editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey

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Copyright © 2004 The American Ceramic Society All rights reserved

Ceramics Monthly March 2004 2

Ceramics Monthly March 2004 4 MARCH 2004 / Volume 52 Number 3

featu res

42 Thermal Formations by Sally Resnik Rockriver Exploring geologic phenomena through clay, glaze and glass 48 Jon and Tessy Pettyjohn Philippine Ceramics Pioneers by Jon Lee

52 Rafael Perez by Glen R. Brown The potential of clay revealed through working in series 56 Maishe Dickman A Day in the Life at George Street Studio by Dannon Rhudy

60 Using Studio Space to Increase Profits byjeffzamek Organizing equipment and supplies for maximum efficiency

63 Ray and Jere Grimm by John Nance A combined 100 years in clay

69 Rollie Younger's Boiler Teapots by Lauren Zolot Younger Traditional form combined with industrial imagery

72 Toward a Vocabulary for Wood-Firing Effects by Dick Lehman A basis for discussing what melted wood ash does on clay 78 Life Is Lived Forward and Understood Backward The Search for a Personal Understanding of Memories by Jeanne Henry 131 Investigations and Inspirations: The Alchemy of Art and Science NCECA 2004 Conference Preview

departments

8 letters 16 upfront 32 new books 40 video 82 call for entries 90 suggestions 94 calendar 122 questions 124 classified advertising 126 comment: The Business Wisdom of Timeless Adages by Brad Sondahl 128 index to advertisers

cover: "Glacial Flower," 21 inches (53 centimeters) in diameter, stoneware with cryolite glaze, fired to Cone 4, by Sally Resnik Rockriver, Chapel Hill, North Carolina; page 42. Photo: Ellen Giamportone.

Ceramics Monthly March 2004 5 upfront

16 NCECA Names First Executive Director Nancy Steinfurth joins the National Council on Education for the Ceramic Arts 16 Mark Bridgwood Ceramic sculpture at Waterworks Visual Arts Center in Salisbury, North Carolina 16 Kyung-joe Roe Vessels at Tong-in Gallery in New York City 16 Bonnie Staffel Receives Award Ceramist honored by Crooked Tree Arts Center in Petoskey, Michigan 16 Henry Tanaka Stoneware pottery at Flora Kirsch Beck Gallery, Alma College in Alma, Michigan 18 Jim Kraft Wall tiles and vessels at FosterlWhite Gallery in Seattle, Washington 18 Tim Foss and Peter Olsen Earthenware and soda-fired stoneware at KOBO in Seattle 20 Ben Owen III Potter named "2004 North Carolina Living Treasure" exhibits work at the Louise Wells Cameron Art Museum in Wilmington 20 Molly Potter Sculpture exhibition at RaZoo Art Gallery in Ft. Lauderdale, Florida 20 Ted Saupe Stoneware at Santa Fe Clay in Santa Fe, New Mexico 22 Leila Holtsman and Shin-Yeon Jeon Ceramics exhibition at Hodson Gallery, Hood College, in Frederick, Maryland 22 Monique Muylaert and Herman Muys Works by two Belgian artists at Centre Culturel Jacques Brel in Thionville, France 24 Doug Dacey Thrown and altered porcelain vessels at Green Tara Gallery in Chapel Hill, North Carolina 24 Tania Kravath Wood-fired ceramics at Ceres Gallery in New York City 24 Rimas VisGirda Receives Award Ceramist receives Lithuanian American Community Cultural Council Award in visual arts 26 Charles Jahn and Mie Kongo Functional and sculptural works at Lillstreet Art Center in Chicago 26 Janet Buskirk Porcelain tableware at the Hoffman Gallery at the Oregon College of Art and Craft in Portland 28 Sandra Delonis Decorative and functional ceramics at Clay on Camden in Charlotte, North Carolina 28 Paradise City Arts Festival Works by 175 artists from 24 states in Marlborough, Massachusetts

Ceramics Monthly March 2004 6 Ceramics Monthly March 2004 7 stones. We walked past stone pillars that I recognized the black and white stone letters had collapsed and were scattered across the tiles from the beach near my house. I had sand. Greek statues of athletes and states­ collected handfuls of them as they washed Ancient Lesson men stared at us with hollow eyes, just as up on the beach in the mornings. Here, Ceramics is one of the oldest arts. I learned they would have long ago. they were scattered about plentifully, a how special it is when I was 12 years old, From a hill, I looked past the great field remnant of the mosaic flooring from the living in Tripoli, Lybia, on the Mediterra­ of ruined, silent buildings to the dark blue Greek buildings. nean coast. Once, during my family’s three- Mediterranean in the distance. We walked Among the shards of cups and pots, I year stay there, we visited the ruins of Leptis through the ruins and made our way to the found a ceramic bowl, about 3 inches in Magna. It was a quiet, sunny afternoon beach. Scattered on the sandy beach were diameter and 2 inches in height, made of when we strolled through the streets of this ½-inch-square stone tiles and broken pieces reddish-brown clay. It was unglazed and, ancient Greek city. We stepped over the of pottery. Bits of pottery jutted from the except for a few small chips on the rim and ruts that chariots had worn into the cobble­ sand as the waves gently washed over them. around the base, was in perfect condition. Impressed into the base was a human hand­ print. Inside the bowl were impressions of several fingerprints. The fine lines showed clearly. That the delicate impression of a human hand remained after 2000 years astonished me. I visualized an ancient pot­ ter holding the bowl in his palm while the clay was still wet. Cupping the bowl in my hands brought history to life for me. Over 30 years have passed since that visit to Leptis Magna. Thinking of it reminds me of how special, even magical, ceramics is. The heat of an ancient kiln had given that little bowl the strength to survive cen­ turies buried in the desert. Plastic, wood and metal would have disintegrated. And centuries from now, ceramic pieces will be among the few relics from our civilization. Arnold Howard, Mesquite, TX

Inspirational Melting Pot Whether I like or don’t like the featured pieces, it’s all an inspirational melting pot. Sally McCorry, Valenza, Italy

Honoring a Ceramics Pioneer Last October, the New York State College of Ceramics at Alfred University honored Harold “Hal” Riegger for his contributions to American ceramics. Riegger, a 1938 graduate of the school, went on to produce a line of domestic wares and one-of-a-kind pieces. He also did some designing for industry. Riegger is a teacher and writer whose books Raku, Art and Technique and Primitive Pottery, and magazine articles (see “Raku Then and Now,” CM, September 2000) helped introduce scarcely known methods to generations of potters. He was one of the first American potters to experi­ ment with raku and to teach it widely through workshops and demonstrations. Ceramics department head John Gill and professor of ceramics Wayne Higby were instrumental in honoring Riegger. A ceremony was held in which Gill presented Riegger with a presidential citation and plaque, which read, in part, “Harold ‘Hal’ Ceramics Monthly March 2004 8 Ceramics Monthly March 2004 9 letters this class. This past semester, I took up Unfortunately, I am still in the trying Ceramics I and received an A. Before I stage. I can get it right on about two out of moved up to Ceramics II, I was very excited every five tries. I’m working on the other Riegger ... an artist, teacher, author, men­ to throw on the wheel, but Ceramics I three tries. tor, designer, innovator, master potter, students were restricted from that (need to I just wanted to ask if you could publish master craftsman, experimentalist, vision­ learn the basics first). this thank you to Mr. Allman at Edgewater ary, friend and patron of the arts.” Mr. Allman has an open studio every High School from his students. He keeps Culminating the weekend was a work­ Tuesday and Thursday. Students can come every Ceramics Monthly he can get his hands shop in which the newly arranged raku area and work freely on their projects after on in his classroom. We, as a class, do and a new kiln, designed and built by school. Since I went to almost all of these assignments out of CM. Mr Allman has Freddy Fredrickson, Alfred University open studios, Mr. Allman soon discovered done so much to help us. I already know instructor and technical specialist, were my love for ceramics. We made a deal that, what I want to do when I’m older—be a dedicated to, and named for, Riegger. Due if I watched a wheel-throwing video dem­ potter, of course! to his humble and quiet nature, Riegger has onstration, he would teach me to throw. Carlee Eubanks, Orlando, FL never been publicly and fully recognized for There are not words to describe how I felt his important work and lifetime commit­ at that moment. I said, “Of course!” I threw Inspire the Whiners ment to clay and teaching. I, for one, was my hands up in the air, danced around and I’m getting tired of letters whining about honored and thrilled to have been part of gave him a high five! how long it’s been since people have the event. Bravo to Alfred University and After a few days of trying to center, I touched clay. How hard is it to start? I Hal Riegger. still could not get it right. I’m the kind of think we all know. Let’s get some letters Steven Branfman, Needham, MA person who gets frustrated very easily if I from people who have done it on their can not do something new right away. own—without trust funds, that is. Inspire Thank You to a Teacher Usually, I would give up. This was differ­ the whiners! I am a 14-year-old freshman at Edgewater ent, though. He kept telling me that it took Audrey Thornton, Dexter, MI High School in Orlando, Florida. This year him weeks to center when he was in high at school has not been so good for me, school. He told me to keep trying and that I Smelling the Flowers except for one class, that is—ceramics. would get it sooner or later. His encourage­ The November [2003] issue is the most My teacher, Chad Allman, has helped me ment made me want to keep trying and exciting and wonderful issue I have seen in grow and has taught me so much through prove to him that I could center. a while. Everything in it was beautifully

Ceramics Monthly March 2004 10 letters perfectly balanced. In addition, Judy me to stop and smell the flowers in a way— Dyelle’s work is just strikingly beautiful and just because he got my attention and made yet seems quite traditional. The article me see something I would otherwise ignore. designed and pleasant to observe. I am not about the installation of fountains in New Ellen Mancini, Gardners, PA offended by sculptural pieces that are cre­ Mexico shows work that is beyond anything ated to provoke a reaction of thoughtful I could ever dream of producing. Work like Cross-Disciplinary Coverage contemplation, or even to purposely disturb this adds spice to my life and color to my I’d like to see articles covering the interac­ the viewer for the sake of making an artistic vision. I would also like to mention the work tions between artists and industry, archi­ statement. However, it occurred to me that of Fred Yokel. It is a highly stimulating tects or designers. the work of artists such as Michael Simon, experience to remove oneself from making Margery Shore, Baton Rouge, LA Robin Hopper and Kim Gi-chul exhibits functional pottery and take a few minutes skill and beauty, while utilizing old meth­ to look at the imaginative and humorous Environmental Concern ods and recent technology in a way that is work he has created. I felt like he was telling I would like to see some discussion in your magazine about what potters can do to lessen the environmental impact of their craft. For example, which firing method contributes the least to air pollution and global warming? Botan Anderson, Wilson, WI

Correction On page 38 of the January 2004 issue, the image of Scott Chamberlin’s “Pinca” was inverted. It should be viewed as shown here.

“Pinca,” 25 inches (64 centimeters) in height, glazed terra cotta, by Scott Chamberlin, Boulder, Colorado.

In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers; some editing for clarity or brevity may take place. All letters must include the writer’s full name and address, but they will be withheld on request. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081; e-mail to [email protected]; or fax to (614) 891-8960.

Ceramics Monthly March 2004 12

upfront

NCECA Names First Executive Director The National Council on Education for the Ceramic Arts (NCECA) has hired Nancy Steinfurth as its first executive director since it started in 1967. Steinfurth is responsible for overseeing the operations of the organization, as well as transforming NCECA from a primarily board- driven organization to one that depends more on its professional staff. She will also be working to raise funds and build a permanent home for NCECA in Erie, Colorado.

Mark Bridgwood “Frozen Moments,” an exhibition of ceramics by Winston-Salem, North Carolina, artist Mark Bridgwood, can be seen through April 17 at Waterworks Visual Arts Center in Salisbury, North Carolina. “As I see it, the cube is to sculpture as the vessel is to high craft in its perceptual simplicity: familiar visual language, reference point and springboard, Kyung-joe Roe’s “hap,” lidded vessel, 24 inches (61 centimeters) in height; at Tong-in Gallery, New York City.

and elegant feeling,” Roe stated. “My work is culturally rooted in the Buddhist beauty of the Unified Shilla, flamboyantly decorative beauty of Goryeo, and restrained shape and color of Joseon.”

Bonnie Staffel Receives Award Michigan ceramist Bonnie Staffel received the Artist Award during the “Third Annual Eddi Awards” sponsored by the Crooked Tree Arts Center in Petoskey, Michigan. The awards were presented to artists, educators, performers, benefactors and organizations for their contribu­ tions to the arts in northern Michigan. Staffel received her award for her work, which has helped shape the art in the region, and for encouraging other artists to settle in the area.

Henry Tanaka Stoneware vessels by Auburn Hills, Michigan, potter Henry Tanaka can be seen through March 11 at Flora Kirsch Beck Gallery, Alma College, Alma, Michigan. Tanaka throws and alters his functional pieces, incises the surfaces, and pours, brushes and trails glazes, then wood fires them. Mark Bridgwood’s “Untitled,” 10 1 /z inches (27 centimeters) in height, white earthenware; at Waterworks Visual Arts Center, Salisbury, North Carolina. symbol and metaphor. To me, the cube speaks of standardization, uniformity, spatial manipulation and mathematical perfection.” Bridgwood is interested in repetition in the sense that it is a “fundamental aspect of life” and that it affects meaning and value. “In this work, I am trying to raise awareness of the presence of repetition in our daily lives, posing the question: when does it go from a positive to a negative?”

Kyung-joe Roe Ceramics by Korean artist Kyung-joe Roe were exhibited recently at Tong-in Gallery in New York City. Roe is known for hisyeollimun ware, which is a marbled clay using white, black and gray colorants. Influenced by the traditional Korean yeollimun, he has created his own aesthetic. Roe’s squared vessels with lids are inspired by the square bottles of the Joseon dynasty. “I think it is extremely important for my work to be Henry Tanaka teapot, 6 inches (15 centimeters) in height, thrown and incised white stoneware, wood fired; at Flora Kirsch Beck Gallery, meticulously counterbalanced and decoratively beautiful, giving a simple Alma College, Alma, Michigan.

Ceramics Monthly March 2004 16 Ceramics Monthly March 2004 17 upfront visual field. I have always had an interest in deconstructing the modules or parts that make up a whole, and in this way the tile format appeals to me. I determine how things fit together or don’t.” “I use elements of form, color, texture, size and weight to create a statement about utility and the setting in which my pieces are used,” he Tim Foss and Peter Olsen stated. “My work’s ability to offer food in concert with a vessel that is Ceramics by Seattle, Washington, artists Tim Foss and Peter Olsen were rich in generosity, both visually and tactually, is my objective. The exhibited recently at KOBO in Seattle. Foss often combines his func­ concept of creating an object that has the power to create a certain tional ware with his interest in drawing and painting. “The image of the atmosphere surrounding the daily ritual of eating is paramount. A sense ancient potter as historian drives me to create a type of contemporary of warmth and an invitation to touch are qualities that I want in my work. I try to achieve this by striving for a strong sense of material and touch in creating my pieces. In my decoration, I love to see a sense of fluidity, whether it is by material or by my hand, which creates a sense of spontaneity and naturalness. I hope that, through my work, the user comes to see that the decisions that I make are sometimes metaphorical and symbolic in an effort to reveal myself, as well as my sense of beauty.”

Jim Kraft “Portuguese Lesson,” an exhibition of clay vessels and wall tiles by Seattle, Washington, artist Jim Kraft, is on view through March 3 at Foster/White Gallery in Seattle. “When I went to Portugal last year, I was excited to find that the local architecture was covered with ceramic tile—buildings, houses, inside and out, floor to ceiling,” Kraft com­ mented. “When I got home, I tiled a whole wall inside my house. The tilesltablets on the wall in my house are different depths—½ to 2½ inches—so at night I can set small candles on the deepest tablets, like little shelves, and have a glowing wall.” The tiles are created using the

Tim Foss teapot, 10 inches (25 centimeters) in height, earthenware with terra sigillata and glaze.

functional ceramics that acts as an honest testimony to the 21st-century human experience,” he explained. Thrown and altered, many of his pieces are painted and etched before being fired in an electric kiln. Olsen’s latest work includes soda-fired and reduction-cooled stone­ ware. “I have been playing with ideas of ‘offerings’ from the very formal vessels that certain cultures use to offer fruit, flowers or incense to the

Jim Kraft’s “Black Line,” 8 inches (20 centimeters) in height; at Foster/White Gallery, Seattle, Washington. same hand-rolled slab technique that Kraft uses to make his vessels. A large rolling pin is used to roll the clay out on a large, canvas-covered plywood board. “Before and during the process, I sprinkle or throw dry clay onto the surface of the board and the wet clay,” he explained. “The purpose is to add color and texture. These dry materials can include ball clay, red clay, stains, granular ilmenite, etc. As the colors are added to the surface of the clay slab, I continue to roll and stretch the slab, creating a geological visual effect.” Kraft also uses combs, raking tools and other tools to create lines and textures in the surface of the clay. Using the tiles to cover a wall “provides me with the challenges inherent to any larger Peter Olsen square dish, 9 inches (23 centimeters) square, picture plane, which, like a very large painting, can command an entire soda-fired stoneware; at KOBO, Seattle, Washington.

Ceramics Monthly March 2004 18 upfront and feelings are imposed on the sculpture as words and phrases. They may also be projected by adding incongruent, found objects to the head. “The Amour-O-Meter,” for example, has a sprinkler timer on its more informal use of the pot as a way to offer comfort, sustenance, chest, as well as a copper plate that reads: “The Amour-O-Meter. A pleasure and hospitality. In this new work, I have been combining the forms—boxes that display the pots for daily use, trays that make formal arrangements of simple pieces.”

Ben Owen III Seagrove, North Carolina, potter Ben Owen III was named “2004 North Carolina Living Treasure” by the University of North Carolina at Wilmington. He was presented with the award on February 5, the opening date of the exhibition “A Natural Influence: New Works by Ben Owen III” at the Louise Wells Cameron Art Museum in Wilmington. Presented through May 2, this is Owen’s first solo exhibi­ tion at a museum. On view will be 30 of his latest works, which were

Molly Potter’s “The Amour-0-Meter,” 15 inches (38 centimeters) in height, with oxides and unfired colorants, with copper plate; at RaZoo Gallery, Ft. Lauderdale, Florida.

revolutionary new device that lets you communicate when you will be feeling amorous. Simply adjust the pegs for the day and time and let the Amour-O-Meter do the rest!”

Ted Saupe Ceramics by Athens, Georgia, artist Ted Saupe were exhibited through November 29, 2003, at Santa Fe Clay in Santa Fe, New Mexico. Each stoneware form is pinched and painted with a kaolin slip. The imagery

Ben Owen Ill’s “Combed Vase,” 32 inches (81 centimeters) in height, stoneware with natural ash and rutile slip, wood fired; at the Louise Wells Cameron Art Museum, Wilmington, North Carolina. inspired by forms in nature. “I am honored and flattered that I was selected for this distinction in North Carolina,” Owen remarked. “We have such a great state and many wonderful artists that make it unique. I am fortunate to have come from such a creative family of potters in Seagrove. The preservation of talents in North Carolina is a vital part of our society. Most importantly, the support from the people of this state has made it possible for artists like me to pursue our creative endeavors in life.”

Molly Potter “Secrets,” an exhibition of ceramic sculpture by Florida artist Molly Potter, was on view recently at RaZoo Art Gallery in Ft. Lauderdale, Ted Saupe’s “Sauce Pot,” 6½ inches (17 centimeters) in height, pinched stoneware, Florida. Potter uses the human head to focus on symbolic ideas. Thoughts with slip and stain, low fired with salt; at Santa Fe Clay, Santa Fe, New Mexico.

Ceramics Monthly March 2004 20 upfront form as a canvas for her paintings, striving to contrast traditional Korean ceramics with those of the West. “Everybody has his or her own individual sense of color and aesthetic images,” she noted. “In my work, is then painted on with black stain and low fired with salt. “This new there is a balance and a tension between form and function, texture and work is autobiographical,” says Saupe, “and can be seen as pictorial line, and color and image. My artworks evoke emotions and memories journal entries painted on pots we use every day.” that go far beyond their physical attributes.” Holtsman creates handbuilt furnishings for the home, such as tiled Leila Holtsman and Shin-Yeon Jeon fireplace surrounds and tables, as well as functional forms like vases and “Flame and Brushstroke,” an exhibition of ceramics by Leila Holtsman platters. Her vases are coil built, and a wash is applied with a sponge. and Shin-Yeon Jeon, was on view through January 23 at Hodson Gallery at Hood College in Frederick, Maryland. Jeon uses the ceramic Monique Muylaert and Herman Muys Ceramics by Antwerp, Belgium, artists Monique Muylaert and Herman Muys were exhibited recently at Centre Culturel Jacques Brel inThionville, France. “The material—the clay—of their art is common, but their

Shin-Yeon Jeon’s “The Woman,” 15 inches (38 centimeters) in height, stoneware.

Monique Muylaert’s “Marbled Water,” 85 centimeters (33 inches) square, T-material and porcelain, with glazes, fired in an electric kiln.

Herman Muys art boxes, to approximately 10 centimeters (4 inches) in height, with glazes, fired in an electric kiln; at Centre Culturel Jacques Brel, Thionville, France. products are very different,” states Virgil Hammock in a monograph on their work. “There is a common thread to their work, as there should be to people who live, love and work together on a day-to-day basis. “There is a common philosophy to their art, their vision, but it Leila Holtsman vase, 6 inches (15 centimeters) in height, coil-built stoneware with copper oxide wash, fired to 1818°F (990 C) in an electric kiln; manifests itself differently through their individual artistic approaches. at Hodson Gallery, Hood College, Frederick, Maryland. Muylaert is, in effect, a painter who uses a ceramic relief as her ground;

Ceramics Monthly March 2004 22 upfront mented. “I’m intrigued by lines and colorations found in land forms, and have been trying to use the organic nature of porcelain to allude to them.” Muys is very much the ceramics sculptor. This comparison is too simple as Muylaert’s relief surfaces are complex sculptural surfaces that deal in Tania Kravath ‘real’ rather than illusionary, albeit very shallow, space. The effect is that “Travelers,” an exhibition of wood-fired ceramics and bronze sculptures her work generally hangs on the wall or, at the very least, has a front, by New York artist Tania Kravath, was on view through January 31 at while Muys’ work ‘exists’ in real space. Ceres Gallery in New York City. “Relationships between people, and “Craft-oriented artists can get lost in technique at great cost to their the connection between form and emotion are the explorations of my art,” Hammock continues. “This clearly is not the case with Muys and work in clay,” Kravath stated. “Firing in the noborigama kiln allows for Muylaert. Their artistic vision is the prime motivation of their work. The complete mastery of their craft makes it possible for their vision to become visible to the viewer. It is the perfect combination: vision and technique working together to create ‘art.’”

Doug Dacey Thrown and altered porcelain vessels by North Carolina artist Doug Dacey were exhibited through February 24 at Green Tara Gallery in Chapel Hill, North Carolina. Using a combination of throwing and handbuilding, Dacey produces both functional forms and large sculp­ tural works. “These pieces are a continuing extension of an interest in geological patterns that occur in natural formations,” Dacey com­

Tania Kravath’s “Reclining Figure,” 30 inches (76 centimeters) in length, wood-fired stoneware; at Ceres Gallery, New York City.

a rich experience of community, and provides the opportunity for each form to bear the unique mark of the fire. For me, it is a parallel. We, too, are affected by our position and placement, and are marked by choices and life events. Awareness, responsibility and a sense of belonging shape our work.”

Rimas VisGirda Receives Award Illinois ceramist Rimas VisGirda received the visual arts award during the “21st Lithuanian American Community Cultural Council Awards Ceremony” held at the Lithuanian Museum of Art in Lemont, Illi­ nois. Each year, the Lithuanian Foundation provides funding for six awards for outstanding performance in radio, theater, visual arts, music, journalism and national ethnic dance. Born in Kaunas, Lithuania, in 1942, VisGirda received a degree in physics from California State

Doug Dacey vase, 16 inches (41 centimeters) in height, thrown and altered Rimas VisGirda vessel, 8 inches (20 centimeters) in height, stoneware porcelain, lithium blue glaze and rutile oxide, fired to Cone 11 in reduction; with engobes, underglaze pencils and lusters; recipient of a Lithuanian at Green Tara Gallery, Chapel Hill, North Carolina. American Community Cultural Council Award in visual arts.

Ceramics Monthly March 2004 24 Ceramics Monthly March 2004 25 upfront

University in Sacramento. He went on to earn a master’s degree in art from the same university, and received a master of fine arts degree in ceramics and sculpture at Washington State University in Pullman. Influenced by his family, the culture in which he lives, the machine age, the urban environment, the media, as well as fad and fashion, VisGirda likes “to show that my work is a combination of man and material, where both the person making the object and the material have equal significance. I exaggerate dents and imperfections when appropriate to the construction process, as in throwing or handbuilding. As I get older, I seem to reflect more on my youth and the older I get, the further back I look. Perhaps it has to do with wanting to revisit my daydreams of the past and to examine and understand what I did not know or could not see at the time. It’s peculiar to revisit that time with much older eyes.”

Charles Jahn and Mie Kongo Ceramics by Chicago-area artists Charles Jahn and Mie Kongo are on view March 13—April 11 at Lillstreet Art Center in Chicago. Influenced by the traditional and historical ceramics of China, Ko-

Mie Kongo vessel, 8 inches (20 centimeters) in height, charcoal fired.

rea and Japan, Jahn has been making both sculpture and functional pottery since the early 1980s. He often incises the surfaces of his forms, which are then wood fired. Kongo’s vessels, focusing on form, are wheel thrown and altered. Her pieces are fired using a traditional Japanese charcoal process.

Janet Buskirk Whimsical porcelain tableware in the forms of corn cobs, gourds and squash by Oregon artist Janet Buskirk (see CM, March 2002) were exhibited recently at the Hoffman Gallery at the Oregon College of Art and Craft in Portland. The pieces were molded from vegetables, after

Charles Jahn vessel, 18 inches (46 centimeters) in height, Janet Buskirk teapot, 5 1 /2 inches (14 centimeters) in height, soda-fired porcelain; wood fired; at Lillstreet Art Center, Chicago. at the Hoffman Gallery, Oregon College of Art and Craft, Portland.

Ceramics Monthly March 2004 26 Ceramics Monthly March 2004 27 upfront which the clay was manipulated and the finished forms soda fired. “This work is about the playful nature of clay,” Buskirk commented. “Many ceramics artists first become enamored with clay because it is so tactile and so mobile. When we touch clay, it is our hands, not pliers, a brush or a hammer that manipulates the wet clay. This personal contact with the clay somehow makes it an especially fun medium. Even daywork that begins in a static, immobile mold can still be changed, have parts added or removed, retextured, wiggled or otherwise played with. “Soda firing was chosen for this work because it gives a beautiful skin of glaze on the surface of the clay, but it does not cover up the texture and the detail,” Buskirk explained. “The soda-fired surface gives the illusion of depth without the constraints of a more opaque, thicker coating of glaze.”

Sandra Delonis Functional and decorative ceramics by North Carolina artist Sandra Delonis were exhibited recently at Clay on Camden in Charlotte, North Carolina. Influenced by her interests in art, architecture, engi­ neering as well as her own life experiences, Delonis has also found that “the rich history of clay in the Carolinas has had a major influence on my love of creating and using pottery.

John Cheer’s “Soul Search,” electric lamp, 50 inches (127 centimeters) in height, stoneware and porcelain, with glaze and copper wire; at the Paradise City Arts Festival, Marlborough, Massachusetts.

more dates, see www.paradisearts.com. Approximately 6000 visitors attended the festival. Overall, artists reported average booth sales of $6269; average booth sales for ceramists was $5016. Ceramist Bob Green was one of the jurors for the show. “I was told to consider issues of technical prowess, originality, excellence of design and diversity within each show. Even though it’s almost impossible to discount the role the photographer plays in the jury process, we made a valiant Sandra Delonis’ “Some Assembly Required, Fig. C,” 8 inches attempt to look [past] the photography and see the work itself. Because (20 centimeters) in height, earthenware, fired to Cone 6 in oxidation; at Clay on Camden, Charlotte, North Carolina. of the number and quality of the slides submitted, it was a nerve- wracking process! It was very instructive to jury, then see each accepted “All functional pottery should be used daily to be truly appreciated,” artist’s work in person a few months later. I think that the open-minded she noted. “A nonfunctional piece should calm your spirit and perhaps nature of this particular jury process tends to encourage both emerging make you smile.” artists and work that straddles the line between sculpture and craft.”

Paradise City Arts Festival Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or transpar­ The “Paradise City Arts Festival,” held recently in Marlborough, Massa­ encies in conjunction with exhibitions or other events of interest for publication. chusetts, exhibited and sold the work of 175 artists from 24 states. For Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081.

Ceramics Monthly March 2004 28 Ceramics Monthly March 2004 29

new books being ‘drilled’ into pots and the use of fiber ‘ropes’ to bind together fragments,” comment the authors of this second-edition repair guide, which was first published in 1996. The authors review these historical methods Redware and materials, as well as introduce conservation America's Folk Art Pottery information and step-by-step instructions, in­ by Kevin McConnell cluding chapters covering recommended tools “One important thing that I’ve come to and materials, examination and identification, realize about redware is that these fragile pieces cleaning, bonding, filling, casting, modeling of pottery provide us with an integral link to the and molding, and retouching. 128 pages, in­ past,” states the author of this collector’s guide to cluding glossary of terms and materials, list of 18th- and 19th-century redware. “Indeed, for manufacturers and suppliers in the UK and those who are willing to take the time to look and USA, sample client-conservator agreement, and listen, redware can tell us many things about the index. 51 color photographs and over 20 black- life and times of the and-white illustrations. Softcover, £12.99/ early American settlers. US$19.95. ISBN (US) 1-59228-024-2; ISBN Redware is pioneer (Britain) 0-7136-6241-7. Lyons Press, 246Goose pottery, and the hands Ln, PO Box 480, Guilford, CT 06437; see that shaped redware www. lyonspress. com; or telephone (800)962-0973. also helped to shape Published in Great Britain by A & C Black this nation’s history.” Publishers, 37 Soho Sq., London W1D 3QZ; see This predomi­ www.acblack.com; telephone (44) 1480405014. nantly photographic third edition includes The Ceramic Career of updated pricing, ter­ M. Louise McLaughlin minology, rarity chart, and history of manufac­ by Anita J. Ellis turer and usage. 96 pages. 197 color photographs “If [M. Louise] McLaughlin was not a femi­ and 3 black-and-white illustrations. Softcover, nist by definition, certainly her life’s contribu­ $12.95. ISBN 0-7643-1851-9.Schiffer Publish­ tions to ceramics serve as an example of excellence ing Ltd., 4880 Lower Valley Rd., Atglen, PA that can be admired by men as well as women in 19310; e-mail [email protected]; see the field,” states the au­ www.schifferbooks.com; telephone (610) 593- thor of this monograph. 1777; or fax (610) 593-2002. Distributed in “When considering Europe by Bushwood Books, 6 Marksbury Ave., these contributions, her Kew Gardens, Surrey TW9 4]F England; e-mail work must be divided [email protected]; telephone (44) 20 8392 8585; into three branches of or fax (44) 20 8392 9876. ceramics: china paint­ ing, pottery decoration Repairing Pottery & Porcelain under the glaze and por­ A Practical Guide celain__ She probably by Lesley Acton and Paul McAuley held the least influence in the one area of which “Many people assume that, once broken, a she was most proud, namely porcelain. ceramic object has come to the end of its useful “Pottery decoration under the glaze, ranked life. While this may be by McLaughlin as her second most important true of purely func­ contribution, is another story. Discovering the tional wares, with a me­ technique sought after throughout Europe and thodical approach and America was a major accomplishment. With it, the help of modern she sparked the creation of a ceramics industry in materials, decorative Cincinnati. . . . Her manual on the subject ceramics can be re­ undoubtedly inspired others, and in general, paired. Ceramic resto­ created a ceramics legacy in the United States ration has along history that is still being researched today. and a great number of “Finally, the contribution that she favored materials and tech­ the least, china painting, is probably her great­ niques have been employed over the years. There est legacy. Research currently underway sug­ is evidence from as far back as 7000 B.C. of holesgests that china painting was the door that

Ceramics Monthly March 2004 32 Ceramics Monthly March 2004 33 new books Longworth Nichols, founder of Rookwood www.ohiou.edu/oupress; telephone (773) 568- Pottery in Cincinnati. 261 pages, including 1550; or fax (773) 660-2235. In the United appendixes on record of underglaze slip-deco- Kingdom and Europe, contact Tony Rollinson, opened the way for women to enter the arts.” rated vases made in 1879, Cincinnati Pottery Asst. Marketing Mgr., Eurospan, 3 Henrietta St., McLaughlin wrote three manuals on the sub­ Club annual receptions, members of the Cin­ Covent Garden, London WC2E 8LU England; ject; combined, they sold over 20,000 copies cinnati Pottery Club, exhibitions that include e-mail [email protected]; see between 1877 and 1917. ceramics by McLaughlin, Losanti ware statistics www.eurospan.co.uk; telephone (44) 20 7240 The book details McLaughlin’s career, from 1898-1904, and ceramic marks; bibliography; 0856; or fax (44) 20 7379 0609. her time as a student at the School of Design in and index. 37 color and 62 black-and-white Cincinnati and her first experiences in china photographs. Softcover, $24.95. ISBN Kate Malone painting, to her experiments with and final 0-8214-1505-0. Ohio University Press, Univer­ A Book of Pots discovery of underglaze decoration, her work in sity of Chicago Distribution Center, 11030 S. by Lesley Jackson and Kate Malone porcelain, even her relationship with rival Maria Langley Ave., Chicago, IL 60628; see In this lavishly illustrated book, the authors discuss Malone’s pots as well as various large- scale commissioned works. Other topics cov­ ered include materials, equipment, step-by-step techniques, and glaze research and recipes. “This book covers four areas in which I work,” Malone comments. “I make short-run production pieces which are like playful sketches and color trails. I make more serious ‘one-of-a- kind’ pieces. I make large- scale works for the public and private sectors (hos­ pitals and parks, hotels and restaurants), and last but not least, I research ceramic glazes, the results of which feed all the areas of my work.” 208 pages, including selected bibliography and index. 321 color photographs. $50/£36. ISBN (US) 1-58567-470-2; ISBN (Britain) 0-71366-180-1. Overlook Press, Peter Mayer Publishers, Inc., 141 Wooster St., New York, NY 10012; www.overlookpress.com; tele­ phone (212) 673-2210; or fax (212) 673-2296. Published in Great Britain by A & C Black Publishers, 37 Soho Sq., London W1D 3QZ; see www.acblack. com; telephone (44) 1480405014.

