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

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236

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

Copyright © 1985 Professional Publications, Inc. All rights reserved April 1985 3 4 CERAMICS MONTHLY Ceramics Monthly Volume 33, Number 4 April 1985

Feature Articles Canadian Fireworks...... 22 Summer Workshops 1985 ...... 29 New Zealand Impressions, Part I by John Glick...... 36 Dan Gunderson’s Airbrushed Spheres...... 42 Jeff Andrews by Lorna Williams...... 44 The Copper Matt Finish by A. D. Potter...... 46 Ohio Fairs...... 48 More Clay at Castelli...... 53 A Middle Fire Option by Ivan Englund...... 82

Departments Letters...... 7 Itinerary...... 11 Questions 13 Where to Show ...... 15 Suggestions...... 17 Comment: Exhibiting in Japan, Part II by Brian Moeran...... 19 News & Retrospect...... 59 Classified Advertising 78 Film & Video 81 New Books...... 85 Index to Advertisers 87

The Cover “Two Fishes and a Shadow,” handbuilt platter, 11 inches in diameter, with cardboard impressions, slips and sprinkled raw materials, soda-vapor glazed in a heavily reducing atmosphere at Cone 6, by Canadian potter John Chalke, Calgary, Alberta. April 1985 5

Letters Pros and Cons rosemary, garlic, salt and pepper and rub brand new kiln. After checking the voltage, The tilework by Jim Melchert in the Jan­ well into the cavity of the bird and under its elements, switches, etc., and after the com­ uary issue was a refreshing treat. Melchert’s skin. Rub olive oil all over the outside of the pany told me I obviously was doing some­ considerable talent has surfaced again. bird and sprinkle with salt. Lay bacon strips thing wrong when everything checked out The letter from R. J. Turner (February over the bird and bind the legs and wings to okay, we checked the plug. You aren’t going CM) about Ted Randall’s article was in­ the body with twine. Mold the greased foil to believe this—the plug’s prongs were not appropriate in two regards: Turner served around the bird to completely encase it, then all the same size; that is, one of the prongs no purpose to write such a letter [because] enclose all in a ½-inch-thick, form-fitting was at least ½ inch shorter than the other it was neither constructive nor humorous. CM jacket of clay. Place in the oven and bake two. After it was replaced, it fired like a served no purpose to print the letter. about three hours; crack and serve. dream to the right temperature and all is Ted Randall has made a very important Karolynia Foster once again right with the world. contribution to the ceramic world as edu­ Newton Centre, Mass. Don’t be intimidated by the technicians at cator, artist, administrator and designer. the kiln company. Check out everything, no He is a fine man and he has paid his dues. Cer A Solutions? matter how crazy it may seem. Such nit-picking from Turner and CM is low Re: the November Comment, Mobil Cor­ Lisa Payne class. poration supplied a sample of wax resist (to Louisville Ken Ferguson our ceramic classes at Bellevue Community Kansas City, Mo. College) that seems to be as good or better Delightful Obsession than Mobil Cer A. It is called “351 Emul­ I’ve been reading Ceramics Monthly for a To Sell or Not to Sell sified Petroleum Sizing—Mobilcer 64.” number of years and have delighted in the To sell or not to sell, is that the question? Contact: Mobil Oil Corporation, 5151 Belt- fact that some of us seem to be obsessed with From outrage over Ross Murphy’s article land Road, Suite 600, Dallas, Texas 75240. changing the content of CM. Some of us want (June/July/August 1984) I could draw the Gerald M. Gardner all functional and some want all art. What conclusion that it is sinful to sell one’s work. Bellevue, Wash. we all should want is growth. These cheap-shot “artistes” who beat their I enjoy the debate; that means at least two breasts and cry out, “Art, all is art!” give me I have found a product to substitute for points of view. It has been said all too many a pain. What do they do with their pots, give Cer A wax emulsion. The product is John­ times “I know what I know” but did we ever them all to the Guggenheim? son’s “Beautiflor.” Johnson makes several stop to think why we do? Or have we ever I served my apprenticeship in the pottery kinds of floor wax; this one seems to be the turned around on a view? I propose that this mills of Laguna Beach. We employed profes­ best for my needs. may be due to exposure to different ideas, sional salespeople to move the merchan­ However, there is a drawback. This wax concepts, philosophies and heritages as well dise—people who could make pots and dis­ contains a heavy perfume that I find un­ as new techniques and technologies. CM is cuss them (and all aspects of pottery) pleasant. There are even the skull and cross- such a catalyst for growth. intelligently. They were highly regarded by bones warnings on the label, “Harmful or One last thought paraphrased from a con­ other potters and the public alike, and were Fatal if Swallowed” and “Vapour Harmful.” versation I once had with [ceramic sculptor] paid very well for their skills. Also, when fired, the fumes from this wax Viola Frey: She said the more of us (artists Potters who think they’re for real and yet seem quite bad. A well-ventilated room is and/or potters) there are, the larger our au­ go around with their noses stuck in the air, recommended. dience (or clientele). refusing to scratch for the best price for their On the positive side, this wax does brush John Krumrein work on the grounds that their precious dig­ on beautifully and resists well. The price I Lanham, Md. nity will be wounded, have got lint for brains. paid is not out of the price range I paid for Ross Murphy seems to me to have a good good old potters’ wax emulsion. Endless Controversy understanding of both art and life. Bravo and Although this is not the ultimate wax so­ Please continue to fuel the pointless con­ encore! lution, it may work for some potters till some­ troversy between artists and craftspeople. Jean (Turner) Mathias thing better becomes available. Possibly someday they will realize that there Marina del Rey, Calif. Wayne Cardinalli can’t be one without the other, but that won’t Stirling, Ont. be as much fun to read about. More Firing Mysticism Earl Sherman The following was sparked by Ersatz Smile Fort Worth, Texas Soubriquet’s Comment, “Wood Firing Mys­ Ceramics Monthly features a wide range ticism,” in the February issue. With a little of media arts: dirt, dust, wood, plastic, clay, Many of us, perhaps even a majority, who tasteful and creative experimentation the as well as the novel idea of a photosensitive subscribe to CM do not fall into the “elite possibilities are staggering. Just imagine: emulsion on a ceramic base. But there is a artist/potter/sculptor” category, and, in fact “Mullet in Mullite.” group of artists who use this system. Those enjoy pottery more as a secondary career. We potters are commonly known as photogra­ are not above how-to articles such as those POULET A L’ERSATZ SOUBRIQUET phers. So what if they use a polymer base featured regularly four or five years ago. It 7 roasting chicken too, they still must be potters because some seems CM has left us behind in its pursuit ½ tsp. sage use glass plates. My big question is are they of pop art, funk aesthetics and avant-garde 1 tsp. rosemary funk or functional? sculpture. How about a beginners’ corner or 2 cloves garlic, minced Roger Steinbrueck at least an increase in emphasis on functional salt, pepper to taste Marshall, Wis. work and technique? It may have less snob olive oil appeal, but it will have strong reader appeal. 4 or 5 slices of bacon Check Plugs, Too Notwithstanding, CM is an inspiration, double thickness greased aluminum foil A quick response to C.A. in the February especially since I am 10,000 miles away and 5-7 lbs. clay 1985 Questions column regarding firing only dream about pottery instead of practic- Preheat oven to 250°F. Mix together sage, problems: I had the same problem with a Continued April 1985 7

Letters ing it (although I will soon be returning to my basement studio). Garry Dick Manila, Philippines Rather than griping and putting down the works that do not fit within the narrow range that we individually explore with clay, we should celebrate what others do. We can all learn. A line in a sculpture in high-tech earthenware may move to a shape on the wheel. A decorating technique may flow from a reduced stoneware, wood-fired, salted piece to a pot fired in mid-range ox­ idation. If we work with integrity to our ma­ terials we can all share in the joy. We all work with clay because we love the damn stuff. I cannot work with clay in all the countless directions that are possible; no one can. I am happy that others can explore those areas— so show me all of it. Marjorie Beynon Camlachie, Ont. Are we becoming too arty and losing our skills? Donald F. Darling Bainbridge, Ga. Earlier issues in the ’50s and ’60s dealt more with articles on potters building their own equipment. In those days the average potter/teacher struggled to make a living in ceramics. These days, however, it seems as if nearly every potter/teacher is subsidized and there is no need to know how to build equipment. My! How we have become so­ phisticated. Sabatino Costanzo Livingston, N.J. I enjoy CM immensely. It cuts across all boundaries of aesthetics and style. I don’t always like what I see ... as an educator, that’s extremely important to me. We learn more from the new than from the old. Oh, I too occasionally bemoan an issue, but all in all CM’s even better than most people realize. Jerry Austin Denton, Texas I would be at an aesthetic and educational loss without my subscription. Even though I have Alfred University and all the students for inspiration and ideas, I still need Ce­ ramics Monthly. Frank H. Nye, Jr. Alfred, N.Y. Share your thoughts with other readers. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. April 1985 9

Itinerary conferences, exhibitions, workshops, fairs and other events to attend Send announcements of conferences, exhibitions, Colorado, Grand Junction through April 7 ures and rollers; at the Los Angeles County Mu­ workshops, juried fairs and other events at least Suzanne Klotz-Reilly, sculpture; at Western Col­ seum of Natural History, 900 Exposition Blvd. two months before the month of opening to: The orado Center for the Arts, 1803 N. Seventh St. California, Rohnert Park through April 21 Editor, Ceramics Monthly, Box 12448, Columbus, Connecticut, New Britain through April 28 “Contemporary Clay ’85,” national juried com­ Ohio 43212; or call: (614) 488-8236. Add one Betty A. Gerich, porcelain sculpture; at the New petition; at Sonoma State University Art Gallery, month for listings in July and two months for those Britain Museum of American Art, 56 Lexington 1801 Cotati Ave. in August. Street. California, Sacramento through April 6 A D.C., Washington April 13-May 4 Michael three-person exhibition including Tony Natsoulas, Casson, pottery; at Jackie Chalkley Gallery, Fox- life-size figures. April 9-May 4 A group ex­ International Conferences hall Square, 3301 New Mexico Ave., NW. hibition including Steve Askin, sculpture; at Hi- Australia, Victoria, Melbourne May 13-18 Florida, Sarasota April 15-May 17 Harvey movitz/Salomon Gallery, 1020 Tenth St. “Tradition and Diversity,” fourth national ceramic Sadow, multiple-fired raku work; at Susan through April 14 “California Crafts XIV: Liv­ conference, at Melbourne University, will offer McLeod Gallery, 59 S. Boulevard of the Presi­ ing Treasures of California,” includes works by panel discussions, workshops, exhibitions and so­ dents, Saint Armands Circle. Laura Andreson, Robert Arneson, Peter Voulkos cial activities. Topics will include: “Clay as Per­ Louisiana, Shreveport through May 2 Ty and Beatrice Wood; at Crocker Art Musuem, 216 sonal Expression,” “Technology and Technique,” Brunson, stoneware vessels with porcelain slips “O” St. “Studio Management,” “Marketing,” “Design,” and slabs; at the Craft Alliance, 3000 Centenary California, San Diego through October 3 “Ji- “Education,” “Where Have We Come From?” and Boulevard. varo: Expressions of Cultural Survival,” includes “Where Are We Going?” Contact: Fourth Na­ Michigan, Ann Arbor through April 8 Joan pottery from Peru and Ecuador; at the San Diego tional Ceramic Conference, Box 4829, Melbourne Rosenberg, porcelain sculpture; at the Ann Arbor Museum of Man, 1350 El Prado, Balboa Park. 3001, Victoria; or call: (03) 560-1520. Art Association, 117 W. Liberty. April 5-May 5 “Tea Sets, Animal or Dinosaur”; Canada, Ontario, Toronto October 17-20 The Michigan, Lansing through April 7 Madelyn at the Natural History Museum, El Prado and Fourth International Ceramics Symposium of the Ricks, handbuilt pottery. April 1-30 Monique Village PL, Balboa Park. Institute for Ceramic History will include a juried Jost, decorated stoneware pottery; at Lansing Art California, Santa Cruz April 5-May 5 “Wo- competition of clay-related videos available inter­ Gallery, 425 S. Grand Ave. vens,” multimedia exhibition includes works by nationally. Those interested in submitting entries New York, Ithaca through April 20 Marcia Marsha Blaker and Tom West; at Downey/Wheat should contact: Aleksandr Sorotschynski, Ceramic Polenberg, “Strong Visions in a Fragile World,” Gallery, 107 Walnut Ave. Department, Georgian College, 1 Georgian Dr., clay and silk works; at the Gallery at 15 Steps, California, Santa Monica April 19-May 18 Barrie, Ontario L4M 3X9. Indicate format (VHS, 407 W. Seneca. “Santa Monica Clay Invitational,” works by 12 Beta, ¾-inch, etc.), rental fee, availability (time New York, New York through April 13 James Southern California ceramics professors; at Santa required for shipping and return) and shipping Stephenson, “Terra Cotta Arches, Columns and Monica College Gallery, 1900 Pico Blvd. costs. For further information about the sympo­ Walls,” architectural installation. April 18-May California, Walnut Creek April 4-May 19 sium contact: Ann Mortimer or Margaret Mel- 11 Juta Savage, painterly wall sculpture; at Ele­ “Going Public—Sculpture from Studio to Site,” chiori-Malouf, The Fourth International Ce­ ments Gallery, 90 Hudson St. works by 31 artists documenting the process of ramics Symposium, 878 Yonge St., Third Floor, through April 17 Vera Lightstone, sculpture; at creating commissions for exhibition at public sites, Toronto M4W 2J1; or call: (416) 968-0455. Soho 20 Gallery, 469 Broome St. includes sculpture by Stephen de Staebler and John Spain, Barcelona June 24-26 “Inter-Raku 85,” April 16-May 9 Emily Gassenheimer, low-fire Toki; at Walnut Creek Civic Arts Gallery, 1641 a session for the public, will include an auction glazed figures; at Greenwich House Pottery, 16 Locust St. of the works produced, exhibitions, videos and a Jones St. Colorado, Denver through May 5 “Mimbres catalog. Open to European artists. The six selected New York, Utica through May 19 Vincent Pottery: Ancient Art of the American Southwest”; participants will receive travel expenses, lodging Clemente, wheel-thrown stoneware; at the Mun- at the Colorado Historical Society, 1300 Broad­ and profits from the auction. April 30 entry dead­ son-Williams-Proctor Institute, 310 Genesee St. way Street. line. Juried from five 7 X 5-inch color photographs Ohio, Canton through April 21 Susan and April 12-May 11 A group exhibition including and a resume. For further information contact: Steven Kemenyffy, raku; and Jim Weckbacher, Dennis Smith, raku platters and porcelain covered Museu de Ceramica, Palau Nacional de Montjuic, pottery; at the Canton Art Institute, Cultural Cen­ jars; at Cohen Gallery, 665 S. Pearl. 08004, Barcelona; or call: 325-32-44. Or: Coop- ter for the Arts, 1001 Market Ave., N. Connecticut, Bridgeport April 13-May 19 “The erativa Coure, Carrer dels Sastres 11, Olot, (Gi­ Ohio, Zanesville April 7-28 Bradley Pekoe, Society of Connecticut Craftsmen 50th Annual Ju­ rona); or call: 972-26-49-08. vessels and platters; at the Zanesville Art Center, ried Exhibition”; at the Museum of Art, Science 620 Military Rd. and Industry, 4450 Park Ave. Oregon, Portland through April 18 Philip Connecticut, Hartford through May 8 “Hart­ Conferences Jameson, clay and mixed-media constructions; at ford/Handcraft Group Invitational Show”; at M.S. New Jersey, Toms RiverApril 10 “The Busi­ the Oregon School of Arts and Crafts, 8245 S.W. Gallery, 205-A Sisson Ave. ness of Craft—Creating an Image,” at Ocean Barnes Rd. D.C., Washington through August 4 “Ancient County College, will focus on the importance of Utah, Saint George through June 12 Gene Art of the American Woodland Indians”; at the promoting one’s work. Panelists will include mem­ Kleinsmith, ceramic installation; at Gallery II West, National Gallery of Art, Fourth Street at Consti­ bers of the New Jersey State Council on the Arts 610 Industrial Rd. tution Avenue. fl and guest participants. Fee: $5. Contact: Hortense Washington, Port Townsend April 6-May 1 Florida, Coconut Grove April 12-May 5 An­ Green, New Jersey State Council on the Arts, 109 Kurt A. Johnson, free-form stoneware; at Earth- drea Gill, David Keator and Bruce Lenore, “Clay: W. State St., Trenton, New Jersey 08625; or call: enworks Gallery, 1002 Water St. Surface Decoration”; at Netsky Gallery, 3107 Grand (609) 292-6130. Avenue. Texas, Dallas April 18-23 The 25th National Florida, Orlando through May 2 “Down to Art Education Association annual convention, at Group Exhibitions Earth,” Florida folk art; at Valencia Community the Hyatt-Regency Hotel, Reunion Center. Con­ California, Auburn April 1-23 Will Ball- College, East Campus Gallery, 701 N. Econlock- tact: NAEA, 1916 Association Dr., Reston, Vir­ reich and Larry Luis Ortiz, “Sculpture 85”; at the hatchee Trail. ginia 22091; or call: (703) 860-8000. Auburn Art Center, 175 Almond St. Georgia, Atlanta through August 15 “Tangible California, La Jolla through April 27 Stanley Traditions: Folk Crafts of Georgia and Neigh­ Mace Andersen, Gail Kendall, Susan Loftin, Bev­ boring States”; at the Atlanta Historical Society, Solo Exhibitions erly Saito, Eilene Sky, Jamie Walker and Sandra 3101 Andrew Dr., NW. California, Bakersfield April 12-26 Fred Ol­ Wyner, “Colored Ceramics”; at Gallery Eight, 7464 Georgia, Gainesville through February 1, sen, pottery and sculpture; at Bakersfield College Girard Ave. 1986 “Pieceworks,” national competition of work Art Gallery, 1801 Panorama Dr. California, Lancaster April 20-26 “Desert inspired by quilts; at Georgia Mountain Crafts, California, Beverly Hillsthrough May 10 Gene West Juried Art Show”; at Antelope Valley Col­ 311 Green St., SE. ¾ Kleinsmith, large wall platters and sculpture; at lege Art Gallery, 3041 W. Ave. K. Illinois, Chicago April 12-May 17 “Feet of Gallery III West, 3000 Wilshire Blvd. California, Los Angeles through April 11 Clay” national juried show; at Lill Street Gallery, California, Riverside through April 20 Pat­ “Body Art 85,” includes Rickamae Birnbaum, high- 1021 Lill St. rick S. Crabb, vessels; at the Mind’s Eye Gallery, fired porcelain jewelry; at Del Mano Gallery, 11981 April 26-May 28 “Is Anybody Home?” house- 3594 Main St. San Vicente. imagery works by Christopher Davis-Benavides, California, Sacramento through April 6 Tony through May 31 “Ban Chiang: Discovery of a Aurore Chabot, Christine Federighi, Ron Fondaw, Natsoulas. April 9-May 4 Steve Askin; at Hi- Lost Bronze Age,” artifacts from 4000 to 200 B.C. Michael Lucero, Kirk Mangus, Patrick Siler and movitz/Salomon Gallery, 1020 Tenth St. found in Thailand, including pottery, ceramic fig­ Please Turn to Page 62 April 1985 11 12 Ceramics Monthly Questions Answered by the CM Technical Staff

Q I am looking for a good liner to use inside pots being salt glazed — something with a bit of color; not just bland white (and preferably something foolproof enough to withstand the temperature variations typical in my salt firing ). Do you know of such a recipe?—K.D. From Chuck Wissinger in Red Deer, Alberta, comes the following recipe: SHIGE’S TEMMOKU BLACK (Cone 8-11) Dolomite ...... 5% Whiting...... 6 Kona F-4 Feldspar...... 67 Edgar Plastic Kaolin...... 5 Flint...... 17 100% Add: Cobalt Carbonate...... 3% Red Iron Oxide...... 5% Bentonite...... 1% This glaze produces a handsome iron green with rutilelike flecks which in a slowly cooling salt kiln can turn to small crystals. It’s a classic salt-glaze liner which fires in a broad range of temperatures and even looks good in narrow spaces where the salt fumes can’t reach. Q Can you provide a recipe for bone china, and tell me something about its origins, etc.? Is it the same as porcelain? —S.A Bone china was perfected in England by Josiah Spode (1754-1827) who used the ash from burnt animal bones to flux what we today would call Cornwall stone and kaolin. Records show his recipe was: SPODE BONE CHINA (Cone 6) Bone Ash ...... 52% Cornish Stone ...... 24 China Clay ...... 24 100% If you want to make Spode’s bone china, substitute an English kaolin such as Grolleg for the china clay. Bone china is fired to a nearly self-glazed state in saggars filled with sand to preserve the china shape unwarped. Then glaze is applied after the high-temperature bisque firing, and the work usually is refired (glaze) in the low-fire range, where warping will not occur. Bone china is porcelain, or a relative of porcelain (depending on whom you talk to). Compare it with the following porcelain recipe: TRUE PORCELAIN BODY (Cone 8) Kona F-4 Feldspar...... 30% Grolleg Kaolin...... 40 Tennessee Ball Clay (7 or 10)...... 10 Flint...... 20 100% While both these clay bodies contain kaolin as their core, the bone china body will require additional plasticizers like Macaloid in order to be useful for handbuilding or throwing, whereas the porcelain body, after suitable aging, will be useful for any ceramic forming process. Both these clays can be cast with a typical addition of small amounts of sodium silicate and soda ash for deflocculation. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. April 1985 13 14 C eramics Monthly Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, July 17 entry deadline (September 14-15) is juried from 6 slides. Fee: $5. festivals and sales at least four months before the Buffalo, New York “Created by Hand” second For further information contact: Common Ground/ entry deadline to: The Editor, Ceramics Monthly, crafts national (September 7-October 2) is juried Art in the Park, 1090 S. Adams, Birmingham 48011; Box 12448, Columbus, Ohio 43212; or call: (614) from slides. Jurors: Leta Stathacos and Carol or call: (313) 645-1173. 488-8236. Add one month for listings in July and Townsend. Awards. Send self-addressed, stamped May 1 entry deadline two months for those in August. envelope to: Joan Dobrin, AAO Galleries, 698 Hinsdale, Illinois The “15th Annual Hinsdale Main St., Buffalo 14202; or call: (716) 856-6530. 4th of July Arts & Crafts Fair” (July 4) is juried August 13 entry deadline from 5 slides or photos. Fee: $40. Send self-ad- International Exhibitions Guilford, Connecticut “Black & White” (Octo­ dressed, stamped envelope to: Art Plus Associates, May 17 entry deadline ber 6-26) is juried from 3 to 5 slides. Fee: $10. 18W118 Seventy-third Place, Westmont, Illinois Auckland, New Zealand “Fletcher Brown- Send self-addressed, stamped envelope to: Black & 60559; or call: (312) 964-9062 or 985-2552. built Pottery Award” (June 1-16) is juried from White, Guilford Handcrafts, Box 221, 411 Church Dubuque, Iowa Seventh annual “Dubuque- works. Purchase award: NZ$5000 (approximately St., Guilford 06437; or call: (203) 453-5947. Fest” (May 16-19) is juried from 3 slides or pho­ $2500). Contact: Fletcher Brownbuilt, Fletchers tos. Awards. Fee: $50. Send self-addressed, stamp­ Private Bag, Auckland 1. ed envelope to: 422 Loras Blvd., Dubuque 52001; Regional Exhibitions or call: (319) 588-9751. May 11 entry deadline Saint Joseph, Michigan “Saint Joseph’s 24th National Exhibitions Kingston, Rhode Island “Earthworks 85” (May Annual Outdoor Art Fair” (July 13-14) is juried April 30 entry deadline 17-31) is open to current and former residents of from slides. Fee: $55. Contact: KRASL Art Cen­ Logan, Utah “Chronicles: Historical Refer­ Rhode Island. Juried from slides. Juror: Angela ter, 707 Lake Blvd., Saint Joseph 49085; or call: ences in Contemporary Clay” (September 28- Fina. Awards. Fee: $5 per entry. Contact: Earth­ (616) 983-0271. November 24) is juried from slides, resume and a works, Helme House, Rt. 138, Kingston 02881; Chautauqua, New York “Chautauqua Crafts statement. Contact: Nora Eccles, Harrison Mu­ or call: (401) 783-2195. Festival ’85” (July 5-7 and August 9-11) is juried seum of Art, Utah State University, UMC 40, June 15 entry deadline from 4 slides. Entry fee: $5; booth fee: $75 per Logan 84322; or call: (801) 750-1412. Ithaca, New York “Multi-Media/Animal Im­ weekend. Send self-addressed, stamped envelope May 1 entry deadline agery” (July 19-August 24) is open to residents to: Gale Svenson, Chautauqua Crafts Festivals, Santa Fe, New Mexico “American Art ’85” of Connecticut, Washington, D.C., Delaware, Box 89, Mayville, New York 14757. (July 27-August 23) is juried from slides. Fee: $8 Maine, Maryland, Massachusetts, New Hamp­ Lebanon, Ohio “Artistreet” (June 8-9) is ju­ for 1 entry; $12 for 2. Cash awards. For further shire, New Jersey, New York, Pennsylvania, Rhode ried from slides. Awards. Send self-addressed, information contact: American Art ’85, The Small Island and Vermont. Juried from up to 3 slides. stamped envelope to: Where for Art, 15 E. Main Gallery, 102 W. San Francisco St., Santa Fe 87501; Awards. Fee: $10. Send self-addressed, stamped St., Lebanon 45036; or call: (513) 932-2425. or call: (505) 984-2220. envelope to: The Gallery at 15 Steps, 407 W. Sen­ Lima, Ohio “Square Fair ’85: New Visions in May 11 entry deadline eca, Ithaca 14850; or call: (607) 272-4902. the City” (August 2-4) is juried from a minimum Hendersonville, North Carolina “Art in Wor­ August 3 entry deadline of 3 slides. Fee: $30 for a 12x 10-foot space. Awards. ship” (July 6-September 2) is juried from slides Ithaca, New York “Multi Media/Lidded Con­ Contact: Sandra Klaver, Council for the Arts of of up to 5 works. Fee: $10. Contact: Touchstone tainers” (September 6-October 12) is open to res­ Greater Lima, Box 1124, Lima 45802; or call: Gallery, 508 N. Main, Hendersonville 28739; or idents of Connecticut, Washington, D.C., Dela­ (419) 225-9165. call: (704) 692-2191. ware, Maine, Maryland, Massachusetts, New Richland, Washington “Sidewalk Show” (July May 15 entry deadline Hampshire, New Jersey, New York, Pennsylva­ 26-27) is juried from slides. Fee: $25 for a 15x15- Youngstown, Pennsylvania “Dual Visual Arts nia, Rhode Island and Vermont. Juried from up foot space, plus 15% commission. Contact: Connie Exhibitions” (June 9-July 6) are juried from 4 to 3 slides. Awards. Fee: $10. Send self-addressed, Fastabend, 1309 Roberdeau, Richland 99352. slides. Screening fee: $20. Jurors: Diane Burko stamped envelope to: The Gallery at 15 Steps, 407 May 15 entry deadline and Judith Stein. $2000 in awards. Send self-ad- W. Seneca, Ithaca 14850; or call: (607) 272-4902. Canon City, Colorado “Art on the Arkansas” dressed, stamped business envelope to: Olga Gera, (June 29-30) is juried from 5 slides. Fee: $40 for Box 21C, R.D.8, Greensburg, Pennsylvania 15601. a 10x20-foot space. Contact: Canon City Fine June 1 entry deadline Fairs, Festivals and Sales Arts Association, Box 1006, Canon City 81212; Saint Louis, Missouri The “First Annual Con­ April 12 entry deadline or call: (303) 275-2790. tainer Show” (September 29-October 27) is juried Evanston, Illinois Sixth annual “Fountain West Lafayette, Indiana “Lafayesta 1985” from slides of up to 3 works; fee: $15. Contact: Square Art Festival” (June 29-30) is juried from (August 31-September 1) is juried from 4 slides. Walter Moody, Hickory Street Gallery, 1929 slides. $3000 in awards plus purchase prizes. Con­ Awards. Fee: $35 for a 12x 12-foot space. Send Hickory St., Saint Louis 63104. tact: Evanston Chamber of Commerce, 807 Davis self-addressed, stamped envelope to: Sue Paschke, Buffalo, New York “Crafts National” (October St., Evanston 60201; or call: (312) 328-1500. Greater Lafayette Museum of Art, 101 S. Ninth 6-November 15) is juried from 2 slides. Jurors: April 15 entry deadline St., Lafayette 47901. Mary Jane Jacob and Paul Smith. Cash and pur­ Vail, Colorado “Second Annual Festival of the West Orange, New Jersey “June Days Folk chase awards. Fee: $15. Contact: Chairperson, Arts” (June 29-30) is juried from 4 slides of work Festival of Crafts and Music” (June 22-23) is Design Department, State University of New York and 1 of booth. Fee: $50. Send self-addressed, juried from 5 slides. Fee: $65 for a 7x 12-foot College at Buffalo, 1300 Elmwood Ave., Buffalo stamped envelope to: EVAC Festival, Box 1153, space. Send self-addressed, stamped envelope to: 14222; or call: (716) 878-6032. Vail 81658; or call: (303) 476-4518. Rose Squared Productions, 12 Galaxy Ct., Belle June 7 entry deadline Madison, Indiana “Founders’ Day Celebra­ Mead, New Jersey 08502; or call: (201) 874-5247. Downey, California “American Ceramic Na­ tion” (June 1-2), preindustrial crafts of the 1800s. Marietta, Ohio The 26th annual “Indian tional III” (July 11-August 23) is juried from slides. Exhibitors must be in costume and demonstrate. Summer Arts and Crafts Festival” (September Awards. Fee: $10 per entry. Contact: Noll Thomp­ Juried from 3 slides of up to 3 works, 1 slide of 20-22) is juried from 5 slides. Contact: Indian son, c/o Downey Museum of Art, 10419 S. Rives exhibitor in costume and 1 slide of booth. Fee: Summer Festival, Box 266, Marietta 45750; or Ave., Downey 90241; or call: (213) 861-0419. $50. Send self-addressed, stamped envelope to: call: (614) 373-8027. June 15 entry deadline Dixie McDonough, 1119 W. Main St., Madison Greensburg, Pennsylvania “Westmoreland Arts New York, New York “Designed and Made for 47250; or call: (812) 265-5080. and Heritage Festival” (July 4-7) is juried from Use” (January 1-May 1,1986) is juried from slides. Sheboygan, Wisconsin “Fifteenth Annual 4 slides. Booth fee: $65. No commission. Send self- Work should be functional and be suitable for lim­ Outdoor Arts Festival” (July 20-21) is juried from addressed, stamped business envelope to: Olga Gera, ited production by hand. Fee: $10. Contact: De­ 5 slides. Awards. Jury fee: $5. Entry fee: $30. Box 21C, R.D.8, Greensburg 15601. signed and Made for Use, American Craft Mu­ Contact: John Michael Kohler Arts Center, 608 May 29 entry deadline seum offices, 45 W. 45 St., New York 10036. New York Ave., Box 489, Sheboygan 53082; or La Crosse, Wisconsin “ 10th Annual Great River July 15 entry deadline call: (414) 458-6144. ^ Traditional Music and Crafts Festival” (August New Haven, Connecticut “Seventeenth Cele­ April 26 entry deadline 31-September 1) is juried from 4 slides. Awards. bration of American Crafts” (November 11- Portsmouth, Virginia The 15th annual “Sea­ Entry fee: $5. Booth fee: $30. For further infor­ December 23) is juried from slides and works. wall Art Show” (June 7-9) is juried from slides. mation contact: Crafts Committee, Pump House, Send self-addressed, stamped envelope and resume $6000 in awards. Contact: Seawall Art Show, Box 119 King St., La Crosse 54601. to: Roz Schwartz, Creative Arts Workshop, 80 Au­ 820, Portsmouth 23704. June 1 entry deadline dubon Street, New Haven 06511; or call: (203) April 30 entry deadline Sapphire, North Carolina “High Country Art 562-4927. Birmingham, Michigan “Art in the Park” Please Turn to Page 60 April 1985 15 16 Ceramics Monthly Suggestions from our readers Mishima Tip marks. Sometimes they build up with clay, creating new textures; When doing mishima, or inlaid clay designs, the usual way to sometimes they erode, softening the edges. When they eventually remove the excess surface slip is with a rigid wooden or metal break, you’ll have to make new ones—preventing you from falling throwing rib. A better, faster way is to remove the slip with a pad into set patterns. —Butch Holden, Bemidji, Minn. of fine-to-medium steel wool. This method removes the excess slip without unduly exposing the clay body grog or sand, and renders Sieve-Free Glazes the surface smooth and even. —Jens Morrison, Carlsbad, Calif. Many glazes need not be sieved if you allow the ingredients to soak for one or two days, then thoroughly mix them with an electric Rib Alteration drill mixer. —Melvin Rowe, Louisville Some flexible stainless steel ribs are rounded on each end, making them difficult to use near the wheel head. By cutting one end flat Cold Studio, Warm Clay An automotive electric dip stick heater placed in a bag of clay overnight will have it nice and toasty by morning. This works best in 50-pound bags, and also works great for a chilly glaze warmup. —Minnie doe Bole, Cleveland Dustless Floor Cleaner I discovered that a window squeegee is great for cleaning the studio floor, pushing mud and water to the floor drain. Actually it works just as well on a dry floor, cleans thoroughly and doesn’t kick with an old pair of scissors, you should be able to shape pots all up the dust a regular broom would. —Susan McGilvey, Omaha the way down to the wheel head. After the straight edge is cut, rub the end on a concrete floor to take away any burr. Dollars for Your Ideas —Paul Dresang and Dan Anderson, Edwardsville, III. Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration Aesthetic Idea or photo to accompany your suggestion and we will pay $10 more Don’t fire clay stamps or rollers that are used for texturing clay if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio surfaces. They work fine green, and gradually change, giving new 43212. Sorry, but we can’t acknowledge or return unused items.

