 44; www.prinsenhof-delft.nl. Primarily exhibiting Historical and Contemporary Ceramics, Lindenstraße historical ceramics; functional, sculptural, and 13, Höhr-Grenzhausen D-56203 Germany; Chokushi, Koka City Shiga Pref. 529-1804 Japan; [email protected]; www.sccp.jp; 81 74 883 figurative works; small presentation of historical [email protected]; www.keramikmuseum.de; Delftware; representing 20+ clay artists. 49 26 249 46010. Primarily exhibiting contemporary 0909. Primarily exhibiting contemporary ceramics; and historical ceramics. functional and sculptural works. Museum Lambert van Meerten, Oude Delft 199, Delft Sakuraba Gallery, 45 Kawauchi, Aoba-ku, 2611 HD the Netherlands; [email protected]; Grassi Museum für Angewandte Kunst, Sendai www.lambertvanmeerten-delft.nl; 015 260 23 58. Johannisplatz 5-11, Leipzig 04103 Germany; 980-8576 Japan; [email protected]; [email protected]; www.grassimuseum.de; www.sakurabagallery.info. Loes & Reinier International Ceramics, Korte 49 0 341 22 29 100. Primarily exhibiting historical Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi- Assenstraat 15, Deventer 7411 JN the Netherlands; [email protected]; www.loes-reinier.com; 31 and contemporary ceramics; representing 1500- machi, Tajimi City Gifu-ken 507-0801 Japan; 2000 clay artists. [email protected]; www.cpm-gifu.jp/museum; 57 061 30 04. Primarily exhibiting contemporary ceramics; functional, sculptural, and figurataive Galerie Forum, Dagobertraße 4, Mainz D-55116 81 57 228 3100. Primarily exhibiting contemporary and historical ceramics; functional, sculptural, works; specializing in contemporary French Germany; [email protected]; galerieforum.com; ceramics; representing 50 clay artists. 06131-5860066. Primarily exhibiting ceramics. figurative, and installation works; national and international ceramics. Princessehof Museum of Ceramics, Grote Kerkstraat Galerie Handwerk, Max-Joseph Straße 4, München 11, 8911 CE the Netherlands; 80333 Germany; [email protected]; Yufuku Gallery, Annecy Aoyama 1st Floor, 2-6-12 Leeuwarden Minami-Aoyama, Minato-Ku 107-0062 Japan; [email protected]; www.princessehof.nl; 31 58 www.hwk-muenchen.de/galerie; 49 89 595 584. Tokyo 294 89 58. Primarily exhibiting contemporary and Primarily exhibiting contemporary ceramics. [email protected]; www.yufuku.net; 81-3-5411- 2900. Primarily exhibiting contemporary ceramics; historical ceramics; functional, sculptural, figurative, Galerie Knyrim, Hinter der Pfannenschmiede 3, functional and sculptural works. and installation works. Regensburg D-93047 Germany; 49-0-941-55427; The Museum of Oriental Ceramics, Osaka, 1-1-26 Museum Boijmans Van Beuningen, Museumpark [email protected]; galerie-knyrim.eu. Primarily 18-20, 3015 CX the Netherlands; exhibiting contemporary ceramics; sculptural Nakanoshima, Kita-ku Osaka 530-0005 Japan; Rotterdam [email protected]; www.moco.or.jp; 81 66 223 [email protected]; www.boijmans.nl; 010 44 19 and figurative works; narrative ceramics from 400. Primarily exhibiting historical or contemporary Czech Republic, Hungary, Poland, and Slovakia; 0055. Specializing in Chinese, Japanese, and Korean ceramics. ceramics; functional and sculptural works; representing 20 clay artists. international ceramics. continued on page 114

110 october 2012 www.ceramicsmonthly.org www.ceramicsmonthly.org october 2012 111 randy johnston and jan mckeachie johnston Sept 8 - Oct 7

johnston

trebs

mckeachie johnston

jason trebs Oct 12 - Nov 11 trebs

trebs

Find the best work by established and emerging American ceramic artists at The Grand Hand Gallery. Visit us in our galleries in St. Paul, Minnesota or Napa, California, or online at www.thegrandhand.com

St. Paul 619 Grand Avenue Napa 1136 Main Street St. Paul, MN 55102 Napa, CA 94559 651-312-1122 707-253-2551 Online www.thegrandhand.com | [email protected] 112 october 2012 www.ceramicsmonthly.org

