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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081, USA. postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2005 The American Ceramic Society All rights reserved

Ceramics Monthly March 2005 2

MARCH 2005 / Volume 53 Number 3

featu res

40 Too Much Is Not Enough by Billie Sessions Limitless enthusiasm feeds Susan Beiner's ever-expanding clay vocabulary monthly methods Color: Cones 6 through 10 45 Thirty Years: A Life Built Around the Pursuit of Clay by Dick Lehman New work reinterprets early influences after 30 years of experience

50 Zhi-jun Zheng by Dave Finkelnburg Chinese artist finds balance between Eastern and Western influences monthly methods Natural Surface Texture

55 The Clay Studio: 30 Years by James C. Weaver Looking back on The Clay Studio's development from a small arts collective to a major Philadelphia institution with The Claymobile: Bringing Clay to Philadelphia by Zenobia Meckley recipe Cone 04 Claymobile Clear

60 A Collaboration in Temmoku byJoeKoons After a serendipitous conversation, two potters embark on a research project to understand ancient Chinese iron bearing glazes monthly methods Temmoku Testing by Mel Jacobson recipes Cone 11 Iron Saturate Glazes 66 Ken Ferguson: A Remembrance William Shapiro, Anne M. Bracker and Cindy Bracker pay tribute to a friend and ceramics icon

68 Glazes: Materials, Mixing and Firing byjeffzamek A discussion of the many factors that contribute to successful glazes recipe Cone 8-10 ZAM Gloss Blue 71 Fertility and Fragility: The Work of Leigh Taylor Mickelson by Mary K. Cloonan monthly methods Steel Armatures for Stacked Sculpture by Leigh Taylor Mickelson

75 Clay Bodies Fill Negative Spaces byEngrada Angriii Spanish sculptor Carles Vives mixes stoneware clays to create varied color and texture 76 Pots with a View The Work of Richard Hensley and Donna Polseno by Kevin Hluch

cover: "Waisted-Bottle," 7½ inches (19 centimeters) in height and "Side-Fired Vase," 10½ inches (27 centimeters) in height, both wheel-thrown and altered porcelain, with carbon-trap glaze, shaken wood ash, flux and colorants, side-fired in a gas kiln on a tripod of seashells to Cone 10 in reduction, by Dick Lehman, Goshen, Indiana; see page 45.

Ceramics Monthly March 2005 5 departments

1 0 letters from readers

1 6 Upfront reviews, news and exhibitions

30 answers from the CM technical staff

36 suggestions from readers 38 Tip of the Month: Smooth Slabs 80 call for entries 80 International Exhibitions 80 United States Exhibitions 82 Regional Exhibitions 82 Fairs and Festivals 84 new books 92 calendar 92 Conferences 94 Solo Exhibitions 98 Group Ceramics Exhibitions 106 Ceramics in Multimedia Exhibitions 108 Fairs, Festivals and Sales 110 Workshops 118 International Events 122 classified advertising 124 comment Welcome to My World by Mike Prouty 128 index to advertisers

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds expanded features Zhi-jun Zheng by Dave Finkelnberg Jump online to see more images of Zhi-jun Zheng's sculpture special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities

Ceramics Monthly March 2005 6 Ceramics Monthly March 2005 7

sleep (I have a laptop that I use to read with gone: Jolyon Hofsted, artist, husband, letters the lights off so as not to disturb my wife). I father, teacher, friend, colleague, the love of was just looking at the very first issue of my life, who’s prolific outpouring of work, Digital Clay CM published in 1953—really neat. of love, of support, must now live on in our I just received my CDs from Ceramics Tom Sawyer, Orlando, FL hearts and memories, and through his work Monthly for the years 1953-1979. Can’t tell and writings. you how much I’m enjoying looking at Jolyon Hofsted Jolyon was director of the Brooklyn these back issues. In some respects, I prefer After reading the obituary that you pub­ Museum Art School (which in the 1960s he my digital versions. lished in the January issue, I wanted to brought from a failing institution to na­ While some might find reading on a write and let you know personally of my tional prominence); full professor; author of computer less than satisfying, I enjoy being husband, Jolyon Hofsted’s death. It is so the book Ceramics (printed in six editions able to look at previous articles when I hard to believe that anyone so monumental and four languages), as well as many ar­ travel and in bed at night before I go to in my life and the lives of so many others is ticles. His work was included in many solo exhibitions, as well as hundreds of invitationals and numerous museum collec­ tions around the world. Jolyon was diagnosed with esophageal cancer in April 2003. He was still teaching at Queens College, City University of New York, where he was a full professor and had taught for 37 years. He completed the term and underwent chemotherapy and radiation treatment that summer, then major surgery in December 2003. But the cancer re­ turned. He went through everything with an incredibly positive upbeat spirit, and was actively pursuing his life and his art until the very end. He died October 12, 2004. In October 2003, he had what would turn out to be his last show while he was alive at the Watermark Cargo Gallery in Kingston, New York. It was a major show of ceramic and bamboo pieces. The clay and bamboo had grown into a grant-funded project where ceramic forms were placed in a bamboo plantation in Alabama. As the bamboo grew through the ceramic forms, it became a naturally integrated part of the pieces. The first part of this project was documented in the video Clay and Bamboo! Incorporated by Growth, which we com­ pleted in 2002. While he loved creating, and continued his own work right up until his death, he was as much involved with promoting the careers of younger artists and friends, giving freely of his knowledge, friendship and support to those around him. A few hours before his death, when he knew he was dying, he called about 15 of his closest friends to say goodbye and tell them how much he cared about them and how special they were. Janet Hofsted, Bearsville, NY

Safety Education Dangerous ceramic materials! Did that get your attention? Unfortunately, this trick is used on many of us for other than infor­ mative reasons. Reporting on health and safety issues should require a high level of scholarship and peer review, with the stan- Ceramics Monthly March 2005 10 Ceramics Monthly March 2005 11 letters

dard research practices applied in traditional mainstream research reporting. The written word carries with it the presumption of truth and legitimacy, but there is an overall ignorance about the health-related risk factors of ceramic raw materials, causing misinformation to flourish. The real issue is not the poison-of-the-month pronounce­ ments from self-appointed “experts,” as they offer only heat and no informative light on the subject. The ceramics community has reached a point at which we need independent inves­ tigations on the health and safety factors of working with clay and glaze materials. While many individuals have contributed informative articles and books on the sub­ ject, a college or university research project would offer an unbiased scientific approach to the legitimate health concerns of all potters. In part, places of higher education should serve the wider needs of the commu­ nity and not be isolated places of self-inter­ est. They should step forward and offer their expertise and resources to assist the education of all potters. Inaccurate report­ ing on health issues only highlights the degree to which institutions of higher edu­ cation have left this vital area open to unscientific speculation. When will admin­ istrators and professors look beyond their exclusive club? When will they take a step toward the larger ceramics community and contribute to the research necessary for the greater good? JejfZamek, Southampton, MA

Tsunami Did the December 26, 2004, tsunami or earthquake affect the potters of Lombok in Indonesia [see “Indonesia’s Sasak Potters,” September 2004 CM]? If so, is there a specific fund to help them? Evelyn M. Carnes, Willis, MI According to a local business association, the island of Lombok is located approximately 2500 kilometers (1550 miles) from the origin of the tsunami and was shielded by numerous large intervening land masses. As a result, it did not experience the earthquake or any of the deadly waves generated.—Eds.

Readers may submit letters to the editor online at www.ceramicsmonthly.org/lettertoeditor.asp Some edit­ ing for clarity or brevity may take place. All letters must include the writer’s full name and address. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected]; or fax to (614) 891-8960

Ceramics Monthly March 2005 12

upfront

16 Grayson Perry: Urbane Guerilla? by Shane Enright Victoria Miro Gallery, London, England

18 Body Language: The Figure in Clay Lucinda Gallery, Baltimore, Maryland

18 The Swedish Show Meyerhoff Gallery, Baltimore, Maryland

22 Lilach Lotan Gallery of BC Ceramics, Vancouver, British Columbia

22 Ursula Hargens Lohin Geduld Gallery, New York City

22 Katherine L. Ross Dubhe Carreno Gallery, Chicago

24 European Ceramics Competition Ceramics Exhibition Hall, Maroussi, Greece

24 Point of Departure Elzay Gallery, Ada, Ohio

26 Generations in Time Kanazawa City Hall, Kanazawa, Japan

Top left: “Balloon,” 82.5 centimeters (32 inches) in height, handbuilt glazed stoneware, 2004.

Top right: “Poverty Chinoiserie,” 64 centimeters (25 inches) in height, handbuilt glazed stoneware, 2002.

Middle left: “Taste and Democracy,” 41 centimeters (16 inches) in height, handbuilt glazed stoneware, 2004.

Middle right: “Taste and Democracy” alternate view.

Bottom: “Precious Boys” detail, 53 centimeters (21 inches) in height, handbuilt glazed stoneware, 2004.

Ceramics Monthly March 2005 16 Grayson Perry’s “Us Against Us,” 45 centimeters (18 inches) in height, handbuilt glazed stoneware, 2004.

review: Grayson Perry: Urbane Guerrilla? by Shane Enright Grayson Perry’s latest exhibition of 15 large glazed vessels, on sion of beautiful ladies dressed in their finest floral prints parading display recently at the Victoria Miro Gallery (www.victoria- high around the shoulders of the vessel against a ground of intri­ miro.com) in London, reveals once more the provocative capacity cate resist drawings of fighter planes, and gold and black stencil of his work. Here is an artist who both uses and subverts the patterns of bows and flowers and lace. ceramics tradition; an outsider who is increasingly successful within A sense of affectionate irreverence comes together gloriously in the fine arts economy that he has frequently satirized; and a maker the celebratory “Taste and Democracy.” Here we see a cartoon of works that, at their best, are simultaneously beautiful and beach boy holding his gal in his arms. “It’s about time a transvestite disconcertingly uncomfortable. won the Turner Prize,” he tells us, referring to the prestigious All of the vessels in this show take as their source the classical British fine arts award which Perry won to both critical and forms of high-art ceramics of the sort that decorate the mantels in popular acclaim in 2003, while she declares that “pottery is the aristocratic British country houses; lidded Chinoiserie urns, Ori­ new video.” A support cast of Gap-clad, hijab-wearing, shopping­ ental blue-and-white vases, and full-bodied, long-necked laden and pram-pushing characters add their own assessments. lusterwares. Like their prototypes, these are highly decorated works, The award of the Turner Prize is a mark of Perry’s status within employing an assortment of texts, drawing, stencil transfers and the visual arts economy, and it is within this milieu that Perry has photographic prints to produce the same densely rich and precisely had his principal one-man exhibitions—and he commands prices crafted surfaces that served as markers of value, quality and exclu­ for his work accordingly. In the mid-1990s he exhibited with the sivity in their antecedents. Anthony d’Offay Gallery, while Victoria Miro now represents But in Perry’s hands this surface decoration is subverted by the him. In 2002, a major retrospective, “Guerrilla Tactics, ” traveled stories that the pots tell. Some of the works are autobiographical, from the Stedelijk Museum in Amsterdam to the Barbican in often taking themes of a dysfunctional childhood. Perry is extrovertly London. The acceptance of his work by the fine arts world makes transvestite, and a number of vessels bring us visions of Claire, his sense in the context of his artistic practice. His use of multitextured cross-dressing alter ego, with her Miss Muffet bonnets, pinafores collage, the strong autobiographical and narrative strands, and the and lace-fringed frocks. Other vases continue a long-standing and fetishised symbolism and graffiti all have their fine art precedents sometimes angry social commentary. Often these works bring in the U.S. as well as the U.K. It helps that Perry is also a great together elements both of personal reflection and public preoccu­ draftsman with a powerful sense of drawing and composition. pation to draw complex and ambiguous narratives that provide But although he sees himself as a fine artist, his work also perplexing layers of meaning and mystery. belongs in, and owes a great deal of its power to, ceramics tradi­ In the large gold-rimmed urn “Us Against Us,” for example, tions. His pots derive their subversive qualities precisely because the main pictorial element is an intricate drawing, set in a Japanese they are reinterpretations of a value-laden tradition of bourgeois Rimpa-style undulating ground, of an early 20th-century army ceramic objects dart. To be iconoclastic, it helps to have an idol bloodily marauding, alongside Claire with pennant in hand, through before you. There is an amazing faithfulness in Perrys simulta­ a desolate winter forest landscape. Over this is superimposed a neous reassertion and repudiation of these archetypes. Looking at photographic collage of, seemingly, still frames from a dated women’s the exhibition with a ceramics orientation, what comes across is road movie taken inside a car. Make what you will of these the authenticity of the vessels’ forms, in their scale, and in the juxtapositions: every vessel is rich with them, and it is from such combination of surface treatment and volume. Though purists ambiguities that the power of much of Perry’s work derives. may be horrified to know that these are coil-built reinterpretations “Poverty Chinoiserie” is an affectionate portrait of senior citi­ of wheel-thrown originals, there is an extraordinary technical vir­ zens, young mothers and drifting youths each seemingly lost in tuosity in the production of these works. Printing snapshot images introspection in a rundown urban environment made beautiful by onto curved clay surfaces is challenging enough, but to give us cherry blossoms. “Precious Boys” gives us an affectionate proces­ underglaze Sell-O-Tape and kindergarten powder paint textures

Ceramics Monthly March 2005 17 upfront Ellis, Kathy King, Jenny Mendes, Michaelene Walsh and Janis Mars Wunderlich, and includes figurative sculpture, narrative pots and tilework. Ellis’ works are small and complex with moving parts and detailed alongside lustrous silver surfaces is to take the language of ceramic surfaces. She states, “[my work] explores human behavior and reflects decoration into a new fluency. His aim may be transgressive, but his our longings, failures and resilience. Through the postures and expres­ method is precise and talented. sions of my subjects, I attempt to portray the pervasive feelings and Success brings its own challenges. The outsider artist label embraced thoughts that animate us all. My work is inspired in part by the intricate by Grayson and reinforced by Claire, is at some risk as his work shifts to workings of antique toys and dolls, as well as children’s storybooks.” the mainstream. The two weakest works in the exhibition reveal the fault lines. “A Network of Cracks,” subtitled “Turner Prize Award Dinner 2003,” (not shown) seems to be a seating plan of the great and the good, beautifully produced in a late medieval Islamic style. But without any sense of social critique of class and personal relations, all we get is an A-list of art celebrities and friends, who are surely happy to see their names immortalized in ceramic. Similarly flattered, we can imag­ ine, will be those mentioned in “Balloon,” which introduces to us a London where establishment galleries and arts sites are mapped out as orthodox churches and medieval buildings and where we meet a besti ary of personalities including Saint Chris (Ofili) riding a defecating el­ ephant, Pope Nicholas (Serota), Saint Tracey (Emin) on a rack and Saint Sam of Taylor Wood (holding her stuffed hare). It is difficult to stay an outsider while making playful insider jokes about members of the arts establishment. In our uncertain and ideologically conflicted times, it would have been interesting to see more of the harder critical edge evident in earlier works. Pottery has not yet become “the new video” but Grayson Perry is one of a growing group of British makers—which includes Sara Radstone, Angus Suttie, Martin Smith, Ken Eastman and Gillian Lowndes—who have broken down barriers between applied and fine arts by transform­ ing vessels into objects and by shifting the context of their work into sculptural domains. In Perry’s case, the confluence of a refined classical ceramics sensibility, exceptional craftsmanship, and complex narratives conveyed with painterly skill, yields work with, at its best, a continuing capacity to provoke and enrich. Jenny Mendes’ “Spinning,” 11 inches (28 centimeters) in height, Shane Enright is a freelance ceramics critic and commentator based in slab-built earthenware with terra sigiliata, fired to Cone 03; at Lucinda Gallery, Baltimore, Maryland. London, England. Mendes presents characters in the form of drawings and small Body Language: The Figure in Clay sculptures. “To arrive at the place of success in a piece, I have to choose Lucinda Gallery will present “Body Language: The Figure in Clay,” certain ways over others, abandoning elements, paths and possible March 1-20. The exhibition will feature works by Lisa Clague, Melody solutions to make that which I am doing in the moment a wholly believable and true thing for myself,” she explains. “Finding this point of simplicity and clarity is often my main objective. The content of my work is extremely personal; the scale intimate. Collectively, my work forms a re-imagined response to historical folk ceramics from a variety of cultures.”

The Swedish Show “The Swedish Show,” an exhibition featuring more than 20 young Swedish ceramics artists, will be on display at the MeyerhofF Gallery at the Maryland Institute College of Art (www.mica.edu), in Baltimore through March 20. The exhibition aims to highlight the unique vitality, variety and breadth of work coming from the new generation of Swed­ ish ceramics artists. Each of the contributing artists have an idea-based approach to both material and content. Ideas for work can take their departure from

Melody Ellis’ “Choose a Hand,” 7 inches (18 centimeters) in height, contemporary art-thought and modern design theory as much as from earthenware with slips and glazes, wire. knowledge of craft techniques and traditions. Some of the artists in the

Ceramics Monthly March 2005 18 upfront exhibition work primarily as studio ceramists while others work across disciplines (for example, in projects involving architects and designers).

Josefine Holmqvist’s “Gloria,” 90 centimeters (35 inches) in height, handbuilt porcelain.

“Forming clay in textile molds is the foundation for my work,” said Gustavsberg artist Karolina Erikkson. “To create a natural combination of the delicate and bombastic gives a sculptural expression. This pre­ sents the viewer with a conflict of associations, where recognition and inconsistency can be confusing and baffling. The shapes are enlarged, swelling, fleshy but at the same time solid and rigid. This is a play with contradictions and an opening for the unexpected.”

Eva Hild’s “Complex A,” 80 centimeters (31 inches) in height, handbuilt stoneware.

“Influence, pressure, strain—these words have been the foundation for my current... large, handbuilt clay forms,” stated Sparsor artist Eva Hild. “My inspiration is the ever-changing landscape of my own life and environment. I try to relate my work to my life. What is happening and how does it feel? ... As a starting point I put words onto my feelings, and use the vessel form to translate this into three dimensions. The size of the form relates to my body. The thin walls are pulled and bent in different directions.”

Helena Andersson’s “Bergtagen,” 100 centimeters (39 inches) in length, handbuilt earthenware with slip and lead glaze, fired in a wood kiln.

Goteborg artist Josefine Holmqvist encourages viewers to imagine themselves working on repetitive tasks when looking at her work. For example, she says, “maybe you’re doing the washing up after a big party, cleaning glass after glass; or you could be in front of the TV knitting a scarf—one row, two rows, three rows. Repetitive actions that after a while might allow your thoughts to run free, take you above the level of intense concentration. This is what I’m trying to show in my work: repetition, in a large scale or small scale, within the process or within the finished piece.”

Karolina Eriksson’s “Orange Form,” 90 centimeters (35 inches) Goteborg artist Helena Andersson explained, referring to the firing in height, earthenware; at Meyerhoff Gallery, Baltimore, Maryland. of work in this exhibition, “Inside the wood-fire kiln, the clay has a life

Ceramics Monthly March 2005 20 upfront of its own and the flames of the fire add dimensions that could not be achieved in any other way. I give a lot of leeway to the power of intuitive feeling in the creative process. The violent struggle with the clay also should come through. The kiln was emptied a few days later. And even though I had successfully mastered the firing, nothing came out as I had planned—It was a lot better.” In conjunction with the exhibition, a seminar is to be held on contemporary Swedish ceramics as part of the 2005 NCECA confer­ ence. For more information on the Swedish Show, see www.theswedishshow.com.

Lilach Lotan “Bottled,” an exhibition of works by Ladysmith, British Columbia, ceramics artist Lilach Lotan, was on view recently at the Gallery of BC Ceramics (www.bcpotters.com/gallery.html), in Vancouver, British Co­ lumbia, Canada. The exhibition was part of the Potters Guild of British Columbia’s 50th anniversary celebration.

Ursula Hargens’ Untitled, 12 inches (30 centimeters) in height, wheel-thrown earthenware, fired to Cone 04; at Lohin Geduld Gallery, New York City.

serious and celebratory; and they are at times surprising, unfamiliar and eccentric. “Because flowers are a common and universal decorative motif, they are often overlooked or dismissed as sweet, vapid and benign. In re­ sponse, I have chosen to use the flower to create a decorative language

Left: Lilach Lotan’s “Postcards from Home,” 61 centimeters (24 inches) that is active and assertive. The flower that is domestic, common and in height, wheel-thrown and altered stoneware, wood fired to Cone 12. known, becomes animated, vivid and new.” Right: Lilach Lotan’s “Jigsaw Puzzle,” 61 centimeters (24 inches) in height, wheel-thrown and altered stoneware, wood fired to Cone 12; Katherine L. Ross at the Gallery of BC Ceramics, Vancouver, British Columbia, Canada. “Regarding Being and Becoming,” an exhibition of new sculptures by “My work is my way to connect with the world,” Lotan com­ Chicago artist Katherine L. Ross, is on display at the Dubhe Carreno mented. “I’ve always had trouble expressing myself with words. My Gallery (www.dubhecarrenogallery.com) through March 6. According language is clay. I create words on the potters wheel, and then combine to gallery director, Dubhe Carreno, the new work “possesses an essential and shape my sentences by hand.” balance between its inherent conceptual potency and its visual sophisti­ Growing up, Lotan enjoyed playing with Lego toys, train sets and cation expressed through line, form and color.” assembly kits, and explains that she cannot ignore that early influence. “Rarely do I throw a vessel all in one piece. I constantly play Legos, but now, I get to create my own units.”

Ursula Hargens The Lohin Geduld Gallery (www.lohingeduld.com) in New York City recently presented “Decorative Form,” a solo exhibition by Saint Paul, Minnesota, ceramics artist Ursula Hargens. The exhibition featured functional forms decorated with floral imagery reminiscent of Euro­ pean, Islamic and American decorative traditions. “My pots are colorful and decidedly decorative,” stated Hargens. Katherine L. Ross’ “Mule Series #4,” 24 inches (61 centimeters) “They are a pastiche of historical and cultural influences; they are both in height, slip-cast porcelain, 2004; at Dubhe Carreno Gallery, Chicago.

Ceramics Monthly March 2005 22 upfront

“Currently, I am paying attention to man’s continued interaction with and manipulation of nature, from genetic engineering, hybridiza­ tion and cloning, to nanoceramics,” Ross remarked. “A conversation over time between me and the natural things in the world that man has manipulated, has resulted in these objects. . . . These objects are the conscious and unconscious questions and possibilities.”

European Ceramics Competition The “European Ceramics Competition” (EuCeCo) recently held its debut exhibition in Maroussi, Greece. The competition will continue on a biennial basis during the off-years of the Panhellenic Ceramics Competition, a national biennial competition that has been held in Greece for the past 47 years. Nearly 700 artists from 43 countries submitted slides of 2489 works to the competition. After a three-day meeting, an international panel of jurors selected 118 artists to partici­ pate in the exhibition.

Alena Buresova’s “Recording from a Flight to Heaven, II,” 44 centimeters (17 inches) in width, porcelain relief wall piece with underglaze decoration.

“The panorama of modern ceramics is always rich in new materials and more complex techniques,” stated juror Emidio Galassi. “With enthusiasm, I saw exceptional works oriented to research and experi­ mentation—both in form and matter—in which the technical skill transformed the matter toward known artistic and at the same time personal expressions.”

Nicholas Lees’ “Solaris,” 45 centimeters (18 inches) in height, handbuilt and slipcast stoneware with gilding.

The grand prize for the competition was €35,000(US$44,650). German artist Rita de Nigris was awarded a bronze prize of €6,000(US$7650) in the functional category. Alena Buresova of the Czech Republic and Nicholas Lees of England received awards of merit of €2000(US$2550) in the expression category.

Point of Departure The Elzay Gallery of Art at Ohio Northern University in Ada, Ohio, recently presented “Point of Departure.” The group exhibition was curated by Marty Fielding and included ceramic works by Doug Dotson,

Rita DeNigris’ “Old Woman,” 76 centimeters (30 inches) in height, stoneware Niel Hora, Bayard Morgan, Ronan Kyle Peterson and Liz Sparks, as with porcelain slips; at the European Ceramics Competition, Maroussi, Greece. well as Fielding. Continued

Ceramics Monthly March 2005 24 upfront

“The concept for this show is to display the work of potters and friends who shared similar beginnings in clay,” stated Fielding. “Our connection is Penland School of Crafts and, more specifically, Penland’s wood kiln. All of us, in some combination, have placed pots in the kiln that carried the spirit and influence of the school and surrounding community.

left: One-year-old Yui Ishigaki places her handprint at the center of the “Generations in Time” mandala. right: 100-year-old Tetsunosuke Sawada presses his hand into the clay.

cation and interaction between cities, and it is very important that we can show that we have a good friendship with the U.S.” Generations In Time is the second sculpture in a larger series con­ ceptualized by Tetkowski entitled the Common Ground World Project. This project works to transcend our perceived barriers of age, politics, language and ethnicity to find a truly common ground for all people. Toshio Ohi, 1 lth-generation artisan from the Ohi family, which is famous for exquisite tea ceremony ceramics, likened the experience to a Left: Ronan Kyle Peterson s “Pupa Jar,” 16 Inches, (41 centimeters) tea ceremony. “The tea concept is one chance, one meeting. For this in height, wheel-thrown and altered earthenware, fired to Cone 03. Right: Doug Dotson’s platter, 14 inches (36 centimeters) in diameter, event, people are gathering and this time never comes back. If we can all wheel-thrown and soda-fired stoneware; at Elzay Gallery of Art, Ada, Ohio. appreciate this idea, we can share the moment together. It is part of the piece,” he says. “Today, nearly four or five years from those formative firings our ways of working have found distinct evolutionary paths,” he continued. “From the wood-fire-centric philosophy at the time of our meeting, some have moved to its polar opposite: electric-fired earthenware. Oth­ ers have sought the middle ground of gas-fired reduction or soda, while wood has remained the fuel of choice for two of us. . . . The surfaces range from natural fly ash to crackled brightly colored low fire, and from understated celadon to dramatically contrasting pattern.”

Generations in Time Excerpted from an essay by Sasha Hirschfeld New York City artist Neil Tetkowski’s public work entitled “Genera­ tions In Time: The Kanazawa Project,” was recently installed in Kanazawa, Japan. For this project he traveled to Japan where he gathered 100 people consecutively aged from one to 100 at the Kanazawa City Hall to have them place their handprints in clay. The result is a portrait of a generation and a celebration of not what makes us American or Japa­ nese but what makes us human. “With the Kanazawa Project, I have envisioned a clock that has stopped. One hundred handprints captured like a snapshot or a family portrait bringing all these people together. Inset and detail: Neil Tetkowski’s “Generations in Time” mandala installed at Even though the portrait is static, the people keep moving and chang­ Kanazawa City Hall, Kanazawa, Japan. ing. It is a metaphor for our experience in time.” he says. Mimicking the progression of time, the handprints in Generations “What makes the Kanazawa project interesting,” says Tetkowski, “is In Time move outward in a chronological spiral from the central point, that we were able to realize it beyond the idea. We managed to get 100 which is the handprint of the one-year-old girl Yui Ishigaki. Yui’s father, people and a city government in a foreign country to sponsor it, not Yasuhito Ishigaki, who lived in the United States with his family as part only to spend time but to make a commitment, a public commitment,” of a work exchange, brought the entire family of five to put their he says. “They involved their citizens. The symbolism here is pretty handprints in the clay. He believed it was important to be involved on a strong; it’s direct and profound.” personal and an international level. “This monument will be in this city and every time we go there I can contemplate and compare the size of Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events of my children’s hands,” he says. “That’s very nice. It also shows communi- interest for publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.