April 1985 17

Comment Exhibiting in Japan, Part II by Brian Moeran

This is the conclusion of a two-part article and then that they wanted to buy my new beyond control and that this uncontrollabil- which began in last month’s issue —Ed. “masterpiece.” I laughingly replied that it ity is not generally to be found in such fine was not for sale. arts as oil painting or sculpture. However The idea that I had to sell SI0,000 worth The collector then took me to task. “If you skilled a potter may be, there is always that of pots just to break even gave me a cold make a good pot, you should be happy to unaccountable period when a pot is in the sweat, and I suddenly realized why it is that sell it to someone who wants it,” he said kiln being fired. Chance can be more or less potters in Japan get so nervous and uptight sharply. “After all, you know that the pot eliminated, as we can see in mass-produced about their exhibitions. Reisuke told me not will be in good hands and it will make the wares, but in art pottery it may well be that to worry, however, and assured me that I buyer happy to own a pot like this. You must the element of chance should not be elimi­ wouldn’t have a net loss. sell it.” nated. Our concept of “art” in pottery de­ “In a way,” he continued, “things are eas­ This rebuke brought home to me the fact mands that chance be present to affect the ier for us than they are for other potters. that I had never sold a pot of my own until wares being fired. If chance is eliminated, There is, after all, no market price for your then. Yes, I had often given them away to then there can be no art. pots. Instead, we have anarchy. A pot of yours friends and acquaintances, but I had tended But, if this is true, what then of my own can be priced at $50, $500 or $5000. All we to keep the ones I really liked for myself. I work? Was I to exhibit those works in which have to do is sell a couple of pots at the top was attached to my work. Now I was being chance had favored me and hence tread the price and our costs are covered!” He chuckled asked to become detached by exhibiting and path towards art? Or was I to remain the at the thought. “At the same time, for an selling my pots. The whole notion of an “ex­ amateur scholar (fast turning into pottery exhibition in a department store gallery like hibition” turned me off. It smacked of false critic) and keep chance pots to myself? Tamaya’s, there is an optimum number of bravado, of self-consciousness and ultimately • pots that can be shown. I always think of 70 of impertinence. Pottery shows in depart­ Final Pricing and Display as more or less the perfect number.” ment stores and galleries were a bit like clothes Eventually my pots were, for better or for This information was even more shatter­ bargain sales, food fairs and so on, in that worse, fired and ready for the show. In Rei- ing, for it meant that if the show was not to sales were the vital standard by which suc­ suke’s storeroom we settled down one bitterly make a loss, Reisuke would have to charge cess was judged. Yet, all I was interested in cold evening to put price tags on the ware. an average of almost $150 per pot. How could was in people seeing my work and com­ This we found very difficult to do, mainly I dare talk of “functional ware” when my menting on it, so that I could learn from their because Reisuke knew that pricing was a work was to be so expensive? I began to criticism. Originally, I suspect, that was the totally arbitrary act which had nothing to do appreciate the kind of paradoxes faced by whole idea behind a potter, or other artist- with aesthetic value. Usually it was potters such mingei potters as Hamada and Leach. craftsperson, holding a show. Nowadays, who set their own prices and all Reisuke had As far as I was concerned, the system was though, people came to buy pots, not to com­ to do was add on his 20% margin. In my out of the potter’s control. ment on them in a constructive manner. I case, however, those pots were “priceless.” was convinced that this was partly the result There was no standard against which they Selling and Exhibiting Pots of pottery coming to be seen as an art form could be measured. If I were to charge high And so I went back to work, with a certain and being displayed, not in galleries or mu­ prices and sell my stoneware pots, which were feeling of desperation as I tried to make pots seums of art, but in department stores. not after all that different from other Ko- that would be worth their high price tags. A further paradox existed in that collec­ ishiwara wares, then it would probably upset Of course, as every potter knows, things be­ tors always wanted to buy a potter’s best a number of other potters working there. gan to go wrong—pots cracked during drying, work. Big collectors are never satisfied with Reisuke’s idea, therefore, was that people were knocked over by an overexuberant cat second-rate stuff and may get angry if they should not object to prices. He thereby im­ or careless tourist, or were broken in firing. cannot obtain what they want. And yet pot­ plied that the artist-potter in Japan is some­ I began to wonder quite seriously whether I ters frequently want to keep their best work, one who decides to ignore the market value would ever get anything together for a show since it acts as a gauge by which they can of the work of those who make pots similar and if, perhaps, I should not take up Jiro’s judge their progress over the years. I per­ to his or her own. offer to help me after all. But I persisted and sonally think that it is necessary for potters “There’s another problem,” he continued. in the second firing was fortunate enough to to do this and that they should not yield to “You’ve suggested that we are pricing pots get all of my big plates and sets of dishes out market pressures. And yet by keeping back by size rather than by quality and that in of the kiln, both well fired and unscathed. I their very best work, potters can prevent the this respect we are not different from paint­ had what seemed to me to be the kernel of advance of their reputations. ers who charge so much per square inch of an exhibition with only about a month to go. I suppose that it can be argued that my canvas. You’re right, of course. But at the At the same time, I found myself facing problem was one of amateurism and that if same time, if you start suggesting that one a personal dilemma which is probably com­ I had been more professional, I wouldn’t have pot is better than another, then you are set­ mon among potters, but which is not often bothered too much about whether to sell or ting a standard. But in your case there is no commented upon. One of the pots that came to keep a good piece. I would always be able standard—apart from your own, perhaps. If out of the second firing was without doubt to make the same thing again. In general this you start pricing one big pot higher than the best that I had ever made. Since Reisuke is probably true, but there are invariably pots another, you’re going to have to do the same was anxious to see the results of this firing, that cannot be imitated. They have a certain right down the line for all your pots, even I packed everything up in the car and drove “something” which defies repetition. the small tea and sake cups. Instead, I sug­ down to see him in Fukuoka. It so happened Two conclusions emerged from all this. gest we stick to the idea of pricing by size. that a number of friends were gathered in One is that as an amateur, I did not have We will decide what price is likely to attract his shop at the time I arrived there and they enough confidence in my ability to repro­ a buyer and then leave the public to decide all wanted to see my work. Three of them, duce. But that was not the whole story. I also which pots they like at that particular price. including a well-known collector, said there felt that pottery always has in it an element Continued April 1985 19 20 Ceramics Monthly Comment this way, they’d be drawn farther and farther into the show towards the more expensive Then you’ll learn which designs are popular pots. “Let’s face it,” said Reisuke. “Only one and which are not. Let the public set the in a hundred people who visit a gallery goes ‘standard’ for any future exhibition you may there with the express intention of buying hold.” something. The problem, therefore, is to get And so we did as Reisuke suggested. There the other 99 people to buy a pot. That’s what were 294 pots in all, giving a total sales po­ business is all about.” tential of just over $15,000. Reisuke said that Reisuke then reminded me that the orig­ he hoped to sell 70%-80% of them. inal reason for his suggesting that I do a show The problem of quality emerged again was that we had both come to the conclusion when we went down to Tamaya to arrange that there was no “relaxation,” no “play” in the pots in the store’s gallery. It was clear, modern Japanese pottery and that it might to me at least, that there were far too many be an idea to have a show in which there pots on display (remembering the optimum was some obvious enjoyment in making pots. number of 70 cited by Reisuke a few days This was the essence of this show. As mer­ previously). The gallery looked more like a chandise, however, my pots were close to bargain sale than an “artistic exhibition.” The “zero.” I may have produced some small dishes, store salespeople and Reisuke had decided to plates or bowls I euphemistically called “sets,” line up all the stoneware down one side of but in fact their shapes were all different, the gallery and all the porcelain down the their sizes did not match exactly and glaze other. colorings differed from one pot to the next. Later I asked Reisuke whether we shouldn’t When potters saw them, they would be bound have mixed up the pots, matching similar to laugh and criticize my techniques. But designs on stoneware and porcelain, and so Reisuke was aiming at something beyond on. His answer was simple. “We were faced technique. The problem was whether anyone with two alternatives. One was to mix every­ would recognize this “something.” If I were thing up, as you’ve just suggested. The other a Tomimoto, a Hamada, or a Toyozo Ar- was to do what we ended up doing. The akawa, they would most certainly see in my trouble with your idea is that it is typically unmatched sets something more aesthetically artistic. If you mix up pots too much, the pleasing than mere techniques. Would they porcelain will reflect back on the stoneware, feel the same toward my work? Reisuke did and the stoneware will reflect back on the not know. All we could do was wait and see. porcelain. People will no doubt enjoy looking Just wait and see. at the subtle differences, but they’d end up Did I really have to sit through a whole buying nothing at all because they’d be too week in front of my lousy pots? Couldn’t I confused and wouldn’t know what to look go quietly home? Did I care whether the pots for where, nor which they liked better.” sold or not? Jiro said that there was no such Reisuke was right. I was adopting a typ­ thing as the completely successful show. You ical potter-cum-critic’s attitude, more inter­ could have good sales and be a success in ested in the aesthetic side of the display than that respect, but it was unlikely that you in its ability to sell the objects on display. would also be satisfied with the number of The interesting thing here was that Re- people who turned out to see the show, with isuke’s attitude toward selling pots was pre­ the way in which pots were displayed, with cisely the opposite to that of potters when the attitude of the department store sales­ they bring their works to be judged at a large people, with business methods, and so on. I exhibition. There I’d noticed one famous potter shouldn’t expect too much. carefully putting his celadon vase between The morning of the show I asked Reisuke two pure white porcelain vases, precisely in if he was worried about the outcome. “Not order to make it stand out for selection by at all,” he smiled reassuringly. “It doesn’t the judges! really matter to me how many of your pots The crux of the matter was that Reisuke sell. After all, I’m not going to make a for­ was interested in the display of my pots only tune out of the exhibition either way. What insofar as it affected sales. Obviously, the shape worries me is the fact that people are going and size of any gallery tended to affect the to put aside any objectivity they may have. display, to set a limit on each show’s poten­ There’s nothing more frightening than a man tial, but Reisuke had a plan which he fol­ who puts on dark glasses one sunny day and lowed as often as he could: start with teacups proceeds to wear them right through the night. at the entrance, then sake cups, followed by It’s a question of getting people to see your small dishes and bowls, with larger pots at pots as being more than just a foreigner play­ the farther end of the gallery. There were ing around with clay. reasons for this. First, people often stole sake “It’s the first day that counts,” he warned cups, which are small but expensive for their me between mouthfuls of the seaweed and size, and so these needed to be near the sales rice that we were eating for breakfast. “You counter where members of the store’s staff can tell what’s going to happen the rest of could keep an eye on them. A second reason the week by the way pots sell on the first day was that we wanted to attract people to the of a show. And also by what sort of pots show and a good way to do this was to place sell—large or small. Your research is just cheaper pots near the gallery entrance. In Please Turn to Page 55 April 1985 21 THE FIFTH BIENNIAL “Fireworks” ex­range of objects submitted to an exhi­ the work that indicated insufficient re­ hibition of clay and glass by members bition of this nature: from the purely search of materials, firing techniques or of the Ontario Potters Association in­ utilitarian to the sculptural, from the ar­ aesthetic concern for design and form. cluded 176 works selected from 430 en­ chaic to the highly refined. Amid this It was encouraging to note that a re­ tries by jurors Daniel Crichton and Lynn pluralism of style, I tried to view each spectable proportion of the entries sub­ Studham. The two reviewed submis­ piece on its own terms, quite subjectively mitted fulfilled the aims and objectives sions independently, but 41 of the ex­ evaluating its depth of sensibility and of their respective media. Some works hibited objects received votes from both. concern for material and process. For still in the experimental stage were mov­ From those, 12 were chosen for pur­ beyond the tactile and visual delights of­ ing in the right direction but lacked the chase awards and will become part of fered by the materials, and beyond the vitality and refinement that clay can of­ the association’s permanent collection. technical virtuosity of the makers, it is fer. The final selection of works that re­ “I had no real objective criteria in mind the quality of vision, of what is being ceived awards exemplified areas of ex­ while jurying,” noted Daniel Crichton, stated, which is ultimately important.” cellence and strongly indicated extensive faculty artist at Sheridan College School Lynn Studham, a faculty artist atexploitation of the material.” of Crafts and Design in Mississauga, McGill University in Montreal, ob­ A traveling exhibition of the 12 pur­ Ontario. “As a matter of principle, I don’t served that “the level of professionalism chase awards and 29 of the other works feel that any such criteria can be de­ varied greatly—from the extremely well-chosen by both jurors will be shown in fended, especially in light of the broad executed piece, involving all elements, toOntario galleries through 1985.

22 CERAMICS MONTHLY Opposite page Earthenware tea set, teapot approximately 7 inches in height, majolica glaze, by Karin Pavey, Toronto; purchase award. Above left Squared covered jar; thrown and altered, salt glazed, approximately 11 inches in height, by Larry Davidson, Acton, Ontario; purchase award. Above right “Sky Vase Series 2,” ash- glazed stoneware, thrown and assembled, 15 inches in height, by Steve Irvine, Wiarton, Ontario. Left "Runway ” 12 inches square, raku plate with masked pattern, by Ann Mortimer, Newmarket, Ontario.

April 1985 23 Photos: Jeremy Jones 24 C eramics M onthly ae ad ie-ly al om b Patrick by form, wall jired-clay and paper n bak lzd lb esl b David by vessel, slab glazed black and prxmtl 3 ice i hih, cast height, in inches 30 approximately Above Left Taylor, Bridgewater Thomas, Montreal. Lae ” 3 nhs n it, green width, in inches 13 ” “Leaves Lnae e Pne * Pense des “Langage ; Nova Scotia.

Above Thrown platter; approximately 18 inches in diameter, with low-fire glazes, by Patrick Thomas. Left "Fishermen,” approximately 40 inches in length, carved, low-fired stoneware wall relief, by Richard Gill, Burnstown, Ontario.

April 1985 25 Left Cane-handled teapot, IOV 2 inches in height, thrown porcelain, with Chun glaze over brushed slip, by Margaret Hughes, Kingston, Ontario. Opposite Thrown ovoid jar with pulled handle, approximately 11 inches in height, with trailed slip decoration, salt glazed, by Scott Barnim, Copetown, Ontario. Below Fish platter, 14 inches in length, earthenware, with trailed slip, by Mimi Cabri, Ottawa. April 1985 27 Above Oxidation-fired casserole, stoneware, 10 inches in diarr\eter, with underglaze decoration, by Maureen Marcotte, Farrellton, Quebec.

Far left “Gardenscape,” IOV2 inches in diameter, porcelain, with trailed slip and celadon glaze, by Ron Roy, Scarborough, Ontario. Left Dependence,” two-part porcelain sculpture, to 5 inches in height, smoke fired, by Angela Livingstone, Mississauga, Ontario.

28 CERAMICS MONTHLY Stoking the anagama at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. Summer Workshops 1985 This marks the twenty-seventh year Ceramics Monthly has compiled its special listing of workshops for ceramics. We hope its timely appearance will be of help to those planning summer vacation activities. Because enrollments are limited, make reservations early.

Arizona, Tucson leff and Shiro Otani; “Advanced Ceramics” with Susan vanced students. Fee: $90. Contact: Patrick Crabb, Santa June 7-July 11 Peterson; “Acoma Pottery” with Lucy Lewis; “Hopi Pot­ Ana College Art Department, 17th and Bristol St., Santa University of Arizona is offering sessions on handbuild- tery” with Priscilla Napeyo; “San Ildefonso Pottery” with Ana 92706; or call: (714) 667-3173. ing, throwing, sculpture and raku. Instructor: Maurice Blue Corn and “Casas Grandes Pottery” with Juan Que­ California, Santa Cruz Grossman. For beginning through advanced students. Live- zada. Fee: $200 per workshop, plus materials. Live-in June 17-August 9 in accommodations available. Contact: M. K. Grossman, accommodations and camping facilities available. Contact: University of Santa Cruz is offering: “Production Pottery” Art Department, University of Arizona, Tucson 85721; Idyllwild School of Music and the Arts, Box 38, Idyllwild with A1 Johnsen (June 17-28); “Raku and Pit Firing” or call: (602) 621-3016. 92349; or call: (714) 659-2171. with Richard Deutsch (July 1 — 12); “Figurative Clay California, Berkeley California, Mendocino Sculpture” with Robert Keunnen (July 15-26); and “Por­ June 10-July 28 June 17-August 23 celain Workshop” with Catharine Hiersoux (July ASUC studio is offering sessions on handbuilding, throw­ Mendocino Art Center is offering “Earthenware/Throw­ 29-August 9). For all skill levels. Camping and live-in ing, sculpture and raku, for beginning through advanced ing” with Kirk Mangus and “Porcelain/Handbuilding” accommodations available. Contact: Adrianne Van Geld- students. Live-in accommodations available. Fee: $55 in­ with Eva Kwong (June 17-21); “Sculptural Ceramics/ er, University of California Extension, Carriage House, cludes firing. Contact: ASUC Studio, Lower Level Stu­ Handbuilding, Casting” with Richard Notkin (June Santa Cruz 95064; or call: (408) 429-2971. dent Union, University of California, Berkeley 94720; or 24-28); “Stoneware—Throwing, Decorating and Firing” Colorado, Aspen call: (415) 642-3065 or 642-6161. with Betsy Tanzer (July 1-5 and July 8-12); “Low-Fire June 17-August 23 California, Fremont Decorative Techniques/Airbrush” with Beth Chang- Anderson Ranch Arts Center is offering 1- and 2-week July 11-20 strom Quly 15-19); “Saggar Firing/Thinware” with Philip sessions with Doug Casebeer (June 17-28); Paul Soldner Mission Clay Products is offering: “Pipe Sculpture Sym­ Cornelius (July 22-26); “Pit Firing/Masks/Fetishes” with (June 17-21), Kirk Mangus and Eva Kwong (July 1-12); posium” (July 11-13) with Tony Hepburn, A1 Johnsen Richard Deutsch (July 29-August 2); “Beginning and Bennett Bean (July 1-5); Daniel Rhodes (July 8-19); and Don Reitz, featuring demonstrations and slide lec­ Intermediate Wheel Throwing” with Tony Marsh (Au­ Richard Shaw (July 15-26); Walter Ostrom (July tures by participants and a panel discussion moderated gust 5-9); “Sculptural Vessels” with Jerry Rothman (Au­ 22-August 2); Jim Romberg (July 29-August 2); Bill by Jerry Caplan; and “Pipe Sculpture Workshop” (July gust 12—16); and “Handbuilding/Raku” with Richard Dennard (August 5-9); Elsa Rady (August 5-9); Ken 14-20) with Jerry Caplan, involving work with large Carter (August 19-23). Camping and live-in accommo­ Ferguson (August 12-23); and Victor Babu (August industrial extrusions. Fee: $200 includes materials and dations available. Contact: Tony Marsh or Donna Carl­ 12-23). Fees: $150—$295. Live-in accommodations avail­ firing. Participants will be selected from slides. June 24 son, Mendocino Art Center, Dept. C2, Box 765, Men­ able. Contact: Anderson Ranch Arts Center, Box 2410, entry deadline. Contact: Jerry Caplan, 5819 Alder St., docino 95460; or call: (707) 937-5818. Aspen 81612; or call: (303) 923-3181. Pittsburgh, Pennsylvania 15232; or call: (412) 661-0179. California, Santa Ana Colorado, Carbondale California, Idyllwild June 24-28 July 8-19 June 24-August 17 “Production,” with John Fassbinder, will focus on wheel- “Colorado Clay” with Kathy Kearns and Diane Kenney Idyllwild School of Music and the Arts is offering 1- and thrown forms, overglaze decoration and the business of will focus on wheel-thrown porcelain or terra-cotta func­ 2-week workshops on “Anagama Firing” with Paul Cha- maintaining a private studio. For beginning through ad­ tional ware. For beginning through advanced students.