CeramicsMonthly_Sep2012.indd 1 8/29/12 10:56 AM www.ceramicsmonthly.org october 2012 113 Stedelijk Museum ’s-Hertogenbosch, The Mortar [email protected]; www.billcliffegallery.com. Fondation Baur, Musée des Arts d’Extrême Orient, 4, ʻs-Hertogenbosch 5223 MB the Netherlands; Primarily exhibiting contemporary ceramics; fun- 8 Rue Munier Romilly, Geneva 1206 Switzerland; [email protected]; www.sm-s.nl; 31 073 6273680. ctional, sculptural, and fi gurative works. [email protected]; fondation-baur.ch; 41 Primarily exhibiting contemporary and historical Jardine Gallery and Workshop, 45 New Row, 22 704 32 82. Primarily exhibiting contemporary ceramics; functional and sculptural works. ceramics; functional and sculptural works. Perth PH1 5QA Scotland; [email protected]; Keramiekcentrum Tiendschuur Tegelen, www.julianjardine.co.uk; 44 1738 621836. Primarily Musée Ariana, 10 av. de la Paix, Geneva CH-1202 gallery guide gallery Kasteellaan 8, Tegelen 5932 AG the Netherlands; exhibiting contemporary ceramics; sculptural, Switzerland; 41 22 418 54 50; [email protected]; [email protected]; 31077-3260213; functional, fi gurative, and still life works; representing www.ville-geneve.ch/ariana. Primarily exhibiting www.tiendschuur.net. Primarily exhibiting historical 5+ clay artists. historical and contemporary ceramics; functional and contemporary ceramics; sculptural, functional, Fife Contemporary Art & Craft, Town Hall, Queen’s works; ceramics from the Middle Ages to present and fi gurative works. in Europe, the Middle East and the Far East; Gardens, St. Andrews KY16 9TA Scotland; [email protected]; www.fcac.co.uk; 01334 474610. representing 200+ clay artists. Norway Centre d’édition Contemporaine, Galleri Format, Rådhusgata 24, 18 rue St.-Léger, Geneva 1204 Oslo 0151 Norway; [email protected]; Switzerland; [email protected]; 41 22 www.format.no; 47 22 41 45 40. 310 51 70; www.c-e-c.ch. Primarily Primarily exhibiting contemporary exhibiting contemporary ceramics; ceramics; functional, sculptural, functional and sculptural works.