Ceramics Monthly March 2005 26

this can lead to the glaze flaking off before firing. answers Ideally, the glaze should have just started to crack From the CM Technical Staff when dry. Alumina Wash Alumina Hydrate...... 93.75 % Q I have been trying to get a low-fire oxidation EPK (Edgar Plastic Kaolin)...... 6.25 (Cone 09-04) clear bead glaze. The experiments 100.00% that I have tried have yielded white, milky beads. Do you have any glazeslideas that will work? The Add: Bentonite...... 3.11 % following recipes were used as my base: CMC Gum...... 0.52%

Recipe 1 Clear Glaze (Cone 04) (Cone 04) Borax...... 20 % Gerstley Borate...... 25 Gerstley Borate...... 25 % Magnesium Carbonate...... 25 Frit 3124 (Ferro) ...... 55 Silica (Flint)...... 5 EPK (Edgar Plastic Kaolin)...... 20 100 % 100.0%

Recipe 2 Add: Epsom Salts...... 0.5 (Cone 04) The beading won’t be as pronounced as with Borax...... 27 % magnesium carbonate, but the beads will be clear. Gerstley Borate...... 33 As a starting point, try mixing the glaze to a specific Magnesium Carbonate...... 34 gravity of l.lg/ml, which will be similar to the Silica (Flint)...... 6 consistency of skim milk. 100% Testing will be required to arrive at the right Any suggestions would be appreciated. Thank combination for your purposes, so experiment you for your time.—J.C. with different thicknesses of alumina wash and Bead glazes have both more surface tension andglaze to find the best results. viscosity (properties of the molten glaze), and more David Pier shrinkage (a characteristic that manifests itself dur­ Studio Potter, Ceramics Consultant ing the drying and/or early firing) than most glazes. Palo Alto, CA The recipes you tried have large amounts of Gerstley borate and magnesium carbonate. Both Q Do you have any marketing suggestions for of these materials have a very high shrinkage duringsomeone who is just starting to sell their work? early firing, before anything in the glaze has melted There are many ways to sell work, and most of enough to wet the clay body. us try them all at some point. You can explore In addition to high shrinkage, the magnesium wholesaling, consignment sales, craft fairs, farmers carbonate (a source of magnesium oxide) contrib­markets, internet sales, catalogs and selling though utes to high viscosity and surface tension and your own studio. therefore resists wetting the body surface and flow­ Wholesaling your work can be approached in ing into the spaces between the beads. It would several different ways. Many artists have booths in appear that the magnesium carbonate is both the large wholesale shows, where buyers from stores all primary cause of the beads and the cause of the over the country can place orders all at once. These opacity. High viscosity is generally contrary to a shows are almost always juried. Many artists also transparent glaze because it resists the thorough buy advertisements in wholesale-oriented catalogs homogenization of the glaze and the escape of tinyand magazines. If you know of stores and galleries gas bubbles, both events being necessary for to which you would like to sell your work on a clarification. I have never seen a clear glaze that willwholesale basis, you should put together a price list bead on a normal body, and I can’t think of anywayand a catalog of the exact work that you would like to formulate one. to sell and approach them directly. When someone However, there is another approach you can buys wholesale from you, they usually place orders take. If you coat the body with an alumina wash for an exact number of pieces in very specific sizes before applying the glaze, the body will be much and colors. When selling your work wholesale, more resistant to wetting. The glaze at the glaze/ you need to tell them the wholesale (not retail) clay interface will also absorb some of the alumina,price, the minimum amount that they can order, locally increasing the viscosity. You might have to shipping and handling charges, and what your go so far as to apply this wash as a resist. The glazepayment terms are. Payment terms are the num­ still needs high shrinkage, and while it cannot be aber of days they have to pay for an order (“net 30” runny glaze, it does not need the extreme viscosity means they must pay within 30 days, “COD” and surface tension of normal bead glazes. Try means cash on delivery). Many people ask for a transparent glazes that are high in clay and/or highfirst order COD or net 10 but allow more time for in Gerstley borate. You also can flocculate any clay-payment on subsequent orders. You should also containing glaze with 0.5-1.0% Epsom salts (mag­ ask for a few references before you give longer nesium sulfate) to increase its shrinkage, although payment terms. Continued

Ceramics Monthly March 2005 Ceramics Monthly March 2005 31 answers to the work you plan to sell. When someone asks for a booth in a fair can range from $50 to $1000, you to sell work on consignment, they often are lessand some fairs also charge a commission on your specific than a wholesale buyer. They might ask forsales. At most fairs, you supply all of your own Consignment may pay you the same amount of“a few of these in a nice color, and if you have anydisplay materials (shelves, pedestals, tables), and if money per piece as wholesaling, but it is ap­ new work, bring that, too.” Consignment con­ the show is outside you usually must supply a tent proached differently. When you sell on consign­ tracts vary in different galleries, but most state thator other protection from the weather. Good fairs ment, you get paid for a piece after it has been sold.you will be paid within 30 days for any work that are generally hard to get into and they often charge You are paid a percentage of the retail price (usuallyyou sell. Make sure that you have a contract for higher fees. Often, you get what you pay for here. 50-60%). Most consignment situations are the anyone with whom you consign work. If they charge more, it is often because they spend result of artists and galleries contacting each other Craft fairs and other retail fairs that specialize inthe money on advertising the show. directly rather than through a show or a catalog. Ifart or craft can be a good way to sell your work for Farmers markets and other “specialty fairs” can you are approaching a gallery to consign your retail prices. Generally, you must apply to them bybe places to sell work that is aimed at more specific work, you could take a catalog with prices, or you sending slides in to be juried. Applications are markets. If you make work that is food or plant could show them a portfolio of work that is similarusually due about six months before the show. Feesrelated, you may find that farmers markets are a good place to sell. The booth fees are often lower than craft fairs, and the application process may be less cumbersome. Internet sales are starting to become important for some artists. You can build your own website or sell work through an existing art-sales site. If you are managing your own site, you will need to be familiar with how to publicize websites. If you are selling through someone else’s website, fees may be charged to be listed on the site. Some charge a commission on sales—most charge both. Some have the customer pay them and you get a check at the end of the month. Some have the customer pay you and you owe the website a commission. Most websites sell work for retail prices plus shipping and handling. Websites generally state that items or­ dered will be shipped within a certain period of time. If they say work will be shipped within two weeks, you had better have that work in stock. Catalog sales are generally handled in a similar manner to internet sales. Keep in mind that, if you get in the Crate and Barrel catalog, you may find yourself faced with 2000 orders for gew gaws, and they all must be shipped in two weeks. Are you really ready for that kind of production? Selling work directly from your studio gives you the advantage of getting the entire retail price. You also may not need to ship the work anywhere. There are two ways that you can sell work from your studio. If you want to sell work from your studio everyday, you will need to have a permanent display area and you should try to keep regular hours in the studio. You also can have a studio sale once or twice a year. For a studio sale, you can use your work space as a temporary sales area. If you plan to start selling work though your studio, you will need to do your own marketing. This could involve collecting a mailing list of customer names and sending them a card, buying advertising in a local newspaper, having a catchy sign, and making attractive sandwich boards to put on nearby streets. Janet Buskirk Studio Potter Portland, Oregon

Have a problem? Subscribers’ questions are welcome! Those of interest to the ceramics community in general will be answered in this column. Mail your questions to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected]; or fax to (614) 891-8960.

Ceramics Monthly March 2005 32

copper (there is copper in brass), which often Good to the Last Drop suggestions reduces to red in the pit firing. When you are down to your last pint of glaze From Readers For better black color, I do some or all of the (or even if you have a gallon), here is a good way burnishing with a solid, soft graphite pencil, to glaze a large platter or bowl: Center the piece which is available in any art-supply store. They on your wheel head, rim down. With a chisel- Burnishing Bits look like a child’s chunky crayon wrapped in a point brush, paint the area closest to the foot as I pit fire a lot of my work because of the way paper sleeve. the reduction atmosphere and the smoke affects Sometimes, I apply mica flakes or a 200- the burnished surfaces of my bowls and boxes. mesh mica powder and burnish it into the body To get the most out of the time and effort I put with the back of a spoon. Some potters use into burnishing, I have learned a few tricks. micaceous clay, so mica is all through the body. First, I found that I can burnish with a piece For my work, just applying it to the surface is of clean, smooth brass tubing or copper pipe. fine. It gives a soft sparkle to the pieces.— Kim These leave behind a random application of M. Hohlmayer, Mechanicsburg, OH

the wheel slowly turns. Then, using an ear syringe, suck up the glaze from the storage container and discharge it slowly in front of the brush bristles, working down from the foot to the rim. You may want to repeat the process for a heavier application. When dry, flip the piece over, recenter and repeat the process, this time working from the rim to the center.—Robert Brown, Miami, FL

Separate Your Beads Small sections of old kiln elements can be used as spacers between beads on a bead rod when pit or raku firing. To prevent the piece of element from sticking to the molten glaze on the

side of the bead, bend the ends of the element loops outward like a tail and insert into the bead hole on either side before firing.—Andi Fasimpaur, Dayton, OH

Good Vibrations I had been mixing some #1 Pottery Plaster for use around the studio and I kept encounter­ ing problems with air bubbles trapped in the mix. No matter how carefully I mixed the plas­ ter, it seemed almost impossible to keep all of the air bubbles out. I knew that some places have large vibrating tables that one puts the bucket of mixed plaster on, and it shakes the bubbles to the

Ceramics Monthly March 2005 36 Ceramics Monthly March 2005 37 suggestions

top. I tried hitting the side of the bucket with my hand, and while it did bring some bubbles to the surface, there were still more than I wanted. Finally, I remembered my percussion back mas- sager. It has variable speeds and uses a thumping action for a do-it-yourself back massage. I mixed up my next batch of plaster and then put the massager against the side of the mixing bucket. With some adjustments to speed and pressure, air bubbles quickly came to the surface. The end result was the best batch of plaster I have ever mixed.—Kim Lindaberry, Kansas City, MO

Tender-Touch Trimming When trimming a bowl, bottle or cylinder form, it is usually safe to handle the form to evaluate thickness by weight and “feel” of the form. However, plates and platters can more easily become deformed at this stage. In order to be able to handle them, I flip them onto a piece of foam-core board. The foam core is so light and rigid that it allows me to accurately judge the weight of a piece without the pressure of my hands deforming the work.—Carol B. Eder, Saint Louis, MO

Tip of the Month

Smooth Slabs I bought a package of three 12x15-inch flexible cutting mats to use in my kitchen, but found they are great to use in my studio

when working with clay slabs. They are smooth, so they won’t impart a texture to the slab. I spray them with a light coat of cooking spray first so they won’t stick to the clay.

Congratulations to Joanne Wallbridge of Cottonwood, Arizona. Your subscription has been extended by one year!

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

Ceramics Monthly March 2005 38

Too Much 1$ Not Enough by Billie Sessions

When Susan Beiner speaks about her library, she is not talking about books. She is talking about molds of found objects and forms created from her imagination that she squeezes onto a variety of forms to create a dazzling wealth of visual energy. Beiner usually has about 200 molds at any given time. These forms are her library, and thus her vocabulary. Just as vocabulary can change in different settings, so too does Beiner’s choice of forms used on her surfaces. She is constantly searching for new “words” to alter her message. And her message changes quite frequently these days, from colossal wall pieces dripping with shells, fruitlike forms, giant hooks and bolts to tropical leaves and petite amalgamated succulents resembling pre­ cious bubble-ringed, cheery artichokes. It’s obvious that she has no shortage of energy. When she completes an oversized porce- “Screw Teapot,” 8V2 Inches (22 centimeters) in height, slip-cast and assembled porcelain, with luster, 1998.

‘Fruitful," 9 inches (23 centimeters) in height, slip-cast and assembled porcelain, with glazes and lusters, multiple firings, 2001.

Ceramics Monthly March 2005 “New Hybrid #3,” 7 inches (18 centimeters) in height, slip-cast and assembled porcelain, with glazes, fired to Cone 6, 2004.

Ceramics Monthly March 2005 41 Iain-encrusted wall piece filled with thousands of molded shapes, Detroit, Kathy Dambach, was influential in convincing Beiner to or a sizeable assemblage of fruity, elfinlike works, she throws out stick with it and work through her ideas. “When I began work­ those molds, forcing herself to find and create a new vocabulary. ing,” Beiner recalls, “my style wasn’t accepted much and it took Though Beiner is possibly most known for her “Screw Tea­ some time for people to get used to the energy. I am a compulsive pots,” overflowing with hardware like a tool man’s wet dream, she workaholic and have the energy to keep working and to be has abandoned these since her move to Southern California four fearless. I enjoy the time and the challenge of what the work years ago. It’s apparent that the screw pots were a direct response presents. The intensity of the surface and color gets me going.” to the industry of the Detroit neighborhood where she lived and Naturally, Beiner’s encrusted work is thought to have its aes­ worked from 1994 to 2000. Beiner’s work is proof that the motor thetic roots in Bernard Palissy’s work. Yet, she was unaware of his city is a playground for an artist interested in industrial items. work until her surfaces were well on their way to their present “Hardware elements started there because it was so industrial. For state of congestion. All the same, some of her influences are instance, my studio was in an old building where they used to clearly explainable. It turns out that her childhood home in New make airplane parts.” Jersey played an important role. Since her mother loved fine Two of her artist friends utilized scrap metal in their work and China, her father would bring indigenous ceramic tokens home Beiner would rummage through their heaps of “junk” and find from various parts of the world where he traveled for work. Over things that she would then use as molded objects. She was appro­ the years, the breakfront cabinet became filled with cups and priating the heart and history of Detroit into art. “For me, it was saucers of completely diverse designs, colors and surfaces. Beiner taking what was old and discarded and presenting it in a new way. cherished these rowdy bits and pieces. I was translating the traditional to the fantastic.” Even though Years later, as a ceramics student, Beiner was drawn to study­ most of her new vocabulary these days is based on imaginary, ing festooned silverware and bejeweled Meissen and Sevres pieces, organic forms that she molds from what she sees in her new sun- noting their parallel surface adornments. She is well aware that filled environment, she admits she will always use hardware. She these styles peaked her intuitive cravings, having always been claims it’s the vocabulary word she will never abandon. drawn to active surfaces. Until recently, she was constantly re­ Beiner’s true passion is sumptuous surfaces. Too much is not viewing her reference books about 18th-century vessel forms and enough. Throughout the years, she has been encouraged to change their purposes, since she was translating those forms and their her opulent and profuse casings. However, her studio mate in flamboyant decoration into her contemporary encrustations. As a painting major at Rutgers University in the early 1980s, Beiner enrolled in ceramics her junior year. She became acquainted with the pos­ sibilities of molds from Lynn Peters who was a graduate student. Beiner stayed an extra year, com­ pleting her B.F.A. in ceramics. She knew this was the tip of the iceberg, as far as what she needed to apply for a terminal degree in ceramics. She relo­ cated to Arizona State University to prepare. Uprooting herself again, she moved to Ann Arbor, Michigan for an M.F.A. Next, she moved to Detroit to begin concentrated studio work as adjunct faculty for the College for Creative Stud­ ies (CCS) at the College of Art and Design. Her mentor there was Tom Phardel. He was adventur­ ous about experimenting with new glazes, surface orientations and techniques. Teaching slip cast­ ing for five years at CCS taught Beiner an enthu­ siastic and disciplined zeal for the potential of using molds to satisfy her vocabulary. She is now assistant professor of art at Califor­ nia State University, San Bernardino. “For the first two years in California, I was out of my mind. I made the last screw teapot here . . . , but I wasn’t sure where it would lead. The series was over, as my environment had changed. Southern Califor­

“Klubbo,” 20 inches (51 centimeters) in diameter, slip-cast and assembled porcelain, nia was so different than any place I had ever with glazes, fired to Cone 6, with aluminum, 2004. been. I started thinking about not making pots

Ceramics Monthly March 2005 42 “New Hybrids,” to 7 inches (18 centimeters) in height each, slip-cast and assembled porcelain, with glazes, fired to Cone 6, 2004.

anymore and making sculpture instead. I questioned what it was California. This latest evolution of her structural design vocabu­ to make sculpture. It’s a whole different set of principles. I haven’t lary she calls “New Hybrids.” These have evolved from last year’s made any teapots for over a year now and I like the idea that I “Hybrids.” More diminutive than the others, they are about 7 don’t have to limit myself. I really think that all the years that I inches in height, composed of two pieces. They are action-packed made teapots were somewhat limiting, just because I didn’t really pinnacles set on a saucerlike form with a concerted relationship of know that I could not make them. Although I am still interested color and texture. They are sumptuous, like the experience of in the vessel form, now it’s completely nonfunctional.” driving past fragrant orange groves. With Beiner’s flair for the Forms unfold from her sketchbook. They may not have a ornate, a cactus is translated into a cluster of energetic, direct historical connection like the objects that she was making pineapplelike agricultural matter, twisting with bold and festive in the 1980s and 1990s. Before, she was sketching traditional color combinations, overloaded with shells, ping-pong balls, forms and attaching castings of found objects. Presently, she uses nubbins, screws and such. Characteristically for Beiner’s passion­ her sketchbook to record, translate and develop her own forms. ate need to stuff a space, she will fill a whole wall full of these This new approach is more engaging for her. The only time that embryonic buddies. she uses found objects is for the hardware elements in her work. “The difference between what I did before and the new work However, the size of the hardware has increased. Beiner has found is that I’m working sculpturally with the inside space of the cast hardware suppliers that allow her to borrow and return their pricy parts. In other words, I am casting the pieces that frequently ($200+) industrial hooks, bolts and screws. resemble an improbable leaf or bud and working with the interi­ Because of Beiner’s energy and her confession that she gets ors of the casts. I am interested in altering the form because it bored easily, it makes sense that her work evolves relatively rapidly gives me more options. I can be playful as I investigate the from one articulation of her vocabulary to another. Beiner is interior space by cutting them open. They move in space, rather translating the landscape of indigenous succulents of southern than being static. I can manipulate, cut, form and reassemble

Ceramics Monthly March 2005 43 parts using a multitude of methods—allowing each piece to blos­ tion, I consider all of these as one piece. I’m going to make more, som. I am dealing with interchangeable parts, and I need to move because I am experimenting with a lot of new things that I haven’t all the combinations around until I find the appropriate feel. done before. I am continually developing new fluid colors to add Then they come alive for me. I can’t figure them out until I can to my palette so I can examine the activity as the colors interact play around with them.” with one another on these pieces. I want a highly smooth surface Prior to the “New Hybrids,” Beiner never used crusty glazes or so the layers of color will ooze on that form—so luscious you put matt, satin or gloss glazes together on one piece. She is now might want to lick them.” experimenting with layering them. “I have always been a color When asked what Beiner would do to a living room if she had freak, so for me to play with the relationship of color to surface all the time in the world to make it her own, she replied “I would this much and have it all together in a small space is a new puzzle. make ceramic wallpaper that would extend out from the walls. It’s like a design problem—integrating an idea strictly through The room would be a historical encrustation of objects from my color and shape.” As she views two long rows of these pieces, life. I would have thick glass shelves placed within the wallpaper, looking like a furrowed crop ready to be picked and taken to each holding a specific object from the people in my life. It’s all market, she says, “Though this group looks somewhat like repeti­ about activity and celebration—a massive encrustation.”

MONTHLY methods Color: Cones 6 through 10 Beiner gets these brilliant colors in firings to Cone 6 or 10. She doesn’t like the look of low-fired glazes, as they are not dense enough for her color palette. She likes the look of china or porcelain and has created a low-grade porcelain slip with a lot of ball clay. Because she is interested in making color more intense, she makes her stains as bright as possible by putting an opaque white matt glaze under­ neath the colored gloss glaze. The opaque white glaze is fired to Cone 10, but the colored glaze is fired to Cone 6 — 7. The colored glaze melts into the higher-fired glaze, permitting her to fire it anywhere between Cone 6 and Cone 10. The glaze is applied quite thick, thicker than she teaches her students to apply glazes. It doesn’t run because the glaze underneath is not fluxed at Cone 6 , though it starts fluxing at Cone 8. She sprays the colors on, which requires a lot of wax to separate the colors and textures. Since too much is not enough, it’s only natural that all of Beiner’s projects, large or small, involve incalculable hours of glazing. Surprisingly, Beiner has found a limit to her time- consuming obsessions. She doesn’t clean mold seams, as she is fond of the added texture they give her pieces. She refuses to score when attaching add-ons. Instead, she at­ taches parts with a “goop” made from her casting slip, combined with Epsom salts. The slip is deflocculated and the Epsom salts (magnesium sulfate) flocculates it. It acts like Velcro! She adds 2 tablespoons of Epsom salts to a cup of water, then heats up the water to dissolve the salts. She then adds 1 tablespoon of this mixture to a quart of slip and it stiffens quickly. She loves the fat edge that the

“Hybrid #3,” 25 inches (64 centimeters) in height, slip-cast and assembled “goop” gives her when it hangs out from under her hordes porcelain, with glazes, 2004, by Susan Beiner, Redlands, California. of fabrications.

Ceramics Monthly March 2005 44 “Double-Faceted Cup,” 4 inches (10 centimeters) in height, wheel-thrown and altered porcelain, with carbon-trap glaze, shaken wood ash, flux and colorants, side fired in a gas kiln on a tripod of seashells to Cone 10 in reduction.

THIRTY YEARS: A Life Built Around the Pursuit of Clay by Dick Lehman

It began innocently with a question from one of my regular together an exhibition of their most current work representing customers: “So, just how long have you been making pottery?” the culmination of all that they have made. Others choose a I replied with a knee-jerk response, telling her that I had been retrospective show of their accomplishments, gathering pots from in business as a full-time potter for nearly 23 years. collectors and museums and their own secret “stash.” “No, no,” she insisted, “I mean, how long have you been Neither of these ideas quite enlivened me. Not knowing what making pots—including all your student and hobbyist years.” I to do, I decided to take a temporary detour to revisit some of my needed to pause for a moment to do the math, not having earliest influences. Thirty years ago, the studio pottery movement thought about this in many years. in North America might have been described as underdeveloped, “It will be exactly 30 years, next spring,” I responded, with a or perhaps, neglected, at least by comparison to today. Most bit of a surprise. aspiring American clay artists, who 30 years ago had the vision to “So what are you going to do to celebrate 30 years?” she asked. become studio potters, had few contemporary American examples. Good question, I thought! I recognized that I should plan some There were relatively few models of working studio potters here kind of celebration or acknowledgment of the occasion. But in the United States, and even fewer American ceramics texts, what to do? Some people celebrate such anniversaries by putting books or periodicals. As a consequence, most of us from that

Ceramics Monthly March 2005 45 generation found our inspiration and influence from people and writings that originated outside North America; mainly from Japan and England. My earliest influences included Susan Peterson’s book about Shoji Hamada, older Japanese and English texts, exhibition cata­ logs, and pots from museum collections. Later, the writings of Bernard Leach and Soetsu Yanagi joined the chorus of influences. It was 30 years ago that I first touched clay, and was touched by some of these texts and works—and stirred, also, by the idea that it might be possible to build a full and wholesome life around the pursuit of clay. So, I decided to reread the books and texts, to review the catalogs, to look again at the pots that had been my early influences in an effort to see how they looked to me from this vantage point, three decades later. As one might imagine, there were many interesting differences in the two readings, now separated by 30 years. But the most interesting outgrowth was my decision to more explicitly pursue “Sagging-Horse-Eye Bowl,” 9 inches (23 centimeters) in diameter, wheel- some of the “aesthetic attractors” that were part of my initial read, thrown porcelain, with sprayed and trailed glazes, fired to Cone 10 in reduction. but which I had never allowed myself to pursue—approaches and methodologies like glaze trailing, wax resist combined with glaze trailing, enamels, and rope or textural patterning. I also decided to return to slab-built trays and side firing, both methods that I had earlier addressed but had abandoned. This exploration led me to at least one other unambiguously Japanese influence—the Seto

Ceramics Monthly March 2005 46 “horse-eye” (umanome) design—in ways that were both explicit in their reference, yet personal in their response. Overall, my interest was not in copying or trying to remake the works that had so-influenced me those many years ago. Rather, my commitment was to try to appropriate some of the method­ ologies and approaches, to filter them through my three decades of experience, then to mount an exhibition of new work that would mark this 30-year “filtration.” To make a commitment to mount an exhibition of “first-time” work, seemed a bit risky to me. Yet the idea of looking backward and looking forward—of filtering influences through a career’s worth of making—seemed to me to be worth the risk. The results took me places I could not have imagined. The glaze trailing on square trays led me to wish for contrasting blocks of color on the pieces. This caused me to try using my normal studio glazes in multiple layers. I even tested 12 of my studio glazes in “triplet” layers, leading to the possibility of 1728 differ­ ent color combinations! I discovered many new glaze colors and textures by using combinations of glazes that were already right in front of me, but which now I began using in new ways.

I spent time exploring the traditional Japanese rope-texturing “Textured Tray,” 12 inches (30 centimeters) square, press-molded approach. It was only after I had been doing it for some months stoneware, with layered and trailed glazes, fired to Cone 10 in reduction. that I discovered that most Japanese potters put the pattern on finished shapes. I had mistakenly assumed that narrow, thick- walled cylinders were textured with rope and later expanded from the inside to create the finished shape. This “misunderstanding” or naivete, allowed me to make forms and textural patterns that would have been impossible or impractical by the traditional methods. My interest in texture caused me to question the wisdom of merely using old methods. “What might be a more contemporary approach to texture?” I wondered to myself. A trip to the local hardware store supplied many contemporary materials for creat­ ing texture. My favorite: the “woven” nonskid rubberized material that one places under throw rugs and under silverware trays inside kitchen drawers. My return to side firing incorporated some of the textural discoveries—rope patterning and sodium-silicate crackles covered by carbon-trapping glazes on side-fired pots yielded a brand new palette of results. The color boldness of my new enamel work and glaze trailing nudged me to add color to the ash applications on the side-fired pieces, expanding the color range of these works. “Glaze-Trailed Platter,” 14 inches (36 centimeters) in diameter, wheel-thrown stoneware, with porcelain slip, glazes and wax resist, And about the umanome design: As the story goes, these fired to Cone 10 in reduction, by Dick Lehman, Goshen, Indiana. horse-eye designs were made in huge numbers by Japanese pot- ters, starting several hundred years ago in the Seto region of Japan. These potters, usually the husbands and fathers of the family, would make the pots. And the children, wives and grand­ parents would be taught to do the decorating. Or so the story goes. It is said that after hundreds and thousands of these repeated patterns, the act of decorating became almost mindless, and in so doing, matured to a “mindless perfection.” Indeed, some of the old umanome plates do look perfect to me. While wishing to acknowledge my indebtedness to these Seto decorators (yet not attempting to merely recreate their work, whose perfection I could not hope to match, since I don’t have a lifetime in which to practice only one decorative motif), I chose to create a form of the pattern that is applied with trailed glaze instead of stain or wash. The glaze is trailed on top of other glazes, and upon forms that cause the motif to “move” just a bit. The result is a pattern altogether different from umanome, but which seeks—while of­ fering a grateful nod of thanks for the inspiration—to harness the liveliness and gesture and energy of the original. Thirty years: A pause to look backward and forward; an op­ portunity to remember, discover and rediscover; an exhibition of gratitude and recognition and discernment. It’s a good way, I think, to celebrate a life built around the pursuit of clay.

“Waisted-Textured Vase,” 7 inches (18 centimeters) the author A frequent contributor; and a member of the CM in height, porcelain, with carbon-trap glaze, shaken wood ash, flux and colorants, rope textured, side-fired in editorial advisory board, Dick Lehman maintains a studio in Goshen, a gas kiln on a tripod of seashells to Cone 10 in reduction. Indiana. For more information, see www.dicklehman.com.

Ceramics Monthly March 2005 49 Zhi -jun Zh eng By Dave Finkelnburg

“It is easier for you to make resplendence. But it is still your own art in the West,” vibrant. The appearance of an assertive young Chinese the saxophone in parts has woman told an interna­ a noble and tragic look tional audience of ceram­ that touched me. I looked ics artists during the at it and asked, Ts this the Foshan, China, Ceramics soul I have hidden?”’ Exposition. “You do not At the young age of 26, have the cultural burden Zheng has experienced re­ we have to bear.” The markable success. Her re­ heavy presence of the ar­ sume boasts work in the tistic past presents a real collections of the Shiwan conundrum for Chinese Museum in Foshan, the clay artists. Yet even a short Guangdong Museum two-week tour of ceramic Zhi-jun Zheng in her studio working on a piece in the “Music in Ruins” series of Art in Guangzhou, art in China reveals plenty and the ZiBo Museum of of new, energetic clay art. Shandong Province. Zhi-jun Zheng is an innovative Chinese artist whose work and When she was very young, Zheng’s parents moved to circumstance represent much that is typical for independent ce­ Jingdezhen, a city often considered to be the birthplace of porce­ ramics artists in China and, for that matter, in most other coun­ lain, or at the very least a very important city in the history of tries in the world. porcelain. Jingdezhen is still a major Chinese center for porcelain Zheng is currently studying English in preparation for apply­ art. Yet growing up in the heartland of porcelain, Zheng may have ing to graduate school in art. Though our communication was been influenced more by porcelain decoration than the clay itself. limited by the dramatic difference between English and Chinese From a young age, Zheng liked to make things, especially toys. grammar (and the sad fact that my knowledge of Chinese was Later, she began to draw, and her drawings were noticed. Heady limited to the words for beer, thanks and how much), the language praise for a very young child is the sort of thing that often comes of art really is universal. to nothing. In Zheng’s case, however, the notice did not, as she “Music in Ruins-SKS” is a sculpture that represents much of says, “twist my life out of shape.” She was 12 years old when she Zheng’s current work. It starkly contrasts the form of a modern began to formally study art. Even then, she began sketching only saxophone with the appearance of ancient stone. The saxophone because her young uncle was starting to learn painting in prepara­ is sliced into parts and appears carved from weathered rock. tion for his college entrance exam. “My uncle encouraged me At first, I was certain she had cleverly sculpted stone to create greatly,” she said. At 18, she entered the Department of Fine Arts the piece. The trompe l’oeil treatment of the material made to at the Jingdezhen Ceramic Institute. look like stone, juxtaposed with the form of a modern musical She was creating graphic art with the aid of a computer there instrument—sliced and rearranged—creates a wonderful sense of when her first ceramics course began. “Suddenly,” she said, “in time. This stark contrast between very old, natural stone and my whole thought, there was no space left for computer design.” modern devices or knowledge is a recurring theme in Zheng’s art. While she was studying at the institute, she explored life as “They say a work of art is the combination of the artist’s mind well as art. “I strolled freely by myself,” Zheng recalled. “I studied and soul,” Zheng said. She explained that, when “Music in Ruins- Nietzsche, I listened to rock and roll.” At one point, she even SKS” came out of the kiln, even though she had the general idea considered forming an all-female rock band. “I did not have any beforehand, she was still shocked by its appearance. “It is a broken radical artistic cynicism,” she said. “My outside life created a musical instrument,” says Zheng. “It has lost its music and its foundation from which my spirit could stretch. Now I can enjoy

Ceramics Monthly March 2005 50 “Music in Ruins-SKS,” 34 inches (85 centimeters) in height, stoneware, with glazes and stains, fired to 1250°C (2282 F), assembled with wire.

Ceramics Monthly March 2005 51 everything within my world without fear of anything. Choos­ ing art means choosing the edge of life.” At about the same time Zheng entered the institute, Chi­ nese art education took a dramatic turn. China was growing more open to tourism in the early 1990s, and seminars by visiting artists at the institute increased dramatically. Lectures by Western artists were seminal for Zheng. “They helped me think about the differences between Chinese and foreign, between archaic and modern ceramic art,” she said. “I also compared ceramic art with other arts.” This thinking evolved into her powerful appreciation for the limits and freedom of sculpting in clay. In her “Music in Ruins” series, Zheng sculpts musical instruments that are broken. “The time comes when beautiful “Music in Ruins-PP,” 19 inches (49 centimeters) in width, stoneware, with glazes and stains, fired to 1250°C (2282°F).

“Music in Ruins-Lutes,” 25 inches (63 centimeters) in height, stoneware, with glazes and stains, fired to 1250°C (2282°F).

Ceramics Monthly March 2005 52 “Life in Ruins-1,” 40 inches (103 centimeters) in length, stoneware, with glazes and stains, fired to 1250°C (2282 F). things stop, or at least change,” said Zheng. “I am not only endowed with an incredibly rich ceramics history. Ceramic art in creating sculpture, but also, I hope, making people think.” China today continues to be influenced by this past, sometimes to Whether making carved and sculpted teapots in Yixing, the point of being almost smothered by it. Ubiquitous direct figurines in Foshan, or delicate, carved, porcelain celadon ware in copies of ancient art are but one example of that influence. New central China, the ability to do intense detailed work on indi­ work rendered with incredible skill, but in virtually the exact vidual pieces is a highly prized trait of Chinese artists. From the same style used by imperial artists, is another sad case of the beginning of the Han dynasty in 221 B.C. until the last emperor Chinese cultural burden overwhelming the bearer. By making her left the throne in 1911, the most prestigious position for an artist own original art, Zheng is clearly exploring and finding ways to in China was to make art for an emperor. carry her rich Chinese cultural and artistic heritage forward. Even since the end of the Imperial period, ceramics factories and studios have continued to copy clay art made for emperors More images of works by Zhi-jun Zheng can be seen online at over the past two millennia. Thus, Chinese clay artists have been www. ceramicsmonthly. org.