April 1985 29 75 Bennett St., NW, Tula IB, Atlanta, Georgia 30309; or call:(404) 352-5398. Hawaii, Honolulu May 28-June 7 “Raku Ho’olaule’a” with Wayne Higby will include slide lectures at the University of Hawaii at Manoa (May 28) and at Honolulu Academy of Art (May 29), and a hands- on glazing and raku firing session at Kualoa Regional Park (June 1). For all skill levels. Fee: $7. Contact: Barry Nakasone, 1511 Nanakai St., Pearl City, Hawaii 96782; or call: (808) 455-4928. Idaho, Sun Valley June 17-August 16 “Sun Valley Center Ceramics Program” with Jim Rom­ berg, Tom Coleman, Pete Kuentzel, Steve Reynolds and Joe Soldate. For intermediate to advanced students and professionals. Fee: $725. Camping available. Contact: Ce­ ramics Program, Sun Valley Center, Box 656, Sun Valley 83353; or call: (208) 622-9371. Illinois, Edwardsville July 1-12 Southern Illinois University at Edwardsville is offering “All You’ve Ever Wanted to Know about Korean Pot­ tery ... in Two Weeks.” Instructors: Cho Chung Hyun and Daniel Anderson. For intermediate to advanced stu­ dents and professionals. Contact: Box 74, Department of Art & Design, SIU-Edwardsville 62026; or call: (618) 692-3071. Illinois, Kampsville July 20-28 Kampsville Archeological Center will offer “Ancient Life- ways: Ceramic Workshop” with John White, covering clay identification, processing, forming techniques, tool making, analysis/duplication of archaeological samples and firing. Fee: $335, includes room and board. Contact: Admissions Office, Kampsville Archeological Center, Center for American Archeology, Box 366, Kampsville 62053; or call: (618) 653-4395. Illinois, Northfield May 13-August 26 Northfield Pottery Works is offering two 8-week sessions on throwing and handbuilding with porcelain and stone­ ware, glazing and decorating. Fee: approximately $140, includes materials and firing. Contact: Northfield Pottery Works, 1741 Orchard Lane, Northfield 60093; or call: (312) 446-3470. _ Illinois, Palos Hills June 15 Moraine Valley Community College plans a ceramic jew­ elry workshop with Kathy Schonauer. Fee: $20 includes materials. Contact: Moraine Valley Community College, 10900 S. 88 Ave., Palos Hills 60465; or call: (312) 371- 3800. Indiana, Evansville Acoma potter Lucy Lewis burnishing a wedding jar at Idytlwild School of Music and the Arts, California. June 10-July 12 “Ceramic Workshop” at the University of Evansville will cover handbuilding, throwing, salt-glaze, raku and elec­ Fee: $600, includes meals and dormitory accommoda­ an Potters, 350 S. Main St., Middletown 06457; or call: tric firings. Instructor: Les Miley, with guest artists Wil­ tions. Contact: Carolyn Herb, The Colorado Rocky (203) 347-5925. liam Hunt and Mark Lyman. For beginning through Mountain School, 1493 County Rd. 106, Carbondale Connecticut, New Haven advanced students and professionals. Camping and live- 81623; or call: (303) 963-2562. June 29-30 in accommodations available. Contact: Les Miley, De­ Colorado, Crestone “Low-Fire Pottery Decoration” with Ellen Jacobson. For partment of Art, University of Evansville, Box 329, Ev­ fune 24-28 intermediate and advanced students. Fee: $45, plus firing. ansville 47702; or call: (812) 479-2043. “Native Clay Workshop,” at Lindesfarn Mountain Re­ Contact: Creative Arts Workshop, 80 Audubon St., New Indiana, Fort Wayne treat, will include mixing clay, forming and firing in the Haven 06511; or call: (203) 562-4927. June 10-August 16 San Ildefonso Pueblo tradition. Instructor: Barbara Gon­ September 4-6 “Studio Clay 1985” will include day and night sessions zalez. For all skill levels. Up to 15 participants. Live-in “Mick Casson at Work,” a session on throwing, decorating on wheel throwing, handbuilding, glaze technology, dec­ and camping facilities available. Contact: Director, Lin­ and salt glazing for all skill levels. Live-in accommoda­ orating techniques, and electric, gas, wood, raku and pit desfarn Mountain Retreat, Box 130, Crestone 81131; or tions available. Contact: Maishe Dickman, George Street firings. For all skill levels. Instructors: Letitia Niswander call: (303) 256-4690 or 256-4692. Pottery, 519 George St., New Haven 06511; or call: (203) and Sanford Snyderman. Fees: $225 per session for day Colorado, Denver 776-3957. classes; $112.50 for night classes. Contact: Ambercreek June 24-July 8 D.C., Washington Pottery, 7216 Amber Rd., Fort Wayne 46804; or call: “College-in-the-Summer” will cover throwing, hand- June 17-July 26 (219) 672-8218. building, kiln stacking and reduction firing, plus stone­ Corcoran School of Art is planning sessions on hand- Indiana, Notre Dame ware, porcelain and glaze formulation. Instructors: James building, throwing, glazing and reduction, pit and raku June 17-28 McKinnell and Frank Gray and visiting artist Nan firing. For beginning through advanced students. Instruc­ “Notre Dame Summer Ceramic Workshops,” with se­ McKinnell. Live-in accommodations available: Contact: tors: Pamela Skewes-Cox and Bill Suworoff. Contact: Ce­ lected M.F.A. candidates from 11 Midwest universities, Registrar, Adult Ed., Loretto Heights College, 3001 S. ramics Dept., Corcoran School of Art, 17th and New York will include an all-day symposium with professors from Federal Blvd., Denver 80236; or call: (303) 936-8441. Ave., Washington 20006; or call: (202) 628-9484. the participating universities (June 24). Applicants should Connecticut, Brookfield Florida, Orlando have experience and will be selected from 5 slides. Fee: June 1 -August 23 June 3-5 $250 includes materials. Live-in accommodations avail­ Brookfield Craft Center is offering weekend and week- Orlando Art Center’s “Raku Workshop,” with Ralph able. Contact: Bill Kremer, Art Department, University long sessions including “Low-Temperature Overglaze Rankin, will cover handbuilding, wheel-throwing, air- of Notre Dame, Notre Dame 46556; or call: (219) 239- Decoration” with Leon Nigrosh (June 1-2); “Glaze For­ brushing and firing technology. Contact: Orlando Bureau 5254. mulation and Color Development” with Angela Fina (June of Recreation, 649 W. Livingston St., Orlando 32801; or Iowa, Des Moines 29-30); “Airbrush Techniques” with Beth Changstrom call: (305) 849-2288. June 10-28 (July 8-12); “Color Clay Inlay” with Beth Forer (July Georgia, Rabun Gap “Kilnbuilding” with Rimas VisGirda, a hands-on session 13-14); “Casting and Handbuilding” with Thomas Hu­ June 9-15 on designing through operating a downdraft, high-fire bert (July 20-21); “Mixed-Media Clay Construction/ “The Magic Fire” with Rick Berman will cover raku kiln, will include stoneware reduction and salt-glaze fir­ Painted Surfaces” with Philip Jameson (July 27—28); kilnbuilding, glazing and firing of bisqueware. For in­ ing. For intermediate to advanced students and profes­ “Working Large: Throwing and Combining” with Peter termediate to advanced students and professionals. Fee: sionals. Fee: $450. Camping and live-in accommodations Durst (August 12-16); and “Working with Low-Fire Clay” $275. Live-in accommodations available. Contact: The available. Contact: Art Department, Drake University, with Ellen Jacobson. For beginning through advanced Hambidge Center, Box 33, Rabun Gap 30568; or call: Des Moines 50311; or call: (515) 271-2864. students. Fee: $95 (nonmembers $105) weekends; $250 (404) 746-5718. Iowa, Iowa City (nonmembers $260) per week. Live-in accommodations Georgia, Rising Fawn June 11-August 2 available. Contact: Brookfield Craft Center, Box 122, June 10-July 26 “Wood Kiln Workshop” with Gary Haskins and Chuck Brookfield 06804; or call: (203) 775-4526. “Pottery Workshop at Rising Fawn,” 2-, 4- or 6-week Hindes will cover wheel-throwing and handbuilding tech­ Connecticut, Middletown sessions for beginning through advanced students. In­ niques as well as constructing and firing a wood-burning June 24-28 structor: Charles Counts. Fee: $100 per week. Camping kiln. For intermediate and advanced students. Live-in ac­ “Master Class” with Maishe Dickman. Contact: Wesley­ facilities available. Contact: Pottery Workshop Atlanta, commodations available. Contact: Chuck Hindes, School

30 CERAMICS MONTHLY of Art and Art History, University of Iowa, Iowa City Michigan, Ann Arbor 17-23), and “Color & 3-D” plus “Post-Modern Sculp­ 52242; or call: (319) 353-4550. August 8-28 tural Ideas” with Roland Reiss (July 8-10). For all skill Louisiana, New Orleans “Ceramics: Interrelationship of Pottery, Painting and Ar­ levels. Camping available. Contact: Carol Sphar, Sierra May 20-June 26 chitecture” with Cliff Garten will include wheel throwing, Nevada College, Box 4269, Incline Village 89450; or call: “Raku Workshop” with Bernard Mattox will include handbuilding, glaze technology and scale model work. For (702) 831-1314. handbuilding and throwing; for beginning through ad­ intermediate to advanced students and professionals. Con­ Nevada, Tuscarora vanced students and professionals. Camping and live-in tact: Ann Doty, School of Art, University of Michigan, July 1-August 11 accommodations available. Contact: Gene H. Koss, Art Ann Arbor 48109; or call: (313) 764-0527. Tuscarora Pottery School is offering “Throwing Clinic” Department, Tulane University, New Orleans 70118; or Michigan, Beaver Island (July 1-14); “Raw Glaze Composition and Application” call: (504) 865-5327. July 29-August 10 (July 15-28); and “Firing with Diesel and Crankcase Maine, Brooks Central Michigan University is offering “Primitive Ce­ Oil” (July 29-August 11). For intermediate student through August 4-24 ramics,” covering prospecting and testing clays, making professional levels. Instructor: Dennis Parks. Fee: $455, Starflower Forge & Pottery “Summer Clay Intensive” with pots and tools with local materials plus constructing and includes room and board. Contact: Tuscarora Pottery Squidge Davis will include two sessions (August 4-10 or firing simple kilns. For all skill levels. Instructor: Jay School, Tuscarora 89834; or call: (702) Tuscarora 6598. August 18-24) on working with earthenware, stoneware Shurtliff. Camping and live-in accommodations available. New Hampshire, Goffstown and porcelain, plus reduction, raku and sawdust firings. Contact: Pat Fox, Continuing Education, Rowe 125, CMU, July 1-26 For all skill levels. Fee: $250 per session, includes ma­ Mount Pleasant, Michigan 48859; or call: (517) 774- Phoenix Workshops is offering “Intensive Throwing” (July terials, food and lodging. Contact: Starflower Forge & 37 15 1-5); “Production Techniques” (July 8-12); “Advanced Pottery, Box 1360, Brooks 04921; or call: (207) 525-3593. Michigan,. -. Ypsilanti Stoneware” (July 15-19); and “Advanced Porcelain” (July Maine, Deer Isle July 29-August 10 22-26). Instructors include Rudy Houk, Gerry Williams June 9-September 6 “Castable Kilnbuilding Workshop” with Richard Leach. and Armand Szainer. Fee: $95 per week. Live-in accom­ Haystack Mountain School of Crafts is offering ceramics For intermediate and advanced students. Live-in accom­ modations available. Contact: Gerry Williams, Phoenix workshops with Cynthia Bringle and visiting artist To- modations available. Contact: Susanne Stephenson, Art Workshops, R.F.D. 1, Goffstown 03045; or call: (603) shiko Takaezu (June 9-21), Andrea and John Gill (June Department, Eastern Michigan University, Ypsilanti 774-3582. 23-July 12), George Mason (July 14-26), Joe Bova (July 48197; or call: (313) 487-1268. New Jersey, Edison 28-August 16), and Mary Roehm (August 18-September Minnesota, Duluth June 8 6). Applications due April 15. For brochure write: Hay­ June 23-August 10 A lecture/demonstration with Czechoslovakian potter stack Mountain School of Crafts, Deer Isle 04627; or call: “Split Rock Arts Program,” at the north shore of Lake Jindra Vikova, at Middlesex County College. Contact: (207) 348-6946. Superior, will include “Hands-On Clay,” handbuilding Hortense Green, New Jersey State Council on the Arts, Maine, Gorham with Tom Kerrigan for beginning and intermediate stu­ 109 W. State St., Trenton, New Jersey 08625; or call: May 13-June 5 dents (June 23-29); and “Beyond Utility,” throwing with (609) 292-6130. The University of Southern Maine is planning sessions Warren MacKenzie for advanced students and profes­ New Jersey, Layton on handbuilding, pressmolding and throwing, plus stone­ sionals (July 21-27). Camping and live-in accommoda­ July 1-August 29 ware, raku and low-fire salt firings. Live-in accommo­ tions available. Contact: Split Rock Arts Program, Dept. Peters Valley Craft Center is planning a series of sessions dations available. Contact: Art Department, University J., 320 Wesbrook Hall, 77 Pleasant St., SE, University including “Raku” with Kris Nelson (July 1-3); “Murals/ of Southern Maine, Gorham 04038; or call: (207) 780- of Minnesota, Minneapolis, Minnesota 55455; or call: Wall Sculpture/Bas Relief’ with George Mason (July 5460. (612) 373-4947. 8-10); “The Fire as Patina: Pit Firing” with Tom Neu- Maine, Kents Hill Missouri, Kansas City gebauer (July 12-14); “Personal Glazing Techniques” June 30-August 7 7 June 17-July 12 with Barbara Tiso (July 17-21); “Coloring Clay with “Horizons: The New England Craft Program” at Kents Kansas City Art Institute’s “Ceramics Workshop” will Camelman” with David B. Ward (July 23); “Making Hill School will include two 3-week ceramics workshops include handbuilding and raku methods with George Pots” with Chris Staley (July 24); “Firing Workshop” with Mark Kuzio. For high-school students. Fee: $1150, Timock, and wheel throwing, glazing and firing func­ with Kris Nelson (August 2-8); “Large Vessel Construc­ includes lodging and meals; plus $155 for materials, trips, tional ware with Clary Illian. For all skill levels. Fee: tion” with Nancy Frommer LaPointe (August 10-11); etc. Contact: Jane Sinauer, Horizons: The New England $645. Live-in accommodations available. Contact: Kansas and “The Art of Throwing Salt-Glazed Pottery” with Craft Program, 374 Old Montague Rd., Amherst, Mas­ City Art Institute, Academic Dean, 4415 Warwick Blvd., Rinny Staber (August 17-23). Fee: $40/l-day; $65/2- sachusetts 01002; or call: (413) 549-4841. Kansas City 64111; or call: (816) 561-4852. day; $85/3-day; $115/5-day; or $135/7-day session. Massachusetts, Amherst Montana, Missoula Limited live-in accommodations available. Contact: Pe­ June 4-July 12 June 16-August 31 ters Valley Craftsmen, Inc., Peters Valley, Layton 07851; University of Massachusetts at Amherst is planning: Grimmstone Pottery will offer individual instruction on or call: (201) 948-5200. “Moldmaking and Slip Casting” with John Pohanka, for throwing, handbuilding, murals, glaze formulation and New Jersey, Loveladies beginning through intermediate students; and “Ceramic application, kilnbuilding and clay prospecting. Instructor: June 24-August 14 Surfaces” with Kate Collie, for intermediate students. Douglas Grimm, plus guest artists Rudy Autio, Doug Long Beach Island Foundation of Arts and Sciences is Contact: Department of Art, University of Massachusetts Baldwin and Dave Smith. Fee: $95 per week. Live-in offering “Sculptural Design Seminar” with Mark Davies at Amherst, Amherst 01003; or call: (413) 545-1902. accommodations available. Contact: Douglas Grimm, Castle (June 24-28); “The Ceramic Studio” with Jane G. Gran- Massachusetts, Cambridge Grimm on the Rattlesnake, 2524 Sycamore, Route 7, nis (July 1-19); “Ceramic Sculpture Workshop” with David June 10-August 4 Missoula 59802; or call: (406) 543-7970. L. Davis (July 15-19); “The Raku Experience” with Radcliffe Ceramics Summer Studio is offering an open Nebraska, Omaha Constance Bracci-Mclndoe (July 22-August 2); and studio in stoneware and porcelain throwing and hand­ May 27-June 29 “Hands-on Ceramic Workshop” with William Daley building, glazing and gas reduction, sodium vapor and The Alternative Work Site Program is offering a session (August 13-14). For beginning through advanced stu­ raku firing. Instructors: Warren Mather, Shawn Pane- with Jun Kaneko on planning and building three large dents. Live-in and camping facilities available. Contact: pinto and Makoto Yabe. For beginning through advanced gas kilns. Up to 10 participants. Fee: $650, includes hous­ Long Beach Island Foundation of the Arts and Sciences, students. Fee: $245, includes materials. Contact: Radcliffe ing. Contact: Ree Schonlau, Alternative Work Site Pro­ 120 Long Beach Blvd., Loveladies 08008; or call: (609) Ceramics Summer Studio, Office of the Arts, 10 Garden gram, 511 S. 11, Omaha 68102; or call (402) 346-8887. 494-1241. St., Cambridge 02138; or call: (617) 495-8676 or 495- Nevada, Incline Village New Jersey, Morristown 8680. June 17-July 10 July 1-25 Massachusetts, Housatonic Sierra Nevada College is offering 2- and 7-day sessions Earth & Fire Pottery plans a 4-week session on hand­ June 1-August 31 including “Wood-Fired Ceramics” with Fred Olsen (June building, throwing and glazing with Michael F. Feno. The Great Barrington Pottery will offer three 1-month workshops on Japanese throwing and turning techniques with emphasis on production; includes firing a wood- burning kiln. Instructor: Richard Bennett. For beginning Massive throwing using coil and pull techniques at “Summer in Greece ” in Rethymnon, Crete. through advanced students and professionals. Contact: The Great Barrington Pottery, Housatonic 02136; or call: (413) 274-6259. Massachusetts, Newton Highlands June-August The Potters Shop is offering: “Raku” and “Throwing Large Forms” with Steven Branfman; “Beginning Throwing Workshop” and “Handbuilding” with Jodine Kuhlman; “Glazing and Decorating” with Carol Temkin; and “Handbuilding with Porcelain” with Debbie Freed. Contact: The Potters Shop, 34 Lincoln St., Newton High­ lands 02161; or call: (617) 965-3959. Massachusetts, Truro July 1-August 30 Truro Center for the Arts is offering “Wheel and Hand­ building” with Katy McFadden (July 1-5), fee: $95; “Ce­ ramic Wall Pieces” with Richard Zakin (July 8-12), fee: $175; “The Ceramic Tradition/Expanding the Possibil­ ities to Sculpture” with Tom Spleth (July 15-19), fee: $125; “Primitive Pottery” with Patrick Shia Crabb (July 22-27), fee: $125; “Wood Ash Glazed Porcelain” with Tom Kendall (August 5-9), fee: $125; “Stoneware/Pro­ duction and Altered” with Byron Temple (August 12-16), fee: $175; “Clay Relief/2 & 3 Dimensional Expression” with Katy McFadden (August 19-23), fee: $125; and “Handbuilding/Working Large” with Anne Lord (Au­ gust 26-30), fee: $95. Camping and live-in accommo­ dations available. Contact: Truro Center for the Arts, Castle Hill, Truro 02666; or call: (617) 349-7511.

April 1985 31 Fee: $90, plus firing charge. Contact: Earth & Fire Pot­ sions on sculptural and wheel-thrown ceramics, low-fire kiln. Live-in accommodations available. Fee: $195, plus tery Studio, Box 5, Morristown 07960; or call: (201) 455- salt, raku and pit firing. Instructors: Barbra Harnak and $30 for materials. Contact: Teachers College, Columbia 9368. Michael Lancaster. For intermediate and advanced stu­ University, Box 78, 525 W. 120 St., New York 10027; or New York, Alfred dents. Fee: $125. Camping and live-in accommodations call: (212) 678-3360. June 26-August 4 available. Contact: Malden Bridge School of Art, Arts New York, Port Chester Alfred University is offering sessions with Tony Hep­ Center, Malden Bridge 12115; or call: (518) 766-3616. July 13-20 burn, Jacquie Rice, Karon Doherty and Jeff Oestreich. New York, New York “Clay Art Center Summer Festival” will include “Paul For beginning through advanced students. Live-in accom­ May 29-July 25 Soldner Workshop,” on decoration, low-fire salt glazing, modations available. Contact: Lewis Butler, Summer School Riverside Church Arts and Crafts is offering a program kiln and burner design (July 13-14); “Figurative Sculp­ Office, Carnegie Hall, Alfred 14802; or call: (607) 871 - on stoneware, porcelain and earthenware. Groups limited ture” with Judy Moonelis (July 15-16); “Stoneware 2141. to 15 students. Fee: $100 includes materials and firing. Wheel-throwing and Glazing Methods” with Stephen New York, Chautauqua Contact: John Moyer, Riverside Church Arts and Crafts, Rodriguez, and “An Anagama Kiln,” slide lecture with August 5-9 490 Riverside Dr., New York 10027; or call: (212) 749- Katsuyuki Sakazume (July 17); “Porcelain Wheel-throw­ Chautauqua Institution is offering “Large-Scale Hand­ 8140. ing Techniques” with Jim Makins, and “Pinching Large building Workshop” with William Daley. Fee: $55. For June 1-August 30 Forms” with Elsoeth S. Woody (July 18-19); and “Gra­ intermediate to advanced students and professionals. Live- “The Urban Potter” will include 4-, 6- and 8-week ses­ ham Marks Workshop” (July 20). For all skill levels. in accommodations available. Contact: Chautauqua In­ sions on wheel throwing (with Maxine Krasnow), glazing Fee: $35 for 1 day, $65 for 2, or $200 for full Summer stitution, Schools Office, Box 1098, Chautauqua 14750; and Japanese brush painting (with Janna Moore), plus Festival. Camping and live-in accommodations available. or call: (716) 357-4411. glaze mixing, kiln firing and studio management (with Contact: Clay Art Center, 40 Beech St., Port Chester New York, Clayton Deb Patterson). For beginning through advanced stu­ 10573; or call: (914) 937-2047. June 28-August 9 dents. Contact: Supermud Pottery, 2875 Broadway, New New York, Saratoga Springs Thousand Islands Craft School is planning “Cone 6 Glaz­ York 10025; or call: (212) 222-6748. May 29-August 15 es” with Richard Zakin (June 28-30), fee: $50; “Wheel June 6-July 18 Skidmore College is offering sessions with emphasis on Throwing” with Arthur Sennett (July 15-26), fee: $150; “Porcelain Workshop” with guest instructor Andy Martin handbuilding for beginning and intermediate students (May and “Raku” with Chris Thompson (August 5—9), fee: $75. (wheel throwing and mold making) plus Michael Boyer, 29-July 3 and July 10-August 14), fee: $190 includes For beginning through advanced students. Camping Sally Israel, Adeline Olmer and Alice Turkel. For all materials; and on throwing for advanced and independent available. Contact: Thousand Islands Craft School, 314 skill levels. Contact: Janet Bryant, 92nd St. Y, 1395 Lex­ students (May 30-July 4 and July 11-August 15), fee: John St., Clayton 13624; or call: (315) 686-4123. ington Ave., New York 10128; or call: (212) 427-6000, $200 includes materials. Instructors: Regis Brodie and New York, Greenvale ext. 172. Leslie Strong. Plus “Kiln Technology,” with Regis Brodie, August 5-9 June 17-July 25 for studio potters interested in building, rebuilding or “Summer Arts Festival: Raku” at C.W. Post Center of “Pure Porcelain: Colored Slips and Airbrush Techniques” insulating kilns (June 21-23), fee: $90. Camping and Long Island University will focus on primitive tech­ with Bob Barry and Mary Roettger. For beginning through live-in accommodations available. Contact: Summer SIX niques. For beginning through advanced students. Live- advanced students. Fee: $100; nonmembers $114. Live- Art Program, Skidmore College, Saratoga Springs 12866; in accommodations available. Contact: Summer Arts Fes­ in accommodations available. Contact: Bob Barry, West or call: (518) 584-5000, ext. 2372. tival, School of the Arts, Long Island University, C.W. Side YMCA, 5 W. 63 St., New York 10023; or call: (212) New York, Troy Post Campus, Greenvale 11548; or call: (516) 299-2203. 787-4400, ext. 118. June 4-July 23 New York, Ithaca June 24-August 28 Rensselaer County Council for the Arts will offer: “Ce­ June 16-July 28 “Animal and Human Forms in Stoneware” with Ailene ramic Sculpture,” “The Ceramic Collaborative,” and “The Clayworks is offering “Reduction Kilnbuilding” (June Fieldswill. For beginning through advanced students. Fee: Ceramic Studio.” For all skill levels. Also, “Primitive Pit 16-22), fee: $100; “Mask Making with Ba Stopha” (June $160. Contact: Margaret Simonds, Earthworks Pottery, Firing Workshop” (July 13). Instructor: Jayne E. Schatz. 15 and 22), fee: $30; and “Combining Handbuilt and 255 E. 74 St., New York 10021; or call: (212) 650-9337. Camping facilities available. Contact: RCCA, 189 Second Thrown Forms” (July 15-28), fee: $150, plus materials. June 25-August 8 St., Troy 12180; or call: (518) 273-0552. Camping and live-in accommodations available. Contact: Craft Students League of YWCA is offering “A Taste of New York, Woodstock Clayworks, 301 S. Geneva St., Ithaca 14850; or call: (607) Porcelain” with Arthur Gerace (June 25-July 30), six June 17-September 1 272-4815. sessions on handbuilding and throwing functional and The Byrdcliffe Summer Arts & Crafts School is offering New York, Lake Placid nonfunctional forms. Also sessions on traditional and in­ sessions on mold making with Ray Carter; colored clays June 17-August 16 novative handbuilding and wheel-throwing techniques with Kaete Brittin Shaw; sculpture, raku and pit firing “Parsons at Lake Placid” includes 1- or 2-week sessions (June 25-August 8). Fee: $80 per workshop, plus YWCA with David Smythe; and sculpture with Terri Conden. for ceramics students at all levels. Fee: $160 per week. membership. Contact: Janet Katz, Craft Students League For beginning through intermediate students. Live-in ac­ Live-in accommodations available. Contact: Office of Spe­ of YWCA, 610 Lexington Ave., New York 10022; or call: commodations available. Contact: Woodstock Guild, 34 cial Programs, Parsons School of Design, 66 Fifth Ave., (212) 755-4500, ext. 59. Tinker St., Woodstock 12498; or call: (914) 679-2079. New York 10011; or call: (212) 741-8975. July 22-August 11 North Carolina, Brasstown New York, Malden Bridge Teachers College is offering “Woodfiring and Salt Glaz­ June 24-September 21 July 20-August 4 ing,” a session with Jeff Jewell covering handbuilding, John C. Campbell Folk School is offering “Crystal Glaze The Malden Bridge Arts Center is offering weekend ses­ throwing and salt glazing in a two-chamber, wood-fired Pottery” with Len Lindsay (June 24-29); “Pottery” with Lee Davis (July 7-20); “Raku Pottery” with Ruth Trent (July 21-27); “Pottery” with Bob Meier (August 4-17); “Pottery Glaze Formulation” with Marcia Bugg (August Rakuing on the beach at Kualoa Regional Park in Hawaii. 18-24); and “Pottery” with Bob Wagar (September 8-21). For beginning through advanced students. Fee: $120 for 1 week; $210 for 2. Camping and live-in accommodations available. Contact: John C. Campbell Folk School, Route 1, Brasstown 28902; or call: (704) 837-2775. North Carolina, Clyde July 8-September 24 “Clay Techniques” with Gary Clontz; for intermediate to advanced students. Camping available. Contact: Gary Clontz, Production Crafts Department, Haywood Tech­ nical College, Clyde 28721; or call: (704) 627-2821. North Carolina, Cullowhee July 3-August 2 “Raku Pottery” with Bill Buchanan. For beginning through advanced students. Live-in accommodations available. Contact: Jerry A. Rice, Western Carolina University, Summer Program, 445 HFR Administration, Cullowhee 28723; or call: (704) 227-7228. North Carolina, Penland June 3-September 27 Penland School of Crafts is offering sessions with Will Ruggles and Douglass Rankin (June 3-21); Hank Mur- row and Harvey Goldman (June 24-July 12); Ron Dale and Bob James (July 15-August 2); Brad Reed (August 12-23); Cynthia Bringle and Jane Peiser (August 21-September 13); and Jim Lawton (September 16-27). For beginning students through professionals. Live-in ac­ commodations available. Contact: Penland School of Crafts, Penland 28765; or call: (704) 765-2359. Ohio, Akron June 17-28 The University of Akron is offering an introduction to raku with Donna Webb. For all skill levels. Contact: Don­ na Webb, Art Department, University of Akron, Akron 44325; or call: (216) 284-2615. Ohio, Cleveland June 3-28 “Ceramic Compositions” with Steven Bradford will cover low firing, throwing and handbuilding; for all skill levels. Fee: $350, plus materials. Contact: Cleveland Institute of Art, 11141 East Blvd., Cleveland 44106; or call: (216) 229-0928.

