Focus Working Potters

CERAMICS MONTHLY

focus MONTHLY working potters June/July 2007 $7.50 (Can$9, h 6.50) www.ceramicsmonthly.org

Ken Sedberry and Other Working Potters Talk Business focus working potters

JUNE/JULY 2007 $7.50 (Can$9, E6.50) www.ceramicsmonthly.org

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Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall associate editor Jennifer Poellot editorial assistant Brandy Agnew technical editor Dave Finkelnburg publisher Charles Spahr editorial interns Holly Gosselin, Erin Pfeifer Advertising/Classifi eds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5866 advertising manager Mona Thiel advertising services Debbie Plummer Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production production editor Cynthia Conklin design Paula John Editorial and advertising offices 735 Ceramic Place, Suite 100 Westerville, Ohio 43081 Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Tom Coleman; Studio Potter, Nevada Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and September, by The American Ceramic So- ciety, 735 Ceramic Pl., Suite 100, 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 American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recom- mended safety measures, according to toxicity ratings. subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 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 Department, P.O. Box 2107, Marion, OH 43306-8207. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: 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 classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, 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 Publisher, The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081, USA. postmaster: Send address changes to Ceramics Monthly, P.O. Box 2107, Marion, OH 43306-8207. Form 3579 requested.

www.ceramicsmonthly.org Ceramics Monthly June/July 2007 2

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JJ_07_001_009.indd 4 5/3/07 9:38:24 AM JUNE/JULY 2007 / Volume 55 Number 6

MONTHLY

focus working potters

32 What it Takes: Working Potters Nine full-time potters share the experience, knowledge and wisdom they wish they had years ago.

48 No Place Like Home: Doing Business Through Open Studio Tours Artists and organizers of the Toe River Studio Tour discuss the secrets to, and beneﬁ ts of, a well-planned studio tour. features

54 The Many Faces of Iron: An Exploration in Cooling by Dr. Carol Marians Just because you have a Ph.D. doesn’t mean you don’t have to test your glazes. recipe Cone 6 Iron Saturate Glaze

58 Ira Winarsky: Layered Landscapes by Glen R. Brown Sculptures with iridescent molten surfaces are the result of nearly 2000 methodical glaze tests. monthly methods Layers for Luminosity

61 Inside and Out: Trimming Porcelain in Jingdezhen by Xu Yanli In modern-day Jingdezhen, China, an ancient tradition is alive and well.

cover: “Octopus Plate,” 10½ in. (27 cm) in diameter, stoneware with wax-resist glaze decoration, wood ﬁ red, by Ken Sedberry, Loafer’s Glory, North Carolina; page 32. Photo: Mary Vogel. XX 61 58

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10 from the editor

12 letters from readers

14 answers from the CM technical staff

18 suggestions from readers 18 Tip of the Month: Rolling Away

20 upfront reviews, news and exhibitions 30 click and collect pay a virtual visit to the galleries in this issue

64 comment Functional Pride: Putting the Fun Back in Functional Pottery by Mark Hewitt 66 call for entries 66 International Exhibitions 66 United States Exhibitions 68 Regional Exhibitions 70 Fairs and Festivals 72 new books 74 videos 76 calendar 76 Conferences 76 Solo Exhibitions 76 Group Ceramics Exhibitions 79 Ceramics in Multimedia Exhibitions 80 Fairs, Festivals and Sales 82 Workshops 88 International Events XX 94 classiﬁed advertising 24 95 index to advertisers

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classiﬁ eds special listings Summer Workshops 2007 Everything you need to plan your education vacation Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities

28 23

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JJ_07_001_009.indd 8 5/3/07 9:43:26 AM Ceramics Monthly June/July 2007 9