Classic Japanese Porcelain Imari and Kakiemon by Takeshi Nagatake Nicely illustrated, this two-part book covers the two distinct styles of Imari and Kakiemon ware, as well as the influence the two had on each other. “Compared with the pottery of other Japanese kilns, Ko Imari ware—literally ‘Old Imari,’ or Imari ware pro­ duced during the 17th and 18 th centuries—is uniquely colorful, vigorous and varied. It was treasured by the Japanese of the Edo period (1615-1868), and was also popular overseas,”

Ceramics Monthly March 2004 34 35 new books sitions and influences on polychrome jar design styles, jars with arc designs, birds, etc. “There is a type of bird that is distinctive to Zia pottery, states Nagatake (1916—1987). “The Imari tradi­and we (and some of the potters themselves) call tion was quickly established, with the character­ it simply the Zia bird,” the authors explain. “A istic cobalt blue underglaze decorated porcelain later all-black style of Zia bird made after the late known as sometsuke, and the polychrome enamel 1920s has sometimes been called a roadrunner; overglaze decorated porcelain known as aka-e, there are surely some birds on Zia pottery that produced for the domestic and export markets.” represent that bird, the great roadrunner, which This first section discusses such topics as the is the state bird of New Mexico.” establishment of Hizen porcelain, Shoki Imari, The final chapter talks about individual pot­ Ko Imari (early, golden age and late period), ters, their products and design styles, from the Imari revival period, the kilns, the Hizen porce­ 1800s as well as the 1900s. Throughout the lain trade and changes within it, etc. book, the authors discuss various examples shown The second section discusses Kakiemon ware in the photographs. 382 pages, including appen­ and its own style. “There are no distinctive dixes on potters working at Zia today and a designs on wares generally classified as Kakiemon 1920s photo album of Zia pottery, bibliogra­ style from the period when enameled overglaz- phy, and index. 621 color and 95 black-and- ing was being established,” Nagatake notes. white photographs, plus numerous sketches of “One can, however, see a general trend toward surface designs. Softcover, $59.95. ISBN smaller vessels with designs of flowering grasses 1 -930618-26-3.School of American Research Press, or peonies and bowls with cloud-and-dragon, PO Box 2188, Santa Fe, NM 87504-2188; see phoenix, or chrysanthemum motifs drawn with www.sarweb.org; or telephone (888) 390-6070. abbreviated brush strokes in a style apparently inspired by Chinese cobalt underglaze and enamelCeramics Ethics & Scandal decorated wares__One consistent influence on by Rosalie Wise Sharp the Kakiemon style is the colorful yamato-e “Why collect ceramics, you might ask, when genre of painting. In the Kakiemon polychrome silver or paintings are more lasting? Well, for one porcelain decoration, there is a richly lyrical reason, because paintings on canvas are station­ naturalism that expresses the very essence of ary and rather aloof, whereas a teapot or a Japanese sensibility.” 96 pages. 95 color and 15 porcelain figure will rest black-and-white photographs. $35. ISBN intimately in the palm of 4-7700-2952-7. Kodansha America, 575 the hand,” states the au­ Lexington Ave., New York, NY 10022; see thor of this nicely illus­ www.kodanshaamerica.com; telephone (917) trated book. “After learning 322-6200; or fax (212) 935-6929. the history of ceramics, I wanted to know more The Pottery of Zia Pueblo about the social history of by Francis H. Harlow and Dwight P. Lanmon their day, about the lords “The Zia Indians are recognized for their and ladies who poured the tea, spent time in superb achievements in pottery making,” state their country houses, and sometimes attended the authors of this well-illustrated survey. “The the auctions.” Through this book, Sharp pre­ history of the pottery made at Zia has been told sents her collection of 18th-century ceramics in only in summary fashion the context of the cultural period during which in books and articles, but they were produced. the picture is far richer The book is divided into four sections: daily and more diverse than has life, social pastimes, travel and shopping, and been previously de­ ethics and prejudice. Each sections details vari­ scribed.” The book be­ ous pieces made and used for specific purposes, gins with an explanation and covers the lives people led at the time. “The of how Zia pottery is iden­ dessert table was often decorated with figures tified and dated, then two representing a theme appropriate for the occa­ distinct styles—Puname Polychrome (1700- sion—hunting figures, harvest figures or festive 1760) and San Pablo Polychrome (1760- commedia dell’arte figures,” Sharp notes. “The 1820)—are discussed chronologically. earliest ones had been made in Italy from Succeeding chapters cover Zia pottery styles confectioner’s sugar or wax_By the mid-18th made after 1820: the capped-spiral design, tran­ century, these perishable figures were replaced

Ceramics Monthly March 2004 36 new books index. 286 color photographs. $24.95. ISBN Japanese society. His life was a fascinating blend 1 -57990-422-X.Sterling Publishing/Lark Books, of the practical and theoretical. 67 Broadway, Asheville, NC 28801; see “Adopting John Ruskin’s concept of head, by durable porcelain sculptures made at Meissen www. larkbooks. com; or telephone (828)253-0467.heart and hand, Leach sought to create work that and Chelsea.” 291 pages, including bibliogra­ was fulfilling intellectually, aesthetically and prac­ phy and index of ceramics by manufacturer and The Soul of a Bowl tically. . . . Leach developed a distinctive and type. 380 color and 78 black-and-white photo­ Published in conjunction with an exhibition characteristic style. Unlike his early contemporar­ graphs. $100. ISBN 0-9731417-0-0. Distrib­ of bowls by Frank Boyden, Elaine Coleman, ies, he adopted an ideology more closely based on uted by the Antique Collectors’ Club, Market St., Tom Coleman, Jenny Lind and Don Reitz at the that of the Arts and Crafts movement, which Industrial Park, Wappingers ’ Falls, New York, Contemporary Crafts Museum & Gallery in sought to provide pots for everyday use as well as NY 12590; e-mail [email protected]; see Portland, Oregon, this well- create individual ‘works of art.’” www.antiquecc.com. In the United Kingdom and illustrated catalog presents Drawing on previously unpublished docu­ Europe, Antique Collectors’ Club, Sandy Ln., Old photos of individual pieces ments and the recollections of the artist’s family, Martlesham, Woodbridge, Suffolk IP 12 4SD En­ by the artists, as well as detail friends and students, Cooper details Leach’s life, gland; see www.antique-acc.com; telephone (845) images and briefbiographies. his working methods, the themes of his pottery, 297-0003; or fax (845) 297-0068. Essays by Kim Stafford his writings and philosophy, his recognition in and John Nance are also Great Britain and Japan, as well as his continu­ Setting Up Your included. “In the creation ing legacy. The book discusses Leach’s life and Ceramic Studio of this bowl,” says Stafford, “the maker’s first career, from his birth in 1887 until his death in Ideas and Plans from Working Artists intention and the bowl’s final form are the 1979. For instance, when he set up his studio in by Virginia Scotchie exterior of what came to be; the process of the St. Ives, England, in the early 1920s, he “decided “If an artist’s work fascinates me, I wonder making is the interior of what came to be, and on a small pottery, more studio than factory, how it evolved,” states the author of this well- this interior is available to you in the unique capable of housing half a illustrated resource. “What personal elements shape, the hand’s mark, the guided luck of the dozen potters and centered went into a piece? What are its technical aspects, glaze color and texture, the exact pearly nature of around the individuality of and where was it made? I’ve always experienced the rim. You take a certain teabowl in your the artist,” says the author. a sense of excitement and curiosity as I enter an hands. The weight, the shine, the shape and “In addition to producing a artist’s studio, because there I can gain insight color, the heritage and originality of this one range of tableware items such into his or her world.” thing all sweep through you as a single sensa­ as jugs, teapots, tankards and These studios, she continues, “serve as an tion. You receive in a single flavor the earth of jam pots, many covered with archive of their owners’ methods, interests, origin, the fire of making, and the mark of the white slip through which dreams and inspirations, and a visit can give you maker’s hand. When you find the right one, it designs and patterns were carved to reveal the red a fresh perspective on creativity and the basis for fits like no other.” 80 pages. 61 color photo­ clay, Leach also made small models. These in­ a new kind of understand­ graphs. Softcover, $25; Contemporary Crafts cluded a Cornish tin mine engine house, a ing. The look and feel of a members, $22.50. ISBN 0-9728981-0-7. Cornish Cottage and spirited models of a horse studio constantly shapes the Contemporary Crafts Museum & Gallery, 3934 and rider intended to be set on a house roof ridge art conceived of and created S.W. Corbett Ave., Portland, OR 97239; as a good luck charm to ward off evil spirits. within its walls. Each studio see www.contemporarycrafts.org; e-mail “Although slip-decorated wares were an in­ functions in a singular way, [email protected]; or telephone (503) trinsic part of English ceramics, and technically with its special stock of tools, 223-2654. less demanding than stoneware, Leach’s main materials and sources of in­ interest was with the high-fired pieces.... Well spiration. These make up the secret essences and Bernard Leach aware of the cultural conflicts inherent in mak­ formulas that account for so much of the power Life and Work ing both stoneware and earthenware, of re­ of an image or form. This is the space in which by Emmanuel Cooper sponding to oriental and occidental influences, the artist can step away from the rest of the world “Bernard Leach, potter, artist, writer, poet Leach decided that ‘it was not a simple matter of and create, a space that embodies the heart and and one of the great figures of 20th-century art, mixing black and white into an international soul of the artistic process.” played a crucial pioneering role in creating an gray, but of preserving black and white as in After a look at the basics of a studio (location, identity for artist potters in Britain and around endless interlacing patterns.’” 437 pages, includ­ lighting, space and flow issues, equipment, kilns, the world,” states Cooper in this in-depth biog­ ing bibliography and index. 27 color and 68 etc.), Scotchie describes the studios of 12 artists: raphy. “Born in the East and educated in the black-and-white photographs. $55/£29.95. Cynthia Bringle, Debra Fritts, Becky Gray, Suze West, Leach saw himself as a conduit between ISBN 0-300-09929-0.Yale University Press, PO Lindsay and Kent McLaughlin, Alice Ballard the two cultures, constantly searching for wider Box 209040, New Haven, CT 06520-9040; Munn, Ben Owen III, Vern and Pam Owens, understanding and acceptance of civilizations telephone (203) 432-0163; fax (203) 432-8485. Michael Sherrill, Kathy Triplett and Mike that seemed so different. In his long life, he spent In Great Britain by Yale University Press London, Vatalaro. In each of these sections, such issues as some 20 years in Japan where he came to know 47 Bedford Sq., London WC1B 3DP England; studio safety, location, work flow, equipment and love the old and respect the new, and to www.yalebooks.co.uk; 44 20 7079 4901; or fax and sales are addressed. 128 pages, including appreciate the central role of pottery within 4420 70794901.

Ceramics Monthly March 2004 38 Ceramics Monthly March 2004 39 video

M. C. Richards: The Fire Within “Are you going to be an earthy person, practical, down to earth and get to it, or are you going to be a dreamer, a visionary?” says M. C. Richards in this video documenting her life and career. “We’re going to be both and we can’t be— we shouldn’t be—talked out of it. We shouldn’t be talked out of it. I am both. Don’t tell me I have to choose; I don’t have to choose.” Richards, who died in 1999, spent the last 15 years of her life living and teaching in an agricultural community in Pennsylvania where many residents are developmentally disabled. The video follows Richards as she works and speaks in several settings—a workshop at Chester Springs Studio in Pennsylvania, classes with residents of the community in which she lived, and her daily life. “There’s a way of bringing that creative process back into your non-art actitivities, and I like to do that,” she comments. “In com­ munity life, it’s often possible to do that—the sort of festivities that you make at a moment’s notice . .. the feeling of creating something.” Richards received her Ph.D. in poetry in 1942; soon after, under the direction of Robert Turner, she helped start a pottery studio at Black Mountain College in North Carolina. She was chair of the faculty from 1949 to 1951. When Black Mountain closed, Richards and several others started up their own community. Throughout the video, many of Richards’ friends and colleagues, including Robert Turner, Karen Karnes, Paulus Berensohn, George Kokis, etc., also discuss her philosophies, life and work. Howard Evans, former director of Haystack Mountain School of Crafts in Maine, says Richards lived “out of a belief and a vision of what it is that makes community, of how it is that imagination and creativity and life are linked.” Poetlartist Julia Connor comments that Richards’ “way of putting it, of course, was to say that she wanted to spiritualize the physical. She wanted to spiritualize matter. She wanted to bring spirit down into the plain and simple.” 60 minutes. Available as VHS videocassette. $40. Kane-Lewis Productions, Ripe Ferry Rd, Sedgwick, ME 04676; [email protected] ; or tele­ phone (207) 359-2320. Ceramics Monthly March 2004 40

“Inside Sapphire,” 24 inches (61 centimeters) in height, stoneware with crystalline glaze, fired to Cone 10 and slow cooled.

Finding Honesty base. With the melting process in mind, I apply the glazes thickly When I started making crystalline-glazed pottery in 1989, I be­ with a brush and pour on additional streams to form a composi­ came frustrated with the traditional approach. Each time I would tion. I fire the work to Cone 10 (2340°F, 1280°C) and then cool break the pieces out of a dripping kiln, I felt an inner resistance. I to 2050°F (1120°C). I maintain this temperature for two hours kept thinking that there must be a path more natural than grind­ and then step down to 1950°F (1065°C) for one hour, with a ing off glaze drips from the bottoms of these pots. I had been final hold at 1800°F (980°C) for 45 minutes. Each holding following the established approach, but something in me knew it temperature will make different crystal formations. These are was not what I was supposed to do. Everything about polishing revealed as geode-like growth rings that halo each core crystal. away “defects” seemed to deny nature. In recent studies at the Materials Science Department at the I realized that, by deleting an important aspect of this process, University of North Carolina, Chapel Hill, I documented crystal I had been robbing my work of its true identity. I stopped trying formation as it relates to the movement of the glaze. There is a to make the glazes fit specific forms and started making forms that correlation between the degree of glaze flow and the crystal con­ could control the glazes. I used clay as a framework that would centration. I have worked on making pieces that vary in slope to specifically highlight and direct their uncontrollable tendency— reveal a full range of crystal growth. By making footed slabs, I can forms that conducted intentionally runny pools to catch the drips induce the clay to warp at high temperatures and direct the and gave them a place of honor. Today, the technical requirements melting glaze to run into undulating crevasses. The most striking of my glazes inform the aesthetic direction of my final product. aspect of this work is the beauty that results from a technically successful growth. They are universally recognizable as natural Crystalline Glaze Paintings formations that tap into our subconscious knowledge of the geo­ My crystalline wall hangings combine flowering quadrants logical world. As phenomena, they hold beauty; as scientific speci­ with concentrated glassy pools. I use a simple formula of two mens, they contain information about the parameters of parts frit, one part silica and one part zinc, adding oxides to that high-temperature crystal growth.

Ceramics Monthly March 2004 43

Geochemical Sculpture slowly forms long drips that are suspended off the end of the clay In 1993, during graduate school at Hunter College in New skeleton. These formations can solidify into a bag that then York City, I realized that my subject was not merely a decorative catches more overflow and solidifies into a sack of glaze. When extension of ceramics. I began to photograph my work and the pieces come out of the kiln, they have a skirt of calcium make enlarged details. Viewing my pieces through the magnify­ silicate tendrils that dangle by a thread. ing lens, I was able to manipulate scale and context. In these images, I saw many similarities between the crystal formations, Amplifying the Glaze planetary origin and weather patterns. The crystalline glazes are Photography led me to design magnification light boxes to gravitational groupings of particles. The cooling liquid surfaces highlight details of my ceramics. I wanted to make my own create a kind of weather system on the clay slab. Layers of glaze magnifying lenses and always came back to the notion of the rise to the surface as they become hotter, and the cool skin above blown-glass lens. The clay was smothering my subject and I forms a web of currents. Simultaneously, crystals nucleate ac­ wanted to give the glazes amplitude and clarity, perhaps even try cording to glaze density and form rings like the layers of a planet to grow crystals on glass. For years, I had really wanted to blow or a geode. glass, observing the glass students at Penland as I was taking my Enlarged views of my work showed me that it demonstrates clay classes. In 1996, I became head of the ceramics program at geochemical laws on a smaller scale, and that these works, in fact, Morehead State University in Minnesota, where I had access to constitute worlds of their own. I wasn’t making work that was the hot-glass studio. I learned to blow glass there and attempted representational of a world that already exists, but I was creating to grow crystals on a hot-glass magnifying lens. works that define a world of their own. My pieces didn’t simply I began by encapsulating low-temperature ceramic glazes in look like rocks and water, they had become their own species of the glass. One day, as I was sandwiching one of my formulas frozen liquid. I came to call this “geochemical sculpture.” between layers of molten glass, I discovered that the glass was generating enough heat to cause the glazes to fume. This gas had Separating the Glaze from the Clay the power to blow the glass into a large sphere. I was very excited Photographing these pieces made me consider eliminating the and began to direct this process to make many of these little clay object in order to focus on the glaze itself. I also found that worlds. On the interior surface of the globe, the fumes deposited the crystalline glazes by themselves had dimensional limitations. I a sparkling metallic film that ranged in tone from white frost to could grow a three-dimensional crystal into a pool of glaze or on a clay form, but I wanted the glaze itself to take on form. I started to underfire my glazes to see if I could make solid glaze formations with no clay support. I also moved from flat clay surfaces to cavernous spaces in which the glaze could grow. This 1995 study generated my calcite formations. I designed a skeletal format to enhance the depo­ sitions that can occur during a glaze firing.

Calcite Formations To make these calcite formations, I throw large bowls with raised throwing rings in the center. I add terraces and fingers of clay, which are designed to house the dripping glaze. A cryolite glaze is applied thickly, like cake icing, and it melts into a glassy copper spiral in the center. There is a range of frosty aqua between the white glaze and the clear green. I often fire these pieces upside down, so glazes drip from the ceilings of the work. The glaze bubbles and seeps down the framework of the sculptures, similar to the “Geyser’s Origin,” 20 inches (51 centimeters) in diameter, stoneware with cryolite glaze and copper frit, fired to Cone 4. way calcium forms stalactites in a cavern. Dur­ ing the firing, the glaze is a little stiff and it

Ceramics Monthly March 2004 45 coal. Each bubble contained the ceramic remains that formed it. I could see the pellets and make them rattle. The rounded glass acted as a magnifying lens, and from the top there is a hole that allows the viewer to peer into the world inside the formation.

Glaze Cores By using the blown glass to highlight the ceramic glaze forma­ tion, I have developed a body of work that consists of magnified “glaze cores,” in which I infuse ceramic glaze formations into a solid glass chamber. I pour dried glazes into hot blown glass, where they bubble, fuse, melt and crystallize. The result is a transparent column or vessel embedded with crystalline struc­ tures. Varying the heating process causes the glazes to range in color and texture. The different coefficients of expansion and contraction create a multitude of irridescent fractures. I find that these pieces enhance the beauty of the glazes in a way that I could never accomplish within a framework of clay. The moment of glaze formation is encapsulated in these core samples to be viewed from all directions.

Form Follows Function My foundation comes from the teachings of my mother, Janet Resnik, who imparted to me the philosophy that form follows function. She has had a successful career as a studio potter for 30 years, and I apprenticed with her for over a year. While still maintaining her functional goals, she never fights the nature of the clay. She outlines her needs and listens to the clay in order to meet a workable compromise. Although I am not making func­ tional pottery, I utilize concepts that require a similar respect for form, clay and process. The concept that form follows function allows me to maximize my technical goals by utilizing a form that is functional for a given process. Because pottery was not compat­ ible with the function of my glazes, I was required to develop forms that followed the pooling and fluidity of my materials. Since then, I have continued to conduct experiments that allow physics and thermochemistry to influence the outcome. In this way, my works can take on a life of their own and become self­ forming. The final aesthetic and content are determined by the technical elements in my research.

Revealing the Entire History Appreciation for the history of an object and its residue is another key element in my work. The dragonfly eye on the wood- fired pot becomes the jewel in the firing and yet there is no human hand in its outcome. The potter consciously places the pot in the kiln to optimize the ash glaze formation, and the finished product becomes the documentation of this orchestra­ tion. After years of cleaning up kiln shelves, I have started to “Rising Copper,” 13 inches (33 centimeters) in height, glass-encased ceramic realize that my kiln shelves contain a similar beauty. I had ne­ glaze, dry glaze poured into molten-glass vessel during the blowing process. glected this factor, because glaze on a kiln shelf traditionally reveals a lack of control. I no longer treat these elements of my process as an accident. My current research deals with directing

Ceramics Monthly March 2004 46 the drips that occur in the kilns onto the shelves, revealing this as relationship between clay and glass. By putting all of the elements part of my artform. This concept excites me because the kiln together, a dialogue is created between individual processes. I becomes an artifact of my process that reflects time, materials and present these pieces in a nonlinear fashion just as they formed and functional form. have since accumulated in my studio. My glass is an extension of my clay processes, and the new clay studies are often informed by Geochemical Artifacts previous discoveries in glass. This presentation emphasizes the My work has been greatly influenced by the guidance of existing dialogue that I hold between these bodies of work. historian, author, teacher and artist Susan Peterson. She always noticed the things that were attempts at breaking through to Capturing a Moment in Time another level and pushed me to listen to my own way of thinking Over the years, I have started to see that the energy in my work about clay. Her critical eye and encouraging words have helped comes from the fact that it is grown at high temperatures and the me to redefine the parameters of my medium. instant of its creation is now frozen in time. I am interested in My studio contains many test pieces and samples of my re­ noticing the ways in which these suspended life forms go beyond search that represent periods of time. I have been doing installa­ the technical processes that created them. I think that by captur­ tions that deal with my research and residual artifacts since 1994, ing the moment of birth, I am revealing the inner life that is but Peterson helped me realize the potential of these studies. She present when the formations occur. I feel I am harvesting jewels encouraged me to pursue the work and find an honest conclusion. from a cave and each precious formation has a voice that speaks to These accumulations of geochemical artifacts now focus on the me from under its cooled surface.

“Geode’s Birthplace,” 18 inches (46 centimeters) in width, glazed sand, blown glass with dry ceramic glaze, glazed glass vessels, and pure glaze rocks, by Sally Resnik Rockriver, Chapel Hill, North Carolina. Jon and Tessy Pettyjohn Philippine Ceramics Pioneers By Jon Lee

Jon and Tessy Pettyjohn make their home and studio on the The Pettyjohns are nestled on a dense mountainside, sur­ beautiful, dormant volcano of Mt. Makiling, located 30 miles rounded by local flora and fauna. In addition to contending with south of Manila, on the island of Luzon, in the Laguna province heavy rains, civet cats share their studio. “Before we built our of the Philippines. Jon thinks that ancient Chinese people used to house, these civets were living in the adjoining trees. When we call it home, too. During the rainy season, on occasion, he finds built our studio years ago, they decided to move in. Just after shards of blue-and-white pottery in the ditches on either side of sunset, you can see them walking slowly across the ceiling beams his studio. He thinks the mountain hides an ancient cemetery of on their way to the nearby trees for their nightly grazing,” said blue-and-white porcelain. In recent history, the discovery of an­ Jon. The studio is a disaster at times, as the civets walk by the cient Chinese cemeteries of blue-and-white porcelain have been various pots, nibbling along the way. “It makes for some interest­ common in the Philippines. Even more common is the discovery ing marks. Some mornings, I’ll go in and find their footprints on of Chinese junks with blue-and-white scattered about. our freshly thrown pots,” Jon remarked. “I’ve kept several pieces One doesn’t typically think of the Philippines as having a that they have helped with through the years. We have thought of history associated with ceramics, but the islands have been a getting rid of them a few times, as they can be pests and have a major center of trade for centuries. Because of that trade, blue- rather musky smell during their mating season, but they’ve been and-white is common, both underwater and underground. around for so long that we now consider them good luck.”

Teabowl, 41 /2 inches (11 centimeters) in height, wheel-thrown stoneware, fired in an anagama.

Ceramics Monthly March 2004 48

During a 2001 visit to Japan, Jon invited a group of potters, agreed that their first international project would be to construct who formed a group called Pottery-Tech, to come to the Philip­ an anagama in the Philippines. Japanese corporate grants fell pines to help build an anagama. “It occurred to me that building through, but the Pottery-Tech group solicited private funds in and firing a wood kiln would be perfect, since there was no way Japan, as did Pettyjohn in the Philippines. “Remember that the we could do this on our own.” The members of Pottery-Tech wounds of World War II are not fully healed in this part of the world,” Jon said. “To our knowledge, this is the first joint project between the Japanese and Filipino people. All the more remark­ able is that it was all funded privately.” Several members of Pottery-Tech came to the Philippines in the summer of 2001 to direct the anagama project, with several of the Pettyjohns’ students working alongside the Japanese delega­ tion. Within a couple of weeks, the kiln was built, a blessing was given by a local priest, and the first firing was underway. The Pettyjohns decided to name their anagama kiln Musang Gama, which means “civet kiln” in the Philippine language of Tagalog. The kiln is nestled among the mango, banana and coconut trees. When Musang Gama is belching fire and smoke, there is no shortage of baked yams, mango, banana and other exotic fruit grilled atop the kiln. In a country of 70 million people, 10-15 million live in Manila. The Pettyjohns spread their time between the hustle and Cup and mugs, to approximately V/z inches (19 centimeters) bustle of Manila and the quieter setting of their Laguna studio. in height, stoneware with matt yellow glaze, wood fired. They teach pottery in their Manila classroom and ferry work to their gallery, Pansol Pottery, located in Makati City, near Manila. “We have taught hundreds of people pottery in the Philippines,” said Tessy. “Today, the interest is enormous. We even have many students putting up their own studios. Many are addicted to pottery. There is so much potential for pottery in the Philippines. More and more people are becoming aware of pottery as a part of their daily lives. When we started our careers as potters, very few would appreciate the value of handmade pots in terms of the hard work and love put into them,” she reflected. The Pettyjohns have had an average of two gallery shows per year for the past 25 years. This has been a significant factor in the popularity of ceramics in the Philippines. “In the 1970s, there were only two or three contemporary clay artists working in Manila. There were no stores in which to buy pottery supplies,” Jon explained. “Tessy and I worked for over 20 years alone! It wasn’t very often that we even talked with potters, and I realized that wasn’t such a good situation.” Tessy added, “When we started, we felt like pioneers. We had to look for clay from different parts of the country. We mixed our clay in an old bathtub with our feet, ground our materials with a corn grinder, hung the clay inside rice sacks to drip and waited for weeks to be able to use it.” For most of their careers, the Pettyjohns have made Cone 9- 10 functional porcelain and stoneware. They have always made their own clay and used what was locally available. Jon explained, “We have done a lot of experimenting with local clay and glaze materials, in addition to the many ash glazes obtained from the Jar, 22 inches (56 centimeters) in height, wheel-thrown, wood-fired stoneware with natural ash.

Ceramics Monthly March 2004 50 numerous volcanoes of the country. There are actually three that are just an hour from our house.” In the mountains surrounding the studio, volcanic hot springs dot the landscape. In certain spots, iron-rich oxides spew from the sulfur-rich waters that undulate downhill. The Pettyjohns also make use of the many tropical woods that are laid to waste from the typhoons for their anagama firings. These include mango, eucalyptus, acacia, coconut, amboyna, caimito and a tropical pine called agojo, to name a few. “I have read that the small mountain that we live on has more varieties of trees than all of North America, ” Jon remarked. “We like to use the coconut (which is high in silica) during a certain part of the firing to get that smooth, glossy look. We suspect certain woods are high in phosphorous, because at times we get a bluish chun effect. The acacia seems to produce a darker green matt, and the pine seems to produce a smooth, light-green glaze.” There is no shortage of grasses either. Bamboo, rice straw and sugar cane may be added to the anagama for some of the firings. These materials may also be added to certain glaze recipes. The two-year-old Musang Gama is approaching its 20th firing. The Pettyjohns believe that much can be learned by firing so often. “The idea of firing the anagama in tropical conditions Vase, 14 inches (36 centimeters) in height, wood-fired stoneware intrigued me,” said Jon, “as most of the wood kilns in the world with natural ash and shell markings, by Jon and Tessy Pettyjohn, today are located in temperate climates.” A few years ago, the Calamba, Laguna, Phillipines. Pettyjohns got an e-mail from a potter in Shigaraki, Japan, who said, “Now that spring has arrived and the rains have started, the potters are all getting ready to fire their kilns now, because they This got Jon thinking that he should try a potash feldspar in the feel they get better results.” recipe instead of soda feldspar. “I used the exact same recipe, but Relatively speaking, wood is cheap. Contrast that with firing using potash instead of soda produced an entirely different effect. an anagama in Japan. Some figures for firing an anagama in Japan The glaze pickup was much less, and only the pots near the are US$2000 minimum—often more. As a result, some Japanese firebox had any glaze drips. Most of the pots in the rear were potters only fire once or twice a year. Jon thinks that firing eight almost unglazed, matt and a different color as well. Successive to ten times per year is a definite advantage for his group, and firings bore this out.” Jon then deduced that potash-fluxed clay some of the Japanese potters have come back to the Philippines to would require longer, and perhaps higher, firings to achieve the fire in Musang Gama. “A couple of the Japanese potters said that same glazing as the soda-fluxed clay. He assumed that there was a we are becoming experts because we fire so often.” sodium-vapor-glaze effect happening in the firings. One advantage is that the Philippine humidity hovers around Jon initially believed that many wood-firing effects were ran­ 100% for much of the year. The moisture in the air, they believe, dom, but now believes a great deal can be controlled. “I now enhances the colors of the pots that they pull out of their kiln. suspect that, just as we formulate a glaze with a scale from The Pettyjohns also began to suspect that the clay they used ordinary glaze materials, we can also control or influence the might be one of the most important factors in the anagama firing. color, texture and thickness of anagama-fired pots by varying the “We changed our clay composition almost every firing and are type of wood, amount and timing of the stoking, and the clay amazed at the effect. Most of our ingredients are local, like black body. Stacking is also a very important factor.” fireclay, reddish ball clay, high-silica clay, kaolin and a feldspar The beginning of their careers was most difficult, but through called Ilocos. We noticed, even in the first firings, that the ash perseverance and hard work, the Pettyjohns have gone on to be buildup was quite heavy, even in relatively short firings of 36-48 pioneers in Philippine ceramics. Tessy said, “All the cracked pots, hours. Some of the glaze had a characteristic orange-peel effect, the runny glazes, the ugly pots that saw the hammer, the heart­ like salt glaze. Potters who saw our work assumed that we had breaks, never overshadowed the joy of seeing beautiful pots come been salting. I attended the Aomori Wood Fire Festival and a out of the kiln. It is when you hold the warm pots in your hands young potter asked me if the feldspar was strongly soda. It was.” that you know it is all worth it.”

Ceramics Monthly March 2004 51 Rafael Perez by Glen R. Brown

Like the geological crust of a region tormented by recurrent seismic or volcanic action, the works of Spanish artist Rafael Perez are materially as fundamental as the earth itself, yet simulta­ neously as unstable as the forces that exercise their incessant influence over it. Surfaces are raised through an alluvial process, the sedimentation of pigment from the sweep of a brush; through an accretion of strata, the accumulation of thin layers of clay; or through a dramatic heat-induced expansion that inflates forms like yeast distends bread dough. Growth is clearly an indispens­ able action in the realization of Perez’s works. At the same time, a correspondingly vital reduction is at play in his compositions. Surfaces desiccate and crack or are excoriated through the caustic influence of chemicals. The very heat of the kiln that raises the stature of certain forms ends by tearing them open, ripping their bloated surfaces into networks of crevices or bursting them into jagged maws. The works are embodiments of an unrelenting conflict of forces, an eternal vigor. In their finished, fired state, they seem to lose nothing of the protean nature of raw clay. A native and resident of Haro, La Rioja, Perez is one of Spain’s foremost contemporary ceramists, but to see his work is to under­ “Naturaleza Muerta,” 50 centimeters (20 inches) in height, earthenware with stand that the word ceramist carries with it little sense of tradi­ paper-clay slips, incised and fired to 1000°C (1830 F), then acid etched. tion. It is not the fact that the vessel plays no part in his production that separates him from the past. Ceramics as a practice has sufficiently broadened since the early 20th century to render the vessel less crucial to the perpetuation of tradition. The distin­ guishing characteristic of Perez’s work is its apparently matter-of- fact use of ceramic materials and methods to dispel rather than reinforce the sense of ceramics as a discipline. Clay is undeniably the central, material component of his work, but it is utilized in such a way as to make problematic the distinction between ce­ ramics and painting, sculpture or even performance. If Perez betrayed no particular fondness for clay—no evident devotion to it as a material—his transgression of the traditional boundaries of ceramics would probably be less consequential. It is evident, however, that clay exerts a fascination over Perez equal to that which drives the most dedicated of potters. Perez cannot, in other words, be dismissed as an artist who occasionally works in clay while professing no special allegiance to it, nor can he be classed

“Herrera,” 245 centimeters (96 inches) in length, earthenware, as an opportunist ceramist who would build a reputation entirely with parts fired to 1000°C (1830°F) in various atmospheres. at the expense of clay.

Ceramics Monthly March 2004 52 What seems to motivate Perez is a profound and genuine for ceramics the terrain of painting, suggesting in the process that attraction to the potential of clay. While recognizing that its the material properties of clay are in no real sense a hindrance to possibilities, like those of any material, are circumscribed by the realization of “high art.” In fact, the ochre, umber and burnt certain physical limitations, he implicitly ignores limits that are sienna palette of Perez’s clay “paintings,” coupled with the primi­ imposed solely by the ceramics tradition—that is, he is uncon­ tive hesitancy of his contours and roughly applied fields of pig­ cerned with observing ceramics decorum if it interferes with ment, evoke the distant origins of painting as a practice in exploration of the intriguing acts that clay can be made to per­ prehistoric cave imagery rendered from the equivalent of engobes. form. Perez orients his activity within the boundaries of phys­ Clay is not incidental to the mood of many of the works in ics—obviously with the intent of probing them—and his this series, which is characterized by a certain wistfulness, even transgression of the traditional, conceptual boundaries of ceram­ melancholy. As a material subject to desiccation, shrinking and ics practice seems unmotivated, almost incidental to his focus on cracking, clay is analogous to the aging skin of the human body. It the medium. Clay as a material is vital to his practice, inescapable is a reminder of the facticity to which consciousness is tragically as a substance, though it never seems to be a liability. It is not linked, and which ultimately renders the self vulnerable to both something to get stuck in, but, on the contrary, is the starting death and decay. In poignant representations of the body—leg­ point for what could be described as an exercise of the impulse to less, four-fingered, or insubstantial as the static on a video screen— a certain freedom. In Perez’s work, clay is made to transcend not the human being is presented as fleeting and fragmentary, a fragile its actual materiality but simply the ordinary expectations for it, and incomplete state as ephemeral as the shadow of a cloud which can be even more restrictive than the obstacles presented by passing across a garden wall. Such is the condition of all living the laws of physics. things. In an image tinged with pathos and inscribed with the Perez’s current work can be roughly divided into three series, phrase “naturaleza muerta”—the Spanish term for still life, which each of which explores not only a different technique but a translates literally to “dead nature”—a wispy stem droops in a separate conceptual orientation toward clay. The first involves compelling gesture of expiration. Through this and other ceramic painting with paper-clay engobes, and focuses on the relationship paintings, Perez traces the fine line of life and can not be wholly of clay as a viscous fluid to the realm of flat planes and two- optimistic about its prospects. At the same time, there is some­ dimensional imagery. Wielding a brush and working on 20-inch- thing undeniably calming in the earthen hues of his composi­ square terra-cotta slabs prepared with an overall application of tions, which suggest the eternity of the ground against which black slip, Perez creates earthy compositions in genres—the still figures emerge and into which they must ultimately fade. life and the figure study—that are as canonical within the tradi­ A rather different approach to two-dimensional imagery char­ tion of Western painting as the vessel is within a world tradition acterizes the second of Perez’s current series, which in terms of of ceramics. Without a hint of arrogance, the works quietly claim technique could be compared to tilework but in fact relates

Untitled, 42 centimeters (16½ inches) in length, expanding earthenware with terra sigillata and glaze, fired to 1100°C (2010 F) in reduction.