32 Ceramics Monthly Jack Troy; “Basic Wheel” (August 5-10) with Valda Cox; ware throwing and handbuilding for beginning through and “Handbuilt Raku” (August 12-17) with Lou Ann advanced students. Instructor: Duke Miecznikowski. Fee: Gallaner. Camping and live-in accommodations available. $270 per week. Camping and live-in accommodations Contact: Pioneer Crafts Council, Box 2141, Uniontown available. Contact: Augusta Heritage Center, Davis & 15401; or call: (412) 438-2811. Elkins College, Elkins 26241; or call: (304) 636-1903, Rhode Island, Providence ext. 209. June 3-21 West Virginia, Glenville Rhode Island College is offering “Raku and Smoke Fir­ June 17-August 9 ing” with Jay Lacouture. For intermediate and advanced Glenville State College is offering two sessions for various students. Live-in accommodations available. Contact: Art skill levels; also individual research in porcelain, glazes Department, Rhode Island College, 600 Mt.Pleasant Ave., and firing. Camping and live-in accommodations avail­ Providence 02908; or call: (401) 456-8054. able. Contact: Charles C. Scott, Department of Art, Glen­ June 24-August 2 ville State College, Glenville 26351; or call: (304) 462- Rhode Island School of Design is offering “Summer Clay” 7361. for beginning through advanced students and profession­ Wisconsin, Drummond als. Instructors: Chris Staley (high-fired pottery); Stan June 9-15 Andersen (low-fire functional pottery); Debby Coolidge University of Wisconsin is planning “Potpourri of Form­ and Karon Doherty (handbuilding). Live-in accommo­ ing and Firing Methods in Clay,” a live-in session at dations available. Contact: RISD Continuing Education, Pigeon Lake Field Station. Instructors: Kurt Wild and Dept. CM, 2 College St., Providence 02903; or call: (401) Doug Johnson. For intermediate through advanced stu­ 331-3511, ext. 282. dents and professionals. Fees: $116 for Minnesota and South Dakota, Spearfish Wisconsin residents; $219 nonresidents, includes room, July 15-26 board, and materials. Contact: Don Aabel, Pigeon Lake Black Hills State College is offering a session on raku Field Station, 315H North Hall, University of Wiscon- methods, clay, glazes and firing for beginning through sin-River Falls, River Falls 54022; or call: (715) 425- advanced students. Instructor: Jeannie French. Camping 3335. and live-in accommodations available. Contact: Jeannie Wisconsin, Sheboygan French, Art Department, Black Hills State College, Summer Spearfish 57783;^ or call: (605) 642-2672. “Art/Industry Residency” at Kohler Company is an op­ Tennessee, Gatlinburg portunity for artists to work in an industrial environment, June 3-August 16 using the facilities to develop their own ideas. Factory Arrowmont School of Arts and Crafts is offering “Ce­ personnel available for consultation. Selection is from sub­ ramics” with Barbara Tipton (June 3-7), for interme­ mitted slides, resume, references and proposal for a proj­ diate to advanced students; “Clay and the Anagama” with ect. Artists receive one round-trip fare from hometown, Jack Troy (June 10-21), for beginning through advanced free housing, $85 per week honorarium, free materials students; “Low-Fire Surface Decoration” with Karen and 24-hour use of facilities. Contact: Nancy Drummer, Koblitz (June 24-28), for beginning through advanced Arts/Industry Program, John Michael Kohler Arts Cen­ students; “Porcelain” with Catharine Hiersoux (July 1-12), ter, Box 489, Sheboygan 53082; or call: (414) 458-6144. for intermediate to advanced students; “Raku” with Rich­ Wyoming, Jackson ard Hirsch (July 15-19), for beginning through advanced June 12-14 students; “Raku” with Karl Borgeson (July 22-;~jgust Jackson Hole Arts Center is planning “Pit Firing for 2), for beginning through advanced students; “Single Fir­ Surface Coloration” with Bruce Dehnert. For beginning ing” with Steven Hill (August 5-9), for intermediate to through advanced students. Fee: $65, plus $19.50 for ma­ advanced students; and “A Study of Form through Clay” terials. Camping facilities available. Contact: Jackson Hole Apprentices at Moravian Tile Works, Doylestown, with Mary Roehm (August 12-16), for beginning through Art Association, Box 1248, Jackson 83001; or call: (307) Pennsylvania. advanced students. Fee: $115 per week. Live-in accom­ 733-6379. modations available. Contact: Arrowmont School of Arts and Crafts, Box 567, Gatlinburg 37738; or call: (615) Ohio, Logan 436-5860. International June 16-22 Tennessee, Smithville “Pipe Sculpture Workshop” at Logan Clay Products will June 17-26 Belgium, Rochehaut involve working with large extrusions of industrial clay. Appalachian Center for Crafts is offering “Ceramic July 8-August 25 Instructor: Jerry Caplan. Fee: $200 includes materials Sculpture” with Jens Morrison (June 17-21); “Utilitar­ Maison Artisanale de Rochehaut is offering two sessions and firing. Participants will be selected from slides. May ian Pottery” with Ron Meyers (June 24-28); “Hand (July 8-13 and August 19-25) on handbuilding, wheel 31 entry deadline. Send self-addressed, stamped envelope Forming” with Andy Nasisse (July 8-12); “Mold Mak­ throwing, glaze technology, kilnbuilding and primitive fir­ to: Jerry Caplan, Pipe Sculpture Workshops, 5819 Alder ing/Clay Assemblage Techniques” with Mic Stowell (July ing. For beginning through advanced students. Instruction St., Pittsburgh, Pennsylvania 15232; or call: (412) 661 - 15-19); and “Color and Line,” with Rimas VisGirda. For in English, French, Dutch or German. Fee: BF3000 (ap­ 0179. beginning through advanced students. Fee: $20 per day. proximately $50) per session. Live-in accommodations Oregon, Corbett Camping and live-in accommodations available. Contact: available. Contact: Denise Frankinet, Route de Poupehan August 11-24 Appalachian Center for Crafts, Box 347, Rte. 3, Smith­ 62, 6849 Rochehaut; or call: (061) 46 6480. Creative Arts Community is offering “Arts at Menucha,” ville 37166; or call: (615) 597-6801. 1- and 2-week sessions at the Menucha Retreat. Instruc­ Texas, Farmers Branch tors: Judy Teufel (handbuilding) and Dennis Meiners June 18-July 2 (throwing). For beginning through advanced students. Fee: Brookhaven College is planning a session on burnishing Getting into clay at Starfloiver Forge & Pottery in $310 for 1 week; $550 for 2, includes room and board. and smoke firing techniques with Bennett Bean and Lisa Monroe, Maine. Contact: C.A.C., Box 4958, Portland, Oregon 97208; or Ehrich. For beginning through advanced students. Fee: call: (503) 281-2204. $40. Contact: Lisa Ehrich, Fine Arts Department, Brook­ Oregon, Otis haven College, 3939 Valley View Ln., Farmers Branch July 19-21 75244; or call: (214) 620-4730. “Raku Pottery and Primitive Firing Methods” with Judy Vermont, Bennington Teufel. For all skill levels. Fee: $55. Live-in accommo­ August 4-17 dations and camping available. Contact: Sitka Center for “Art New England Summer Workshops” at Bennington Art, Box 65, Otis 97368; or call: (503) 994-5485. College will include “Porcelain” with Chris Staley (Au­ Oregon, Portland gust 11-17). For beginning through advanced students. June 17-July 27 Fee: $235 per session. Live-in accommodations available. Oregon School of Arts and Crafts is planning “Porcelain: Contact: Art New England Summer Workshops, Box 140, Throwing and Alteration of Forms” with Ruri (June Chestnut Hill, Massachusetts 02167; or call: (617) 232- 17-18); and “Working with Porcelain” with Tom Cole­ 1604. ^ man (July 26-27). Fee for each workshop: $48 members; Washington, Entitat $60 nonmembers. Contact: Andrea Nebel, Oregon School June 16-21 of Arts and Crafts, 8245 S.W. Barnes Rd., Portland 97225; “Fourth Annual Raku Workshop” with Zeljko Kujundzic, or call: (503) 297-5544. at Washington State, Entitat, on the Columbia River. For Pennsylvania, Doylestown beginning through advanced students; bring own tools. June 10-August 30 Fee: $75. Camping available. Contact: Elizabeth Camp­ Moravian Pottery & Tile Works is offering an appren­ bell, Box 462, Entitat 98822; or call: (509) 784-1823. ticeship program on the production of tiles as they were Washington, Seattle made in the 1900s. For advanced students. Instructor: June 22-July 20 Mandy Sallada. The apprentice will contribute 3 days of Seward Park Art Studio is offering “Terra Sigillata— production in exchange for studio space and materials. Ancient Greek Technique” (June 22-23, and 29-30) with Contact: Moravian Pottery & Tile Works, Swamp Road, Ed Fitzpatrick demonstrating application on handbuilt or Doylestown 18901; or call: (215) 345-6722. thrown ware and pit firing; for all skill levels. Fee: $80. Pennsylvania, Uniontown Also “Raku” (July 13 or 20) with Bill Wilcox empha­ June 17-August 17 sizing special effect formulas and techniques; for inter­ Pioneer Crafts Council/Touchstone Center for Crafts is mediate to advanced students and professionals. Fee: $20 offering “Ceramic Sculpture” (June 17-22) with Sherri each day, bring own bisqueware. Contact: Seward Park Farbstein; “Ceramics: Intermediate Wheel” (June 24-29) Art Studio, 5900 Lake Washington Blvd., S, Seattle 98118; with Paul Jay; “Glazing and Decorating Traditional Pot­ or call: (206) 723-5780. tery” (July 8-13) with Ron Pivovar; “Wheel Work for West Virginia, Elkins Experienced Students” (July 22-27) and “Throwing and July 21 -August 2 Glazing for Advanced Students” (July 29-August 3) with Augusta Heritage Center is offering a session on stone­

April 1985 33 Canada, Alberta, Banff England, Suffolk, Ipswich May 27-August 30 Summer The Banff Centre is planning “Form/Surface/Intent” with “The Alan Baxter Pottery Workshop” will include week- Irisa Flynn, Jacqui Poncelet, George and Betty Woodman long sessions for all skill levels. Fee per week: £145 (ap­ (May 27-June 21), fee: $480; “Ceramic Installation Sym­ proximately $170), includes meals and lodging. Contact: posium” with Anne Elliot, Nancy Holt, John Mason, The White House Studio, Somersham, Ipswich, Suffolk; Sally Michener and Stephen Schofield (July 1-August or call: (473) 831256. ¾ 9), fee: $700; “Collaborations ’85: Phantasie and Other England, Worcestershire, Tenbury Wells Worlds” with Tony Oursler, Constance de Jong, Luigi June 1-September 7 Serafini and June Leaf (August 5-30), fee: $480; and Martin Homer Pottery is planning weekend sessions “Sculptural Vessel” with Steve Heineman and Graham (during June) and weekly sessions (July 7-September 7) Marks (August 12-23), fee: $275. For advanced students on all aspects of production. For all skill levels. Fees: £60 and professionals. Camping and live-in accommodations (approximately $70) per weekend or £159 (approxi­ available. Contact: Visual Arts Registrar, The Banff Centre mately $175) per week, includes accommodations. Con­ School of Fine Arts, Box 1020, Banff, Alberta T0L 0C0; tact: Tina Homer, Martin Homer Pottery, Aston Bank, or call: (403) 762-6180. Tenbury Wells, Worcestershire WR15 8LW; or call; (584) Canada, Alberta, Red Deer 79404. July 8-August 2 France, Morez Red Deer College is planning “Intermediate Throwing” July 4-11 with Noburo Kubo, fee: $85, and “Glaze Technology (Ba­ Centre d’Etudes et de Diffusion de Techniques Educa- sic)” with Rosanne Nicholson, fee: $75 (July 8—12); “In­ tives is offering a session on throwing, glazing and ma­ termediate Throwing” with Neil Liske, fee: $85 (July jolica decorating. Instructors: Pierre Rabiet and Chris 15-19); “Ceramics Professional Course” with William Sonntag. For beginning through advanced students. Fee: Hunt, fee: $85 (July 22-26); “Glazing & Firing Tech­ FI 300 (approximately $139). Contact: CEDTE, Serge niques” with Chuck Wissinger, fee: $170 Quly 22-August Favre, 10 Ave. Louis Paget, 39400 Morez; or call: (84) 2); and “Clay—Using Native Materials” with Dave Set­ 33-2674, or 60-6038. tles, fee: $75 (July 29-August 2). Camping and live-in France, Paris accommodations available. Contact: Continuing Educa­ July and September tion Department, Red Deer College, Box 5005, Red Deer, Atelier des Brikezolces is offering two month-long ses­ Alberta T4N 5FI5; or call: (403) 342-3300. sions covering throwing, handbuilding, sculpture, deco­ Canada, British Columbia, Victoria ration, glazing, working with red, white and black clay. July 15-26 For beginning and intermediate students. Instructor: Iule “Metchosin International Summer School of the Arts” at Amado-Fischgrund. Instruction in English, French and Pearson College includes “Glaze and Color Development” Spanish. Fee: F2500 (approximately $285). Live-in ac­ with Robin Hopper. For advanced students and profes­ Dan Rhodes conducting structure and form demo at commodations available. Contact: Atelier des Brikezolces, sionals. Fee: Can$200 (approximately $154) Camping Mendocino Art Center, California. 21 rue Liancourt, 75014 Paris; or call: (33) 321-5938. and live-in accommodations available. Contact: 4283 July 1-31 Metchosin Rd., R.R. 1, Victoria, British Columbia V8X Paris American Academy is planning a 4-week workshop 3W9; or call: (604) 474-2676. in handbuilding, wheel throwing and glaze technology for Canada, Nova Scotia, Halifax Canada, Quebec, Ayer’s Cliff beginning through advanced students and professionals. June 6-August 16 July-August Instruction in English and French. Live-in accommo­ Nova Scotia College of Art and Design is offering “Slip Rozynska Pottery is offering three 2-week sessions on dations available. Fee: F7500 (approximately $800). Con­ Casting Porcelain” with Julie Davidson and visiting artist throwing, handbuilding, glazing and firing for beginning tact: Paris American Academy, 9 rue des Ursulines, 75005 Andy Martin (June 6-28); “Earthenware Decorative through advanced students and professionals. Live-in ac­ Paris; or call: (33) 329-0178. ^ Pottery—Soda Firing” with Dale Pereira (July 2-24); commodations available. Instruction in English and French. France, Saint-Amand-En-Puisaye and “Architectural Ceramics” with Katrina Chaytor and Contact: Way’s Mills, Ayer’s Cliff, Quebec JOB ICO; or July 1-August 9 visiting artist George Mason. (July 25-August 16). Con­ call: (819) 838-4321. Centre National d’lnitiation de Formation et de Perfec- tact: N.S.C.A.D., 5163 Duke St., Halifax, Nova Scotia England, Berkshire, Maidenhead tionnement de la Poterie et du Gres is planning 2- and B3 J 3J6. July-August 3-week sessions on wheel throwing and glaze technology Canada, Ontario, Manitoulin Island Kingsbury Pottery is planning week-long sessions on with Jean Cacheleux, Gilbert Chouzet and Christian Le- Summer stoneware and porcelain throwing, decorating, hand­ goff. For all skill levels. Instruction in French and “a little Manitoulin Pottery is offering several sessions on “Smoke- building and glazes. Instructor: Renee Rubinstein. For English.” Live-in accommodations and camping available. Fired Clay,” clay digging and preparation, handbuilding, beginning through advanced students and professionals. Contact: C.N.I.F.O.P., Route de Saint-Sauveur, 58310 throwing and wood firing with Jose Garcia; “Native Pot­ Fee: £165 (approximately $193) per week, includes ac­ Saint-Amand-En-Puisaye; or call: (86) 39-6017. tery” with Carl Beam (August 9-11); and “Painting on commodations. Contact: Kingsbury Pottery, 4 Boyn Hill France, Saint Ambroix Clay Plates” with Alberto de Castro and Cecil Young Fox Rd., Maidenhead, Berkshire SL6 4JB; or call: (628) 27984. July 1-September 7 (July 25-August 8). For all skill levels. Instruction in England, Essex, White Roding Mas Cassac is offering 2-week sessions with emphasis on English, Dutch and Spanish. Fees: Can$75 (approxi­ June 30-August 31 mately $58) per week; Can$35 (approximately $27) per White Roding Pottery is offering weekly sessions on weekend. Live-in and camping accommodations available. throwing, handbuilding, decorating and firing including Contact: Manitoulin Pottery School, Box 45, South Bay wood-fired raku, bonfire and sawdust. For beginning Product of traditional earthenware techniques during Mouth, Manitoulin Island, Ontario POP 1Z0; or call: through advanced students and professionals. Instructors: “Summer in Greece” program. (705) 674-8902 or 859-3045. Deborah Baynes, Martin Vella. Fee: £155 (approxi­ Canada, Ontario, Mississauga mately $180), includes accommodations. Contact: White July 1-28 Roding Pottery, White Roding, Nr. Dunmow, Essex; or Sheridan College School of Crafts & Design is offering: call: White Roding (279) 76326. “Tableware,” throwing, mid-range Cone 5 oxidation fir­ England, Hampshire, Portsmouth ing with Rebecca Rupp (July 1-22), fee: Can$180 (ap­ Summer proximately $138); and “Raku in an Urban Environ­ Mary Rose Workshops offers 3-week sessions on ceramics ment,” surface treatment, glaze experimentation and restoration. For all skill levels. Fee: £300 (approximately building a small fiber kiln with Ann Cummings (July $348). Camping facilities available. Contact: Mary Rose 19-21 and 26-28), fee: Can$90 (approximately $69). For Wrangham, Victory House, Rm. 304, Victory Business intermediate and advanced students. Live-in accommo­ Centre, Somers Rd. N., Portsmouth, Hampshire. dations available. Contact: 1460 S. Sheridan Way, Missis­ England, Kent, Maidstone sauga, Ontario L5H 1Z7; or call: (416) 459-7533, ext. July-August 220. John Solly Pottery is planning several 1-week workshops Canada, Ontario, North Bay with emphasis on throwing, press molding, and slip dec­ July 8-26 oration using combing and feathering techniques. For be­ Canadore College is offering “Functional Design” with ginning and intermediate students; up to 10 participants Donn Zver (July 8-12); “Handbuilding Clay Sculpture” per session. Fee: £70 (approximately $82) per week. Con­ with Dzintars Mezulis (July 22-26); “Low Relief Clay tact: John Solly, 36 London Rd., Maidstone, Kent ME16 Sculpture” with Richard Gill (July 8-12); “Porcelain” 80L with Kayo Oyoung (July 15-19); “Surface Decoration” England, Somerset, Butleigh with Paul Mathieu (July 22-26). For all skill levels. And July 14-August 10 “Handbuilding Clay Sculpture” with Dzintars Mezulis Dove Workshops is planning 6-day sessions on wheel (July 15-19) for beginning and intermediate students. throwing, raw glazing, stoneware or raku firings. Instruc­ Fees: Can$40 (approximately $31) per workshop, plus tor: Paul Stubbs. For beginning and intermediate stu­ materials. Camping and live-in accommodations avail­ dents. Fee: £70 (approximately $81). Camping facilities able. Contact: Artsperience ’85, Canadore College, Box available. Contact: Dove Workshops, Barton Rd., But­ 5001, North Bay, Ontario P1B 8K9; or call: (705) 474- leigh, Nr. Glastonbury, Somerset; or call: (458) 50385. 7600; for area codes 416, 613 and 705, toll free number England, Somerset, Queen Camel (800) 461-9513. July 1-September 7 Canada, Ontario, Toronto “Douglas Phillips Summer Pottery Course” will cover May 27-July 8 throwing, glaze technology, kilnbuilding and wood firing, George Brown College is offering two 3-week sessions on and raw glazing. Instructors: Clive Bowen, Peter Lane, throwing, handbuilding and glazing for intermediate stu­ Douglas Phillips, David Winkley and Nigel Wood. For dents. Instructors: Judy Lowry and Gerry Johns. Fee: beginning through advanced students and professionals. Can$155 (approximately $120). Contact: George Brown Camping and live-in accommodations available. Contact: College, Casa Loma Campus, Ceramic Department, Box Ridge Pottery, Queen Camel, Yeovil, Somerset BA22 7NF; 1015, Toronto, Ontario M5T 2T9. or call: (935) 850753.

34 C eramics Monthly throwing and glazing. For beginning through advanced San Francisco, Calif. 94111; or call: (415) 397-0185. students; maximum 10 participants in each session. Fee: Ivory Coast, Abidjian Workshops Abroad F2800 (approximately $300), includes materials, firing, July 4-August 3 lodging, meals and insurance. Instruction in English and “Parsons in West Africa” will include study of the artistic French. Contact: Michel Simonot, Mas Cassac, Allegre heritage of the Baule, Senufo, Dan and Guro ethnic groups, by Cher Brown 30500, Saint Ambroix; or call: (66) 85-6565. plus visits to two cultural regions. For all skill levels. Fee: France, Yonne, Poilly sur Serein $3200, includes tuition, transportation from New York, July-August ground transportation and lodgings. Contact: Office of Le Moulin is offering 1- to 3-week sessions on throwing Special Programs, Parsons School of Design, 66 Fifth stoneware and porcelain, sculpture, glazing, kilnbuilding Ave., New York 10011; or call: (212) 741-8975. and firing. For beginning through advanced students and Japan, Tokyo professionals; up to 14 participants per session. Instruc­ July 25-August 27 tors: Janny Van Losser and Hester Tjebbes. Instruction “Parsons in Japan” will include contact with Japanese in Dutch, English or French. Contact: Le Moulin, Poilly- master potters, studio facilities, visits to public and private sur-Serein, 89310 Noyers; or call: (86) 75-9246. collections and special presentations of traditional cere­ Greece, Crete, Rethymnon monies. For all skill levels. Fee: $3500-$3750, includes July 6-August 20 tuition, transportation from New York, ground transpor­ “Summer in Greece,” a study program on handbuilding tation and lodgings. Contact: Office of Special Programs, and throwing earthenware, local traditional techniques Parsons School of Design, 66 Fifth Ave., New York 10011; for decoration with underglazes, slips and engobes, sculp­ or call: (212) 741-8975. Potters interested in summer workshops ture and art history of Crete. Includes tours to pottery Mexico, Guanajuato, San Miguel de Allende outside the United States might appre­ towns, museums and archaeological sites. Instructors: Louis June 10-August 24 Trakis and Bernice Jones. For all student levels. Fee: Gres, Arte y Diseno, is offering throwing, handbuilding ciate some tips and insights gained during $1384, plus air fare; early deposit required. Contact: Louis and primitive pottery sessions plus field trips to local visits to several in France. There, and in Trakis, Manhattanville College, Purchase, New York potteries. For beginning through advanced students. In­ 10577; or call: (914) 694-2200, ext. 331 or 337. struction in English and Spanish. Contact: Nancy Sclight, most other countries, a quite remarkable Italy, Anacapri Aparicio 4, San Miguel de Allende, Guanajuato; or call: range of experience is available. Potters July-August (465) 2-18-66. often organize classes, together with “Art in Action: International Workshop in Artistic Ce­ Netherlands, Heusden ramics,” 1-month sessions on handbuilding, throwing, June 1-July 20 friends, or in their own homes or studios. glazing and firing techniques for intermediate and ad­ Keramisch Werkcentrum Heusden is offering several pro­ To someone accustomed to ceramics vanced students. Instructors include: Nino Caruso and grams with Vilma Henkelman, Helly Oestreicher and Sergio Rubino. Instruction in English, German and Ital­ Diet Wiegman. Contact: Stichting Keramisch Werkcen­ courses in the gentle shadow of a uni­ ian. Fee: approximately $1425, includes materials, meals, trum Heusden, Box 15, 5256 ZG Heusden; or call: 04162- versity art department, the diversity of in­ lodging, visits and artistic sites and museums, and final 1694. exhibition of works. For applications contact: Italian Cul­ Netherlands, Oosterwolde (Fochteloo) ternational ideas about aesthetics, mate­ tural Institute, 686 Park Ave., New York, New York 10021. June 17-September 13 rials, techniques, and conditions or dura­ Or Lucia de Grazia, 914 Great Rd., Princeton, New Kees Hoogendam is offering “Primitive Pottery” (June tion of instruction can be stunning, lib­ Jersey 08540; or call: (609) 924-4947. Or Sergio Rubina, 17-21); “Raku” (June 24-28); “Reduction Stoneware” via Catena 9, 800071 Anacapri (Naples); or call: (081) (July 1-5); “Salt Glazing” (July 8-12); “Throwing” erating and exciting—but this compli­ 837-1878 or 837-2332. (September 2-6); and “Decoration Techniques” (Septem- cates long-distance selections. When writing for details, it makes sense to express an interest in the creative work of the instructor(s) of the workshop. The standard response mailings are often unembellished application forms, but nearly every workshop has supplemen­ tary materials and photos of faculty work available. It is also advisable to include personal information to identify your skill level and housing needs. Potters interest­ ed in keeping their works might schedule courses at the beginning of a vacation/ study tour to allow time for firing. Don’t be overly concerned about lan­ guage. Often English is a second lan­ Ceramics studio at the University of Evansville, Indiana. guage for other participants. Besides, there is an international language of clay which we all speak that can make classes worth­ Italy, Cortona ber 9-13). Instruction in English and Dutch. For all skill while in spite of language differences. June 11-August 20 levels. Fee: f 125 (approximately $35). Live-in accom­ Andre Joulin, of the national school for “University of Georgia Studies Abroad Program” includes modations available. Contact: Kees Hoogendam, De Knolle ceramics with John Goodheart; for all skill levels. Fee: 3A 8431 RJ, Oosterwolde (Fochteloo); or call: 05160- potters at Saint Amand, feels summer $3250. Contact: Director, UGA Studies Abroad Program, 8238. courses wouldn’t be difficult for a person University of Georgia, Visual Arts Bldg., Athens, Georgia Scotland, Caithness, Lyth by Wick 30602; or call: (404) 542-7011. Summer with a limited knowledge of French. Italy, Faenza Lyth Ceramic Workshop is offering 1-, 2- and 3-week Most participants don’t arrive with au­ July 2-19 sessions on handbuilding and throwing functional and tomobiles. Programs in remote settings Emidio Galassi is offering a session on ceramic techniques sculptural forms, plus gas- and raku-firing techniques. for intermediate students through professionals. Camping For all skill levels. Instructor: Alan Bain. Instruction in (and some are quite isolated) have stand­ and live-in accommodations available. Instruction in En­ English and French. Fee: £145 (approximately $168) per ing procedures for transportation from glish, French and German. Contact: Emidio Galassi, Via week, includes room and board. Contact: Schoniad Bain, Borgo S. Rocco 12, 48018 Faenza; or call: (546) 66-1655. Lyth Ceramic Workshop, Lyth by Wick, Caithness; or the nearest train or bus station. Some or­ Italy, Siena call: (95) 584339. ganize group excursions to nearby places August 3-17 Spain, Cadiz, Conil Verrocchio Arts Centre is offering a workshop on throw­ July 9-August 29 of interest and others provide bicycles. ing, handbuilding, modeling and decorating with Jenifer La Tacita is offering 2- and 4-week sessions on all areas Accommodations, when provided, are Jones, Janet and Nigel Konstam. For all skill levels. Live- of instruction for beginning through advanced students modestly and fairly priced. These vary in accommodations available. Contact: Verrocchio Arts and professionals. Instructor: Jose Luis Aragon. Instruc­ Center Secretary, 51 Saint James’s Gardens, London Wl 1, tion in English, French and Spanish. Fee: Pts26000 (ap­ from the most basic bring-your-own- England; or call: (01) 603-5298. proximately $170) for 2 weeks. Camping and live-in ac­ sleeping-bag arrangement to deep-carpet Italy, Tuscania commodations available. Contact: La Tacita, El Colorado, July 1-August 31 Conil, Cadiz. comfort. In some instances participants “School of Vision Summer Course in Tuscania” will in­ Switzerland, Bruzzella become members of the artist’s house­ clude 2- and 3-week sessions on local forming and firing June-August methods, handbuilding, burnishing, sawdust and raku fir­ Centro Sperimentale is offering several 1-week sessions hold, sharing meals and living space as ing. Instructors: Mardi Wood and Carolyn Means. For on handbuilding, raku, primitive pottery, kilnbuilding and well as studio experiences. beginning through intermediate students, Fee: $75 per sculpture. Instructors: Elisabetta Mellier, Giorgio Peter Overall, information supplied by the week. Live-in accommodations available. Contact: Mardi and Nancy Sclight. Live-in accommodations available. Wood, 26 Alta Way, Corte Madera, Calif. 94925; or call: Contact: Elisabetta Mellier, Centro Sperimentale, CH- workshops I surveyed proved reliable and (415) 924-0578. Or Carolyn Means, Pier 9 Embarcadero, 6831, Bruzzella; or call: (091) 49-12-34. reasonably complete.