2013 and fi gurative works; representing Kunstforum Solothurn, Schaalgasse 20+ clay artists. 9, Solothurn CH-4500 Switzerland; [email protected]; 0041 32 621 PR China 38 58; www.kunstforum.cc. Primarily The Pottery Workshop Gallery Hong exhibiting contemporary ceramics; Kong, G/F 24 Upper Station St. sculptural and figurative works; Sheung Wan, Hong Kong PR China; representing 20 clay artists. [email protected]; www.potteryworkshop.org; 852 98 Robin Relph Contemporary, 425889; Primarily exhibiting cont- Bahnhofstrasse 21, Zug 6304 emporary ceramics; functional and Switzerland; 604-737-0203; sculptural works; international cer- [email protected]; amics; representing 30 clay artists. www.robinrelphcontemporary.com. Primarily exhibiting contemporary The Pottery Workshop, 139 E. ceramics; sculptural, fi gurative, and Xinchang Lu, Jingdezhen 333001 installation works. PR China; 86798 844 0582; [email protected]; Taiwan www.potteryworkshop.com.cn. Primarily exhibiting contemporary Taipei City Yingge Ceramics Museum, ceramics; sculptural, functional, No. 200, Wenhua Rd., New Taipei and fi gurative works; contemporary City Yingge Dist. 23942 Taiwan, Chinese ceramics and worldwide R.O.C.; [email protected]; public. traveling exhibitions. ceramics.ntpc.gov.tw; 886 2 8677 2727 ext. 610. Primarily exhibiting The Pottery Workshop Shanghai, contemporary and historical ceramics; 2nd Floor, 220 Tai Kang Lu, sculptural, and fi gurative works. Shanghai 200025 PR China; [email protected]; Wales www.potteryworkshop.com.cn; 86 The Art Shop, No. 8 Cross St., 21 6473 5957. Primarily exhibiting Monmouthshire contemporary ceramics; sculptural, Abergavenny NP7 5EH Wales; 01873-852690; functional, and fi gurative works; [email protected]; contemporary Chinese ceramics artshopandgallery.co.uk. Primarily and worldwide traveling exhibitions; exhibiting contemporary ceramics; representing 20 clay artists. functional and sculptural works. Scotland The Ceramic Gallery at Aberystwyth Arts Centre, School of Art, Aber- The Strathearn Gallery, 32 W. ystwyth University, Buarth Mawr, High St., Perthshire PH7 Crieff Ceredigion SY23 4DL Scotland; 44 176 465 6100; Aberystwyth ING Wales; 0044 01970 622192; [email protected]; [email protected]; www.strathearn-gallery.com. Primarily www.ceramics-aberystwyth.com. exhibiting contemporary ceramics; Primarily exhibiting contemporary Scottish ceramics. and historical ceramics; functional, National Museum of Scotland, sculptural, fi gurative, and installation Chambers St., Edinburgh EH1 works; British, international, and 1JF Scotland; [email protected]; 44 Welsh ceramics including work by 131 247 4422; www.nms.ac.uk. Norah Braden, Michael Cardew, Primarily exhibiting historical and Marc Uzan’s vase, from the céramiques de laboratoire series, 13 in. (33 cm) in Bernard Leach, William Staite contemporary ceramics; functional, Murray, Katharine Pleydell-Bouverie, height, stoneware, fired to cone 10, at Loes & Reinier International Ceramics in sculptural, and figurative works; Charles and Nell Vyse, and Reginald British and European pottery and Deventer, the Netherlands. Wells; representing 160 clay artists. porcelain works. National Museum Cardiff, Open Eye Gallery, 34 Abercromby Pl., Edinburgh Switzerland Cathays Park, Cardiff CF10 3NP Wales; EH3 6QE Scotland; [email protected]; 44 [email protected]; 44 2920 397 951; Galerie Fur Gegewartskunst, Im Dorfzentrum 131 557 1020; www.openeyegallery.co.uk. Primarily www.museumwales.ac.uk. Primarily exhibiting Burgwies 2, CH-8906 Switzerland; exhibiting British contemporary ceramics; functional, Bonstetten historical and contemporary ceramics; functional [email protected]; ggbohrer.ch; 41-044-700- sculptural, and fi gurative works; representing 40 works; European ceramics from the 16th through 32-10. Primarily exhibiting contemporary ceramics; clay artists. the 21st centuries; Welsh pottery and porcelain from sculptural and fi gurative works; representing 10 Swansea and Nantgarw. The Adam Pottery, Gallery & Studios, 76 clay artists. Henderson Row, EH3 5BJ Scotland; The Potters Gallery (Oriel y Crochenwyr), 1 High Edinburgh Mairie de Carouge, Place du Marché 14, [email protected]; adampottery.co.uk; St., LL32 8DB Wales; 01492-593590; 1227 Switzerland; [email protected]; Conwy 0131-5573978. Primarily exhibiting contemporary Carouge [email protected]; thepottersgallery.co.uk. www.carouge.ch; 022 307 89 87. Primarily exhibiting ceramics; fuctional and sculptural works; Primarily exhibiting contemporary ceramics and historical and contemporary ceramics; functional representing 6 clay artists. small installations. works; ceramics from Carouge. The Scottish Gallery, 16 Dundas St., Mission Gallery, Gloucester Place, Maritime Quarter, Edinburgh Fondation Bruckner pour la promotion de la EH3 6HZ Scotland; [email protected]; SA1 1TY Wales; [email protected]; céramique, 38, Ch. de Grange-Collomb/c.p. Swansea www.scottish-gallery.co.uk; 44 0131 558 1200. www.missiongallery.co.uk; 44 1792 652 016. 1429, Carouge, CH-1227 Switzerland; Primarily exhibiting contemporary ceramics; Geneva Primarily exhibiting contemporary ceramics. functional, sculptural, fi gurative, and installation [email protected]; 41 22 300 07 18; Victoria Fearn Gallery, 6 b Heol y Deri, Cardiff works; Australian, European, and Japanese artists; www.ceramique-bruckner.ch. Primarily exhibiting Rhiwbina CF14 6HF Wales; [email protected]; representing 20+ clay artists. contemporary ceramics; functional and sculptural works; focus on promoting Swiss and international www.victoriafearngallery.co.uk; 44 29 2052 0884. Roger Billcliffe Gallery, 134 Blythswood St., Glasgow emerging ceramic artists’ work. Primarily exhibiting contemporary ceramics. Strathclyde G2 4EL Scotland; 44 141 332 4027;

114 october 2012 www.ceramicsmonthly.org 9 plus 2

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130 october 2012 www.ceramicsmonthly.org 5 Top Artists