Ceramics Monthly March 2004 53 The fact that Perez would choose to work simultaneously in such markedly different techniques and styles surely may be taken as a clue to his attitude toward clay as a material. Implicitly, the series with which he is engaged may stand alone, but their full significance can only emerge through contemplation of the relation­ ship between them. From the emotional to the rational, the expressive to the ana­ lytical, they run the gamut of possibility for art as a vehicle for human motives. They encapsulate more than a cen­ tury of Western exploration of the poten­ tial uses of art as a tool of consciousness, a device through which the mind can contemplate itself, come to understand the emotional and conceptual biases that it imprints on perception. As a ground against which to examine this exploita­ tion of art, the ways in which art has been pressed in the service of the mind, perhaps no more effective substance ex­ ists than clay. Not only does a plane of clay suggest a timeless and detached backdrop to observation—a natural and neutral, as opposed to artificial and therefore partisan, ground—it is almost entirely free of investment in the Modernist project. Untitled, 43 centimeters (17 inches) in height, expanding earthenware with terra sigillata and glaze, fired to 1100°C (2010°F) in reduction. Ultimately, it is the independence of clay from Modernist conventions, and not its adherence to them, that is most strongly suggested by Perez’s work. If his two-dimensional series indicate most closely to parquetry or veneering. Working with terra-cotta the degree to which clay can address the interests of Expressionist shapes less than ½ inch in thickness, and fired in varying atmo­ painters on the one hand and geometric abstractionists on the spheres to achieve a wide range of tones, he constructs large other, the third of his current series seems to subvert the notion mosaic-like compositions over flat grounds of wood, plastic or that clay, like paint, is a purely cultural and thoroughly manage­ occasionally stainless steel. The resulting images, pieced together able substance. Working with an improvised clay body that tends like puzzles from shapes with distinct contours, explore the oppo­ to swell dramatically at high temperatures, Perez has produced a site end of the formalist spectrum from the ceramic paintings. series of free-standing and relief sculptures that derive their forms The latter, in their looseness of execution and their emotional largely from a process beyond the artist’s control. content, gravitate toward the expressive component of art—what A strong analogy exists between these pieces and pastries or Modernists once referred to as the Dionysian element. The par­ loaves of bread, which rise as the air within them heats and quetry pieces, on the other hand, explore the essential element of expands during baking. The stress of this force upon the material structure, the rational, Apollonian arrangement of space that is evident in the random ruptures that occur in the surfaces if they separates a work of art from disintegration into chaos. The dis­ are not perforated in advance to allow release of the pressure. In tinction between these two directions in Perez’s work is as pro­ some of these sculptures, Perez plays up the connections to bread, nounced as that between the melancholy elocution of late pies or cookies by slicing the surfaces in the decorative fashion of 19th-century symbolism and the rational analysis of space en­ a baker or coating them with glazes in colors reminiscent of demic to Cubist representation. chocolate or fruit filling.

Ceramics Monthly March 2004 54 The sculptures of this expansion series are not, however, in­ he anticipates particular results but over which he no longer exerts tended to be representational. In semiotic terminology, they are the primary influence. not iconic but indexical—that is, they signify not through anal­ The play between freedom and control, between allowing a ogy to other objects but rather through the traces that they bear of material to speak for itself and compelling it to assume the voice the real processes that have been at work upon them. The con­ of the artist, is not unique to Perez’s work. It is, however, articu­ scious act of granting them initial form—the phase of their devel­ lated with particular clarity in the relationships among his three opment with which the artist is most obviously associated—is current series. The possibilities for clay—not merely as a material, overshadowed by the subsequent events taking place strictly be­ but as a sign of attitudes about creativity, the contrast between tween clay and the volatile elements to which it is subjected. nature and culture, and the play between risk and will—seem to Consequently, the effect of Perez’s scarred surfaces is distinct drive his work with the energy of the infinite. from that of Peter Voulkos’ orchestrations of tendentiously ex­ As an illustration of possibilities, his work can not be called pressive gashes and punctures. Perez’s forms, in contrast, seem to definitive but rather suggestive. In part, it suggests that clay can exist solely as sites for the negation of influences such as expres­ do anything that is demanded of the media of art. On the other sion. They appear to return to clay an important aspect of its hand, it implies that art is not necessarily the highest goal to independence, at least from the excesses of human control. At the which a ceramist can aspire. The value of Perez’s work inheres same time, the sculptures are indeed sculptures, not purely natu­ perhaps above all in this evasion of conclusiveness. What he ral forms. If the turmoil that they represent is a consequence of does with clay may not provide many answers about the param­ the influence of natural elements, they are predestined to reveal eters of a discipline, but it raises questions. It is obviously a this by their very constitution as synthetic bodies. Perez has catalyst to thought rather than an attempt to embody it abso­ assured their reaction by controlling their make up as clay. He is, lutely, and this is arguably oneof the worthiest possibilities to in this sense, a demiurge, setting in motion a process from which which clay can aspire.

Untitled, 30 centimeters (12 inches) in height, expanding earthenware Untitled, 41 centimeters (16 inches) in height, expanding earthenware with terra sigillata and glaze, fired to 1100°C (2010 F) in reduction. with terra sigillata and glaze, fired to 1100°C (2010 F) in reduction.

Ceramics Monthly March 2004 55 Platter, 25 inches (64 centimeters) in diameter, stoneware with slips and copper washes, sprayed with a barium matt glaze, fired to Cone 10, $600. I seem to meet most other potters neither by deliberate design nor intent, but more by happy accident, a kind of fortuity. Like a special gift from the kiln. For instance, a few summers ago, I was fortunate enough to be included in a group of ceramists in­ vited to spend a couple of weeks checking out a new ceramics facility in the Adirondack mountains in upstate New York. It was a fascinating experience, filled with work, talk, work, food, work, stories, work, sleep, work, laughter, work, some enchanting scenery and more work. I got to know some remarkable people. One of those people was Maishe Dickman. Dickman is a full-time potter, working out of George Street Studio in New Haven, Connecticut. In the 1970s, he graduated George Street Studio in New Haven, Connecticut. from college with a degree in industrial design. But his love was ceramics. He went to work at a huge New Dickman has been developing his gardens for the same num­ York City department store designing rooms and environments so ber of years he has been working in his studio. He enjoys collec­ that the store could show off a variety of items for sale. He tions. His gardens, for instance, contain a collection of miniature enjoyed this work, enjoyed getting to use his new degree, enjoyed Japanese maples, ranging from 3½ to 10 feet in height. getting to travel, and the money was good. But his intent, even He is a well-known amateur entomologist, and collects butter­ then, was to set much of that money aside so that he could open flies and beetles. He has made many collecting forays to Costa his own ceramics studio as soon as he possibly could. That is Rica and other places for rare insects for this collection and is precisely what he did. He and his college ceramics teacher jointly constantly alert for new and interesting species. Indeed, during bought the property that is now George Street Studio. the time we were in the Adirondacks, he could be seen occasion­ The property was zoned for business, and both partners thought ally during the day (and night) roaming about the hillsides with a it would be a great place to set up a studio, but there were butterfly net. unexpected difficulties: The city refused a permit to build a kiln. Last, but in no way least, he has a large collection of live frogs, They struggled with the building inspector for a very long time. king snakes and turtles. All of these live in the greenhouse con­ Each new plan, each new request, was met with refusal. But nected to his studio. Each day, when he has finished his stint at Dickman was persistent. He finally bought out his partner, and the museum, he heads back to the studio. He checks on his eventually, after many tries, succeeded in getting his kiln permit. menagerie, his greenhouse and his garden, deals with the mail and He immediately built a large downdraft car kiln, began filling and minutiae of daily life, has some lunch, and indulges himself in a firing it, and it is the same kiln he still fires today. Since beginning bit of peace and quiet. Then, he works through the afternoon and his sojourn there in the 1970s, Dickman has, with method, early evening in his studio with his partner, Tina Menchetti. deliberation and persistence, made both a living and a life at Together, they design and produce a full line of studio ceram­ George Street Studio. He has balanced a schedule that includes ics—dinnerware, platters, bowls, etc. Some of the work is thrown, both his love of working with clay, his longtime interest in ento­ and some is slab built. Because it is both studio and business, they mology, his collection of live reptiles, his gardens, and his much- generally work from a list of needed pieces, starting with the loved part-time work as a preparator for the Peabody Museum of larger works that take longer to finish, and ending with mugs and Natural History at Yale University. smaller work. They work to fill the kiln, basing their schedule on

Ceramics Monthly March 2004 57 Teapot and teabowl, to 11 inches (28 centimeters) in height, stoneware with slip decoration, salt fired to Cone 10, $170.

meeting their commitments to buyers and the dollar amounts of does one commercial wholesale show per year, the Baltimore the work. Dickman says that his kiln, properly filled, will have ACC (American Crafts Council) show. From this wholesale show, $3000 worth of work in it, give or take a small amount. He and from gallery orders and from expected studio sales, the amounts Menchetti work well together, both independently and as a team. of needed inventory are projected and produced. The forms of the work are very strong and the surfaces are rich Dickman also makes sculptural wall pieces on a commission and varied. Dickman’s design background is highly visible in the basis, and he has placed many in private and corporate collec­ work produced at George Street. Each year sees some new forms, tions. Because these works are modular in nature, they can be glazes and designs added. Some are deleted as the work evolves made in nearly any size. Some are small and some are very large and as commerce requires. All of the work is sold either from the indeed. It is apparent from all of the above that Dickman keeps studio, or at galleries around the United States, and Dickman his days full. But are they full enough? Not quite. A few years ago,

Ceramics Monthly March 2004 58 he had some health problems that required exchange for studio time; Jamie Cuticello him to make some changes or face the con­ is an apprentice; and Dickman’s mother, sequences. The changes included an increase Belle, is overseer and head of quality con­ in regular exercise. So, when studio work is trol. Dickman believes that the studio could caught up, give or take a special commis­ not function without the help of each of sion or two, he heads to the gym four nights Large jar, 19 inches (48 centimeters) in height, these people. There is too much loading a week. He knows from personal experi­ stoneware with slips and glazes, wheel thrown in and unloading of kilns, firing, glazing, pack­ ence that potters ought to take care of them­ three sections, fired to Cone 10 in reduction, $800, ing and shipping, for all of it to get done by Maishe Dickman, New Haven, Connecticut. selves physically. He speaks up about it, without the help of each person involved. and he puts his money where his mouth is. As a result, he has few They all meet together occasionally to sort out what needs to be of the physical problems that sometimes affect longtime potters. done, how soon it must be finished and what each person is In addition to Dickman and Menchetti, others also work in responsible for. The atmosphere is relaxed and the organization is the studio: A couple of people rent space; interested kids from the loose, but the work gets done, shipments get sent, commitments neighborhood have been coming to learn things and work there are met and George Street Studio continues to be a landmark in since the studio’s inception; Wyatt Baum works one day a week in the inner city of New Haven, Connecticut.

Glick White Slip Rutile Slip Randy's Green Borax...... 3.5 parts Gerstley Borate ...... 50 % (Cone 10) Custer Feldspar...... 25.0 Rutile (Darktone)...... 50 EPK (Edgar Plastic Kaolin)...... 25.0 100% Barium Carbonate...... 13.64% Kentucky Ball Clay (OM4) ...... 25.0 Dolomite...... 6.64 Silica (Flint)...... 25.0 Temmoku Whiting...... 9.55 (Cone 10) 103.5 parts Custer Feldspar...... 22.73 Barium Carbonate...... 2.82 % Kona F-4 Feldspar...... 19.09 Whiting...... 14.69 Black Slip Kentucky Ball Clay (OM4) ...... 10.90 Custer Feldspar...... 61.02 Albany Slip...... 85 % Silica (Flint)...... 17.45 Bentonite...... 11.30 Nepheline Syenite...... 15 100.00% Georgia Kaolin...... 10.17 100% Add: Tin Oxide...... 4.32% 100.00% Add: Cobalt Carbonate...... 5 % Zircopax...... 8.18% Add: Red Iron Oxide...... 8.48% Bentonite...... 2 % Copper Carbonate...... 6.50 % Zinc Oxide...... 2.83%

Ceramics Monthly March 2004 59 Designing a studio layout around the flow of clay through a studio can save time and energy, resulting in more profit.

Using Studio Space to Increase Profits by Jeff Zamek

The old adage that time equals money is especially true in any rearranged for greater production and increased efficiency. Whether labor-intensive activity. Making pottery is certainly an endeavor the studio is located in a large commercial space or a residential that requires direct labor to produce pottery for sale. Handmade basement, the efficient layout of equipment and individual work­ pottery by definition requires physical attention from the potter stations will greatly reduce wasted energy and redundant motion. during many stages of the operation. There is the forming, trim­ The potter has a finite amount of time and energy to make pots, ming, drying, bisque firing, glaze making, glazing and glaze firing. and studio layout greatly affects how much time is spent on the Additional tasks include studio cleanup, ordering raw materials, actual making of pottery. Moving one piece of studio furniture, sorting and packaging ware, and the list goes on. Indirect labor is such as a wedging table, closer to a potter’s wheel will save steps also required in different amounts, depending on how the pots are and time. Placing tables, glaze buckets and storage containers on promoted and finally sold. Many potters do not fully realize the wheels so they can be easily moved will offer greater flexibility and number of individual hours necessary to produce and sell pottery. utility of studio space. Often, the inflexibility of equipment or When looking at the true costs of making pottery, the cost of supplies within the studio limits efficient production of pottery. clays, glaze materials, and even equipment, is marginal compared Minor details in the production operation should not be over­ with the time and labor involved. Whether thrown on the potter’s looked, as pottery making is made up of small, labor intensive, wheel, handbuilt, slip cast, jiggered or pressed, labor is in fact the manual operations. largest percentage of cost. The potter should always use the rule that decreasing labor costs will have the most direct effect on Follow the Clay increasing profits. In many instances, there will not be one large Think of how the moist clay will physically move through the labor-saving element, but several small labor-saving steps will add studio in every stage, from forming through packing. A large up to a significant reduction in costs. studio does not necessarily mean a profitable operation. It is quite Where a potter works is logically the area where the most time possible to have a cost-effective pottery in a relatively small stu­ is spent. New studio construction offers the best time to plan and dio. One area of production should flow logically to the next. For set up an efficient workspace. However, an existing studio can be example, clay delivery should occur near the clay-storage area,

Ceramics Monthly March 2004 60 which should be near the wedging table, which should be near Real estate, whether land or studio space, is expensive. With potters’ wheels and other forming equipment. Moist clay is heavy. this economic rule in mind, precious floor space should not be One cubic foot of clay weighs about 50 pounds. When the potter used for storing cardboard boxes, unused glaze containers, or has to carry 500 or 2000 pounds of clay into the studio, it can other items that don’t directly contribute to pottery production suddenly become very expensive clay. If moving a few boxes of and profit margin. Shelving in as many places as possible is clay seems like a small point, it only illustrates how tight the essential. The greater number of objects that can be kept off of the profit margins have to be calculated in the enterprise of making floor, the better the utilization of space for pottery production. pottery. Ideally, the potter should take the clay out of the plastic Shelving does not have to be permanent and is often less expen­ bag, place it on the wedging table, then onto the potter’s wheel or sive and more flexible if it is constructed out of wood planks and handbuilding table. Casting-slip operations should have the slip cinder-block supports. Nonpermanent shelving can be easily moved storage tanks and the mold-pouring tables within close proximity. according to the current production needs of the studio. Every studio accumulates a great number of tools and sup­ Small Steps Equal Large Savings plies. Without care, the studio environment can become hazard­ The process of reducing labor costs in the studio can be ous; therefore, the studio must have adequate storage space for evaluated using a simple economic equation. How expensive will equipment and tools. it be to organize an efficient studio setup vs. the greater produc­ Temporary worktables can be made from plywood and fold- tion of pottery it will offer? Will such an investment pay for itself able sawhorses. The tables increase studio space, can be set up and in a relatively short period of time? For example, if a broken down very fast, and are studio needs extra shelving and worktables, will the useful for storing pots until they expense of buying or constructing studio furniture can be loaded into the kiln. translate into an increased amount of pottery? Moist-clay storage can be lo­ Any situation where the potter has to double cated underneath the wedging back over his or her footsteps is inefficient, wasting table, which reduces distance and limited time and energy. Working around clay scraps labor required to move the clay on the floor, or equipment not stored away safely, in the first stages of forming. can contribute to wasted motion in the studio with Storage bins for raw materials the added concern that any type of studio accident should be placed under, or at caused by an unsafe condition obviously will impact least very near, the glaze table. the production of pottery. The ideal studio should The placement of tools within have a concrete floor sloping to a central drain. After reach of the potter’s wheel will a day’s operation, the potter can simply hose down make for greater efficiency when the entire floor surface, removing any clay particles Putting as much as possible on wheels will improve throwing. Many hours are lost or clay scraps. the flexibility and profitability of a work space. when looking for misplaced or Realistically, very few studios can be constructed lost tools. Any or all of these for total efficiency, but incorporating as many ergonomic and measures will reduce the time and energy spent moving raw energy-saving design elements as possible will greatly reduce costs. materials, as well as physical strain on the potter. Often, a few minor changes in an existing studio can result in better working conditions. Potters should look at each area with Choosing the Correct Kiln Size the goal of eliminating wasted motion, increasing floor space and The size of a kiln, whether it is fired by gas, electricity, wood, creating greater flexibility in production areas. It is only natural to etc., can play an important part in the flow of work through the become conditioned by habit to work around problem areas. At a studio. If the kiln is too large, it will take an inordinately large certain point, accommodation of extra bags of clay or glaze mate­ amount of time to fill, delaying the production of finished pot­ rials lying in work areas slows down production and creates tery. If the kiln is too small, it can be excessively labor intensive to wasted labor. load and unload in short intervals. While there is no specific rule, Try to avoid a situation where a sink is located downstairs or several considerations should help determine kiln size. To deter­ upstairs from the glaze-mixing area. Constantly walking up and mine the most efficient size, the potter should first calculate the down stairs to obtain water is labor intensive, time consuming work cycle for making a given amount of pottery and then figure and possibly hazardous due to potential water spills. out how much space it will fill. Many potters will actually make

Ceramics Monthly March 2004 61 benefits, as the pots do not have to be packed or moved from the studio. A retail/studio combination also gives the public a chance to watch the potter at work (always a crowd pleaser), thus increas­ ing sales potential. Many hours spent packing and traveling to craft fairs or other shops, or preparing orders for shipping, can be better spent making more pots. Any situation that promotes sales directly from the studio cuts transportation costs and saves on investments of time and labor.

Evaluating the True Costs One of the most costly false economic beliefs is that reprocess­ ing clay will save money. Reclaiming scrap clay is labor intensive, time consuming and takes up valuable studio space. The cost of moist clay is relatively low, compared to the labor required to process scrap. The potter should use his or her time in the most

Storing materials valuable way possible, which means making and firing pottery near the point of use and not trying to recover used clay. The same principle applies saves time, energy when potters are involved in mixing their own clay. Mixing clay and money. requires capital investments in clay mixers, pug mills, raw-mate­ rial storage and environmental venting. Clay-mixing equipment and supplies use valuable studio space for no return on invest­ pottery for a one- or two-week cycle and then stack the unfired ment. Potters who mix their own clay are, in a sense, operating a pots on shelving to determine how many cubic feet of space the business to supply their original business of making pots, and pots will fill. That is the size the kiln needs to be. should reconsider this costly operation. The choice of equipment should not be determined by the Another false economy that does not directly impact studio price of the equipment but by how efficiently it will help in the layout, but illustrates the point of looking carefully at any activity production of pottery. Good-quality, ergonomically designed associated with making pottery, involves the true cost of firing equipment will pay for itself in the long run, due to greater any type of kiln. The cost of fuel is insignificant when compared production and longer useful life, compared to less expensive, less to the labor required to produce pottery. A famous story involves durable equipment. a potter who tried to save money by building a wood-firing kiln because his pottery was located near a broom factory where there Studio Location was “free” scrap wood. This type of economic decision totally If rent is low, but the studio is located a distance from where overlooks the true cost of labor when stoking a wood kiln for the potter lives, is it a real savings? The potter will have to travel many hours or days. frequently to monitor forming, drying and kiln firings. In this In the past few years, many potters have decided to fire their case, an inexpensive studio rent becomes an expensive time-and gas kilns to Cone 6 (2232°F) instead of higher stoneware tem­ energy-consuming element in the production process. The true peratures. The fuel savings with the lower firing temperature cost of the studio is the potter’s energy level and travel time. The would be marginal at best. The real savings comes from the time ideal location will take travel time into consideration as an overall saved in the faster heating and cooling cycle of the kiln. Time is a cost of operation. more valuable asset in the pottery studio than fuel. Researching the studio location in relation to its neighbors is The aesthetic quality of the pottery produced is only one also an important factor in renting or purchasing a studio. If the factor in the eventual sale of the pottery. Often, more economi­ studio is located adjacent to other people’s work areas, problems cally significant factors, such as the effective placement of equip­ can arise due to kiln firings and hours of operation. ment and supplies within the studio, affect sales of pottery more The studio can be located in a commercial district with the than the actual look of the ware. Since time and labor are the possibility of walk-in customer traffic. While such locations can largest costs in making pottery, it makes economic sense to design be expensive compared to areas with less traffic, they offer the all activities within the studio to reduce these two largest factors option of direct sales from the studio. These sales present many in production.

Ceramics Monthly March 2004 62 Ray and Jere Grimm by John Nance

taught ceramics and worked with other artists to create furnishings for churches throughout the Pacific Northwest. Her sculptures have appeared in more than 20 shows (sev­ eral with Ray) and have won prizes in half a dozen of them. Ray’s decades of work in clay (while teaching full time) are evident in the lengthy list of exhibitions, commissions, public and private collections, dozens of awards, and in his influence on countless potters. Ray is also accomplished in woodworking, metal sculpture, jewelry and glass making, and sometimes joins those materials with clay. Ray may be best known for his teapots, which other potters describe as classic, but his range of ceramic creations is broad, from small plaques, tiles and teabowls to 8-foot- tall weeds (with metal stems), life-size figurative work, and even a 13-foot-long plaque for an exterior courtyard at a resort on the Oregon coast. “I could never work as a production potter,” Ray says. “Tried a couple of times, was going to make stuff to sell, but it just didn’t work out. I was making each piece as an individual piece—one-of-a-kind. That’s just the way I am . . . the marketplace never determined my direction. But, at the same time, I tended to make ceramics that were useful, functional—pitchers, teapots and so on.” Ray cites F Carlton Ball, Shoji Hamada and Peter Voulkos as the potters who have most influenced his ceramics. And for influencing both his life and work, there is little ques­ tion he would name Jere, and vice-versa. Ray and Jere Grimm with the ceramic and metal “weeds” Teamwork has been a strong element in the couple’s pro­ in their garden outside their home in Portland, Oregon. fessional life and in their 49-year marriage. At the heart of the relationship are shared values, mutual support, and comple­ mentary strengths and differences. When they visit a mu­ Ray and Jere Grimm have spent more than 100 combined seum together, Jere says, ”we right away go to different places.” years studying, teaching and making ceramic art. And they’re “That’s right,” Ray adds, “and when we’re out some­ still going strong—in some ways stronger, and happier, now where drawing or sketching, I’ll get up and I’m done, and than ever. she takes twice as long. She’s more thoughtful, more intel­ Ray, 79, known to many as the “Dean of Pottery” in lectual—a thinker and a planner. I’m more emotional. I go Oregon, says he’s having more fun making art now than at for the feeling or an impression.” any time in his life. Jere, 70, worked part time while the “He attacks the work with great courage,” Jere says, “and Grimm’s six children were growing up, but has since been my drawing style is much slower. I think he has always been able to give full expression to her love of ceramics. She has much more involved than I ever was with the technical side

Ceramics Monthly March 2004 63 of craft—the firing, the kilnbuilding, the materials them­ selves—while I’ve been more focused on expressing ideas that meant a lot to me—environmental and spiritual.” “Yes,” Ray responds, “I’d say she is just naturally more thoughtful and her work more idea based, and mine is more materials inspired or process based. And when I say I work by feeling, I mean, for instance, that when I’m working on something that’s any good, it’s painful. It’s not enjoyable until I get done, then there’s some pleasure. But during the work, no, it hurts. Actually, if it doesn’t hurt—isn’t a struggle, that is—then the work probably isn’t much good.” Their differ­ ing attitudes and approaches are evident also in what they say is most significant to them about working with clay. “It’s the spontaneity,” Ray says. “It’s in the excitement of firing the kiln, for instance, and never knowing what’s going to happen. It’s difficult. You’re not sure what’s going to come out.” Jere says, “Clay ties me to everything, to all of human history. You connect to the earliest humans squeezing chunks of clay. It’s part of what makes human beings the way we are. Every year that I live, clay is more significant—yet clay itself is the same as ever. I can’t think of any material that’s more appealing.” Ray, listening intently, beams. “See how different we are,” he says. “Sometimes I’ll be working on something and get disgusted with it and quit—it’s like I just don’t know what I’m doing . . . I’m working out of emotion.” But he Teapot, 10 inches (25 centimeters) in height, porcelain with grapevine handle, 1997, by Ray Grimm. explains that Jere often knows what he’s doing when he doesn’t. She sometimes convinces him to keep working on pieces he had given up on. “And when I go back, I like them. Jere thinks things out, has clear ideas beforehand.” Ray adds with a big smile, “That’s why I married her.” In 1997, the Grimms collaborated on “Forty Years in the Mud,” a show at Portland’s Con­ temporary Crafts Mu­ seum & Gallery. It featured a retrospective of their work, including “Seashore,” 10 feet (3 meters) in length, ceramic relief, mounted on copper- 60 pieces of Ray’s, a third covered background, installed outdoors, early 1960s, by Ray Grimm. of which were borrowed from collectors. “That show brought out a lot of my old students,” Ray says (he’s taught upwards of 1000). “What a great time that was.” Raymond Max Grimm’s journey with clay got underway at a night class at New York University (NYU) in 1947, studying under the GI Bill. The sculptures of Ivan Mestrovic inspired him to work and study in clay at night for two

Ceramics Monthly March 2004 64 years. In 1949, he returned to his hometown of St. Louis, Missouri, where he studied sculpture at Washington Uni­ versity School of Fine Arts. He took a job teaching pottery at a community center, got on the wheel, and found it unexpectedly exciting and compelling. The next summer, he took a class at the University of Southern Illinois at Carbondale under F. Carlton Ball, who became one of the key influences in Ray’s ceramics career. Meanwhile, in a sculpture class at Washington, he met Jere Meisel (also a native of St. Louis), who was younger than he but talented and quite advanced, having studied sculpture seriously in high school and during summers at the Cleveland Art Institute. “She was the reason I got so good at it. I had to show off to impress her,” Ray submits. “Sure,” Jere adds, “he just wanted to show that he was better than me.” “Actually,” Ray says, “I recognized she really was good. I knew I could learn a lot from her—she really knew how to handle the clay.” They studied and worked together (she earned her de­ gree in sculpture while Ray did graduate work in sculpture and jewelry) but didn’t date for two years. When they did go “Brown Bottle,” 10 inches (25 centimeters) in height, out, it soon led to a proposal of marriage. fired to Cone 9 in reduction, 1955, by Ray Grimm. Ray returned to work with Ball in Carbondale and ob­ tained a master’s degree in pottery in 1956. Contemplating his future as an artist with a family already underway, Ray decided that he could either teach or become a fireman, both of which would provide a liveable income and allow him time to pursue art. The teaching job came through first, in the fall of 1956, at Portland State University (PSU) in Oregon. Thus, Ray began his 32-year tenure. Not only was the teaching oppor­ tunity attractive, the Grimms found Oregon a splendid place to raise their family, which expanded from three to six children a few years after their arrival. Ray taught pottery, jewelry and art education at Port­ land State. After attending a glass-blowing workshop by Dominic Labino at the Toledo Museum of Art in the 1960s, Ray encouraged a few of his PSU ceramics students to make a hot-glass studio in the department. “It had lots of success for a small operation,” Ray recalls, “and turned out some excellent students.” His pottery classes produced many of the top potters in the region today, who in turn influenced others. The list is long and includes virtually every potter of note in the state, according to ceramist Tom Coleman. Now living in Ne­ vada, Coleman graduated from the Northwest College of

Art, and later taught at PSU. “Ray really is the father of Lidded jar, 10 inches (25 centimeters) in height, stoneware pottery in Oregon,” Coleman says. “When he started at with Chun blue glaze and copper red slip, 1965, by Ray Grimm.

Ceramics Monthly March 2004 65 PSU, there were few potters. And his own work, particu­ larly his teapots, were terrific.” Frank Boyden, a ceramics artist living in Oregon, calls attention to Ray’s big sculptures, notably his large wall pieces in high relief, as being exceptional. “As a teacher,” Boyden notes, “Ray has been an incredible supporter of everybody who seriously worked in the field. He’s shared all he knows and has made a huge difference.” Ray’s own assessment of his teaching is that it began merely as a means to an end. “I never considered myself a teacher. But I was sincere, and I insisted on having a studio in the depart­ ment where I taught. My teacher in St. Louis, Werner Drewes, had one and I thought it was great. It was so the kids could see me working, know I was a professional artist, and could watch the process. I could be a model for them. “I got a lot of enjoyment out of helping students do something,” Ray says. “There’s great pleasure in seeing stu­ dents graduating. We used to go on bicycle and ski trips with students, and conduct raku workshops on the farm of one of my students’ families. “I think the key to any success we had was that I always tried to be straightforward and honest. No secrets, every­ thing up front, held nothing back,” he explains. “I told them Til share everything I know.’ And I also brought in good people like Peter Voulkos and Daniel Rhodes to share what they knew.” Ray adds that only a small percentage of his students have made a living strictly as artists: “A handful have done that. It’s tough to do. And if you focus on just making money, you won’t make good art.” He worked diligently making art in the summers and tried to have a solo show every year, frequently at Evelyn George’s White Bird Gallery in Cannon Beach, Oregon. He generally sold well and counted on the artwork to produce a third of his annual income. Jere made some money from teaching and artwork, but she was so busy with the children that she had little time for it. For five years, they had the whole family make clay Christmas cards to sell. One summer, in the early 1960s, Ray focused on making unusual weed forms. These were clay spheres, thrown, glazed and raku or gas fired to Cone 6, using Zonolite (asbestos insulation) to keep them light. He then mounted them on metal stems in a metal or concrete base. They stood 6 to 8 feet high. “I made the weeds for two or three summers, then

“Generations,” 36 inches (91 centimeters) in height, earthenware, 1997, by Jere Grimm. they got to be too accurate, too similar, static, lifeless. At least for me, they lost their spontaneity. I got tired of making them, so I stopped.” The new major influence on Ray’s ceramic work in those years came from a workshop in 1963 at the University of Washington in Seattle by the renowned Japanese potter Shoji Hamada. “I watched Hamada work,” Ray recalls, “and somehow it moved my own work in a new direction. It changed, had something to do with putting life into pottery. Sitting there, it looked like he worked slowly, but he got a lot into every piece. I noticed a year or so later that my work had gotten better. The form changed, was freer, had more life. The Hamada workshop changed my attitude, and my way of handling clay.” His handling of clay underwent another big change years later when his allergies and asthma became so sensitive to clay dust that he had to give up making pots. Ray said, “I loved the clay, but the dust was too much.” In 1988, Ray stopped making art altogether—or at least intended to—when he retired from teaching at PSU. “I thought I was all through making art,” Ray says with a chuckle. But after a few months off reading, bike riding, seeing friends, spending more time with family, “I started messing around again. And when the NCECA (National

Council on Education for the Ceramic Arts) conference “Cantadora,” 21 inches (53 centimeters) in height, came to Portland, I went out to George Wright’s place earthenware, raku fired, 1995, by Jere Grimm.

“La Miracola della Benzina,” 22 inches (55 centimeters) in length, earthenware, raku fired, with brass and iron, 1997, by Jere Grimm.

Ceramics Monthly March 2004 67 (another well-known Oregon old-timer in clay) to help build a Korean earth kiln. Now that was exciting!” Ray says the first pots—put in as a test firing to cure the kiln—came out as a surprise. The kiln was only fired to Cone 1-2, then closed to cool slowly. Upon opening it, they found that heavy reduction had turned the wood fuel to charcoal and produced very dark smoke. The pots were entirely black. Ray liked these black pots so much, he recalls, that “it turned me on to making pots again.” He and Jere launched a series of black pots—large vessel forms with burnished terra-sigillata surfaces that Jere decorated with incised pat­ terns inspired by their travels around the Mediterranean in 1986. Jere had developed an intense interest in the area’s ancient cultures, mythology and patterning. Before long, however, Ray confronted the problem with asthma that had earlier limited his work with clay. Now, his revitalized interest in clay inspired him to contact an art school with ceramics facilities run by a former student who allowed him to work there very early in the mornings, before other potters arrived and stirred up clay dust. Ray could work and not activate his asthma. At home, he cre­ ated and installed a Rube Goldberg-looking moveable fan/ vacuum device that sucked up irritants as he worked. His work has continued to change, and so has his atti­ tude. “I make art now chiefly for pleasure, for my own enjoyment. I always used to be trying to say something, trying to prove something. Now, I just want to play around, have fun.” Other changes in his work since retirement include be­ ing more decorative. “When I was teaching,” Ray recalls, “I poo-poohed putting anything on the pots; never painted on them. But I took a course in Sumi brushwork and now—ha! I paint fishes, birds or something on everything—tiles, cups, plaques, whatever.” At home, their artwork and that of friends is displayed “Labyrinth,” 12 inches (30 centimeters) in height, incised and burnished everywhere inside and out. And now that Ray and Jere are terra sigillata, wood fired, 1991, by Ray and Jere Grimm, Portland, Oregon. the only full-time occupants, two rooms in the basement and a large room on the first floor are devoted to making art, furnished with scores of tools, stacks of supplies and boxes of related paraphernalia. The tables, desks, benches, shelves and racks all appear to be in use, crowded with materials and works in progress. As Ray and Jere Grimm continue working into the new century, they are nearing their golden wedding anniversary. It will mark a partnership that has been—and is—well worth celebrating.

Ceramics Monthly March 2004 68 Rollie Youngers Boiler Teapots by Lauren Zolot Younger

“High (pressure) Tea,” 14½ inches (37 centimeters) in height, thrown, “Industrial Strength Tea,” 14 inches (36 centimeters) in height, thrown, extruded and assembled stoneware, with sprayed Bronze Glaze, extruded and assembled stoneware, with sprayed Bronze Glaze, fired to Cone 5-6, with metal gauge. fired to Cone 5-6, with metal gauge and stand.