April 1985 35 New Zealand Impressions Part I by John Glick

Individual pots illustrated in this two- While in New Zealand I was to give chemical laboratory with the most mod­ part article were featured recently in two workshops. The New Zealand So­ ern weighing devices and dust evacua­ “Clay AZ Art,” an invitational exhibi­ ciety of Potters has a precedent of in­ tion system, and a kiln room filled main­ tion representing 33 New Zealand pot­ viting foreign potters to demonstrate their ly with fiber kilns. Although they told ters, at Northern Arizona University in techniques and explain their philoso­ me that this was the only facility in the Flagstaff.—Ed. phies—some of the more recent Amer­ entire country, it didn’t sink in at that ican visitors have been Don Reitz, Jack moment that they meant there were no Last year I traveled to New Zealand Troy and Elsa Rady. The site of the other such schools available for pottery as the guest of the New Zealand Society conference changes each year between training. As the days passed, I had time of Potters. And for those who don’t know the North and South Islands. to reflect on the fact that what I was me, I am what’s called a heavy traveler. The chronology and logistics of my seeing was a rather unique situation. That means I pack nearly my complete trip were simple—first to land at Auck- In the United States during the last studio, leaving only the kiln behind. If 20 years of our development as potters, you can, imagine me arriving at the we have had abundant opportunities to Auckland airport with two huge hand­ expand our awareness through schools built wooden cases filled with a variety . we. have had abundant with such specific offerings as courses of tools, two even larger cardboard car­ opportunities to expand our in artisanry, business practices for tons filled with pots for exhibition and awareness through schools craftspeople and so on. To many of us my baggage filled with personal items that’s become something taken for plus some complicated extruded clay with such specific offerings granted—that these schools should exist forms I felt needed to be brought with as courses in artisanry, and that we should have dozens of op­ me rather than make them in New Zea­ portunities to choose from. There, I was land. Faced with the prospect of cus­ business practices for seeing a country in which one facility toms, I had envisioned scenes from an craftspeople and so on. To existed, and despite its excellence I be­ espionage film where I would be con­ many of us [in the U.S.] gan to wonder how it was that so many fronted with an intimate search of all craftspeople could find an education. my belongings. I imagined these that's become something I soon learned that the polytech was hundreds of tools and pots strewn all taken for granted.” not the common route. Instead, appren­ over the examining area. But when I ticeship is a much more accepted step- walked up to the customs counter with ping-stone for would-be craftspeople. a letter from the potters’ society ex­ land and become familiar with the plan The emergence of the training facility plaining who and what I was, the young for the coming two weeks, then a brief was a very new phase in their crafts inspector looked at it briefly and said, flight from the North Island down to education. What I was going to see in “Oh, you’re a potter, eh? My neighbor’s Dunedin on the South Island where I the coming weeks—as I visited a num­ a potter.” And he proceeded to tell me would begin preparations for the major ber of private studios, saw art galleries what it was like to be friends with one two-day workshop to be held for the so­ and shops, and talked with potters— of the local potters. He didn’t look in ciety at the Otago Polytechnic School of was the impact of apprenticeship on the any of the cases, didn’t even ask what Fine Arts. I was amazed at the excellent appearance of the pots, on the attitudes was in the cardboard boxes. That was facilities; huge with extensive equip­ of the potters, on their acceptance in my introduction to the hospitality of what ment—a seemingly endless supply of society. The experience would tell me a could be called a country of potters. potter’s wheels, a beautifully equipped great deal about New Zealand potters,

36 CERAMICS MONTHLY as well as about American potters and surfaces. Being that my work is so sur­ it meant for many of these potters that how we’ve come to be what we are. face oriented, the New Zealanders were the work should be conservative, mod­ My workshop preparations were quite interested in the tools and tech­ estly brush decorated (if at all) and have completed after two days of throwing, niques that went into making the slip a very useful overtone because of its di­ extruding and rolling slabs—all so that designs as complicated as they are. It rectness in form and surface. Not that I would have sufficient semidried and certainly gave me ample opportunity to we were at odds about these issues, just leather-hard ware for two days of con­ answer questions about why I devel­ that there seemed to be a happy re­ tact with the New Zealand Society of oped such an interest in surface, to dis­ sponse to my interjection of a more ex­ Potters. They are 125 full-time potters, cuss those roots that I acknowledge in pressive attitude to combine with func­ a few teachers and a few students—a my early fascination with Oriental ce­ tionalism. really warm, gregarious, vocal, humor­ ramics and to pay homage to those in­ On the second day I shifted emphasis ous group of people with lovely accents. fluences. My feeling is that those roots to slab building, beginning with the ba­ In fact I told them that it was very were vital and needed to be respected, sic techniques employed in my first few tempting for me to try to adopt a New but also needed to be used as a staging years of studio work, then moving on to Zealand accent and begged their un­ point for a personal evolving, not as a interests that involved using hinged derstanding if I lapsed into mimicry. place where one would stay and some­ wooden molds, templates and both plat­ They were of course totally gracious how guard those influences as if they ter and clay press molds, then finally about that. were one’s own. introducing extruding for more complex

Finished ware is displayed outside the studio at Peter Gibbs’s and Julie Warren’s Omaio Pottery, Brightwater, Nelson, South Island, New Zealand. In the first few minutes of the work­ Through comments received at var­ form development. To that day’s work, shop I asked if there were specific tech­ ious points during that day’s work, I the strongest reaction was to the extru­ niques or areas of my work that the think the most rewarding part of the sions. Extruders are just becoming a group would like me to concentrate on demonstration for many of the New feature in New Zealand studios, but ba­ and one potter quickly said, “John, in Zealand potters had to do with seeing sically are used little—much as they are some ways we feel ourselves to be 15 someone who seemed to have permis­ in the United States where I see them years behind clay developments in the sion to be both whimsical and playful bolted to walls or frameworks, but just United States. So anything you do is in dealing with functional forms and sitting there rusting or stuffed with dry going to be welcome.” At first that state­ surfaces—somehow helping them get clay. Potters both here and in New Zea­ ment seemed self-depreciating to some over the feeling that there was a need land tend to think of an extruder as extent, but I soon came to realize that to be totally practical, that functional something that can make a handle and it was said with no sense of apology and work has severe limitations built into its little else. I had brought a large number really spoke about the fact that there format. Frequently, I felt that questions of dies, cutting guides and construction was a great openmindedness and hun­ and comments probablyhad come from tools that are essential to my process ger for information. a background of apprenticeship train­ and passed them around throughout the The first day was spent throwing and ing. day. A lot of time was spent stressing completing the forms made on the pre­ With each discussion I felt I under­ the absolute necessity of idea and form vious days—a series of pitchers, teapots, stood a little more about why so many development in the use of extruded plates and bowls—so that the ware could people could hold a common viewpoint components. be passed around in its leather-hard stage and that it could become an accepted I enjoyed the fresh comments and for the group to handle and observe the norm for interpreting work. Specifically challenging questions about my designs

April 1985 37 Royce McGlashan sorts boards of recently unloaded pit-fired ware in his Cobb Cottage Pottery studio, Brightwater, Nelson.

and technical solutions. As is so often I necessarily overly joyful to see so many from Dunedin to the opposite end of the the case, many technical difficulties I functional forms. There was in fact a South Island to the Nelson area on the had been stumbling over or was unsure preponderance of useful, tastefully made Tasman Bay, one of the most concen­ of were just a little further illuminated pots in modest scale. The breadth of trated areas for potters and galleries. by some of those fresh, questioning at­ glaze treatment also was healthy; nearly The Brightwater section of Nelson is titudes. “Why would I choose to cut every technique, including Shino, luster agricultural, with kiwi farms strewn something in such and such a way, if I and pit-fired surfaces as well as more across the hillsides. As I stood on one could simply avoid three steps and do it traditional stoneware glazes, was in evi­ of those hills looking over the plantings’ this way?” I often stood there and said, dence. Missing were the figurative, an­ pattern and color, the earth and the roads “You know, you’re right.” It’s the prob­ thropomorphic works we American crisscrossing the area, I appreciated my lem of linear thinking, as I call it, where viewers have come to expect in our ex­ first real chance to absorb that part of you get on a track and you keep moving hibitions, as were objects of huge size New Zealand after having spent the ahead. Then you fail to see some of the previous days in the cities. valid side tracks that could have done The Omaio Pottery of Peter Gibbs the job faster and simpler. . for. many of these and Julie Warren is settled comfortably One of the most enjoyable parts of next to a huge kiwi orchard. They have this visit was the chance to attend the potters . .the . work should a rustic farmhouse; a low shedlike opening of the 26th national exhibition be conservative, modestly building for the studio with connecting of works by the New Zealand Society buildings housing a variety of kilns; a of Potters held at the Dunedin Public brush decorated (if at all) small, efficiently designed, handsomely Art Gallery. The show is seen as a vital and have a very useful displayed showroom off to one side of educational concept as well as a pottery overtone because of the main studio building; and countless presentation. Exhibitions of this breadth wood stacks and drying sheds tucked in and caliber are vital to the public’s its directness in form around the fringes. The Gibbs family awareness of the New Zealand potters’ and surface” (four children included) seem to typify output. As a newcomer to this country, the many rural potters I was to see— I was anxious to see in depth what these isolated from the cities by a good deal potters who felt themselvesto be “15 (4-6 feet). I say missing, but I don’t feel of driving, but very connected to the rest years behind the United States” might badly about that lack because what I of New Zealand’s potters through meet­ be doing. did see spoke of health and experimen­ ings, literature, conferences and cer­ The over 200 pots, arranged by re­ tation with diverse form and surface. tainly through their selling activities. gion, were spread throughout spacious, On the morning of my second day well-lighted galleries. The display im­ Touring the South Island with them, my potter’s internal alarm mediately conveyed a sense of diversity The conference over, I began a tour woke me before 6 o’clock and I heard and vigor. I don’t feel I was disposed to of New Zealand following an itinerary the familiar sound of a hammer tapping see only good out of a sense of friend­ thoughtfully prepared by my chief ad­ brick. Down at the kiln shed I found ship and gratitude to my host potters, viser Sally Vinson, president of the New Peter beginning to remove the door from nor since I am a functional potter was Zealand Society of Potters. I was to travel their large, wood-fired, Bourry-box salt

38 CERAMICS MONTHLY Much of the work at Omaio Pottery is wood fired in a large, Bourry-box salt kiln. They also produce pit-fired ware, which has recently gained public acceptance in New Zealand. kiln. As he welcomed help, we both be­ ulating to see that they also were strug­ servatively made pots with simple glazes. gan clearing away the front of the kiln, gling with that balancing act and trying Also there were more adventurous forms preparing to unload the still warm ware. to preserve their integrity. with more elaborate glazes and brighter An exhibit was coming in the next week Outside I had noticed an open area (copper red) colors. Then there were the or so and preparations had not been near one of the sheds with four or five pit-fired works. The balancing was con­ going quite to Peter’s satisfaction. A salt pieces of corrugated metal over what stant, trying to reflect a fair response to firing just before I arrived had suffered appeared to be a hole in the ground. Of what was desired by people who came some damages due to a large raw pot course that was their 6x3x3-foot firing to the studio to buy and those who bought exploding during the early stages. So pit. I wandered over to it later that their pots in galleries elsewhere. Also there was a good deal of pressure being afternoon and could feel a moderate there was a nurturing of the potters’ felt. As we unloaded the pots and amount of heat rising up from the pit. own desires, their own needs in making smoothed the marks from the wadding, Julie said it was ready to be opened; the the ware. I heard his saga of potting under pres­ firing had taken place several days ear­ Another afternoon was spent touring sure and realized I was on familiar lier. Out came a series of perhaps 50 perhaps six craft galleries in the Nelson ground. small bottles and wall plaques with gor­ area. For the past week, as I had lis­ Peter and Julie make a wide variety geous blue, purple, black, gold and bronze tened to New Zealand potters describe of functional objects from the very small marks on the surfaces. their activities and the selling of their (3- or 4-inch-high) vinegar bottles to We discussed marketing to some works, the term “domestic ware” kept large (2- and 3-foot-high) floor pots, length. The impression I got from Peter coming up. I really had not had a strong principally salt fired. Glancing around Gibbs, and corroborated by other pot­ feeling about how that fit into the pot­ the work shed and showroom, I also saw ters, was that the selling of pots in New ting scene until we visited the galleries quite a bit of pit-fired ware. Although Zealand had reached a point where the that day. There I realized I was seeing that was somewhat unfamiliar to me, I rather conservative, celadon-glazed, a tremendous amount of work that was soon learned that they had been doing brush-decorated domestic wares, which very similar, a general group of domes­ a lot of pit firing and found a good deal had been the mainstay of their early pot­ tic ware. As many of the New Zealand of public acceptance. Also with the ex­ tery activity, were now being pushed potters train with a potter in a nearby posure of that work to their buying pub­ aside. Potters were trying to evolve in community, that imprint of apprentice­ lic, they were seeing marketing trends other directions because domestic wares ship is seen in the adopting of similar to which they were trying to respond. I were not selling as well as they had been. styles of studio design, of kiln type (evi­ think they felt some pressure to produce This seems to be a phenomenon in the denced in the number of Bourry-box items that were popular, which is of United States as well. The more con­ and other wood-burning kilns in use), course universal with potters. We were servative forms are seen in a different and more importantly (from an observ­ able to talk a bit about how potters often light after people have grown used to er’s viewpoint) of the ware. It’s almost are faced with the dilemma of making them, and there’s a hunger or vacuum a depressing similarity in the sense that things that feel good to the heart or of drawing out more varied wares. one hungers for more variety when producing things that are known to be I could see the marks of that tran­ looking at the offerings of a gallery, where readily salable. Certainly there was no sition in the showroom at Omaio Pot­ the public is actively touring and ob­ simple solution reached, but it was stim­ tery. There were certainly some con­ viously a great many things are sold.

April 1985 39 Saggar-fired stoneware, the tallest 6 inches Thrown and altered platter, 12 inches square, in height, by Cecilia Parkinson. wood fired, by Merilyn Wiseman.

Somehow I could feel in my potter’s bones of the more well-organized, smoothly gredients and water into slip, which is a sense of confusion and searching for running studio potteries I saw in New then processed through various stages ways of solving this selling problem in Zealand. Their studio is in a large, fair­ of drying and pugging. more nourishing ways for the potters ly modern building with a spacious Their kiln is a large, perhaps 80-cu- involved. showroom (of perhaps 250 square feet) bic-foot, oil-fired car kiln. The car pulls Back at Omaio Pottery I had a mo­ offering a well-displayed and hand­ out of the kiln on tracks, but the tracks ment to wander through the studio alone. somely lit cross section of their work. end shortly after the car clears the kiln. As at most of the other potteries I vis­ Situated in Brightwater, they are quite Then it is pulled into a loading area ited, this was not a high-technology stu­ accessible to car traffic and apparently within the studio itself. It seemed to dio in the sense that there were no banks function quite well without tracks. When of power wheels or elaborate kilns. In the car is loaded, the door leading to the fact the clay is purchased wet, and there kiln is opened and the car engaged on is a small tabletop pug mill for use prior “As we unloaded the pots its tracks to push it back into the kiln. to throwing and for reclaiming scrap clay. and smoothed the marks They also have an updraft kiln for salt There is a small showroom and an open, from the wadding, I heard glazing. well-lighted workspace. It is a very Working with the McGlashens at that functional, low-technology studio. his saga of potting under time was a part timer (who did piece­ That evening I gave a slide presen­ pressure and realized I was work) and an apprentice. The latter tation and had a chance to meet some was in charge of making, glazing, dec­ of the local potters I would be visiting on familiar ground.” orating and firing a pretty broad range in the next day or so. This was one of of functional ware, and his pay was based the keys to communication among the do a good deal of selling from their on his administration of these assigned New Zealand potters that I so ad­ showroom, but I did see examples of tasks. I spoke with him briefly and mired—it is very common for them to their work in galleries in other parts of learned that his goal was to move off have potluck suppers and work parties. the country. and form his own pottery—a good ex­ There is a great sense of comradeship. The McGlashens have a very effi­ ample of that situation wherein the If there are any jealousies or envies over ciently organized operation, one that is principal means of transmitting infor­ any issues among them, they are far based on probably more scheduling and mation is through direct apprenticeship overridden by the sense of support they planning than at least I do in my own experience. From my observations that give each other. Together they produce studio where whimsy and the vagaries day, I think it’s very sound training; a handsome brochure of the area, de­ of examining new ideas might get in the there’s no question that this young man tailing by map the various potters’ lo­ way of a more thoughtful production would have a strong technical base for cations and carefully describing their procedure. Nonetheless, I saw a great founding his own pottery. ware as well as listing hours, phone deal of variety in the work. Next month, part 2. numbers and so on. In looking over this Unlike some of the other potters I had brochure, I noticed that all the gift shop seen who purchase commercially pre­ The author John Glick has operated and gallery locations are listed as well. pared clay, they have a large clay pro­ Plum Tree Pottery in Farmington, One of the more interesting studios I cessing shed. Basic raw materials are Michigan, since 1965; also see his “Stu­ visited was Cobb Cottage Pottery owned dump trucked near their clay equip­ dio Dinnerware”portfolio in the Decem­ by Royce and Trudi McGlashen—one ment; a large blunger mixes the dry in­ ber 1979 CM.

40 CERAMICS MONTHLY Photos: Elaine Comer, John Glick

Anagama-fired bottle, fly-ash glazed, 12 inches in height, by Chester Nealie.

April 1985 41 Dan Gunderson’s Airbrushed Spheres

TO EXPLORE Beginning with about 50 pounds of nuts will bring the cylinder’s height to the idea of ap­ white earthenware, he throws a tall cyl­ approximately 36 inches. Then a rib is parent three-di­ inder, approximately 24 inches high, 2 used to force out the center and smooth mensional space inches thick (though thicker at the cen­ the surface. At this point, it is usually on a two-dimen­ ter) and 6 inches in diameter at the mouth. necessary to set the form aside for sev­ sional smooth A doughnut shape, somewhat wider and eral hours. When it is firmer, Dan can surface, ceramic thicker (up to 4 inches thick) but with complete shaping the sphere. Before artist Dan Gun­ a smaller opening than the top of the closing it off, however, he inserts about derson of De­ cylinder, is thrown at another wheel. Af­ 40 handformed bisqued pellets (l^inch- land, Florida, works with airbrushed ter applying the doughnut to the mouth diameter) which will later give the sphere imagery on large, wheel-thrown, earth­ of the cylinder, Dan throws down for a stability. (The finished sphere is really enware spheres. “The space appears to good join and unity of the form, then egg shaped, with the top somewhat go infinitely inward,” he explains, “cre­pulls up while bowing the cylinder out. pointed. Drying shrinkage and slight ating an illusion that the sphere holds Allowing time for the clay to set up after slumping of the clay during firing will much more volume than it displaces.” each addition, one or two more dough­ bring the top to a more gradual curve.) Photos: Karen Gunderson

Above“Daricing with My Chair ” 20 inches in diameter; thrown earthenware, with under glazes airbrushed over resisted and stenciled designs. Right Dan Gunderson in his studio applying contact paper resist to ceDancing with My Chair.” 42 C eramics Monthly After drying three days, the sphere isbroad, hard-edged areas, masking tape; with higher pressure utilized for finer trimmed on a chuck. Retaining a thicker and for large areas, contact paper. Pat­ detail. wall at the bottom of the form also helps terns are drawn in reverse on the paper First, opaque color or texture (with stability. When the sphere is pushed, it side of the contact paper, then cut up the use of stencils) is airbrushed on the will roll back to the intended upright for overlap and perspective effects. The unmasked background areas. Layers of position. With trimming complete and larger images of the foreground are tape and masking are pulled off to air­ a pinhole made for air to escape during masked first; then background images brush additional colors. By fitting the firing, the sphere is dried three to four are applied in sequence. positive images, stencils are used to re­ weeks. Prior to low-fire bisquing, the The masked sphere is placed on a sist overspray. Additional masking and form is preheated in the kiln for 24 hours chuck (so it will not roll but can be turned stencils also resist new shapes, and de­ by a 100-watt light bulb. easily) on a banding wheel in a venti­tails airbrushed within the larger im­ After firing, Dan does several sketch­ lated spray booth. Using an airbrush to ages. The process is repeated up to the es on paper, selecting and assembling achieve color gradations, contrast be­ foreground. The last tape pulled off the images to fit the bisqued sphere. These tween light and dark, and to soften and form reveals the white of the bisqued images are then drawn with a hard shade the images, Dan sprays on com­ clay. Finally, a transparent commercial graphite pencil onto the form’s surface mercial underglazes thinned with water matt glaze is sprayed overall and the as a guide for masking. Fine lines are and sieved through a 200-mesh screen. sphere is placed in the kiln on a tripod made with charting tape as resist; for The air pressure averages 40 pounds, stilt for the Cone 04 firing.

To guide masking, images are drawn with hard graphite pencil onto the bisqued sphere; lines burn off in the kiln. Fine lines are resisted with charting tape, Right Images are first sketched on paper, hard edges with masking tape, and large selected and assembled, then transferred to areas with contact paper applied in the curved clay surface. sequence.

As the masking is removed, additional A transparent matt glaze is sprayed over “To Another Time,” 23 inches in diameter, images are airbrushed through stencils. the sphere before Cone 04 firing. by Dan Gunderson, Deland, Florida. April 1985 43 Jeff Andrews by Lorna Williams

A HUNGRY PELICAN fills the center of tween a drawing or painting of a pot by usually responded to older pottery. When a large plate, while fish float lazily around someone who can make a pot and some­ I first went to the Freer Gallery of Ori­ the rim. On another, porpoises swim in one who can’t. If they can’t, you don’t ental Art, I thought the blue-and-white concentric circles, appearing to almost get the feeling that the pot was thrown. porcelains had too much drawing on nudge each other off the surface. Shown Look at paintings with pots in them by them, that they were too refined. Then recently at Craftsmanship Gallery inold masters; you know they never made a year or so later I realized they were Baltimore, these porcelain shapes by a pot in their lives. Bernard Leach put not too refined; they were just right, and Wheaton, Maryland, potter Jeff An­ lots of drawings of pots in his books. You the brushwork on them was incredible. drews were all decorated with freely look at them and you can tell that this “I really like the bowl and plate shapes, brushed patterns in cobalt blue and iron guy had actually thrown a pot. You can and look at throwing as calligraphy. You oxide brown. Some compositions were tell by little details—the way he drew ado it over and over, and eventually you autobiographical, painted with images foot or a spout. know it so well you can do it slightly of his own pots. “I started pottery in my junior yeardifferently each time—just like your sig­ “I started drawing pots on my pots at Catholic University in Washington, nature. Some days the throwing is more two years ago,” Jeff commented. “I usu­D.C. It was an elective, and I was get­ expansive. From 100 bowls, I can pick ally have 65 to 70 pots in a kiln load. ting tired of painting and sculpture. I one out and say that one is the best. To There might be 15 big bowls, each one took to it immediately, partly because the untutored eye they’ll all look the same, with a different design. Toward the end there is a quickness, a spontaneity in but there are slight variations. I get tired of painting grapes or flowers working with clay. Also, there is a nat­ “I make just a few shapes, and am not or fish or whatever. After 60 bunches of ural cut-off point; with a painting or to the end of those yet. Besides, there grapes, I need a change. So one day, sculpture I was never sure when it was aren’t a whole lot of new shapes around. wanting something different, I painted done. When the pot goes into the kiln, The foot and lip of a pot offer some room one of my pots onto a plate. I started by it’s finished. If you don’t like it, you make for variation, but there’s not much you putting the pot in the middle of a table; another one. can do with the curve in between that everything else in the composition was “Right from the start I decorated my anybody else can’t do as well. there to bring out the pot. pots. Everyone else was into putting “There is a cold purity to these forms “I’d done lots of drawings of pots be­ beautiful glazes on very simple forms, without decoration, especially in por­ fore putting them on other pots. I often but I didn’t respond to that. There’s no celain. Alone in this white state, they make sketches of finished pots—to have difference between an undecorated pot would be hard to take—like toilets or a record of the pot before it goes. and a coffee can. I was never much in­ sinks. They do, however, make great ve­ “You can always tell the difference be­ fluenced by contemporary work, but hicles for a brushed image or pattern.