5 Top DEBORAH SCHWARTZKOPF makes non-round, ex- pressive vessels using altered thrown forms and DVDs patterned, molded slabs. Lorna Meaden: Integrating Form & Surface with Porcelain Lorna Meaden: Integrating Form & Surface In this installment of the Ceramic Arts Daily Presents Video Series, Lorna ceramic arts Meaden presents her techniques for elegant wheel-thrown porcelain pottery daily that is equally utilitarian and decorative. By carefully considering every detail along the way, Lorna demonstrates how to successfully integrate the surface presents decoration with the form to make a cohesive whole. Lorna covers the forming processes for six of her popular forms and gives tips for working with noto- riously tempermental porcelain. In addition, she demonstrates her slip inlay 2-Disc Set! technique for laying down pattern, and how she uses resists and various glazes and slips to enhance the patterning. Lorna Meaden Jennifer Poellot Harnetty Editor, CeramicArtsDaily.org Integrating Form&SurFace Program Manager, Ceramic Arts Daily Presents Video Series with Porcelain

Lorna Meaden is a studio potter living in Durango, Colo- rado, whose work has been widely exhibited around the United States. She received her MFA from Ohio University and her BA from Fort Lewis College. In addition to teach-

ing workshops around the country, Meaden has taught at daily video library ceramic arts Southern Illinois University in Edwardsville, and Fort Lew- is College in Durango. Meaden also has been a resident artist at the Anderson Ranch Arts Center and the Archie Bray Foundation for the Ceramic Arts. For more informa- tion, please visit www.lornameaden.com.

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ERIN FURIMSKY dem- LORNA MEADEN onstrates decorating integrates surfaces techniques then layers with forms, plus gives them creating interest- advice for working ing surfaces. with porcelain.

In this installment of the Ceramic Arts Daily Presents Video Series, Martha Gro- with Clay Creating Curves ver demonstrates how she creates her signature curvy forms from wheel thrown ceramic artsdaily and handbuilt parts. She begins by explaining the four basic components of each of her pieces - wheel thrown cylinders, thin slabs, attachments and paper slip - and then combines those components in different ways to create seven of presents her elegant forms. In addition Martha explains her meticulous glazing process. Though she is enamored with the soft, seductive nature of porcelain, Martha 2-Disc Set! stresses that the techniques demonstrated can be easily adapted to fit any style. By the end of this DVD, you will have the knowledge to start creating curves in your own work. Creating

Jennifer Poellot Harnetty Grover with Martha with Editor, CeramicArtsDaily.org Curves Clay Program Manager, Ceramic Arts Daily Presents Video Series with Martha Grover

Martha Grover is a functional potter, creating thrown and altered porcelain pieces. She attended Bennington College in Vermont, where she received her undergraduate degree in architecture. After a post baccalaureate year in ceramics at Syracuse University, she decided to pursue a graduate

degree in clay. In 2007, Martha received her MFA in ceram- daily video library ceramic arts ics from the University of Massachusetts, Dartmouth. Martha has completed residencies at Northern Clay Center in Min- neapolis, Minnesota, the Archie Bray Foundation for the Ce- ramic Arts in Helena, Montana, and Red Lodge Clay Center in Red Lodge, Montana. She received the Taunt Fellowship at the Archie Bray Foundation in 2010. To learn more about Martha and her work, please visit www.marthagrover.com.

Total Running Time: Approximately 3 hours

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MARK PETERS MARTHA GROVER makes loose, bold wheel- shows how to construct thrown functional pottery, functional work in her altered and assembled unique organic style. off the wheel. For a complete list of our clays and supplies, visit us at ceramicartsdaily.org/bookstore www.TrinityCeramic.com

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In this installment of the Ceramic Arts Daily Presents Video Series, Martha Gro- ver demonstrates how she creates her signature curvy forms from wheel thrown and handbuilt parts. She begins by explaining the four basic components of each of her pieces - wheel thrown cylinders, thin slabs, attachments and paper slip - and then combines those components in different ways to create seven of ceramicher elegant forms. In addition arts Martha explainsbookstore her meticulous glazing process. Clay with Curves Creating Though she is enamored with the soft, seductive nature of porcelain, Martha stresses that the techniques demonstrated can be easily adapted to fit any style. By the end of this DVD, you will have the knowledge to start creating curves in ceramic arts your own work. dail Jennifer Poellot Harnetty y Editor, CeramicArtsDaily.org presents