On the gentle coast of central California, Rollie Younger creates The cylinders are wheel thrown, and the handles and spouts his industrial teapots in a place where all the pressure of the are extruded. The cylinders are assembled, then the handles are industrial world is very far removed from daily life. added, followed by the bridges. The bridges connect the spouts to In his studio, Younger works late into the night, listening to the teapot body. Welding marks are made at each point of con­ blues and experimenting with shapes. Spreading out thrown and nection, and rivets are applied last. The dark-metal finish of each extruded shapes, he uses a putty knife and pieces of driftwood to body is a sprayed Bronze Glaze from Cuesta College, fired to incise or impose ridges. The shapes sometimes seem uneventful Cone 5 in oxidation. The rivets are either painted with bronze on their own, but when the extrusions meet up with the thrown enamel or are bronze luster fired to Cone 017. Some of the teapots forms, they attract each other. sit on metal stands forged by Mecki Heussen, a friend and metal “When I cut off the bottoms of the cylinders and stacked artist. Other pieces sit directly on a surface, looking very much them, I was reminded of the old-fashioned boilers I’d find at the like Russian samovars (copper urns used for tea), and range in size fish canneries in Monterey.” In order to create the sensation of a from 1 to 2 feet tall. boiler, Younger paid close attention to the symbols that read as To further pique the interest of the viewer, Younger attaches metal, such as rivets, banding and welding marks. Each teapot pressure gauges and copper fittings to certain pieces. The gauges also has a condenser-like shape on the spout. are fixed into the crowns with epoxy. The repeated roundness of

Ceramics Monthly March 2004 Rollie Younger attaching a pressure gauge to a finished teapot.

the rivets, connector holes and gauges creates an or­ ganic quality that contrasts with the seemingly metal­ lic sculpture. The curves of the extruded handles and spouts add to the effect. Younger’s teapots hold much more than tea. They reflect the personality of a culture. This is what Younger has found in his travels, from the village potters of Japan to the studio of Michael Cardew in England and the countryside potters of Denmark. Having ex­ plored these different cultures’ shapes, techniques and attitudes, he has developed a sense of culture himself. His boiler teapots reflect the pressure of industrial life, where breaks are short and surroundings are efficient. However, inside the pieces is a colorful glaze that is surprising for its contrast with the outside, reflecting the beauty and spirit inside us all. “The boiler teapots seemed to grow and flow with their own energy,” Younger stated. “The details came from intuition. I had no preconceived plan but got swept up in pure creative pleasure, and that’s a great space to be in.” Younger’s love of industrial design, and fascination with functional whimsy, comes from the era and envi­ ronment in which he grew up—1950s Los Angeles. Life revolved around his father’s tools and machines, piles of mechanical and automotive parts that only five brothers could accumulate, and a love for art that was inspired by teachers and an older brother. Besides being a studio potter, Younger has taught ceramics for 22 years in both high school and junior college. He provides an arena for exploring creativity and personal development, inspiring his students to go beyond the fundamentals. “Green Tea,” 13 inches (33 centimeters) in height, thrown and assembled, with sprayed copper green glaze, fired to Cone 5-6, with copper tubing and metal stand.

Ceramics Monthly March 2004 70 “I’ve always been fascinated with teapots—the shapes, the forms. On one hand, a teapot keeps me grounded, because it needs to hold water and pour properly without dripping. It is an everyday item that can remind its user of the joy, humor and beauty in life. I like the fact that people use art in an everyday way when they use their teapots. On the other hand, a teapot allows me to leap from func­ tional to nonfunctional. If it has a handle and a spout, it’s a teapot. This permits me to explore the inner space and outer surface, extending the physi­ cal limits of its use or symbology. The fact that it’s a teapot is pleasure enough.” The shapes of these teapots draw the viewer in to inquire and investigate. They are familiar symbols from industry, but when sculpted in clay, they be­ come beautiful on their own terms. The pots make one want to pick them up and look inside. The gauges and copper fittings inspire curiosity, and make people smile with wonder and delight. If a pun can be withstood: These pots are ironic. Though they look hard, like iron, there is a softness and pleasure that is apparent in these teapots.

“Turbo Tea,” 14 inches (36 centimeters) in height, thrown and assembled stoneware with sprayed Bronze Glaze, fired to Cone 5-6, with metal, stand and handle, by Rollie Younger, Cambria, California.

Bronze Glaze Red Glaze (Cone 5-6) (Cone 6) Manganese Dioxide...... 39.04% Gerstley Borate...... 21.00% Cedar Heights Redart...... 52.40 Whiting...... 20.00 Kentucky Ball Clay (OM 4) ...... 4.28 Nepheline Syenite...... 16.00 Silica (Flint)...... 4.28 EPK (Edgar Plastic Kaolin)...... 11.00

100.00% Silica (Flint)...... 32.00 100.00% Add: Cobalt Carbonate...... 2.67 % Copper Oxide...... 4.28% Add: Tin Oxide...... 5.00% Chrome Oxide...... 0.15% A mediumlthin application yields a matt gold. Extreme care should be taken while working A thick application turns this glaze mauve or with manganese dioxide. A NIOSH-approved purple. Best when fired in an electric kiln. respirator with a HEPA (high-efficiency particu­ Any reduction in the atmosphere turns this late air) filter should be worn, and kilns should glaze pink. be vented to remove all fumes during firing.

Ceramics Monthly March 2004 71 Toward a Vocabulary for Wood-Firing Effects by Dick Lehman

Recently, I had the pleasure of working with Odin Maxwell and Haikaburi: Literally, ash covered. In wood-fired kilns, ash falls Shiori Noro, who were busy translating into English a text by on the pots and melt into a glaze. Haikaburi is a natural ash glaze Furutani Michio entitled Anagama: Building Kilns and Firing. As with a matt texture. This type of surface results when the ashes an active wood-firing potter, I had been asked to serve as technical deposited on the pieces do not fully melt. It may be helpful to editor for the translation. imagine haikaburi as being the precursor to shizenyu (which Furutani was one of the potters responsible for the revival and occurs when ash deposits are fully melted and begin to stream revitalization of the use of anagama-style kilns in Shigaraki, Ja­ down the sides of pots). pan. His book not only seeks to provide an understandable and Hi-iro: Literally, fire color. Commonly called flashing in the transparent “how-to” approach for building and firing anagamas, West, hi-iro refers to changes in the color of the clay body itself but also explores a variety of kiln designs, clay bodies and firing due to interaction between the flame and the minerals in the clay. approaches, with the goal of explaining how wood-fired surface Hi-iro pottery does not have a buildup of ash glaze. In fact, if ash effects are achieved. Furutani also wanted to help readers under­ glaze does develop, the hi-iro tends to be obliterated. Specialized stand his passion for these peculiar surfaces—how they are an kilns and firing techniques are developed to attain hi-iro effects. expression of his own motivation, personal aesthetic and spirit. Koge: Pots near the firebox may be covered with embers And he did so in a way that includes warm personal anecdotes during the firing. Burying pots in embers results in cooler firing and humor. temperatures for the buried portions of those pots. When natural As a wood-firing potter, I found it most interesting that there ash glaze is not allowed to develop on the pieces buried in embers, exists in the Japanese language a thoroughly developed and spe­ the clay develops dark charcoal or pastel hues. On the other hand, cific vocabulary to describe the wide variety of surface effects that if haikaburi or shizenyu is allowed to develop prior to burying the occur in wood firing. Unfortunately, Furutani died rather sud­ pots in embers, and the firing temperature is sufficiently high, the denly in 2000, but I have spoken with his wife and son, who buried portions of natural ash glaze will develop a coal-encrusted continue operating the studio he established, and to several other surface. A piece that is partly buried may exhibit koge on the Japanese potters, including Shigaraki potter Shiho Kanzaki (see buried portion and haikaburi or shizenyu (or both) on the ex­ CM, December, 2003), asking how these terms are defined. I posed portion. discovered that there is general agreement about their meanings, Shizenyu: Literally, natural glaze. In wood-fired kilns, a glaze and that there is a general expectation that these terms are at least develops when fly ash falls on the pots and melts. Shizenyu usually loosely understood by the Japanese public. develops in the hotter parts of the kiln and refers to natural ash The following terms are just a portion of this glossary; they glazes that are fully melted and glassy. Shizenyu is simply more were selected to illustrate their specificity, their interrelatedness melted, glossy and shows more streaming than haikaburi. and the extent to which they seem to assume and underscore a Youhen: Literally, kiln change. This term refers to pieces that certain visual literacy (with respect to wood firing) within Japa­ undergo unexpected changes in color and/or texture during the nese society: firing. Note: textural changes in natural ash glazes are almost Bi-doro: From the Portuguese vitrol, meaning glass, refers to always accompanied by color changes. This effect can be seen in glossy streams of natural ash glaze {shizenyu) that terminate in a the transition zones between shizenyu and haikaburi or between shiny bead of glass. They may flow over areas on which little or no haikaburi and koge. natural ash glaze has developed. Sometimes, the streams of glaze I was so impressed with this functional yet dynamic vocabu­ may drip over areas where the underlying ash glaze has a contrast­ lary that my first thought was that we potters in the English- ing matt finish. It is important to note that potters often do not speaking world should also develop a more universally accepted/ refer to streams of glaze with a matt texture as bi-doro. Instead, understood vocabulary of wood-fired surface effects. Currently, depending on the qualities of such a drip, they use the terms we speak about “ash runs” and “drips” and “flashing,” but beyond haikaburi, shizenyu or youhen. that, we have little in the way of universally held terminology.

Ceramics Monthly March 2004 72

After all, I reasoned, if this vocabulary was in common use among potters—and eventually in broader society—it would inevitably lead to an enhanced visual literacy. And with increased literacy, there might be (at least on some level) growing appreciation. Such a deepening in comprehension and valuation could well lead to an amplified appetite for such works. I have visited Japan often enough to know, first hand, that the general population there knows more about ceramics than their counterparts in the West. Certainly, Japan’s additional 500-1000 years of high-fire ceramics history is not to be overlooked, nor are the effects of centuries of tea-ceremony practice. But those con­ tributors to a general ceramic visual literacy notwithstanding, the differences between East and West are tangible: if we were to go into a random sushi bar in Japan and ask an arbitrary group of patrons for a definition of koge or hi-iro, we might reasonably expect that someone in the crowd would be able to answer cor­ rectly. Go into any McDonalds in the West and ask for a definition of “ash encrusted,” and unless one’s diction, enunciation and pronunciation are superb, one might be lucky to escape with simply a quizzical wince or a raised eyebrow. Dare to follow up with a question about “flashing,” and well . . . As I thought more about developing a vocabulary of wood- fired surface effects, I began to have just the slightest doubt about the wisdom of doing so. It is not that I questioned the obvious benefits and dividends that such a vocabulary has already pro­ duced in Japanese language and culture. But I began to wonder if there might be, for us here in the West, some actual benefits from having had a deficient vocabulary. My doubts began to creep in at exactly the place where I least expected them—as I examined my own wood-fired pots. “How could a single term,” I heard myself asking aloud, “ever capture the meaning of this surface effect?” I was looking at the thickly gouged foot ring on a vase, fired for 15 days with Chinese elm. The pot was made from a porcelain body that I had devel­ oped from domestic clays. The foot ring had collected a deep pool of natural ash glaze, the sides of the pot having sent cascading torrents of aquamarine glaciers sliding toward the foot’s collection pool, where it suddenly changed into piles of icy white glass. In the apparently rapid reduction-cooling of this pot (which was located quite near the front of the kiln and the firebox), after the final charge of Chinese elm splits, the surface of the icy pool had cooled rapidly and contracted, placing the still-molten glass un­ der sufficient pressure so that a large molten bubble “burped” out of the pool’s depths. It, in turn, cooled quickly enough to remain a glassy, transparent globe, but not before managing to grow a few floating icy white crystals across the surface of the aquamarine bubble of glass. (See image 1.) I next examined the wrinkly flow of yellow and steely gray ash glaze that reminded me of the wrinkled skin on my aged grandmother’s forearms—arms we might all like to have should we be lucky enough to live to such a ripe old age. As with the forearm, the skin of glaze had not suddenly gotten bigger, result­

Ceramics Monthly March 2004 ing in folds of unnecessary surface. No, what had been under­ neath that once robust and supple surface had been reduced and diminished; there was less muscle and fat to support what had earlier been just the right amount of skin. The same was true with this natural ash glaze. When we speak, as potters, of reduction, we are usually think­ ing about a chemical rather than a physical occurrence. Here, reduction took on a momentum and physicality that we seldom see: this pot was, moments before the final stoke, fat and supple, with glassy runs and drips. But by being so close to the firebox and so affected by the final large stoking of fuel, this glaze lost the very “stuff” of itself. The fire was so ferociously oxygen hungry that it ripped oxygen molecules from the molten glass as the surface was cooling and contracting. The actual physical substance of the subsurface glass was reduced, leaving the “skin” to “hang from the bones” over what previously had been lush, thick, flow­ ing ash. Now that’s reduction! (See image 2.) How could one term describe a current of flowing natural ash in hues of copper, cara­ mel, blue-gray and olive-celadon, which has been interrupted and overtaken by a strong glassy flow of honey, at the middle of which is a section of too-quickly accumulated ash that produced a matt surface in taupe, peach and gunmetal blue surrounded by crystals the color of springtime dandelions? (See image 3.) How might a single word ever communi­ cate the color of a winter river? What term could describe a surface on which ten days of cottonwood ash has produced an ice-jam of descending natural-ash crystals that has backed up and built up like ice against bridge abut­ ments on a river or along the windblown shore of a large lake? (See image 4.) Is there a single term for a natural-ash- glaze surface that captures the color of sum­ mer, a color that might be described as yellow and golden and buttery and primrose and saffron and daffodil and topaz and banana and canary and citron and blond and amber and orange, all at the same time? What about the pitting that is the color of storm-cloud gray? (See image 5.) What word could amply describe a shizenyu that is the color of spring flowers—colors we don’t normally associate with the “natural” in natural ash glaze; colors invading a soft pastel range that, if seen at all, we tend to identify with coal-buried surfaces? (See image 6.) How might I describe the surface of an upside-down-fired porcelain bowl, where caramel flashing mingles with baby-blue and cobalt-blue hare’s fur, and golden, bronze-studded crystals— all in the space of a half inch? (See image 7.) And what about pots that break the rules? What about sur­ faces where thick ash accumulations (haikaburi and shizenyu,

Ceramics Monthly March 2004 75 and surfaces usually associated with copper-matt raku results. (See image 11.) Finally, what kind of vocabulary might serve if we diverge from a strictly held criterion of all natural ash glazes? How should we describe those pots with applied glazes that have been fired for 15 days with wood? Can we possibly generate terms for surfaces where crusty, dry moonscapes collide with smooth, flowing wa­ tery drips generating “dragon-fly-eye” droplets that include both the watery and the crusty? (See image 12.) How do we speak about surfaces where cascading crystals surround both glossy and armadillo-skinned drips? (See image 13.) And where do we search for terms to describe glazed and wood-fired surfaces that go beyond all our previous expectations and experiences? (See images 14 and 15.) bordering on bi-doro) mingle with flashing (hi-iro) effects that What I saw in these pots caused me to question the idea of generally do not belong together on the same pot, yielding rich developing a glossary of wood-fired surface effects. I began to blue-blacks and apple greens and battleship grays and banana better appreciate the advantages of a descriptive vocabulary. De­ yellows surrounding intense orange flashing with taupe-brown spite my earlier assessment of their projected benefits, I am not freckles? (See image 8.) yet ready for a set of terms. I concluded that I want many words The next pots I examined only made the consideration of a with which to describe each of these surfaces—multiple words definable vocabulary more difficult for me. How might I describe and references, similes and metaphors, and rich, colorful imagery. a surface where potassium-rich, matt-white flowing drips con­ I want a descriptive vocabulary that could also provide as much verge with a salt-glazelike pitted surface in runny colors of blue- information as possible about the materials used, the kiln design gray and green and brown and copper? (See image 9.) What about and the firing approach. surfaces that resemble the topographical residue of prehistoric I am concluding that perhaps now is not the time to generate a volcanic remainders? (See image 10.) Then there were the colors Western glossary of terms for wood-fired surface effects. However,

Ceramics Monthly March 2004 76 I am not concluding that, had we had an established vocabulary, we would be less well-off now. And I am not ready to speculate on what might have happened if we had somehow inherited a tradi­ tion of terminology from some earlier generation. What I am ready to speculate is this: just possibly, not having had a vocabulary may have been an unanticipated benefit to the development of wood-fired surfaces here in the West. Perhaps we have been inclined to approach this wood-firing process with fewer limitations and greater freedom than we might have other­ wise. And this freedom to experiment with a wide variety of clay materials, kiln designs, fuels, firing approaches and pottery forms may have led to the expansive nature of the surface effects that are being discovered—surfaces that may go beyond shizenyu, haikaburi and hi-iro. So, should we forever foreclose on the idea of developing a contemporary vocabulary of wood-fired surface effects? Of course not. As we gain more experience with wood firing, we will de­ velop a functional vocabulary; it is inevitable. In the meantime, we will be well served to continue to investigate as many methods and firing approaches and kiln designs and clay bodies and fuel choices as our imaginations allow, and then to use as many words as are necessary to comprehensively describe the resulting rich and remarkable surfaces.

The author A frequent contributor to Ceramics Monthly, Dick Lehman is a full-time studio potter in Goshen, Indiana.

Ceramics Monthly March 2004 77 LIFE IS LIVED FORWARD AND UNDERSTOOD BACKWARD The Search for a Personal Understanding of Memories by Jeanne Henry

I have been a functional potter for 30 years, in two studios. The before I saw its connection to my new work. As a child, I spent first ten years were spent in a dark basement and unheated garage hours exploring, in my imagination, the road past the old house with a big Minnesota flat-top car kiln. The year my glazes froze, I and dreaming about what was around the bend. When I began to knew I needed a change. We found it four blocks away—a 100- take photographs on my travels, the ones that spoke to me most year-old farmhouse in Portland, Oregon, with a small, separate were the ones with a path or road that went somewhere mysteri­ cottage for a studio. We added a skylight and kiln shed, and took ous. I have always been drawn to images that have the power to down some walls. I was in business, with light, heat and running pull you in and make you wonder, “What is around that corner?” water. After 25 years of potting in that wonderful space (and In 2000, on a trip to Southern France and Corsica, I concen­ raising two children), I found myself moving to a radically differ­ trated on photography. The effort paid off. Of the many shots I ent approach to clay, focusing on images, color and texture. liked, one set of images of ancient archways had intense appeal to Four things came together to make this change in my work: a me. I printed endless photographs, blew them up, drew them, print of a French country road from my childhood; a raku series made intaglio prints and did watercolors of those archways. I was in 1979 of disappearing roads based on a friend’s death; teaching compelled to work with them. the history of trompe l’oeil painting; and a growing passion for For the first time in 25 years, I added photographs to the pots photography. After my mother’s death, I put the old family print at my studio sales. Research and friends helped me realize that of that country road in my kitchen and lived with it for months framing costs make marketing photography more challenging than marketing pottery. I couldn’t give up being a potter, yet I felt a little polarized by the divergent media. It became essential to find a way to blend the photography and the clay. In the winter of 2001, I started testing, deter­ mined to find a way to wed my two passions. First, I tried glaze crayons and pencils, which were dull, then photo transfers, which looked like decals. I started experimenting with layers of clay and real­ ized that I could show distance and perspective by carving. The final challenge was finding a clay body and color system. I fire my thrown functional ware to Cone 6 in reduction, so it made sense to do the same with this new work. I ventured into a new world of paper clay and stains. Using a sample palette of 80 stains, plus all of my glaze oxides, I began rigorous testing. I used five test tiles for each color added to a white slip base. While trying to capture a sense of Working from photographs, Jeanne Henry carves bas relief into layered-slab panels. space and distance to match the photograph, I also

Ceramics Monthly March 2004 78 “Castlenaud,” Dordogne region, France, 18 inches (46 centimeters) in height, layered and carved paper-clay slabs with stains, slips, oxides and metal chain, fired to Cone 6 in reduction, $450.

Ceramics Monthly March 2004 79 tried to match the colors. Reds and purples continue to be a I organize the images in planes of distance. For example, the challenge, but I always have new tests in my next firing. In the sky is the furthest plane, followed by the mountains and the back meantime, I confess to using ceramic-grade acrylic and oxides in a wall, then the foreground and the wall with the windows and matt painting medium for the few colors I cannot match any arches. I cut sheets of plastic for each plane. Some images may other way. I thank Jacksonville, Oregon, potter Leslie Lee for have as many as eight layers, others only three. Each layer of calling it “room-temperature glazing.” This mollifies my func­ plastic has the previous layers cut out as I move forward in space. tional side and the part of me that still finds it difficult to visit The first slab is ¾ inch thick for basic strength. Subsequent certain aisles in my local ceramics-supply house. layers are ½-½ inch thick. I lay the plastic on top of a slab and cut out the most distant areas, flipping and scoring the slab as I lay it The Process on the one before. A thin layer of paper-clay slip seems to cut I bought a slab roller and reoriented my studio to work with down on separation during firing. All layers are attached before I the large slabs. A long table off the end of the slab roller makes begin carving. sliding the slabs easier. I added new overhead lights that I can The trick to a believable relief is in the subtle angles of the remove for lighting my booth at shows. A friend drops off regular edges. To convey distance and depth, there must be an angled or shipments of 16x24-inch-thick wallboard and I duct tape the undercut edge to convince the viewer that one is in front of the edges. These last for two or three pieces before they sprout mold. other and that there is actual space and distance between the two Using a small image projector, I enlarge a 4x6-inch snapshot planes. Because I am working in depths of less than an inch, each to 14x24 inches, trace it onto paper, then onto plastic sheets change in an angle or edge must be definite to be effective. (recycled furniture wrapping). Lately, I have been pushing the image into deeper dimensions. “Table for Four” started out as a fairly straightforward representa­ tion, but has evolved into a series. I am experimenting, pushing the steps out into space and radically distorting the table, stairs, windows and doors. At first, I saw each relief as a limited edition, much like a print. However, because the clay image transforms dramatically each time I make it, they are nonidentical, but related, images. They are based on the same photograph, limited only by my desire to move on to the next new photograph. I single fire these pieces to Cone 6 in reduction, not because it is the best for them, but because my electric kiln is too small for them. I still throw and fire bowls and other functional work in between the shelves of reliefs. Compared to my thrown work, these are incredibly time con­ suming and prone to cracking during the firing. My main frustra­ tion is with my speed of output. As I continue to learn more about the techniques and materials, I hope to make the reliefs more efficiently.

Conclusion I have plans for a new series based on an upcoming trip to the Southwest, and a one-woman show in August 2004, which will include both the bas reliefs and photographs. I have found my marriage of mediums. I see myself as a product of my past. Threads from different times have pulled together without me knowing or paying atten­ tion. What a surprise, after this new work was produced, to look back on distant and diverse parts of my life and see the pattern. Everything now makes sense, and there is a peace and a rhythm

“Santiago Apostol,” Cuilapan, Oaxaca, Mexico, 18 inches in height to it. I am in awe and am grateful that, at the age of 54, life has (46 centimeters), layered and carved paper-clay slabs with stains, come full circle, leaving me passionately engaged in this explora­ slips, oxides and acrylic matt medium, fired to Cone 6 reduction. tion and happily anticipating the future.

Ceramics Monthly March 2004 80 “Le Beaucet,” Provenge, France, 19 inches “Table for Four,” Nice, France, 18 inches (46 centimeters) (48 centimeters) in height, layered and carved in height, layered paper-clay slabs with stains, slips, oxides paper-clay slabs with stains, slips and oxides, and acrylic matt medium, fired to Cone 6 in reduction, $450, fired to Cone 6 in reduction, $450. by Jeanne Henry, Portland, Oregon.

Color Testing teaspoon of stain, each with three layers of color. I keep a large Like many potters, I use multiple sources for testing and batch of dry white slip to mix as needed. experimenting with glazes. For my relief project, I started with I sometimes end a test batch with the addition of progressive Rosette Gault’s book on paper clay, some of my 30 years of amounts of a low-fire clear glaze. This intensifies the color and Ceramics Monthly magazines (I still can’t part with them) and my changes the surface from the dry slip. I want a totally matt library of pottery books. After a year, I developed a workable surface, so I usually add only 1 tablespoon for each cup of wet slip system. On shelves above my table sit some 30 squeeze bottles for or start with Vi6 teaspoon for each tablespoon in the test batch. the stain and oxide colors. (These can be purchased in large When complete, the squeeze bottle has 1 cup of base slip (with quantity at any restaurant-supply house.) I tape test tiles to the the clear glaze to cut down on the dryness) and from ½—3 or more bottles that remind me of each shade. Galvanized nails with large teaspoons of the oxide mix or stain combination. If it settles out, a heads sit in the hole of the squeeze bottles to slow evaporation. pinch or two of Epsom salts keeps it in suspension. The method for testing colors that works best for me is based I know that, by working with such small amounts, accuracy is on Robin Hopper’s testing technique. This is explained in detail suspect. As you brush each test tile, there is less base with which in his book Ceramic Spectrum. to mix the stain. I am trying to get the sense of the stain color at I use measuring cups and spoons for speed. I don’t sieve the my firing atmosphere and range. When I get a test I like, I order a tests, as that would take too long. Any white slip recipe will work larger amount of that stain and actually use the gram scale to get as a test base. Take a level teaspoon of stain or oxide mix, shape it an accurate measurement, thoroughly mix and sieve. with a palette knife into a flattened square. Divide this square into I store the test tiles according to color. Each tile is coded on fourths, with one corner cut into smaller units if you want lighter the back with the stain number (or oxide mix) and an “a,” “b,” shades. Using one tablespoon of the wet base in a small yogurt “c,” “d” or “e” to indicate the progressive amount of stain that was cup, add the stain or oxide mix in units, beginning with the added. With this system, I can search for colors to match any new smallest. This gets five or six progressive test tiles out of each photographs, and continue to test those elusive reds and purples.

Ceramics Monthly March 2004 81 open to works fired in a wood kiln and completed 10 years, residing in Europe. Awards. Contact the call for entries within the past 2 years. Juried from slides (shot on Office Culturel de St. Quentin la Poterie, Maison de gray or black background for catalog). Jurors: Ryoji Application Deadlines for Exhibitions, Fairs, la Terre, rue de la Fontaine 30700; e-mail Koie, Janet Mansfield and Don Reitz. Fee: $25 for [email protected] ; telephone (33) 4 66 22 Festivals and Sales up to 2 works. This exhibition will run concurrently 74 38 7; or fax (33) 4 66 22 46 06. with the international wood-fire conference, "The August 23-October 15 entry deadline Naked Truth." For prospectus, contact Gary Icheon, South Korea "The Third World Ceramic International Exhibitions Hootman, PO Box 301, Swisher, IA 52338; or Biennale 2005 Korea" (April 23-June 19, 2005), March 21 entry deadline e-mail [email protected] . open to works in 2 categories: ceramics for use and Iowa City, Iowa "Forms and Shapes: Box" (June), May 30 entry deadline ceramics as expression. Preliminary selection juried open to ceramics artists. Juried from 6 slides of at Greensboro, North Carolina "2005 Clay Lover's from 2 slides and 1 photograph per entry; up to 3 least 2 works. Juror: Maren Kloppmann. Fee: $35. Calendar Exhibition" (October). Juried from up to entries. Final selection juried from actual works. For prospectus, send SASE to AKAR, 4 S. Linn St., 4 images on CD/RW. For further information and Cash awards; grand prize KRW 60 million Iowa City 52240; e-mail [email protected] ; prospectus, send SASE to Lisa Skeen, Living Tree (US$50,000). For further infromation, contact the see www.akardesign.comlcallforentries.htm ; or Pottery, 8406 Hudson James Rd., Summerfield, NC Office for International Competition, Exhibition telephone (319)351-1227. 27358; or e-mail [email protected] . Department, Icheon World Ceramic Center, May 15 entry deadline Saint Quentin la Poterie, France "First European Gwango-dong San 69-1, Icheon, Gyeonggi-do Cedar Rapids, Iowa "International Juried Wood- Ceramic Arts Festival" (July 21-25), open to emerg­ 467-020; e-mail [email protected] ; see Fire Exhibition" (September 16-November 28), ing, professional ceramics artists working less than www.ceramicbiennale.orgorwww.worldceramic.kr ; telephone (82) 31 631 6512;orfax(82)31 631 1614.

United States Exhibitions

March 15 entry deadline San Angelo, Texas "2004 Kiln God National" (April 16-18), in conjunction with Ceramic Weekend at Chicken Farm Art Center. Juried from actual works. Juror: Randy Brodnax. Fee: $15. Purchase awards. For prospectus, send SASE to Kiln God National, 1517 S. Van Buren, San Angelo 76901; or see http:llkilngodnational.com. March 20 entry deadline Waynesboro, Virginia " Primary Colors: A Survey of Contemporary Craft in Red, Yellow and Blue" (May 20—July 1), open to crafts using primary colors in construction or design. Juried from slides. Fee: $20. Commission: 60%. Cash awards. For prospectus, send SASE to Artisans Center of Vir­ ginia, 601 Shenandoah Village Dr., Waynesboro 22980; see www.artisanscenterofvirginia.org ; or telephone (540) 946-3294. March 29 entry deadline Surf City, New Jersey "Jersey Shore National" (May 8-June 2), open to functional and sculp­ tural ceramics. Juried from slides. Juror: Jimmy Clark, director emeritus of the Clay Studio. Fee: $10 for 1 entry; $20 for 2; $25 for 3. Awards: first place, $500; second, $250; third, $100 and purchase award. Commission: 40%. For further information and prospectus, send SASE to m. t. burton gallery, 1819 Long Beach Blvd., Surf City 08008; e-mail [email protected] ; see www.mtburtongallery.com ; telephone (609) 494-0006; or fax (609) 494-0105. April 2 entry deadline Southport, North Carolina "National July Show" (July). Juried from slides. 3D juror: Susan Filley. Awards: $6000. For prospectus, send SASE to Associated Artists of Southport, 130 E. West St., Southport 28461; or download from www.arts-capefear.comlfsgallery . April 3 entry deadline Missoula, Montana "3rd Annual SodalSalt Na­ tional" (May 7-28), open to ceramics fired in a soda andlor salt atmosphere. Juried from slides. Juror: Josh DeWeese, director of the Archie Bray Foundation for the Ceramic Arts. Fee: $20 for 2 entries; $25 for 3. Cash awards. For prospectus, send SASE to the Clay Studio of Missoula, 910 Dickens, Missoula 59802; e-mail [email protected] ; or telephone (406) 543-0509. April 5 entry deadline Federal Way, Washington "Pacific Rim Bonsai Col­ lection Special Exhibition" (August 13-September 29), open to all durable media. Juried from 3 slides of work and 1 of pedastalldisplay stand. Jurors: Amy McBride, Public Art Administrator for the city of Tacoma and David De Groot, Curator of the Pacific Rim Bonsai collection. For prospectus, con­ tact Adina Lake, Pacific Rim Bonsai Collection, PO Box 9777, Federal Way 98063-3777; see

Ceramics Monthly March 2004 82

April 2 entry deadline call for entries Kingston, Rhode Island "Earthworks: Open Juried Clay Annual" (April 8-May 1), open to current and former residents of Rhode Island. Juried from actual works. Fee: $15 per entry; members, $12 www.weyerhaeuser.com/bonsai ; telephone (253) per entry. Juror: Judith Salomon. Cash awards. For 924-3153; or fax (253) 924-3837. prospectus, send a #10 SASE to Earthworks, South April 7 entry deadline County Art Association, 2587 Kingstown Rd., Mount Holly, New Jersey "Mugalomania" (April Kingston 02881. 24-May 8), open to mugs and cups made primarily April 10 entry deadline of clay. Juried from actual works. Jurors: Lynn Santa Barbara, California "The Blues: Tonality II" Lemyreand Isaac Witkin. Fee: $15 for 3 entries; $5 (May 4-June 29), open to ceramics artists residing each for up to 3 additional works. Awards. For in Arizona, California, Idaho, Nevada, New Mexico, prospectus, send SASE to Mill Race Village Arts & Oregon, Utah or Washington; works must incor­ Preservation, 37 White St., Mount Holly 08060; or porate the color blue. Fee: $5. Cash awards. Con­ e-mail [email protected]. tact Lisa Rowlinson de Ortiz, Tierra Solida: a clay April 16 entry deadline art gallery, 1221 State St., #8, Santa Barbara Kewaunee, Wisconsin "Barns and Farms" (June 5- 93101; e-mail [email protected] ; see July 18), open to all media. Juried by Craig Blietz www.tierrasolida.com ; telephone (805) 884-8224. and Joseph Mendez. For prospectus, send SASE to April 15 entry deadline Barnsite Art Studio, 109 Duvall, Kewaunee 54216; Central City, Colorado "57th Annual Gilpin see www.barnsiteartstudio.com ; or telephone County Arts Association Juried Show and Sale" (920) 388-4391. (June 12-August 7), open to artists residing in April 30 entry deadline Arizona, Colorado, Idaho, Montana, Nevada, Ipswich, Massachusetts "Art Design Competition" New Mexico, Utah and Wyoming. Awards. For (2004-2005), open to artists qualified to make a further information and prospectus, contact permanent, large-scale installation. Juried from Sandy Early, 5081 Decatur St., Denver, CO 80221; drawings or photos. Awards: $ 1000 each for win­ e-mail [email protected] ; ortelephone (303) ner and first and second runner-up; and budgetfor 455-4142. installation. Contact Sanjay Kumar, NEB Art De­ June 1 entry deadline sign Competition, New England Biolabs, 32 Tozer Pittsburgh, Pennsylvania "WAD Clay Institute Juried Rd., Beverly, MA 01915; e-mail [email protected] ; or Clay Annual" (September 3-25), open to ceram­ see www.neb.com/adc . ists residing in Maryland, New York, Ohio, Pennsyl­ May 16 entry deadline vania, Virginia, Washington, D.C. and West Virginia. Water Mill, New York "Ceramic Sculpture" (June Juried from slides. Juror: Elvira Peake, owner, the 24—July 19). Juried from slides. Fee: $10. For fur­ Clay Place. Cash and purchase awards. For pro­ ther information, send SASE to the Clay Art Guild spectus, e-mail Gerry Dinnen: [email protected]; of the Hamptons, Inc., 51 Round Pond Ln., Sag or telephone (412) 279-9956. Harbor, NY 11963; e-mail [email protected] ; or telephone (631) 725-4605. Fairs, Festivals and Sales June 5 entry deadline Saratoga Springs, New York "Mugs, Jugs and March 5 entry deadline Bottles" (July 15-September 6), open to func­ Birmingham, Michigan "Common Ground Sanc­ tional and nonfunctional ceramics. Juried from tuary 2004 Art in the Park" (September 11-12), slides. Juror: Jill Fishon-Kovachick. Fee: $20. For open to all media. Juried from 5 slides. Fee: $25. prospectus, send #10 SASE to the Saratoga Clay Contact Art in the Park, Common Ground Sanctu­ Company, PO Box 2295, Wilton, NY 12831; e- ary, 1410 S. Telegraph Rd., Bloomfield Hills, Ml mail [email protected] ; or telephone (518) 48302; see www.artinthepark.info; or telephone 587-8265. (248) 456-8158, ext. 211. June 15 entry deadline March 8 entry deadline Chicago, Illinois "Form Follows Function" (Sep­ Madison, Wisconsin "46th Annual Art Fair on the tember 3-October 16), open to ceramic works Square" (July 10-11). Juried from slides. Fee: related to architecture, modernism or the writings $29. Booth fee: $350. Contact the Madison of Louis Sullivan. Juried from up to 3 slides. Juror: Museum of Contemporary Art, 211 State St., Dan Anderson. Fee: $30for 3 slides; $25for2; $20 Madison 53703; see www.mmoca.org ; or tele­ for 1. Cash awards. For prospectus, contact Aviva phone (608) 257-0158. Alter or Shannon Stratton, Lillstreet Art Center, March 15 entry deadline 4401 N. Ravenswood Ave., Chicago 60640; e-mail New Brunswick, New Jersey "30th Annual New [email protected] ; see www.lillstreet.com; Jersey Folk Festival Juried Craft Market" (April telephone (773) 769-4226 24). Juried from 4 slides. Jury fee: $5. Booth fee: $130. Contact Helene Grynberg, American Stud­ Regional Exhibitions ies Department, Rutgers, the State University of New Jersey, 131 George St., New Brunswick March 11 entry deadline 08901-1414; e-mail [email protected] ; see Niceville, Florida "12th Southeast Regional Juried http://njfolkfest.rutgers.edu ; telephone (732) 932- Fine Arts Exhibition" (May 16-June 17), open to 5775; or fax (732) 932-1169. artists 18 years or older who reside in the south­ April 1 entry deadline eastern region of the U.S. Juried from slides. Cash Verona, New Jersey "Fine Art and Crafts at awards. Best-in-show winner offered solo exhibi­ Verona Park" (May 15-16), open to handcrafted tion in 2005. For prospectus, send SASE to MA work. Juried from 4 slides. Booth fee: $290 for Eady, ADSO, 17 First St., SE, Ft. Walton Beach, FL a 10x12-foot space. Contact Rose Squared Pro­ 32548; or see www.artsdesignsociety.com . ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ March 12 entry deadline 08844; e-mail [email protected] ; see Gunnison, Colorado "First Annual Time for Tea www.rosesquared.com ; telephone (908) 874- Show, The Mad Hatter's Tea Party" (May 10-31), 5247; or fax (908) 874-7098. open to artists residing in Colorado, New Mexico, April 2 entry deadline Utah or Wyoming. Juried from slides or jpegs. Fee: New York, New York "Contemporary Artist Dolls $30 for 3 entries; $5 each for up to 3 additional Show and Sale" (June 6), open to U.S. and Cana­ works. Commission: 30%. For prospectus, send dian artists with original interpretations of a mod­ SASE to Gunnison Arts Center, 102 S. Main St., ern art doll no higher than 24 inches. Juried from Gunnison 81230; e-mail [email protected] ; or up to 3 slides or photos. Fee: $25. Booth fee: $225 telephone (970) 641-4029. for a 6x6-foot table. Commission: 25%. Send

Ceramics Monthly March 2004 84 Ceramics Monthly March 2004 85 May 1 entry deadline Montclair, New Jersey "Spring Brookdale Park call for entries Cranford, New Jersey "Spring Nomahegan Fine Art and Crafts Show" (June 19-20), open to Park Fine Art and Crafts Show" (June 5-6), open to handcrafted work. Juried from 4 slides. Booth fee: handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ SASE to Marlene Hochman, the Doll and Toy Mu­ Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see seum of NYC, PO Box 25763, Brooklyn, NY 1 1202; 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874- e-mail [email protected]; see www.rosesquared.com ; telephone (908) 874- 5247; or fax (908) 874-7098. www.dollandtoymuseumofnyc.org ; or telephone 5247; or fax (908) 874-7098. May 16 entry deadline (718) 243-0820. Jersey City, New Jersey "Fine Art and Crafts Mendocino, California "Fourth Annual Mendocino April 5 entry deadline at Newport's Town Square Park" (June 12-13), Street Fair" at Heider Field (July 3 and 24). For Chautauqua, New York "Crafts Festival 2004" open to handcrafted work. Juried from 4 slides. prospectus, contact Mendocino Street Fair, PO (July 9-11 or August 13-15). Juried from 3 slides Booth fee: $290 for a 10x10-foot space. For Box 141, Casper, CA95420; [email protected] ; of work and 1 of booth. Jury Fee: $15 per show. further information, contact Rose Squared Pro­ or telephone (707) 964-5975. Show fee: $240 per show. For prospectus, send a ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ May 30 entry deadline business-size SASE to Devon Taylor, Festivals Direc­ 08844; e-mail [email protected] ; see Augusta, New Jersey "34th Annual Peters Valley tor, Chautauqua Crafts Alliance, PO Box 89, www.rosesquared.com ; telephone (908) 874- Craft Fair" at Sussex County Fairgrounds (Septem­ Mayville, NY 14757-0089. 5247; or fax (908) 874-7098. ber 25-26), open to all media. Juried from 5 slides. Fee: $25. For prospectus, send SASE to Peters Valley Craft Center, 19 Kuhn Rd., Layton, NJ 07851; see www.pvcrafts.org; or telephone (973) 948-5200. July 1 entry deadline St. Petersburg, Florida "CraftArt 2004" (October 30-31), open to fine crafts. Awards: $20,000. For further information, contact Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg 33701; or telephone (727) 821-7391. August 1 entry deadline Upper Montclair, New Jersey "Fine Art and Crafts at Anderson Park" (September 18-19), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874- 5247; or fax (908) 874-7098. Cranford, New Jersey "Fall Nomahegan Park Fine Art and Crafts Show" (October 2-3), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. For further information, contact Rose Squared Pro­ ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874- 5247; or fax (908) 874-7098. Montclair, New Jersey "Fall Brookdale Park Fine Art and Crafts Show" (October 16-17), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. For further information, contact Rose Squared Pro­ ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com ; telephone (908) 874- 5247; or fax (908) 874-7098. Kingston, New York "International Second Annual Friends of Rondout Historic Bluestone Fes­ tival" (October 10). Juried from up to 3 photos. Fee: $10 per photo. Best-in-show will be given multiple solo exhibitions. Contact Ed Pell, Blue- stone Festival, 24 Spruce St., Kingston 12401; e-mail [email protected] ; or see www.friendsofrondout.org . October 30 entry deadline Winder, Georgia "Harvest of Arts Juried Show and Sale" (November 13-14), open to fine crafts. Commission: 20%. For further informa­ tion, contact the Georgia Piedmont Arts Cen­ ter, 105 E. Athens St., Winder 30680; e-mail [email protected]; or telephone (770) 788-9267.