“Come Back to Nature Age,” 44 inches (111 centimeters) in height, stoneware with glazes and stains, fired to 1250°C (2282 F), by Zhi-jun Zheng, Cheng Yuan Zhi, China.

MONTHLY methods Natural Surface Texture

It is time consuming to make fired clay look like natural sembling, she decorates the piece with a series of raw oxides stone. Zheng begins with porcelain and stoneware clays. She or commercial stains and some glazes. In order to achieve the combines them with limited mixing to produce a crude desired surface effects, Zheng applies multiple coats of agateware body. Next, she uses rocks to texture the surface of colorants using a brush, rag, sponge or her fingers. “I want to the mass of clay. She works first with large, coarse stones. As make this work look as varied, as natural, as possible. But of the clay begins to stiffen, she uses smaller and smaller stones. course it is contrived, so sometimes I take care to even In some places, she adds sand to strengthen the body and emphasize the contrived look.” Finally, the work is once fired vary the surface texture. After slicing, hollowing and reas­ to 1200°C (2192°F or Cone 6 ).

Ceramics Monthly March 2005 54 Maturity often brings reflection. As the Clay Studio in Philadel­ and sales gallery. These endeavors set the stage for the studio’s phia observes its 30th anniversary, there is considerable reflection long-term success. on the events of the past three decades. Its growth from a small In 1989, the studio’s landlord announced he was selling the artist’s collective to a major arts institution is a remarkable story. building the studio occupied. In search of a new home, then- “While we honor our past and those who have gone before us, the executive-director Jimmy Clark was able to interest the Pew Chari­ Clay Studio is very much a forward looking organization,” says table Trusts in funding a building that could house multiple arts artistic director Jeff Guido. “We’ve gained an enviable reputation organizations sharing facilities and costs. In October 1990, the in the ceramic art community. Now, we’re building on it.” Second Street Art Building had its official opening. Guests paid In 1974, when Jill Bonovitz, Kathy Regan Dalzell, Janice $10 to attend the party and $14,000 was raised. “I knew right Merendino and Betty Parisano, four young continuing education then that we had a winner,” Clark recalls. The highly successful students from Moore College of Art & Design, joined with their First Friday gallery walk, held monthly in Philadelphia’s Old ceramics professor, Ken Vavrek, to share studio space and equip­ City neighborhood since 1991, found its impetus in this open­ ment, no one could have imagined what the future would hold. ing event. “It was a combination of good people and good fortune,” said At the time, Philadelphia was already home to a thriving clay Vavrek, now professor emeritus at Moore. scene, and the studio provided the nucleus necessary to harness From its beginning, the Clay Studio was more than an artist’s and channel this considerable energy. “With the studio’s reloca­ collective. The founding members invited other clay artists to join tion in 1990 to its current facility, it was positioned to assume this them, and the studio soon incorporated as a nonprofit organiza­ role,” Clark said. In addition to Vavrek, ceramics faculty members tion. It began offering ceramics classes, and created an exhibition from Tyler School of Art, University of the Arts, and Arcadia

Ceramics Monthly March 2005 55 University became involved in studio board and committee ac­ tivities. Several prominent Philadelphia craft gallery owners also joined the effort. The studio’s board was expanded, and new members were recruited from the business and arts community, including a number of ceramic-art collectors. In its efforts to reach out to a broader audience, the studio secured funding in 1994 to create its highly successful Claymobile program that brings instruction in clay art to hundreds of chil­ dren and adults each year [see “The Claymobile, Bringing Clay to Philadelphia” on page 59]. The program has become so successful, in fact, that it will soon need to be operated from an off-site facility. Amy Sarner Williams, who had previously served as board president as well as director of development, was appointed ex­ ecutive director in 2001. Both Williams and managing director Kathryn Narrow were resident artists during the 1970s. In 2002, Guido, a ceramics artist and gallery owner from Michigan, was hired as artistic director, which was a newly created staff position.

Gallery and Exhibition Programs The Clay Studio maintains a sales gallery featuring functional work from around North America. They also program three additional spaces; the Harrison Gallery, Second Floor Gallery and the Niche. The first two spaces are used for solo shows or group “Head,” 7 inches (18 centimeters) in height, colored clay, with gold exhibitions and feature work of not only Clay Studio constituents and silver, by Laszlo Fekete (Hungary), Guest Artist-in-Residence, 1999. but artists from around the world. A national artist call, without an entry fee, awards up to three solo shows each year. The Niche is used to highlight the work of one of the studio’s artists or to introduce a new artist to the Clay Studio community. “The Clay Studio exhibits work in all forms, from functional objects to cutting-edge, installation-oriented works, with no hier­ archy. All are valid forms of expression and we celebrate them all,” says Guido.

Lecture Series Another significant achievement was the annual lecture series at the Philadelphia Museum of Art, which brought many distin­ guished artists to the city for slide presentations and workshops. The Clay Studio now works with the Graduate School of Fine Arts of the University of Pennsylvania in programming lecturers and continues to feature prominent clay artists. The lectures serve as an educational opportunity for students, as well as working artists and collectors. This kind of joint effort in programming helps the studio reach a larger audience and also strengthens its ties to the community.

Visiting Artist Program The Visiting Artist Program, initiated in 1992, has brought ceramics artists from more than 30 countries to Philadelphia for two-month residencies, which include studio space, an apartment and a $500-per-month stipend. “These artists have an opportu­ nity to work with our entire community, sharing their creative “Domain of Dominica,” 18 inches (46 centimeters) in height, process, their life and work experiences,” says Guido. “Examples stoneware, with cherry wood and nylon, by Byung Joo Suh (Korea), of work made during their residency are shown in the annual Evelyn Shapiro Foundation Fellow, 1999-2000.

Ceramics Monthly March 2005 56 ‘Made at The Clay Studio’ exhibition. This program allows for three decades, nearly 150 clay artists have been a part of this cultural exchange and is an enriching experience for all.” program, many of whom have gone on to successful art careers. Despite only two or three openings each year, the studio Resident Artist Program receives well over 100 applications to its resident artist program The Clay Studio earned its reputation through service to clay from persons throughout the U.S. and abroad. The caliber of artists. “We provide the resources, educational tools and opportu­ applicant has increased over the years, due in part to the success of nities artists need to develop their professional skills and artistic past participants. “Our reputation is strong among ceramics stu­ talents,” says Guido. “While a college student can learn the basic dents across the country, because they know of successful artists skills they need and can explore their artistic interests, they need who have been a part of the program,” Guido continued. “It’s considerably more time to develop into professional artists. The truly unique. No other organization provides this kind of sus­ resident artist program provides the necessary time.” tained support and professional development opportunity.” Each resident has private studio space, plus opportunities to The Evelyn Shapiro Foundation Fellowship, now in its teach classes and exhibit in group and solo shows. Over the past 14th year, annually provides a full one-year scholarship to an

“Alligator Teapot,” 12 inches (30 centimeters) in height, earthenware, by Sandi Pierantozzi (USA), Resident Artist 1990-1995. “Set,” 11 inches (28 centimeters) in height, stoneware, cooled in reduction, by Matt Wilt (USA), Evelyn Shapiro Foundation Fellow, 1995-1996; Resident Artist, 1995-1999.

artist selected from a pool of approximately 60 applicants from Continued Growth the U.S. and abroad. The Clay Studio continues to expand its various programs as additional space has become available. A third classroom is to be Associate Artist Program completed this year. The addition of new studio space and an­ The Clay Studio also serves another 20 associate ceramics other kiln room will allow the associate artist program to grow artists who need studio space and equipment. The associate artists from 20 to 30 artists. share a large studio, storage facilities and kilns. They mount an The studio will mark its 30th anniversary in April with an annual exhibition and participate in group shows, educational exhibition of works by artists who have been a part of its history. programs and events. The program has attracted a number of “While the gallery space limits the number of artists we can professionally trained artists and serves to enrich the artistic com­ include,” Guido explained, “we will have a good representation munity at the studio. from each of the three decades.” Another exhibition, to be pre­ sented at the NCECA conference in Baltimore, is curated by Classes in Clay Program Guido and includes works by 27 former resident artists. The studio’s Classes in Clay have provided multilevel instruc­ Over its 30-year history, the Clay Studio has established itself tion in technique and aesthetics. Approximately 800 students as a significant force in the ceramic art community. Its ability enroll each year in classes, which are taught by the studio’s resi­ to overcome adversity and to build on its success foretells a dent artists and others. The popularity of ceramics as an art form strong future. has grown steadily, and the education program operates at capac­ For more information about the Clay Studio, see www.theclaystudio.org. ity enrollment. “People enroll in classes here because of our repu­ tation in the arts community in Philadelphia,” Guido said, “and the author James C. Weaver is a freelance writer living in Phila­ their participation feeds our exhibitions, lectures and workshops.” delphia, Pennsylvania, and is a member of the Clay Studws advi­ Students also have the opportunity to exhibit in an annual show. sory board.

Ceramics Monthly March 2005 58 The Claymobile Bringing Clay to Philadelphia by Zenobia Meckley

Since 1994, the Claymobile has been tra­ in the classroom, the teaching artist will sible, immediate and responsive. Children versing Philadelphia, bringing clay classes discuss ideas and curriculum topics with who have trouble expressing themselves ver­ to schools, community and social-service the classroom teacher. This is an essential bally can experience the positive self-regard organizations. Kathryn Narrow, the founder part of the program; the clay projects be­ that comes with successfully expressing of the Claymobile, is a ceramics artist and come more relevant when tied into the stu­ themselves through this tactile medium. It managing director at the Clay Studio. Her dents’ current curriculum. In order to also addresses the lack of minority partici­ first attempt at reaching a young audience prepare the students for the Claymobile pation in the arts by involving teachers and was to offer classes for children at the stu­ visits, teachers are asked to share handouts community leaders from the Latino, Asian dio, but attendance was limited by the lack with them that outline basic ceramics vo­ and African-American communities. cabulary and clay history. The handouts Support for the Claymobile has been include word games and puzzles, and in­ generous over the years, allowing The Clay structions for conducting a clay-focused Studio to keep costs low for the schools scavenger hunt. and other organizations that participate. A Claymobile class sessions are 90 min­ subsidized fee of $150 per 90-minute class utes, once a week. Each location hosts a is charged to each host—a rate that is less minimum six-week program that exposes than half of the average cost to the studio students to a variety of techniques and gives to run each class. them the opportunity to master basic hand- Since its inception, the Claymobile has building skills. reached beyond the traditional classroom Student artwork is built using terra-cotta to include deaf students, children in the clay and very simple tools, such as plastic juvenile justice system, as well as formerly knives and forks for cutting and scoring, homeless and learning disabled adults. Cel­ and wooden tools for modeling. The work ebrating it’s tenth year, the Claymobile has is bisque fired to Cone 06 and glaze fired to become a model for similar programs across Cone 04. Underglazes are used to decorate the country. For further information about the work, and a low-fire clear glaze (see the Claymobile, see www.theclaystudio.org; Claymobile Clear recipe below) is used to or e-mail [email protected]. Claymobile teacher and artist, Jen Wankoff, working one-on-one with a student from the Pennsylvania finish the pieces. Because of limits imposed School for the Deaf. by traveling, as well as working within a the author Zenobia Meckley is outreach co­ finite number of class sessions, the final ordinator for the Clay Studio in Philadel­ of families with young children in the Old project will sometimes be finished with phia, and manages the Claymobile program. City area. There was interest from other acrylic paints, oil pastels, shoe polish or neighborhoods, but time and other con­ clear gloss spray. straints prevented parents from bringing Everything needed to conduct a class is their children to the classes. Narrow de­ loaded into laundry baskets and various cided that, “since children couldn’t come to totes. Greenware, bisqueware and finished us, we should go to them.” In 1994, with pieces are all transported in foam-lined re­ funding from the William Penn Founda­ cycled bread trays. The trays are wide and tion and the Knight Foundation, the Clay low and allow for a number of pieces to be Claymobile Clear Studio purchased a van, and the Claymobile moved without bumping one another or (Cone 04) Gerstley Borate ...... 24.9 % hit the streets. The program has never been falling and breaking. Soda Ash...... 0.4 widely advertised, but is in high demand, The program goals evolved as Narrow Frit 3195 (Ferro)...... 29.0 with a waiting list for classes. observed different needs of the various Cornwall Stone...... 12.5 Claymobile instructors mostly come schools and organizations. The program Nepheline Syenite...... 16.6 from the studio’s many artist programs. Of­ provides invaluable experience in listening, EPK (Edgar Plastic Kaolin)...... 8.3 ten, the artist in residence will visit schools focusing and solving complex problems. Silica (Flint)...... 8.3 as well, introducing their work and tech­ Lessons that incorporate culture and his­ 100.0% niques to the students, offering a unique tory help children understand and appreci­ Add: Bentonite...... 1.7% global arts experience to inner-city children. ate their own and others’ cultural heritage. Veegum T...... 1.7% In order to integrate basic ceramic tech­ The program addresses each student’s need niques and history into the daily teachings for creative expression because clay is acces­

Ceramics Monthly March 2005 59 A Collaboration in Temmoku by Joe Koons

Temmoku bowl, 9 inches (23 centimeters) in height, stoneware, with two layers of iron saturated glaze, a wash of Rhodes 32 White glaze, wax resist, gas fired to Cone 11 i n oxidation.

Sometimes we have no idea where a particular path might lead us, Jacobson and I found ourselves trapped in a torrential downpour yet we are compelled to venture into the unknown, trusting that at Laird Plumleigh’s Alcamie Studio. Shepherded by the rain into whatever we encounter will contribute something of lasting value a leisurely conversation, we discovered that in 1971 when I was at to our lives. In 1971, my wife and I went to Daitokuji, Japan, to Daitokuji, Mel was in Kyoto. His experiences there are well study art at a Zen monastery. We were able to travel to seven documented in his book Pottery: A Life, A Lifetime. It was this ancient kilns, including Seto, where we met the l4th-generation fortuitous conversation that began our Temmoku collaboration. Raku master, Kato Takatoshi, also a master of the Temmoku Tea In high school, my life’s dreams were to play football and to Ceremony. (The term “Temmoku,” has its origins in China, and be an artist. Coincidently, the head football coach was also the refers specifically to the shape of the stoneware bowl.) art teacher. Dean Strawn had studied with Marguerite In October of 1972, we took a second trip to Daitokuji for the Wildenhain, F. Carlton Ball, Stanton McDonald Wright and Mushi Boshi: a de-airing and de-bugging of the works of art held Rolph Scarlett. Before high school, my artistic focus had been on at the temple complex. At this invitation-only event, we were drawing. Through the gifted guidance of coach Strawn, I was allowed to hold one of the most favored bowls from Jian Yao, introduced to the rich landscape of the ceramic arts. I had which had been used in a tea ceremony by Sen No Riku, the Zen learned from Strawn that 11 of the UCLA starters on the team tea master for the Momoyama emperor. My visits to Japan had a that knocked the Oregon Ducks out of the Rose Bowl in 1941 profound influence on my fascination with all things ceramic. were all ceramic arts majors. This confirmed my conviction that In March, 2003, during the National Council on Education my life’s path would involve the creative fusion of athletics and for the Ceramic Arts (NCECA) conference in San Diego, Mel ceramics. However, Strawn let me know, in no uncertain terms,

Ceramics Monthly March 2005 60 that I would never be a football star, but that I had a real chance throughout the country for the whopping price of $10. All of this in ceramics. is well documented in papers found in his Kansas City basement. My first real ceramic work was a pinched and slabbed horned Later, Caldwell’s family had these “dirty brown bowls” that crazy toad. It was fired to Cone 10, and I recall using a Temmoku-type grandpa had brought back from China, and they didn’t have a glaze on it. clue what to do with them. My friend and I took the bowls to In 1966, for a science project, I gathered alluvial clays from museums and dealers throughout America, and then to Japan. around Albert Hills in the Elsinore area of Southern California. I In the United States, Temmoku is used to refer to glazes made matured and melted these samples, winning a science award for from high concentrations of iron oxides. This is a misnomer. In my efforts. Clay was good! I still have a brick made from iron China, the term Temmoku refers to the shape of the bowl made at saturated clay found at the old Alberhill schoolhouse. Jian Yao. It is a cone-shaped bowl that, when turned upside down, I worked my way through college as a kiln burner for a represents a mythical mountain, a legendary mountain where the company called Ceramic Engineering. They made architectural summit (foot of the bowl) can reflect the moon and the sun. It is ceramics. My boss’ idea was for me to go to school and become a the stuff of which Zen art is made. The artisans of Temmoku lived ceramics engineer. My idea was to go to school and get out of this along the Mien River. This was a cosmopolitan, Zen-oriented dirty business—you know, get a degree and go places! Thirty years center where humble and anonymous artists worked magic in later, I am as enthusiastic as ever about ceramics. clay. Green tea flourished in this region and was traded through­ I acquired my primary glaze experience through research at out the world. The bowls went along for the ride. The bowls also my own business, Designers’ Tile Studio. Over a ten-year period, were used as tribute to the Northern Imperial Court. In later I developed samples for architects and kept meticulous records years, even pirates coveted them. These artists and craftsmen that allowed me to produce tiles for projects all over the country. founded the Southern Song dynasty. James Marshall Plummer, in a 1937 London News article, Temmoku explained that he first had difficulty establishing who had made There is nothing new under the sun, and Temmoku glazes are these bowls and from whence they had come. The Japanese always no exception. It began with the discovery of black and brown called the bowls Temmoku for Tien Mu Shan, which means “Eye glazes as long ago as the Tang (618-906) and Song (960-1279) of Heaven Mountain” in Chinese. This led Plummer to explore dynasties of China. They can be seen in kitchenware of 100 years the northern region of China where this mythical mountain was ago in Honan, China, as well as Japanese teawares and Chinese purported to exist. It was at the Tienmu Buddhist temple near storage jars. This type of natural, iron rich glaze is similar to those found in America, like Albany Slip in New York, the river-washed materials from Zanesville, Ohio, and glacier-ground clays from the Elsinore area of Southern California. There are many variet­ ies of this type of glaze all around the world, which contain essentially the same components. They have a high silica content, which makes for a low fluidity at elevated temperatures and impedes them from running during firing. My introduction to iron glazework began in the late 1960s, when my friend brought me a collec­ tion of teabowls that were produced in Jian Yao, in the Fujian Province of China, during the Southern Song dynasty. In the ’50s, James Caldwell, a Sev­ enth Day Adventist missionary, and his whole con­ gregation dug trenches at the site of discovery to excavate the bowls. Not only did he exhibit the bowls, Caldwell also conducted experiments, refiring some of the nearly 1000-year-old artifacts. He did the refiring work in Denver. Ironically, in later years when Caldwell was in financial straits, he attempted to sell the bowls to galleries and high- Red Temmoku bowl, 4 inches (10 centimeters) in diameter, stoneware, with two layers of iron end department stores in New York City and saturated glaze, fired in an electric kiln to Cone 11.

Ceramics Monthly March 2005 61 Hangzhou that the bowl was first introduced to 12th-century Japanese visitors. Among its everyday uses, the bowl was used at the temple for wine. So naturally, Tienmu became the distribu­ tion center for the bowls and the green tea destined for Japan. When Plummer showed the bowls to a local in the north, where he had expected to find the Temmoku kiln site, he was told that they were called Jian Yao. In Chinese, Yao means kiln site, and Jian is the area on the Mien River in the northern Fujian Province south of the Yangtze River. Plummer moved his search there and one day walked into the largest kiln waste area on the face of the earth. These bowls were merely kitchenware in the Song era, used for sipping wine or tea. They were the perfect vessel, nestling nicely into the user’s palms. Five hundred years later, the bowls were elevated to the level of Zen art. In Japan, they were the culmination of simplicity and rustic beauty, perfect for the Zen tea ceremony.

Collaboration and Results Jacobson and I embarked on this collaboration determined to learn the principles that produced these ancient glazes, to share the system that gives the best results and to dispel the rumors that have hovered about this art form for years. Typically, potters have to fire hundreds of pieces to achieve one rare work of art; however, we are able to reproduce our results at will. Red Temmoku bowl, 7 inches (18 centimeters) in height, stoneware, with two layers of iron saturated glaze, fired with gas to Cone 11 in oxidation.

Yellow Temmoku bowl, 4 inches (10 centimeters) in diameter, stoneware, with iron saturated glaze containing 10% yellow ocher, fired with gas to Cone 11 in oxidation.

Ceramics Monthly March 2005 62 Mixed Temmoku bowl, 4 inches (10 centimeters) in diameter, stoneware, with yellow iron saturated glaze, with overglaze ot black iron saturated glaze, fired with gas to Cone 11 in oxidation.

We have achieved a richness of color that can be seen at sluggishly. Through bubbling and boiling, they show their char­ varying depths all the way to the interface between the glaze and acter in thick layers. the clay. We have been excited to discover that, when you hold The glaze formulas are mainly a combination of silica, alu­ and turn some of the bowls, the colors change before your eyes. mina, calcium and alkali oxides. We are using potassium as the These spots change from yellow, green and blue to reveal an flux and calcium to assist in crystal growth during cooling. These intricate system of satelite-like crystallization. Some crystals even glazes are not easy to melt or manipulate. Their high viscosity reflect bright red. means we put them on very thick and then apply much stress We also have produced persimmon, lizard skin and even white through great heat—Cone 11 and up. They are sluggish, but the temmoku. One particularly nice effect we are able to produce is a imperfections flow and are then frozen in time. hare’s fur pattern. Here it seems that the glazes boil and bring To potassium feldspar, we add calcium carbonate and China layers of iron rich glass up to the surface where they run down to a clay in varying proportions in order to achieve a high silica level. welt of glaze that forms teardrops on the outside, pooling into Another important ingredient is bone ash. We also add red iron irridescent blue inside the bowl. oxide and, at times, magnesium oxide and phosphorous oxide. These glazes have a silica to alumina ratio between 1:4 and 1:6 , Chemistry which is responsible for the low fluidity at elevated temperatures. I have examined many formulas in order to determine what The alkali (potassium) gives the glaze its brilliance. Ultimately, we gives these glazes their unique depth. The recipes on page 65 are able to create the iron saturated glaze formulas that have their come from the iron saturated glazes that Ralph Bacerra gave to his foundations in China’s antiquity. students at Otis Art Institute. In our research, Jacobson and I Works from this collaboration will be exhibited at the American simply decided to fire these glazes at higher temperatures, and we Museum ofCeramic Art (www.ceramicmuseum.org) in Pomona, Cali­ found the glazes to our liking when fired in oxidation. Through fornia, May 14-July 2, 2005. tweaking the old formulas, we have arrived at glazes that flow the author Joe Koons works in technical sales for Laguna Clay Co.

Ceramics Monthly March 2005 63 MONTHLY Temmoku Testing methods By Mel Jacobson

When I started working on Joe Koon’s Chi­ pyrometers and cones that we take for nese glaze study it became very evident that granted today, I knew I would have to count I must become an ancient Chinese potter. I on my fingers the seconds each pot was in had to create in my mind an attitude of the glaze. I knew I had to make a hydrom­ "This is not just simplicity and care that was clear, and did eter from a stick with a weight on the bot­ not reflect my own work or myself. tom, marked with a knife slash—simple a glaze recipe; Testing, for me, is firing an entire kiln things that an ancient Chinese potter would load, never just test tiles. I have to put do. I had to glaze with layers, test many it is a unique system myself totally into the project and make combinations and fire these pots to Cone of making pots." hundreds of test pots. It has to be all or 11 in a neutral atmosphere. nothing. This was not going to be a part- My instincts and experience paid off. time, test-a-few project. The first firing gave us perfect oil-spot hare’s In the summer of 2004, I had taken on fur and color we never believed was pos­ a student/apprentice, Sarah Coffin. We digested all of Koons’ written materials about Jian Yao ware, and read the history, as well as all the glaze chemistry. We threw teabowls in sets of 60, each stamped with a new identity that would help us know how, and of what materials, each set were made. Each firing would be with a different clay body. We made hundreds of pots. We became ancient Chinese potters. A dear friend, Susan Karrasch, studied Otto Heino’s hare’s fur glazes back in the 1960s while living in Califor­ nia. She fires a big commer­ cial electric kiln, ideal for testing some of the glazes at Cone 11 with clear oxidation. Small red Temmoku bowl, 4 inches (10 centimeters) in diameter, stoneware, with black Temmoku Koons sent me four of the over red Temmoku, fired in an electric kiln to Cone 11, by Mel Jacobson, Minnetonka, Minnesota. old Jian Yao pieces: two teabowls, a dull brown bowl and a lovely sible with Temmoku. In many ways, we are after this study, this is not just a glaze recipe; small white-and-brown tortoise-shell piece. still in the first steps of testing this glaze/ it is a unique system of making pots. All of I spent many hours studying these pots clay combination, but we can now repeat the steps must be carefully considered— with an eye for how they were glazed. It the colors and patterns we desire. We are clay body, glaze thickness, layering and very struck me that the Temmoku was dipped actually making old Chinese pots. careful firing. It all counts in the end. multiple times. It had to be. The roll of We now understand the clay and glaze glaze at the bottom was multicolored, and interface for this unique system to a degree. the author Mel Jacobson is a potter in it seemed that layering was the answer. It is thrilling to use just iron in both the Minnetonka, Minnesota, and moderates the Knowing that the Jian Yao potters did clay and glaze to achieve such a marvelous Clay art Listserv. See www.pclink. com/melpots not have the oxyprobes, refined chemicals, quality. As I have told many people asking and www. ceramics, org/clay art.

Ceramics Monthly March 2005 64 All of the recipes shown here were fired to at Iron Saturate #6 Iron Saturate #12 least Cone 11 in an oxidation atmosphere. Red Iron Oxide...... 19 % Gerstley Borate ...... 4.8 % Whiting (325 mesh)...... 12 Red Iron Oxide...... 8.0 Iron Saturate #1 Nepheline Syenite...... 21 Rutile...... 7.2 Red Iron Oxide...... 8 % EPK (Edgar Plastic Kaolin)...... 24 Whiting (325 mesh)...... 19.2 Whiting (325 mesh)...... 16 Silica (Flint—200 mesh)...... 24 Cornwall Stone...... 40.0 EPK (Edgar Plastic Kaolin)...... 10.4 Custer Feldspar...... 36 100% EPK (Edgar Plastic Kaolin)...... 16 Silica (Flint—200 mesh)...... 10.4 Silica (Flint—200 mesh)...... 24 Iron Saturate #7 100.0% 100% Red Iron Oxide...... 15 % Whiting (325 mesh)...... 15 Iron Saturate #13 Iron Saturate #2 Nepheline Syenite...... 20 Bone Ash...... 5 % Red Iron Oxide...... 11 % EPK (Edgar Plastic Kaolin)...... 25 Red Iron Oxide...... 4 Whiting (325 mesh)...... 15 Silica (Flint—200 mesh)...... 25 Rutile...... 9 Whiting (325 mesh)...... 18 Custer Feldspar...... 30 100% EPK (Edgar Plastic Kaolin)...... 8 Custer Feldspar...... 49 EPK (Edgar Plastic Kaolin)...... 15 Silica (Flint—200 mesh)...... 36 Iron Saturate #8 100% Red Iron Oxide...... 14% 100% Whiting (325 mesh)...... 19 Add: Zinc Oxide...... 5 % Iron Saturate #3 Cornwall Stone...... 19 Dolomite...... 4.5% EPK (Edgar Plastic Kaolin)...... 24 Iron Saturate #14 Red Iron Oxide...... 9.1 Silica (Flint—200 mesh)...... 24 Red Iron Oxide...... 9.2 % Whiting (325 mesh)...... 16.3 Whiting (325 mesh)...... 5.5 100% Custer Feldspar...... 60.9 Custer Feldspar...... 42.8 EPK (Edgar Plastic Kaolin)...... 13.3 EPK (Edgar Plastic Kaolin)...... 4.5 Iron Saturate #9 Silica (Flint—200 mesh)...... 18.4 Silica (Flint—200 mesh)...... 15.5 Red Iron Oxide...... 13 % 100.0% Whiting (325 mesh)...... 21 100.0% Custer Feldspar...... 17 Add: Zinc Oxide...... 2 % Iron Saturate #4 EPK (Edgar Plastic Kaolin)...... 28 Red Iron Oxide...... 10% Silica (Flint—200 mesh)...... 21 Iron Saturate #15 Gerstley Borate...... 11 % Whiting (325 mesh)...... 17 100% Custer Feldspar...... 23 Red Iron Oxide...... 9 Whiting (325 mesh)...... 5 EPK (Edgar Plastic Kaolin)...... 25 Iron Saturate #10 Custer Feldspar...... 70 Silica (Flint—200 mesh)...... 25 Bone Ash...... 9 % EPK (Edgar Plastic Kaolin)...... 4 100% Red Iron Oxide...... 10 Silica (Flint—200 mesh)...... 1 Talc...... 6 Iron Saturate #5 Whiting (325 mesh)...... 7 100% Red Iron Oxide...... 9.4% Custer Feldspar...... 42 Whiting (325 mesh)...... 15.1 EPK (Edgar Plastic Kaolin)...... 6 Iron Saturate #16 Custer Feldspar...... 40.3 Silica (Flint—200 mesh)...... 20 Red Iron Oxide...... 9 % Whiting (325 mesh)...... 6 EPK (Edgar Plastic Kaolin)...... 9.4 100% Kentucky Ball Clay (OM 4)...... 5.6 Custer Feldspar...... 55 EPK (Edgar Plastic Kaolin)...... 5 Silica (Flint—200 mesh)...... 20.2 Iron Saturate #11 Silica (Flint—200 mesh)...... 25 100.0% Borax...... 8 % Red Iron Oxide...... 11 100% Titanium Oxide...... 4 Whiting (325 mesh)...... 15 Custer Feldspar...... 25 EPK (Edgar Plastic Kaolin)...... 5 Silica (Flint—200 mesh)...... 32 100%

Ceramics Monthly March 2005 65 Ken Ferguson: A Remembrance

Simply knowing Ken Ferguson was a learning experience. One of the many things he taught me early on in our relationship was the Japanese word shibui, which he loosely translated as happy accident. One of my life’s great shibuis was signing up for Ken’s first night-school pottery class at the Kansas City Art Institute shortly after he arrived there in August of 1964 to chair its nascent ceramics department.