Program Manager, Ceramic Arts Daily Presents Video Series

with Martha Grover Martha with Creating 2-Disc Set! Curves with Get Curvy! with Martha GroverClay Creating Curves with Clay

with Martha GroverMartha Grover is a functional potter, creating thrown and altered porcelain pieces. She attended Bennington College in Vermont, where she received her undergraduate degree $69.95 in architecture. After a post baccalaureate year in ceramics at Syracuse University, she decided to pursue a graduate degree in clay. In 2007, Martha received her MFA in ceram- ics from the University of Massachusetts, Dartmouth. Martha In Creating Curves withhas Clay completed, Martha residencies Grover at Northern demonstrates Clay Center in Min- how neapolis, Minnesota, the Archie Bray Foundation for the Ce- ramic Arts in Helena, Montana, and Red Lodge Clay Center she creates her signaturein Red Lodge,curvy Montana. forms She receivedfrom thewheel-thrown Taunt Fellowship and library video daily arts ceramic at the Archie Bray Foundation in 2010. To learn more about handbuilt parts. StartingMartha with and herthrown work, please bottomless visit www.marthagrover.com cylinders. and thin slabs as her buildingTotal Runningblocks, Time: Martha Approximately combines 3 hours those com- ceramic arts ponents in various ways to create six of her elegant forms. In Copyright 2012 The American Ceramicdail Societyy. addition, she explains her meticulous glazing process.org

g

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132 october 2012 www.ceramicsmonthly.org call for entries deadlines for exhibitions, fairs, and festivals