For a free listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July; two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail [email protected]; submit online www.ceramicsmonthly.org/submissions.asp ; or fax to (614) 891-8960.

Ceramics Monthly March 2004 86 Ceramics Monthly March 2004

dental practice so they are put in a box to be savedclean off the rest and deliver them to the char­ suggestions for me, rather than being thrown in the trash. ity.—Jennifer Betz, Cocoa, FL From Readers Ask your dentist or other dentists in your area and they may be willing to do the same for A Tool for Working with Slabs you.—Kurt Wild, River Falls, WI I made a simple tool for trimming the edges Free Latex Gloves of slabs in one simple motion. Find a piece of In order to prevent chapped fingers when Ideas for Textures sheet steel and carve the shape you need into the glazing, or when I know I’m going to be wetting Before donating stuffed animals, blocks, bas­ edges using files, such as those shown here. or washing my hands frequently, I wear latex kets, clothing and other assorted items to our medical-examination gloves. I get my latex gloves local charity, I roll out slabs of clay for my free from my dentist. In the course of the dental daughter and I to press the objects into. We office rush, as gloves are quickly taken from their come up with a lot of texture ideas and she learns sterile box, a glove will occasionally fall on the about working with clay. We keep the interest­ floor. Those gloves can not then be used in the ing slabs and the items used to make that texture,

You can make it round, square, triangular— any size or shape you want. It is very easy to use and leaves the leather-hard clay almost bur­ nished by simply drawing the tool along the edge

of the slab. You can make multiple profiles in the same piece of steel, so it can be used on different items that you produce.—Jorge Nabel, Buenos Aires, Argentina

Water Removal There are a few common ways to remove water from the inside of a tall narrow pot while throwing; attaching a sponge to a stick with a clamp or a rubber band or buying a sponge on a stick. I’ve found that the easiest thing to use is something at hand next to my wheel—a long-handled slip brush. Now, I keep a fat brisded brush with my throwing tools. It absorbs the water and, with one squeeze, is ready to use again.—Peter Sheremeta, Inverness, CA

Test Tiles As a student potter working at home, with little storage space, I often throw trimming chucks as needed. Instead of trying to reclaim the leather-hard chucks, I cut them into strips, bisque fire and use them as tiles for glaze test­ ing.—Francine Wang, Ventura, CA

Share your ideas with others. Previously un­ published suggestions are welcome individu­ ally or in quantity. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly March 2004 90 Ceramics Monthly March 2004 91

calendar Events to Attend—Conferences, Consequence of Material, 2004 Ceramics Confer­ ence, "will include presentations. For further informa­ Exhibitions, Workshops, Fairs tion, e-mail Trudy Golley: [email protected] ; or telephone (403) 342-3453 or (403) 342-3251. Conferences Canada, British Columbia, Burnaby March 20 "Third Biennial Canadian Clay Symposium" will in­ California, Davis April 30-May 2 "CCACA 2004: clude demonstrations, presentations, lectures, discus­ The Ceramic Sculpture Conference." For further infor­ sions and exhibitions by national and international mation, contact John Natsoulas Gallery, 521 First St., artists. Fee: Can$107 (US$82). For further informa­ Davis 95616; e-mail [email protected] ; see tion, contact Shadbolt Centre for the Arts, 6450 Deer www.natsoulas.com ; or telephone (530) 756-3938. Lake Ave., Deer Lake Park, Burnaby, V5G 2J3; see Delaware, Winterthur April 23-24 "Ceramics in www.bcpotters.com; telephone (604) 291-6864 or America 2004, Fables, Pharaohs and Fancy: Sources (604) 205-3012. and Inspiration for Ceramic Design," will include tours, China, Jingdezhen May28-30 "Jingdezhen 1000 films, lectures and hands-on workshops. Fee: $275; Years Celebration of Porcelain" an international ce­ members, $225; students, $175. To register, contact ramics conference including lectures, demonstrations, Winterthur, An American Country Estate, Winterthur wood firing, exhibitions and tours. For further infor­ 19735; see www.winterthur.org ; or telephone (800) mation, contact Jackson Li, Planning Office for Ce­ 448-3883 or (302) 888-4600. ramic Art, Jingdezhen 1000 Years Celebration of Indiana, Bloomington March 14-16 "Tangents: Porcelain, PO Box 1000, Jingdezhen City, Jiangxi Prov­ Ceramics and Beyond," hands-on symposium with ince, 333001; e-mail jingdezhen [email protected]; workshops, lectures, demonstrations, tours and exhi­ see www .jingdezhen 1000.com; or fax 86 798 8496513. bitions. Fee: $75; students, $65; daily passes, $40. Hungary, Kecskemet April 5-26 "Sound of the Limited to 150 participants. Contact the Indiana Uni­ Clay, Ceramic Musical Instrument Symposium." For versity School of Fine Arts, 1201 E. Seventh St., further information, contact Steve Mattison, Interna­ Bloomington 47405; e-mail [email protected] ; see tional Ceramics Studio, Kapolna Str. 13, Kecskemet www.fa.indiana.edulhtml ; telephone (812) 855-7766; H-6000; e-mail [email protected] ; see www.icshu.org ; or telephone John Goodheart: (812) 855-4395. or telephone 36 76 486 867. Indiana, Indianapolis March 17-20 "INvesti- gations, INspirations: The Alchemy of Art and Sci­ Solo Exhibitions ence," NCECA's 38th annual conference. See www.nceca.net; ortelephone(866)266-2322or(303) Arizona, Scottsdale through March 16 Jason 828-2811. Walker. April 1-30 Jim Kraft; at Gallery Materia, 4222 Iowa, Cedar Rapids September 15-18 "The N. Marshall Way. Naked Truth," an international wood-fire confer­ March4-15 "Nathan Youngblood: A New Perspec­ ence, will include panels, workshops and exhibi­ tive. "LuAnn Tafoya: A Tradition Continues"; at King tions. Fee: $225; after June 15, $275. For further Galleries of Scottsdale, 7100 Main, #1. information, contact Gary Hootman, PO Box 301, California, Los Angeles through April 25 Swisher, IA 52338; e-mail [email protected] ; "Kamisaka Sekka: Rimpa Master—Pioneer of Modern or telephone (319) 857-4873. Japanese Design"; atthe Los Angeles County Museum Mississippi, Biloxi October 22-24 "My Name Is of Art, 5905 Wilshire Blvd. Mudd, The First Annual George Ohr Clay Confer­ April 3-May 29 Andi Moran; at the del Mano ence," featuring Randy Johnston. Contact the Ohr- Gallery, 11981 San Vicente Blvd. O'Keefe Museum of Art, 136 G. E. Ohr St., Biloxi California, Richmond through March 20 Robert 39530; see www.georgeohr.org ; or telephone (228) Milnes, "Buddha Code"; at Richmond Art Center, 374-5547. 2540 Barrett Ave. New Hampshire, Concord April24 "Craft in the California, Sacramento through April 18 "Ah Digital Age: Exploring Technology's Role in Fine Leon: The Bridge"; at Crocker Art Museum, 216 O St. Craft" will include panels, demonstrations and an California, San Francisco through April 25 "The exhibition. Presented by the League of New Hamp­ New Rice Festival: Vietnamese Artist Nguyen Bao Toan"; shire Craftsmen. For further information, contact at the Museum of Craft & Folk Art, Ft. Mason Center, Joanne Wise: e-mail [email protected] ; see Bldg. A. www.nhcrafts.org ; or telephone (603) 224-3375. California, Santa Monica through March 27 Akio North Carolina, Asheboro March 5-7 "17th Takamori, "Sleeping Figures"; at Frank Lloyd Gallery, North Carolina Potters Conference," will include lec­ 2525 Michigan Ave., B5b. tures and demonstrations by Mary Barringer, Ron California, Venice March 4-April 10 Ken Price, Meyers, Lisa Orr and Walter Ostrom. To register, "Sculpture"; at L.A. Louver Gallery, 45 N. Venice Blvd. contact the Randolph Arts Guild, PO Box 1033, Florida, Dunedin through March 5 Kevin A. Hluch; Asheboro 27204. at Dunedin Fine Art Center, 1143 Michigan Blvd. Texas, Grapevine July 4-10 "23rd Biennial Inter­ Florida, Winter Park through January 9, 2005 national," will include porcelain workshops, demon­ "Sculpting Nature: The Favrile Pottery of L.C. Tiffany"; strations, auctions and exhibitions. For further at the Charles Hosmer Morse Museum of American information and to register, contact Bertie Stephens, Art, 445 N. Park Ave. 928 Piccadilly Cir., Hurst, TX 76053-471 1; see Georgia, Atlanta March 12-April 10 Kyle Carpen­ www.ipat.orglipatconv.htm; ortelephone Pat Lybrand: ter, "Rhythm"; at MudFire Gallery, 1441 Dresden Dr., (817) 481-3369. Ste. 250. Texas, San Angelo April 16 " 19th Annual Ce­ Hawai'i, Honolulu through May2 "Claude Horan: ramic Symposium," held at Angelo State Univer­ A Retrospective of Ceramic Works"; at the Contempo­ sity, will include a panel discussion with Marilyn rary Museum, 2411 Makiki Heights Dr. Levine, Ruth and Rick Snyderman, and Howard Illinois, Chicago through March 7 Julia Galloway, Taylor. Free. Contact Karen Zimmerly, San Angelo "Crepuscular"; at Lillstreet Art Center, 4401 N. Museum of Fine Arts, One Love St., San Angelo Ravenswood Ave. 76903; e-mail [email protected] ; ortelephone Illinois, Geneva March 1-31 Cory McCrory, "Surf (325) 653-3333. and Earth (Fishes and Dishes)." April 1-30 Connie Australia, Gulgong May2-8 "Clay Modern 2004" Gurley, "Organic Forms—Soda-Fired Porcelain"; at will include lectures, demonstrations, participatory Down To Earth Pottery, 217 1/2 S. Third St. events and exhibitions. Fee: AU$420 (US$300); stu­ Indiana, Bloomington March 1-31 Daria Smith, dents, AU$300 (US$215). Contact Clay Modern 2004, "What's Inside"; at Fossil Rain, 115 N. College Ave., Ceramic Art, 120 Glenmore Rd., Paddington NSW Ste. 114. 2021; e-mail [email protected] ; see March 10-21 Karl Martz ceramics; at Indiana www.ceramicart.com.au ; telephone 61 2 9361 5286; University, SoFA Library, Fine Arts Bldg., 1201 E. or fax 61 2 9361 5402. Seventh St. Canada, Alberta, Red Deer June 11-13 "The March 14-21 Blake Williams, "BFA Fuller Project";

Ceramics Monthly March 2004 94 calendar March 15-April 10Brad Schwieger, "CutConstruc­ Maryland, Cockeysville March 5-29 Joe Vitek, tion: Architectural Vessels"; at ARTIFACTS, 6327 "Celebrating 35 Years of Craftsmanship in Clay"; at Guilford Ave. Clay Orbit, 10918 York Rd. March 17-20 Jeff Pender, "Vestige"; at Bodner Michigan, Alma through March 11 Henry Tanaka; Studios, 1200 S. Madison Ave. at Alma College, Flora Kirsch Beck Gallery, 614 W. at McCalla Schoolhouse, Tenth St. and Indiana Ave., March 17-20 Jeremy Jernegan, "Wave Train"; at Superior St. Indiana University, School of Fine Arts, Room 174. Wheeler Arts Community, 1035 E. Sanders. Michigan, East Lansing through March 22 Ron Indiana, Fort Wayne through March 22 Tom March 17-20 David DeMelo, "Restroom at Mid­ Starr, "Organic Vessels... Original Favorites"; at Mack­ Bartel, "The Ceramic Figure"; at Charlie Cummings land." Lisa Marie Barber, "Monument." Diana Faris, erel Sky Gallery of Contemporary Craft, 217 Ann St. Clay Studio, 4130 S. Clinton St. "Trip Tick"; at Midland Arts and Antiques Market, 907 Minnesota, Minneapolis March 5-April 11 Nino Indiana, Indianapolis through April 18 James C. E. Michigan St. Caruso, "2004 Regis Masters Series"; at Northern Clay Watkins, "A Meditation of Fire"; at Eiteljorg Museum, March 17-20 Margaret Haydon, "Headwater: New Center, 2424 Franklin Ave., E. Gerald and Don't Paul Gallery, 500 W. Washington St. Work in Ceramics." Amy Smith. Linda Wisler, sculp­ Mississippi, Biloxi through January29,2005 "On the March 12-May 2 Margaret Hsu Stout, "Porcelain ture. Emily Young, new sculpture. March 17-April 1 Midway: George Ohr at the Fairs"; at the Ohr-O'Keefe Dragons." Barbara Zech. Ron Kovatch; at the India­ Lisa Marie Barber, "Urban Playground, Ceramic Instal­ Museum of Art, 136 G. E. Ohr St. napolis Art Center, 820 E. 67th St. lations and Sculpture"; at Harrison Center for the Arts, Missouri, St. Louis April 16-25 Eric R. Nichols; at March 15-20 Tony Winchester. Megan Wright, 1505 N. Delaware. Mad Art Gallery, 2727 S. 12th St. "Raku Glaze Exploration"; at Marian College, Art March 17-31 Thomas Kerrigan; at Bungalow, 924 Montana, Missoula March 5-27 Tara Wilson, Gallery, 3200 Cold Spring Rd. E. Westfield Blvd. "Natural Essence"; at the Clay Studio of Missoula, 910 Dickens St. New Jersey, Morristown through March 28 Judy Moonelis; at Morris Museum, 6 Normandy Heights Rd. New Jersey, Oceanville through March 74Toshiko Takaezu; at the Noyes Museum, Lily Lake Rd. New Mexico, Santa Fe through March 20 Gena Fowler; at Santa Fe Clay, 1615 Paseo de Peralta. March 13-April 28Tadashi Nishibata, "Spirit of the Mountain"; at Touching Stone Gallery, 539 Old Santa Fe Trail. New York, Alfred through April 2 Neil Tetkoswki, "Installation 188"; at Schein-Joseph International Mu­ seum of Ceramic Art, New York State College of Ceramics at Alfred University. New York, New York through March 6 Sir An­ thony Caro; at Garth Clark Long Island City Gallery, 45- 46 21st St. March 5-July 29 "Shock of the Old: Christopher Dresser"; at Cooper-Hewitt National Design Museum, 2 E. 91st St. March 25-April 24 Justin Novak. April 29-May 29 Bill Stewart; at John Elder Gallery, 529 W. 20th St. New York, Port Chester April 4-24 Debbie Leece; at the Clay Art Center, 40 Beech St. North Carolina, Salisbury through April 17 Mark Bridgwood, "Frozen Moments"; at Waterworks Visual Arts Center, 123 E. Liberty St. North Carolina, Wilmington through May 2 "A Natural Influence: New Works by Ben Owen III"; at Louise Wells Cameron Art Museum, 3201 S. 17th St. Oklahoma, Norman through April 11 Doug Casebeer; at Firehouse Art Center, 444 S. Flood. Oregon, Portland through March 7 Rebekah Diamantopoulos; at Contemporary Crafts Museum & Gallery, 3934 S.W. Corbett Ave. Pennsylvania, Philadelphia through March 14 Brad Johnson, "I Set the Table." through March 28 Paul McMullan, "Snakes in the Grass." March 5-28 Lisa Orr. March 19-May 2 Jerry Bennett. April 2-25 Christa Assad. April 2-May 76 Amy Smith, "My Stone Boat"; at the Clay Studio, 139 N. Second St. Pennsylvania, Pittsburgh through June 26 Laura Jean McLaughlin, "Food for Thought"; at the Society for Contemporary Craft, 2100 Smallman St. Texas, Houston through March 13 Wesley Anderegg; at Goldesberry Gallery, 2625 Colquitt. March 15-28 John S. Whitman, "The 9lb Vase"; at the Houston Potter's Guild Shop and Gallery, 2433 Rice Blvd.

Group Ceramics Exhibitions Alabama, Mobile through March 21 "Alabama Clay Conference Exhibition"; at Space 301, Centre for the Living Arts, 301 Conti St. Arizona, Carefree through March 75 "The Grande Dames of Ceramics: Susan Peterson and Friends"; at Andora Gallery, 7202 E. Carefree Dr. Arizona, Tempe through June 5 "Humor, Irony and Wit: Ceramic Funk from the Sixties and Beyond"; at the Ceramics Research Center, Arizona State Uni­ versity Art Museum, Nelson Fine Arts Center, corner of Mill Ave. and 10th St. Continued

Ceramics Monthly March 2004 96 Ceramics Monthly March 2004 97 calendar

California, Claremont through April 4 "Ceramic Annual 2004, 60th Scripps Ceramic Annual"; at Ruth Chandler Williamson Gallery, Scripps College, 1030 Columbia Ave. California, Lincoln April 24-May 23 "Feats of Clay XVII"; at Gladding, McBean, 601 Seventh St. California, Long Beach through April 4 "Clay Bodies: Staffordshire Figurative Ceramics from the Collection of Dr. and Mrs. Leslie Dornfeld"; atthe Long Beach Museum of Art, 2300 E. Ocean Blvd. California, Los Angeles April 10-May 7 "Hot Tea"; at del Mano Gallery, 11981 San Vicente Blvd. California, Mission Viejo through March 31" Big Fish, Little Pot: International Small Teapot Competi­ tion"; at Saddleback College Art Gallery, 28000 Mar­ guerite Pkwy. California, Riverside March 8-April 9 "Southern California Ceramics Artists and Their Friends"; at Riv­ erside Community College, 4800 Magnolia Ave. California, Sacramento through May 16 "Early Wedgwood Ceramics"; at the Crocker Art Museum, 216 0 St. California, Santa Barbara March 9-April30 "Cof- fee-Tea-Aqua Vitae"; atTierra Solida: a clay art gallery, 1221 State St., #8. California, Santa Monica April 3-May 1 Tony Marsh and Keisuke Mizuno; at Frank Lloyd Gallery, 2525 Michigan Ave., B5b. Connecticut, New Haven March 16-April3 "The Fire Within, A Presentation of Wood-Fired Ceramics"; at the University of New Haven, Seton Gallery, 300 Orange Ave. Florida, Dunedin through March 5 "The Power of Pottery"; at Dunedin Fine Art Center, 1143 Michigan Blvd. Georgia, Atlanta through March 6 "Georgia Clay." April 16-May 15 "Teapots-A-Go-Go"; at MudFire Pottery Center, 1441 Dresden Dr., Ste. 250. Hawai'i, Honolulu through March 14 "From the Hand: Five Hawai'i Ceramists," works by Kauka de Silva, Daven Hee, Hideo Okino, Reid Ozaki and Yukio Ozaki. through April 11 "Fifty Centuries of Japanese Folk Ceramics: Selections from the Montgomery Col­ lection"; at Honolulu Academy of Arts, Graphic Arts Gallery and Gallery 14, 900 Beretania St. Illinois, Champaign March 1 -April 9 "Elevating the Utilitarian: Transforming the Vessel Through Sur­ face Decoration," works by Sam Chung, Julia Gallo­ way, John Glick, Michael Hunt, Ron Meyers, Lisa Orr, Liz Quackenbush, Michael Simon and Melinda Willis; at Parkland Art Gallery, 2400 W. Bradley Ave. Illinois, Chicago March 13-April 11 Charles Jahn and Mie Kongo; at Lillstreet Art Center, 4401 N. Ravenswood Ave. Illinois, Oak Park through March 24 Sylvie Granatelli and Yuki Nyhan. March 27-April 28 Doug Jeppeson and Matt Long; at Terra Incognito Studios and Gallery, 246 Chicago Ave. Indiana, Bloomington through March 20 "Past and Present, Ceramics by Indiana University, Bloomington Alumni and Current MFA Candidates." through March 21 "Distinctly Round," African earth­ enware vessels from the William Itter Collection. "Ce­ ramics by Indiana University Bloomington Faculty," Christyl Boger, John Goodheart, Tim Mather and Malcolm Smith. March 13-20 "Ceramics: Works by Current BFA Students"; at Indiana University, Fine Arts Bldg., SoFA Gallery, 1201 E. Seventh St. through June 27 "Pattern and Purpose: Decorative Qualities of Functional Objects"; at Mathers Museum of World Cultures, 416 N. Indiana Ave. March 5-April3 "Tiles and Containers," Nell Devitt and Ashley Kim; at the Gallery, 109 E. Sixth St. March 9-April3 "Synergism"; at Gallery North on the Square, 116 W. Sixth St. March 15-April 4 "Ceramics: Merging Art and Sci­ ence," works by local ceramics guild; at Optiks, 100 Fountain Square, Ste. 119, window display. Indiana, Carmel through March 21 "Fine Minia­ ture Pottery," Andrea Fabrega, Sally Bowers, Jane

Ceramics Monthly March 2004 98 Ceramics Monthly March 2004 99 March 16-20 "Herron Alumni Exhibition," works calendar by Jeff Dalton, Yukari Fukuta, Ashley Kim, Melissa Parrott, Paul Wandless and Sigrid Zahner. "Current BFA Candidates in Clay," works by juniors and seniors in the Herron ceramics program; at Herron Ceramics/ Graber, Paul McNeeley, Laurie O'Halloran, and Theresa Sculpture Gallery, Herron Ceramics/Sculpture rooms and Jean Welch; at the Museum of Miniature Houses, 101 and 107, 1350 Stadium Dr. 111 E. Main St. March 16-20 "11," Herron School of Art and IUPUI Indiana, Crawfordsville March 1 -April 10 "Of­ sponsor an exhibition of 11 college and university fering Vessels," Scott Dooley, Dick Lehman and Jessica ceramics programs; at the Old RIS Warehouse Build­ Bryce Pickert; at Eric Dean Gallery, Fine Arts Center at ing, 1320 Stadium Dr. Wabash College, 510 S. Grant St. March 16-27 "Trail Mix," Delores Fortuna, Gayle Indiana, Indianapolis through March 20 "NCECA Herrli, Dana Majors and Mark Switzer; at Happy Trails Regional Student Juried Exhibition." March 1-20 "Plea­ Design Studio, 6404 Cornell Ave. sures of the Table." March 6-April 16 "A Sense of March 17-19 "Seventh Annual National K—12 Ce­ Identity: Contemporary Ceramic Art in the Midwest." ramics Exhibition"; at the Indiana Convention Center, March 17-20 "Play Outside: Ceramic Sculpture Be­ 100 S. Capitol Ave., Rooms 122-123. yond Interior Space," outdoor exhibition by Matt Bur­ March 17-19 "Pieces From the Heart," Potters for ton, Bruce Dehnert, Doug Herren and Fred Spaulding. Peace exhibition. March 17-21 "Cone Box Show"; atthe "Glaze Storm." " Panevezys International Ceramic Sym­ Indianapolis Marriott Downtown, 350 W. Maryland St. posium: USA Alumni." "Kansas State University Fac­ March 17-19 "Portrayed in Clay," works by the ulty and Graduate Student Exhibition." "Swamp Fire: University of Evansville students and sculpture instruc­ Tulane University Student Exhibition." "Trained," Trey tor, Petronella Bannier; at Premier Properties, Inc., Hill, Brandon Reese and John Zimmerman. "Indiana 5252 E. 82nd St., Ste. 3000. Independent Colleges Exhibition," colleges and their March 17-20 "AMACO Production Ware 1920s- representatives. "Indiana Artist-Craftsmen," John 1930s." "AMACO/BrentInvitational," Linda Arbuckle, Bauman, Richard Burkett, George Debikey, Scott Fong Choo, Steve Howell, Don Reitz, Nan Smith, Frankenberger, John Guenther, Denis Kirchman and Betty Spindler, David Stabley, Jim Tanner and Rimas John Peterson; at the University of Indianapolis, Louis VisGirda. "AMACO Teacher/Student K—12 Exhibi­ Schwitzer Student Center, 1400 E. Hanna Ave. tion"; at the American Art Clay Company, 6060 N. through May23 "Common Clay: Creating Old and Guion Rd. New Ceramics: A Juried Exhibition of Buffalo State March 17-20 "Animals in Clay," gallery artists; College Alumni"; at the Indiana Historical Society, 450 Animatopia Art Gallery (in The Village Dog), 6224 W. Ohio St. Winthrop Ave. March 1-20 "Installations at St. Patrick's," Nicho­ March 17-20 "Chemistry," works by Charlie las Kripal, Walter McConnell, Jeffrey Mongrain Cummings, Jay Dougan, Rod Dugal, Hadley Evans, and Katherine Ross; at St. Patrick Church, 950 Pros­ Jeremiah Jackson, James Kelly, Thomas May, Cara pect St. Moczygemba, Michele Smith and BarbaraZech. "Cross March 1-27 Ceramic sculpture by Hoosier Salon Fertilization," Hyewon Lee, Catherine Paleczny, members; at Hoosier Salon Gallery, 714 E. 65th St. Katherine Taylor and Errol Willett; at Bodner Studios, March 3-April 3 "2004 NCECA Invitational, 1200 S. Madison Ave. Biomimicry: The Art of Imitating Life"; at Herron Gal­ March 17-20 "Desert Alchemy"; at Dolphin Pa­ lery, Herron School of Art/IUPUl, 1701 N. Pennsylvania. pers, 1043 Virginia Ave. March 3-April3 "Indigenous Forms," Jay Dougan, March 17-20 "MacDonald, Hughto & Willett: Re­ Andrea Freel-Christie, Melissa Parrott and Barbara cent Work from Syracuse," Margie Hughto, David R. Zech; at J. Martin Gallery, 874 Virginia Ave. MacDonald and Errol Willett; at Domont Studio Gal­ March 5-April 1 "Bald-Headed Potters"; at Dean lery, 545 S. East St. Johnson Gallery, 646 Massachusetts Ave. March 17-20 "Three Guys and a Girl," works by March 10-20 "A Contemporary Teabowl Exhibi­ Guy Grace, Cayce Kolstad, Jude Odell and Jeff Pender; tion," 100 contemporary teabowls by various art­ at Everyday Inventors, 1043 Virginia Ave., Ste. 1. ists; at the Potter's House Studio and Gallery, 6503 March 17-20 "A Dialogue with Clay," Nel Bannier, Carrollton Ave. Barbara Thompson, Veronica Watkins and Laura March 12-22 "Purdue University Ceramists"; at Weaver. "Third Southern Indiana Wood-Fire Invita­ Artsgarden, downtown, Washington and Illinois sts. tional." "Organica II," works by Sarah Frederick, Addie March 12-May 2 "Hoosier Expatriates," works Langford, Sarah Owens and Jonathan Swanz. "Leave by 15 prominent clay artists whose roots lie in a Lasting Impression," Leanne Ellis and Janet Starkey. Indiana. "On the Wall 2004," David East, Holly "Sanctuary Installation," works by Julie Ball and Janet Hanessian, Rain Harris, Kevin Hughes, Eva Kwong (Ball) Starkey. "VSA Arts: Ceramic Artwork by Stu­ and Geoffrey Pagen. "Indianapolis Art Center Ce­ dents and Professional Artists." "Capricious Direc­ ramics Faculty: New Work," Kim Anderson, Peggy tions," works by Paul Berger, John Glumpler, Bryan Breidenbach, Kyle Crossland, Rodney Donahue, Hiveley, Jami L. McKinnon, Helen Otterson, Bonnie Loan Hill, and Soyong Kang Partington and Michael Seeman and Tara Wilson; at Harrison Center for the Partington. "Spotlight On . . . ," art center ceram­ Arts, 1505 N. Delaware. ics students. "Figurative Works," Linda LeMar and March 17-20 "Indiana University, Bloomington, Sheila Darlene Mitchell; at the Indianapolis Art Alumni Exhibition." "Indiana University, Bloomington, Center, 820 E. 67th St. Current MFA/BFA Exhibition." "Indiana University, March 14-21 "The Big Show"; at 4 Star Gallery, Bloomington, NCECA 2004 Pre-conference Visiting 653 Massachusetts Ave. Artists Exhibition." "Archie Bray Foundation for the March 15-21 "Forms: Three University of North Ceramic Arts: 2003 Residents Exhibition"; atthe Mavris Texas Graduate Students," Kate Fisher, Katie Snow Building, 121 S. East St. and Shannon Sullivan; at Palomino Restaurant, 49 W. March 17-20 "Clay Mechanics." "Mish-Mash Maryland, #189. Redux," large-scale ceramics including site-specific March 15-21 "Divided Together," works by Nel and installation work. "Earth to Athanor," Liz Biddle, Bannier, Barbara Thompson, Veronica Watkins and Angela DiCosola, Leah Hardy, Priscilla Hollingsworth, Laura Weaver. " Mark of the Maker"; at LAMP Fine Art Lundin Kudo, Laura McLaughlin, Cara Moczygemba, Gallery, 901 N. East St. Deborah Rael-Buckley, Ceil Leeper Sturdevant and March 15-April 10 "New Works," Cheryl K. Hanley Cheryl Tall; at Midland Arts and Antiques Market, 907 and Daria Smith; at ARTIFACTS, 6327 Guilford Ave. E. Michigan St. March 16-20 "Indiana State University Alumni Exhi­ March 19-April 17 "X in Clay," Christyl Boger, bition"; at Axis Architecture/Interiors, 618 E. Market. James Brooke, John Goodheart, David Herrold, Eva March 16-20 "All Over the Map: A Show of Pots"; Kwong, Tim Mather, Robert Pulley, Malcolm Mobutu at Blackmold Studio, 1043 Virginia Ave., Murphy Build­ Smith, Georgia Strange and JamesTyler; at Ruschman ing, 2nd FI., Fountain Square. Art Gallery, 948 N. Alabama St. Continued