He sometimes humor­ owned and treasured by ously called himself “a museums and collectors humble country potter” as the world over for its in­ he pursued the ancient herent power, directness, utilitarian craft; but he playful imagery, and ech­ was intensely serious oes of pottery from all the about that craft—always ages and artisans who pre­ both a student and a mas­ ceded him. ter. The first task he gave Ferguson was a big to all his beginning stu­ man in every sense of the dents was to learn to word—brusque, brilliant, throw a 12-inch cylinder dedicated, opinionated out of a pound of stone­ and caring. He loved Me­ ware clay. All the mugs, dieval English slipware pitchers, vases, covered and the mingei of Shoji jars, teapots and casseroles Hamada; the music of grew from that cylinder. Louis Armstrong and But that was just the Billie Holliday as well as manual aspect of the les­ Bob Dylan and Bunny sons. If you were fortu­ Berrigan; a good joke well nate enough to study with told; Honus Wagner and Ken, you also learned his­ George Brett; picture tory, science and aesthet­ postcards and naked ics along with large doses women; beauty where- of common sense and ever it dwelt; far off places simple humanity—he taught it all; and, he taught it as well as and the vast open spaces of the American West. anyone ever has. You only have to look at the provenance of a He believed in hard work, dedication, integrity, self awareness meaningful majority of America’s outstanding ceramics artists of and self realization. the last half of the 20th century to find his inspiration and He lived for art in all its forms and shunned artifice. imprimatur, again and again. He was a truly great teacher, potter, friend and inspiration. He He was possessed of the ability to find and nurture the unique is deeply missed and always will be, for truth be known, the like creative spark in each of his serious students and their creative of him does not often come along. energy fanned his own, resulting in a body of Ferguson ceramics William Shapiro, Kansas City, MO

Ceramics Monthly March 2005 66 I was in high school, working part time at the family supply “He sure is getting crotchety!” That was the first thing I can business, when I first met Ken Ferguson. I didn’t really have a true remember hearing about Ken Ferguson, spoken by the “King of understanding of the fact that many potters looked up to him as Crotchety,” my Dad (Bill Bracker). Perhaps that was why they got much as they did. To me, he was just another teacher and friend along so well. As a child, I was always a bit nervous around Mr. of my parents. He was a little gruff and kind of blunt, but he was Ferguson. As I became an adult, however, I began to see a very nice to me. Each time he came to our store, he would spend a few different side of him. minutes talking with me. I appreciated the fact that he talked to Several years ago, shortly after my husband David and I had me like I was an adult, not just the young daughter of the announced our engagement, David was at Ken’s house working Brackers. Over the next few years, I got to know him better and on his much-in-need-of-replacement kiln. Afterward, Ken sat realized there was a giant teddy bear inside Ken. But I also was David down and became very serious. He told David that, since confused. Students from the Art Institute would come to buy my Dad was no longer around, he felt it fell upon him to make supplies from us and I’d hear comments about how rough Ken sure David took good care of me. He proceeded to tell David was on them. He was demanding and critical and tough. The exactly what fate would befall him if he hurt me in any way. Many students weren’t seeing the same Ken Ferguson that I saw. I finally can probably imagine what those choice words were. They’re not figured it out at the 1994 repeatable here! I was NCECA conference in touched by his fatherly at­ New Orleans. I ran into titude toward me. Ken at a cafe in the hotel, But the fondest mem­ surrounded by several of ory I have of Ken hap­ his former students. The pened after the birth of discussion was animated our daughter Sophie. Ken and jovial and I could tell was at Bracker’s, com­ that these students finally plaining about how his knew the same Ken that I children had not given did. As he introduced me him any grandchildren to the students, he was yet. I pointed out that able to tell me not only Sophie was short one their names, but when grandfather, and he, hav­ they graduated and some ing no grandchildren, of what they’d been do­ might be a perfect match. ing since graduation. I think it was the first time Each one of them chimed I ever saw Ken speechless. in with some story about I asked him if he would how Ken had personally like to hold her. As she fought to get them into a sat on his lap, I saw a certain grad school or genuine tear in his eye. helped them find a job As I write this, I have teaching or convinced an­ genuine tears in my eyes. other potter to take them Now, as I look down at on as an apprentice. And my newest little angel, it then became obvious to me that these former students had Daphne, who was born on the exact day of Ken’s passing, I notice come to realize Ken was as rough and tough as he was in order to a bit of crotchety-ness in her face. And although I suspect a bit of help make them better, more disciplined, more creative potters. “spirit exchange” tookplace between Daphne and Ken on that Many people talk about the impact Ken had on the world of day, and that he will live on for me through her, I must admit that ceramics and ceramic education, but it’s Ken’s impact on each the tears on my face are from the loss of another great (albeit individual potter that strikes me as his living legacy. crotchety) artist and wonderful human being. Anne M. Bracker, Lawrence, KS Cindy Bracker, Lawrence, KS

Ceramics Monthly March 2005 67 Glazes: Materials, Mixing,Testing and Firing By Jeff Zamek

How many times have you copied a glaze formula, only to find Frequently, a glaze formula will not specify a mesh size for silica. that it didn’t work as expected? It is not unheard of for glazes with In such instances, use 325 mesh. Nepheline syenite, a common the same formula to produce different results. While this may high-temperature glaze flux, is produced in 270 and 400 mesh. If seem like a dead end, it does not have to be. the glaze formula does not specify a mesh size for nepheline A high-temperature feldspathic green, transparent, gloss celadon syenite, use 270 mesh. Coarser mesh whiting can cause the solids glaze can be obtained with many different glaze formulas. The in a glaze to sink to the bottom of the glaze bucket. It also can flexibility to know which formulas will produce the same glaze cause a transparent glaze to become semi-opaque when fired due effect is a function of experience and the ability to interpret glaze to incomplete melting of the material in the glaze matrix. Unless tests. Adjusting glaze formulas requires a knowledge of how ce­ otherwise noted, use 325-mesh whiting. When ordering any glaze ramic raw materials react in various combinations, temperatures, material, always specify the mesh size where applicable. and kiln atmospheres. Taking a course in glaze calculation and raw materials is probably the most efficient way to learn about the Materials Substitution “building blocks” of glazes. The lone ceramist in his or her studio, Problems can occur when potters use inappropriate substitu­ testing a small number of materials, cannot equal the multiplying tion materials in the glaze formula. If the glaze requires nepheline effect of many students testing glazes with various raw materials syenite, a sodium feldspar, it is best not to substitute a potassium and sharing the information. A narrow, limited education in feldspar or a lithium feldspar. Clays are grouped as ball clays, ceramics can yield many areas for failure. bentonites, earthenwares, fireclays, kaolins and stoneware clays. Feldspars are grouped as potash, sodium or lithium. When mak­ Raw Materials ing a substitution, always use a material from within the same When choosing glaze materials, the cost of the actual material group of clays, feldspars or raw materials. is not the most important factor. Time, labor and a low defect rate Some glazes were developed using materials that are no longer should be more important. Every raw material should be consid­ in production. For example, Oxford feldspar, a potassium feld­ ered for its technical and aesthetic benefit to the glaze. Some spar, is no longer being mined. If you have a container of Oxford unique glazes are worth any irregularities of raw materials or feldspar in your studio and use it in a glaze, there might not be a difficulties with mixing, storage, application or firing. readily available supply when you run out. Before mixing a glaze The practice of using generic names for very specific raw formula, make sure all of the materials are still in production. materials creates challenges in choosing the appropriate ingredi­ In some instances, continually available materials may subtly ents when trying to duplicate glazes. Different ceramics suppliers change in chemical composition, particle size or organic content use different manufacturers or distributors for the same raw mate­ over time. All of these can alter the glaze. Often the supplier is rials. Each processor or wholesaler of raw materials can have unaware of changes in the raw materials they sell. The best course several different grades of that material. The result is a common of action, though time consuming and inefficient, is to test raw name for a raw material that can be different in particle size, materials before committing to a production glaze batch. chemical composition or trace elements, depending on where it is processed and eventually sold. Coloring Oxides/Carbonates Metallic coloring oxides can differ in metal concentration, Particle Size particle size and trace-element content. As with other raw materi­ The particle size of a raw material is a critical factor in glaze als, there are many processors of metallic coloring oxides. For melt. A smaller particle size means increased surface area for a example, cobalt oxide (Co304) is processed in three grades, 71.5%, given weight, and melting is more efficient. My ZAM Gloss Blue 72.5% (ceramic grade) and 73.5%. The percentage represents the can drip or run on vertical surfaces if a finer mesh nepheline cobalt contained in the oxide. Each grade can affect the intensity syenite, flint or whiting is used. of the blue that will be generated in a glaze. In addition, the It is important to know the actual mesh size when trying to quantity of trace elements in a metallic coloring oxide can influence duplicate any glaze formula. Silica, a major component in any its effect on the glaze color. For example, zinc oxide (French glaze, can be purchased in 60-, 100-, 200-, 325- and 400-mesh process) also can contain trace amounts of copper, lead, iron and particle sizes. The larger mesh numbers indicate smaller particles. manganese. Copper oxide also can have trace amounts of magne­

Ceramics Monthly March 2005 68 sium, sodium chloride, lead and other heavy metals. Use the same Some glazes are especially sensitive to the way in which they processor of metallic coloring oxides when ordering materials. are applied to the piece. Apply test glazes in varying thicknesses to When this is not possible, always test the oxide. While slight determine the true glaze color and texture. The thinner the glaze differences in trace metallic oxide content usually will not cause a application, the more the underlying color and texture of the clay radical color change, particle size can affect the look of a glaze. body are likely to be revealed. Often, a thin glaze application can For example, a coarser particle size of cobalt oxide can cause larger retard the development of color, texture and opacity in the fired blue specks in a glaze than a finer grind of the same oxide. glaze. A thick application can cause some glaze formulas to run and drip on vertical surfaces. ZAM Gloss Blue, when applied too Clay BodylGlaze Interaction thin, will not achieve a rich deep blue color. A great percentage of The point at which the fired clay and glaze meet and fuse glazes can be applied slightly thinner than the thickness of a dime together in the ceramic structure plays an important role in the or about as thick as three business cards stacked together. development of the fired glaze. Some clay bodies will draw part of the flux content from the forming glaze during the firing process. Glaze Testing Procedures This can cause opacity or dry surface textures in the glaze. A light It is amazing that most glazes reproduce accurately with a colored clay body, such as a white stoneware or porcelain, can minimum of additional information; however, it is always best to have an intensifying affect on a colored glaze. ZAM Gloss Blue, start a testing program with the knowledge that occasionally a when applied to a white clay body, will be light blue. The degree glaze formula will not work as described. We all know of people to which the clay body matures in the firing can promote or retard who obtain a glaze formula and then mix up 30 gallons without glaze maturation. Always consider the clay body. considering that it might fail. Experimenting on such a large scale is not a good idea. Eventually, there will be a major glaze and/or Mixing Glazes kiln problem caused by a glaze failure. Every glaze will require different amounts of water, but it is One important, often-overlooked item required for testing best to use less water in initial mixing. It is easier to add water glazes is a notebook. Writing down each step in the process and than remove it. If too much water is used in a glaze containing the results from each test is more effective than memory. While soluble materials and the excess water is poured off, it can change there is no single testing procedure that will suit all work habits the glaze formula (solubles leave with the water). Glazes should be and objectives, consistency of method will ensure greater accuracy run through an 80-mesh sieve three times for final mixing. in duplicating glazes. It is important to know if a glaze will run or drip on vertical Glaze Application surfaces during firing. Vertical test tiles should be at least 4 inches Ease of application is especially important in production situa­ in height and 2 inches wide. Tiles also must be of sufficient tions where time-consuming touch-ups mean a decrease in profits. surface area to approximate the surface area of finished works. Some glazes will become soft, dusty and Many times, a small test tile will be fragile when drying on bisqueware. successful because the weight of the Other glazes will drip and run down molten glaze when heated is not vertical surfaces or pool unevenly in enough to cause it to run down verti­ horizontal areas. Glazes containing high cal surfaces. However, when larger ar­ percentages of clay or light-density ma­ ZAM Gloss Blue eas are glazed, the increased weight of (Cone 8-10) terials such as magnesium carbonate can the fluid glaze might cause it to run. Gerstley Borate...... 10 % become fragile and loose on bisqueware. Test tiles should have a smooth Whiting ...... 8 This can develop into crawling in the Nepheline Syenite...... 55 edge, a rough edge and any other tex­ fired glaze. While there are several gums Silica (Flint)...... 27 tures likely to be used under the glaze, that can improve glaze application, it is 100% including throwing ridges. Some glazes often more efficient to choose glazes Add: Cobalt Oxide...... 6% can form razor-sharp edges on the fired that do not need additives. clay. The testing stage is the time to Generally, a spray application will find out if this is likely. impart a uniform glaze layer as opposed to a dipped or brushed A gradual increase from a small test batch to the final large- application. However, much depends on the skill of the indi­ volume glaze batch is important in ensuring a glaze formula’s vidual. Dipping the pot into the glaze can result in drips as the reliability. A 500-gram test batch will allow you to glaze several excess glaze runs off the surface. Brushing also can result in test tiles, which should be placed in a number of different kiln uneven glaze thickness. firings. If the test glaze does not need an adjustment, it is often a

Ceramics Monthly March 2005 69 good policy to mix up a preproduction batch of 4000 grams Cone Reading Position (makes roughly 1 gallon). This larger batch will allow you to glaze The actual pyrometric cone reading is a difficult piece of several pieces and place them throughout the kiln. Many kilns do information to obtain, because potters read pyrometric cones at not transfer heat evenly throughout their interior space, and not different positions. Many potters consider the cone reaching ma­ every kiln fires consistently every time. There are always slight turity when it bends to the 3 o’clock or 9 o’clock position (bend­ variations. If possible, test in several different kilns. Once you are ing over halfway in relation to the bottom of the cone pack). confident with a glaze, larger batches can be mixed and slowly Other potters read the cone as being mature when it actually incorporated into your existing glaze palette. touches the cone pack. ZAM Gloss Blue has a two- to three-cone maturing range and will not change significantly when fired to Kiln Size Cone 8, 9 or 10. Some glazes are very sensitive to slight tempera­ Kiln bricks, posts, shelves and stacked pots all radiate heat. ture variations. If you do not get a good glaze result, consider Therefore, larger kilns have greater thermal mass, and will radiate firing half a cone higher or lower. more heat during their heating and cooling cycles than smaller Glazes with a wide maturing range are desirable, as not every kilns. Small test kilns are an inaccurate indicator of clay body and kiln will fire evenly. While the glaze might not look the same at glaze reactions when compared to larger kilns. ZAM Gloss Blue the lower end of the range as it does at the higher end, it should be can run or drip in a larger kiln due to prolonged heatwork on the functional, with a smooth nonpitted surface. glaze. Conversely, it can fire light blue with a satin-matt surface texture in a small kiln. Soluble Materials Whenever possible do not use soluble glaze materials. Borax, Firing Cycle boric acid, colemanite, Gerstley borate, soda ash, wood ash, A kiln fired at a fast rate of heat increase can cause the clay Gillespie borate, Boraq, potassium bichromate and pearl ash (po­ body to remain more porous, causing crazing and a less durable tassium carbonate) are the primary sources of solubility in glaze clay. Glazes fired at a very slow rate of heat increase can run and formulas. Other glaze materials such as lithium carbonate, mag­ drip due to the extra heatwork acting on the glaze. While there is nesium carbonate, nepheline syenite, strontium carbonate, and no perfect rate for ZAM Gloss Blue, I recommended a 75-80°F some frits can have lesser degrees of solubility but generally they (23-26°C) heat increase per hour from Cone 06 (1828°F/997°C) do not interfere with the glaze application or fired glaze effects. to Cone 9 (2300°F/1260°C), for this type of glaze. Soluble materials can take on atmospheric water in storage. This can affect the accurate measurement of the materials when Kiln Atmosphere weighing them. These materials will leach into the water in the Whether the glaze is fired in an electric, wood, natural gas, glaze, changing its chemical composition over time, which can propane or oil kiln (with or without soda or salt), the atmosphere result in several glaze defects. As water evaporates from the glaze affects the glaze color, texture and melting capacity. Electric kilns during application, soluble materials travel in a wicking action, produce clean, repeatable neutral atmospheres. Carbon-based fu­ drawing higher concentrations of material to the ridges and edges els such as natural gas, propane, wood, coal, oil and sawdust can of the pot. Essentially, in the elevated edges of the pot, the glaze produce oxidation, neutral and various intensities of reduction formula is different due to the concentration of soluble materials. atmospheres. It is reduction that can be very difficult to repro­ This can cause blisters, pinholes, dry surfaces or changes in color. duce, as one potter’s medium-reduction atmosphere can be The use of soluble materials is required in some instances as another’s heavy-reduction atmosphere. Reduction atmospheres they contribute distinctive characteristics to a glaze. For example, can cause greater melting due to the increased fluxing action of in Shino (a high temperature viscous, feldspathic glaze developed the metallic coloring oxides contained in the clay body and glaze. in Japan more than 400 years ago), the inclusion of soda ash The cobalt oxide in ZAM Gloss Blue will fire blue in almost causes the glaze to melt at lower temperatures, sealing in carbon any kiln atmosphere, but there can be variations in the intensity produced during body reduction. The carbon remains in the of the color due to the atmosphere in the kiln and the fuel used to surface of the fired glaze. When soluble materials are required in a maintain that atmosphere. In soda, salt or wood firings, it can run glaze formula, they should be stored in waterproof plastic bags. A or drip on vertical surfaces or pool in horizontal areas because of conservative approach is to mix only enough material for one the fluxing action of sodium vapor or the alkaline content of the glazing session as the stored liquid glaze can change over time. wood ash. Pyrometric cones are also subject to the fluxing action of sodium vapor, giving an inaccurate indication of the kiln the author A frequent contributor to CM, JejfZamek is a ceramics temperature. In most instances, the glaze reactions to salt and consultant in Southampton, Massachusetts. For further information, wood firing are aesthetically positive. see www.fixpots. com.

Ceramics Monthly March 2005 70 Fertility and Fragility The Work of Leigh Taylor Mickelson by Mary K. Cloonan

Artists have long employed where she curates and in­ the genre of still life, either stalls exhibitions and ar­ as a purely aesthetic explo­ ranges visiting artists ration or one with symbolic workshops. Amidst all of meaning. The vanitas tradi­ this, she carves out studio tion, popular in the Nether­ time while raising an ener­ lands in the 16th and 17th getic and precocious two- centuries, used fruit and year-old daughter. flowers to symbolize the Mickelson uses two types brevity of human life and of display to convey her ex­ the transience of earthly plorations of self and sur­ pleasures. Today, ubiquitous face; she carefully places configurations of water forms on chunky wall ledges glasses and rubber grapes in­ or stacks them up on a steel habit most painting and rod, threaded like thought­ drawing classrooms. A ful beads. Each vignette is sculptural take on the still composed of her stylized life is present in the emotive forms, which reference bo­ compositions of Leigh Tay­ tanical or anatomical de­ lor Mickelson. Her work is signs. Archetypal objects— inspired by nature and is full closed and secretive, enig­ of dichotomy. She explains, matic and sensual—they al­ “The elements of natural lude to seed or pod, or more forms act as a metaphor for intimate feminine parts. She the spiritual, emotional and explains, “ [with these forms] physical extremes that exist I explore the different com­ within myself and within ponents of my self and my other people.” Her subtle sexuality as a woman, and forms, pared down to an es­ how they relate and conflict sence, are ripe with intrigue Top: “Wall Gathering VI,” 6 inches (15 centimeters) in height, earthenware with stains, with one another.” and possibility. underglaze and glaze, with pieces fired to Cone 04, Cone 1 or fired multiple times. The works of the “Wall Mickelson was raised in Bottom: “Wall Gathering V,” 6 inches (15 centimeters) in height, earthenware with stains Gathering” series are a quiet the Baltimore area. She re­ and glaze, with individual pieces fired to Cone 04, Cone 1 or fired multiple times. examination of the private turned home after receiving aspects of life. Composed of a B.A. in studio arts and thick shelves projecting from English literature from Hamilton College in Clinton, New York, the wall, they offer pear-shaped objects either interacting or in and went on to earn an M.EA. in ceramics from the Rochester solitude. Time slows down as one investigates and absorbs the Institute of Technology’s School for American Crafts. She has vitality—and even heartache—among the understated, textured served as the program director at Baltimore Clayworks since 1997, pods. The small objects are enriched with a tactile quality and beg

Ceramics Monthly March 2005 “Pulse IV,” 28 inches (71 centimeters) in height, earthenware with stains, underglaze and glaze, with individual parts fired to Cone 04, Cone 1 or fired multiple times, then assembled over a steel rod.

to be held. One can imagine how the curve would fit “just so” in the palm and how its heft and textured skin would feel almost like holding a fledgling bird. “Wall Gathering VI” is a mother-and- child composition, which portrays a tender interaction between a full, plump, mater­ nal pod with a nipple being nuzzled by a tiny infant, blushed pink, safe in the pres­ ence of the mother form. The grainy shelf is antiqued white and black, contrasting with the fresh life on top. There is a fragile balance shifting between abstraction and realism, it can read as purely formal or as a rich, living narrative. “Wall Gathering V” presents a solitary form nesting upon small white “eggs,” like a proud, protective mother in a rookery. The Rubenesque figlike form is carefully scraped to give a feathery or stonelike tex­ ture. It rests upon a rich earth-toned plinth surrounded by its clean, bright brood. Mickelson’s stacked compositions, the “Pulse” series, possess a louder, more ener­ getic impression compared to the quiet, meditative wall works. Each object within the stack is intriguing to explore. Some have a vibration of color or texture, while others have a more subtle, sensual feel. These sculptures are about balance, the physical stacking of each form and their aesthetic relations. Yet more importantly, they are about the balance between the individual elements and their dependency upon one another. The sculptures become a symbi­ otic relationship between each finned, pinched, pocked, bumpy and scraped par­ ticipant. As each one touches the other in the stack, a conversation takes place, where one thought or idea leads to the next. “Pulse (Generation),” 28 inches (71 centimeters) in height, earthenware with stains, underglaze and glaze, with parts fired to Cone 04, Cone 1 or fired multiple times, then assembled over a steel rod.

The components are handbuilt— pinched, coiled, slabbed and extruded— and occasionally wheel thrown, using a variety of clay bodies. The forms are then scraped, carved, and layers of detail are sprigged on to give a tactile and emotional texture. After being treated with various slips, terra sigillatas and glazes, the pieces are low fired. Additional accents of paint or waxes may be applied until the desired im­ pact is achieved. The results are surfaces that suggest age—yellowing paper, wrinkled skin or parched earth—built in a way that implies that they actually grew on their own as organic entities. Mickelson’s work explores the aspects of “our fragility as well as our strength, our interior as well as our exterior, our pleasure as well as our pain, and our body as well as our spirit,” she explains. She then extends this theory of opposition into the “entities of the family unit; the protection and the vulnerability, the giving and the receiving, the depending and the letting go, the old and the young.” She presents abstracted aspects of her life, the quest for balance between being an artist, curator, mother and spouse, as well as the interaction re­ quired in each role. Her simplified yet un­ diluted, potent forms, with their sexual undertones and biological and botanical im­ plications, maintain a resonance of a re­ membered object or emotion. The powerful, intimate compositions draw the viewer in, inviting understanding and connection be­ tween the specific objects and the viewer. The work is about grasping and holding, savoring an elusive moment that passes al­ most unnoticed while we are busy with events deemed more significant. MONTHLY m e t h o d s Steel Armatures for Stacked Sculpture by Leigh Taylor Mickelson

In 1997,1 was an adjunct instructor at a local community college and was given the opportunity to teach a sculpture class. One project in the curriculum involved welding, which I had never done. I learned by creating a couple of sculpture bases with a rod welded to the center. Working with steel for that short period of time opened up many new opportunities for my work, and I became increasingly interested in the notion of balance. At the same time, I was starting to make organic ceramic forms—dozens of them. They just kept on coming. I had grouped them on the floor, on tables and shelves. What else could I do with them? Stacking them on a steel rod was one of the most intriguing ideas. The bases are quite simple, but they have evolved. The first bases I made used ½-inch-thick steel plate for the bottom and a solid ½-inch-diameter steel rod welded into a hole drilled in the center of the plate. They were sturdy and supported pieces up to 6 feet tall, but were too heavy and difficult to move around. I no longer have access to welding equipment, so I have the bases made very inexpensively by a local welding shop. I have them weld an 8-inch-long piece of ½-inch-diameter threaded rod into a hole in the center of a ½-inch-thick steel plate. Then I attach additional lengths of ½-inch-thick threaded steel rod using three 1 ½-inch-long coupling nuts. The ½-inch-thick rod was not thick enough for the 6 1/2-foot-tall pieces—they swayed and leaned too much—but I was determined not to have to carry around 6 1/^-foot-tall bases! I am now using ¾-inch-thick threaded rod for the pieces over 4 feet tall, and ½-inch-thick rod for pieces under 4 feet tall. I start composing the stacked pieces by handbuilding several ceramic forms. I cut clean holes in the forms when they are leather hard, making sure the holes are aligned so the forms will easily slide onto the rod. After bisque firing, I start playing around with the stacking order to see what pieces work well next to each other while hiding the rod at the same time. Sometimes, making “Pulse V,” 78 inches two or three adjacent pieces at the same time is helpful. If the (198 centimeters) in height, earthenware with angles of the holes are such that the rod is exposed, I can make stains, underglaze and adjustments. Some stacks require creating a new form specifically glaze, with individual for a particular spot. parts fired to Cone 04, The bottom pieces are generally larger and require holes large Cone 1 or fired multiple times, then assembled enough to go over the connector bolts on the rod. They also seem over steel rod, by Leigh to set the tone for the piece, and sometimes I make forms further Taylor Mickelson, up the rod that will visually or emotionally connect with the Baltimore, Maryland. bottom form. The top pieces have one hole in the bottom that is big enough so that I can epoxy a nut into it after the final glaze firing. When I am installing the piece, I screw the top piece onto the threaded rod to add physical tension and support. Clay Bodies Fill Negative Spaces by Engracia Angrill

His unorthodox method of mixing the different materials in a controlled man­ ner, yet somewhat outside established param­ eters, allows him to challenge and, in certain ways, break with formality and change the end result. Uncertainty and improvisation are expected, desirable elements in the process and its results. He feels that his work is most significant and effective because of the element of surprise. A clear example of this kind of work is the series of sculptures made inside cardboard boxes titled “Indicis.” These sculptures are built in the interior space of a “Searching for the Interior Space of a Box. cardboard box. The very wet clay is shaped into suggestions of A Piece of Landscape,” 45 centimeters (18 inches) in height, experimental clay, landscapes within the boxes. Using a combination of perlite and fired to 1280°C (2336 F) in reduction. refractory clay, these landscapes taking shape inside the boxes are not only a creative exercise but also produce mysterious illusion- ary landscapes, or imaginary situations. Since leaving painting to embrace clay, Carles Vives has devoted Vives feels that limited, confined empty spaces are reserved many hours to researching raw materials. He first experimented for creative expression. He works with these negative spaces to with traditional folk ceramics in his studio in Cannovelles, Spain, extract positive thoughts. a town near Barcelona. He experimented with Arab-style kilns and wood firings where the work came into direct con­ tact with the flame. Today, he is interested in using clay in its natural state, and he employs different types of clay to change the surfaces and textures. For Vives, color is not merely a decorative effect on the surface, but an integral part of the clay, obtained through combining materials and brought out by the firing process. The addition of colored surfaces is contradictory to his way of working. He creates works with the color and texture running throughout the material. Vives prepares his own clay bodies by substituting or adding materials he has previously discovered and tested. The different combinations of clay and other materials modify the final expressive outcome. In rare “Searching for the Interior Space of a Box. A Piece of Landscape,” 38 centimeters instances he may use a white glaze, which seldom remains white (15 inches) in height, experimental clay, with white glaze and silicon carbide, because of the oxides in the clays. fired to 1280 C (2336 F) in reduction, by Carles Vives, Canovelles, Spain.

Ceramics Monthly March 2005 75 Pots with a View The Work of Richard Hensley and Donna Polseno by Kevin Hluch

Sometimes it is said that a thing of beauty is a joy forever. This is the world did not arise from a mechanized or automated form of especially true in regard to the pottery of Donna Polseno and mass production. Today, these intensely valued things spring from Richard (Rick) Hensley. For 30 years, these two artists have the hands of inspired, creative and skilled individuals. produced art that has met the highest standards of creative expres­ Hensley and Polseno are two of those people. Each received sion. Although they are self-effacing, they do acknowledge and undergraduate degrees from the Kansas City Art Institute and value the beauty, grace and utility of their work. Because of these graduate degrees from the Rhode Island School of Art and De­ qualities, their pots give lasting and deep satisfaction to those who sign. Those experiences formed the bedrock of their approach to acquire and use them. ceramic art. But each has traveled a slightly different track toward In contrast, it appears contemporary consumer culture over­ their own unique aesthetic. looks the value of lasting beauty, grace and utility. This is particu­ Recognizing the intrinsic value that historical art objects pos­ larly true when one considers the endless stream of inconsequential sess, Hensley and Polseno’s vision suggests a path trod by the products manufactured season after season. The vast majority of ancients. Unlike many artists who, by choice or necessity, seek these items, after a purposefully truncated existence, are rightfully teaching positions, these two artists immediately established a deposited in the landfill. Fortunately, some artists, including pottery and devoted their lives to creating art full time. Making Hensley and Polseno, have taken a contrasting perspective to the good pots is an arduous process that requires years of effort, and creation of goods. Hensley and Polseno have only encountered a few detours along The fixing of important humanistic values into objects is the the way. goal of artists in general and potters in particular. Not surpris­ They create objects that will never decrease in value over the ingly, the most treasured and admired historical objects found in years. Interestingly, typical corporate ventures emphasize the short-

“Cream and Sugar Set,” to 6 inches (15 centimeters) in height, mid-range porcelain, with layered glazes, with wax resist and liquid latex, by Donna Polseno

Ceramics Monthly March 2005 term bottom line while artists, on the other hand, emphasize the line itself. Undeniably, the generation of income is an important part of the artistic process for any artist—not just for potters. But the phrase “first art, then commerce,” more accurately describes the fiscal orientation of artists. Great financial gain in the arts is possible only in a minority of cases. Certainly, most historical artists were not adequately compensated for the treasures now held in museums throughout the world. And archaeologists continue to discover even more objects that manifest the most important con­ cepts held by a given group of people. It seems, therefore, that the role of the artist is this: to artfully freeze in material form the most important values, customs and beliefs of a culture. By doing so, the objects transcend time itself and, in the vast majority of cases, the artifacts are haltingly beautiful. Therein lies the true value of an artist’s creative work. Fortunately, Hensley and Polseno have at­ tracted a regional and national following who understand the significance of their artistic ef­ “Cups,” to 41/2 inches (11 centimeters) in height, porcelain forts. The individuals who own these wonderful with stamped decoration, fired to Cone 10, by Richard Hensley. pots will likely pass them down to a cohort of future appreciative owners. True, the present moment is too fleeting and immaterial to give us the necessary infor­ mation to make an absolutely accurate con­ temporary assessment of any particular art object’s worth. But those artists whose works spring from the concept of beauty certainly have a much better chance for longevity than those who manifest the grotesque or, worse, the blatantly ugly. Potters, in particular, are artists who strive to imbue useful objects with grace, a certain elegance and ease of use. The dedication of an individual’s intellectual and emotional sensi­ tivities toward the creation of this type of work is both a noble and important goal. This is what the best potters do. And the work of Hensley and Polseno certainly exists within this realm. They have engaged these sentiments “Condiment Bowl Set,” 4 inches (10 centimeters) in height, mid-range porcelain, in their ceramic work. Theirs is not a fleeting with layered glazes, with wax resist and liquid latex, by Donna Polseno. charm like that of a cloud passing from hori­ zon to horizon, but a beauty that lasts. Bearing the rich burden of ceramic history on their shoulders, these two potters are serious about their work and have little interest in fads or passing fancies. Not surprisingly, this orientation led them to establish a pot­ tery in one of the most gorgeous and more isolated places in the United States: the Appalachian Mountains of western Virginia.