international sity Gallery of Art, 140 Art Bldg., Cheney, fornia (ACGA), 1 Civic Center Circle, Brea, fairs and festivals WA 99203; [email protected]; www. CA 90035; [email protected]; exhibitions ewu.edu/cale/programs/art/gallery.xml; www.acga.net; 323-857-1865. October 12 entry deadline South Carolina, Greenville “Arti- October 1 entry deadline 509 359-7070. November 14 entry deadline Kentucky, Lexington “Firmly Rooted” sphere” (May 10–20, 2013) open to all December 1 entry deadline Minnesota, Minneapolis “Open Call fine art media including ceramics. Juried (November 16–December 21) open Texas, Houston “6th Annual Inter- for 2013 Exhibitions” (2013 exhibition from digital. Fee: $30. Contact Liz Run- to work of all media addressing some national Texas Teapot Tournament” season) open to 2D and 3D media. Juried dorff, Artisphere, 16 Augusta St., Green- aspect of our connection with the plant (January 12–27, 2013) open to teapots. from digital. Fee: $50 for four entries; ville, SC 29605; [email protected]; world. Juried from digital. Fee: $20 for Juried from digital. Fee: $45 for two $70 for 6 entries. Juror: Melissa Metzler. www.artisphere.us; 864-271-9355. three entries, $5 for each additional up entries. Contact Karen Cruce, 18 Hands Contact Melissa Metzler, Flow Art Space, to 5. Juror: Douglas Stapleton. Con- Gallery, 249 W. 19th St., Houston, TX Keg House Arts Building, 13th Avenue NE, January 7, 2013 entry deadline tact Mary Rezny, MS Rezny Gallery, 77008; [email protected]; 713- Suite B002B, Minneapolis, MN 55413; Connecticut, Guilford “Craft Expo PO Box 4714, Lexington, KY 40508; 869-3099; www.18handsgallery.com. www.flowartspace.com; 612-564-3569. 2013” (July 18–21, 2013) open to original [email protected]; www.msrezny.com; handmade craft work made by US and 859-252-4647. February 4, 2013 entry deadline December 18 entry deadline Canadian artists with limited help from California, Lincoln “The Art League Colorado, Palmer Lake “From The apprentices. Juried from digital. Fee: $40. October 9 entry deadline of Lincoln’s Feats of Clay” (April 27–May Earth: Fine Art in Wood and Clay” Contact Maureen Belden, Guilford Art Florida, Panama City “Fifth Annual 28, 2013) open to work made with (January 8–February 2, 2013) open to Center, PO Box 589, Guilford, CT 06437; Cup Show: Form and Function” (No- a minimum of 70% clay. Juried from ceramic and wood work. Juried from [email protected]; 203- vember 9–21) open to functional and digital. Fee: $25 for one entry; $30 for digital. Fee: $35 for three entries. 453-5947; www.guilfordartcenter.org. sculptural work that addresses the idea two entries; $35 for three entries. Juror: Contact Kristen Davis, Tri-Lakes Center of the cup. Juried from digital. Fee: $15 Richard Shaw. Contact Mike Daley, Art for the Arts, 304 Hwy 105, Palmer January 20, 2013 entry deadline for three entries. Juror: Tammy Marinuzzi. League of Lincoln, 2500 Third St., Lincoln, Lake, CO 80133; [email protected]; Virginia, Chantilly “Sugarloaf Crafts Contact Pavel Amromin, Gulf Coast State CA 95648; [email protected]; www.trilakesarts.org; 719-481-0475. Festival in Chantilly” (January 25–27, College, 5230 West Hwy 98, Panama City, www.all4art.net; 916-543-9669. 2013) open to craft media. Juried FL 32401; [email protected]; January 23, 2013 entry deadline from digital or slides. Fee: $20 per Illinois, Oak Park “Coffee, Tea www.gulfcoast.edu/arts/art/gallery; 850- united states season. Contact Lorrie Staley, Sugarloaf or...#2” (February 23–March 27, 2013) 769-1551 ext. 4874. exhibitions Mountain Works, 19807 Executive Park open to drinking vessels including cups Cir., Germantown, MD 20874; 800- October 16 entry deadline October 4 entry deadline and saucers, mugs, teabowls, yunomis, 210-9900; [email protected]; Indiana, Terre Haute “‘Cup of North Carolina, Raleigh “Artspace’s whiskey cups, and wine flutes. Juried www.sugarloafcrafts.com/becomeex.html. Comfort’ International Ceramics Bien- Fine Contemporary Crafts Exhibition” from digital. Fee: $30 for up to three nial” (November 2–December 4) open (December 7–January 12, 2013) open entries. Juror: David Toan. Contact David March 1, 2013 entry deadline to functional or sculptural cups. Juried to craft and fine art media including Toan, Terra Incognito Studios and Gallery, Maryland, Gaithersburg “Sugarloaf from digital. Fee: $30 for three entries. ceramics. Juried from digital. Fee: $25. 