Ceramics Monthly March 2004 100 Ceramics Monthly March 2004 101 calendar

March 17-20 "Ruth Stoner and Friends"; at Ruth Stoner—Artistry in Clay, 6340 Ferguson St. March 17-20 "Coffee Potters and Sculptors," Hadley Evans, Peggy Jones, Jim Kelly, Cayce Kolstad, Elaine Lindeman, Christie Shaffer, C. David Shumaker, Michelle Smith; at Vick's Downtown Espresso Bar, 627 N. East St. March 17-20 "Edgy Characters," works by Wesley Anderegg, Tom Bartel, Dana Groemminger, Marga­ ret Keelan, Justin Novak, Esther Shimazu, Hiro Tashima, JamesTisdaleandTipToland. "Prairie Fire," Keith Ekstam, Elaine Henry, Kevin Hughes, Jeff Johnston, Howard Koerth, Malcolm Kucharski, Lisa Lockman and Marcia Polenberg; at Wheeler Arts Community, 1035 E. Sanders. Indiana, Muncie March 1-31 "LocalTreasures—A Ceramics Invitational"; at Gordy Fine Arts Gallery, 224 E. Main St. March 3-20 "Ball State University Alumni Ceramics Exhibition." Randy Edmonson and John Jessiman; at Ball State University, Atrium Gallery-Art and Journal­ ism Building, McKinley St. March 75-27"Ceramic Works by Ball State Uni­ versity Students"; at Ball State University Student Gallery at the L.A., Pittenger Student Center, 2000 University Ave. March 15-21 "Situated: Still and Moving," Sally Myers, MaryAnn Rahe and Judy Wojcik; at Mitchell Place Gallery, 301 S. Walnut Indiana, New Albany through March 26 "The Six-Inch Show: A National Ceramics Exhibition of Clay"; at Ronald L. Barr Gallery, Indiana University Southeast School of Arts and Letters, Knobview Hall, 4201 Grant Line Rd. Indiana, Richmond March 8-April 6 "Indiana Women in Clay, 2004"; at Leeds Gallery, Earlham College Art Dept., Runyan Center, 801 National Rd., W. Indiana, Terre Haute through March 28 "Con­ temporary Works in Clay," Christopher Berti, Christyl Boger, James Brooke, Yukari Fukuta, Ron Kovatch, Yih-Wen Kuo, Shoji Satake, Dee Schaad, Malcolm Mobutu Smith and Nathan Taves; at the Swope Art Museum, 25 S. Seventh St. Kansas City, Kansas March 30-April 23 "Orton Cone Box Show"; at Baker University, 618 Eighth St. Louisiana, Baton Rouge through March 10 "8 Fluid Ounces," ceramic cup show; at Louisiana State University Art Gallery, 111 Foster Hall. Maryland, Baltimore through March 27 "Diver­ sity in Unity: Contemporary African American Ceram­ ics." April 3-May 1 "The Loving Cup"; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Concord through March 17 "Old World/New World: Pots at Work," works by Kim Ellington, Michele Erickson, Scott Goldberg, Mark Hewitt, Michael Kline, Matt Metz, Nick Seidner, Mark Shapiro, Linda Sikora and Jack Troy. April3-21 Linda Christianson and Jan McKeachie Johnston, "Contemporary Ceramics"; at Lacoste Gallery, 25 Main St. Minnesota, Minneapolis March 5-April 11 "American Pottery Festival Preview Show." March 10- 12 "Airstream Exhibition Tour." April 23-May 30 "College Bowl I." "From the Garden," works by Kinji Akagawa, Eddie Dominguez, Jan McKeachie Johnston, Walter Ostrom and Kurt Weiser; at the Northern Clay Center, 2424 Franklin Ave., E. April24-July4 "Imperial Perfection: Chinese Porce­ lain of Three Great Emperors"; at the Minneapolis Institute of Arts, 2400 Third Ave., S. Minnesota, St. Paul through March 7 "Multiple Realities—Six Clay Sculptors," Gary Erickson, Cherlye Melander, Jennifer Otis, Mary Roettger, Todd Shanafelt and Tetsuya Yamada; at the College of St. Catherine, the Catherine G. Murphy Gallery, 2004 Randolph Ave. Mississippi, Biloxi March 5-29 "Master Potters

Ceramics Monthly March 2004 102 Ceramics Monthly March 2004 Virginia, Richmond through April 18 "North calendar American Ceramic Sculpture Show"; at Hand Work­ shop Art Center, 1812 W. Main St. Wisconsin, Kirkland through April 2 "Gigantic: Ceramic Figurines"; at Kirkland Arts Center, Gigantic, from Tokoname," Peter Seabridge and Koujie Sugie; at 620 Market St. the Ohr-O'Keefe Museum of Art, 136 G. E. Ohr St. Mississippi, Natchez March 5-31 "Natchez Invi­ Ceramics in Multimedia tational"; at Burns Pottery, 209 Franklin St. Exhibitions Missouri, Sedalia through May 2 "Bay Area Ce­ ramics: Second Generation"; at Daum Museum of California, Richmond through March 20 Contemporary Art, State Fair Community College, "Learned Behavior, Group Exhibition of Artwork by 3201 W. 16th St. Instructors in the Richmond Art Center's On-Site Nebraska, Lincoln through March 7 "Form and and Off-Site Programs"; at Richmond Art Center, Function: Ceramics from the Permanent Collection"; 2540 Barrett Ave. at University of Nebraska-Lincoln, Sheldon Memorial Colorado, Denver through December 19 "Heaven Art Gallery. and Home: Chinese Art of the Han Dynasty from the New Jersey, Mount Holly April 24-May 8 Sze Hong Collection"; at the Denver Art Museum, 100 "Mugalomania"; at Heart in Hand Pottery, Mill Race W. 14 Ave. Pkwy. Village, 37 White St. March 5-May 7 "Faculty Triennial"; at the Univer­ New Mexico, Santa Fe through March20 "Forthe sity of Denver, Victoria H. Myhren Gallery. Table." March 26-April 24 "Natural Selection." April Colorado, Englewood through March 31 30-May 29 "The Drawn Surface," works by Jenny "Englewood Cultural Arts Center Association and Mendes, Ron Meyers, Kevin Snipes and Jason Walker; Museum of Outdoor Arts National Juried Art Exhibi­ at Santa Fe Clay, 1615 Paseo de Peralta. tion"; at the Museum of Outdoor Arts, 1000 Englewood New York, New York March 1-20 "Aspects of Pkwy., Ste. 2-230. Contemporary Japanese Ceramic Sculpture: A Sur­ Connecticut, Brookfield through March 28 "Liv­ vey," works by Yasuo Hayashi, Michio Koinuma, ing with Fine Craft: The Heart of the Home"; at Yuriko Matsuda, Harumi Nakashima, Goro Suzuki Brookfield Craft Center, Lynn Tendler Bignell Gallery, and Osamu Suzuki. March 22-April3 "UsefullSculp- 286 Whisconier Rd. ture"; at Dai Ichi Gallery, 249 E. 48th St. D.C., Washington through July 18 "The Tea Cer­ New York, Port Chester March 7-27 "Watershed emony as Melting Pot"; at the Freer Gallery of Art, Winter Residents," works by Ingrid Bathe, John Smithsonian Institution, 12th St. and Independence Chwekun, Kate Goetz, Sun Kim, Patrick Terjak and Ave., SW. Chris Vicini; at the Clay Art Center, 40 Beech St. April4-July 25 "Courtly Art of the Ancient Maya"; New York, Syracuse April 9-May 16 "Shaped at the National Gallery of Art, Sixth St. and Constitu­ Clay 2004 National High School Ceramics Exhibition"; tion Ave., NW. at the Everson Museum of Art, 401 Harrison St. Hawai'i, Honolulu through April3 "Faculty Exhi­ North Carolina, Charlotte through May 30 "The bition"; at University of Hawai'i Art Gallery, 2600 Artful Teapot: Expressions from the Kamm Collec­ Campus Rd. tion"; at the Mint Museum of Craft + Design, 220 N. through April 13 "Matter and Material: A Group Tryon St. Sculpture Exhibition of Hawai'i Artists"; at the Con­ Ohio, Nelsonville through March 26 "Starbrick temporary Museum at First Hawaiian Center, 999 Clay National 2004"; at Starbrick Clay, 21 W. Colum­ Bishop St. bus St. through April 18 "Alsdorf Collection of Japanese Ohio, Wooster March 23-April 16 "32nd Annual Paintings and Ceramics"; at the Honolulu Academy of Functional Ceramics"; at the Wayne Center for the Arts, Japan Gallery, 900 S. Beretania St. Arts, 237 S. Walnut St. through May 2 "Recent Acquisitions of Works by Oregon, Eugene through March 26 "Potter to Hawai'i Artists"; at the Contemporary Museum, 2411 Potter"; at Maude Kerns Art Center, 1910 E. 15th Ave. Makiki Heights Dr. Oregon, Portland through March 7 "Soul of a Illinois, Chicago April 14-May 16 "15th Annual Bowl," teabowls by Frank Boyden, Elaine Coleman, Teapot Show, On The Road Again"; at Chiaroscuro Tom Coleman, Jenny Lind and Don Reitz, through Galleries, 700 N. Michigan Ave. May 22 "Oregon Potters Association Show"; at Con­ Indiana, Bloomington March 15-April 3 Three- temporary Crafts Museum & Gallery, 3934 S.W. person exhibition, including ceramic sculptures by Corbett Ave. Mary Neiditz and Robert Pulley; at John Waldron Arts Pennsylvania, Lancaster April 24-May 31 "The Center, 122 S. Walnut. 12th Annual Strictly Functional Pottery National"; in Kansas, Topeka March 1-26 "Topeka Competi­ the Atrium of the Southern Market Center. tion 26"; at the Topeka and Shawnee County Public Pennsylvania, Philadelphia April 2-18 "Annual Library, Alice C. Sabatini Gallery, 1515 S.W. Tenth Ave. Student Exhibition"; at the Clay Studio, 139 N. Sec­ Kentucky, Louisville through March 27 "As I See ond St. Myself: Autobiographical Art," including ceramics by Rhode Island, Kingston April 8-May 1 Debra Frittsand Beth Cavener Stichter; at the Kentucky "Earthworks: Open Juried Clay Annual"; at South Museum of Arts + Design, 715 Main St. County Art Association, 2587 Kingstown Rd. Massachusetts, Boston through April 25 "Portraits"; South Carolina, Columbia through April 8 "South­ at the Society of Arts and Crafts, 175 Newbury St. ern Face Jugs: Past and Present"; at Southern Pottery Michigan, Port Huron March 1-19 "Art in Envi­ Workcenter and Gallery, 2771 Rosewood Dr. ronmental Activism"; at St. Clair Community College, Texas, Houston April 10-May 1 "Much Ado About Visual and Performing Arts Gallery, 323 Erie St. Mud"; at Foelber Gallery, 706 Richmond Ave. Minnesota, Minneapolis through April 11 "The Texas, Rockport through March 14 "Vitrified Clay Twin Cities Collects: The Ceramics of Edwin and Mary National: Form and Content"; at Rockport Center for Scheier"; at the Minneapolis Institute of Arts, 2400 the Arts, 902 Navigation Cir. Third Ave., S. Texas, San Angelo April 15-June 20 "The Fif­ Mississippi, Natchez March 5-31 "Natchez Invi­ teenth San Angelo National Ceramics Competi­ tational," including ceramics by Steven Hill and Nick tion"; at the San Angelo Museum of Fine Arts, One Joerling; at Burns Pottery, 209 Franklin St. Love St. New Hampshire, Concord through March 12 April 16-18 "2004 Kiln God National"; at the "High Tech—Hand Made." April 2-June 4 "The Cre­ Chicken Farm Art Center, 2505 Martin Luther King. ative Hand"; at Gallery 205, 205 N. Main St. Texas, San Antonio through March 7 "Ceramic New Hampshire, Manchester through March 14 Wall Works," Traci Jenness, Diana Kersey, Lenise Perez "Recent Acquisitions," including works by Toshiko and Glenn Puckett; at Southwest School of Art & Craft, Takaezu and Betty Woodman; at the Currier Museum 300 Augusta. of Art, 201 Myrtle Way. Continued

Ceramics Monthly March 2004 104 Ceramics Monthly March 2004 105 calendar

April 23-May 16 "High Tech—Hand Made"; at the New Hampshire Institute of Art, 148 Concord St. New York, New York through April 1 "Coming of Age in Ancient Greece: Images of Childhood from the Classical Past"; at Onassis Cultural Center, Olympic Tower, 645 Fifth Ave. throughJune4 "Corporal Identity—Body Language: Craft, Art and Design on the Cutting Edge"; at the Museum of Arts & Design, 40 W. 53rd St. through July 6 "Petra: Lost City of Stone"; at the American Museum of Natural History, Central Park, W. at 79th St. New York, White Plains April 17-May 1 "Spring into Klay," including ceramics by Natalie Kase, George McEvoy, Deborah Schenk, Judith Weber and Sheryl Zacharia; at the Klay Gallery, 65 S. Broadway. North Carolina, Charlotte through March 13 "Post-Industrial Romanticism: Metal/GlasslClay," in­ cluding ceramics by Dan Anderson, David Bolton, John Goodheart, Steve Hansen, Stephen Heywood and Kevin Nierman; at W.D.O., a contemporary craft gallery, Hearst Plaza, Ste. 1, 214 N. Tryon St. North Carolina, Wilmington through May 2 "Artists of Southeastern North Carolina: A Juried Exhibition"; at Louise Wells Cameron Museum, 3201 S. 17th St. Ohio, Athens March 6-April 25 "OH+5"; at the Dairy Barn Arts Center, 8000 Dairy Ln. Ohio, Cincinnati March 2-April 25 "Becoming a Nation: Americana From the Diplomatic Reception Rooms, U.S. Department of State"; at the Cincinnati Art Museum, Eden Park. Oregon, Portland through March 21 "Faculty Biennial Exhibition"; at the Oregon College of Art & Craft, Hoffman Gallery, 8245 S.W. Barnes Rd. Texas, Denton through March 21 "17th Annual Materials Hard and Soft"; at Meadows Gallery, Center for the Visual Arts, 400 E. Hickory St. Texas, Houston through March 20 "Contained and Arranged"; at Foelber Gallery, 706 Richmond Ave. through March 28 "Home/Land: Artists, Immigra­ tion and Identity"; at the Houston Center for Contem­ porary Craft, 4848 Main St. through May 16 "The Centaur's Smile: The Human Animal in Early Greek Art"; at the Museum of Fine Arts, Houston, Caroline Wiess Law Bldg., 1001 Bissonnet St. Texas, Lubbock through July 25 "Designing Craft I: Collecting for the New Millenium," Museum of Arts & Design traveling exhibition; atthe Museum at Texas Tech University, 2500 Broadway. Washington, Moses Lake through March 5 "Co­ lumbia Basin Invitational"; at Moses Lake Museum & Art Center, 228 W. Third Ave.

Fairs, Festivals and Sales Arizona, Phoenix March 6-7 "46th Annual Heard Museum Guild Indian Fair and Market"; at the Heard Museum, 2301 N. Central Ave. Connecticut, Hartford March 26-28 "Sugarloaf Crafts Festival"; at the Connecticut Expo Center, 265 Reverend Moody Overpass. D.C., Washington April 22-25 "22nd Annual Smithsonian Craft Show"; at the National Building Museum, 401 F St., NW. Florida, Orlando through March 7 "Creative Arts Exhibition at the Central Florida Fair"; at the Central Florida Fairgrounds, 4603 W. Colonial Dr. Florida, West Palm Beach April 30-May 2 "22nd Annual Fidelity Federal Juried Art Show" at SunFest. "Badcock Home Furniture Fine Craft Mar­ ketplace" at SunFest; downtown, along the Intra- coastal Waterway. Georgia, Roswell April 30-May 4 "Works in Clay Show and Sale"; at Roswell Visual Arts Center, 10495 Woodstock Rd. Maryland, Gaithersburg April 2-4 "Sugarloaf

Ceramics Monthly March 2004 106 Ceramics Monthly March 2004 107 Arapahoe Community College, 5900 S. Santa Fe Dr., calendar Littleton 80160; or telephone (303) 797-5948. Connecticut, Brookfield March 6-7 "Paper Kiln: Low Temp Salt Firing," hands-on workshop with Rich­ ard Launder. Participants should bring bisqueware. Crafts Festival"; at the Montgomery County Fair­ March 20 "Basketry for Potters" with Nancy Moore grounds, 16 Chestnut St. Bess. Fee: $150; members, $125. March 27-28 "Be­ Maryland, Timonium April 16-18 "Sugarloaf yond the Wheel," hands-on workshop with Mark Crafts Festival"; at Maryland State Fairgrounds, 2200 Peters. Fee (unless noted above): $240; members, York Rd. $215. April 7-8 Smoke-Fired Pottery" with Jane Massachusetts, Marlborough March 19-21 Perryman. May 1-2 "Production Pottery" with John "Paradise City Arts Festival"; at the Royal Plaza Trade Jessiman." Contact Brookfield Craft Center, 286 Center, 181 Boston Post Rd., W. Whisconier Rd., PO Box 122, Brookfield 06804-0122; Massachusetts,Worcester April 30-May 2 "Sec­ see www.brookfieldcraftcenter.org ; telephone (203) ond Annual Pottery Invitational Show and Sale"; at 775-4526, ext. 102; or fax (203) 740-7815. Worcester Center for Crafts, 25 Sagamore Rd. Connecticut, Canton March 7 "Crystalline Michigan, Novi April 23-25 "Sugarloaf Crafts Glazes" with Tim Scull. Fee: $195. March 26-28, Festival"; at Novi Expo Center, 43700 Expo Center Dr. unload29, "Wood and Salt Firing in a Nobori-Gama" New Jersey, Lincroft March 6-7 "Art For the with John Bradford. Fee: $385. April 23-25, unload Home"; at Brookdale College Gym, 765 Newman 26 "Glazing for Wood and Salt Firing in a Nobori- Springs Rd. Gama" with Shawn Ireland. Fee: $385. May 1-2, New Jersey, Morristown March 19-21 "Spring unload 3 "Fire and Smoke," raku, saggar, pit, saw­ Crafts at Morristown"; at Morristown Armory, West­ dust and fuming with Tim Scull. Fee: $275. Contact ern Ave. Canton Clay Works lie, 150 Cherry Brook Rd., Canton New Jersey, New Brunswick April 24 "30th 00019; seewww.cantonclayworks.com; ortelephone Annual New Jersey Folk Festival Juried Craft Mar­ (860) 693-1000. ket"; on the Douglass Campus of Rutgers, the Connecticut, Stamford March 14 Raku work­ State University. shop. Fee: $140. October 29-31 "Functional Stone­ New Jersey, Somerset March 12-14 "Sugarloaf ware/Single Firing" with Steven Hill. Fee: $285. Limit Crafts Festival"; at Garden State Exhibit Center, 50 of 15 participants. For further information, contact Atrium Dr. Morty Bachar, Lakeside Pottery, 543 Newfield Ave., New York, New York March 25-28 " 13th Annual Stamford 06905; e-mail [email protected] ; New York Arts of Pacific Asia Show"; at the 69th see www.lakesidepottery.com ; or telephone (203) Regiment Armory, Grammercy Park. 323-2222. April 2-4 "Spring Crafts Park Avenue"; at the Sev­ Florida, Melbourne April 26-30 "Hands-on Tech­ enth Regiment Armory, Park Ave. niques Workshop with Jinsong Kim." Fee: $375; mem­ North Carolina, Seagrove April 24 "Going, Go­ bers, $325. Must register by April 19. For further ing, Gone to Pots . . . fifth annual fundraising information, contact the Museum School, Museum of auction. For further information, contact the North Art and Science, 1463 Highland Ave., Melbourne Carolina Pottery Center, PO Box 51, Seagrove 27341; 32935; e-mail [email protected] ; see see www.ncpotterycenter.com ; or telephone (336) www.artandscience.org ; ortelephone (321)254-7782. 873-8430. Florida, Pensacola March 29-April 3 "Architec­ Oregon, Beaverton April 77 "Ninth Annual Art on tural Workshop," hands-on workshop with John King, the Vine" benefit auction for Oregon College of Art & Peter King and Xia Marin. Fee: $695; deposit, $300. Craft at the Tiger Woods Center, Nike World Campus. Contact Stonehaus, 2617 N. 12th Ave., Pensacola To register, telephone (503) 297-5544, ext. 146. 32503; e-mail [email protected] ; ortele­ Pennsylvania, Ft. Washington March 19-21 phone (850) 438-3273. "Sugarloaf Crafts Festival"; at Ft. Washington Expo Georgia, Athens May 8-9 Workshop with Randy Center, 1100 Virginia Dr. Johnston and Jan McKeachie Johnston. Fee: $125. Pennsylvania, Philadelphia April 16-18 "The Contact Good Dirt, 510B N. Thomas St., Athens 30601; Philadelphia Furniture and Furnishings Show"; at the see www.gooddirt.net ; e-mail [email protected] ; Pennsylvania Convention Center, 12th and Arch sts. ortelephone (706) 355-3161. Pennsylvania, Valley Forge April 2-4 "Paradise Georgia, Rabun Gap April 3-4 "Functional Stone­ City Arts Festival"; at the Valley Forge Convention ware," demonstration and discussion with Steven Hill. Center, King of Prussia. May 10-14 "The Art of Raku—Fire, Smoke and Texas, San Antonio April 17-18 "Fiesta Arts Fair"; Kilnbuilding" with Steven Forbes deSoule. Contact the at the Southwest School of Art & Craft, 300 Augusta. Hambidge Center, Box 339, Rabun Gap 30568; see Virginia, Chantilly April 30-May 2 "Sugarloaf www.hambidge.org ; or telephone (706) 746-5718. Crafts Festival"; at Dulles Expo Center, 4370 Chantilly Illinois, Oak Park May22-23 Workshop with Ellen Place Center. Shankin. Fee: $125. Contact Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park 60302; see Workshops www.terraincognitostudios.com; or telephone (708) 383-6228. Arkansas, Mountain View March 21-26 "Fir­ Indiana, Bloomington March 13-14 "Kiln Firing ing a Wood-Fired Groundhog Kiln." Fee: $200, Symposium," wood, salt and soda kilns will be fired by includes 36x36 inches of kiln space for work up to Josh DeWeese, Julia Galloway, Martin Tagseth and Liu 9 inches tall; participants should bring Cone 10 Pinchang. Free. For further information, contact the bisqueware and Cone 10 glaze. "Beginning PotteryIndiana University School of Fine Arts, 1201E. Seventh and Slip Decorating." Fee: $200. Both workshops St., Bloomington 47405; telephone (812) 855-7766; with Judi Munn and John Perry. Contact Kay Tho­ or fax (812) 855-7498. mas, Ozark Folk Center, PO Box 500, Mountain View Indiana, Fishers March 79 "Indiana Potters and Their 72560; e-mail [email protected]; ortelephone Ware," a one-hour presentation. Fee: $7.50. Contact (870) 269-3851. Conner Prairie Museum, Lilly Theater, 13400 Allisonville California, Claremont March 27-28 "Ceramics Rd., Fishers 46038; or telephone (317) 776-6000. with Paul Soldner." Fee: $100; $85/day. For further Indiana, Indianapolis March 14 Pre-NCECA work­ information, telephone Suzanna Gratz: (909) 607-4690. shop with Richard Burkett. March 75 Pre-NCECA work­ California, Santa Ana March 13 Demonstration shop with John Balistreri. March 16 Pre-NCECA workshop with Meira Mathison. Fee: $45; $40 in workshop with Paul Soldner. Contact Julia Muney advance. Contact Santa Ana College, 1530 W. 17th Moore, Indianapolis Art Center, 820 E. 67th St., India­ St., Santa Ana 92706; e-mail [email protected]; napolis 46220; see www.indplsartcenter.org ; or tele­ or telephone (714) 564-5613. phone (317) 255-2464, ext. 230. Colorado, Littleton March 13-14 Workshop March 16 A pre-NCECA workshop: "The Queen of with Robin Hopper. Fee: $125. Contact Kathy Holt, Majolica" with Linda Arbuckle. Fee: $85. Contact

Ceramics Monthly March 2004 108 Ceramics Monthly March 2004 109 calendar

David Gamble, Amaco, 6060 N. Guion Rd., India­ napolis 46254; telephone (317) 224-6871 or (800) 677-3289. March 16 A pre-NCECA workshop, "lAC-Spon- sored Trimming Demonstration." Contact Megan Wright, Marian College Art Gallery, 3200 Cold Spring Rd., Indianapolis 56222; ortelephone(317)955-6000. April 18 Workshop with Bill Hunt. Fee: $75. To register, see www.ceramics.org ; or telephone the American Ceramic Society: (614) 794-5890. Kansas, Hays April 16-18 "Raku Rodeo—A Raku Glazing and Firing Workshop" with Paul Soldner. Fee: $50; $100 to participate. Participants must bring up to 10 pieces of bisqueware under 15 inches. Contact Linda Ganstrom, Fort Hays State University, 600 Park St., Hays 67601; e-mail [email protected] ; or tele­ phone (785) 628-94273. Maryland, Baltimore April 3-4 "Cups and Be­ yond" with Mark Shapiro. May 8-9 "Telling Stories— Fact or Fiction" with Wesley Anderegg. Fee: $180; members, $160. For further information, contact Bal­ timore Clayworks, 5707 Smith Ave., Baltimore 21209; see www.baltimoreclayworks.org ; or telephone (410) 578-1919. Maryland, Frederick March 6-7 "Brushmaking" with Susan Nayfield Kahn. Fee: $165. April 16-18 "Partners in Clay," lecture and workshop with Daphne Roehr Hatcher and Gary Hatcher. Fee: $185; lecture only, $5. May 1-2 "Glaze Application" with Joyce Michaud. Fee: $150. May 15-16 "Plates and Platters" with Joyce Michaud. Fee: $150. For further informa­ tion, contact Joyce Michaud, Hood College Art Dept., 401 Rosemont Ave., Frederick 21701; e-mail [email protected]; www.hood.edu ; or telephone (301) 696-3456. Massachusetts, Cambridge April 24-26 "The Color of Fire," saggar, pit and smoke firing with Judy Motzkin. Fee: $300, includes lodging; bring Cone 08 bisqueware. Limit of 10 participants. Contact Judy Motzkin, 7 Tufts St., Cambridge 02139; e-mail [email protected]; see www.motzkin.com; or telephone (617) 547-5513. Massachusetts, Somerville March27-28 "Plates: Beyond Pancakes and Potato Chips" with Nicholas Seidner. Fee: $250; members, $125. For further infor­ mation, contact Mudflat, 149 Broadway, Somerville 02145; see www.mudflat.org ; telephone (617) 628- 0589; or fax (617) 628-2082. Massachusetts, Stockbridge May 22-23 "Mak­ ing Tiles: Flat Tiles, Relief Tiles and Simple Molds" with Laura Shprentz. Contact IS 183, Art School of the Berkshires, PO Box 1400, Stockbridge 01262; e-mail [email protected] ; see www.ISI83.org ; telephone (413) 298-5252, ext. 100; or fax (413) 298-5257. Massachusetts, Truro September 13-17 "Alter­ native Firing Techniques: Raku, Saggar, Pit" with Tim Scull. Fee: $450. Intermediate through professional. Contact Cherie Mittenthal, Castle Hill, 10 Meeting­ house Rd., PO Box 756, Truro 02666; e-mail [email protected]; see www.castlehill.com ; tele­ phone (508) 349-7513; or fax (508) 349-7511. Massachusetts, Williamsburg April 16-18 "Throwing Large Ceramic Forms" with Bob Green. Fee: $305, includes lab fee. April 25-May 1 "The Multi-Faceted World of Clay" with Bob Green. May 2- 8 "Ceramic Tile Making: From Trivets to Floors" with Amy Schusser. May 8-9 "Sculptural Clay" with Amy Schusser. Fee: $190, includes lab fee. May 16-22 "Clay for the Garden" with Sharon Pollock. May 23- 29 "Life Modeling: Ceramic Sculpture of the Human Form" with Harriet Diamond. May 29-31 "Animal Sculpture in Clay" with Harriet Diamond. Fee: $305, includes lab fee. Fee (unless noted above): $450. For further information, contact Snow Farm, 5 Clary Rd., Williamsburg 01096; e-mail [email protected] ; see www.snowfarm.org ; telephone (413) 268-3101; or fax (413) 268-3163. Massachusetts, Worcester April 3-4 "A Potter's Life" with Cynthia Bringle. Fee: $175; members,

Ceramics Monthly March 2004 110 Ceramics Monthlyrn March 2004 fee. Contact Santa Fe Clay, 1615 Paseo de Peralta, calendar Santa Fe 87501; e-mail [email protected] ; see www.santafeclay.com ; telephone (505) 984-1 122; or fax (505) 984-1706. New York, New York March 19-21 "PMC Con­ $150. April 17 "Handbuilding" with Ginny Gillen. nection Artisan Certification." Fee: $450, includes Fee: $50; members, $45. Contact the Worcester tools, firing, silver and a PMC Guild membership. Center for Crafts, 25 Sagamore Rd., Worcester 01605; March 20-21 "Techniques in Precious Metal Clay." see www.worcestercraftcenter.org ; or telephone Beginnerlintermediate. Fee: $250, includes materials, (508) 753-8183. tools and firing. Contact Vera Lightstone, 347 W. 39th Minnesota, Minneapolis March 6 "2004 Regis St., New York 10018; e-mail [email protected] ; see Masters Lecture" with Nino Caruso. March 12 Lecture www.silverclay.com ; or telephone (212) 947-6879. by the Airstream Exhibition Tour artists. March 13-14 March 25-26 Workshop with Chris Staley. For Workshop with John Gill. Fee: $70; NCC members, further information, contact 92nd Street Y Art Center, $60; students, $30. April22 "The Virtue of Necessity," 1395 Lexington Ave., New York 10128; see lecture with Walter Ostrom, at the University of Min- www.92y.org; or telephone (212) 415-5500. nesota-Minneapolis, Regis Center for Art. April 24 April 14 and May 14-16 "Cone 9 Reduction" "From the Garden," panel discussion with Kinji with Adrienne Yurick. Fee: $300; members, $285; Akagawa, Jan McKeachie Johnston, Walter Ostrom includes firing. Intermediate through advanced. and Rob Silberman, at the University of Minnesota- April 24, May 1 and May 15 "Hands On" with Minneapolis, Regis Center for Art. April 25 "Arts and Kathleen Maroney. Fee: $115; members, $100; Crafts in the Garden" with Kevin Caufield and Carter includes materials and firing. Beginning. Contact Clapsadle. Fee: $105; NCC members and seniors, $96; Ellen E. Day, Craft Students League, YWCA-NYC, includes lab fees. April 27 "Basket Making," demon­ 610 Lexington Ave., New York 10022; e-mail stration by Jan Mckeachie Johnston. Fee: $8; NCC [email protected] ; see www.ywcanyc.org ; tele­ members and University of Minnesota students, $5. phone (212) 735-9804. April29 "Clay in the Garden," lecture by Sarah Nelton. New York, Port Chester March 23 "Mold Making Fee: $8; NCC members and University of Minnesota Made Simple" with Myung Jin Choi. Fee: $75. March students, $5. May 13 "Container Gardening," demon­ 25 "The Pleasure of Pottery" with Tracy Shell. Fee: stration by Matt Phillips. Fee: $8; NCC members and $75. March 27 "Features and Faces" with Judy University of Minnesota students, $5. May 21-24 Moonelis. Fee: $100. April 2-4 "Understanding Ce­ Wood firing with Linda Christianson. Contact the ramic Glazes" with Pete Pinnell. Fee: $225. May22-23 Northern Clay Center, 2424 Franklin Ave., E, Minne­ Workshop with Sam Chung. Contact the Clay Art apolis 55406; e-mail [email protected] ; Center, 40 Beech St., Port Chester 10573; or tele­ see www.northernclaycenter.org ; telephone (612) phone (914) 937-2047. 339-8007. New York, Rochester March 23, 30 and April 6 Mississippi, Biloxi March 6-7 "Two-DayTokoname "PMC 3" with Elizabeth Agte. Fee: $50. May 15-16 Workshop" with Peter Seabridge and Kouji Sugie. Fee: "Noborigama Wood Firing" with Michael Carroll. Fee: $100; seniors, members and full-time students, $75. $95. For further information, contact Margie Slinker, Contact the Ohr-O'Keefe Museum of Art, 136 G. E. Genesee Pottery, Genesee Center for the Arts & Edu­ Ohr St., Biloxi 39530; see www.georgeohr.com ; or cation, 713 Monroe Ave., Rochester 14607; e-mail telephone (228) 374-5547. [email protected] ; see www.geneseearts,org; Mississippi, Natchez March 6 Workshop with or telephone (585) 271-5183. Conner Burns. Free. Contact Burns Pottery, 209 New York, White Plains April 7-9 "Handbuilding Franklin St., Natchez 39120; or telephone (601) and Wheel Throwing" with Aysha Peltz. Contact the 446-6334. Westchester Art Workshop, Westchester County Cen­ Missouri, Kansas City April 16-18 "Working with ter, 196 Central Ave., White Plains 10604; or tele­ the Figure: Archetypal Images and the Golden Mean," phone (914) 364-0094. hands-on workshop with Mark Chatterley. Fee: $160. North Carolina, Asheville May 27-29 Hands-on For further information, contact Allison Zimmer, Red workshop with Bernadette Curran. Fee: $225, in­ Star Studios: e-mail [email protected] ; see cludes registration fee. Intermediate through profes­ www.redstarstudios.org ; ortelephone(816)474-7316. sional. May31-June4 "Choices," hands-on workshop Montana, Helena September 13-17 Using Indig­ with Ellen Shankin. Contact Cynthia Lee, Odyssey enous Matrials" with Morgan Ringer. Contact the Archie Center for the Ceramic Arts, 236 Clingman Ave, Bray Foundation for the Ceramic Arts, 2915 Country Asheville 28801; e-mail [email protected]; Club Ave., Helena 59602; see www.archiebray.org ; or see www.highwaterclays.com ; or telephone (828) telephone (406) 443-3502. 285-0210. Nebraska, Lincoln April 16 "Robert Arneson: North Carolina, Bakersville May 22-27 and May A Personal Chat," lecture by Gail Kendall; at 29-June3 "Pine Root Pottery Wood Firing" with Mark University of Nebraska-Lincoln, Department of Art Peters. Fee: $500, includes materials and firing. All and Art History. skill levels. For further information, contact Mark Pe­ New Jersey, Lodi March 13 "Developing Your ters, Pine Root Pottery, 1108 Pine Root Branch Rd., Personal Style" with Cliff Mendelson. March 20 "Ma­ Bakersville 28705; e-mail [email protected]; jolica Techniques" with Posey Bacopoulos. March 27 see www.pinerootpottery.com; or telephone (828) or May 22 "Raku Firing" with David Hughes. Fee: 688-1332. $120. April 3 "Tile Mural Making Techniques" with North Carolina, Brasstown March 7-13 "Throw­ David Hughes. April 17 "Dishes, An Idealistic Ap­ ing on the Wheel" with Ray DelConte. March 14-19 proach" with Jane Herold. April 24 "Dragon Horns" "Clay: Stone and Sculpture" with Bruce Everly. Fee: with Bill Tersteeg. May 1 "Production Pottery Tech­ $326. March 21-27 "Folk Pottery" with Mary niques" with Greg La Placa. May 8 "Porcelain Jewelry Dashiell. April 4-10 "Nature as Art" with Kaaren Making" with Pauline Lurie. May 15 "Taming the Stoner. April 18-24 "Handbuilt Stoneware Bird­ Electric Kiln" with Richard Zakin. Fee (unless noted houses" with Mark Wingertsahn. April 25-May 2 above): $90. Contact David Hughes, Clay Education "Pitchers and Tumblers" with Mark Peters. Fee: Center, 7 Rte. 46 W, Lodi 07644; or telephone (800) $528. Fee (unless noted above): $358. Contact John 723-7264. C. Campbell Folk School, One Folk School Rd., New Mexico, Las Cruces May 7-8 Lecture and Brasstown 28902; e-mail [email protected] ; workshop with Karen Terpstra. Fee: $20; members see www.folkschool.org ; ortelephone (800) 365-5724. (any guild), $ 10. Lecture is free. Contact Las Cruces North Carolina, Wentworth March 13-14 Potters' Guild, PO Box2352, Mesilla Park, NM 88047. "Sensibilities" with Nick Joerling. Fee: $100. Contact New Mexico, Santa Fe April 17 "Handmade Carolina Clay Guild, PO Box 5656, Greensboro, NC Brushes," hands-on workshop with Dave Eichelberger. 27435; e-mail [email protected] ; see Fee: $50, includes lab fee. May 1-2 "Post-Firing Tech­ www.carolinaclayguild.com ; or telephone (336) niques" with Gretchen Ewert. Fee: $160, includes lab 275-1202. Continued