Thrown porcelain coffeepot, 8 inches in height, with cobalt and iron oxide brushed over unfired glaze. 44 CERAMICS MONTHLY Photos: Doug Barber, Joan Giesecke

Platter with egret in cobalt and iron oxide brushwork, 15 inches in diameter, by Jeff Andrews, Wheaton, Maryland.

“When trying a new design, say a newline, you have to draw a curved line. the supplier, instead of trying to develop kind of flower, I have to sketch it first— “Besides making pots, I teach full time a formula. I’m not trying to compete several times. Then it has to be trans­ at DeMatha High School in Hyattsville with Corning Ware. Obviously my work lated into a series of brushstrokes. I pre­ and part time at Catholic University. I isn’t as durable, but that’s not why peo­ fer gestural, calligraphic drawing. There like the teaching, even though it takes ple buy it. They buy it mainly for the is a certain freedom to it. up a lot of time. I wouldn’t want to make decoration. If a plate has 150 dolphins “Drawing on top of the unfired glaze pots five days a week anyway. I reallyon it, why would you want to cover them isn’t easy; you only get one chance. And don’t like the amount of business that’s up with mashed potatoes? you are drawing a three-dimensional involved with selling pottery. “I draw on the pots I make, and prefer object—a fish, flower, animal, whatev­ “Sometimes I think about taking a year this description to that of a drawer who er—onto a curved surface. I don’t ever off and working everything out so that pots or a potter who draws. To me there think of the subject as flat. I follow the the pottery is not only beautiful, but so is not much difference between my gesture of drawing, thinking of three di­ strong that you could put acid in it and drawing and potting, and I think the mensions as I draw. Since the pot is curved drop it from a five-story building with­ best works demonstrate a harmony of (it took me the longest time to realize out damaging it. In the meantime, I’m pottery forms and drawing, decoration that obvious fact), to achieve a straight happy working with clay as it comes from and design.”

“Platter with Still Life,” 13 inches in diameter ; thrown porcelain, with cobalt and iron oxide brushwork. “You can always tell the difference between a drawing of a pot by someone who can make a pot and someone who can’t.” April 1985 45 The Copper Matt Finish by A. D. POTTER

Because ceramics is an art form which The pit or bucket is covered, as per has existed for a dozen millennia or so, American raku, to allow the reduction it is extremely difficult to define the materials to smolder. Smoke from the leading edge of technology. “State of the smoldering material is absorbed by the art” can easily be passed off as the ac­ clay, coloring it a dark gray or black. In ceptance level of the buying public or turn, the heavily reducing atmosphere the current fad. causes the copper matt to turn a bright We are all familiar with the firing copper color. It is important to first method commonly referred to as raku— achieve that bright copper color in order a low-temperature, rapid-fire, quick-cool- to create other colors. down process. To declare that there is Partial reoxidation of the finish yields something new in this area may seem a variety of colors. Variables that affect presumptuous, but over the past few years the final color development include the several potters have achieved a surface outside temperature, how hot the pots finish best described as visually decep­ were when taken from the kiln, the tive because the depth and range of the thickness of the ware, the thickness of colors are so unexpected that at first sight the copper matt application and the type one wonders if the medium is metal, glass of reduction material used. Color can or clay. Its visual texture is similar to develop down to roughly 700°F. velvet; however, the tactile texture is more There are several methods for devel­ akin to sandpaper. Currently known by oping colors other than the basic copper. several names, including soft luster, dry One can pull pots from the kiln when luster, matt luster and copper wash, this they have lost the majority of their ra­ finish will be referred to in this article diant heat color; then they are put into as copper matt. "Cylindrical Continents ” 14 inches in the reduction bucket or pit, covered and The copper matt finish is one of (if height, carbonized raku with copper matt left until cold. If using this method, make not the most) tricky surface treatments finish, reduced and partially reoxidized, by sure the bottom of the pot is hot enough with which anyone can work. Variables Dan and Sue Potter, Park Forest, Illinois. to cause the reduction material to smol­ are so numerous that consistent results der after covering. may well prove elusive. The following The length of time between applica­ Another method is to pull the pots as information is a basis for experimen­ tion and firing does not appear to have soon as they reach temperature and al­ tation. any effect on the result. low them to reduce in the bucket or pit The clay used is a standard raku body Several different types of kilns have until the temperature is just low enough containing 20% to 25% sand and grog, been used for raku firing. Excellent re­ to reignite the reduction material. The which helps the ware survive thermal sults are currently being achieved in acover is then removed, permitting air in shock. (Slight variations in the clay com­ kiln which started life as a 55-gallon to reoxidize the finish. This method can position have no significant effect on the drum and was lined with spun kaolin cause some spectacular flashing on the copper matt finish; it works as well on insulation. Cones are not used, but fir­ surfaces, but is very inconsistent in re­ a rough-textured pot as it does on a ing temperatures are estimated to be in sults. smooth one.) The ware should be bisque the 1900°F range. A combination of 65% The surfaces can also be reoxidized fired anywhere from Cone 010 to Cone Gerstley borate and 35% Custer feldspar after cooling in the reduction bucket or 06, depending on the clay body. produces a minimally acceptable clear pit by either placing them in a warm, A copper matt solution is prepared by crackle glaze, yet it makes a great guide not hot, kiln or heating with a propane mixing 10% Ferro frit 3110 with 90% to proper kiln temperature when it melts. torch. This technique requires a means copper carbonate; for a very matt finish The number and variety of vessels fired of “freezing” the colors as soon as they the proportions have a relatively low tol­ simultaneously have made no apparent develop. A cold water quench or re­ erance for inaccurate measurement. Small difference in the results, except that a turning the pots to the smoldering re­ percentages (up to 7%) of red iron oxide, crowded kiln makes pulling the pots more duction bucket or pit works well. cobalt carbonate and/or manganese difficult. After four years I have yet to achieve dioxide can enhance color development. When temperature is reached (when a comfortable degree of consistency with Application of the copper matt solu­ the crackle glaze has fluxed), the pots the copper matt finish, but I enjoy it. It tion to the bisqueware is successfully ac­ are pulled from the kiln with a pair of is hoped that with the information pro­ complished by dipping, brushing or refractory gloves or tongs, then are placed vided here you will be able to develop a spraying. The most effective method in a pit or bucket which contains flam­ procedure that can be applied to your seems to be spraying; however, proper mable organic material such as dried own ideas and raku techniques. safety precautions must be taken, in­ straw, leaves or sawdust. Don’t be sur­ cluding a respirator and goggles when prised that the copper matt finish is dark The author A. D. (Dan) Potter main­ spraying copper matt. brown when it comes out of the kiln. tains a studio in Park Forest, Illinois. 46 CERAMICS MONTHLY Photos: John Delgado

Above and far left Detail views of “Broken Ring” show color variation possible with reduced and reoxidized copper matt finish. A hand­ held propane torch can be used to selectively oxidize or reduce specific ware surfaces, thus altering colors fresh from a standard raku reduction. Left "Brickwork, ” 11 inches in height, thrown covered jar, with masked copper matt finish, by Dan and Sue Potter. The copper matt finish employs that element’s vast color response to produce an array of firelike patterns from a simple recipe given in the text. April 1985 47 Ohio Fairs

Thrown porcelain bowl, 16 inches in diameter, by Leslie Jay Orenstein, Chicago.

UNLIKE the nation’s general merchan­ dise retailers who reported only modest gains the past holiday season, both an­ nual pre-Christmas fairs presented by Ohio Designer Craftsmen (ODC) had sales soaring by double-digit percentage points over 1983 figures. At the older and larger “Winterfair” in Columbus, receipts rose 19% to gross $1,044,630 for the 318 exhibitors. The $3359 average for the 69 clay booths was again higher than the across-the-show average of $3285, and once more the top seller was a ceramist who took in $16,000 during the four-day event. Attendance figures also jumped 33% to nearly 40,000. At the sixth “Cincinnati Crafts Af­ fair,” the individual sales average in­ creased 14% to $1603, though atten­ dance remained about the same. Of the 163 exhibitors, 39 sold clay works; the top sales figure for a clay booth was $4500. To indicate the level of photography as well as work necessary for acceptance at today’s highly competitive fairs, the Finned Form,” 4Vs inches wide, thrown and handbuilt porcelain, images in this article are representative with microcrystalline matt glaze, by Sandra Byers, Rock Springs, of slides selected by the ODC jurors. Wisconsin. 48 Ceramics Monthly Top to bottom Raku vase, 7 inches in height, porcelain with copper matt glaze, by Annette McCormick, Lucas, Ohio. Porcelain plate, 12 inches square, with brushed and trailed decoration, by Eve Fleck, Yellow Springs, Ohio. Excised “Turquoise Fan,” 22 inches in width, slip-trailed and airbrushed porcelain, by Rosalyn Tyge, Traverse City, Michigan. Glazed and sandblasted stoneware teapot, 16 inches in width, with stick and cane handle, by Tim Mather, Athens, Ohio.

Left Wheel-thrown porcelain bottle, 10 inches in height, with zinc crystalline glaze, by T. J. Marcotte, Stevens Point, Wisconsin. April 1985 49 e ft:o

Thrown, joined and altered porcelain vessel, 1 7 inches in length, by Gwen Heffner ; Covington, Kentucky.

“Time Safari Unlimited,” 16 inches in width, handbuilt, glazed earthenware with mixed media, by Scott Schleh, Saint Augustine, Florida. AboveRaku jar, mixed media, 3 inches in height, by Nell Devitt, Bloomfield, Indiana. Right Sawdust-fired red stoneware teapot with reed handle, 11 inches in height, by Laura Ross, Louisville, Kentucky. 50 CERAMICS MONTHLY *Tucked in for the Night ” 5 inches square, Nerikomi porcelain necklace, 16 inches in earthenware tile, with underglaze imagery, length, with gold luster, by Curt and Suzan by Ellie Hudovernik, Cascade, Wisconsin. Benzie, Columbus, Ohio.

Salt-glazed porcelain vase, 5 inches in Below “Ginkgo Leaves,” 5 inches in diameter, thrown and carved porcelain, with height, by Annette McCormick. crackled celadon glaze, by Betty Talbott, Westerville, Ohio.

April 1985 51 Necklace, 16 inches in length, handbuilt stained porcelain, by Curt and Suzan Benzie.

Hibiscus Plate,” 6 inches in diameter, Raku earthenware vessel, 14 inches in Wheel-thrown earthenware basket, carved porcelain with celadon glaze, fired height, with copper matt finish, by Rick 12 inches in diameter, with reed handle, by at Cone 10 reduction, by Betty Talbott. Foris, Marathon, Wisconsin. Marcia Armstrong, Columbus.

52 CERAMICS MONTHLY More Clay at Castelli

The eighties have seen clay’s status as an art medium gaining wider accep­ tance on the New York scene. Recently at Leo Castelli Gallery, Charles Si- monds and Paul Waldman presented solo exhibitions featuring ceramic sculpture. Made one brick at a time from clays collected around the world, Simonds’s

unfired “Dwellings” are based on a theme Photos: courtesy of Leo Castelli Gallery of “how people live in time and space in relation to their architecture.” After training with architectural sculptors (for churches) in New York City, Simonds stopped doing figurative work and began constructing his miniature buildings in gutters, window ledges and available nooks on the Lower East Side; with cu­ rious pedestrians and weather a factor, they only lasted a few days. More per­ manent “Dwellings” are now construct­ ed on plywood bases, though the natural orange, yellow and gray clays remain unfired. Paul Waldman’s clay sculpture in­ volves hundreds of stylized porcelain leaves cascading from vase forms. Hid­ den among the foliage are miniature putti. Various elements are stained in pastel shades of mauve, green, blue and gray.

Above"Smear I,” 3 inches in height, “Bisque,” 54 inches in height, stained porcelain and “Pod II” (helov/), T /2 inches in sculpture, by Paul Waldman. height, unfired clay “Dwellings” on square plywood bases, by Charles Simonds. “White,” 11 inches in length, by Paul Waldman.

April 1985 53 54 CERAMICS MONTHLY Comment had a successful show, this ‘mood creation’ Continued from Page 21 has come from a single stroke of chance. I did an exhibition once, where the department beginning. You’re about to be carved up by store arranged for some of its better cus­ the public. So far, you’ve been visiting other tomers to go on a preshow tour of the potter’s potters’ shows and making detrimental re­ kiln and get an advance view of the pots that marks about their work. Now it’s your turn would be displayed. That was the first time to hear others being rude about you. Can I came across the collector who was rebuking you take it?” you the other day for not selling him that pot you liked so much. Well, he suddenly The Exhibition Begins . .. ordered two pots worth $5000 each. Once he Eighteen hours later, the three of us were did that, the other 19 people in the party back at the breakfast table, exhausted after began looking around for things to buy, too. what had seemed like an endless day. I had They just couldn’t bear to be left out. Before given two newspaper interviews, appeared I knew where we were, we’d sold several tens on a late night television program and sold of thousands of dollars’ worth of pots. And just under $3000 worth of pots. I was a- it didn’t stop there. Once the show opened, stounded; Reisuke moderately pleased. A visitors saw all the red sold tabs and began number of potter friends and acquaintances buying anything they could lay their hands had turned up, including Imaemon and Ha- on. By the end of the week, we’d sold nearly jime Tanaka, and they had freely told me $100,000 worth of pots by a potter who until what they liked and disliked about my work. then had never made even one-third of that For the first time, I had begun to feel a bond amount in a solo show. It’s all a matter of of sympathy with a group of people whom luck.” I had hitherto regarded as objects of research. A very large percentage of pots sold that “So today was a success,” Reisuke began, week were bought by friends and acquaint­ just as we were thinking of going to bed. “But ances. Potters whom I knew would buy their what made it so? A lot of small pots were “souvenir” pots for $50 or so; people who sold. But then that is to be expected in a came from the town in which I lived would show like yours. People buy things as sou­ do the same. Then there were Reisuke’s pri­ venirs for their memory value, and for this vate clients who ordered pots by phone or they might pay as much as $100, but no more. who came over and bought things. One night The thing is that if only this kind of sale we even had to take some pots over to one happens, you can never expect to sell more of his doctor clients who lived too far away than $5000 worth of pottery in a week. But to be able to come to the show. Our two-hour then something happened. This morning, drive each way was not in vain. He bought fairly early on, a plump middle-aged woman another of the top-price-range pots and a in a fur coat came into the gallery. You re­ couple more in the middle range. member? I’d never seen her before in my “People is what Japanese business is all life, but one of the store’s salesclerks told me about,” Reisuke explained. “It’s the network that she was a doctor’s wife and, as you know, of relations between people which really ac­ they are the sort of people who have the mon­ counts for so much in our version of indus­ ey to buy art objects here in Japan. trial capitalism. There is a lot of give and “So once she started buying pots, I got take, you know. Precisely because I hold shows interested: not in how much she would spend here at Tamaya, I’m expected to attend their so much as in which of the pots on display special functions and buy a suit for myself she would buy. If she’d stuck to the $20, $50 here, a fur coat or piece of jewlery there for or even $100 pots, then that would have been my wife. It’s all part of the return for favors that. But she didn’t. She went for one of the I’ve received from the store and it helps ce­ four pots in the top-price range ($500) and ment our business relationship. another at a price just below that ($400). In “I remember one show I did for an over­ my opinion, that was vital for the show be­ glaze enamel porcelain potter. He’d never cause the doctor’s wife helped create a mood sold more than $15,000 worth of pots at a among those visiting the gallery. Once people show, but I managed to persuade the store see somebody buying some of the more ex­ people to let me have a preshow display room pensive works, they begin to want to do the in the store. Now it so happened that that same. It may sound ridiculous, but I can as­ particular week the store’s external sales de­ sure you it’s true. partment was promoting jewelry right next “For a while, I must admit I was worried. to where I had these porcelain pots. People I thought I’d overpriced your pots. But now were going by all day. They would look into there’s hope. Not that there’s much I can do the showroom, see how ‘cheap’ the pots were about anything. It’s like standing on top of in comparison to the jewelry which they’d a high mountain and looking down at a river been looking at and proceed to buy some­ meandering far below. There’s nothing you thing. We began selling so much that the can do to alter its course. We’ve made use external sales departmental chief got all ex­ of the only resource open to us—the media. cited. The jewelry show had been doing pret­ Now all we can do is sit back and hope.” ty well, too, and he went round to all the Reisuke leaned back in his chair and his exhibitors there and suggested that they each eyes twinkled. “It’s funny, but every time I’ve Continued April 1985 55 56 CERAMICS MONTHLY oxidation of the kiln during firing. The wom­ Comment an eventually bought that set, even though buy a piece of this potter’s work as a return the other ones were in my opinion far su­ favor to the store. Our show raked in $60,000 perior. They were the same size and shape, altogether. That’s what tsukiai personal net­ and the design matched much better. Now works are all about!” that we’ve sold the bad pots, the good ones will probably go tomorrow. If she’d bought . . . And Ends the good ones, we’d probably have been stuck And the show went on. For the next four with the bad ones to the end of the show.” days, I went through various phases of plea­ Things didn’t always go as smoothly as sure, frustration, anxiety and joy—the typ­ Reisuke optimistically predicted. By Sunday ical gamut of emotions experienced by pot­ morning, the last day of the show, there were ters holding their own exhibitions. I learned still a lot of the more expensive pots unsold to recognize potential buyers from nonbuy­ and we went around mentally repricing them ers, to act the “artist” for the benefit of the in the light of our experience that week. media. (Ueno was right. Precisely because “All the same,” Reisuke commented, “I the Mainichi did not sponsor my show, all can’t understand why some of your pots have the major newspapers carried articles about not been sold. This show has been a real it in their cultural section pages.) Approxi­ lesson for me, too, you know. If you’d won mately 80% of all sales were made to people a prize at some big national exhibition or known to Reisuke, Tamaya or myself. But other, all your work would have gone at the the gallery was almost always filled with peo­ prices we’ve set. The thing is that people ple—thanks to two or three television news aren’t really looking at your pots for what spots—and even if the visitors didn’t buy much, they are. They’re looking at the fact that the department store people were happy. At you’re not a famous ‘name’ artist. This proves least 1000 extra people a day were coming what I’ve always thought deep down inside: into Tamaya to look around and spend their that there is absolutely no objective standard money elsewhere in the store. The president by which to judge pottery. A number of well- of Tamaya put in an appearance (once), as known potters have been in to the gallery did the vice-president (twice) and the exter­ over the past few days and, because you don’t nal sales section chief (three times). belong to any faction or group, they’ve spo­ The nice thing about having so many peo­ ken fairly freely about what they like and ple turn up was that I learned a lot about dislike in your work. You know, they’ve all my own work, as I overheard comments about differed about what was good and what was this or that shape, glaze or design. It was bad. There’s one exception, though. Every­ touching the way people would spend so much one I’ve talked to approved of your tile with time considering work that I regretted having the snow mountain, bamboo and full moon done in such a slapdash manner. At the same design on it.” time, I learned by what people bought, or Suddenly, the gallery filled with people did not buy, which were the publicly “suc­ and for the rest of the day I found myself cessful” pots. It was interesting to take stock caught up in a flood of friends and acquaint­ halfway through the show and consider what ances as the show reached its finale. The had and what had not been sold. A salad president of Tamaya appeared a second time bowl that I had thought would be one of the to congratulate me on my success. The show first pots to go was still on the display shelf, had really pulled in the customers and for as were some porcelain teacups with a fir this he wished to thank me. Sales and the tree design which Hajime Tanaka had him­ store’s percentage were really irrelevant. self picked out as my best work! In general, But they were relevant to us, of course, my more “Japanese” patterns didn’t sell as although as it turned out, I need not have well as my more offbeat experiments. As for worried, because more of Reisuke’s clients the porcelain ware in general, the transpar­ came and bought all my sets of plates, to­ ent glaze had sold much better than the blue- gether with the remaining large vase and tile. white celadon, even though a lot of visitors By the time the day had come to an end, I had commented approvingly on the “soft” na­ had sold more than $8500 worth of pots. ture of the celadon. It seemed as though peo­ This was under our original “break even” ple somehow saw the celadon glaze as being sum, but Reisuke told me not to worry. He more decorative, as providing a stimulus to would ensure that neither of us would suffer “aesthetic contemplation” rather than to a a loss. wish to purchase it for everyday use. He was true to his word. I didn’t lose I also learned one or two sales techniques money and, although I may not have made from Reisuke: “When someone is in doubt any profit from the show, I had made myself about which of two pots to choose, I always a “name.” I was welcome to go back to Ta­ try to sell them the worse one. There was maya at any time and hold another solo ex­ one customer who couldn’t decide between hibition there. The sad thing for me was that two sets of square dishes with different pat­ this “reputation” had depended totally on the terns. I told her that the one she had in her kindness of people like Imaemon Imaizumi, hand at the time was really interesting. Its Hajime Tanaka, Jiro Kajiwara and, of course, pattern was unusual and each of the dishes Reisuke himself. It had virtually nothing to was different from the other because of the do with the quality of my work. April 1985 57 58 Ceramics Monthly News & Retrospect Marguerite Wildenhain, 1896-1985 the finding and bringing to the fore of es­ (circa 1930) sold for a record-breaking Studio potter Marguerite Wildenhain died sential values in life, so one touches the very $11,060. In New York, a “Chelsea billing February 24 at her Pond Farm near Guerne- first and fundamental issues of both life and dove tureen and cover, circa 1755, was one ville, California. A pioneer in the field, she art, and eventually, the problems of ultimate of the highlights of Christie’s East’s most re­ was one of the first to teach throwing in this death, alone. cent sale of porcelain. Selling for $18,700 country, and students from all over the world “My life as a potter has taught me to know (well above its presale estimate), the tureen applied to participate in the intensive courses the short-lived values of mode and fashion excited stiff competition among bidders.” she offered each summer at her pottery. trends, of prizes and ‘success.’ As fleeting as The story was much the same at Sotheby’s Born in Lyon, France, Marguerite was clouds are publicity, fame, and limelight, but London sale of decorative arts, including arts educated in France, Germany and England, the good pot will endure through the cen­ and crafts, art nouveau, art deco and studio then spent seven years as an apprentice pot­ turies because of its integrity, its sound and ceramics. While the majority of the ware ter and teacher at the Bauhaus in Weimar, brought bids within or slightly over presale Germany. But the Nazi threat forced her and estimates, there were a few surprises: a Mar­ husband Frans to move to Holland, where tin Brothers face jug, dated 1903, was sold they established a studio pottery. As a French- for $1464, more than double the $423-$605 born citizen, she was able to emigrate to the estimate; a Michael Cardew slipware bowl, United States in 1940, but Frans was forced circa 1930, went for $639, well above the to remain in Holland until after the war. estimated high of $423; and a Hans Coper Settling in California, Marguerite taught vase, circa 1953-56, had collectors quickly briefly at the California College of Arts and passing the $2420-$4840 estimate to com­ Crafts before establishing Pond Farm Pot­ pete up to a final price of $12,910. tery at the top of a hill overlooking Arm­ strong Redwoods State Park. When the state later planned to take over the property to A Contemporary Vessel Collection expand the park, so many supporters wrote “Clay—An International View of the the governor that she was granted life ten­ Contemporary Vessel Form: Selections from ancy. Marguerite Wildenhain the Igal and Diane Silber Collection” was “If the totality and the aims of one’s work pure purpose, its original beauty, and es­ presented at the Mills House Visual Arts could be expressed with a few words,” she pecially because it is the indivisible, incor­ Complex in Garden Grove, California, wrote in her autobiography, The Invisible ruptible, and complete expression of a hu­ through March 31. Included were approx­ Core, “I would like to say that mine were man being.” imately 80 works by potters from Austria, the following: Marguerite’s legacy continues with the England, Germany, Holland and New Zea­ “Pottery is not just the expert making of many she reached through her teaching and land, as well as the United States. good-looking and, because of their human writing. In 1981, a random sampling of CM The Silbers began collecting clay objects content, valuable objects, out of the most low­ readers selected her as one of the “greatest about seven years ago, after a friend gave ly material of our earth, the clay. Because of living potters or ceramics artists.” (See “A them a small pot by Otto Natzler. “What this very fact, more than anything else, it is Select Twelve” in the June 1981 issue; also started with this gift grew into increased in­ a challenge to the human spirit to transcend a profile by Richard Petterson in the March terest and awareness, and has now blossomed this common material, for how otherwise could 1977 CM and “Marguerite Wildenhain Ret­ into a consuming passion,” they commented. life and beauty be created with it? rospective” by Nancy Neumann Press in the “The ways to do this are obviously many; June 1980 issue.) mine has been to find pleasure and deep sat­ isfaction in trying to make well the simple things of daily life: pitchers, jars, bowls, vas­ Ceramics at Auction es, cups, and tiles, etc. These objects are es­ Auction prices can have a sizeable influ­ sential to man; they have an age-old dignity ence on the economics and prestige of ce­ of their own, and have barely but character­ ramics in the marketplace, with particular istically changed during many passing gen­ impact on both corporate and private collec­ erations. They need no explanation, no apol­ tors who buy principally through galleries. ogy, no intellectualization as to their purpose Current trends speak well for the short term or their validity. and may be part of the long-term price boom “If there is one essential point that I would often predicted for ceramics collecting in the like to convey, it is that one must live as an next decade. artist, be free of the conventions of school On the auction block, 20th-century as well and society, but also one must learn to look, as antique ceramics continue to set record to feel, to draw, to understand how to fight gavel prices. At a recent London sale at sometimes against oneself, yes also to despair Christie’s, a Clarice Cliff decorated wall plate 4 3A-inch porcelain bowl by John Ward many a time. “Over the last seven years we have spent a “By your own private life you must prove You are invited to send news and photo­ great deal of time seeing, learning and ap­ your independence and freedom. You are face graphs about people, places or events of preciating as much as we can in the field. to face with yourself, and are without outside interest. We will be pleased to consider Our travels have changed, and are now often help to master some of the greatest demands them for publication in this column. Mail planned around specific exhibitions and visits that are made [of you]. There is the discovery submissions to: News and Retrospect, with potters around the world. of one’s own self, the liberation of one’s own Ceramics Monthly, P.O. Box 12448, “As in any other area of art, the appre­ mind and soul, from daily corruptions and Columbus, Ohio 43212. ciation of the pieces is a very personal ex- fallacies and lies of the surrounding world, Continued April 1985 59 ried from 4 slides. Awards. Send self-addressed, ket” (October 26-27) is juried from up to 10 slides. Where to Show stamped envelope to: New World Festival of the Entry fee: $10. Booth fee: $100. Contact: Craft­ Continued from Page 15 Arts, Box 265, Manteo 27954. works, 5151 Boulder Hwy., Las Vegas 89122; or & Craft Show” (June 28-30) is juried from slides June 15 entry deadline call: (702) 456-6695. or photos. Fee: $70. Send self-addressed, stamped Sapphire, North Carolina “A High Country Scaly Mountain, North Carolina “High business envelope to: Virginia Smith, High Coun­ Art & Craft Show” (July 19-21) is juried from Country Art & Craft Show” (August 2-4) is juried try Crafters, 29 Haywood St., Asheville, North slides or photos. Fee: $70. For further information from slides or photos. Fee: $70. Send self-ad­ Carolina 28801; or call: (704) 254-0070. contact: Virginia Smith, High Country Crafters, dressed, stamped business envelope to: Virginia Lynchburg, Virginia “Handcrafts 1985” (Oc­ 29 Haywood St., Asheville, North Carolina 28801; Smith, High Country Crafters, 29 Haywood St., tober 25-27) is juried from 3 slides. Entry fee: $5. or call: (704) 254-0070. Asheville, North Carolina 28801; or call: (704) Booth fees: $75-$ 190. Contact: Lynchburg Fine Chatham, Pennsylvania Second annual “South­ 254-0070. Arts Center, 1815 Thomson Dr., Lynchburg 24501; ern Chester County Arts/Crafts Festival” (Sep­ Dayton, Ohio “Dayton Art Expo ’85” (Octo­ or call: (804) 846-8451. tember 21-22) is juried from 4 slides. Jurors: Lial ber 11-13) is juried from 3 slides. $2000 in awards. Richmond, Virginia Tenth annual “Rich­ A. Jones and Mitch Lyons. Fee: $10. Contact: R. Contact: Dayton Society of Painters and Sculptors, mond Craft Fair” (November 8-10) is juried from Samuel Lam, 157 Lloyd Rd., West Grove, Penn­ Box 404, Dayton, 45409. 5 slides. $6000 in awards. Fee: $10. Contact: Ann sylvania 19390; or call: (215) 869-9494. Pittsburgh, Pennsylvania “A Fair in the Park” Vazquez, Hand Workshop, 1001 E. Clay St., June 17 entry deadline (September 6-8) is juried from 5 slides. Entry fee: Richmond 23219; or call: (804) 649-0674. Aurora, Illinois “Autumn Fine Arts Show­ $5; booth fee: $75 for a 10x8-foot space. Contact: June 7 entry deadline case” (October 19-20) is juried from 5 slides, in­ A Fair in the Park, Craftsmen’s Guild of Pitts­ Bloomington, Indiana Ninth annual “4th Street cluding 1 of display. Entry fee: $5; booth fee: $30. burgh, Box 10128, Pittsburgh 15232. Festival of the Arts and Crafts” (August Contact: Aurora Art League, Rosemary Smillie, July 3 entry deadline 31-September 1) is juried from 4 slides. Awards. 1431 W. Downer PL, Aurora 60506; or call: (312) Dillon, Colorado “9th Annual Craft Fair” (July Fee: $55. For further information contact: 4th Street 896-2491. 20-21) is juried from 3 or 4 slides or photos. Fee: Festival Committee, Box 1257, Bloomington 47402; June 30 entry deadline $40. Contact: Lake Dillon Arts Guild, Box 1047, or call: (812) 332-9004. Baker, Oregon Third annual “Miners’ Jubilee Dillon 80435; or call: (303) 468-0035. Fort Wayne, Indiana “Three Rivers Festival Craft Fair” (July 19-21) is juried from slides. Fee: July 10 entry deadline Arts & Crafts Show” (July 13-14) is juried from $20. Contact: Mimi Peters, Crossroads Arts Cen­ Sapphire Valley, North Carolina “High Coun­ 5 slides. Fee: $25. Send self-addressed, stamped ter, Box 235, Baker 97814. try Art & Craft Show” (August 8-10) is juried envelope to: Abby Brooks, 3525 W. Wayne, Fort July 1 entry deadline from slides or photos. Fee: $70. Send self-ad- Wayne 46807. Madison, Indiana “Chautauqua of the Arts” dressed, stamped business envelope to: Virginia June 10 entry deadline (September 28-29) is juried from 4 slides, 1 of Smith, High Country Crafters, 29 Haywood St., Scaly Mountain, North Carolina “A High booth. Send self-addressed, stamped envelope to: Asheville, North Carolina 28801; or call: (704) Country Art & Craft Show” (July 4-7) is juried Dixie McDonough, 1119 W. Main St., Madison 254-0070. from slides or photos. Fee: $70. Contact: Virginia 47250; or call: (812) 265-5080. July 15 entry deadline Smith, High Country Crafters, 29 Haywood St., Gaithersburg, Maryland The “10th Annual Asheville, North Carolina “High Country Asheville, North Carloina 28801; or call: (704) National Craft Fair” (October 18-20) is juried Summerfest Art & Craft Show” (August 15-18) 254-0070. from 5 slides. Entry fee: $8; booth fee: $150-$250. is juried from slides or photos. Fee: $85. Send self- June 14 entry deadline Contact: Noel Clark, National Crafts, Ltd., Gap- addressed, stamped business envelope to: Betty Manteo, North Carolina Fourth annual “New land, Maryland 21736; or call: (301) 432-8438. Kdan, 40 Hyannis Dr., Asheville 28804; or call: World Festival of the Arts” (August 14-15) is ju­ Las Vegas, Nevada “KNPR Craftworks Mar­ (704) 253-6893 or 254-0070.