246 Chicago Ave., Oak Park, IL 60302; Crafts Festival in Gaithersburg” (April Juror: Ray Chen. Contact Ray Chen, Juror: Gwynne Rukenbrod. Contact Lia [email protected]; 708-383-6228; 12–14, 2013) open to craft media. Ju- Swope Art Museum/Halcyon Art Gallery, Newman, Artspace, 201 E. Davie St., www.terraincognitostudios.com. ried from digital or slides. Fee: $20 per 25 South 7th St., Terre Haute, IN 47807; Raleigh, NC 27601; [email protected]; season. Contact Lorrie Staley, Sugarloaf March 22, 2013 entry deadline [email protected]; 207-807- www.artspacenc.org; 919-821-2787. Mountain Works, 19807 Executive Park Texas, Ingram “Hard Ware: National 8799; www.halcyonartgallery.com. Cir., Germantown, MD 20874; 800- October 5 entry deadline Ceramics Exhibit” (May 25–June 22, 210-9900; [email protected]; November 8 entry deadline Illinois, Oak Park “Pour” (Novem- 2013) open to functional and sculptural www.sugarloafcrafts.com/becomeex.html. Virginia, Lorton “Drink This! Work- ber 3–December 5) open to pouring work completed within the last two years. house International Ceramic Cup Show” vessels including creamers, ewers, Juried from digital or slides. Fee: $35 March 1, 2013 entry deadline (January 9–February 10, 2013) open to gravy boats, pitchers, and teapots. for three entries. Juror: Juan Granados. Maryland, Timonium “Sugarloaf cups primarily composed of clay. Juried Juried from digital. Fee: $30 for up to Contact Al Zirkel, Hill Country Arts Foun- Crafts Festival in Timonium” (April from digital. Fee: $25 for up to two entries; three entries. Juror: David Toan. Contact dation, 120 Point Theatre Rd., Ingram, TX 26–28, 2013) open to craft media. Ju- $30 for up to three entries. Juror: Linda David Toan, Terra Incognito Studios 78025; [email protected]; www.hcaf.com; ried from digital or slides. Fee: $20 per Arbuckle. Contact Dale Marhanka, Work- and Gallery, 246 Chicago Ave., Oak 830-367-5120. season. Contact Lorrie Staley, Sugarloaf house Arts Center-Ceramics Program, Park, IL 60302; [email protected]; Mountain Works, 19807 Executive Park 9504 Workhouse Way Bldg. 8, Lorton, www.terraincognitostudios.com; 708- regional exhibitions Cir., Germantown, MD 20874; 800- 210-9900; [email protected]. VA 22079; [email protected]; 383-6228. October 4 entry deadline www.workhouseceramics.org; 703- www.sugarloafcrafts.com/becomeex.html. October 15 entry deadline Oregon, Coos Bay “CAM Biennial” 584-2982. Florida, St. Petersburg “Functional/ (October 12–November 24) open to March 1, 2013 entry deadline November 16 entry deadline Dysfunctional” (January 12–February 24, fine art media including ceramics by OR New Jersey, Somerset “Sugarloaf Montana, Missoula “Out of the 2013) open to functional and sculptural artists. Juried from digital. Fee: $15 for Crafts Festival in Somerset” (March Blue” (February 1–22, 2013) open to work consisting of 90% clay. Juried from one entry; $10 each additional. Contact, 8–10, 2013) open to craft media. Jur- ceramic work addressing the concept digital. Fee: $30 to three entries. Jurors: Coos Art Museum, 235 Anderson Ave., ied from digital or slides. Fee: $20 per of “blue.” Juried from digital. Fee: $25 Kathy King and Steven Young Lee. Contact Coos Bay, OR 97420; [email protected]; season. Contact Lorrie Staley, Sugarloaf for up to two entries. Juror: Trey Hill. Melissa Yungbluth, Morean Arts Center, www.coosart.org; 541-267-3901. Mountain Works, 19807 Executive Park Contact Shalene Valenzuela, The Clay Cir., Germantown, MD 20874; 800- 719 Central Ave., St. Petersburg, FL 33701; November 17 entry deadline Studio of Missoula, 1106 A Hawthorne Melissa.Yungbluth@MoreanArtsCenter. Texas, Irving “University of Dallas 210-9900; [email protected]; St., Missoula, MT 59802; 406-543-0509; org; www.bit.ly/functionaldysfunctional; 2013 Regional Juried Ceramic Competi- www.sugarloafcrafts.com/becomeex.html. [email protected]; 727-822-7872. tion” (January 22–March 1, 2013) open March 1, 2013 entry deadline www.theclaystudioofmissoula.org. October 31 entry deadline to ceramic work completed within the Pennsylvania, Oaks “Sugarloaf November 19 entry deadline California, Brea “Association of Clay last two years by AR, CO, KS, LA, MO, Crafts Festival in Oaks” (March 15–17, Washington, Cheney “Two by Two: and Glass National Juried Exhibition” NM, OK, and TX artists. Juried from 2013) open to craft media. Juried Small-scale Ceramic Sculpture Biennial” (January 26–March 1, 2013) open to work digital. Fee: $30 for three entries. Juror: from digital or slides. Fee: $20 per (January 24–March 14, 2013) open to comprised of at least 75% clay or glass and Les Manning. Contact Rebecca Prince, season. Contact Lorrie Staley, Sugarloaf small-scale ceramic sculpture. Juried from created within the last two years. Juried University of Dallas, 1845 E. Northgate Mountain Works, 19807 Executive Park digital. Fee: $30 for three entries. Juror: Jae from digital. Fee: $30 for three entries. Dr., Irving, TX 75062; [email protected]; Cir., Germantown, MD 20874; 800- Won Lee. Contact Nancy Hathaway, Gal- Juror: Carol Sauvion. Contact Beverly Crist, www.udallas.edu/art/regional; 972- 210-9900; [email protected]; lery Director, Eastern Washington Univer- Association of Clay & Glass Artists of Cali- 721-5319. www.sugarloafcrafts.com/becomeex.html.