Ceramics Monthly March 2004 112 Ceramics Monthly March 2004 113 calendar

Ohio, Dublin March 20-21 "Korean Ceramics: Reflections of Korean Character" with Dr. Arthur Park. Fee: $60; friends of Dublin Arts Council, $50. For further information, contact Carol Argiro, Dublin Arts Council, 7125 Riverside Dr., Dublin 43016; e-mail [email protected] ; see www.dublinarts.org ; tele­ phone (614) 889-7444; or fax (614) 889-9262. Ohio, Wooster April 14-17 "Functional Ce­ ramics Workshop" with Cathra-Anne Barker, Phil Rogers and Brad Schwieger. Fee: $175; full-time students, $95. For further information, telephone (330) 345-7576. Pennsylvania, Philadelphia March 13 "Electric Kilns" with Hide Sadohara. Fee: $55; members, $50. March 27 "A Potter's Walking Tour of the University of PA Museum of Archeology and Anthropology" with Claire Rodgers. Fee: $40; members, $35. April 23-25 "Low-Tech Dish Sets from Bisque Molds" with Lisa Orr. Fee: $195; members, $180. May 1 "Your Visual Image: Working with a Designer" with Joyce Richman. Fee: $10. Contact the Clay Studio, 139 N. Second St., Philadelphia 19106; or telephone (215) 925-3453. Pennsylvania, Richboro May 1 "Cone 6 Electric Glazes" with John Hesselberth. Fee: $60. May 15-16 "Raku Firing" with Rodney Meyer. Fee: $100. May29- 30 "A Workshop for Potters" with Jack Troy. Contact the Pennsylvania Guild of Craftsmen, 10 Stable Mill Trail, Richboro 18954-1702; e-mail [email protected]; see www.pacrafts.com; telephone (215) 579-5997; or fax (215) 579-0650. Rhode Island, Kingston April 4 Handbuilding workshop with Judith Salomon. Fee: $55; members, $45. Contact South County Art Association, 2587 Kingstown Rd., Kingston 02881; telephone (401) 783-2195. South Carolina, Charleston April 3 Workshop with Joe Bova. Fee: $50. Contact Charleston Clayworks, 285 Meeting St., Charleston 29401; or telephone (843) 853-3345. Texas, Dallas April 17-18 "The Ceramic Surface: Method, Materials and Meaning," hands-on work­ shop with George Bowes. Fee: $200; members, $ 150. October 2 and/or October 3-5 "The Language of Functional Pottery" demonstration and/or hands-on workshop with Sam Clarkson and Alleghany Mead­ ows. Fee: $350; members, $250; one-day demon­ stration, $100; members, $50; three-day hands-on workshop, $275; members, $275. Contact the Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244; see www.craftguildofdallas.com ; or telephone (972) 490-0303. Texas, San Angelo April 17 Workshop with Marilyn Levine, followed by a raku workshop with Randy Brodnax at the Old Chicken Farm Art Center. Fee: $40; full-time students, $20. Contact Karen Zimmerly, San Angelo Museum of Fine Arts, One Love St., San Angelo 76903; e-mail [email protected] ; or telephone (325) 653-3333. Texas, San Antonio March 12 "Imaginative Fig­ ures in Clay," slide lecture with Janis Mars Wunderlich. Free. Contact the Southwest School of Art and Craft, 300 Augusta, San Antonio 78205; see www.swschool.org ; telephone (210) 224-1848. Washington, Suquamish September 25-26 "Doug Jeck: Clay Heads."Fee: $150. For further information, contact Brenda Beeley, ClaySpace on Puget Sound, PO Box 1339, Suquamish 98392; see www.clayspaceonpugetsound.com ; e-mail [email protected] ; telephone (360) 598-3688. Wisconsin, Cambridge April 17-18 Workshop with Todd Piker. Fee: $25/day. Contact Mark Skudlarek, Cambridge Clay Guild, 10 Tranquil Ln., Cambridge 53523; e-mail [email protected]; or telephone (608) 423-4507. Wisconsin, Fish Creek April 72-75 "Beauty From Fire—Japanese Raku Pottery" with Brian Fitzgerald. Fee: $160, plus materials. May 3-6 "Figure Model-

Ceramics Monthly March 2004 114 Ceramics Monthly March 2004 115 DKr 1000. Contact Guldagergaard, Heilmannsvej 31 calendar A, 4230 Skaelskor; e-mail [email protected] ; see www.ceramic.dk ; telephone 45 5819 0016; or fax 45 5819 0037. England, Eton, Berkshire March 19-April 18 " 10th ing in Clay" with Kirsten Christianson. Fee: $150, Anniversary Ceramics Exhibition: The Mark of the plus materials. May 17-20 "Ceramics for Sushi" Maker"; at Eton Applied Arts, 81 High St. with David Caradori. Fee: $160, plus materials. For England, Exeter, Devon April 3-25 "Spring further information, contact Peninsula Art School, Mixed Media Exhibition," including ceramics by Tim PO Box 304, 3900 County Hwy. F, Fish Creek Andrews, Bryony Burn, Ros Ingram, Nigel Lambert, 54212; e-mail [email protected] ; see Maureen Minchen, John Nuttgens, Peter Wills and www.peninsulaartschool.com ; telephone (920) 868- Richard Wilson; at Woodbury Studio/Gallery, 3455; or fax (920) 868-9965. Greenway, Woodbury. England, Ipswich, Suffolk April 30-May 3 or International Events May 28-31 or September 17-19 "Throwing and Related Techniques" with Deborah Baynes. Fee: Australia, Balmain, New South Wales March £295 (US$544); 2 days only, £195 (US$360). Octo­ 5-7 "Masks and Magic," ceramics by Joy Bye and ber 24-30 Workshop with Deborah Baynes. Fee: Clarissa Regan; at the Balmain Watch House, 179 £405 (US$747). Beginning through advanced. In­ Darling St. cludes materials, firing, lodging and meals. Con­ Belize, Rio Bravo April 4-14 "Maya Pottery Work­ tact Deborah Baynes, Deborah Baynes Pottery shop" with Clint Swink. Fee: $1150, includes room Studio, Nether Hall, Shotley, Ipswich, Suffolk 1 P9 and board. E-mail Clint Swink: [email protected] ; or 1PW; e-mail [email protected] ; see telephone (970) 563-4624. www.potterycourses.net ; telephone (44) 1473 Canada, Alberta, Calgary "April 15-May 15 Ken 7883000; or fax (44) 1473 787055. Wilkinson. Willie Campbell; at the Croft, 2105 Fourth England, London through March 6 "Gallery Art­ St., SW. ists," including ceramics by Gordon Baldwin, Alison Canada, British Columbia, Burnaby through Britton, Ken Eastman, Philip Eglin, Chun Liao, Lawson March 28 "Myth of theTeabowl: From Silk Road to the Oyekan, Sara Radstone, Nicholas Rena, Richard Slee Information Super Highway"; at Ceperley House Gal­ and Martin Smith; at Barrett Marsden Gallery, 17-18 lery, 6344 Deer Lake Ave. Great Sutton St. Canada, British Columbia, Surrey through March through March 11 "Contemporary Potters," works 28 "Hot Clay," works by 16 West Coast ceramists; at by Sebastian Blackie, Bernard DeJonghe, John Surrey Art Gallery, 13750-88 Ave. Hubbard and Elizabeth Raeburn, Shozo Michikawa, Canada, British Columbia, Vancouver March Gwyn Hanssen Pigott, Annie Turner, and Hans 4-29 Elaine Brewer White, "Chairman of the Bored." Vangs 0; at Galerie Besson, 15 Royal Arcade, 28 Old April 1-May 3 Keith Lehman, "Fantastic Service." Bond St. April 30-May 2 "Made of Clay 2004"; at Potters through March 14 Jenny Stolzenberg, "Forgive and Guild of British Columbia, 1359 Cartwright St., Do Not Forget"; at Ben Uri Gallery, the London Jewish Granville Island. Museum of Art, 108a Boundary Rd. Canada, Ontario, Burlington through March 21 through February 5, 2005 "Making It Yours: Ceram­ "Something's Brewing," including works by Tony and ics." April22-July 4 Richard Slee; at Crafts Council, 44a Sheila Clennell, Bruce Cochrane, Leopold Foulem, and Pentonville Rd. Richard and Carol Selfridge, through December 19 March 5-April 77 Janice Tchalenko. April 23-June " Recent Acquisitions 2003." March 7-June 6 " Hamilton 5 Jane Blackman. Robert Cooper; at Contemporary Potters Guild: Retrospective"; at the Burlington Art Applied Arts, 2 Percy St. Centre, 1333 Lakeshore Rd. March 18-21 "The Affordable Art Fair"; in Batter­ Canada, Ontario, St. Belleville March 4-26 Peta sea Park. Hall, "Patternings"; atthe Belleville Library Art Gallery, England, Newark March 3-May 3 John Maltby; 223 Pinnacle St. at Rufford Ceramic Center, Rufford County Park Canada, Ontario, Toronto through March 7 " Same near Ollerton. Time, Same Place," including ceramics by Pattie England, Sherborne March 6-April 8 Wood-fired Chalmers, Ying-Yueh Chuang, Kimberly Davy, Hilary ceramics by Charles Bound. Earthenware by Johannes Masemann and Robin Tieu. "Scratch," works by Marc Peters. April 17-May 15 "Ceramics with Humour," Egan, Laura Kukkee, Michaelene Lewis, Janet works by Jean-Michel Doix, Claire Ireland, Jude Jelfs, Macpherson, Kirk Mangus, Hilary Masemann, Lisa Anna Lambert, John Maltby and Marilyn Richeda; at Parsons and Dale Pereira; at Harbourfrount Centre, Alpha House Gallery, South St. 235 Queen's Quay W. England, Tenbury Wells May 28-31, September through June 6 "Eternal Egypt: Masterworks of the 3-5 or September 10-12 Workshop with Martin Homer. Ancient Art from the British Museum"; at the Royal Fee: £210/£315 (US$382/$573); includes materials, Ontario Museum, 100 Queen's Park. firing, lodging and meals. Beginning through profes­ Canada, Quebec, Quebec City March 25-May 23 sional. Contact Martin Homer Pottery, Lower Aston Maurice Savoie; at the Materia Center, 367 Charest House, Aston Bank, Tenbury Wells, Worcestershire Est. Blvd. WR15 8LW; e-mail [email protected] ; see China, Hong Kong March 19-April 19 "Chinese www.homerpottery.co.uk ; or telephone (44) 1584 CeramicsToday"; at Hong Kong Science & Technology 781 404. University, Clear Water Bay, Kowloon. England, Yanwath (near Penrith) through March Denmark, SkaelskorMarch 12-13 "Photography— 20 "Hearts of Glass (and Clay)"; at Laburnum Ceram­ Ceramic Work" with Ole Akhoj. Fee: DKr 1000 ics Gallery. (US$169); members, DKr 750 (US$120); students, DKr France, Montpellier March 13-14 "4th Interna­ 600 (US$96). March 26-April 4 and September 17-26 tional Festival of Films on Ceramics"; at Corum Palais "Cross Draught Kiln—Wood Firing." Fee: DKr 500 des Congres, BP-2200 Esplanade Charles de Gaulle. (US$80). Participants must bring bisqueware. April24 France, Nanqay March20-July4 Robert Deblander, "Ceramic Form and Surface" with Martin Bodilsen Elisabeth Joulia, Jacqueline Lerat and Yves Mohy; at Kaldahl. Fee: DKr 350 (US$56); members, DKr 250 Galerie Capazza, Grenier de Villatre. (US$40); students, DKr 100 (US$16). May 1-9 "Wood France, Paris April 27-June 12 Morten Lobner Kilns—Fast Fire and Soda Kiln" with Ann-Charlotte Espersen; at Clara Scremini Gallery, 99 rue Ohlsson. Fee: DKr 1600; students, DKr 1000. Partici­ Quincampoix. pants must bring bisqueware. May 17-21 "China Italy, CertaldoApr//4-70 "Raku Workshop" with Paint—Form and Motives" with Kurt Weiser. Fee: DKr Pietro Maddalena. Contact La Meridiana, Loc. 1900 (US$304); members, DKr 1200; students, DKr Bagnano 135, 50052 Certaldo, Florence; e-mail 1000. October 18-22 "The Vitrified Print" with Paul [email protected]; see www.pietro.net; ortelephone Scott. Fee: DKr 1900; members, DKr 1200; students, (39) 571 66 00 84. Continued

Ceramics Monthly March 2004 116 Ceramics Monthly March 2004 117 calendar

May 30-June 72 "Pots and People—Making Con­ nections" with Chris Staley. October 13-16 "Color and Textures of Tuscany" with Steven Hill. For further information, contact Lynne Burke: e-mail [email protected]; see www.potteryabroad.com. Italy, Marsclano April 9-13, 30-May 3, 29-June 3, September 6-12 or October 4-9 "Stages of Raku Firing—Arts and Holidays." Fees and skill require­ ments vary. Lodging in bed-and-breakfast inn: €35 (US$44) per day. Instruction in Italian and English. Contact Elisabetta Corrao, Casale della Fratta, Studio of Luca Leandri, Vocabolo Fratta 157, loc. Papiano, Marsciano; e-mail [email protected] ; see www.lucaleandri.it ; telephone/fax (39) 758 785 111. Italy, Milan through June 28 "Hunt For Paradise: Court Arts of Iran (1501-1576)"; at Museo Poldi Pezzoli, Via Manzoni 12. Italy, Tuscany May 14-31 One-week hands-on workshop with Denys James; one-week hands-on terra- sigillata workshop with Giovanni Cimatti. See www.denysjames.com/excursions/italy . Jamaica, Trelawny April 23-May 1 "Wood- Fired Ceramics: inspiration and form" with Doug Casebeer, Jeff Oestreich and David Pinto. Tuition: $2050-$2850, includes housing and meals. De­ posit: $500; registration: $1 50. Payment in full by March 1. Limit of 12 participants. For further information, contact Anderson Ranch Arts Cen­ ter, PO Box 5598, Snowmass Village, CO 81615; see www.andersonranch.org ; telephone (970) 923-3181. Japan, Kyoto and Shigaraki May 8-June 9 Four-week study program sponsored by the Univer­ sity of Georgia. For further information, e-mail Glen Kaufman: [email protected] ; or telephone (706) 542-1660. Mexico, Oaxaca through March 29 Gloria Carrasco, "About Trees and Other Constructions"; at the Mu­ seum of Contemporary Art of Oaxaca, N°202 Macedonio Alcala Ave. Netherlands, Amsterdam through March 20 Wouter Dam, "New Objects"; at Galerie Carla Koch, Prisengracht 510 sous. through April 18 "Love, From the Hermitage"; at De Nieuwe Kerk, Dam. Netherlands, Delft through March 20 Caroline Smit. March 6-April 17 Beatrijs van Rheeden. March 27-May 8 Philippe Dubuc. April 24-June 5 Wietske van Leeuwen; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer through March 6 "Focus on Britain: Ben Arp and Gordon Cooke." March 14- April 10 "Focus on Britain: Ashraf Hanna, Gabriele Koch, Jane Perryman and Antonia Salmon; at Loes & Reinier, Korte Assenstraat 15. Republic of China, Taiwan through June 13 "The First Taiwan Ceramic Biennale"; at Taipei County Yingge Ceramics Museum, 200 Wenhua Rd., Yingge Taipei. Scotland, Fife March 6-April 25 "Craft Show­ case," including ceramics by Emer O'Sullivan; at Crawford Arts Centre, 93 North St., St. Andrews. Sweden, Karlstad through March 10 Eva Zethraeus, "The Nature of Things II, A Garden for Reflection and Contemplation in Porcelain"; at Reforma Craft, Herrgcirdsgatan 13. Switzerland, Geneva through March 21 "Island Treasures," Chinese ceramics for Southeast Asia from the 1 st-17th centuries; at Collections Baur, 8 rue Munier-Romilly.

For a free listing, submit announcements at least two months before the month of opening. Add one month for listings in July; two months for those in August. Mail to Calendar, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online at www.ceramicsmonthly.org/submissions.asp ; e-mail to [email protected]; or fax to (614) 891-8960.

Ceramics Monthly March 2004 118 Ceramics Monthly March 2004 119

questions Answered by the CM Technical Staff

Q I am interested in trying to produce some forms using the jiggering process. Is it difficult to make the mold forms to fit my wheel? What is the best way to construct the jigger arm? Is it better to build one or buy one?—D.H. It is not difficult to make molds or work with plaster, providing some research is done, as plaster requires specific procedures and methods. Adapt­ ing a potters wheel for use as a jigger/jolly machine is possible, but I would not use it for medium to heavy production. It may work for small volumes of wares. After-market jigger arms are available that will attach to the wheel. The arm must be rigid, to prevent lateral movement and must index precisely in the center of the wheel head. Commercial jigger machines use revolving bucket-type heads that hold molds of various di­ ameters and depths for making different-sized ware. The jigger arm pivots on a fixed arc and indexes perfectly with the center of the machine’s shaft. These machines are quite heavy duty and built for lifetime production. The molds need to be perfectly round and centered. Commercial bucket heads have compan­ ion mold-making equipment that allows one to make molds correctly. The process usually starts with a drawing to make a set of templates. One template is used to make the exterior of the piece. The second template is attached to a specially prepared backing plate that attaches to the arm of the machine. It is indexed into the arm so that the interior profile fits perfectly with the exterior each time. When the arm is pulled down, the lubricated ball of clay is pressed into the spinning mold and the piece is formed. The thickness of the piece is determined by the cross section of the original drawing, and is defined by the space between the template and the mold. There is no easy way to construct a jigger arm, nor have I heard of any ratio to help determine cost effectiveness between making one or purchasing an after-market arm or a complete machine. A new machine can cost in the neighborhood of $5000 with the necessary mold-making equipment, and an additional $3000-$4000 for an adequate repre­ sentation of sizes. Having jiggered for well over 25 years, my opinion is that, unless you know a competent machinist who can really listen to what you want, buy a machine and don’t waste your time trying to make one. It will pay for itself over time. That being said, an after-market arm could work perfectly if your production is limited and you can make the molds properly. Jonathan Kaplan Ceramic Design Group Steamboat Springs, CO

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be an­ swered personally. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614)891-8960.

Ceramics Monthly March 2004 122 Ceramics Monthly March 2004 123 Ceramics Monthly March 2004 124 Ceramics Monthly March 2004 125 Comment I the business wisdom of timeless adages by Brad Sondahl

The folk wisdom of old sayings can be a valuable guide in making pottery business decisions. They don’t replace having a sound business model, but are more likely to serve as common-sense filters to avoid unnecessary expenditures. Here are some I’ve gleaned from some old chestnuts. Look before you leap. This is the best ad­ vice for young potters. Nearly everyone who falls in love with ceramics considers throw­ ing away everything in pursuit of the pottery profession. As a professional potter, I can affirm that it’s a good life, but few potters would say it’s an easy one. If you’re consider­ ing a career in ceramics, talk to some profes­ sionals in your area. There is plenty of competition out there, and earning a reason­ able income means selling a large amount of ceramics. If you don’t want to spend at least half of your time selling your work, you prob­ ably will have a difficult time as a potter. Looking before you leap is also critical to selecting a workshop or sales location. If there are other potters in the area, the mar­ ket may be saturated (although this can work synergistically to bring in more customers). If there are no potters, galleries or gift shops in the area, it may be too sparsely popu­ lated, economically disadvantaged or off the beaten track to establish a successful busi­ ness. It’s not exactly an old saying, but loca­ tion, location, location is another important part of looking before leaping. You’ve got to consider zoning ordinances, nearness and friendliness of neighbors, gas lines, and elec­ trical service. To paraphrase a saying in the writing busi­ ness, Dont be a potter unless you cant possibly be anything else. This may be said by profes­ sionals in part to discourage the competi­ tion, but more realistically because all creative fields are filled with talented and dedicated individuals living more on love than salaries. On the other hand, nothing ventured, noth- ing gained. If you’ve really got the clay bug, you may already have the tools and equip­ ment to start a viable business. It’s easy to make a profit from pottery, since the materi­ als are “dirt cheap,” and a lot of potters turn a profitable hobby into a viable business. In

Ceramics Monthly March 2004 126 Ceramics Monthly March 2004 127 comment recent years, new concepts have helped to Another maintenance consideration is that to a lot of art fairs in a Volkswagen Beetle in support pottery businesses, like the “paint it a new broom sweeps clean. You can change the years past, so anything’s possible. yourself” pottery centers (a more free-form elements all you want on a kiln, but if the In fact, the Beetle memories bring up the version of the traditional cast-ceramics part walls are cracking and the wiring is fried, wisdom, dont count your chickens before they re of our industry). Many potters teach classes you’re better off going shopping rather than hatched. Twice in that car I nearly didn’t make in the studio or in the community to help being nickel-and-dimed to death with “stitch­ it to art fairs because of mechanical trouble. support their pottery passion. Many others ing” repairs. When thinking in general of In short, a blown piston and nearly thrown focus on sales, moving up the art-fair food “new brooms,” identify the bottlenecks that rods almost made me miss two major fairs. chain from the $10 tables to the wholesale are cutting down your production or sales. Keeping to the avian theme, I could shows, or opening their own galleries. If you What new process, concept or machine would have avoided the trouble if I’d listened to fail, its better to have tried and failed, than to help set you free to succeed? the saying, dont put all your eggs in one never have tried at all. Many old sayings relate to frugality, which basket. If we had a second car, or hadn’t When considering maintenance issues, a seems an almost outmoded concept. But if overloaded the little Beetle, there would stitch in time saves nine. Whether fixing kilns, you care about depleting resources and the have been less trouble all around. Along wheels or buildings, it’s good to keep this in environment, or if you have a limited bud­ the same lines, it’s easy to become depen­ mind. I used to wait for the elements in my get, waste not want not is a worthy dictum. dent on the one big fair or the one big kiln to burn out before replacing them. This For example, you can recycle those clay scraps weekend. If you’re juried out of the fair, or inevitably resulted in parts of the kiln being instead of adding to the waste stream. A less the weather is miserable, you will be in a over- or underfired when the element burned familiar variation is use it up, wear it out, far more precarious position than if you out. The old elements were less efficient at make it do, or do without. These sayings are have a variety of sales options. producing heat, thus costing more per firing. the other swing of the pendulum from the Finally, remember that setbacks are inevi­ Besides some pots needing to be refired, of­ “new broom” thinking and can be used as table. We all have them. We can make it ten whole shelves of pottery were destroyed devil’s advocates when making decisions. If through most of them, so keep your sunny from the overfiring. Their value would have your budget is limited, you probably don’t side up, let a smile be your umbrella and turn, paid for the earlier replacement of the ele­ need a new four-door pickup truck to get turn, turn (or throw, throw, throw). ments. Also, keeping backup kiln parts and your clay twice a year. You may even be able performing regular maintenance can prevent to trade your wares to someone who has a the author Brad Sondahl is a full-time potter big work slowdowns in your busy season. truck for hauling, thus doing without. I went in Spirit Lake, Idaho, www.sondahl.com. index to advertisers 3rd CEBIKO...... 3 Clay Times ...... 123 Jepson Pottery...... 87 PotteryVideos.com...... 97 A.R.T. Studio ...... 25 Clayworks Supplies...... 126 Kent State University ...... 122 Ram Products ...... 40 Aardvark Clay & Supplies...... 103 Contemporary Crafts Museum...... 115 Kentucky Mudworks ...... 105 Regis Center for Art ...... 129 ACerS Books ...... 130 Continental Clay ...... 23 Kickwheel Pottery ...... 4 Royal & Langnickel Brush Mfg ...... 11 ACerS Meetings ...... 40 Cornell Studio Supply...... 126 Kiln Doctor...... 102 Runyan Pottery Supply...... 108 Creative Industries ...... 115 Klay Gallery...... 115 Aegean Sponge...... 126 Cress...... 27 Shakerag Workshops...... 126 Aftosa...... 2 L&L...... Cover 3 Sheffield Pottery...... 127 Alfred University ...... 109 Dartmouth College...... 111 L&R Specialties...... 100 Shelburne Craft School ...... 102 Amaco and Brent ...... 30, 31 Daum Museum ...... 117 La Meridiana ...... 117 Shimpo...... Cover 2 Amherst Potters Supply...... 126 Davens...... 84 Laguna Clay ...... 19,85 Sierra Nevada College ...... 98 Anderson Ranch ...... 109 Del Val ...... 118 Laloba Ranch...... 95 Silver Shell Studio ...... 126 Annie’s Mud Pie Shop ...... 102 Dew Claw Studios...... 126 Lockerbie...... 109 Skidmore College ...... 111 Appalachian Center...... 94 Dolan Tools...... 114 Skutt ...... Cover 4 Arrowmont...... 123 Dragonfly Journeys ...... 102 Manassas Clay...... 122 Smith-Sharpe Fire Brick Supply ... 82, 129 Axner Pottery ...... 120,121 Duralite...... 110 Manitou Arts ...... 122 Soldner Clay Mixers ...... 106 Mass. College of Art...... 98 Spectrum Glazes...... 86 Bailey Pottery ...... 1, 37, 83, 92, 93 Eton Applied Arts...... 98 Master Kiln Builders ...... 118,129 Euclid’s...... 32 Standard Ceramic Supply...... 34 BatGrabber...... 126 Mastering Cone 6 Glazes ...... 123 Studio Potter...... 106 Bennett’s Pottery ...... 7 Falcon...... 118 Metchosin Int’l. School ...... 98 Big Pots Made Easy ...... 122 Studio Sales Pottery ...... 106 Flat Rock Studio Clay Supplies...... 114 Miami University...... 117 Taos Art School...... 100 BigCeramicStore.com ...... 118 Mile Hi ...... 36 Bluebird Manufacturing ...... 98 Geil Kilns ...... 88,89 Taos Institute of Arts ...... 112 Georgies Ceramic & Clay Co ...... 111 Minnesota Clay Co...... 122 Thomas Stuart Wheels ...... 21 Bracker’s Good Earth Clays ..... 101,113 MKM Pottery Tools ...... 14,15 Brickyard...... 114 Giffin Tec...... 39 Tongin Gallery ...... 17 Buyers Market of American Craft ...... 13 GlazeMaster...... 110 New Mexico Clay ...... 122 Tools4Clay...... 104 Great Lakes Clay ...... 90 North Star Equipment ...... 41,107 Trinity Ceramic Supply...... 96 Carbondale Clay Center ...... 126 Greyrock Clay Center ...... 114 Northern Clay Center ...... 10 Truro Center for Arts ...... 114 Carolina Clay Connection...... 118 U.S. Pigment Corporation ...... 127 Ceramic Services ...... 107 Hambidge Center...... 107 Odyssey Gallery...... 12 Ceramic Supply Chicago...... 112 Hammill & Gillespie...... 105 Olsen Kilns ...... 127 Venco - Westwind - Solarflow ...... 99 Ceramica Imports...... 119 Handmade Lampshades...... 122 Olympic Kilns...... 119 Vent-A-Kiln ...... 110 Ceramics Monthly ...... 8 Haystack Mountain School ...... 116 Orton Ceramic Foundation...... 116 Ward Burner Systems ...... 91 Chinese Clay Art ...... 29 Herring Designs/SlabMat ...... 106 Paragon Industries ...... 35 Watershed Center ...... 102 Clark Art Glass & Refractories ...... 126 Highwater Clays ...... 9 Peter Pugger...... 110 West Coast Kiln ...... 126 Classifieds ...... 124 Hurricane Mountain Clay Studio ...... 106 Peters Valley Craft Center ...... 98 Westerwald...... 104 Clay Art Center (NY) ...... 122 Hydro-Bat...... 105 PMC Connection ...... 94 Whistle Press ...... 110 Clay Art Center (WA) ...... 103 Idyllwild Arts...... 107 Portland Pottery Supply...... 127 Wise Screenprint ...... 106 Clay in Motion...... 110 Indianapolis Art Center ...... 102 Potters Council...... 103 Worcester Center ...... 111 Clay Planet ...... 33 Int’l. Woodfire Conference ...... 119 Potters Shop...... 108 YWCA NYC (Craft Students League)... 117

Ceramics Monthly March 2004 128 Ceramics Monthly March 2004 129

NCECA 2004 Conference Preview

INVESTIGATIONS AND INSPIRATIONS THE ALCHEMY OF ART AND SCIENCE

Indianapolis is pleased to host the 38th annual National galleries. Other stops will be at downtown area galleries. Council on Education for the Ceramic Arts conference. The last stop is Broad Ripple, home of the Indianapolis The Indianapolis arts community is excited for an op­ Art Center and additional art galleries. While in Broad portunity to entertain the many visitors we expect dur­ Ripple, you may want to stop for lunch. Broad Ripple is ing the conference. Out-of-town visitors will find that, located on the canal, which originally linked the Great even though the Indianapolis Museum of Art is under a Lakes with the Ohio River in the 1820s. Today, it is full multi-million-dollar renovation, its collection of Asian of trendy restaurants and boutiques. ceramics will be of interest. The Eiteljorg Museum of The second Indianapolis shuttle will travel south to American Indian and Western Art, located across the Bodner Studios, an industrial building that has been street from the Marriott hotel and convention center, converted to artists’ studios and galleries. It will then will be of particular interest, with its permanent collec­ proceed to the University of Indianapolis, where the tion and special exhibitions during the month of March. “NCECA Regional Student Juried Exhibition” will be Art galleries and alternative venues on the bus routes held in the Christel DeHaan Fine Arts Center Gallery. and within walking distance will also make for a stimu­ There will also be ten exhibitions at various locations lating conference. around the campus, including “Pleasures of the Table” This is the first time that Indianapolis has had the in the Leah Ransburg Gallery and an outdoor installa­ privilege of hosting the NCECA conference, and we tion. Next will be Fountain Square arts district, with know you will enjoy your visit here. Indianapolis is a stops at the Wheeler Arts Community and other galler­ compact and exhilarating city. The Marriott and the ies, on to the Domont Studio Gallery and then the Covered jar, 5½ inches (14 centimeters) Hyatt Regency hotels are adjacent and connected to the Mavris Building, a recently renovated commercial build­ in height, wood-fired stoneware, convention center by skywalks. Other hotels are located ing with excellent exhibition spaces. The final stop will by Will Ruggles and Douglass Rankin; nearby and are equally convenient. All the hotels are be the Midland Arts and Antique Market for a variety of from “Hoosier Expatriates: From Indiana to located a short walk from the new Indiana State Mu­ exhibitions and installations. the World,” at the Indianapolis Art Center seum; a state-of-the-art facility, situated on the canal The program in Indianapolis will be both inspira­ (Invitational Exhibition Shuttle). walk, a beautiful place for walking or jogging. Don’t tional and informative. miss the sculpture garden (Artsgarden) on the foot­ Opening the conference bridge that connects the NCAA headquarters with the on Wednesday evening, White River State Park and the Indianapolis Zoo. If you March 17, will be the are visiting our city for the first time, be sure to see keynote address, “The Monument Circle, the Canal and all of the memorials Artful Brain: What in College Park. The Circle Center is a major indoor Neurology Can Tell Us shopping mall located just a few hundred yards from the about Human Nature convention center and houses many inexpensive and and Art,” by V. S. interesting places to eat. There are also several other fine Ramachandran, M.D. local restaurants and nearby attractions. The Randall Session, on Indianapolis has long been known as a center of Thursday evening, will innovation for science and industry. It was a hub of feature Pilobolus TOO, early automobile manufacturing and is home to major a highly acclaimed ac­ Cups, to 6 inches (15 centimeters) pharmaceutical and biomedical research centers. The robatic dance group from New York (see their website at in height, porcelain, by Aysha Peltz; sciences and arts have been interrelated for some time www.pilobolus.com), and Dog Talk will have everyone from “Pleasures of the Table,” and the theme of the conference, “Investigations and at the Friday night social event on their feet and danc­ at the University of Indianapolis, Inspirations: The Alchemy of Art and Science,” is fitting ing. More information on Dog Talk may be found at Ransom Gallery (RSJE Shuttle). for Indianapolis. www.dogtalk.net. There will be various stimulating panels There will be two shuttle bus routes in Indianapolis and lectures that are sure to be innovative. Demonstra­ and one tour to Bloomington, about an hour south of tors will be Dan Anderson, Sam Chung, Jeff Irwin, Eva Indianapolis. The tour will travel to the Indiana Univer­ Kwong, Lisa Orr and Adelaide Paul. sity and will include stops at university art galleries and We have been working on this project as co-onsite several other exhibitions and venues. liaisons from the University of Indianapolis and the The first shuttle will travel north, stopping at the Herron School of Art at Indiana University/Purdue Uni- Herron School of Art at Indiana University/Purdue Uni- versity-Indianapolis for the past two years and are look­ versity-Indianapolis ceramics facilities and an adjacent ing forward to an exciting conference, viewing the many exhibition site that includes several colleges and univer­ exhibitions, seeing old friends and making new acquain­ “Mesa Oval,” 14 inches (36 centimeters) sities from the Midwest region. Next will be the Herron tances. We hope that you will enjoy visiting Indianapo­ in width, wood-fired porcelain, by Richard Gallery for the NCECA Invitational “Biomimicry: The lis as much as we enjoy living here. Burkett; from “Hoosier Expatriates: From Art of Imitating Life” and several exhibitions at nearby —Mark Richardson and Dee Schaad Indiana to the World.”