Ceramics Monthly March 2005 77 The pottery is located adjacent to the Blue Ridge Parkway, a The forms that characterize the volumes of their pottery also meandering asphalt ribbon snaking through a landscape filled are softly rounded. It is as if they too have borne the brunt of the with lush forests and expansive vistas. Having settled there 30 ages. Squares curved, circles broken and ovals stretched out speak years ago, they have put down deep roots by establishing a pot­ to the underlying natural structures pervading the artists’ envi­ tery, gallery and a lovely home. They also have raised two children ronment. The harsh, angular geometry of mountains has been in the shadows of the mountains. softened by time and that very same languidness is present in For an artist striving to create elegance and beauty, what better their work. place to be inspired than far from the chaos, confusion and stress Within the details of these forms lay qualities tuned to the of the urban scene? After all, it is nature itself that sets the ultimate quiet brilliance of nature. Tendril-like handles sway, twist and standard and provides the most ringing inspiration for artists. undulate like vines wending their way through the tree’s branches to the sky’s life-giving light. These characteristics are particularly true of Hensley’s work. Spouts and handles appear fixed to the body of the pot as if their lives depended upon it. Attachments and protuberances meld themselves to the primary form like the cap of the tiny rotund acorn. This vision of how the parts connect with the whole is part and parcel of good design in pottery. Without this insight, the pot simply becomes an accumulation of unrelated elements that serve neither utilitarian nor aes­ thetic purposes. It is the cumulative sum of these parts that suggests more than the isolated individual elements. Polseno’s pottery in particular embodies forms that are associated with the coolness of partially melted, cubed water. Generally, these forms depict a chilly stillness found in the duller, colder days of winter when the light is lean and the air constricts the breath. But the shapes also portray an affirming and confident solidness of form reminiscent to the muscular haunches of a well- bred animal. Her work springs from plaster molds that help to enhance that solid feeling of strength, control and robustness. Her pottery forms wrested from the plaster emerge strong, sturdy and ready to stand up and

“Tea Jar,” 6 inches (15 centimeters) in height, mid-range porcelain, with layered take notice. glazes, with wax resist and liquid latex, by Donna Polseno, Floyd, Virginia. The surfaces of her work are layered and complex, and benefit from the co-mingling of molten glazes. Her glazes gain a rich but subtle complexity via the slow- This affinity with nature’s splendor can readily be seen in motion volatility found when the glazes are deep in the melt. Hensley’s and Polseno’s work. The work of both artists evokes the On the other hand, Hensley’s work is more aggressively fluid, clear visual fragrances of the woodland that enriches their every­ both in form and surface decoration. He imparts a looser, more day rural environment. The warm and sometimes cool greens, spontaneous feeling to the work by manipulating the clay while it yellows, tans, oranges and browns that reside in each spent au­ is soft, pliable and susceptible to collapse. The clay is stretched, tumn leaf light up the surfaces of their pottery. pressed and prodded with unique stamps, each a shimmering In Polseno’s work, the color seems attached to the surface of memory of a wooded ramble, a detail captured here or there by the pottery like lichen to rock. The harmony between the form the subconscious enquiring mind. and surface ensures a sincere marriage between both. This, in His work is more tied to the watery side of ceramic expression, turn, accents the volume of each pot. The matt surface also helps especially in the use of glazes. The rivulets of the ashlike glaze flow diffuse the light so that soft shadows accent the three-dimension- over the forms as the streams flow through the blue ridges of the ality of the forms. The dark values that set off the principal colors Appalachian chain. The forms, strategically stamped with a wisp are reminiscent of the thunderclouds that roll through the valleys of pattern, catch and play with this flow, adding richness to the and bump against the irregular crests of the ancient mountains surface as the glaze tumbles down the miniature landscape of that surround the studio. impressed ridges and depressions. Likewise, his plates and platters

Ceramics Monthly March 2005 78 reflect shimmering light much like the rays of the sun that glance off the swimming pond nestled in a hollow near their home. Perhaps it’s Hensley’s love of viticulture, which brings some of these formal elements to his work. His rows of grape vines that require meticulous tending directly reflect the kind attention he devotes to his pottery. The constant work with these vines— trimming and tethering those long whispery strands—most cer­ tainly influences his decoration and handle making. Hensley’s palette of colors is subdued, but on the lighter side of the value spectrum. His work almost seems to emanate a soft glow as if lit from the inside. The translucency of his glazes allows the porcelain clay’s voice to speak in a muted but important tone. The rich, buttery texture of the glaze also adds another level of sensuousness as a pitcher, mug or bowl meets the hand. In the work of each of these artists, a sense of refinement resulting from 30 years skill in craftsmanship comes to the fore. In fact, it is the love of this work that becomes a fundamental part of the expression. This view of art making reflects in a microcosm the richness that surrounds them and is one that they impart in the work. It is a struggle to make good pots. And, yes, it also is a struggle to make a living making pots. But they are not simply making pots.

They are sharing, with all those who are capable, a love of life, of “Vase,” 18 inches (46 centimeters) in height, porcelain with stamped nature and of pottery. decoration, fired to Cone 10, by Richard Hensley, Floyd, Virginia.

“Teapot,” 5 inches (13 centimeters) in height, porcelain with stamped decoration, fired to Cone 10, by Richard Hensley.

Ceramics Monthly March 2005 79 June 15 entry deadline Chungcheongbuk-do, 361-828 Republic of Korea; call for entries Damascus, Maryland "Kaleidoscope Reflections" e-mail [email protected]; see (September 8-October 15), open to all media relat­ www.okcj.org; telephone (82) 43 277 2603; or fax Deadlines for Exhibitions, Fairs and Festivals ing to kaleidoscopes. For prospectus, send SASE to (82) 43 277 2610. See call for entries online at www.ceramicsmonthly.org Brewster Kaleidoscope Society, PO Box 95, Dam­ ascus 20872; see www.brewstersociety.com. United States Exhibitions July 1 entry deadline International Exhibitions Cheongju City, Korea "Fourth Cheongju Interna­ March 5 entry deadline tional Craft Competition" (September 30-0ctober Carbondale, Colorado "For Two" (April 1-May 5), March 31 entry deadline 23), open to craftworks reflecting the theme "Hide open to ceramics using the theme "2" or "Pairs." Sarreguemines, France "5th International Ceram­ and Reveal." Juried from 3 slides and 1 color photo. Juried from up to 3 slides. For further information ics Competition: A Set of Three Plates" (June), open Awards: grand prize US$20,000 (includes purchase and prospectus, send SASE to Carbondale Clay to functional ceramics. Juried from slides. Awards: of artwork); four gold prizes US$10,000 each (in­ Center, 135 Main St., Carbondale 81623; grand prize, €3800 (US$4668); young ceramist cludes purchase of artwork); 1 silver prize per e-mail [email protected]; telephone (970) award, €1500 (US$1221); series award, €1500. category, US$2500 each; 1 bronze prize per cat­ 963-2529. Contact Musee de la Fa'ience, 17 rue Foincare, egory, US$1000 each. For prospectus, contact March 19 entry deadline Sarreguemines F-57200; telephone (33) 3 87 98 93 Competition Dept., the Organizing Committee of Waynesboro, Virginia "Sacred Icons: A Collective 50; e-mail [email protected]; the Cheongju International Craft Biennale, 755 Vision of Symbolic and Ritual Objects" (May 19- see www.sarreguemines-museum.com. Sajik 1-dong, Heungdeok-gu, Cheongju City, June 29), open to all craft media. Juried from slides or CD. Juror: Michael W. Haga, program coordina­ tor at the College of Charleston's School for the Arts. Fee: $20. Cash awards. Commission: 40%. For prospectus, send SASE to Artisans Center of Virginia, 601 Shenandoah Village Dr., Waynesboro 22980; e-mail [email protected]; see www.artisanscenterofvirginia.org; or telephone (540) 946-3294. March 25 entry deadline Walnut Creek, California "Pots: Objects of Virtue" (June 1 -August 14), open to contemporary ceramic vessels. Juried from up to 3 slides. Juror: Mark Pharis. Fee: $35. For prospectus, send SASE to Bedford Gallery, 1601 Civic Dr., Walnut Creek 94596; or see www.bedfordgallery.org. March 28 entry deadline Surf City, New Jersey "Jersey Shore Clay National" (May 28-June 26), open to functional and sculp­ tural ceramics. Juried from slides. Juror: Peter Cal- las. Fee: $10 for 1 entry; $20 for 2; $25 for 3. Awards: Best in Show, $500; 2nd place, $250; 3rd place, $100; purchase award. Commission: 40%. For prospectus, send SASE to m.t. burton gallery, JSCN, 1819 Long Beach Blvd., Surf City 08008; e-mail [email protected]; see www.mtburtongallery.com; telephone (609) 494- 0006; or fax (609) 494-0105. April 1 entry deadline Bemidji, Minnesota "It's Only Clay" (July 1-21). Juried from slides; up to 3 entries. Fee: $25. Contact Bemidji Community Arts Council, 426 Bemidji Ave., N, Bemidji 56601; e-mail [email protected]; see www.bcac-mn.org; or telephone (218) 444-7570. Farmington Hills, Michigan "From Our Perspec­ tive—Women's Art Exhibition" (May 12-June 3), open to women artists in all media. Juried from slides or jpegs. Fee: $25 for up to 3 entries. Contact Sandra Happel, Oakland Community College, 27055 Orchard Lake Rd., Farmington Hills 48334; e-mail [email protected]; telephone (248) 522- 3565; or fax (248) 522-3515. Southport, North Carolina "National July Show" (June 20—July 23). Juried from slides. Juror: Dan Finch. Awards: $6000. For prospectus, send SASE to Associated Artists Southport, 130 E. West St., Southport 28461; telephone (910) 457-5450; or see www.franklinsquaregallery.org; April 18 entry deadline Alexandria, Virginia "Containers/Contained" (July22— August 28), open to all media. Juried from 3 slides or jpegs. Fee: $25. Awards: $500. For prospectus, send SASE to Target Gallery, 105 Union St., Alexandria 22314; e-mail [email protected]; or telephone (703) 838-4565. May 16 entry deadline Mableton, Georgia "18th Annual National Juried Art Exhibition" (July 11-August 14), open to all media. Juried from up to 3 slides. Fee: $25. Cash and purchase awards. For further information, contact South Cobb Arts Alliance, 5239 Floyd Rd., Mableton 30126; or see www.artshow.com/mablehouse. June 24 entry deadline Geneseo, New York "In Our Cups" (August 27- September 15), open to ceramic drinking vessels.

Ceramics Monthly March 2005 80

fee: $375. Awards. For prospectus, contact Madi­ call for entries son Museum of Contemporary Art, 222 W. Wash­ ington Ave., Ste. 350, Madison 53703; see www.mmoca.org; or telephone (608) 257-0158. Juried from slides. Juror: Ron Meyers. Fee: $25 for March 15 entry deadline up to 3 works. Awards. For prospectus, send SASE New Brunswick, New Jersey "31st Annual New to "In Our Cups" Art Dept., SUNY Geneseo, 1 Jersey Folk Festival" (April 30), open to all craft College Cir., Geneseo 14454; or e-mail media. Juried from 4 slides or 4 digital images. Fee: [email protected]. $5 for new crafters; previous participants, free. New Canaan, Connecticut "Craft USA 2005" Booth fee: $130 for 10x10-foot space. Contact (October 16-November 18), open to all craft me­ Helene Grynberg, Rutgers, the State University of dia. Juried from slides. Juror: Gail M. Brown, inde­ New Jersey, 131 George St., New Brunswick 08901- pendent curator. Fee: $35. Cash awards. For 1414; e-mail [email protected]; see prospectus, send #10 SASE to Craft USA, Silvermine http://njfolkfest.rutgers.edu; telephone (732) 932- Guild Arts Center, 1037 Silvermine Rd., New Canaan 5775; or fax (732) 932-1169. 06840; see www.silvermine.org; ortelephone(203) April 1 entry deadline 966-9700, x26. Verona, New Jersey "19th Annual Fine Art and Julylst, Entry Deadline Crafts at Verona Park" (May 14-15), open to all La Crosse, Wisconsin Juried one-person three-di­ handcrafted work. Juried from 4 slides. Booth fee: mensional Show and demonstration: Viterbo Uni­ $295 for 10x12-foot space. Contact Rose Squared versity" (September 7-October 4). Juried from Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 10-20 slides. Jurors: Gerard Justin Ferrari and Viterbo 08844; e-mail [email protected]; see University Faculty. Fee $20. Responsibilities include www.rosesquared.com; telephone (908) 874-5247; installation, attendance at opening, removal of or fax (908) 874-7098. show and a one-day workshop. Award: $1000 April 2 entry deadline honorarium. E-mail Gerard Justin Ferrari: Spokane, Washington "23rd Annual Inland Crafts" [email protected]; or telephone (608) 796-3757. (November 11-13). Juried from 5 slides or digital images. Fee for slide entry: $12. E-mail Gina Freuen Regional Exhibitions [email protected]; seewww.inlandcrafts.org. May 1 entry deadline March 11 entry deadline Cranford, New Jersey "17th Annual Spring Niceville, Florida "13th Southeast Regional Juried Nomahegan Park Fine Art and Crafts Show" (June 4- Fine Arts Exhibition" (May 16-June 9), open to 5), open to all handcrafted work. Juried from 4 slides. artists residing in the Southeast. Juried from slides. Booth fee: $295 for 10x12-foot space. Contact Rose Juror: Mark M. Johnson, Montgomery Museum of Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, Fine Arts. Fee: $30 for 1 entry; $35 for 2; $40 for 3. NJ 08844; e-mail [email protected]; see Awards: $2500. Best-in-Show offered solo exhibi­ zwww.rosesquared.com; telephone (908) 874-5247; tion. For prospectus, send SASE to M Eady, ADSO, or fax (908) 874-7098. 17 First St., SE, Fort Walton Beach, FL 32548; or see Montclair, New Jersey "17th Annual Spring www.artsdesignsociety.com. Brookdale Park Fine Art and Crafts Show" (June March 15 entry deadline 18-19), open to all handcrafted work. Juried from Fish Creek, Wisconsin "40x40 in All its Dimen­ 4 slides. Booth fee: $295 for 10x12-foot space. sions" (June 3—July 9), open to artwork relating to Contact Rose Squared Productions, Inc., 12 Galaxy the number 40 and artists residing in Illinois, Indi­ Ct., Hillsborough, NJ 08844; telephone (908) 874- ana, Iowa, Michigan, Minnesota, Missouri, Ohio or 5247; e-mail [email protected]; see Wisconsin. Awards: $2000. Juried from slides. www.rosesquared.com; or fax (908) 874-7098. Fee: $25 for up to 3 works. For prospectus, contact August 1 entry deadline Peninsula Art School, 3900 County Rd. F, Upper Montclair, New Jersey "22nd Annual Fine PO Box 304, Fish Creek 54212; e-mail Art and Crafts at Anderson Park" (September 17- [email protected]; telephone (920) 18), open to all handcrafted work. Juried from 4 868-3455; or fax (920) 868-9965. slides. Booth fee: $295 for 10x12-foot space. For April 1 entry deadline further information, contact Rose Squared Pro­ Kingston, Rhode Island "Earthworks: Open Juried ductions, Inc., 12 Galaxy Ct., Hillsborough, NJ Clay Annual" (April 7-May 1), open to current and 08844; e-mail [email protected]; former Rhode Island residents or students. Juried www.rosesquared.com; telephone (908) 874-5247; from actual work. JurorMark Shapiro. Feelper en­ or fax (908) 874-7098. try: $15; members, $12; up to 5 entries per artist. September 1 entry deadline Cash awards. For prospectus, send #10 SASE to Cranford, New Jersey "17th Annual Fall Earthworks, South County Art Association, 2587 Nomahegan Park Fine Art and Crafts Show" Kingstown Rd., Kingston 02881; or see (October 1-2), open to all handcrafted work. www.southcountyart.org. Juried from 4 slides. Booth fee: $295 for 10x12- April 5 entry deadline foot space. Contact Rose Squared Productions, Erie, Pennsylvania "82nd Annual Spring Show" (April Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; 23-June 12), open to artists in a 250-mile radius of telephone (908) 874-5247; fax (908) 874-7098; Erie. Juror: Steven Assael. For further information, e-mail [email protected]; or see contact Erie Art Museum, 411 State St., Erie 16501; www .rosesquared.com. e-mail [email protected]; see Montclair, New Jersey "Seventh Annual Fall www.erieartmuseum.org; telephone(814)459-5477. Brookdale Park Fine Art and Crafts Show" June 15 entry deadline (October 15-16), Juried from 4 slides. Booth fee: Pittsburgh, Pennsylvania "WAD Clay Institute Juried $295 for 10x12-foot space. Contact Rose Squared Annual" (August 26-September 26), open to ce­ Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ ramics artists residing in Washington D.C., Mary­ 08844; e-mail [email protected]; land, Pennsylvania, Ohio, New York, New Jersey, www.rosesquared.com; telephone (908) 874-5247; Virginia and West Virginia. Juried from slides of up or fax (908) 874-7098. to 3 works. Juror: Dale Huffman, art dept, head of Carlow College. For prospectus, send SASE to Gerry Dinnen, WAD Clay Institute, 2100 Mary St., Pitts­ burgh 15203; or telephone (412) 279-9956. For a free listing, submit information on juried events at least four months before the entry deadline. Add one month for listings Fairs and Festivals in July; two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics March 7 entry deadline Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online Madison, Wisonsin "2005 Art Fair on the Square" at www.ceramicsmonthly.org/submissions.asp e-mail (July 9-10). Juried from 4 slides. Fee: $29. Booth [email protected]; or fax (614) 891-8960.

Ceramics Monthly March 2005 82 Ceramics Monthly March 2005 83 new books preface to this travel handbook. “As a result we north to south, it includes descriptions of his­ received many e-mails and phone calls with torical kiln sites, ceramics-related museums, gal­ questions on how to get to these places and how leries, studios, schools, organizations, factories to visit these artists. So I have compiled this book and ceramics magazines. Contact information is Chinese Ceramic of Chinese ceramics cultural sites for travel­ listed for each site and Cultural Sites ers. . . . I hope this book especially will help non- most listings include A Traveler's Handbook by Guangzhen Zhou and Guabku Zeng, Chinese-speaking tourists, ceramics artists, the hours the sites are English Editor Deborah Brouchette educators, historians and students and make it open for visitors. In­ “Since the Chinese Clay Art E-Newsletter easier to find certain places to visit...” formation on public was founded in the summer of 1999, we have This full-color book contains both English transportation is also introduced many Chinese ceramic cultural sites, and Chinese text and references over 150 ceram­ provided when avail­ museums, schools, studios and some other re­ ics-related sites in mainland China, Hong Kong able. Some maps are lated venues,” begins Guangzhen Zhou in the and Taiwan. Organized geographically from included. 237 pages including glossary, list of hotels, list of websites, index and appendix with general infor­ mation on travel in China. 210 color photo­ graphs. Softcover, $28. ISBN 957-8964-18-8. Published by Wu Shing Books Publication Co., Ltd. Distributed worldwide by Chinese Clay Art, PO Box 1733, Cupertino, G4 95015; e-mail [email protected]; see www.chineseclayart.com; or telephone (800) 689-8319.

Handbuilt Pottery Techniques Revealed by Jacqui Atkin This well-illustrated book includes step-by- step instruction on a multitude of handbuilding projects using coil, slab, mold and pinch tech­ niques. Jacqui Atkin explains that she wrote this book “to provide the pot­ ter with all of the necessary technical information to complete the projects demon­ strated using a few basic tools and a minimum amount of equipment. It is by no means a definitive guide since, after initial train­ ing, most potters gradually develop an indi­ vidual approach to handbuilding. It is important to realize therefore that techniques are not an end in themselves but a starting point from which you can develop your own methods, ideas and unique expression.” An introductory section provides health and safety information, illustrations of handbuild­ ing tools, explanations of various clay bodies, and instructions on preparing clay and using coloring agents. Detailed captions guide readers through each project from start to finish. “Cut­ away” photographs show correct hand positions

Ceramics Monthly March 2005 new books led his own community of archaeologists and and makers alike for centuries. The two mate­ artists, painstakingly and intensely pursuing more rials are often perceived as one and the same, than a decade of experiments.” because they both possess qualities of white­ for controlling the clay, both inside and outside The book details forming and decorative ness, strength and translucency. Porcelain is a the form. 400 color photographs. Softcover, techniques for Mesa Verde mugs, bowls, jars, well-documented subject both in traditional $23.95. ISBN 0-7641-2666-0. Barron’s Educa­ dippers and corru­ and contemporary terms. Bone china has his­ tional Series, Inc., 250 Wireless Blvd., Hauppauge, gated pots. In addi­ torically been labeled an “industrial” material, NY 11788; e-mail [email protected]; see tion, Swink gives which has narrowed its appeal. www. barronseduc. com; telephone (800)645-3476. instruction on how This well-illustrated book examines the roles to fashion the tools porcelain and bone china have played both for Messages from used by the culture. the individual artist and industry. Combining the High Desert 321 pages including narrative and technical information, the book The Art, Archaeology and preface, introduc­ examines the composition of the two materials, Renaissance of Mesa Verde Pottery tion, index and ap­ drawing comparisons and highlighting differ­ by Clint Swink pendices. 605 ences. It contains Nearly 1000 years ago, the Mesa Verde black-and-white recipes, informa­ culture abandoned the high Colorado Plateau photographs and 50 line drawings. $55 plus tion on making and desert of the American Southwest, leaving be­ $6.50 shipping and handling; Colorado resi­ decorative tech­ hind a legacy of pottery. This book features a dents, add $2.75 sales tax. ISBN 0-9744263-0-X. niques, glazes and variety of Mesa Verde production techniques Published by Redtail Press/Swink Art, 688 Raven firing processes, and based on author Clint Swink’s 18 years of re­ Ridge, Bayfield, CO 81122; e-mailswink@rmi. net; a section on artists search on the culture and its pottery. “Through see www.swinkart. com; telephone (970)563-4624. working in the ce­ observation, inspiration and determined effort, ramics industry. A Clint has given depth and detail to our under­ Porcelain and Bone China chapter on ad­ standing of the ancient tradition,” says Eric By Sasha Wardell vanced technology Blinman of the Museum of New Mexico in the The beautiful qualities of porcelain and offers an overview of the role of porcelain and foreword to this book. “He has assembled and bone china have fascinated patrons, collectors bone china as “advanced” materials. 250 color

Ceramics Monthly March 2005 86 Ceramics Monthly March 2005 87 new books

photographs. $50. ISBN 1-86126-693-6. Pub­ lished by the Crowood Press Ltd., Rams bury, Marlborough, Wiltshire SN8 2HR England; Dis­ tributed in the U.S. by Trafalgar Square Publish­ ing, PO Box257, Howe Hill Rd, North Pomfret, VT 05053; e-mail [email protected]; see www. trafalgarsquarebooks. com; or telephone (800) 423-4525.

Objects & Meaning New Perspectives on Art and Craft Edited by M. Anna Fariello and Paula Owen “This book has grown out of many conver­ sations about the different ways various aca­ demic disciplines and cultural institutions approach and assign meaning to the artist-made object in postmodern North America,” explain the editors in the preface to this book. “Though most of the discourse since mid century revolved around the split between art and craft, our personal interest ex­ tended to other facets of the topic, especially when, during the 1980s, we began to assemble articles writ­ ten by people with similar concerns. . . . In addition, because we had personally ex­ perienced frustration over the lack of pub­ lished material on the topic, we want to fill avoid by compiling a collection of related essays that might involve and inspire readers in a way that an isolated article cannot.” The book is a collection of essays by various contributors, which are loosely organized into three groupings—Historical Contexts, Cultural Systems and Theoretical Frames. 253 pages including preface and contributors appendix. 12 black-and-white photographs. $45. ISBN 0-8108-4844-9.Published by Scarecrow Press, the Rowman and Littlefield Publishing Group, Inc., 4501 Forbes Blvd., Suite 200, Lanham, MD 20706; e-mail [email protected]; see www.scarecrowpress. com; telephone (800)462-6420.

The Story of Korean Ceramics Edited by Sunghee Hong “Korean artisans have consistently built on tradition and have been open to new influences as they assimilate foreign culture and reconcile it with Korean tradition,” state Yang-mo Chung

Ceramics Monthly March 2005 88

new books includes an explanation of the history of Korean tures over 300 new images and 75 new artists, ceramics by Yongi Yoon. Another essay by Choi and gives an overview of the innovative work explores modern Korean ceramics and being done internationally in the field. and Kun Choi in the introduction to this book. Chunghyun Cho contributes an essay on the The book discusses technical qualities such “Among their many achievements, Korean arti­ Onggi culture in Korea. Includes both Korean as smoothness, whiteness and translucency, and sans created bisaek celadon—the widely cov­ and English text. 220 pages including foreword, provides recipes for various porcelain bodies and eted, clear and highly transparent jade-green index and list of Korean traditional ceramics glazes. It also explores different forming and porcelain considered to be the finest in the theses. 56 color and 2 black-and-white photo­ surface techniques world—by altering Chinese celadon to make it graphs. Softcover, $17. ISBN 89-89748-29-1. and includes a chap­ more suitable for the Korean taste. In later years, Published by the World Ceramic Exposition Foun­ ter about sources of during the Joseon dynasty when global prefer­ dation, Icheon World Ceramic Center, San 69-1, inspiration and ence shifted to white porcelain, Korean artisans Gwango Don, Icheon City, Gyeonggi Province, means of expres­ created Joseon South Korea; e-mail [email protected]; see sion. 256 pages in­ white porcelain, www.wocef.or.kr; or telephone 82 31 631 6504. cluding foreword by known as Joseon David Leach, intro­ Baekja. . . . Such Contemporary Studio duction, glossary, accomplishments Porcelain index and appendix were possible only Second Edition of suggested further because Korean ar­ by Peter Lane reading. 350 color photographs. $49.95 (£35). tisans upheld tradi­ A follow up to Contemporary Porcelain, pub­ ISBN (US.) 0-8122-3772-2. ISBN (U.K.) tion while always lished in 1995, this revised edition examines the 0-7136-6637-4. Published in the U.K. byA&C being open to for­ development of porcelain at the turn of the new Black, Alderman House, 37Soho Sq., London, ID eign culture. They millennium, giving particular consideration to 3QZ England; see www.acblack.com. Published made Korea a world leader in ceramics culture, the technical achievements, working practices in the U.S. by University of Pennsylvania Press, along with China.” and aesthetic concerns of ceramists who work 4200 Pine St., Philadelphia, PA 19104-4011; In addition to the introduction to traditional with this most popular medium and its close e-mail [email protected]; see Korean ceramics by Chung and Choi, this book relative, bone china. The updated edition fea­ www. upenn. edu/pennpress;phone (800)537-5487.