60 CERAMICS MONTHLY News & Retrospect perience, which grows with increased ex­ posure. Form, texture, color and the synthesis of all of these certainly go into the beauty of the final product. However, as in any art, the

13-inch stoneware vase by Larry Eisner finest pieces have an ‘essence’ that is greater than the sum of the individual parts. Bernard Leach said that each piece has a ‘heart’ or ‘spirit’ that speaks to the individual. Our choice of pieces is based largely on the feeling we experience with each. What appears the es­ sence of pure simplicity is often unbelievably difficult to create. From our time spent with individual potters and from observation, it quickly became apparent that this art form is a true synthesis of sensitivity, talent and hard work.” Mary Ann Fariello “Amazons . . . Among Others,” featuring works by Alexandria, Tennessee, clay artist Mary Ann Fariello , was presented recently at the University of Tennessee in Chattanooga. Although small, forms such as “The Creation of Art and Theater,” cast colored porcelain fired to Cone 6 in oxidation, with brass beads,

7-inch “The Creation of Art and Theater” allude to architecture. These templelike con­ structions “depict the goddess in the act of Continued April 1985 61 Kansas, Topeka through April 30 “Topeka Exhibition.” April 30-May 19 “Botanical Im­ Itinerary Crafts Competition 9”; at the Gallery of Fine Arts, ages” competition exhibition; at Lansing Art Gal­ Continued from Page 11 Topeka Public Library, 1515 W. Tenth. lery, 425 S. Grand Ave. Marta Wallof; at Esther Saks Gallery, 311 W. Maryland, Glen Echo April 4-28 “Where Missouri, Kimmswick April 2-30 “A Cele­ Superior St. Have All the Potters Gone?” alumni exhibition; bration of Creative Spirit”; at Front Street Gallery, Illinois, Edwardsville through April 12 “Sur­ at Glen Echo Gallery, Glen Echo Park, Mac- Kimmswick Pottery. face/Function/Shape,” selections from the Earl Arthur Blvd. Missouri, Saint Louis through April 28 “Archi­ Millard ceramics collection; at the University Cen­ Massachusetts, Gloucester through June 16 tectural Ceramics: The Possibility of Large-Scale ter Gallery, Southern Illinois University at Ed­ “Spectacular Vernacular: Traditional Desert Ar­ Ceramic Design”; at the Gallery of Art, Steinberg wardsville. chitecture of West Africa and Southwest Asia,” Hall, Washington University. Illinois, Highland Park April 13-May 14 Elaine photograhic documentation of clay buildings; at through May 19 “Ceramics from the Museum Alt and David Crane, “Two Approaches to the Hammond Castle Museum, 80 Hesperus Ave. Collection”; at the Saint Louis Art Museum, For­ Vessel”; at Martha Schneider Gallery, 2055 Green Massachusetts, Worcester through April 28 “In­ est Park. Bay Road. novations in Four Media,” includes works by Lee April 1-May 5 Elaine Coleman, Tom Coleman, Indiana, Indianapolis April 2-30 George and Rexrode; at the Worcester Craft Center, 25 Saga­ Pat Horsley, Jenny Lind, Jim Romberg and Tom liana Debikey, porcelain, stoneware and raku; at more Rd. Turner, “Group Clay Show”; at Hickory Street the Indianapolis Museum of Art, 1200 W. 38 St. Michigan, Lansing April 9-28 “Open Spring Gallery, 1929 Hickory St. April 2-27 “The Saint Louis Clay Artists”; at Anden Gallery, 707 N. First, 1904 World’s Fair Mall, Suite 16, Laclede’s Landing. Missouri, Webster Groves through April 12 “Webster University Alumni Ceramic Show”; at Cecille R. Hunt Gallery, Webster University, Plymouth and Lockwood Aves. New Jersey, Newark April 9-May 26 The “1985 New Jersey Artists Biennial”; at Newark Museum, 49 Washington St. New Jersey, Summitthrough May 12 “Earth & Fire,” sculpture by Katsuyuki Sakazume, Jeff Schlanger, Toshiko Takaezu and Peter Voulkos; at Summit Art Center, 68 Elm St. New Jersey, TenaflyApril 13-May 18 A six- person exhibition including Eilene Sky and Chris­ tine LePage; at America House, 24 Washington Street. New Jersey, Trenton April 13-May 19 A dual exhibition including Barbara Schaff, “Reflections/ Abstractions: Clay Work”; at the New Jersey State Museum, 205 W. State St. New Mexico, Los Alamos through April 21 “Family Ties,” includes pots by Susan Dvorak Shaffer and Jean Whitcomb; at Fuller Lodge Art Center, 2132 Central Ave. New York, Albany through June 2 “Disarming Images: Art for Nuclear Disarmament.” through September 2 “The Educated Eye,” objects from the collections of the 25 State Universities of New York. April 20-July 21 “Useful Art: Long Is­ land Pottery”; at the New York State Museum, Empire State Plaza. New York, New York through April 7 Paul Heroux, painterly porcelain vessels; Ted Lobin- ger, stoneware vessels; and Roy Strassberg and Barbara Takiguchi, large sculptural forms. April 9-May 12 Virginia Cartwright, Maishe Dick- man, Rob Sieminski and David Williamson, raku- fired and smoked vessels; at Convergence, 484 Broome Street. April 11-May 7 Second annual “Indian Market East,” contemporary Santa Clara pottery; at Gal­ lery 10, 29 E. 73 St. New York, Scarsdale through April 20 “In­ vitational 1985”; at the Craftsman’s Gallery, 16 Chase Rd. New York, White Plains April 30-May 21 The “32nd Annual National Open Juried Exhibition”; at the Community Unitarian Church, Rosedale Avenue. North Carolina, Greensboro through April 21 “Southeastern Potteries”; at the Greensboro His­ torical Museum, 130 Summit Ave. North Dakota, Valley CityApril 1-19 The “14th Biennial National Art Exhibition”; at 2nd Crossing Gallery, Valley City State College. Ohio, Cincinnati through April 28 “Cincinnati Collects Oriental Art,” approximately 120 objects including Korean and Japanese ceramics; at the Cincinnati Art Museum, Eden Park. Ohio, Columbus through April 29 Ohio De­ signer Craftsmen’s “The Best of 1985”; at the Cul­ tural Arts Center, 139 W. Main St. Ohio, Delaware April 8-May 12 “Faculty Show”; at the Lynn Mayhew Gallery, Humphreys Art Hall, Ohio Wesleyan University. Ohio, Parma April 1-19 “Faculty Exhibi- Continued 62 CERAMICS MONTHLY News & Retrospect creating human attributes,” explains the art­ ist. Photo: Laine Cantrell “Images.” Brighton Bombshell His showing of porcelain and stoneware at Barclaycraft Gallery in Brighton “could not have opened at a more inappropriate time—coinciding as it did with the IRA bombing of the Grand Hotel,” noted Sussex, England, studio potter Derek Davis. “The scene of devastation was so close that most streets in the area were closed; added to this, the railway signal box malfunctioned and the television newscaster requested all people to avoid traveling to Brighton.” In spite of these inconveniences, interested patrons (including

Ovoid “Striped Clam Vase,” 8 inches in h a Swedish collector and a Japanese firm) managed to see Derek’s work. Shown from the exhibition are an ovoid vase, wheel-thrown porcelain, trimmed and beaten, decorated with black oxide stain un­ der tin glaze, and reduction fired to 2462 °F

12-inch porcelain bowl by Derek Davis (1350°C); and this wheel-thrown and edge- altered bowl, with matt stripes of unglazed rubbed oxide and tin glaze, high fired in re­ duction. Craftsmarket Tea Party The fifth annual “A Tea Party” at Pinch Pottery’s Craftsmarket Gallery in North­ ampton, Massachusetts, featured teapots and services by approximately 40 clay artists. Continued April 1985 63 Oregon, Portland through April 13 Arne Ase, through May 26 “Newcomb Pottery: An Enter­ Itinerary porcelain with soluble colorants; Don Sprague, prise for Southern Women, 1895-1940”; at the tion,” includes Michael Gubkin, Ed Parker and stoneware and porcelain vessels; and Kurt Weiser, Houston Museum of Fine Arts, 1001 Bissonnet. David Vargo; at Gallery West, Cuyahoga Com­ vessels and plates. April 18-May 18 Richard Utah, Cedar City April 4-26 “National All munity College, 11000 Pleasant Valley Rd. Fox, vessels; and Danae Mattes, wall relief; at Media ’85,” the 44th annual Cedar City art ex­ Ohio, Wooster April 3-May 5 “Functional Contemporary Crafts, 3934 S.W. Corbett Ave. hibition; at the Southern Utah State College Ceramics 1985”; at the College of Wooster Art Oregon, Sheridan April 5-28 A dual exhi­ Braithwaite Fine Arts Gallery. Museum. bition with Ben Thomas; at Lawrence Gallery, Vermont, Middlebury April 13-June 1 “Spring Oklahoma, Lawton April 1-28 “O.K.— Hwy. 18. Light,” includes porcelain dinnerware by Mar­ U.S.A.,” national juried sculpture exhibition; at Pennsylvania, Lewisburgthrough May 4 “Fiber garet Chatelain; at Vermont State Craft Center at the University Gallery, Cameron University, 2800 and Clay Exhibit and Competition”; at the Lew­ Frog Hollow. W. Gore Blvd. isburg Club, 131 Market St. Virginia, Charlottesville through July 12 Oregon, Cannon Beach through April 20 Dave Pennsylvania, Philadelphia April 26-June “Sgraffitoed Clay,” includes works by Gene and Boni Deal, raku; at White Bird Gallery, 251 8 “American Clay Artists: Philadelphia ’85”; at Kleinsmith; at Gallery II rsvp, 218 W. Main St. N. Hemlock St. the Port of History Museum, Penn’s Landing. Washington, Seattle April 4-May 15 “Invi­ Oregon, Gleneden Beach April 6-28 A dual Texas, Houston through April 30 “Ninth An­ tational Porcelain Show”; at FireWorks, 210 First exhibition with Faye Nakamura; at Lawrence niversary Exhibition,” works by gallery artists; at Ave., S. Gallery, Salishan, Hwy. 101. Archway Gallery, 2517 University Blvd. April 5-28 Washington Potters Association members exhibition; at Northwest Craft Center. West Virginia, Huntington through April 7 “Exhibition 280: Works Off Walls”; at the Hun­ tington Galleries, Park Hills. Wisconsin, West Bend April 4-28 “Men and Women in the Arts”; at West Bend Gallery, 300 S. Sixth Ave. Wyoming, Casper April 2-28 The 11th an­ nual “All-Wyoming Crafts Show”; at the Nico- laysen Art Museum, 104 Rancho Rd. Fairs, Festivals and Sales Arkansas, Mountain View April 19-21 “Ar­ kansas Folk Festival and Ozark Foothills Craft Guild’s Spring Show”; at Sylamore Creek Craft Shop, Highways 5, 9 and 14. Colorado, Denver May 2-4 “Spring Exhibi­ tion and Sale” by the Colorado Potters Guild; at the First Plymouth Congregational Church, Col­ orado Blvd. at Hampden. D.C., Washington April 26-28 The “1985 Washington Craft Show”; in the Departmental Auditorium of the Department of Commerce, 1301 Constitution Ave. May 3-5 “Our Nation’s Capital Craft Show”; at Washington Convention Center. Florida, Pensacola May 4-5 “Southern Crafts Market”; at Bartram Park. Florida, Tarpon Springs April 20-21 “Tarpon Springs Arts & Crafts Festival”; at Craig Park Spring Bayou. Florida, West Palm Beach May 3-5 “Sunfest Juried Art Show”; at the Lakeside on Flagler Dr. Georgia, Pine Mountain April 27-28 “Annual Plant and Craft Fair”; at Callaway Gardens. Kansas, Lenexa April 26-28 First annual “National 3-Dimensional Art Show”; at Sar-Ko- Par Park, 14907 W. 87 St. Pkwy. Maryland, Gaithersburg April 19-21 Tenth annual “Spring Arts & Crafts Fair”; at the Mont­ gomery County fairgrounds. Maryland, Timonium May 3-5 Eighth an­ nual “Spring Crafts Festival”; at the Maryland State fairgrounds. Minnesota, Minneapolis April 26-27 “Clay Minnesota ’85”; at Calhoun Square, Lake St. and Hennepin Ave. Pennsylvania, HarrisburgMay 3-5 “Third Annual PA National Arts & Craft Show”; at the State Farm Show complex, Cameron and McClay. Pennsylvania, LewisburgApril 27 The “16th Annual Festival of the Arts Juried Street Show”; along Market St. Tennessee, KnoxvilleApril 12-14 Tenth an­ nual “Dogwood Crafts Fair”; at West Town Mall. Texas, Round Top April 13-14 The “9th Texas Crafts Exhibition”; at the University of Texas at Austin Winedale Historical Center. Workshops California, Bakersfield April 13-14 A dem­ onstration on pottery and sculpture with Fred Ol­ sen. Fee: $20 for one day; $35 for two. Contact: Vic Bracke, Bakersfield College, 1801 Panorama Dr., Bakersfield 93305; or call: (805) 395-4404. Continued 64 CERAMICS MONTHLY News & Retrospect

“Camels and Commuters” by David Ward Among the tea sets shown was this camel teapot, 10 inches in height, with pyramid cups and tile saucers, plus movable cars, trees and hedges by David Ward, Layton, New Jersey. Candy Resnik: Slip Decoration It was 1978 and I was into my second studio and wood-fired kiln in Cordova, Alas­ ka. I was struggling to come up with a re­ liable copper red glaze to give some longed- for color to my clay when a book I’d ordered arrived in the mail. I had no idea what the book would contain; I’d merely been curious about what “secrets the famed potters of Pen- land” would reveal. Opening to a chapter by Jane Peiser on colored clay was like being turned loose in a candy factory at age five. Not only was it inspiring, but also timely, because on an up­ coming teaching tour in northern Alaska I would be using an electric kiln. So it seemed the perfect opportunity to begin experi­ menting with colors in oxidation. For two and a half months I was flown with all my supplies from one Indian village to another by protesting bush pilots. The electric kiln managed to remain intact even though the trip from airstrip to schoolhouse was made sometimes by snowmobile or dog sled. Now I live in Colorado and work with a rainbow of slips (attainable with various combinations of commercial stains) applied in conjunction with stencils. The latter are made from a drawing with all lines con­ necting on at least one end, and the lines widened with a thick-tipped marker. Using a spray mounting adhesive, a sheet of clear flexible plastic (the type used for temporary storm windows) is fastened over the drawing. An X-acto knife is used to cut away every­ thing except what is delineated by the thick lines on the drawing beneath. The resulting stencil is then separated from the original drawing and blackened with the marker so it can be easily seen. Positioned on a flat slab of clay (which has usually been decorated by airbrushing or feathering), the stencil is rolled slightly to keep it in place. The remaining areas are then colored with slips, which were mixed very thick and thinned to a paintable con­ sistency with a few drops of sodium silicate. Colors may be applied one on top of the other Continued April 1985 65 Royale Park Dr., San Jose 95136; or call: (408) Handcrafts, Box 221, 411 Church St., Guilford Itinerary 629-5109 or 277-2574. 06437; or call: (203) 453-5947. California, Berkeley May 19 “An Afternoon California, Victorville May 2-3 A slide pre­ Connecticut, New Haven May 4 and 11 “Boxes with Linda Genet,” slide lecture and demonstra­ sentation and workshop with Don Reitz. Fee: $25. and Containers in Terra Cotta” with Anita Grif­ tion on glazes, multiple firing, lusters and china Registration deadline: April 5. For further infor­ fith. Fee: $25. Registration deadline: April paint. Fee: $10. For further information contact: mation contact: Gene Kleinsmith, Art Depart­ 26. May 18-19 “Color, Surface and Form” with ASUC Studio, Lower Level Student Union, Uni­ ment, Victor Valley College, 18422 Bear Valley Chris Staley. Fee: $45. Registration deadline: May versity of California, Berkeley 94720; or call: (415) Road, Victorville 92392; or call: (619) 245-4271 10. Contact: Creative Arts Workshop, 80 Audubon 642-3065 or 642-6161. or 247-6557. St., New Haven 06511; or call: (203) 562-4927. California, Mendocino April 13 “Traditional Colorado, Arvada April 20-21 “Paul Soldner D.C., Washington April 12-13 Slide lecture and Contemporary Use of Colored Clays,” dem­ Pottery Workshop,” for intermediate to advanced and demonstration by Michael Casson, at the Cor­ onstration and slide lecture with Carole Aoki. Fee: students. Fee: $40. Contact: Arvada Center for the coran School of Art. Fee: $40. Contact: Jackie $15; nonmembers $20. Contact: Donna Carlson, Arts and Humanities, 6901 Wadsworth Blvd, Ar­ Chalkley Gallery, 3301 New Mexico Ave., NW, Mendocino Art Center, Box 765, Mendocino 95460; vada 80003; or call: (303) 431-3080. Washington 20016; or call: (202) 686-8882. or call: (707) 937-5818. Connecticut, Guilford April 20-27 “Tile Mak­ Florida, Coconut Grove April 12 Andrea Gill, California, San Jose April 12-13 “A Two- ing Workshop” with Alice Chittenden. Fee: $45. slide lecture. Open to the public. April 13 A Day Workshop with Ken Ferguson.” Fee: $35. For May 11-12 and 18-19 “Salt Pottery Workshop” seminar/workshop with Andrea Gill. Contact: further information contact: Nancy Alsobrook, 467 with Chris Clark. Fee: $40. Contact: Guilford Netsky Gallery, 3107 Grand Ave., Coconut Grove 33133; or call: (305) 448-6163. Kansas, Manhattan April 8 Slide lecture and demonstration on stoneware and porcelain vessels with Karl and Ursula Scheid. Contact: Yoshiro Ikeda, Kansas State University Art Department, Manhattan 66502; or call: (913) 776-1328. Maryland, Baltimore April 17 Slide lecture and demonstration with Michael Casson, at Tow- son State University. Fee: $30. Contact: Jackie Chalkley Gallery, 3301 New Mexico Ave., NW, Washington, D.C. 20016; or call: (202) 686-8882. Maryland, RockvilleApril 14 A participa­ tory session with Michael Casson, at Montgomery College. Fee: $30. Contact: Jackie Chalkley Gal­ lery, 3301 New Mexico Ave., NW, Washington, D.C. 20016; or call: (202) 686-8882. Massachusetts, Amherst April 13 “Working with Colored Clays” with Lewis Dimm, for be­ ginning through advanced students and profes­ sionals. Fee: $45. Contact: Jane Sinauer, Hori­ zons, 374 Old Montague Rd., Amherst 01002; or call: (413) 549-4841. Massachusetts, Boston April 10 “Then and Now” lecture by Ted Randall. April 17 “Criticism in the Crafts” panel discussion. For further infor­ mation contact: Program in Artisanry, Boston University, 620 Commonwealth Ave., Boston 02215; or call: (617) 353-2022. Massachusetts, Worcester May 4 “Sounds in Clay,” a session on clay instruments with Ward Hartenstein. Contact: The Worcester Craft Cen­ ter, 25 Sagamore Rd., Worcester 01605; or call: (617) 753-8183. Minnesota, Wayzata May 3-4 “Tom Cole­ man Porcelain Workshop,” demonstration and slide lecture on throwing, assembling and decorating. Fee: $65. Contact: John Heck, Art Center of Min­ nesota, 2240 Northshore Dr., Wayzata 55391; or call: (612) 473-7361. Missouri, Saint Louis May 3-4 Lecture and demonstration with Sandy Simon. Contact: Craft Alliance Ceramics Studio, 6640 Delmar Blvd., Saint Louis 63130; or call: (314) 725-1177. Nevada, Tuscarora May 1-31 A workshop with emphasis on individual goals for intermediate and advanced students and professionals. Instruc­ tor: Dennis Parks. Fee: $830, includes room and board. Contact: Tuscarora Pottery School, Tus­ carora 89834; or call: (702) Tuscarora 6598. New Mexico, Abiquiu May 29-June 2 A hands- on workshop with Rudy Autio at Ghost Ranch Conference Center. Fees: $80 for members of the New Mexico Potters Association; $95 for non­ members. Contact: Bill Armstrong, Box 706, Cor- rales, New Mexico 87048; or call: (505) 898-7471. New Mexico, Hobbs May 3-4 Paul Soldner, slide lecture and demonstration on making and firing small pedestal and wall pieces, plus building a kiln. Fee: $25. For further information contact: Terry Bumpass, Art Department, New Mexico Junior College, Lovington Hwy., Hobbs 88240; or call: (505) 392-4510, ext. 253. New York, New York April 20 “Marketing Yourself and Your Work.” Fee: $50; nonmembers $60. May 4 and June 1 “Ceramic Jewelry” with Liz Rudey. Fee: $100; nonmembers $110. Contact: Janet Katz, Craft Students League of YWCA, 610 Continued 66 CERAMICS MONTHLY News & Retrospect even if the color beneath is darker than that on top. This has given rise to a two-part

Slip decoration with two-part stencil stencil, which in contrast to the simple line drawing format, offers the opportunity to capitalize on light and shadow to define an image. When the slips have dried sufficiently, the stencils are removed, cleaned and stored. The clay slab is then formed into a pot uti­ lizing one of various molding techniques. The slips used for the background feath­ ering are mixed much thinner than those used for painting and the sodium silicate is de­ leted. The process involves covering a thor­ oughly dampened piece of bed sheet (smoothed flat on the work surface) with variously col­ ored slips. Then, working with the point of