Ceramics Monthly March 2004 131 Ceramics Monthly March 2004 132 Ceramics Monthly March 2004 133 Ceramics Monthly March 2004 134 Ceramics Monthly March 2004 135 PROGRAM NOTES

Registration, demonstrations, commer­ 10:30 am - 12 noon cial and nonprofit exhibits, the silent THURSDAY March 18 Slide Presentations by auction, the Regina Brown Undergradu­ 8 am- 5 pm Demonstrators ate Fellowship Fund Cup Sale Registration Jeff Irwin, Eva Kwong and Adelaide Paul will take place at the Indiana Conven­ Day passes available. tion Center. All other programming will 10:30 am - 12 noon be held at the Indianapolis Marriott. 8:30 am - 5 pm Panel: Bernard Palissy Graduate Programs and and Contemporary Ceramics Employment Opportunities Lucy Lacoste (moderator), John Keefe, TUESDAY March 16 An informal setting for information about Christine Viennet and Maryann Webster graduate programs and available positions. 10:45 - 11:45 am 1-6 pm 8:30 -9 am Panel: Glaze Calculation for the Registration Lecture: Mastering Masses in One Hour or Less Magic Metal Salt by Louis Katz by Gary Holt WEDNESDAY March 17 12 noon - 1 pm 9 am- 5 pm First Members' Business Meeting 8 am- 5 pm Commercial and Board reports; nominations to board positions; Registration Nonprofit Exhibits new business and questions from the Day passes available. membership. 9 am- 5 pm 8 am - 5 pm 1 -2 pm Silent Auction—NCECA International Slide Forum Endowment Benefit Lecture: Documenting Sex: Sign-up and Scheduling Ceramic Art and Artifacts Heidi Preuss Grew, coordinator 9 am - 5 pm from the Collection International members are invited to give talks Video Screenings of the Kinsey Institute about their work, their workplace and home by Catherine Johnson country (no more than 20 minutes each). 9 am - 12 noon 1 - 1:30 pm 8:30 am- 5pm Simultaneous Demonstrations (Part I) Lecture: The Hegemonic Eye: Can Submissions to Regina Brown the Hand Survive? Undergraduate Fellowship Dan Anderson, Sam Chung and Lisa Orr by Chris Staley Fund Cup Sale 9- 10 am 1:30 -2 pm Sandy Lance, coordinator Lecture: Just Your Type: Lecture: Robust Clay Bodies 8:30 am - 5 pm Clay and Typography by William Carty Graduate Students Slide Forum by James Klueg Sign-up and Scheduling 9- 10 am 2-5 pm Sally Brogden, coordinator Lecture: A Vision Simultaneous Demonstrations Graduate student members are invited of Contemporary (Part I) to give talks about their work Chinese Ceramics 2OO4-2OO8 Jeff Irwin, Eva Kwong and Adelaide Paul (no more than 10 minutes each). by Ichi Hsu 2-3 pm 8:30 am - 5 pm 9:15-9:45 am Lecture: Ceramics Scientism Commercial Lecture: Oil Spot Glazes and Disciplinary Conflict and Nonprofit Exhibits by John Britt by Glen R. Brown 8:45 am -4:15 pm 10 am - 5 pm 2:15-2:45 pm Shuttle Buses and Tour Regina Brown Undergraduate Lecture: New Understandings to Selected Exhibitions Fellowship Fund of Glaze Composition See route details and maps Cup Sale Preview by Matt Katz beginning on page 139. 10 am - 4 pm 2:30 - 3:30 pm 12 noon - 5 pm International Slide Forum Lecture: Great Moments Silent Auction—NCECA in Ceramics History Endowment Benefit 10 am - 4 pm by Margaret Carney Graduate Students Slide Forum 7-9 pm 3 - 4:30 pm Opening Ceremonies 10 - 10:30 am Panel: Art and Science Keynote: The Artful Brain: What Neurology Lecture: Energy Exchange: Synergy in Education Can Tell Us About Human Nature and Art A Landfill Gas Powered Studio Chris Stanley (moderator), William Carty, by V. S. Ramachandran, MD by Jon Ellenbogen John Gill and Matt Katz

Ceramics Monthly March 2004 136 3:30 -5 pm Panel: Audience/Participants: Passive to Active Commercial Exhibitors Ingrid Lilligren (moderator), Terry Couch, Neil Tetkowski and Georgette Zirbes A.R.T. Studio Clay Co. (328) Laguna Clay Co. (312,314) 4 - 5:30 pm Aardvark Clay & Supplies (217) Larkin Furnace Construction Topical Discussions Aftosa (133 # 135, 137) Co. (119) Breakout groups to be announced Alligator Clay Co. (323) Master Kiln Builders (434)

5:30 - 6:30 pm Amaco/Brent/Genesis (421, 414 f Mecca Pottery Tools (236) Distinguished Lecture 416) Michael Sherrill Mudtools (321) by Roald Hoffman American Ceramic Society (102) Mile Hi Ceramics, Inc. (309) American Potters.com (316) MKM Pottery Tools, LLC (334) 9 pm Annie's Mud Pie Shop (318) Nabertherm Inc. (237, 239, 241, 243) The Randall Session: Art Esmalglass (125) Neue Keramik (223) Pilobolus TOO Artist Brushes (141) North Star Equipment (113, 115,

Axner Co.# Inc. (303, 305 # 402, 403, 117) 404) Olympic Kilns (129) FRIDAY March 19 Bailey Pottery Equip. (103, 105, 107, Orton Ceramic Foundation (227, 202, 204 # 206) 229) 8 am - 4 pm Bluebird Manufacturing (408) Paragon Industries (225) Registration Brackets Good Earth Clays, Peter Pugger Mfg. (307) Day passes available. Inc. (418,420) Pottery Making Illustrated (104) 8 am - 2 pm Campbell's Ceramic Supply Resco Products (209) Regina Brown Undergraduate Co. (226) Royal & Langnickel Brush Fellowship Fund Cup Sale Ceramic Arts Library (339) Mfg. (422) Ceramic Industry (121) Runyan Pottery Supply, Inc. (337) 8:30 am -2 pm Ceramic Review (325) Saint-Gobain Industrial Ceramics Graduate Programs and Ceramic Services (235) (327) Employment Opportunities Ceramic Shop, The (220) San Bao Studio (329) 9 am - 5 pm Ceramics: Art & Perception (207) Santa Fe Clay (139) Commercial and Ceramics Monthly (100) Sheffield Pottery (426) Nonprofit Exhibits Chinese Clay Art (219) Shimpo Ceramics (212, 214, 216) Clay Art Center (228) Skutt Ceramic Products (313, 315) 9 am- 5 pm Clay Times (233) SOFA: New York-Chicago (109) Video Screening Continental Clay (332) Soldner Clay Mixers/Muddy Elbow 9 am -2 pm Coyote Clay & Color (221) Mfg. (208) Silent Auction—NCECA Creative Industries (106, 108) Spectrum Glazes, Inc. (405) Endowment Benefit Cress Manufacturing Co., Inc. (320) Standard Ceramic Supply (428) Davens Ceramic Center (424) Sterling Publishing/Lark Books (234) 9 am - 12 noon Dolan Tools (218) Taipei County Yingge Ceramics Simultaneous Demonstrations Euclid Kilns/Euclid's Elements (324, Museum (336) (Part II) 326) Thomas Stuart Wheels (308) Anderson, Chung and Orr Geil Kilns Co. (213,215) U.S. Pigment Corporation (322) 9 - 10:30 am Georgies Ceramic Supply (432) Van Sickle Environmental Sys­ Panel: Under the Influence, Giffin Tec Inc. (306) tems (340) Digital/Elemental Great Lakes Clay & Supply Co. (409) Walk-the-Walk Shoes (342) Fred Spaulding (moderator), Brian Boldon, Highwater Clays (232) Ward Burner Systems (317, 319) Rick Parsons and Colby Parsons-O’Keefe Kemper Tools (127) World Ceramic Exposition Founda­ 9- 10 am Kerameiki Techni (407) tion (406) Co-Lecture: Science L & L Kiln Mfg., Inc. (333, 335) www.Clay-King.com (436, 438) in the Studios L & R Specialties, Inc. (123) Xiaoping Studio (224) by Claire Olander and Holly Walker

Ceramics Monthly March 2004 137 PROGRAM NOTES

9 - 9:30 am 2 - 3:30 pm Lecture: Great Results from Slide Presentations by Nonprofit Exhibitors Electric Kilns Demonstrators by John Hesselberth Anderson, Chung and Orr Anderson Ranch Arts Center (A1) Appalachian Center for Crafts, Tennessee 10 am - 4 pm 2-3 pm Technological University (B1) International Slide Forum Lecture: Bio-Ceramics Archie Bray Foundation (T1) in Medicine: The Healing Arrowmont School of Arts and Crafts (R2) 10 am -4 pm ASU Art Museum Ceramics Research Power of Art Center (222) Graduate Students Slide Forum by Dr. Otto Carl Wilson, Jr. Australian National University, National Institute of the Arts (A2) 10 am - 3 pm 3:30-5 pm Baltimore Clayworks (K1) K-12 Slide Forum Panel: Biomimicry: Carbondale Clay Center (N2) The Art of Imitating Life Ceramics in America/The Chipstone 10- 11 am Foundation (D2) David Russick (moderator), Karen China Jingdezhen 2004: 1000 Years Lecture: Designing and Building Gunderman, Michael Jones McKean Celebration (01) a Kiln for Your Needs and Brad Miller Clay Studio, The (M1) by Donovan Palmquist Craft Emergency Relief Fund (Y1) 3:30 - 4:30 pm Critical Ceramics (12) 10:30 - 11 am Lecture: Place-Based Edinboro University of Pennsylvania (L3) Co-Lecture: A Case Study in Pottery and Porcelain Empty Bowls (A3) Ceramics Education by David Stannard Florida Atlantic University (C2) by Greg Daly and John Reid Georgia State University (D3) 4 - 5:30 pm Haystack Mountain School of Crafts (C1) 11 am - 12 noon NCECA Connections Indiana Purdue-Fort Wayne (K3) Lecture: The Nonsecular International Residencies Indiana University (N1) Ceramic Object Kansas City Art Institute (H2) 5:30 - 6:30 pm Kansas State University (F3) by David Furman Distinguished Lecture: La Meridiana (02) 11:30 am - 12 noon Ceramic and the Louisiana State University Ceramic Department/Design Center (11) Lecture: Environmental Pattern of Modernity Mendocino Art Center (S2) Ethics in Ceramic Art by Paul Greenhalgh Michigan State University (B3) by Kira Campbell New York State College of Ceramics, 9:30 pm - 1:30 am Alfred University (J2) 11:30 am - 12 noon Dance Northern Clay Center (F2) Lecture: Critiquing Dog Talk Ohio University (E1) Strategies for Clay Art Penland School of Crafts (D1) by Keith Williams Potters for Peace (G3) SATURDAY March 20 Schein-Joseph International Museum 12:30 - 1:30 pm of Ceramic Art (K2) 8:30 - 10:30 am School for American Crafts, Lecture: Cataclysmic Events Rochester Institute of Technology (H1) in the Alchemy of Ceramics Registration Sierra Nevada College (Q2) by Pamela Vandiver Studio Potter (P2) 9 - 10:45 am Southern Illinois University-Edwardsville (U1) 12:30 - 1 pm Emerging Artists Syracuse University, Comstock Art Facility (C3) Lecture: Please Touch the Art Lynn Duryea, Marko Fields, Mika Negishi Texas Tech University (F1) by Sarah Rossiter Laidlaw, Kari Radasch, Hide Sadohara and Tyler School of Art of Temple University (S1) Russell Wrankle University of Alaska-Fairbanks (G2) 1 - 1:30 pm University of Florida (J1) Lecture: The Only Teacher Except 10:45-11:45 am University of Louisville (J3) Torture: Conversations About Second Members' University of Massachusetts, Dartmouth (L1) Dyslexia, Ceramics and Success Business Meeting University of Minnesota (Q1) University of Missouri-Columbia (W1) by Constant Albertson, Ph.D. 12 noon - 1 pm University of South Carolina (V1) University of South Florida (P1) 1:30 -3 pm Closing Lecture Panel: INdustrial INsinuations University of Tennessee (M2) Betty Woodman Utah State University (R1) Anne Perrigo (moderator), Jeanne Quinn, 1:15-2:15 pm Virginia Commonwealth University (B2) Katy Rush and Matt Wilt Washington University (E2) Open Board Meeting 2-5 pm Watershed Center for Ceramic Arts (13) West Virginia University (L2) Simultaneous Demonstrations 1:30 - 5:30 pm WESTAF-ArtistsRegister.com (Z1) (Part II) Shuttle Buses and Tour to Wichita State University (G1) Irwin, Kwong and Paul Selected Exhibitions Worcester Center for Crafts (H3)

Ceramics Monthly March 2004 138 “Parting,” 34 inches (86 centimeters) in length, white stoneware, by Karen Gunderman; from the “NCECA Invitational, Biomimicry: The Art of Imitating Life,” at the Herron Gallery, Herron School of Art/IUPUI.

As usual, there will be a number of exhibitions on view during the conference. The listings on the following pages have been organized alphabetically according to area. Dates and times may be subject to change; when possible, call ahead to verify. Shuttle bus and tour service will be available on March 17 and March 20; buses will depart from the Indiana Convention Center and the Marriott.

NCECA Invitational Exhibition Shuttle NCECA Regional Student Bloomington Tour $5 per ticket Juried Exhibition (RSJE) Shuttle $10 per ticket in advance Continuous shuttle departing every 15 minutes from • $5 per ticket Departing from the Convention Center Wednesday the Convention Center, first departure at 9:15am on Continuous shuttle departing every 15 minutes from at 10:30 am and Saturday at1:30 pm. Wednesday, last run at4:15 pm; first departure at the Marriott, first departure at9:15 am on Wednesday, Tour runs approximately 5 hours. Tickets will 1:30 pm on Saturday, last run at4:30 pm last run at 4:15 pm; first departure at1:30 pm on not be available on site. Saturday, last run at4:30 pm Stop 1: Herron Ceramics Sculpture Gallery Stop 1: Indiana University Art Museum Herron Ceramics/Sculpture Bldgs. 101 Indiana University, SoFA, East Gallery and 107 Stopl: Bodner Studios Stop 2: University of Indianapolis Indiana University, SoFA, Center Gallery Old RIS Warehouse Building Indiana University, SoFA, West Gallery Stop 2: Herron Gallery, Herron School of Art/IUPUI Stop 3: Wheeler Arts Community Indiana University, SoFA Library Harrison Center for the Arts J. Martin Gallery Indiana University, SoFA Stop 3: LAMP Fine Art Gallery St. Patrick Church Blackmold Studio Stop 2: McCalla Schoolhouse Mathers Museum of World Cultures Stop 4: Dean Johnson Gallery Dolphin Papers 4 Star Gallery Everyday Inventors Stop 3: The Gallery Vick's Downtown Espresso Bar Stop 4: Domont Studio Gallery Gallery North on the Square Stop 5: Ruschman Art Gallery Optiks Stop 5: Mavris Building Stop 6: Indianapolis Art Center Fossil Rain Stop 6: Midland Arts and Antiques Market Rosemary P. Miller Gallery, John Waldron Stop 7: ARTIFACTS Arts Center Bungalow Hoosier Salon Gallery The Potter's House Studio and Gallery Ruth Stoner—Artistry in Clay Animatopia Art Gallery Happy Trails Studio

Ceramics Monthly March 2004 139 ON VIEW

Ceramics Monthly March 2004 140 1 4 Star Gallery, 653 Massachusetts Ave. (317) Bryan Hiveley, Jami L. McKinnon, Helen (317) 955-8601. Mar 16-20. Daily 9-5. 686-6382. Mar 14-21. Mon-Fri 10-5. Reception Otterson, Bonnie Seeman and Tara Wilson. 11, an exhibition of 11 college and university Mar 19, 5-9. Urban Playground, Ceramic Installations and ceramics programs. The Big Show, works by 25 ceramists. Sculpture, Lisa Marie Barber. Mar 17—Apr 1. 22 Palomino Restaurant, 49 W. Maryland St., #189. 2 Artsgarden, above the intersection of Washington 12 Herron Ceramics/Sculpture Gallery, Ceramics/ (317) 947-0400. Mar 15-21. Mon-Fri 11:15-2:30 and Illinois sts. (317) 624-2565. Mar 12-22. Sculpture Rooms 101 and 107, 1350 Stadium Dr. and 5-10, Sat 11:30-3 and 5-11, Sun 11-3. Mon-Sat 9-9:30, Sun 11-6:30. (317) 955-8601 Mar 16-20. Daily 9-5. Forms: Three University of North Texas Graduate Purdue University Ceramists, curated by Dan Herron Alumni Exhibition, works by Jeff Students, Kate Fisher, Katie Snow and Shannon Engelke. Dalton,Yukari Fukuta, Ashley Kim, Melissa Sullivan. 3 Axis Architecture/Interiors, 618 E. Market St. Parrott and Paul Wandless. 23 Ruschman Art Gallery, 948 N. Alabama St. (317) (317) 264-8162. Mar 16-20. Mon-Thurs 8-5, Current BFA Candidates in Clay, works of juniors 634-3114. Mar 19-Apr 17. Tues-Sat 11-5. Fri 10-3. Reception Mar 18, 5-7. and seniors in the Herron ceramics program. Receptions Mar 18, 4-8 (conference attendees) and Mar 19, 5-9 (open to the public). Indiana State University Alumni Exhibition, 13 Herron Gallery/Herron School of Art/IUPUI, X in Clay, Christyl Boger, Jamas Brooke, John curated by Dick Hay. 1701 N. Pennsylvania St. (317) 920-2420. Mar Goodheart, David Herrold, Eva Kwong, Tim 4 Blackmold Studio, 1043 Virginia Ave., Murphy 3-Apr 3. Mon-Sat 10-5, Thurs 10-7. Reception Mather, Robert Pulley, Malcolm Mobutu Smith, Bldg, 2nd fl., Fountain Square. (317) 542-7210. Mar 3, 5-7. Georgia Strange and James Tyler. Mar 16-20. Daily 10-6. Reception Mar 18, 6-8. NCECA 2004 Invitational, Biomimicry: The Art of All Over the Map: A Show of Pots, works by over Imitating Life, curated by Michel Conroy and 24 St. Patrick Church, 950 Prospect St. (317) 631 - 10 ceramists. David Russick. 5824. Mar 1-20. Thurs-Fri 9-5. Nicholas Kripal, 5 Bodner Studios, 1200 S. Madison Ave. (317) 14 Indiana Convention Center, 100 S. Capitol Ave., Installations at St. Patrick's, Walter McConnell, Jeffrey Mongrain and 916-5500. Mar 17-20. Wed-Sat 10-6. Reception Rooms 122-123. Mar 17-19. Daily 9—5. Katherine Ross. Mar 18, 5-8. Seventh Annual National K—12 Ceramics Chemistry, Charlie Cummings, Jay Dougan, Rod Exhibition, juried by Val Cushing. 25 University of Indianapolis, 1400 E. Hanna Ave. (317) 788-3253. Mar 17-20. Mon-Fri 9-9, Sat Dugal, Hadley Evans, Jeremiah Jackson, James 15 Indiana Historical Society, 450 W. Ohio St. 9-5. Kelly, Thomas May, Cara Moczygemba, Michele (317) 232-1882. Feb 21-May 23. Tue-Sat 10-5, Smith and Barbara Zech. Sun 12-5. Reception Mar 19, 6-9. Play Outside: Ceramic Sculpture Beyond Interior Cross Fertilization, Hyewon Lee, Catherine Common Clay: Creating Old and New Ceramics: A Space, outside exhibition, Matt Burton, Bruce Paleczny, Katherine Taylor and Errol Willett. Juried Exhibition ofBujfalo State College Alumni. Dehnert, Doug Herren and Fred Spaulding. Coordinated by Matt Burton and Fred Spaulding. Vestige, large-scale installation by Jeff Pender. Historical pottery from the Indiana Historical Society and works by Buffalo State College Louis Schwitzer Student Center (lower level, 6 Dean Johnson Gallery, 646 Massachusetts Ave. ceramics alumni who studied under Robert Rooms 04, 05, 011, 012 and 013) (317) 634-8020. Mar 5-Apr 1. Mon-Fri 9-5, Wood. Curated by Ann M. Perry Smith. coordinated by David Gamble. Sat 9—1. Reception Mar 19, 5-9. Glaze Storm, Bald Headed Potters, coordinated by Dick Hay. 16 Indianapolis Marriott Downtown, 350 W. Panevezys International Ceramic Symposium: USA Maryland St. coordinated by Rimas VisGirda. 7 Dolphin Papers, 1043 Virginia Ave. (317) 822- Alumni, 3846. Mar 17-20. Mon-Fri 9-9. Illinois Room, Mar 17-21. Daily 8-5. Kansas State University Faculty and Graduate Desert Alchemy, works by Arizona State University 2004 International Cone Box Show, juried by Janet Student Exhibition, Nicole Copel, Julie Gibbs, graduate students and recent visiting artists. Mansfield and Phil Rogers. Steven Hill, Anna Calluori Holcombe, Yoshiro Ikeda, Liz James, Les Laidlaw, Amiko Matsuo, 8 Domont Studio Gallery, 545 S. East St. (317) Florida Room, Mar 17-19. Daily 9-5. Lazare Rottach and Sunny Schultz. 685-9634. Mar 17-20. Tue-Sat 11-5, Fri 11-9. Pieces From the Heart, Potters for Peace. Reception Mar 19, 6-9. 17 J. Martin Gallery, 874 Virginia Ave. (317) 916- Swamp Fire: Tulane University Student Exhibition, MacDonald, Hughto & Willett: Recent Work from 2874. Mar 3-Apr 3. Tue-Thurs 12-5, Fri 12-10, Christopher Brumfield, Bonita Day, Bill DePauw, Syracuse, Margie Hughto, David R. MacDonald Sat 12-6. Reception Mar 19, 6-10. Andrea Freel, Matteo Nievert and Jessica Smith. and Errol Willett. Indigenous Forms, Jay Dougan, Andrea Freel- Trained, Trey Hill, Brandon Reese and John 9 Eiteljorg Museum of American Indian and West­ Christie, Melissa Parrott and Barbara Zech. Zimmerman. Coordinated by John Zimmerman. ern Art, 500 W. Washington St. (317) 636-9378. Coordinated by Barbara Zech. Indiana Independent Colleges Exhibition, Indiana Through April 18. Tue-Sat 10-5, Sun 12-5. 18 LAMP Fine Art Gallery, 901 N. East St. (317) colleges and their representatives. Coordinated by A Meditation of Fire, James C. Watkins. 624-9803. Mar 15-21. Mon-Tues, Thurs 12-6, Rebecca Coffman. 10 Everyday Inventors, 1043 Virginia Ave., Ste. 1. Wed 10-6, Fri 12-9, Sat 12-8. Indiana Artist-Craftsmen, John Bauman, Richard (317) 955-7577. Mar 17-20. Mon-Wed 5-8, Divided Together, Nel Bannier, Barbara Thomp­ Burkett, George Debikey, Scott Frankenberger, Thurs and Sat 12-8, Fri 5-9. son, Veronica Watkins and Laura Weaver. John Guenther, Denis Kirchman and John Three Guys and a Girl, works by Guy Grace, Mark of the Maker, works by over 10 ceramists. Peterson. Curated by Jim Kemp. Cayce Kolstad, Jude Odell and Jeff Pender. 19 Mavris Building, 121 S. East St. (317) 917-9999. A Sense of Identity: Contemporary Ceramic Art in 11 Harrison Center for the Arts, 1505 N. Delaware Mar 17-20. Daily 9-7. Reception Mar 19, 7-9:30. the Midwest, curated by Robert Schroeder. Mar St. (317) 396-3886. Mar 17-20. Wed-Fri 9-5, Indiana University, Bloomington Alumni 6-Apr 16. Sat 10-2. Receptions Mar 18 and 19, 5-9. Invitational Exhibition. Christel DeHaan Fine Arts Center Gallery, Feb A Dialogue with Clay, Nel Bannier, Barbara Indiana University, Bloomington Current MFA/ 23-Mar 20. Thompson, Veronica Watkins and Laura Weaver. BFA Exhibition. NCECA Regional Student Juried Exhibition, juried Headwater: New Work in Ceramics, Margaret Indiana University, Bloomington, NCECA 2004 by Josh DeWeese and Cary Esser. Haydon. Pre-conference Visiting Artists Exhibition. Ransburg Gallery, Mar 1—20. 3rd Southern Indiana Wood-Fire Invitational, Archie Bray Foundation for the Ceramic Arts: 2003 Pleasures of the Table, curated by Michel Conroy. works by over 10 ceramists. Residents Exhibition. 26 Vick’s Downtown Espresso Bar, 627 N. East St. Organica II, Sarah Frederick, Addie Langford, 20 Midland Arts and Antiques Market, 907 E. (317) 951-0335. Mar 17-20. Mon-Thur 7-10, Sarah Owens and Jonathan Swanz. Michigan St. (317) 267-9005. Mar 17-20. Fri 7-11, Sat 9-11. Amy Smith, translating the sensuality (power, end­ Wed-Fri 10-9, Sat 10-6, Sun 12-5. Reception Coffee Potters and Sculptors, Hadley Evans, Peggy urance and rhythm) of water into ceramic works. Mar 18, 6-9. Jones, Jim Kelly, Cayce Kolstad, Elaine Lindeman, Christie Shaffer, C. David Shumaker Leave a Lasting Impression, Janet Starkey, Leanne Mish-Mash Redux, large-scale ceramics, including and Michelle Smith. Ellis. NCECA participants should bring pottery site-specific and installation work. Curated by shards to collaborate in an interactive installation. Matt Burton, Rick Crowley and Rick Parsons. 27 Wheeler Arts Community, 1035 E. Sanders St. Sanctuary Installation, Julie Ball and Janet (Ball) Clay Mechanics, curated by Charlie Cummings. (317) 788-3253. Mar 17-20. Wed-Fri 9-9, Sat 9-5. Starkey. Restroom at Midland, David DeMelo. Edgy Characters, Wesley Anderegg, Tom Bartel, VSA Arts: Ceramic Artwork by Students and Monument, Lisa Marie Barber. Dana Groemminger, Margaret Keelan, Justin Professional Artists. Studios will be open to visitors Earth to Athanor, Liz Biddle, Angela DiCosola, Novak, Esther Shimazu, Hiro Tashima, James who want to know more about adaptive ceramic Leah Hardy, Priscilla Hollingsworth, Lundin Kudo, Tisdale and Tip Toland. Curated by Michel education for people of all ages with physical, Laura McLaughlin, Cara Moczygemba, Deborah Conroy. cognitive and emotional disabilities. Rael-Buckley, Ceil Leeper Sturdevant and Cheryl Prairie Fire, Keith Ekstam, Elaine Henry, Kevin Linda Wisler, new sculpture. Tall. Coordinated by Priscilla Hollingsworth. Hughes, Jeff Johnston, Howard Koerth, Malcolm Emily Young, new sculpture. Trip Tick, tile mural by Diana Faris. Kucharski, Lisa Lockman and Marcia Polenberg. Capricious Directions, Paul Berger, John Glumpler, 21 Old RIS Warehouse Building, 1302 Stadium Dr. Wave Train, Jeremy Jernegan.

Ceramics Monthly March 2004 141 ON VIEW

NORTHERN INDIANAPOLIS 82th St. and BROAD RIPPLE

Geoffrey Pagen. Curated by Julia Muney Moore. Indianapolis Art Center Ceramics Faculty: New Work, Kim Anderson, Peggy Breidenbach, Kyle Crossland, Rodney Donahue, Loan Hill, and Soyong Kang Partington and Michael Partington. Co-curated by Susan Watt and David Thomas. Porcelain Dragons, Margaret Hsu Stout. Curated by Melanie Reckas. New Work, Barbara Zech. Curated by Melanie Reckas. Spotlight On . . . Art, Center ceramics students. Figurative Works, Linda LeMar and Sheila Darlene Mitchell. Ron Kovatch: New Work. Curated by Julia Muney Moore. 35 Indianapolis Museum of Art, 400 Michigan Rd. (317) 923-1331. Tue-Sat 10-5, Thur 10-8:30, Sun 12-5. Gardens and grounds are open daily from dawn until dusk. Permanent display of African ceramics, 18th- 28 American Art Clay Company, 6060 N. Guion Rd. 31 Bungalow, 924 E. Westfield Blvd. (317) 253-5028. century porcelain and more. (800) 374-1600. Mar 17-20. Mon-Fri 9-5, Sat Mar 17-31. Mon-Thurs 10-6, Fri 10-7, Sat 10-8, 36 Marian College, Art Gallery, Fisher Hall, 3200 - . Sun 12-5. Reception Mar 17, 3-5. 912 Cold Spring Rd. (317) 259-4352. Mar 15-20. curated by AMACO Production Ware 1920s-1930s, Thomas Kerrigan. Mon-Sat 9-5. David Gamble. 32 Happy Trails Design Studio, 6404 Cornell Ave. Tony Winchester. Linda Arbuckle, Fong AMACO/Brent Invitational, (317) 446-6653. Mar 16-27. Tues-Sat 11-6. Raku Glaze Exploration, Megan Wright. Choo, Steve Howell, Don Reitz, Nan Smith, Betty Reception Mar 17, 3-5. 37 Potter’s House Studio and Gallery, 6503 N. Spindler, David Stabley, Jim Tanner and Rimas Trail Mix, Delores Fortuna, Gayle Herrli, Dana Carrollton Ave. (317) 626-8015. Mar 10-20. VisGirda. Curated by David Gamble. Majors and Mark Switzer. Mon-Fri 12-5, Sat 10-4. Reception Mar 17, 3-5. curated by AMACO Teacher/Student K-l2 Exhibit, 33 Hoosier Salon Gallery, 714 E. 65th St. (317) 253- A Contemporary Teabowl Exhibition, coordinated David Gamble. 5340. Mar 1-27. Tue-Fri 11-5, Sat 11-3. by Karen Van De Wolle. 29 Animatopia Art Gallery (in The Village Dog), Reception Mar 17, 3-5. 38 Premier Properties, Inc., 5252 E. 82nd St., Ste. 6224 Winthrop Ave. (317) 253-6224. Mar 17-20. Formative Art, ceramics by Hoosier Salon members. 3000. (317) 815-9900. Mar 17-19. Mon-Thur Reception Mar 17, 3-5. 34 Indianapolis Art Center, 820 E. 67th St. (317) 8-5, Fri 8-3. gallery artists. Animals in Clay, 255-2464. Mar 12-May 2. Wed-Fri 9-10, Sat Portrayed in Clay, works by the University of 30 ARTIFACTS, 6327 Guilford Ave. (317) 255- 9-6, Sun 10-6. Reception Mar 17, 3-5. Evansville students and sculpture instructor, 1178. Mar 15-Apr 10. Mon-Sat 10-6, Sun 12-5. Hoosier Expatriates, works by prominent clay artists Petronella Bannier. Reception Mar 17, 3-5. whose roots lie in Indiana. Coordinated by Richard 39 Ruth Stoner—Artistry in Clay, 6340 Ferguson St. Cut Construction: Architectural Vessels, Brad Burkett and Bill Griffith. (rear courtyard bldg.) (317) 726-0736. Mar 17-20. Schwieger. On the Wall 2004, David East, Holly Hanessian, Mon-Sat 10-6, Sun 12-5. Reception Mar 17, 3-5. New Works, Cheryl K. Hanley and Daria Smith. Rain Harris, Kevin Hughes, Eva Kwong and Ruth Stoner and Friends.

Ceramics Monthly March 2004 142 40 Indiana University Art Museum, 1133 E. Fine Arts Bldg. Mar 13-20. Sun-Sat 10-5. 45 Gallery North on the Square, 116 W. Sixth St. Seventh St. (812) 855-5445. Tue-Sat 10-6, Ceramics: Works by Current BFA Students. (812) 339-5729. Mar 9-Apr 3. Mon-Thur Sun 12-5. 42 McCalla Schoolhouse, Tenth St. and Indiana 11-6, Fri 11-7:00, Sat 10-5, Sun 12-5. Permanent collection of over 35,000 art objects Ave., Indiana University, Bloomington, School Synergism, works by over 18 ceramists. Co-curated including ceramics. of Fine Arts, Room 174. (812) 855-8490. Mar by Cheri Glazer and Robert Graff. 41 Indiana University, SoFA Galleries, Fine Arts 14-21. Sun-Sat 10-6. 46 Optiks, 100 Fountain Square, Ste. 119. (812) Bldg., Room 123, 1201 E. Seventh St. (812) BFA Fuller Project, Blake Williams. 331-9082. Mar 15-Apr 4. Window Display. 855-8490. Through Mar 21. Tue-Sat 12-6. 43 Mathers Museum of World Cultures, 416 N. Ceramics: Merging Art and Science, works by over Distinctly Round. African earthenware vessels Indiana Ave. (812) 855-6873. Through Jun 27. 15 ceramists. from the William Itter Collection. Tue-Fri 9-6, Sat-Sun 1-4:30. 47 Fossil Rain, 115 N. College Ave., Ste. 114. (812) Ceramics by Indiana University Bloomington Pattern and Purpose: Decorative Qualities of 339-3061. Mar 1-31. Mon-Sat 10-6. Reception Faculty, Christyl Boger, John Goodheart, Tim Functional Objects, a selection of objects from the Mar 15, 5-8. Mather and Malcolm Mobutu Smith. Mathers Museum of Worls Cultures collection. What’s Inside, Daria Smith. Past and Present: Ceramics by Indiana University Curated by Christyl Boger, John Goodheart, 48 Rosemary P. Miller Gallery, John Waldron Arts Bloomington Alumni and Current MFA Timothy Mather and Malcolm Mobutu Smith. Center, 122 S. Walnut. (812) 334-3100. Mar Candidates. Through Mar 20. 44 The Gallery, 109 E. Sixth St. (812) 336-0564. 15-Apr 3. Mon-Fri 11-6, Sat 11-3. Reception Mar 5-Apr 3. Mon-Sat 11-6, Sun 2-5. Mar 15, 5:30-8. SoFA Library. Mar 10-21. Karl Martz Ceramics. Tiles and Containers, Nell Devitt and Ashley Kim. Painting and Ceramics, including ceramics by Small display of 30 additional potters. Mary Neiditz and Robert Pulley.

Ceramics Monthly March 2004 143 ON VIEW

Carmel Museum of Miniature Houses, 111 E. Main St. (317) 575-9466. Through Mar 21. Wed-Sat 11-4, Sun 1-4. Fine Miniature Pottery, Andrea Fabrega, Sally Bowers, Jane Graber, Paul McNeeley, Laurie O’Halloran, and Theresa and Jean Welch. Crawfordsville Eric Dean Gallery, in the Fine Arts Center of Wabash College, 510 S. Grant St. (765) 361- 6420. Mar 1-Apr 10. Mon-Fri 9-5, Sat 10-2. Reception Mar 1, 8-9:30. Offering Vessels, Scott Dooley, Dick Lehman and Jessica Bryce Pickert. Fishers Conner Prairie Museum, 13400 Allisonville Rd. (317) 776-6000. Mar 19, 7-8. Lilly Theater, admission $7.50. One-hour presentation. Indiana Potters and Their Wares, a brief history of known potters, types of ware produced, and geographic locations of their potteries will be discussed. This will include potteries from the beginning of the industry up to our present-day operations. Included will be the importance of the brick, tile and refractory industries toward Indiana’s economy. There will be a small exhibition of Indiana pottery from Conner Prairie’s collection and from private individuals. Muncie Ball State University, Atrium Gallery, Art and Journalism Building, McKinley St. (765) 285- 1668. Mar 3—20. Tue-Fri 10-4. Ball State University Alumni Ceramics Exhibition. Randall Edmonson and John Jessiman, curated by Judy Wojcik. Ball State University Student Gallery at the L.A., Pittenger Student Center, 2000 University Ave. (765) 285-4994. Mar 15-21. Tues-Sat 12-4:30. Ceramic Works by Ball State University Students. Gordy Fine Arts Gallery, 224 E. Main St. (765) 284-8422. Mar 1-31. Daily 10:30-4:30, Sat-Sun 1-4:30. Local Treasures—A Ceramics Invitational. Mitchell Place Gallery, 301 S. Walnut. (765) 289- 8575. Mar 15-21. Wed-Sat 12-5:30, Sun 12-4. Situated: Still and Moving, Sally Myers, MaryAnn Rahe and Judy Wojcik. New Albany Ronald L. Barr Gallery, Indiana University Southeast School of Arts and Letters, Knobview Hall, 4201 Grant Line Rd. (812) 941-2349. Feb 27-Mar 26. Mon-Thur 9-9, Fri 9—5, Sat 10-5. The Six-Inch Show: A National Ceramics Exhibition of Clay. Richmond Leeds Gallery, Earlham College Art Department, Runyan Center, 801 National Rd. W. (765) 983- 1410. Mar 8-Apr 6. Mon-Fri 9-5, Sat 10-4, Sun 12-7. Indiana Women in Clay, 2004. Terre Haute Swope Art Museum, 25 S. Seventh St. (812) 238- 1676. Feb 6-Mar 28. Tue-Fri 10-5, Sat-Sun 12-5. Contemporary Works in Clay: Ten Regional Artists, Christopher Berti, Christyl Boger, Jamas Brooke, Yukari Fukuta, Ron Kovach, Yih-Wen Kuo, Shoji Satake, Dee Schaad, Malcolm Mobutu Smith, Nathan Taves. Curated by Nathan Richie.

Ceramics Monthly March 2004 144