Ceramics Monthly March 2005 90

onstrations. Presenters include Ron Artman, Nicole Zhou, Chinese Ceramic Art Council USA, PO Box 1733, calendar Beauchemin, Alan Burslem, Ramon Camarillo, Jim Hill Cupertino, CA 9501 5; e-mail and Ernie Satchell. Fee: $195; Clay Guild of the Eastern [email protected]; seewww.yixing2005.org; Conferences, Exhibitions, Workshops, Fairs Shore members, $170; students, $100. Contact Uni­ telephone (800) 689-2529; fax (408) 777-8321; or See calendar online at www.ceramicsmonthly.org versity of Maryland Eastern Shore, Continuing Educa­ Richard Notkin, PO Box 698, Helena, MT 59624-0698; tion, 13801 Coastal Hwy., Ocean City 21842; e-mail e-mail [email protected]; telephone (406) 442-4382; or [email protected]; or telephone (410) 250-1088. fax (406) 457-0058. Conferences North Carolina, Asheboro March 4-6 "The 18th Denmark, Skaelskor August 12-14 "Storytelling & Annual North Carolina Potters Conference—Glazes," Poetry Seminar," includes ceramic lectures, workshops California, Davis April 29-May 1 "16th Annual includes lectures and demonstrations by Josh DeWeese, and excursions with Philip Eglin, Louise Hindsgavl, California Conference for the Advancement of Ceramic Pete Pinnell, Jim Robinson and Tim Wilson. For further Steve Mattison, Richard Notkin, Justin Novak, Hana Art," includes demonstrations, lectures, exhibitions. information, contact Randolph Arts Guild, PO Box Pubkrabkova, Ilona Romule and Katy Rush. Contact Fee: $155; student, $105; Friday and Saturday only, 1033, Asheboro 27204; e-mail [email protected]; Guldagerg§rd, International Ceramic Center, $105; student, $75; Saturday and Sunday only, $125; see www.randolphartsguild.com; telephone (336) 629- Heilmannsvej 31 A, 4230 Skaelsk0r; e-mail student, $90. Fee after March 31: $185; student, $135; 0399; or fax (336) 629-2892. [email protected]; see www.ceramic.dk; telephone Friday and Saturday only, $135; student, $105; Satur­ North Carolina, SeagroveVune5-10 "Crossroads: (45) 5819 0016; or fax (45) 5819 0037. day and Sunday only, $155; students $120. Contact Traditions and Change, Seagrove International Ceram­ England, London May 6-8 "Ceramic Art London John Natsoulas Gallery, 521 First St., Davis 95616; see ics Conference," includes demonstrations, activities, 2005," includes fair, exhibition, lectures, demonstra­ www.natsoulas.com; or telephone (530) 756-3938. lectures, presentations, kiln building and firings, exhibi­ tions and films/videos. Presenters include Edmund de Georgia, Atlanta October5-8 "Growing Creativity tions and tours. Fee: $375; students, $275; includes 4 Waal, Walter Keeler, Kate Malone, Grayson Perry and ... Continuing the Journey," Society of Craft Designers lunches and 6 dinners. Contact Randolph Arts Guild, Takeshi Yasuda. Contact Ceramic Art London 2005, 25 annual conference. Contact SCD Headquarters, PO Box PO Box 1033, Asheboro NC 27204-1033; e-mail Foubert's PI., 3rd FI., London W1F 7QF; e-mail 3388, Zanesville, OH 43702-3388; e-mail [email protected]; telephone (336) 629-0399; or fax [email protected]; seewww.ceramics.org.uk. [email protected]; see www.craftdesigners.org; tele­ (336) 629-2892. Hungary, Kecskemet March 1-25 "The Sound of phone (740) 452-4541; or fax (740) 452-2552. Canada, British Columbia, Kelowna August Clay IV, Ceramic Musical Instrument Symposium." Con­ Kentucky, Berea June 2-5 "2005 Craft Organiza­ 19-23 "Kelowna Clay Festival" will include tact Steve Mattison, International Ceramics Studio, tion Development Association (CODA) Conference," demonstrations by Linda Doherty (also hands-on Kapolna str. 13, Kecskemet H-6000; e-mail includes panels, presentations, tours and peer discus­ workshop), Trudy Golly (also hands-on workshop), Mike [email protected]; see www.icshu.org; or telephone (36) sions. Contact Linda Van Trump, CODA managing Haley, Hank Murrow, Phil Rogers and Susy 76 486 867. director, PO Box 51, Onia, AR 72663; e-mail Siegele. Contact Kelowna Clay Festival, RR1 C5 Moser Wales, Aberystwyth July 1-3 "10th International [email protected]; or telephone (870) 746-4396. Rd., Falkland, British Columbia VOE 1W0 Canada; Ceramics Festival," includes demos and lectures by over Maryland, Baltimore March 16-19 "Centering: e-mail [email protected]; see 14 presenters, firings, and exhibitions. Contact Sophie Community, Clay and Culture," 39th annual confer­ www.members.shaw.ca/okpanews/clayfest05.html; or Bennett, International Ceramics Festival, Aberystwyth ence of the National Council on Education for the telephone (250) 762-5837. Arts Centre, University of Wales, Aberystwyth, Ceramic Arts (NCECA). See www.nceca.net; or tele­ China, Yixing May 30-June 4 "International Ce­ Ceredigion SY23 3DE; e-mail [email protected]; see phone (866) 266-2322 or (303) 828-2811. ramic Art Conference," includes lectures, forums, work­ www.internationalceramicsfestival.co.uk; telephone Maryland, Ocean City March 11-13 "Clay, Fire shops, tours and exhibitions by national and international (44) 1970 622 882; or fax (44) 1970 622 883. and Sand: Pit Firing on the Beach," pre-NCECA confer­ artists. Fee: $800, includes transportation, lodging and Wales, Cardiff June 29-30 "The Fragmented Fig­ ence including workshops, exhibitions, sales and dem­ meals. For further information, contact Guangzhen ure," includes lectures, sessions and an exhibition.

Ceramics Monthly March 2005 92 calendar

Contact Cardiff School of Art and Design, the Centre for Ceramic Studies, Howard Gardens, Cardiff CF24 OSP; e-mail [email protected]; ortelephone (44) 29 2041 6636.

Solo Exhibitions

Arizona, Phoenix through March 31 Jun Kaneko; at Bentley Projects, 215 E. Grant St. through June 30 "Virgil Ortiz—Le Renaissance Indigene"; at Heard Museum, 2301 N. Central Ave. California, Lincoln April 27-May 22 Rodney Mott, "Ceramic Show"; at Lincoln Arts, 580 Sixth St. California, Ventura March 4-May22 "Otto Heino: Celebrating 90 Years"; at Ventura County Museum of History & Art, 100 E. Main St. California, West Los Angeles through March 25 Biliana Popova; at Del Mano Gallery, 11981 San Vicente Blvd. Colorado, Denver April 29-May 22 Alicia Bailey, "Secrenere"; at Edge Gallery, 3658 Navajo St. D.C., Washington March 15-19 Chris Campbell; at the 340 Space, 340 15th St., SE. Illinois, Chicago through March 6 Katherine L. Ross, "Regarding Being and Becoming"; at Dubhe Carreho Gallery, 1841 S. Halsted St. Illinois, Geneva March 1-31 Jay Walsh, "Vases, Vases, Vases"; at Down to Earth Pottery, 217 1/2 S. Third St. Illinois, Oak Park March 5-April 6 Soda-fired porce­ lain by Gay Smith. April 9-May 18 Tony Winchester; at Terra Incognito Studios & Gallery, 246 Chicago Ave. Indiana, Upland March 4-April 75 Dick Lehman; at Taylor University, Modelle Metcalfe Visual Arts Center, Metcalf Gallery, 236 W. Reade Ave. Iowa, Iowa City April 5-21 Jeff Oestreich; at AKAR, 4 S. Linn St. Louisiana, New Orleans through March 30 Lydia Thompson, "Divergent Pathways"; at Dillard University Art Gallery, 2601 Gentilly Blvd. Maryland, Annapolis through March 25 Heeseung Lee; at the Maryland Hall for the Creative Arts, 801 Chase St. March 1-28 Elizabeth Levine, "FLOW"; at Garden Architects, 115 West St. March 1-30 Michael Hough, "Large-Scale Ceramic Sculpture"; at American Craftworks Collection, 189 B Main St. March 1-30 Megan Evans, "Tactile Sensations"; at ArtFX, 45 West St. March 1-31 Allan Bennet, "Ceramics Under the Sea: Art Inspired by the Baltimore Aquarium"; at Easy Street, 8 Francis St. March 3-31 Lars Westby, "Enigmatic Realities"; at Maryland Federation of ArtlCircle Gallery, 18 State Cir. March 6-31 Ben Culbertson, "Thin Wire"; at An­ napolis Pottery, 40 State Cir. March 15-21 John Jensen, "Mudbug Pottery: Garden Ornamentation"; at Mudbug Pottery, 113 Brewer Ave. Maryland, Baltimore through March 19 "Earth Influences," Kevin Turner; atWESTNORTH Studio, 106 W. North Ave. through March 19 Lorna Taylor, "Home Comforts"; at Live Baltimore Home Center, 343 N. Charles St. through March 19 John Brickels, "Architectural Sculp­ ture"; at Craig Flinner Contemporary Gallery, 505 N. Charles St. through March 20 Chuck Johnson; at BACVA Visi­ tors Center, 401 Light St. through March 20 "Look Alikes: The Decal Plates of Howard Kottler"; at Evergreen House, 4545 N. Charles St. through March 20 Pamela Olson, "Contemplative Landscapes." Adelaide Paul, "(Be)Witch"; at School 33, 1427 Light St. through March 28 Doug Baldwin; at Goya Contem­ porary, 3000 Chestnut Ave., Ste. 210, Mill Center.

Ceramics Monthly March 2005 94 Ceramics Monthly March 2005 95 Nature," Decker Gallery, Mt. Royal Station. "MICA March 1-April 2 David Collins; at Zoe's Garden, calendar Clay: Ron Lang 1975to2005," Pinkard Gallery, Bunting 1918 Fleet St. Center. March 3-20 Kim Simonsson, "Dislocated Clay March3-26 Joyce Scott, "Dirtworks";atC. Grimaldis and a Transformative Mirror," Cohen Plaza. March Gallery, 523 N. Charles St. through March 28 Keith Wallace Smith, "Interac­ 3-April3 "MICA Clay: Sarah Z. Barnes," MICA College March 3-April 10 Jeffrey Dalton. March 16-19 Aaron tions." March 15-19 Myung Jin Choi, "Nature and Store window. March 1 7-27 "MICA Clay: Doug Baldwin Benson, "Above the Arctic Circle"; at Center Stage, Nature"; at the Eubie Blake Cultural Center, 847 N. Retrospective," Brown Center lower lobby. March 700 N. Calvert St. Howard St. 11-April 3 "MICA Clay: Robert Bilek '05 Counter- March 4-May 24 Gilda Oliver, "Kharma—Angelic through March 31 Margie Mikliechuk; at Mud and Creatures"; at Carroll Mansion, 800 E. Lombard. Metal, 813 W. 36th St. March 8-May 8 Jane Morais; Light Street Storefront, through April 1 David Packer, "Life and Times." 28 Light St. Mary K. Cloonan, "Small Poems"; at the Enoch Pratt March 8-May 8 Heather Stauffer; Light Street Store­ Free Library, 400 Cathedral St. front, 10 Light St. through April 2 Aaron Brophy, "Figures"; at Top of March 9-19 Bridget Parlato; at Creative Alliance, the World, 401 E. Pratt St. 3134 Eastern Ave. through April 2 Michelle Erickson; at Mount Clare March 11-May2 Frank Martin; Street Window, 201 Museum House, 1500 Washington Blvd. N. Charles St. through April 3 Richard Cleaver, "Gathering at the March 13-20 Ray Chen; at Baltimore Symphony Latrobe Spring House"; at Baltimore Museum of Art, 10 Orchestra, 1212 Cathedral St. Art Museum Dr. March 14-19 Fong Choo; at Potters Guild of Balti­ through April 3 Brian Kakas, "Ironic Passion"; at more, 3600 Clipper Mill Rd. Gallery G at the Beveled Edge, 5616 Newbury St. March 14-20 Brian Baker, "Recess: Scenes from through April 3 Richard DeVore; at Baltimore the Playground"; at the Baltimore Theater Project, 45 Clayworks, 5707 Smith Ave. W. Preston St. through April 3 Sana Musasama, "Reinterpretations March 14-April 15 Tim Rowan, "Abstract Vessels of History—Collective Stories." Syd Carpenter, "Pro­ and Boxes"; atCommunityCollege of Baltimore County- cessing the Signal"; at Coppin State College, 2500 W. Catonsville Gallery, 800 Rolling Rd. North Ave. “Sweet Coals,”by Lydia Thompson; at Dillard March 15-19 Beth Cavener Stichter, "Wildness through April 3 Tim Rhoda, "Wormholes Caught University Art Gallery, New Orleans, Louisianna. Within"; at G-spot: Audio/Visual Playground, 2980 on Paper"; at the American Dime Museum, 1808 Falls Rd. Maryland Ave. March 15-19 Ruth Borgenicht; at American Style through April 16 Jane Morais; at CVS Pharmacy Parts," Bunting Center, Pinkard Student Space Gallery; Magazine/Rosen Agency, 3000 Chestnut Ave., Window, 1000 S. Charles St. at Maryland Institute College of Art, 1300 Mount Ste. 300. through April 16 Lauren Levine, "Biotic Units"; at Royal Ave. March 15-19 Kosmas Ballis, "Sculptural Ceramics"; the True Vine, 1123W. 36th St. March 7-20 Kristin Grey, "Carnival of Debauchery"; at Star Spangled Banner Flag House, 844 E. Pratt St.

through September 1 Nancy Josephson, "Holy H20: at John Hopkins University, Mattin Center, 3400 N. March 16-19 Paula Winokur, "Porcelain Landscape Fluid Universe." Andrew Logan, "Cosmic Egg"; at the Charles St. VII"; at the Whole Gallery, 405 W. Franklin St. American Visionary Art Museum, Inc., 800 Key Hwy. March 1-20 Allan Rosenbaum; at Lombard Street March 16-19 Albert Pfarr, "Building Blocks"; at 5th through March 20 "Lawson Oyekan and the Spirit of Lobby, 300 E. Lombard St. Story, 405 W. Franklin St., 5th fl.

Ceramics Monthly March 2005 96 Ceramics Monthly March 2005 97 West Virginia, Charleston through March 28 Viola calendar Frey; at the Avampato Discovery Museum, 300 Leon Sullivan Way.

Maryland, Frederick through March 29 Jack Troy, Group Ceramics Exhibitions "Stonewareand Porcelain." March8-23RobertTurner, "Ten Works: 1979-1999"; at Hood College, 401 Arizona, Tempe through April 2 "Ceramics in Rosemont Ave. Arizona & Focus on Don Reitz"; at ASU Art Museum March 1-31 Lisa Lovatch, "Fun, Functional Ware"; Ceramics Research Center, Arizona State University, at the Frame Rack, 37 N. Market St. Mill Ave. and Tenth St. March 5-26 Joyce Michaud, "Precious Porcelain"; California, Claremont through April 3 "61st Scripps at Zaruba and Company, 35 N. Market St. Ceramic Annual"; at Mary MacNaughton/Scripps March 5-April2 Kevin A. Hluch, "Asian Influences: Womens College, Ruth Chandler Williamson Gallery, Recent Work"] at KraftworX Gallery, 113 W. All 1030 Columbia Ave. Saints St. California, Davis April 29-May 28 "California Clay Maryland, Lutherville through March 30 Carlton Competition"; at the Artery, 207 G St. Lavarette, "Influences"; atGalerieFrancoisee.s.f., 2360 California, Lincoln April 23-May 22 "Feats of Clay W. Joppa Rd. XVIII"; at Gladding, McBean, 601 Seventh St. Maryland, Salisbury March 11-April 15 Ramon California, Los Angeles March 10-July3 "Ceramic Camarillo, "Clay, Fire and Sand"; at University Gal­ Masters: The Art of Vivika & Otto Heino and Their leries at Salisbury State (Atrium Gallery), 1101 Contemporaries"; at Craft & Folk Art Museum, 5800 Camden Ave. Wilshire Blvd. Maryland, Severna Park through March 20 An­ April 16-May 20 "Hot Tea"; at Del Mano Gallery, thony Stellaccio, "Embedded." Sharon Edwards-Russell, 11981 San Vicente Blvd. "Linear"; at Severn School Student Center Gallery, 201 California, Pomona through April 2 "Women's Water St. 'Werk': The Dignity of Craft"; at American Museum of March 1-31 Robert Winokur, "Ancient City Small Ceramics, 340 S. Garey Ave. Village." Laura Ross. Mark Rossier; at Benfield Gallery, Colorado, Carbondale March 1-18 "Contempo­ 485 Jumpers Hole Rd. rary Majolica Invitational, A Fresh Look at an Ancient Massachusetts, Concord through March 10 Jane Tradition," Stanley Mace Anderson, Posey Bacopoulos, Shellenbarger; at Lacoste Gallery, 25 Main St. Gina Bobrowski, Diane Kenney, Marylyn Palsh, Nausika Michigan, Berrien Springs through April 1 Karl Richardson, Triesch Volker and Wynne Wilbur. April 1- Borgeson, "Clay, Wood & Salt"; at ARC Exhibitions, May5 "For Two"; at Carbondale Clay Center, 135 Main St. Div. of Architecture, Andrews University. Colorado, Lakewood through March25 "Conver­ Minnesota, Minneapolis March 18-April 24 Deb sations in Clay, Three Women Artists," Caroline Dou­ LeAir; at Clay Squared to Infinity, 34 13th Ave., glas, Marie E.V.B. Gibbons and Gayle Lemke; at NE, #109 Lakewood Cultural Center, 470 S. Allison Pkwy. Mississippi, Gautier through March 24 Jean Connecticut, New Haven through April 16 "Light Cappadonna Nichols, "Less Fact/More Fiction"; at Mis­ from the Age of Augustine, Late Antique Ceramics sissippi Gulf Coast Community College, 2300 Hwy. 90. from North America"; at Knights of Columbus Mu­ Missouri, Kansas City through March 12 Jun seum, One State St. Kaneko; at Sherry Leedy Contemporary Art, 2004 Bal­ D.C., Washington through April 3 "Existing to timore Ave. Remain," Kate Hardy, Rebecca Murtaugh, Claire Missouri, Springfield March 4-23 Yih Wen Kuo. Sherwood and Dina Weston Snead; at District of Co­ Keith Ekstam, "Wandering the Wilderness; at South­ lumbia Arts Center, 2438 18th St., NW. west Missouri State University Art & Design Gallery, 333 through April 24 "Iraq and China: Ceramics, Trade E. Walnut. and Innovation"; at Arthur M. Sackler Gallery, 1050 Montana, Kalispell through April 26 "David Independence, Ave., SW. Shaner—A Retrospective"; at Hockaday Museum of March 18-June 4 "Mosaics: Two shows"; at Eleven Art, 302 Second Ave., E. Eleven Sculpture Space, 1111 Pennsylvania Ave. New York, Alfred through April 1 "William Parry Florida, West Palm Beach through March 5 "Na­ (don't forget to) Wonder"; at the Schein-Joseph Inter­ tional Ceramic Invitational 2005," Rudy Autio, Joe national Museum of Ceramic Art, NY State College of Bova, Josh Deweese, John and Andrea Gill, Eva Kwong, Ceramics at Alfred University. Kirk Mangus, Richard Notkin, Patti Warashina, and Kim New York, New York through April 3 "Ruth Wilson. March 15-April 16 "Mad Hatter's Tea Party"; Duckworth, Modernist Sculptor"; at Museum of Arts & at Armory Art Center, 1700 Parker Ave. Design, 40 W. 53rd St. Illinois, Carbondale March 28-May 3 "The Clay March 17-April 7 6 Eva Hi Id. April 21-May 21 Karen Cup X"; at Southern Illinois University Museum. Bennicke; at Nancy Margolis Gallery, 523 W. 25th St. Illinois, Chicago through March 13 Yi-Wen Kuo Ohio, Columbus through March 31 Porcelain by and Jae Won Lee; at Lillstreet art Center, 4401 N. Elaine Battles. April 2-30 Kirk Mangus; at Sherrie Ravenswood Ave. Gallerie, 937 N. High St. Iowa, Iowa City March 4-17 Jason Hess, Matt Ohio, Dublin April 6-May 25 "Marty Shuter: Famil­ Kelleher and Simon Levin; at AKAR, 4 S. Linn St. iar Faces"; at the Dublin Arts Council Gallery, 7125 Louisiana, New Orleans through April 10 "5000 Riverside Dr. Years of Chinese Ceramics from the Robin and R. Oregon, Portland through March 6 "2004 Randolph Richmond Collection." March 5-September Halvorsen Resident: Jacey Dunaway"; at Contemporary 4 "Seldom Seen: Aspects of English and Continental Crafts Museum & Gallery, 3934 S.W. Corbett Ave. Ceramics from the Permanent Collection"; at New Pennsylvania, Philadelphia through March 6 "The Orleans Museum of Art, 1 Collins Diboll Cir. Poetry of Clay: Work by Toshiko Takaezu"; at the Maryland, Annapolis through March 20 "Illumi­ Philadelphia Museum of Art, 26th and Parkway. nations: Mind and Spirit," Mary Donohue and Mark through March 20 Megumi Naitoh. March 4-27 Fletcher; at Aurora Gallery, 67 Maryland Ave. Jeremy Briddell; at the Clay Studio, 139 N. Second St. through March 25 "Alternative Porcelain," Marga­ Tennessee, Nashville April 8-May 25 Viola Frey; at ret Boozer, Jim Makins, Mary Roehm, Erin Root, Sandy Frist Center for the Visual Arts, 919 Broadway. Simon, Catherine White. "Local Dirt: Ceramics by Anne Texas, Houston March 16-31 John Whitman, "Cov­ Arundel Artists," Kimi Nyland Balageas, Jonie Fried­ ered"; at Houston Potters' Guild Shop and Gallery, man, Tina Gebhart, Bobbie Greer, Amanda Pellerin; at 2433 Rice Blvd. Maryland Hall for the Creative Arts, 801 Chase St. Washington, Seattle through April 17 "Mountain March 1-30 "A Touch of Elegance," Mark Bell, Dreams: Contemporary Ceramics by Yoon Kwang- Conner Burns, Susan Filley, Leah Leitson, Harvey Sadow, Cho"; at the Seattle Asian Art Museum, 1400 E. Pros­ Ellen Shankin, Jeff Oestreich, Tom Turner; at McBride pect St. Gallery, 215 Main St.

Ceramics Monthly March 2005 98 calendar

March 1-30 John Jensen and Rick Malmgren; at St. John's College, the Mitchell Gallery, 60 College Ave. March 2-31 "Northernwood: A Show of Wood- Fired Work from Wisconsin"; at Main Street Gallery, 109 Main St. March 3-31 "Dialogues: Collaborative Ceramic Art­ work by Teacher and Student"; at Maryland State Teachers Assoc. Bldg., 140 Main St. March 5-31 "Ceramics Artists from the Mid-Atlantic States"; at Whitehall Gallery, 57 West St. Maryland, Arnold March 1-19 "CERAMIC CUR­ RENTS: Program in Artisanry 1975-2003." March 1-31 "Norwegian Clay," Anita Abtahi, Andrew Barton, Susanne Fagermo, J0rgen Moe, Cecilie Mossige, Knut Natvik, Trude Westby Nordmark, Tove Lise R0kke Olsen, Ruta Pakarklyte, 0yvind Suul; at Anne Arundel Com­ munity College—Cade Gallery, 101 College Pkwy. Maryland, Baltimore through March 18 "Con­ necting," Bede Clark and Ching-Yuan Chang; at G- spot: Audio/Visual Playground, 2980 Falls Rd. through March 19 "Gender and the Vessel: Percep­ tions of Masculinity and Femininity"; at Craig Flinner Contemporary Gallery, 505 N. Charles St. through March 19 "Terra Sutra II: Erotic Ceramics 2005"; at Montage Gallery, 925 S. Charles St. through March 19 "Pygmalion's Gaze Reimagined: The Figure in Contemporary Ceramics"; at Creative Alliance, 3134 Eastern Ave. through March 19 "Centered by Land and Sky," Matt Kelleher and Amy Smith; at WESTNORTH Studio, 106 W. North Ave. through March 19 "Reflections of Environment and Form," Sally Brogden, Vince Burke, Jae Won Lee, Sarah Lindley; at James Backas Gallery/MD State Arts Council, 175 W. Ostend St. through March 19 "Porcelain in the Anagama"; at Meredith Gallery, 805 N. Charles St. through March20 "The Swedish Show," Meyerhoff Gallery, Fox Bldg. "MICA Clay: Current Faculty," Brian Baker, Lois Hennessey and Adelaide Paul, 4th Floor Gallery, Brown Center, through March 27 "New Ce­ ramics by the Staff of the Glasgow School of Art," Rosenberg Gallery, Brown Center. "MICA Clay: Juried Alumni Exhibition," Leidy Atrium, Brown Center. March 11-27 "MICA Clay: Stories at Hand: When Children's Clay Grows Up," Fox Bldg., Art Education Corridor. March 14-19 "NCECA 2005 Regional Student Juried Exhibition," Fox Bldg., 2nd & 3rd floor. March 15-19 "Installations at Corpus Christi," Nicholas Kripal and Jeffrey Mongrain, Corpus Christi Church. March 15-27 "Current MICA Student Exhibition," Main Building Basement Gallery; at Maryland Institute College of Art, 1300 Mount Royal Ave. through March 20 "Human Nature," Susan Beiner, Christine Federighi, Helen Otterson, Bonnie Seeman, Kristin Sherlaw, Jason Walker; at College of Notre Dame Gormley Gallery, 4701 N. Charles St. through March 20 "The Clay Studio: Thirty Years"; at School 33, 1427 Light St. through March 20 "A Glimpse into Echizen Ceram­ ics. " "The Soul of a Bowl," Frank Boyden, Tom Coleman, Elaine Coleman, Jenny Lind, Don Reitz; at Evergreen House, 4545 N. Charles St. through March 20 "Culturing Surfaces." "Seven Earthenware Potters"; at Homewood House Museum, 3400 N. Charles St. through March 24 "Transformation: Contemporary Work in Ceramics"; at Alcazar Gallery at the Baltimore School for the Arts, 712 Cathedral St. through March 25 "Swiss Contemporary Ceram­ ics"; at Contemporary Museum, 100 W. Centre St. through March 26 "Tradition and Innovation: South­ ern Illinois University Carbondale Alumni Exhibition," Gregory Cochenet, Harris Deller, Steve Grimmer, Elaine O. Henry, Amy Kephart, Yih-Wen Kuo, Lou Pierozzi, Brenda Quinn, Keith Renner, Brett Thomas; at Paper- Rock-Scissors, 1111 W. 36th St. Continued

Ceramics Monthly March 2005 100

March 1-31 "Natural Surrealism," Lois Hennessey and March 4-April 24 "Approach SI," members of Sculp­ calendar Nicole Fall; at Bond Street Wharf Lobby, 901 S. Bond St. tors Incorporated; at Gallery ID8, 2007 Fleet St.

March 1-31 "East by Southwest," Maggie Furman, March 6-April 3 "American AI2O2 SiO2 2H20: Con­ Peggy Greenfield; at Carroll Mansion, 800 E. Lombard. temporary Sculpture"; at Area 405, 405 E. Oliver St. through March 26 "At That Moment I was an March 1-April 3 "Creativity and Clay: Kuumba," March 8-24 "Ceramic Art Competition"; at Gallery Artist." "9 Artists, 9 Residencies"; Maryland Art Place, Sharif Bey, Stephen Carter, Ellen Day, Keith Smith, International, 523 N. Charles St., lower level. 8 Market PI., Ste. 100. Malcolm Smith, Kevin Snipes, Paul Wandless. "Unity March 10-April2 "Contemporary Codex: Ceramics through March28 "Taichi 66." March 15-19 "Hon­ and Legacy: Umoja," 11 established African American and the Book," Barbara Hashimoto, Holly Hanessian, oring Our Roots," Janet Belden, Kathy Butterly, Janice artists; at James E. Lewis Museum of Art, Morgan State Nancy Selvin, Richard Shaw, Forest Snyder, Janet Will­ Farley, Peter Gourfain, Caroline Holder, Sana Musasama, University, 1700 E. Coldspring Ln. iams. "NCECA 2005 Clay National Exhibition." "Series Kate Missett, Matt Nolen, Julie Terestman; at Eubie March 2-April 10 "Clay, Fire and Sand; Eastern of Echoes: Anderson Ranch"; at the University of Mary­ Blake Cultural Center, 847 N. Howard St. Shore Clay Guild"; at the Stewart Building, 228 W. land, Baltimore County, 1000 Hilltop Cr. through March 31 "Maryland Clay"; at the George Lexington St. March 11-20 "MICA Clay: Continuing Studies Invi­ Peabody Library Exhibition Gallery, 17 E. Monument St. March 3-25 "Queer Bodies," Liz Pieroni and tational"; at Saratoga Trunk, 1740 Aliceanna St. through April 1 "Sugar and Spice: Bits and Pieces Meaghan Ross; Mount Royal Station, Window Gallery, March 13-26 "Mindful Perspectives," Ann Hazels from Childhood"; at Enoch Pratt Free Library, 400 1400 Cathedral St. and Amanda Pellerin; at Ahimsa Yoga Center and Cathedral St. March 3-26 "Ceramic Sculpture," Anthony Caro, Gallery, 3000 Chestnut Ave., Ste. 15, Mill Center. through April 2 "The Tangible Transcendent: Cen­ Paul Chaleff and Dimitri Hadzi; at C. Grimaldis Gallery, March 14-April 15 "SCHOOL'S OUT!, Young Ce­ tering from a Source," Patrick Michael Birge, Mary 523 N. Charles St. ramics Artists Up to 6 Years Out of School"; at Commu­ Bowron, George Kokis, Terry Whye, Jewell Gross March 3-28 "Geologic Personality," Margaret Boozer nity College of Baltimore County-Catonsville Gallery, Brenneman, Patrick Timothy Caughy; at Schiavone Fine & Catherine White; at the Resurgam Gallery, 910 S. 800 Rolling Rd. Art, 244 S. Highland Ave. Charles St. March 14-April 27 "4 the Wall," Vincent Burke, through April 3 "Endless Variations: Shino Review March 3-31 "The Poetry of Pottery: Women & Annabeth Rosen, Virginia Scotchie, Deborah Sigel; at 2005." "2004 International Orton Cone Box Exhibi­ Clay"; at Maryland Federation of Art/City Gallery, 330 GoucherCollege/Rosenberg Gallery, 1021 Dulaney Val­ tion." March 12-20"ResidentShow." "StudentShow." N. Charles St. ley Rd. April 9-May 15 "Evocative Implements"; at Baltimore March3-April 10 "ExportChina: Jingdezhen Sanbao March 15-19 "La Mesa"; at Wyndham Hotel-Inner Clayworks, 5707 Smith Ave. Ceramic Art Institute," 2004 residents Barbara Diduk, Harbor, 101 W. Fayette St. through April3 "Clay Curriculum: Student Ceramic Kate Fisher, Ann Hazels, Barbara Kaiser, Jim Leedy, March 15-19 "A Good Ex-Cuse," Syracuse Univer­ Sculpture Show"; at Coppin State College, 2500 W. Jiansheng Li, Kate Maury, Paul Mathieu, Heather sity faculty and alumni. "Edinboro University of Penn­ North Ave. Ossandon, Neil Read; at Center Stage, 700 N. Calvert St. sylvania Graduate Ceramics Program." "New Kids on March 1-20 "Body Language: The Figure Fired in March 3-April 13 "Stages of Life," Carolyn Eddins, the Block," faculty and alumni from University of Mis­ Clay," Lisa Clague, Melody Ellis, Kathy King, Jenny TinaGebhart, EbbyMalmgren, Jane Miller, Dina Weston, souri: Brian Baker, Bede Clarke, Jenny Dowd, David Mendes, Michaelene Walsh and Janis MarsWunderlich; John C. Wilson; at Baltimore Theater Project, 45 W. East, Yukari Kashihara, Fergus Moore, Jon Trigg, Kristian at Lucinda Gallery, 929 S. Charles St. Preston St. Zuppa. "Recent MFA Ceramics: SUNY New Paltz," March 1-20 "Two Voices," Jimmy Clark and Angela March 4-31 "New Coloratura," George Bowes and Mying Jin Choi, Chris Donier, Jessica Dubin, Justin Klaerner; at John Hopkins University, Mattin Center, Deirdra Daw; at Saints and Sinners—Tattooing and Novak, Noh Kyoung Park, Scott Zimmer; at Star Spangled 3400 N. Charles St. Piercing, 1610 Thames St. Banner Flag House, 844 E. Pratt St. March 1-20 "Watershed Kiln Gods: Looking Back March 4-April3 "Gas it Up: Salt, Soda and Slip"; at March 15-19 "ASU Suitcase Show, David Crenshaw, 1997-2003"; at Gallery 1448, 1448 E. Baltimore St. Potters Guild of Baltimore, 3600 Clipper Mill Rd. Holly Curcio, Joe Gower, Steve Hilton, Adil Rahee, Jon