www.ceramicsmonthly.org october 2012 133 classified advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Personals, Products, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first available print issue, and posted on our website for 30 days at no additional charge! See www.ceramicsmonthly.org for details.

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134 october 2012 www.ceramicsmonthly.org NCECA 47th Annual Conference Enter Hilton Americas-Houston to Free 3 Night Stay ! WIN!! March 20-23, 2013

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Go to www.greatkilns.com, click on the NEWS page to enter. 1. Must be an Olympic kiln owner (the kiln can be 40 years old or brand new) so get your Olympic gas or electric kiln before November 1, 2012! 2. Must provide Olympic kiln model and serial number The winner (it could be you!) will 3. Provide your contact information: name, address, phone and e-mail 4. Tell us something about you & your Olympic kiln be notified in December and their name published on our web site, Accepting entries through October 31, 2012. www.greatkilns.com. Must be 18 years or older to enter and attending NCECA 2013.

Phone (800) 241-4400 • (770) 967-4009 • Fax (770) 967-1196 www.greatkilns.com index to advertisers Aardvark Clay ...... 128 Classifieds ...... 134 Herring Designs/SlabMat ...... 127 Peter Pugger ...... Cover 3 ACerS Books ...... 4, 130, 131, 132 Clay Art Ctr/Scott Creek ...... 122 Potters Council ...... 128, 130 L & L Kiln Mfg ...... 123 Alligator Clay ...... 129 Continental ...... 124 Larkin ...... 128 Sheffield ...... 131 Amaco and Brent ...... Cover 2, 9, 23 Cornell ...... 132 Shimpo ...... 2 Anderson Ranch ...... 125 Cowan’s ...... 10 Master Kiln Builders ...... 127 Skutt ...... Cover 4 Arrowmont School ...... 125 Coyote ...... 127 MKM ...... 129 Smith-Sharpe ...... 122 Atlantic Pottery ...... 132 Cress Mfg ...... 125 Mudtools ...... 123 Spectrum ...... 11

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www.ceramicsmonthly.org october 2012 135 SPOTlighT

a potter’s pots Suze Lindsay The saying “nobody buys more pots than potters” is perhaps not strictly true, but even without doing the math, it appears to be plausible whenever you walk into a potter’s kitchen—or dining room, or living room, or bathroom . . . We asked Suze lindsay, who focuses her making and collecting on spouted vessels, how that came to be.

conceptual approach, or a quirky innuendo, and once I realize where the inspiration is coming from, I can use it as a personal learning tool. I get to sit with a piece and decipher what draws me to the work, why I had to have it in my home, narrowing it down to specifics, and then naming that particular quality. It helps me to build my descriptive vocabulary about my own pots and gives me a jumping-off point for defining and making choices about my process, design, intention, and craftsmanship. These pots project a visual language that can be adopted and adapted. I study their profile, proportion, volume, surface, gesture, and their beginnings and endings. The nuances and details of pouring pots also make the forms more complicated and I must consider relationships between the spouts, lids, and handles. There is a Suze Lindsay consults her “library” of spouted vessels on a daily basis, on her way to and from balance between how it looks and how it the studio, during mealtimes, and of course, pours. Is the handle in the right place? What while visiting with friends. does the negative space require? Am I able to lift and pour? Does it dribble? Is it easy to use, or does it make me slow down and pause? How does it make me feel? Our collection includes both contemporary works and historical reproductions of teapots and pitchers. Learning the anatomy of shapes by both past and present-day potters is important. Our “historical “ collection of Yixing teapots, are reproductions based on pots first created in the 17th century. These ingenious forms are meticulously ceramics that I just had to have. Spouted crafted, culturally definitive, inventive in their forms have become objects I have gathered interpretations of forms in everyday life, and and anthologized. I consistently use them intimate in scale. I get to observe and absorb Ceramics Monthly: How did you come to as a learning library for my studio practice, these qualities, and carry them over into all collect a particular kind of form (spouted as they serve as teaching tools, for me and other pouring forms that I make. vessels), and how does it impact your studio for my students. Dan Anderson calls his Making good pots is a life-long challenge. practice in terms of study, influence, and collection his “living museum,” and I like to It is important that I continue to problem your actual work? think of our pots in that way. I see them every solve and refine how I see and interpret. I am day on the shelf, in a cabinet, on display, grateful that I have all these wonderful pots Suze Lindsay: There are two potters living or in use, and may have an unconscious to enrich my life and my work. in our household, and we collect things that conversation with them, unaware that I'm we love. One of our collections encompasses acquiring a new visual language. Suze Lindsay makes pots with her a range of pouring vessels. Initially, I acquired Not only do I enjoy living with these husband Kent McLaughlin at Fork these forms because I used them in the pots daily, they have become sources of Mountain Pottery in Bakersville, North brewing and sharing of beverages, inspired information and inspiration, and challenge my Carolina. To see more of her work, go to by the age-old tradition of creating social ideas about form and function. By studying www.forkmountainpottery.net. occasions around their use. We enjoy being the choices their makers have made, I am able in the company of others, sharing a pot to inform and define my aesthetic standards. Keep an eye out for Lindsay’s upcoming of tea on a cold day in autumn, or using a They are a hands-on way of teaching myself DVD and downloadable video about pitcher to serve sangria at a special party. to see. My specific response to each and every her approach to, and techniques For the 25 years I’ve been making pottery pot that lives on our shelves may contain a for, making spouted vessels at and going to shows and sales, I have seen memory, an identification of a technical or www.ceramicartsdaily.org/bookstore.

136 october 2012 www.ceramicsmonthly.org

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...wait until you see what else it can do!

TM The Future of Firing skutt.com/kilnlink

for more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000