Feathering colored slips on damp cloth a probe, I drag one color through another until satisfied with the pattern. The slips are Continued April 1985 67 chester, 999 Wilmot Rd., Scarsdale 10583; or call: Contact: Christa Balogh, Box 344, Lake Wacca- Itinerary (914) 472-3300. maw, North Carolina 24850. Lexington Ave., New York 10022; or call: (212) North Carolina, Brasstown April 21-26 or April North Carolina, Winston-Salem April 20 755-4500, ext. 59. 28-May 3 “Elderhostel” includes pottery ses­ “Functional Clay Workshop” with Clyde Gobble. April 26 A slide lecture on narrative themes with sions with Bill Gordy. May 19-June 1 “Spring Fee: $35 April 26-28 “Wall Murals” with Su­ Michael Lucero. Fee: $5. May 31-June 1 A Craft and Home Week II” includes pottery with san Clellen and Tom Suomalainen. Fee: $50. May slide lecture and demonstration on surface treat­ Marcia Bugg. Contact: John C. Campbell Folk 18-19 “Making It Big” with Leon Nichols. Fee: ment with Andra Ellis. Fee: $30. Contact: Green­ School, Brasstown 28902; or call: (704) 837-2775. $45. Contact: Ceramics Department, Sawtooth wich House Pottery, 16 Jones St., New York 10014; North Carolina, Raleigh May 18-19 “Deco­ Center for Visual Design, 226 N. Marshall St., or call: (212) 242-4106. rating Workshop,” slide lecture and demonstration Winston-Salem 27101; or call: (919) 723-7395. New York, Scarsdale April 21 Curtis and with Susan Icove. Fee: $35; nonmembers $40. For Ohio, Cleveland May 11 “Symposium on En­ Suzan Benzie, a hands-on session on colored por­ further information contact: the Pullen Park Arts glish Decorative Arts: 1840-1890” will include celain, millefiore, nerikomi and applique tech­ Center, 105 Pullen Rd., Raleigh 27607; or call: discussions on the arts and crafts movement, design niques. Fee: $35; nonmembers $40. May (919) 755-6126. and manufacture of Victorian decorative arts and 19 “Treating Clay Surfaces” with Richard Zak­ North Carolina, Whiteville May 2-3 “Sculpture the Martin Brothers pottery. Fee: $25 includes in, will cover glazing, carving and airbrushing with Extrusions” with Elaine Graves, and “Cone lunch. Students free (no lunch provided). Contact: techniques. Fee: $20; nonmembers $25. Contact: 4 Reduction Glazes and Firing” with Claude The Cleveland Museum of Art, 11150 East Blvd., Carol Stronghilos, YM-YWHA of Mid-West­ Graves; at the Southeastern Community College. Cleveland 44106; or call: (216) 421-7340. Texas, San Antonio April 12 A slide lecture with Dennis Smith. April 24 Slide lecture with Jim Romberg. May 6-10 “Handbuilt Con­ structions” with John Gill. Limited to 15 partic­ ipants. Fee: $175, plus $25 for materials. For fur­ ther information contact: Registrar, Southwest Craft Center, 300 Augusta St., San Antonio 78205; or call: (512) 224-1848. Wisconsin, Whitewater April 10-12 A work­ shop with Clayton Bailey, Don Bendel, Verne Funk and Steven Kemenyffy. Contact: Charlie Olson, Art Department, University of Wisconsin-White- water, Whitewater 53190. International Events Canada, Alberta, Banff May 13-24 “History/ Aesthetics/Criticism,” a forum for discussion on ceramic art issues, will encourage dialogue and participation in a seminar format. Instructors: Dan Mato, Petra Von Morstein, Russell Keziere, Phil­ ip Rawson and Jeff Perrone. Fee: $275. Contact: Visual Arts Registrar, The Banff Centre School of Fine Arts, Box 1020, Banff, Alberta T0L 0C0; or call: (403) 762-6180. Canada, Ontario, Guelph May 2-19 “Guelph Arts Council’s Juried Exhibition”; at 21 King St. Canada, Ontario, Toronto April 2-22 William Roddy exhibition. April 23-May 13 An exhi­ bition of works by the George Brown College ce­ ramics department; at the Pottery Shop, 140 York- ville Ave. May 3-5 “Spring Open House and Sale”; at the Potter’s Studio, 2 Thorncliffe Park Dr. Canada, Saskatchewan, Reginathrough April 7 “Noritake Art Deco Porcelains”; at the Nor­ man Mackenzie Art Gallery, University of Re­ gina. England, Bourton-on-the-Water April 21-May 5 A multimedia exhibition including ceramics by Ray Finch and John Jelfs; at Chestnut Gallery, High St. England, Keighleythrough May 19 “Tableware: New Domestic Pottery”; at the Cliffe Castle Mu­ seum. England, London through April 28 “Early Soviet Ceramics and Textiles”; at the Crafts Coun­ cil, 12 Waterloo Place, Lower Regent St. April 1-June 30 “Design in America: The Cran- brook Vision, 1925-1950”; at the Victoria and Al­ bert Museum. April 27-May 24 Nick Homoky, new ceramics; at the Victoria and Albert Craft Shop. England, Oxford April 22-May 22 Philippa Cronin, earthenware sculptural vessels; at Oxford Gallery, 23 High St. France, Paris April 27-May 8 “Salon des Ar­ tisans d’Art” fair; at the Porte de Versailles. Norway, Trondheim April 14-May 5 An ex­ hibition of works by the Danish group Multi Mud; at the NordenfjeldskeKunstindustrimuseum, Mun- kegatan 5. Spain, Valencia April 17-22 “CEVIDER,” 20th annual international fair of ceramics and glass; at the Palacio Ferial, Avda. de las Ferias. Switzerland, Geneva April 18-May 18 A dual exhibition including works by Frangois Ruegg; at the Centre Genevois de l’Artisanat, 26 Grand-Rue. 68 CERAMICS MONTHLY News & Retrospect quickly dried to the consistency of soft clay by being placed on a plaster bat. Rolled uni­ formly thin, the feathered pattern is then laminated to a porcelain slab. There are several distinct advantages to working on the sheet instead of directly on the porcelain slab, not the least of which is that the feathered slips can be flipped over and the reverse side used. Also working on a wet sheet keeps the slips fluid and thus workable longer than if they were applied onto the clay, and conversely the drying pro­ cess can be accelerated by using the plaster bat. Last but not least, if the feathering does not work aesthetically, it can be discarded without also wasting a large piece of por­ celain. When bone dry, the slip-decorated ware is sprayed lightly with a Cone 6 clear glaze, and salt fired at Cone 9. This insures that the undersides of low bowls, the insides of tall forms and some of the more refractory colors are well glazed. There is an immediacy to once firing slip- decorated pots which I enjoy. I had always had a difficult time returning to a bisqued pot and trying to decide how to glaze it. That step is now completely eliminated along with the time and expense involved in the bisque firing itself. As another time-saving device, the stencil obviously could be an important tool in the production studio where replication is often required, but to me its greatest advantage is the precise and intricate image achieved. The

14-inch-diameter “Autumn Leaves” by Candy Resnick consistency of the slips makes them difficult to control and would require hours of free­ hand work to execute anything as detailed or delicate. I have also found that, liberated somewhat from the time-consuming painting process, I have begun to focus my energy differently. In various combinations, the pro­ cesses and images offer limitless, exciting possibilities and inspiration. Photos: Marc Schuman. Barbara Brown Thrown and handbuilt porcelain objects by Barbara Brown, Sunnyvale, California, were shown recently at Gallery House in Palo Alto, California. Included in the dual Continued April 1985 69 70 CERAMICS MONTHLY News & Retrospect exhibition were functional bowls, baskets and oil lamps, as well as wearable items such as necklaces and belt buckles. Some of the hand-

S'alt-glazed porcelain basket, 9 inches high built forms have a shell-like quality which Barbara emphasized by applying mother-of- pearl luster over the high-fire glaze. Text: Sandra Johnstone. Japanese Ceramics in Germany An exhibition of 70 traditional forms by 19 Japanese ceramic artists was presented at the Hetjens-Museum in Dusseldorf, West Germany, recently. Among the works shown

Earthenware vase by Uichi Shimizu was this earthenware vase, approximately 14 inches in height, with curvilinear glaze dec­ oration, by Uichi Shimizu. Especially for the Table Salt-glazed casseroles by Jane Hamlyn were among the objects by members of the Continued April 1985 71 72 CERAMICS MONTHLY News & Retrospect Craftsmen Potters Association presented in the recent exhibition, “Especially for the Ta­ ble,” at the Craftsmen Potters Shop in Lon-

74-inch-wide “Grand Casserole” by Jane Hamlyn don. At her rural studio in South Yorkshire, Jane produces a range of stoneware and por­ celain pots, often decorated with glaze-trailed patterns before firing in the salt kiln. Open to all full members of the associa­ tion, the exhibition was organized to bring to the public eye the variety and quality of

Dinnerware by Sabina Ceramics domestic ware in England. The participants were urged to select pots they considered spe­ cial because of shape, color, decoration

Bowl with patterned interior by Peter Meanly or purpose. Prices ranged from approxi­ mately $6 for a mug to approximately $250 Continued April 1985 73 74 CERAMICS MONTHLY News & Retrospect for the decorated bowl, shown on page 73, byPeter Meanly. Bruce Cochrane Wheel-thrown functional earthenware with majolica glaze decoration by Bruce Cochrane, Mississauga, Ontario, was fea-

Majolica-glazed oval baking dish tured in a recent solo exhibition at Prime Canadian Crafts in Toronto. Among the ob­ jects shown were this oval baking dish, 7 inches

Earthenware colander, thrown and pierced in height, with brushed overglazes; and this sponge-decorated colander, 10 inches high. Photos: Peter Hogan. Victoria Eve Dark Abstract sculpture by American artist Vic­ toria Eve Dark was exhibited at Oxford Gal­ lery in England recently. Forms, such as this porcelain wall plaque, are assembled from

13-inch porcelain wall plaque, cast and altered altered slip-cast elements, and decorated with polychrome glazes. Currently, Victoria teaches Continued April 1985 75 76 CERAMICS MONTHLY News & Retrospect ceramics at Shrewsbury School in England. John Eastman A series of bottles, covered jars and sculp­ tural vessels expressing appreciation for sim­ ple, subtle forms was presented recently by Iowa potter John Eastman at the Maharishi International University Gallery in Fair­ field, Iowa. For works, such as “Cleft Ca­ thedral,” he began by throwing a closed form

12-inch “Cleft Cathedral,” thrown, altered stoneware at the wheel, then flattened it, cut into it and added slabs. “If the cuts are right,” he ob­ served, “one becomes more aware of the space about the piece as a real thing.” John also plays off contrasting elements, like edge versus volume, high tech opposed to organic surfaces, and pattern and color against form. Surface possibilities include chalky pastel textures, iridescence, and smoky black-to-gray volcanic landscapes. “The chal­ lenge is to break the symmetries of whole­ ness, but within the envelope of a greater symmetry,” he explained. Almost all his works are begun on the wheel, using the following stoneware body: Coarse Stoneware Body (Cone 04) Fireclay...... 100 pounds Tennessee Ball Clay...... 100 Coarse Grog (8 mesh)...... 25 Medium Grog (15 mesh) ...... 10 235 pounds Colorants are added to the following base recipe for a range of glazes: Halifax Clear Base Glaze (Cone 06-04) Gerstley Borate...... 55% Kaolin...... 30 Flint...... 15 100% The works are fired to Cone 06 or 04, nested in seaweed, straw and sawdust within Continued April 1985 77 78 Ceramics Monthly News & Retrospect a saggar. To achieve desired colors, addi­ tional slips and glazes are successively fired. “I’m most successful,” John said, “when I become completely absorbed in the process­ es: the forming, the glazing, the firing. Then my decisions flow easily and intuitively, res­ onant with the nature of the clay. “Too much craftsmanship can interfere with the life of a pot. The pots that have the most character, life and friendliness are those made with a feeling of forgiveness. The wall will slump a little, this side different from that side, and that makes the ‘giveness’ of the clay apparent. Lately I’m ready to say, ‘That’s it.’ My preconceptions don’t overshadow me. “I work in series. When you make 100 pots in two days, you have to give in. The idea is a rhythm, a flow of decisions. You can’t get stuck. Somehow the mind-body co­ ordination becomes fluid.” Text: Judith Ri­ ley; photo: Mark Petrick. Tyler Alumni Invitational Sculpture, vessels and wall pieces by 13 ceramics graduates of the Tyler School of Art (at Temple University in Philadelphia) were featured recently in the “Crafts Alumni In-

Mel Rubin's “The Morrison Wedding” vitational” presented in observance of the school’s 50th anniversary. Shown from the exhibition is a low-fire clay wall form, 37½ inches in length, with acrylics, wood and Plexiglas, by Mel Rubin, Los Angeles; and

Syd Carpenter’s “Gone to Seed” this thrown-and-stretched vessel, 19 inches in height, by Syd Carpenter , Philadelphia. April 1985 79 80 Ceramics Monthly Film & Video There has been such an increase in the number of films, filmstrips, slide shows and video productions in ceramics that this month we continue a periodic column reviewing such media in order to help inform you about the latest offerings. We welcome comments on this new CM department, and will use them to determine its future.—Ed. Michael Cardew Sinewy and persistent in work and thought, Michael Cardew was filmed at his Wenford Bridge Pottery in Cornwall, England, just five months before his death in February 1983. This 29-minute visit with the renowned phi- losopher-potter acquaints the viewer with the man, his thoughts as well as his work. Looking at a picture of himself as a young Oxford student, he comments that this fellow in the photograph didn’t know what was ahead. And if the government had commis­ sioned a study to see if being a potter was economically feasible, the study’s conclusion would be a solid “no.” But Michael Cardew had always wanted to be a potter. Even though he continued throughout his life to feel that he had “no artistic talent whatsoever”; that whatever he achieved was the result of years of repetition of forms and decoration. Sitting at his treadle wheel, throwing an­ other in a series of mixing bowls, he recalls incidents from teaching abroad, and empha­ sizes the philosophy for which he has come to be known so well (e.g. the one who makes the pots should also do the decorating; there’s no such thing as “donkey work,” etc.). At the dinner table, before him one of his own pitchers, its lip chipped, and topped with a mismatched lid, he attacks the arts/craft controversy as unproductive, dips into recent ceramic history to say that the pivotal Amer­ ican exhibition represented by its catalog Objects USA “vomits U.S.A.,” and presents the viewpoint that potters are not here just to gratify themselves, but to be of service to our fellow humans. The film portrays Michael Cardew in many day-to-day situations: attaching a pulled handle to a pitcher, he rips it away and re­ turns the pot to a wareboard, commenting that he hopes to forget the first attempt, be­ cause if one doesn’t get the handle on right the first time, one probably never will. Also shown are short segments with him firing his massive Bourry-box wood kiln, dis­ cussing pots in his collection, and in the gar­ den. There is so much presented verbally and visually at the same time, that audio prob­ lems in some segments seem magnified; more than one viewing is necessary to get the whole of what Michael Cardew has to offer in this program. Available as film (purchase: $425; rent: $50) and VHS or Beta video (purchase: $275; rent: $50). Centre Productions, Inc., 1800 Thirtieth Street, Suite 207, Boulder, Colorado 80301. April 1985 81 A Middle Fire Option byvan I Englund

The COST OF fuel was not of primary batches of the following recipes are eas­ The ball clay I use is a clean one, importance when I first evolved a “mid­ily mixed by hand: having only 1.38 20 Fe3. Its full analysis dle fire” concept. Rather, I was inter­ is: 50.76 Si02-33.52A1 203 -1.38 ested in producing ware harder and more MF 1 Clay Fe203*0.79 MgO/CaO-3.52 KNaO. My functional than the earthenware my stu­ (Cone 2) kaolin is a white, plastic clay from Home dents and I were then involved in, with­ Nepheline Syenite...... 15% Rule in New South Wales. Its analysis out having to fire to the higher temper­ Ball Clay...... 30 is: 47.3 SiO r35.2 Al 203.1.5 Fe20r0.2 atures required for stoneware or Kaolin ...... 20 MgO-O.6 CaO-1.2 Ti02. porcelain. Now, the economics of firing Flint...... 35 All the following glazes may be fired to Cone 2 make it an attractive alter­ % in electric or fuel-burning kilns in oxi­ native. 100 dation or reduction, and the same lim­ The advantages of working at Cone A white body with low shrinkage; im­ itations and changes in clay and glaze 2 include the improvement in the hard­ proves with aging. colors that occur at other temperatures ness of earthenware bodies, making them will be present. Electric kilns, because more functional in avoiding the chipped MF 4 Clay of their oxidizing or neutral conditions, rims of much-used articles; while Cone (Cone 2) may produce clays which are paler and 2 stoneware bodies often remain slightly Nepheline Syenite...... 20 parts blander in color than those fired in fuel porous, so that ovenware can better re­ Ball Clay...... 25 kilns under reduction, and it is well sist thermal shock. Some of the glazes Kaolin ...... 25 known that the clay color has a marked are based on borax or boron frits which Flint...... 10 effect on the glaze colors especially at yield a good range of colors with the 80 parts higher temperatures. usual oxides as well as avoid the worry about lead. Glazes also can be made us­ An excellent white throwing clay; fires Opalescent Glaze ing igneous rocks and wood ash, two ma­ tight at Cone 2. (Cone 2, oxidation or reduction) terials often available to potters. MF 5 Clay Borax...... 23% Another considerable advantage of (Cone 2-8) Whiting...... 12 middle firing is the comparative ease with Potash Feldspar...... 34 which this temperature can be attained Feldspar...... 24% Kaolin ...... 10 even with older, more or less outdated Ball Clay...... 37 Flint...... 21 kilns where the last 150° to stoneware Kaolin ...... 26 can be troublesome; the lower temper­ Flint...... 13 100% ature will also save wear and tear on 100% Note that this glaze contains borax in kiln furniture as well as significant Plastic for throwing, this white body is the raw state, contrary to the accepted amounts in fuel. nonporous at Cone 2. principles of glaze making. Though sol­ Some earthenware clays can be fired uble, raw borax can be used if the glaze to Cone 2 with advantage, though some MF 9 Clay is made and employed fairly quickly. If would be overfired. The latter are usu­ (Cone 2) kept, the soluble material tends to crys­ ally the very red, plastic, smooth surface Nepheline Syenite...... 20 parts tallize out; it is probably good practice clays which would need modification by Ball Clay...... 10 not to make more glaze than can be used adding fine sand, grog or stoneware clay. Kaolin ...... 30 in a few weeks. This recipe yields a clear Some stoneware bodies may be fired sat­ Red Earthenware Clay...... 25______to blue opalescent glaze, with the opa­ isfactorily at this range too, but in both lescence very much bluer when it is ap­ cases testing under the potter’s own con­ 85 parts plied over darker clay or slip. It is a good ditions will be necessary. Small test A good red throwing clay. base for oxide additions: 1% copper ox- 82 CERAMICS MONTHLY ide yields pale green in oxidation, pink Opaque White Glaze to red in reduction; 0.25% cobalt oxide (Cone 2, oxidation or reduction) yields pale blues; and 4% copper oxide Barium Carbonate...... 11.36% with 0.25% cobalt oxide plus 4% ilmen- Dolomite ...... 10.23 ite yields a colorful blue/green. Whiting...... 11.36 Potash Feldspar ...... 60.23 Opalescent Frit Glaze Flint ...... 6.82 (Cone 2, oxidation or reduction) 100.00% Frit 3134 (Ferro) ...... 54% Add: Zinc Oxide...... 13.64% Kaolin ...... 30 Flint...... 16 A good reliable matt and an excellent base for brushed decoration. 100% Gray Satin Matt Glaze Greenish Brown Matt Glaze (Cone 2, oxidation or reduction) (Cone 2, oxidation or reduction) Lithium Carbonate...... 3.23% Barium Carbonate...... 8.89% Whiting...... 10.75 Bone Ash...... 11.11 Nepheline Syenite...... 40.86 Dolomite...... 18.89 Kaolin...... 15.05 Feldspar ...... 61.11 Flint ...... 30.11 100.00% 100.00% Add: Red Iron Oxide...... 11.11% Add: Zinc Oxide...... 7.53% The texture of this glaze is like a smooth This glaze was formulated using Aus­ eggshell, while the color, though dark, tralian Minnamurra nepheline syenite is muted and subtle. which gave an olive green color, but with the commercial material it is a gray Igneous Rock Glaze matt—a good base for brushed oxides. (Cone 2, oxidation or reduction) Barium Carbonate...... 13.69% Frit/Ash Glaze Dolomite...... 5.26 (Cone 2, oxidation or reduction) Lithium Carbonate...... 2.11 Wood Ash ...... 63.64% Whiting...... 8.42 Frit 3134 (Ferro)...... 27.27 Basalt-type Igneous Rock .... 49.47 Flint ...... 9.09 Flint ...... 21.05 100.00% 100.00% Add: Zinc Oxide...... 5.26% The quality of all ash glazes depends on the ash used, and as ash is a very var­ Usually a mustard brown, this glaze was iable material, tests must be made. This designed to use the Hornsby breccia in glaze, usually a yellow/green matt, is Sydney, but will work with other ba­ the end product of a series which com­ salts. Americans might substitute the menced as a 50:50 frit and ash mixture. Mount Saint Helens material we read Finally, this glaze is universally known so much about. to stoneware potters, but usually works at Cone 2 as well: Crystalline Glaze (Cone 2, oxidation or reduction) Universal Ash Glaze Borax...... 33% (Cone 2, oxidation or reduction) Titanium Dioxide...... 5 Wood Ash ...... 50% Washing Soda ...... 12 Red Clay...... 50 Whiting...... 2 Zinc Oxide...... 15 100% Kaolin ...... 4 With these two variable ingredients, the Flint...... 29 50:50 ratio should be a starting point for 100% a line blend test. A greenish yellow matt is the usual result at Cone 2. Even with fairly normal cooling, this glaze yields adequate crystals of pale blue and The author Since retiring as a senior creamy oatmeal. Longer cooling pro­ teacher at the National Art School in duces bigger crystals. Care in firing isSydney , Ivan Englund has devoted his required, for like all crystalline glazes, time to wood-firing pots at his studio in it does run. Wale ha} New South Wales, Australia. April 1985 83 84 CERAMICS MONTHLY New Books Lost Innocence for postage and handling. Center for Occu­ Folk Craft Potters of Onta, Japan pational Hazards, Inc., 5 Beekman Street, by Brian Moeran New York City 10038. When Muneyoshi Yanagi (founder of the Japanese folk craft movement) focused on Keramik der Welt Onta ware as exemplary of his aesthetic ide­ by Gottfried Borrmann als of what constituted beauty, the potters in Written in German with a concurrent En­ this southern Japan rural community had glish translation, this text (which translates been supplying a domestic market for ap­ “World Ceramics”) presents a cross section proximately 200 years. But his first visit in of international ceramic art made between the late 1920s marked the “beginning of a 1981 and 1983. “The basic principle,” notes complicated relationship between potters and the author, “is to offer a comparison among folk craft aficionados, which has continued all the countries in which contemporary ce­ to this day,” observes the author of this an­ ramics are produced in notable quantity and thropological study. With subsequent social, thereby to uncover the multitude of inter­ environmental and economic changes, Onta action and reciprocal influences among them. production and community solidarity were In short: to exhibit the tightly woven net of affected. Yet more than two-thirds of 100 vis­ intellectual and artistic ideas which exist in itors interviewed by the author believed that various places in the world.” Featuring the Onta potters make beautiful pots because emerging artists as well as those more well they use natural materials and production known, the illustrations are grouped by con­ means, and that they ought to continue to tinent (though the Americas are under a sin­ rely on nature and not yield to economic con­ gle heading), then subdivided by country. Also siderations. These potters “work in a way in included are essays on “Japan: The Six Old which almost the whole of Japanese society Traditional Kilns,” “On the Way—Gdula once worked; now that Japanese industry Ogen, Israel,” “The Muhlendyck Potting has made such advances, people like to look Farm,” and “The Grand Old Man: Michael back and see how far they have progressed. Cardew.” 362 pages including glossary and They want [Onta] potters to stay the way index of artists’ names. 45 color plates; 322 they are, so that they can measure their own black-and-white photographs. $26.50, plus and the nation’s prosperity. In exchange, they $8.70 for airmail postage. Verlagsanstalt are prepared to accord potters the honor of Handwerk GmbH, Aufm Tetelberg 7, Post- acclaiming their works as ‘art.’ ” 252 pages fach 8120, 4000 Dusseldorf 1. including bibliography and index. 46 black- and-white photographs; 12 maps; 14 figures. The International Ceramic $30. University of California Press , 2120 Tableware Industry Berkeley Way, Berkeley, California 94720. by R.L. Smyth and R.S. Weightman Authored by an economics fellow at the Uni­ Ventilation versity of Keele, England, and a former ce­ A Practical Guide ramic industry manager (now a management by Nancy Clark, Thomas Cutter and Jean- consultant), this typewritten text is primarily Ann McGrane concerned with consumer trends and mar­ Written by two industrial hygienists and a keting strategies for mass-produced table­ registered professional engineer, this hand­ ware. But self-supporting potters may be in­ book discusses proper ventilation for art ma­ terested in reading about the shifting terials and processes. First the text cautions “dominant forces” in the industry, as well as readers to find out just how toxic or physi­ their own role as competitors: “Producers of cally harmful their materials are. “Remem­ fine china in all countries face competition ber, low concentrations of highly toxic ma­ from craftsmen who operate small businesses terials can still do serious, permanent harm. for pleasure and satisfaction rather than for Do not assume, as so many persons have, profit. Whereas commercial producers of fine that using only a little bit of a highly toxic wares may produce particular items in mil­ chemical makes it OK or safe. A little bit lions as years go by, the craft potter may can pack a lethal punch.” Once potential prefer to keep each item of output unique. hazards are identified, processes can be eval­ However, without the marketing expertise of uated to determine appropriate ventilation commercial manufacturers, craftsmen and systems. Following a chapter on basic ven­ women may sell their wares at prices lower tilation principles, the text offers step-by-step than those of their larger rivals. Craftsmen plans for building five common systems (can­ have become organized in various ways by opy hood, slot hood, spray booth, movable means of craft centers, usually qualifying for exhaust and dust collecting), adaptable to in­ state subsidies, craft fairs and retail outlets dividual work spaces. 117 pages, including in tourist centers. . . . [Britain’s] Craftsmen appendixes on design calculations, codes, Potters Association had 154 full members in regulations and equipment suppliers; bibli­ 1980, and there are more than 1000 craft ography; glossary; and index. $7.50 plus $2.00 Continued April 1985 85 86 CERAMICS MONTHLY New Books potters operating [there]. In recent years sup­ pliers to the industry have established divi­ sions which supply craft potters with wheels, kilns and clays which, along with govern­ ment grants for small firms, has rendered it easier than in the past for new small firms to be established. The craft potters’ market is subject to severe fluctuations; even so, their numbers are likely to increase as the com­ mercial tableware industry proper continues to decline.” 148 pages including bibliography and index. $40. Croom Helm, 51 Washington Street, Dover, New Hampshire 03820. Coiled Pottery by Betty Blandino “Coiling and handbuilding are often seen as exercises toward ‘real’ potting—that is, throwing qn a wheel,” observes the author/ studio potter of this book on traditional and contemporary coiling techniques. “They are, rather, alternative methods—which many contemporary potters have chosen as their means of expression and by which some of the most beautiful pots, from all parts of the world and from many historical times, have been made.” While covering clay preparation and various coiling techniques, plus deco­ ration and firing methods, the text offers a look at production worldwide. Throughout are brief reports on what contemporary (western and third world) potters are doing and why. 112 pages including bibliography and index. 128 black-and-white photo­ graphs. $12.95, soft cover. Chilton Book Company, Radnor, Pennsylvania 19089.

April 1985 87