Ceramics Monthly March 2005 102 Ceramics Monthly March 2005 103 Maryland, Towson through April 2 "Function calendar and Fantasy," Christine Kenney and Allison Sever­ ance; at Fleckenstein Gallery & Archival Framing, 29 Allegheny Ave. Read, Eilen Ryazantseva, Jinsoo Song." "A Natural March 14-25 "Towson University Alumni Exhibi­ Touch," James Brashear, Joan Bruneau, Sally Campbell, tion"; at Towson Commons Gallery, 435 York Rd. Silvie Granatelli, David Hiltner, Ron Meyers, Missy Maryland, Westminster through March 19 "Free McCormick, Matt Long, Sarah Panzarella, Jeremy at the Center," ceramic sculpture; at Carroll Commu­ Randall; at American Style Magazine/Rosen Agency, nity College, Gallery at the Scott Center, 1601 Wash­ 3000 Chestnut Ave., Ste. 300. ington Rd. March 15-26 "Minnesota State University, Mankato through April 1 "Free Form," Paul Berger, John Faculty Exhibition," Todd Shanafelt and Mika Negishi Glumpler, Brian Hively. Jill Lawley, Jami L. McKinnon, Laidlaw; at Baltimore Public Works Museum, 751 East­ Bonnie Seeman, Roseanne Sniderman, Mark Urbanik, ern Ave. Tara Wilson; at Carroll Arts Center/Tevis Gallery, 91 W March 15-April 8 "Rhythm and Breath: Revealing Main St. the Invisible," Chris Gustin, Brad Miller, Jill Oberman, through April 1 "Ceramics Artists of California's Leigh Taylor Mickelson; at Loyola College, DeChiaro Central Coast," Donna and Wesley Anderegg, Susan College Ctr., Julio Fine Arts Gallery, 4501 N. Charles St. Clusener, Bill Danch, Donald Frith, Marcia Kocka, Bob March 16-19 "Tension-Compression," outdoor Nichols, William Shinn; at Gallery 31 Westminster, 31 sculpture by Caroline Court and Fred Spaulding; at W. Main St. Baltimore Museum of Industry, 1415 Key Hwy. March 14-19 "Situational Necessities," Trey Hill and March 16-19 "White on White"; at Sub-Basement John Zimmerman; at McDaniel College, 2 College Hill. Art Studios, Atrium/Market Center, 118 N. Howard St. Michigan, Berrien Springs April 5-May 20 "Dif­ March 16-19 "Uncommon Denominator"; at the ferences with Functionality," Robert Briscoe, Sam Whole Gallery, 405 W. Franklin St. Chung, Charity Davis-Woodard, Julia Galloway, Dick Maryland, Columbia through March 19 "NEW Lehman, Warren MacKenzie and Ellen Shankin; at MARKS: Contemporary Low-FireCeramics," Tom Bartel, Andrews University, Division of Architecture. Charlie Cummings, Gerard Ferrari, Andrea Freel, Mel­ Minnesota, Minneapolis March 11 -May 8 "The issa Parrott, Paul Wandless"; at Howard Community Social Life of Pouring Pots." "Exchanging Views: The College Art Gallery, 10901 Little Patuxent Pkwy. Clay Studio's Resident Artists"; at Northern Clay Cen­ through March 27 "Western Maryland Potters." ter, 2424 Franklin Ave., E. "Columbia Art Center's Students & Teachers Juried New Jersey, Newark through August 14 "Earthen Exhibition"; at Columbia Art Center, 6100 Forelan Garth. Elegance: African Vessels from the Newark Museum Maryland, Easton through April 10 "Particles Collection"; at Newark Museum, 49 Washington St. and Passion: The Art of Clay"; at Academy Art Museum, New Mexico, Santa Fe through March 19 "XXX." 106 South St. March 25-April 23 Linda Arbuckle, Kathryn Finnerty, Maryland, ElktonMarch 7-/9 "Emanations: Works Lisa OrrandTriesch Voelker. March 25-April23 "2005 from The Clay Art Center"; at Cecil County Arts Coun­ Summer Workshop Preview Exhibition." April 29-May cil, 135 E Main St. 28 "The Flowers that Bloom in the Spring"; at Santa Fe Maryland, Ellicott City March 16-April 22 "Sto­ Clay, 1615 Paseo de Peralta. ries, Emotions and Science," Nathalie Ann MacDonald, New York, New York through April3 "Terra Nova, Jacqueline S. Johnson, Yelena Sheynin; at Howard Sculpture & Vessels in Clay"; at the Museum of Arts & County Center for the Arts, 8510 High Ridge Rd. Design, 40 W. 53rd St. Maryland, Frederick March 1-March 31 "Current New York, Port Chester March 5-26 "Watershed Work of Frederick Area Potters," Eric Hendrick, Eric Winter Residents 2005," Meredith Host, Jiri Lonsky, Madsen, John Taylor, John Theis, Bill van Gilder, Heather Matt Price and Michiyo Oishi. April 2-23 "Linda Van Horn, Rob Van Rens; at Frederick Clay Arts Center, McFarling and the Soda Chicks," Suze Lindsey, Linda 5400 Yukon Ct„ Unit 500. McFarling and Gay Smith; at the Clay Art Center, 40 March 2-April 3 "In Flux: Graduate Students and Beech St. Alumni of Hood College Ceramics Program." "Vectors: North Carolina, Charlotte through June 26 "Por­ Ceramics Faculty Exhibition"; at Hood College, 401 celain American Style." through July 17 "Pottery Ameri­ Rosemont Ave. can Style"; at Mint Museum of Art, 2730 Randolph Rd. March 4-20 "Contemporary American Ceramics," Ohio, Kent April26-June 11 "Fifth Annual National Robert Carlson, Michael Lambert, David Porter; at Juried Cup Show"; at Kent State university Museum, McGuire Fine Arts Gallery, 29 E. Patrick St. Rockwell Hall. March4-31 "Functional, Durable... Beautiful," Liz Ohio, Toledo March 4-June 12 "Vive La France: Kinder and Gary Schlappal; at Muse, 19 N. Market St. Sevres Porcelain in the 1800s"; at the Toledo Musuem March 5-30 "Salt and Soda: A Collection of Re­ of Art, 2445 Monroe St. gional Wood-Fire Work," Jackie Brown, Joe Campbell, Oregon, Portland through March 6 "Portland Col­ Shane Sellers, Allison C. Severance, Jude Swafford, lects Contemporary Ceramics." "Everyday Wonders: John Theis, Bill van Gilder; at Frederick Community Ceramics from the Collection of Dr. Francis J. Newton"; College, Mary Condon Hodgson Gallery, 7932 at Contemporary Crafts Museum & Gallery, 3934 S.W. Opossumtown Pike. Corbett Ave. Maryland, Gaithersburg through March 26" Metro Pennsylvania, Lancaster April 23-May 22 "13th Clay: An Invitational Exhibition"; at Rockville Arts Place, Annual Strictly Functional Pottery National"; at Lancaster 9300 Gaither Rd. Museum of Art, in the Atrium at the Southern Market. Maryland, Laurel March3-26 "Centering on Earth Pennsylvania, Philadelphia through March 20 and Fire," Gary Irby and associates; at Montpelier "Bowled Over." April 1-May 1 "30 Years of Excel­ Cultural Arts Center, 12826 Laurel-Bowie Rd. lence"; at the Clay Studio, 139 N. Second St. Maryland, Owings Mills through April 1 "Worlds Pennsylvania, Pittsburgh through April 3 "Mar­ Apart," Ampofo Anti and Marina Kuchinski; at Tuttle vels of Maiolica: Italian Renaissance Ceramics from the Gallery (McDonogh School), 8600 McDonogh Rd. Corcoran Gallery of Art Collection"; at the Frick Art & Maryland, Perryvilie March 76-79 "Coming Home: Historical Center, 7227 Reynolds St. A Journey in Clay"; at Stancill's INC (clay mine), 499 Texas, Columbus March 19-May 15 "White Bread: Mountain Hill Rd. The Second Slice," Angela Gallia and Linda Gossett; at Maryland, Silver Spring through April 1 "The Live Oak Arts Center, 1014 Milam. Animal Instinct"; at School of Art & Design at Mont­ Texas, Houston through March 12 Dan Anderson gomery College, Gudelsky Gallery, 10500 Georgia Ave. and Matt Wilt; at Goldesberry Gallery, 2625 Colquitt St. Maryland, Stevenson through March 19 "4 Texas, Lubbock April 16-June 24 "Clay on the Women in Clay," Jen Bireline, Clara Couch, Virginia Wall: 2005 Clay National"; at Texas Tech University Scotchie, Lydia Thompson; at Villa Julie College Gallery, School of Art. 1525 Greenspring Valley Rd. Texas, McAllen through April 3 "2005 Earth, Wheel

Ceramics Monthly March 2005 104 Ceramics Monthly March 2005 105 calendar

and Fire"; at the International Museum of Art & Sci­ ence, 1900 Nolana. Virginia, Alexandria March 12-27 "Maximum/ Minimum." March 16-April27 "Fertile Earth—Islamic Influences in Contemporary Ceramics," Alan Caiger- Smith, Sanam Emami, Neil Forrest, Amanda Jaffe, An­ drea Gill, Karen Koblitz, Nermin Kura, Liz Quakenbush, Carolinda Tolstoy; at Target Gallery, Torpedo Factory, 105 N. Union St. Virginia, Arlington March 17-June 4 "Mosaics Exhibition"; at Ellipse Art Center, 4350 N. Fairfax Dr. Virginia, Vienna March 12-April 2 "Mingei and More," Lisa Buck, Linda Christiansen, Malcolm Davis, Annemette Hjortshoj, Matt Hyleck, Jeff Oestreich, Adam Posnak, Phil Rogers, Allison Severance, Bill van Gilder.; at Earth and Fire Pottery, 144 Church St. NW. Washington, Cheney through April 1 "Two by Two, Small-Scale Ceramic Sculpture Biennial"; at East­ ern Washington University, Gallery of Art.

Ceramics in Multimedia Exhibitions

Arizona, Tempe through April 23 "The Other Main­ stream: Selections from the Collection of Mikk and Stanley Weithorn," including ceramics by Robert Arneson, Justin Novak and Wanxin Zhang; at ASU Art Museum Ceramics Research Center, Arizona State Uni­ versity, Mill Ave. and Tenth St. California, Los Angeles through April 3 "The Arts and Crafts Movement in Europe and America, 1880- 1920: Design for the Modern World"; at the Los Angeles County Museum of Art, 5905 Wilshire Blvd. California, Pasadena March 5-April 9 "For the Garden," including ceramics by Annette Atwood and Stefani Gruenberg; at the Folk Tree Collection, 199 S. Fair Oaks Ave. California, San Diego March 28-April25 "Borders of Intimacy," including ceramics by Cheryl Tall; at Mesa College Art Gallery, 7250 Mesa College Dr. California, San Francisco March 3-April 14 "Joint Exhibition of the Association of Clay & Glass Artists of California and Baulines Craft Guild"; at the Atrium, 600 Townsend St. California, Santa Ana April 2-May 1 "Get it Off Your Chest"; at Orange County Center for Contempo­ rary Art, 117 N. Sycamore, California, Stanford March 2-June 12 "Guardian of the Flame: The Art of Sri Lanka"; at the Iris B. Gerald Cantor Center for Visual Arts, Stanford University. Colorado, Denver through December31 "Heaven and Home: Chinese Art of the Han Dynasty from the Sze Hong Collection." "New Classics"; at Denver Art Mu­ seum, 100 W. 14 Ave. Pkwy. Colorado, Englewood through March 30 "Engle­ wood Cultural Arts National Juried Art Show"; at Museum of Outdoor Arts, 1000 Englewood Pkwy., Ste. 2-230. Colorado, Golden through March 13 "Colorado Art Open," including ceramics by Sumi von Dassow; at Foothills Art Center, 809 15th St. D.C., Washington through March 20 "Asia in America: Views of Chinese Art from the Indianapolis Museum of Art." through April 24 Cai Guo-Qiang, "Traveler: Reflection." through May 15 "Asian Games: The Art of Contest"; at the Arthur M. Sackler Gallery, 1050 Independence, Ave., SW. through June 26 "Luxury and Luminosity: Visual Culture and the Ming Court"; at the Freer Gallery of Art, Smithsonian Institution, 12th St. and Indepen­ dence Ave., SW. Florida, Fort Myers March 13-April 16" In Bloom, 1st Annual Florida Teapot Show"; at Bloom Flower & Gift Shop, 6900 Daniels Pkwy. #28. Florida, Stuart March 3-26 "On the Edge"; at Fish House Art Center, 4745 S.E. DeSoto Ave. Georgia, Athens through March 20 "Shaping A Collection: Recent Acquisitions in the Decorative Arts";

Ceramics Monthly March 2005 106

dent Art Exhibition"; at Hood College, Hodson Gallery, Pennsylvania, Wayne April 9-May 2 "2005 Wayne calendar 401 Rosemont Ave. Art Center National Spring Open Juried Exhibition"; at Maryland, Princess Anne March 11-April 1 "UMES Wayne Art Center, 413 Maplewood Ave. Regional Juried Student Exhibition"; at the Mosley Art South Carolina, Greenville April 20-June 26 at Georgia Museum of Art, University of Georgia, 90 Gallery at UMD Eastern Shore, 11931 Art Shell Plaza. "RiverRun: Art of the Reedy"; at Greenville County Carlton St. Massachusetts, Cambridge through June 30 Museum of Art, 420 College St. Hawai'i, Honolulu through April 24 "The Art of "Imazighen: Beauty and Artisanship in Berber Life"; at Texas, Beaumont through March 12 "Tri-State Rice: Spirit and Sustenance in Asia"; at the Honolulu Peabody Museum, Harvard University, 11 Divinity Ave. National"; at Beaumont Art League, 2675 Gulf St. Academy of Arts, 900 S. Beretania St. Montana, Helena through March 17 "Over the Texas, Columbus March 19-May 15 "The White Illinois, Chicago April 3-May 15 "On the Road Divide: Recent Work by Missoula's New Garde"; Holter Bread Family Side Show"; at Live Oak Art Center, 1014 Again 16th Annual Teapot Show"; at Chiaroscuro Museum of Art, 12 E. Lawrence. Milam St. Galleries, 700 N. Michigan Ave. New Jersey, Pennington March 29-April 27 "Meta­ Texas, Dallas through May29 "Splendors of China's Indiana, Indianapolis through March 16 "Inter­ morphosis," including ceramics by Connie Bracci- Forbidden City: The Glorious Reign of Emperor pretations of the Figure 2005"; at University of India­ Mclndoe; at the Silva Art Gallery, Pennington School, Qianlong"; at the Dallas Museum of Art, 1717 N. napolis, Department of Art and Design, 1400 E. Hanna Ave. 112 W. Delaware Ave. Harwood St. Kansas, Topeka March 4-April8 "Topeka Compe­ New York, New York March 2-June 5 "Cherished Texas, Denton through March20 "Materials Hard & tition XXVII"; at Alice C. Sabatini Gallery, Topeka and Possessions, A New England Legacy"; at the Bard Soft"; at Greater Denton Arts Council, 207 S. Bell Ave. Shawnee County Public Library, 1515 S.W. Tenth Ave. Graduate Center, Studies in the Decorative Arts, Design Virginia, Richmond through May 7 "Bonnie Prince Kansas, Wichita through March 31 "Art Show at and Culture, 18 W. 86th St. Charlie and the Royal House of Stuart, 1688-1788: the Dog Show"; at CityArts Gallery, 334 N. Mead. North Carolina, Asheville March 3-April 23 Works of Art from the Drambuie Collection"; at the through April 26 "Art Show at the Dog Show"; at "Haywood Community College Graduate Show"; at University of Richmond Museums, George M. Modlin the Century II Convention Center, Foyer Gallery, 225 Blue Spiral 1, 38 Biltmore Ave. Center for the Arts, Marsh Art Gallery W. Douglas. North Carolina, Charlotte through March 20 "The Wisconsin, Racine through March 6 "The Artist Kentucky, Louisville March 5-April 23 "For the Harry and Mary Dalton Collection: An Anniversary Cel­ Responds: Albert Paley and Art Nouveau." March 6- Love of Flowers"; at the Kentucky Museum of Arts + ebration"; at Mint Museum, 2730 Randolph Rd. September 11 "Glitz, Luster and Luxe in RAM's Collec­ Design, 715 W. Main St. through April 17 "Speaking Volumes: Vessels from tion"; at the Racine Art Museum, 441 Main St. Maryland, Baltimore through March 20 "Ameri­ the Collection of the Mint Museums"; at Mint Museum can Fancy: Exuberance in the Arts, 1790-1840"; at the of Craft + Design, 22 N. Tryon St. Fairs, Festivals and Sales Maryland Historical Society, 201 W. Monument St. North Carolina, Seagrove through March 26 "A March 11-May 1 "Art Blossoms"; at Off-Broadway Place to Take Root: The History of Flowerpots & Garden Arizona, Carefree March 4-6 " 10th Annual Care­ Jewelry and Art, 1709 Aliceanna St. Containers in America"; at North Carolina Pottery free Fine Art & Wine Festival"; downtown, Easy and Ho March 16-19 "Parallel Placements," including ce­ Center, 250 East Ave. Hum sts. ramics by Walterand MattHyleck; atthe Whole Gallery, Ohio, Columbus through April 17 "Bringing Mod­ Arizona, Phoenix March 5-6 "47th Annual Heard 405 W. Franklin St. ernism Home: Ohio Decorative Arts 1890-1960"; at Museum Guild Indian Fair & Market"; at the Heard Maryland, Brookland through April 22 "Social Columbus Museum of Art, 480 E. Broad St. Museum 2301 N. Central Ave. Realisms," including ceramics by Cynthia Consentino Oregon, Portland March 19-May 29 "Waking California, Indian Wells April 1-3 "Third Annual and Hirotsune Tashima; at the Park School, 2425 Old Dreams: The Art of the Pre-Raphaelites from the Dela­ Indian Wells Arts Festival"; at the Indian Wells Tennis Court Rd. ware Art Museum"; atthe Portland Art Musuem, 1219 Garden, 78-200 Mile Ave. Maryland, Frederick April 6-May 1 "Annual Stu­ S.W. Park Ave. California, Lincoln April 23 "Feats Fundraising

Ceramics Monthly March 2005 108 Ceramics Monthly March 2005 109 calendar

Benefit." Contact Lincoln Arts, 601 Seventh St, Lincoln 95648; or telephone (916) 645-9713. Connecticut, Hartford April 1-3 "Sugarloaf Crafts Festival"; at the Connecticut Expo Center, 265 Rever­ end Moody Overpass. Florida, West Palm Beach April 1-3 "Palm Beach Fine Craft Show"; at Palm Beach County Convention Center, 650 Okeechobee Blvd. April 28-May 1 "SunFest, 23rd Annual Fidelity Fed­ eral Fine Art & Craft Show"; downtown, along the Intracoastal Hwy. Illinois, Oak Park March 6 "20th-Century Art & Design Auction." Contact the Treadway/Toomey Gal­ leries: e-mail [email protected]; see www.treadwaygallery.com; telephone (513) 321 -6742. Maryland, Gaithersburg April 8-10 "Sugarloaf Crafts Festival"; at the Montgomery Co. Fairgrounds, 16 Chestnut St. Maryland, Timonium Apr/'/8-70 "Sugarloaf Crafts Festival"; at Maryland State Fairgrounds, 22 York Rd. Massachussets, Boston April 1-3 "CraftBoston 2005"; at the Seaport World Trade Center, 200 Sea­ port Blvd. Massachussets, Worcester April 8-10 "Third An­ nual Pottery Invitational Show & Sale"; at Worcester Center for Crafts, 25 Sagamore Rd. Michigan, Detroit April 23-25 "Annual Overrun Sale"; at Pewabic Pottery, 10125 E. Jefferson. Michigan, Novi April 75-77 "Sugarloaf Crafts Fes­ tival"; at Novi Expo Center, 43700 Expo Center Dr. New Jersey, Somerset March 11-13 "Sugarloaf Crafts Festival"; at Garden State Exhibit Center, 50 Atrium Dr. New York, New York March 31-April 3 "Arts of Pacific Asia"; at the Armory at Grammercy Park. April 1-6 "Heavenly Earth: Contemporary Asian Ceramics," 10th Annual art fair; at the Museum of Arts & Design, 40 W. 53 St. Oregon, Portland April 30 "Art on the Vine Benefit Auction"; at Oregon Convention Center, 77 N.E. Mar­ tin Luther King Dr. For tickets, telephone (503) 297- 5544, x146. Pennsylvania, Ft. Washington Mar 18-20 "Sugar- loaf Crafts Festival"; at Ft. Washington Expo Center, 1100 Virginia Dr. Pennsylvania, Philadelphia April 15-17 "Phila­ delphia Furniture & Furnishings Show"; at the Pennsyl­ vania Convention Center, 1101 Arch St. South Carolina, Greenville April 21-24 "Arti- sphere"; at Reedy River Falls Park. Texas, San Antonio April 76-77 "Fiesta Arts Fair"; at Southwest School of Art & Craft, 300 Augusta.

Workshops

Arkansas, Mountain View March 20-25 "Begin­ ning Handbuilt Pottery and Sculpture" with Judi Munn or "Beginning Wheel-Thrown Pottery" with John Perry. Fee/session: $240, includes materials. April22-26 "Fir­ ing a Wood-Burning Kiln" with Judi Munn and John Perry. Fee: $265, includes materials; participants may bring bisqueware. Contact Terri Bruhin, Ozark Folk Center, PO Box 500, Mountain View 72560; e-mail [email protected]; see www.ozarkfolkcenter.com; telephone (870) 269-3851; or fax (870) 269-2909. California, Costa Mesa April 9-10 "Gesture and Rhythm" with Steven Hill and Matt Long at Orange Coast College. Contact Rosemarie Copado, Laguna Clay, 14400 Lomitas Ave., City of Industry, CA 91746; see www.lagunaclay.com; or telephone (626) 330- 0631, x231. California, Fresno April2 Workshop with Xiaoping Luo and Junya Shao at Reedley College. Fee: $600. See www.xiaopingstudio.com; telephone (559) 638-0333. California, Menifee March 19 "A Day with John Hopkins." Fee: $35, includes lunch. Contact Myrna James, Mt. San Jacinto College-Menifee, Ceramics Club,

Ceramics Monthly March 2005 110 Ceramics Monthly March 2005 111 skill Levels. Contact Mayco Colors/Coloramics, LLC: calendar Karen Shelton [email protected]; see www.maycocolors.com; or telephone (614) 675-2025. Florida, Stuart March 4-5 Workshop with Paul Rm. 607, 28237 La Piedra Rd., Menifee 92584; e-mail Soldner. Fee: $195; students discounted. Contact Fish [email protected]; ortelephone (951) 672-6752. House Art Center, 4745 S. E. DeSota Ave, Stuart 34997; California, Ojai March 5-6 Workshop with Tom or see www.fishhouseartcenter.com. Turner. Fee: $175; includes breakfast. Contact Dusti Florida, West Palm Beach March 12-13 "Assem­ Pelow, Massarella's Firehouse Pottery & Gallery, 109 N. blage in Clay: Playing with the Parts" with Jim Koudelka. Montgomery St., Ojai 93023; e-mail Contact the Armory Art Center, 1700 Parker Ave., West [email protected]; or telephone (805) Palm Beach 33401; see www.armoryart.org; or tele­ 646-9453. phone (561) 832-1776. California, Pomona October 14-15 "Mayco Ce- Georgia, Athens April2-3 "Tea, Teapots, Teabowls ramicsCamp." Fee: $150, includesmaterialsand lunch. and More" with John Neely. Fee: $80. Contact Good All skill Levels. Contact Mayco Colors/Coloramics, LLC: Dirt, 510 B N. Thomas St., Athens 30601; e-mail Karen Shelton [email protected]; see [email protected]; seewww.gooddirt.net; ortele­ www.maycocolors.com; or telephone (614) 675-2025. phone (706) 355-3161. California, Rancho Cucamonga April2 Workshop Georgia, Atlanta March 12-13 "Clay + Spirit," with Tom Bivens. Fee: $35; at door, $40; includes lunch hands-on workshop with Tom Kerrigan. Fee: $185. and handouts. Contact Chaffey College Ceramics, 5885 April 16-17 "Ash Glaze," hands-on workshop with N. Haven Ave., Rancho Cucamonga 91737; or tele­ Mark Issenberg. May 14-15 Demonstration workshop phone (909) 941-2776. with Gay Smith. Fee (unless noted above): $110. Dis­ California, San Diego April 2-3 "Tiles, Tableware count: 15% with 60-day advance registration. Contact and Clay on the Wall" with Kathy Triplett. Fee: $120; MudFire Clay Studio and Gallery, 175 Laredo Dr., CASD members, $ 100. For further information, contact Atlanta 30030; e-mail [email protected]; see Ceramic Artists of San Diego, PO Box 22524, San Diego www.mudfire.com; or telephone (404) 377-8033. 92192-2524. e-mail [email protected]; see Georgia, Rabun Gap March 12-13 "Throwing and www.ceramicartistsofsandiego.org; or telephone (858) Carving in Porcelain" with Tom and Elaine Coleman. 270-3828. Fee: $180, includes lunch. April23-24 "Exploring Na­ California, Santa Maria April 5 "Gesture and ked Raku" with Wally Asselberghs. Fee: $ 160, includes Rhythm," slide presentation with Steven Hill and Matt lunch. May 14-15 "Sculpting the Figure: Making and Long at Hancock College. Contact Rosemarie Copado, Using Visual References" with Keith Smith. Fee: $160, Laguna Clay, 14400 Lomitas Ave., City of Industry, CA includes lunch. September 19-23 Workshop with Chris 91746; see www.lagunaclay.com; or telephone (626) Gustin. October 22-23 Workshop with Ron Meyers. 330-0631, x231. Contact the Hambidge Center, PO Box 339, Rabun Gap California, Santa Rosa Workshop with Xiaoping 30568; see www.hambidge.org; or telephone (706) Luo and Junya Shao at Santa Rosa Junior College. Fee: 746-5718. $1000. See www.xiaopingstudio.com; or telephone Idaho, Boise April 6-7 Workshop with Stan Welsh. (559) 638-0333. Fee: $25; BSU students and faculty, free. Contact Jim California, Sunnyvale March 5 "Paper Clay," Budde, Boise State University, 1910 University Dr., hands-on workshop with Linda Mau. Fee: $65. March Boise 83725; e-mail [email protected]; see 12 "Teachers' Clay in the Classroom" with Corinne www.boisestate.edu; telephone (208) 385-0849; or Sherman. Fee: $20. March 26 "Coil Building Large fax (208) 426-1243. Pots" with Judith Enright. Fee: $50. March 28 "Family Illinois, Chicago March 12 "Introduction to Instal­ Clay Day." Fee: adults, $9; kids, $7; includes materials lation." Fee: $50; members, $40. Contact Margaret and firing. April2 "Jestures" with Fred Yokel. Fee: $65. Park Smith, Lillstreet Art Center, 4401 N. Ravenswood, Contact Mother Earth Clay Art Center, 790 Lucerne Dr., Chicago 60640; e-mail [email protected]; see Sunnyvale 94085; see www.mamasclay.com; or tele­ www.lillstreet.com; or telephone (773) 769-4226. phone (866)311-0244. Ilinois, Oak Park March 5-6 Workshop with Gay California, Torrance April 7 "Gesture and Rhythm," Smith. May 21-22 Workshop with Chuck Hindes. Fee/ slide presentation with Steven Hill and Matt Long at El session: $ 140; advance, $ 125. Contact Terra Incognito Camino College. Contact Rosemarie Copado, Laguna Studios and Gallery, 246 Chicago Ave., Oak Park 60302; Clay, 14400 Lomitas Ave., City of Industry, CA91746; seewww.terraincognitostudios.com; or telephone (708) see www.lagunaclay.com; or telephone (626) 383-6228. 330-0631, x231. Indiana, Bloomington April 9-10 "A Touch of California, Walnut Creek April 2-3 "Gesture and Porcelain—The Elegance of Form" with Susan Filley. Rhythm" with Steven Hill and Matt Long at Walnut Contact Cheri Glaser, Local Clay Potters' Guild, 830 Creek Civic Arts Education. Fee: $125. Contact N. Sewell Rd., Bloomington 47408; e-mail Rosemarie Copado, Laguna Clay, 14400 Lomitas Ave., [email protected]; or telephone (812) 336-3463. City of Industry, CA 91746; see www.lagunaclay.com; Indiana, Indianapolis October22-23 "Mayco Ce- or telephone (626) 330-0631, x231. ramicsCamp." Fee: $150, includes materials and lunch. Colorado, Carbondale April 30-May 1 "Altered All skill Levels. Contact Mayco Colors/Coloramics, LLC: Forms," demonstration workshop with Sequoia Miller. Karen Shelton [email protected]; see October 15-16 Workshop with Mary Barringer. Con­ www.maycocolors.com; or telephone (614) 675-2025. tact Carbondale Clay Center, 135 Main St. Carbondale Indiana, Upland March 9 Demonstration with Dick 81623; e-mail [email protected]; see Lehman. Contact Mary Mahan, Taylor University, www.carbondaleclay.org; telephone (970) 963-2529; Modelle Metcalfe Visual Arts Center, Metcalf Gallery, or fax (970) 963-4492. 236 W. Reade Ave., Upland 46989; e-mail Colorado, Denver October21-22 "Mayco Ceram­ [email protected]; or telephone (765) 998-5322. ics Camp." Fee: $150, includes materials and lunch. All Maryland, Arnold March 15 "Norwegian Ceram­ skill Levels. Contact Mayco Colors/Coloramics, LLC: ics," lecture by Ole Lislerud. Contact Anne Arundel Karen Shelton [email protected]; see Community College—Cade Gallery, 101 College Pkwy., www.maycocolors.com; or telephone (614) 675-2025. Arnold 21012; or telephone (410) 777-7023 Connecticut, Brookfield March 19-20 "Ceramic Maryland, Baltimore March 6 "American Radi­ Extruder Techniques" with Roger Baumann. For fur­ ance, a Story of American Folk Arts," lecture with Ralph ther information, contact Brookfield Craft Center, PO Esmerian. Fee: $15; members, $10. Contact the Mary­ Box 122, 286 Whisconier Rd., Brookfield 06804-0122; land Historical Society, 201 W. Monument St., Balti­ e-mail [email protected]; see more 21201; see www.mdhs.org; telephone (410) www.brookfieldcraftcenter.org; telephone (203) 775- 685-3750, ext. 321. 4526; or fax (203) 740-7815. March 13-14 "NCECA Pre-Conference Workshop, Florida, Orlando April 29-30 "Mayco Ceramics Endless Variations: Functional Four on the Floor" with Camp." Fee: $150, includes materials and lunch. All Malcolm Davis, Steven Hill, Jeff Oestreich and Lynn

Ceramics Monthly March 2005 112 Ceramics Monthly March 2005 113 21207; e-mail [email protected]; see www.mica.edu; Arts Center, 12826 Laurel-Bowie Rd. Laurel 20708; calendar or telephone (410) 626-1277. e-mail [email protected]. March 15-16 "The Teapot Form" with Fong Choo. Maryland, Sandy Spring March 14 "A Day About Free. Contact the Potters Guild of Baltimore, Pots" with Blair Meerfeld. Fee: $95; members, $75. Smiser Bowers. Fee: $180, includes breakfast and lunch. 3600 Clipper Mill Rd., Baltimore 21211; see Contact the Association of Independent Maryland April 2-3 "Wheel Exploration and Design" with Andy www.pottersguild.org; or telephone (410) 235-4884. Schools (AIMS), 890 Airport Park Rd., Ste.103, Glen Shaw. April 30-May 8 "Wood Kilnbuilding Workshop" Maryland, Frederick March 11 (lecture)-13 Burnie, MD 21061; see www.aimsmd.org; or fax (410) with Kevin Crowe. Fee: $270; members, $250. May "On the Wheel and Almost Round" with Jack Troy. 761-5771. 14-15 "Combined Techniques—Process and Mean­ Fee: $185. Lecture: free. March 20 "Master's Massachusetts, Somerville March 5-6 "Pots and ing" with Matt Wilt. Fee (unless noted above): Concepts" with Joyce Michaud. Fee: $85. May 14- Possibilities" with Nick Joerling. Fee: $250; members, $180; members, $160. Contact Baltimore Clayworks, 15 "Glaze Application" with Joyce Michaud. Fee: $125. March 13 "Parent and Child Wheel-Throwing 5707 Smith Ave., Baltimore 21209; e-mail $150. Contact Hood College, Ceramics Program, Workshop" with Elizabeth Flannery. Fee: $40. March [email protected]; see 401 Rosemont Ave., Frederick 21701; see 20 "Clay on the Wheel for Adults" with Lisa Knebel. www.baltimoreclayworks.org; or telephone (410) www.hood.edu/academic/art; or telephone (301) Fee: $35. April 3 "Parent and Child Picture Frames 578-1919. 696-3456. Workshop" with Hoay Cheah. Fee: $40. Contact March 7 5 Lecture with Lawson Oyekan. Lecture with Maryland, Laurel March 13 and/or March 20 Raku Mudflat, 149 Broadway, Somerville 02145; see Doug Baldwin and Rudy Autio. Contact Maryland Insti­ Workshop." Fee: $115; Prince George's Country resi­ www.mudflat.org; telephone (617) 628-0589; or fax tute College of Art, 1300 Mount Royal Ave., Baltimore dents, $100; includes clay. Contact Montpelier Cultural (617) 628-2082. Massachusetts, Stockbridge April 2 and 16 "Tile Making" with Diane Sullivan. May 14 "Electric Kilns, and Cone 6 Clay and Glaze" with Jeff Zamek. Fee: $100. May 21-22 "Pull it Up—Push it Out: The Thrills, Problems and Discipline of Throwing" with Scott Goldberg. Fee (unless noted above): $200, includes materials. Contact Karin Watkins, IS 183, Art School of the Berkshires, PO Box 1400, Stockbridge01262; e-mail [email protected] ; see [email protected] ; or telephone (413) 298-5252. Massachusetts, Sturbridge May 6-7 "Mayco Ce- ramicsCamp." Fee: $150, includesmaterialsand lunch. All skill Levels. Contact Mayco Colors/Coloramics, LLC: Karen Shelton [email protected]; see www.maycocolors.com; or telephone (614) 675-2025. Massachusetts, Worcester April 2-3 "Making Pots" with Linda Christianson. Contact Worcester Center for Crafts, 25 Sagamore Rd. Worcester 01605; see www.worcestercraftcenter.org; or telephone (508) 753-8183. Minnesota, Bemidji April 13-14 Workshop with Bob and Cheryl Husby at Bemidji State University. Fee: $35. Contact Bemidji Community Arts Council, 426 Bemidji Ave., N, Bemidji 56601; see www.bcac-mn.org; or telephone (218) 444-7570 or (218) 755-3736. Montana, Helena May27-29 "Get Your Downdraft On," kilnbuilding with Ben Krupka and Curtis Stewardson. Contact Archie Bray Foundation, 2915 CountryClubAve., Helena 59602; www.archiebray.org; or telephone (406) 443-3502. New Jersey, Layton May 27-31 "Slab-Built Yixing Teapot," hands-on workshop with Xiaoping Luo and Junya Shao. Beginning through professional. Contact Jennifer Brooks, Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; see www.pvcrafts.org; or tele­ phone (973) 948-5200. New Mexico, Santa F e April 30-May 1 "Post-Firing Techniques" with Gretchen Ewert. Fee: $200, includes lab fee. Contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; e-mail [email protected]; or tele­ phone (505) 984-1122. New York, Dix Hills March 1-15 (3 Tuesday Eves.) "Clay Containers and Tiles" with Ruth Sachs. Fee: $129. Contact Gina Mars, Art League of Long Island, 107 E. Deer Park Rd., Dix Hills 1 1746; see www.artleagueli.org; or telephone (631) 462-5400. New York, Long Island City April 2 Workshop with Mikhail Zakin. Fee: $65. Contact Sara Patterson, Queensboro Potters, 42-26 28th St., 2E, Long Island City 11101; e-mail [email protected]; or tele­ phone (718) 729-4882. New York, New York March 70 "Useful Pots" with Frank Martin. March24-25 "Large-ScaleThrowing and Handbuilding" with Paul Chaleff. Contact 92nd Street Y Art Center, 1395 Lexington Ave., New York 10128; see www.92y.org; telephone (212) 415-5500. March 11-13 "Precious Metal Clay Artisan Certifica­ tion." Fee: $465, includes tools, firing, material to complete eight projects, instruction book and PMC Guild membership. March 12-13 "Techniques in Pre­ cious Metal Clay." Fee: $265, includes materials, tools and firing. Instructor/session: Vera Lightstone. Contact Vera Lightstone, 347 W. 39th Street, New York 10018; e-mail [email protected]; telephone (212) 947-6879.

Ceramics Monthly March 2005 114 Ceramics Monthly March 2005 115 calendar

New York, Port Chester March 12-13 "Clay Monoprinting" with Mitch Lyons. March 13 "Raku" with Denis Licul. Fee: $75. March 21-22 "To Have and to Hold: Pots for Flowers" with Tracy Shell. Fee: $150. March 23-24 "Mold Making Made Simple" with John Chewkun. Fee: $150, plus materials .April 2-3 "Thrown and Altered Stoneware" with Linda McFarling. Fee (unless noted above): $175. Contact the Clay Art Cen­ ter, 40 Beech St., Port Chester 10573; or telephone (914) 937-2047. New York, Water Mill May 21-22 "Glazes" with Pete Pinnell at Celadon Gallery. Fee: $325; members, $250; includes materials and firing. Intermediate/ad­ vanced. Contact Clay Art Guild of the Hamptons, 51

Round Pond Ln.f Sag Harbor, NY 11963; e-mail [email protected]; telephone/fax (631) 725-4605 New York, White Plains May 4 "Cups—Hope You Can Handle It" with Alison McGowan. Contact Westchester County Center, 196 Central Ave., White Plains 10604; or telephone (914) 684-0094. North Carolina, Brasstown March 6-11 "Wildlife Sculpture" with Ira Chaffin. Fee: $354. March 13-19 "Clay: Form, Flair & Finish" with Gail Freeman. March 20-26 "Wheel-Thrown, Trash-Fired Pots" with Kim and Rob Withrow. March 27-April 2 "Making Baking Dishes" with Mary Dashiell. April 10-16 "Pots—Func­ tional and Folksy, Too" with Jeanie Daves. April 17-23 "The Art of Raku" with Lynn Jenkins. April 24-May 1 "Altered Functional Pottery" with Rebecca Floyd. Fee: $574. May 1-7 "Nature as Art" with Kaaren Stoner. May 8-14 "Throwing on the Wheel" with Ray Del Conte. May 22-28 "Earth, Wheel & Fire—Wheel Ba­ sics" with Jan Morris. Fee (unless noted above): $388. Contact John C. Campbell Folk School, 1 Folk School Rd., Brasstown 28902; see www.folkschool.org; tele­ phone (800) 365-5784; or fax (828) 837-8637. North Carolina, Durham May 21-22 "The Plea­ sure of Making Pottery" with Terry Gess. Fee $125. Contact Julie Olson, White Oak Pottery, 3915 Rivermont Rd., Durham 27712; see www.whiteoakartworks.com; or telephone (919) 309-4747. North Carolina, Seagrove May 13-15 Workshop with Tom Turner. Contact North Carolina Pottery Cen­ ter, 250 East Ave., Seagrove 27341; telephone (336) 873-8430. Ohio, Columbus September 24-25 "Mayco Ce- ramicsCamp." Fee: $150, includesmaterialsand lunch. All skill Levels. Contact Mayco Colors/Coloramics, LLC: Karen Shelton [email protected]; see www.maycocolors.com; or telephone (614) 675-2025. Ohio, Wooster April 13-16 "Functional Ceramics 2005" with Mark Hewitt, Sandi Pierantozzi and Neil Patterson. Fee: $175; full-time students, $90. Contact Phyllis Blair Clark, 2555 Graustark Path, Wooster 44691; or telephone (330) 345-7576. Oregon, Astoria April 12-17, unload 23 "Six-Day Wood-Fire Workshop" with Owen Rye. Fee: $200. For further information, contact Teri Sund, Clatsop Com­ munity College, Art Center Gallery, 1653 Jerome Ave., Astoria 97103; e-mail [email protected]; telephone (503) 338-2478; or e-mail Richard Rowland, [email protected]; ortelephone (503) 325-0184 or (503) 338-2449. Oregon, Gresham/Apr/78-lOWorkshop with Owen Rye. Fee: $100. Contact Stephen Mickey, Mt. Hood Community College, 26000 S.E. Stark St., Gresham 97030; or e-mail [email protected]. Oregon, Hillsboro March 19-20 "Mayco Ceramics Camp." Fee: $150, includes materials and lunch. All skill Levels. Contact Mayco Colors/Coloramics, LLC: Karen Shelton [email protected]; see www.maycocolors.com; ortelephone (614) 675-2025. Pennsylvania, Philadelphia March 11 (lecture), 12-13 "Porcelain: The Plasticity of a Line" with Alleghany Meadows. April9 "Fun Glazing Techniques" with Doug Herren. Fee: $65; members, $60. April 17 "Explore Paper Clay" with Jerry Bennett. Fee: $130; members,

Ceramics Monthly March 2005 116 Ceramics Monthly March 2005 117 Kilns—Fast Fire and Soda" with Ann-Charlotte Ohlsson. calendar Fee: Dkr 1600 (US$281); students, Dkr 1100 (US$198). April 29-30 "Photography—Ceramic Work" with Ole Akhoj. Fee: Dkr 1100; members, Dkr 900 (US$162); students, Dkr 700. May 23-24 "Between Image & $120. April23 "Coloring Outside the Lines" with Rain Form" with Brian Bolden. Fee: Dkr 1200 (US$209); Harris. Fee: $80; members, $75; includes materials. members, Dkr 1000 (US$262); students, Dkr 700. Sep­ May 13 (lecture), 14-15 "Functional Excess" with Julia tembers-9 "Experimental Studio II" with Barbro Aberg Galloway. Fee (unless noted above): $205; members, and Karen Harsbro. Fee: Dkr 1900 (US$331); members, $195; lectures, $5. Contact the Clay Studio, 139 N. Dkr 1700 (US$297); students, Dkr 1200. September Second St., Philadelphia 19106; see 26-30 "Design" with Sam Chung, Pekka Paikkari and www.theclaystudio.org; telephone (215) 925-3453; or Michael Geertsen. Fee: Dkr 1900; members, Dkr 1700; fax (215) 925-7774. students, Dkr 1200. October 24-28 "Experimental Rhode Island, Kingston April 3 "Thrown and Al­ Glass & Clay" with Nina Hole. Fee: Dkr 1900; members, tered Forms" with Mark Shapiro. Fee: $55; members, Dkr 1700; students, Dkr 1200. Contact GuldagergSrd, $45. Contact South County Art Association, 2587 International Ceramic Center, Heilmannsvej 31 A, 4230 Kingstown Rd., Kingston 02881; see Skaelskor; e-mail [email protected]; see www.southcountyart.org; telephone (401) 783-2195. www.ceramic.dk; telephone (45) 5819 0016; or fax Texas, Dallas April23-24 "Mayco Ceramics Camp." (45) 5819 0037. Fee: $150, includes materials and lunch. All skill Levels. England, Bideford, North Devon April 9-June 5 Contact Mayco Colors/Coloramics, LLC: Karen Shelton "Elemental Insight"; at Burton Art Gallery, Kingsley Rd. [email protected]; see England, Bovey Tracey, Devon March 12-April www.maycocolors.com; or telephone (614) 675-2025. 24 "Big Hand, Little Hand"; at Devon Guild of Crafts­ Texas, San Antonio March 18-20 "Making Tsuchi- men, Riverside Mill. kago: Handbuilt Woven Ceramic Baskets." Fee: $260. England, Bridport, Dorset March 5-April 2 "El­ Limit of 15 participants. March 19 "A New Perspective emental Insight"; at Bridport Arts Centre, South St. on Throwing," slide lecture. Free. March 22 "Ikebana: England, Frome, Somerset March 4-26 Sally The Flower Arrangement of Japan." Fee: $5. Instructor/ Stephens, "Coral"; at Enigma Contemporary Art & session: Shuji Ikeda. Contact Southwest School of Art & Crafts, 15 Vicarage St., Somerset. Craft, 300 Augusta, San Antonio 78205; see England, London through March 5 Bryan lllsley. www.swschool.org; or telephone (210) 224-1848. March 11-April 23 Martin Smith. April 29-June 11 Utah, Salt Lake City March 12-13 "Mayco Ceram­ Ken Eastman; at Barrett Marsden Gallery, 17-18 Great ics Camp." Fee: $150, includes materials and lunch. All Sutton St. skill Levels. Contact Mayco Colors/Coloramics, LLC: through April 24 "Modern Pots: Lucie Rie, Hans Karen Shelton [email protected]; see Coper and Their Contemporaries"; at Dulwich Picture www.maycocolors.com; or telephone (614) 675-2025. Gallery, Gallery Rd. Virginia, Arlington March 11-13 "Using Old Tools through July 31 "Circling the Square: Avant-Garde in a New Way" with Hank Murrow. March 21 "Hardhat Porcelain from Revolutionary Russia"; at Hermitage Mosaic and Tile Workshop" with Eric Rattan. Contact Rooms, South Bldg., Somerset House, Strand. Darlene Tsukamoto, Lee Arts Center, 5722 Lee Hwy., March 17-July 10 "International Arts and Crafts Arlington 22207; e-mail [email protected]; see Exhibition"; at the Victoria and Albert Museum, www.erols.com/leearts; or telephone (703) 228-0558/ Cromwell Rd. 0560. April 22-July 4 Richard Slee; at the Crafts Council Virginia, Amherst April 2 (loading), 9 (firing), 16 Gallery, 44a Pentonville Rd. (unloading) "Hikarigama Wood Firing" with Kevin May 14-31 "London and Paris: A Visual Arts Study Crowe at Tye River Pottery. Fee: $210. Contact Hood Abroad Program" with Gail Kendall. Fee: $3000, in­ College, Ceramics Program, 401 Rosemont Ave., cludes airfare, lodging and tours. Undergraduate credit, Frederick 21701; see www.hood.edu/academic/art; or scholarships and financial aid available. E-mail Gail telephone (301) 696-3456. Kendall, University of Nebraska-Lincoln: [email protected]; or see www.unl.edu/iaffairs. France, Antibes through May 28 "Picasso and International Events Ceramics"; at Musee Picasso d'Antibes, Chateau Grimaldi, Juan-les-Pins. Belize, Rio Bravo April 21 -May 1 "Maya Pottery France, Cordes sur Ciel April 24-30 "Throwing Workshop" with Clint Swink. Fee: $1500, includes and Raku." May 1-7 "Throwing and Fire." May 15-21 lodging, meals, transportation, research and tours. "Throwing." May 24-June 2 "Pit Fire, Paper Clay and Contact Swink Art, 688 Raven Ridge, Bayfield, CO Raku" with Ottokar Sliva. Fee: €755 (US$1012), in­ 81122; e-mail [email protected]; or telephone (970) cludes materials and meals. September 4-10 "Throw­ 563-4624. ing Course." September28-October9 "Pottery with a Canada, Alberta, Calgary through March25 "Do­ Big Smile" with Dan and Laurie Hennig. Fee: €755 mestic, " Katrina Chaytor and Greg Payee; at the Univer­ (US$1012), includes materials and meals. Fee/session sity of Calgary, Nickles Arts Museum, 434 Collegiate (unless noted above): €395 (US$530); includes materi­ Blvd., NW. als and meals. Contact LaCeramique, La Plaine, Cordes Canada, Ontario, Burlington through December sur Ciel 81170; or see www.laceramique.com. 19 "Recent Acquisitions 2004"; at Burlington Art Cen­ France, Manosque March 1-31 Two-person exhi­ tre, 1333 Lakeshore Rd. bition including ceramics by Nanouk Anne Pham; at Canada, Ontario, Toronto through March 11 Judy Galerie Voghera, 4 rue Tribunal Morsink; at CedarRidge Studio Gallery, 225 Confedera­ Germany, Berlin through August 1 "Made in Ber­ tion Dr. lin: Ceramics Before 1945"; at Keramik-Museum Ber­ through March 20 "The Conative Object," including lin, Schustehrusstr. 13. ceramics by Susan Mills; at the Harbourfront Centre, March 18-May 5 Two-person exhibition including York Quay Gallery, 235 Queen's Quay W. ceramics by Gudrun Petzold; at KunstRaum Berlin, Canada, Ontario, Waterloo through March 11 Lindower Str. 18. "Symbol and Story," Kasia Piech and Wendy Walgate; Hungary, Kecskemet March 13-April 3 "First In­ at Canadian Clay & Glass Gallery, 25 Caroline St., N. ternational Triennial of Silicate Arts"; at International Canada, Quebec, Montreal through May 15 "Eter­ Ceramics Studio, Kecskemet, Kapolna u. 11. nal Egypt: Masterworks of Ancient Art from the British Italy, Certaldo (Florence) April 3-10 "Sculpture Museum"; at the Montreal Museum of Fine Arts, 1380 and Raku" with Joyce Kilbrew. April 17-30 "Earth & rue Sherbrooke W. Fire" with John Jessiman. September4-10 "Raku Dolce" Denmark, Skselskor April 2-11 and/or October 1- with Giovanni Cimatti. September 18-October 1 "Clay 10 "Cross Draught Kiln Wood Firing." Fee: Dkr 700 and Chianti" with Josh DeWeese. October 16-29 Soda (US$122); must bring bisqueware. April 18-24 "Wood Firing and Raku Dolce" with Terry Davies and Giovanni

Ceramics Monthly March 2005 118 Ceramics Monthly March 2005 119 calendar

Cimatti. Contact La Meridiana, Loc. Bagnano 135, 50052 Certaldo; seewww.pietro.net; or telephone/fax (39) 0571 660084. Italy, Tuscany May 1-14 "Pots/Possibilities" with Nick Joerling. October 2-15 "Responding to Touch: Porcelain Pots Thrown and Altered" with Leah Leitson. Fee/session: $2500, includes lodging and materials. Contact Lynne Burke, Pottery Abroad, LLC: e-mail [email protected]; see www.potteryabroad.com; telephone (404)261-0431. May 73-30One-week hands-on handbuilding work­ shop with Denys James; one-week hands-on terra sigillata workshop with Giovanni Cimatti. Fee: US$3625, includes airfare, lodging, lunch, materials and tours. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906. Jamaica, Trelawny April22-30 "Jamaica: Making Pottery" with Doug Casebeer, Randy Johnston, Jan McKeachie Johnston and David Pinto. Contact Ander­ son Ranch Arts Center, PO Box 5598, Snowmass Vil­ lage, CO 81615; see www.andersonranch.org; or telephone (970) 923-3181. Japan, Gifu through March 27 "Utsuwa, Utsuwa and Utsuwa." March 19, 2005-0ctober 16, 2006 "Eu­ ropean Noble Wares"; at the Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi-machi, Tajimi-shi. Japan, Osaka through April 12 "Persian Ceramics and Bronze from Takada Collection"; at the Museum of Oriental Ceramics, Osaka, 1-1-26 Nakanoshima, Kita-ku. Japan, Tokyo March 10-24 Ivar Mackay; at Yufuku Gallery, Annecy Aoyama 1F, 2-6-12 Minami-Aoyama. Mexico, Oaxaca March 6-16 "Indigenous Clay," includes forming and firing techniques, and tours. Fee: $1215—$ 1500; includes materials, some lodging and meals, and local transportation. Contact Eric Mindling: e-mail [email protected]; or see www.manos-de-oaxaca.com. Netherlands, Amsterdam through March 26 Esther Stasse. "Jan van derVaartand Pupils"; at Galerie Carla Koch, Prinsengracht 510 sous. Netherlands, Deventer through March 26 Wayne Fischer and Anne Krog-0vreb0. April 17-May 14 Vincent Potier; at Loes & Reinier International Ceramics, Korte Assenstraat 15. South Korea, Icheon April 23-June 19 "The Third World Ceramic Biennale 2005 Korea"; at Icheon World Ceramic Center, Gwango-dong San 69-1, Icheon. Spain, Agost through April 3 "Japan, Ceramics and Daily Life"; at Centro Agost/Museo de Alfareria, C/Teuleria, 11. Switzerland, Geneva through March 28" Portugese Ceramics from the 17th and 20th Centuries"; at Musee Ariana, 10, Ave. de la Paix. Turkey, Istanbul, Ankara and Cappadocia Sep­ tember 15-October 6 "Turkey Ceramics Excursion." First week: hands-on workshop including handbuild­ ing, colored porcelain and decals with Mehmet Kutlu. Second week: hands-on workshop with Erdogan Gulec and Denys James. Fee: CAN$3985 (US$2975), includes airfare, transportation, lodging, breakfasts, tours and studio visits. Deposit due: June 15. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906.

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

Ceramics Monthly March 2005 120 Ceramics Monthly March 2005 121 Ceramics Monthly March 2005 122 Ceramics Monthly March 2005 123 Comment I welcome to my world by Mike Prouty

I never thought I’d list pottery as a hobby. threw a bowl on the old kick wheel in our Then again, I never thought my son Andy basement. I couldn’t relate to the art, but I would be born deaf and blind. would do anything to keep that look of What’s the connection? Family is every­ achievement and pride on my son’s face. So I thing to me: I coached Andy’s older brother’s was concerned when, after a year or so out of T-ball team, I canoe with Andy’s sister, and high school, Andy’s interest in working with my wife and I are best friends. So how do I clay seemed to wane. He seemed frustrated, “connect” with my son who can’t hear and and I figured he had hit a point where he who can’t see very well? needed more instruction and motivation. I Pottery fostered a special camaraderie be­ set out to find a resource in our community tween Andy and me. It gave Andy confidence, to re-ignite that fire. People with combined and set me on an unexpected path of per­ vision and hearing loss generally don’t have a sonal discovery and growth. But this is also a lot of options for hobbies or pastimes, so I story of how a few individuals can make a was determined to not let this one slip away. huge difference in a young man’s life. Fortunately, we live in the Minneapolis- Andy was introduced to the world of pot­ St. Paul metropolitan area. With all due re­ tery in high school. His art teacher, Eric, was spect to other great communities in the a former American Sign Language interpreter, heartland, it is a not-so-well-kept secret that so he could communicate easily with Andy. the Twin Cities are an important cultural Eric’s initial expectations for Andy’s pottery center of the Midwest. It’s a community with experience were low. He thought working in more than its share of churches and colleges, clay would be therapeutic for Andy: by na­ lakes, and nasty winters. It’s also the home of ture it is close-up, physical and requires mini­ Northern Clay Center, a community-based mal communication. With attributes like that, nonprofit organization dedicated to teaching who cares if Andy ever learned to center clay! and encouraging the art of ceramics. When I But after a few months, Eric saw some­ told Andy about the center and their classes, thing more in Andy. Eric encouraged him to he immediately wanted to sign up. take a second pottery class. He hired Andy to While Andy completed the registration work in the studio after classes and during materials, I called the center to let them know the summer. Through personal commitment Andy would need a sign language interpreter and his ability to communicate with Andy, and perhaps some minimal accommodation Eric created an environment that allowed a for his vision. Andy has made my wife and spark of interest to take hold in my son. me aware of how deaf individuals struggle Then, on graduation day, Eric went above daily to obtain services that allow them ac­ and beyond the call of duty. He presented cess to their communities. Before calling Sa­ Andy with an old kick wheel as a gift from rah Millfelt, the center’s education and the art department. I suspect Eric had to pull outreach coordinator, I rehearsed all the moral a few strings with the administration, but I and legal arguments why she ought to ex­ doubt he knows the lasting impact his pend the resources to enable Andy to partici­ thoughtfulness made on Andy, and on me. pate in classes. The call was short and Art has never been kind to me—okay, so unforgettable. I told Sarah I was calling to I haven’t given it a chance. Having flunked talk about my son’s interest in taking a pot­ kindergarten finger painting, I successfully tery class, and then mentioned Andy was avoided art for the next 18 years of school, deaf. Before I could say another word, Sarah preferring a basketball or a fishing pole to a interrupted, “Great! We’ll get an interpreter.” paintbrush. Since then, a 28-year career in Her reaction set the tone for what has evolved the U.S. Forest Service hasn’t exactly exer­ into a wonderful relationship with the staff cised my artistic talent, unless one considers of Northern Clay Center. marking trees with spray paint for timber Andy’s poor vision prevents him from harvest an art form. driving, so I chauffeured him to class. My Although artistically challenged, I recog­ plan was to drop Andrew off each Saturday nized that gleam of pride in Andy’s eyes as he morning, then pursue my list of weekend

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errands and return in time to pick him up. But everything changed when I entered the pottery studio that first Saturday. The place had the comfortable feel of an old couch: unpretentious, inviting and relaxing. While I couldn’t initially articulate the reasons why, I instantly liked the laidback atmosphere. I am admittedly a fairly intense person who takes life too seriously, so this place was a tonic to my soul. Turns out I needed the center as much as Andy. The course instructor, Mary Olson, a 30- something woman who glowed with positive energy and enthusiasm, met us in the studio. I had planned to linger a bit that first class; to meet the interpreter and make sure she, Andy, and the instructor got off to a good start. Three hours later, I looked up and real­ ized the morning had raced by while I had just “hung out.” For a “Type-A” personality, I was amazingly relaxed having nothing checked off on my Saturday to-do list. As it turns out, no lists were made for the next 10 weeks, and I was better for it. Two sessions into the class, I knew the center was paying the interpreter too much. She was very skilled and dedicated, and she worked hard during the 30 minutes or so of Mary’s instruction time. But for the other two and half hours, she watched Andy throw pots, drank coffee, and chatted with Mary, the other students and me. I loved watching Mary demonstrate on the wheel. Watching spinning clay take shape is like looking into a campfire or watching the sun set on a wilderness lake. I was en­ tranced. About midway into the session, many of the students begin to skip the Saturday class, preferring to work during the ample free studio time offered by the center. This freed Mary to spend more one-on-one time with Andy. As it turned out, this was a good thing for me. One Saturday morning, as Andy was ab­ sorbed in applying Mary’s lesson on making lids, she approached me with a twinkle in her eye. “Why don’t you put your coffee down and get your hands dirty?” she invited. “Sit down and just try it!” I was an easy mark. I sat at the wheel next to Andy and began trying to center a ball of clay. That’s when reality hit: It may be enchanting to watch

Ceramics Monthly March 2005 126 comment

someone like Mary magically turn a lump of you a deal. I’ll interpret for Andy, for the throws, I glaze. What a team. If I’m good clay into an artful object; it’s not a pretty price of class tuition for me.” Again, Sarah’s enough, one day Andy might let me throw. picture for a rookie like me to make clay reply was short and instantaneous: “Deal!” The outcome of our shared craft is far behave. Just as I was thinking I really should Andy and I began going out for breakfast more than a birdhouse or salad bowl. Andy run all those Saturday errands, I glanced over before class—quality time with no distrac- and I have become friends. No more worries at Andrew. His smile said it all: “Welcome to about relating to my deaf-blind son, and my my world, Dad.” That’s when I realized pot­ signing has actually improved. He knows how tery could be Andy’s and my thing. I signed to tease me, and he knows how to ignore my to him, “Help!” And suddenly another di­ teasing. This is one of the subtleties of the mension appeared in our relationship. For English language and culture that can be the first time in 19 years, our roles reversed. difficult for someone like Andrew to master. Andy was helping Dad. He was the expert. I He’s become more self-confident. And I’ve was the one needing help. The pride and joy become a better father. The gleam in Andy’s in his face was transparent. That fire in his eyes has returned, not just with the pride of eyes, already rekindled by Mary and the cen­ throwing a good pot, with the satisfaction of ter, grew more vibrant. knowing I’m by his side, learning the ropes. On the drive home that day, we talked Recently, Andrew’s journey came full circle pottery. I was lectured on what I was doing when Sarah and Mary asked if he’d help teach wrong, how I could improve, and how it Andrew Prouty (right) instructs the author (his father) introductory pottery to deaf elementary stu­ would require a great deal of patience—a on the finer points of throwing a cylinder. dents. “Andy would be a great role model, as commodity, Andy informed me, I possessed well as help me reach these kids,” Mary said. in short supply. tions. We talked about school, work, career Maybe Andy will spark a gleam of interest in I made my pitch to Sarah before the start plans, friends—and pottery. Of course, we one of these kids’ eyes. I’m proud. Eric, Mary of the next session of classes. “Sarah, I’ll make made pots as well. I became his helper. Andy and Sarah should be too.

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