JJ_07_001_009.indd 9 5/3/07 3:47:05 PM from the editor by Sherman Hall

The prospect of doing what you love and that is just the fi nancial part of the handling fi nances that are not regular as a means of income is something of a equation. It’s important, and must be and reliable from week to week, month dream for most people. When what you managed properly, but money is rarely to month, year to year? love happens to be a creatively fulfi lling the main motivation for a career in clay. It takes a long time to work these endeavor like making pots, the prospect This is likely not a surprising discovery things out, to fi nd a balance, to sort the can seem too good to be true in many to those who make a living making pots, elements of a career so that they make ways—and you know what they say but it doesn’t mean potters are required sense to you. When that happens, it can about things that sound too good to be to be poor. Still, some diffi cult decisions indeed be a fulfi lling way to make a living. true. But even though there are inevita- need to be made. This is evidenced by the contributions to ble trade-offs with such a career choice, The pressure of generating income our “Working Potters” focus, beginning there are those who will remind you that can have an impact on creative freedom. on page 32. Of course, no one starts out the payoff is worth it. Making pots as Production deadlines can impact the knowing everything they need to know, an avocation, regardless of how seriously actual making process. Order schedules and it can sometimes be a diffi cult road, one pursues it, is inherently different can consume free time. These consid- but the generous potters who offer their from making pots as a vocation. erations can have a very real impact experience, knowledge and hard-earned I’ve spoken on this page before about on one’s attitude toward the making wisdom on these pages are proof positive my dabbling in the professional side of process, and toward the work itself. For that the desire to spend one’s time and pottery, and my realization that it re- instance, there may be pots you love to energy building a career in studio practice quires far more than dabbling to make make—think of the most satisfying pots can be fulfi lled in very real and meaningful it work. Anyone who has felt exhilarated you make—but perhaps they are not the ways. They offer you what they know now, and fulfi lled by selling a piece of work pots that sell well. Would you want to and what they wish they knew years ago. has likely done some quick math to be a professional potter if you could not No two paths are the same, but they all fi gure out what it would take to keep make your favorite pots (not very often, end with really good pots. that kind of satisfaction going. Most anyway)? Are you willing to do what is fi nd that it is a relatively unforgiving necessary to fi nd the market for the pots equation (but by no means unworkable), you want to make? Are you comfortable

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Ceramics Monthly June/July 2007 10

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JJ_07_010_019.indd 11 5/3/07 4:54:30 PM letters e-mail letters to [email protected]

A Critical Analysis of Critical Analysis ular). Film critics know fi lms, food critics things: a degree in ceramics and a $40,000 In the Comment “Springtime and Criti- know food. You don’t want your plumber kiln don’t necessarily take one very far cism in Ceramics,” [April 2007 CM], Jim reading your MRI. AND technique alone can be a mask that Romberg advocates a new approach “…to Yet there remains this other problem: is more revealing than the emptiness it underline the importance of formulating a the size of the ceramics fi eld. We are obscures. Blah, blah, blah…” process for developing criticism in ceramics SOOOO small that we can’t work very Don Pilcher, Champaign, IL that is totally different from those in litera- many years without bumping into one an- ture, painting and sculpture.” That’s a fool’s other and passing judgment on one anoth- errand. There is nothing so special about er’s work. We do so in the certain knowl- what do you think? the ceramic arts that requires a separate sys- edge that someday we may pay personally tem of observation, analysis and evaluation. for having rendered a professional opinion. How does critical analysis of others’ work Nor do we need any special vocabulary. In Lots of folks don’t want to do much of that affect what you do in your studio? Does it play fact, please spare us the special vocabulary. beyond judging shows. The idea of sharing an active role in your making process? The precise use of common language in our very personal assessments to a length E-mail letters, comments, suggestions and the service of an informed and experienced of eight hundred or a thousand unambigu- observations (with your full name and address) intellect is perfectly suffi cient. A truly useful ous words is just too dangerous. And I to [email protected]. critic should be widely understood. must confess, I’ve never written anything Admittedly, common language—mean- about which I didn’t have some second ing straight talk—can be a little messy. thoughts concerning my judgments; one Reglazing Criticism in an open society carries no gets to live with that. I realize there are space limits to what can be guarantees, treats its subjects with vari- Then there is the matter of inadequate included in the Answers column. However, ous degrees of rigor and is proven only by compensation. For ten cents a word, you in the April 2007 issue (page 16), it appears time. As to the credentials of the critic, can make an enemy, blunt your career, in- one of the most important points has been most of us will accept sincerity in place of cur some regret and go broke. But I’ll also missed. When refi ring single glazes, most spe- absolute infallibility. But one has no busi- confess that for a dollar a word, I would cialists would preheat the pot and then lightly ness writing criticism without considerable reconsider the whole question. Imagine respray a coat of the glaze before refi ring. This expertise in human expression (in general) a dollar-per-word critique. “The recent is quite basic with celadons and copper reds. and world-wide ceramic history (in partic- exhibition by (pick your potter) proves two Kelvin Bradford, Auckland, New Zealand

Ceramics Monthly June/July 2007 12

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JJ_07_010_019.indd 13 5/3/07 9:57:57 AM answers From the CM Technical Staff e-mail technical questions to [email protected]

Q I have been using the following glaze (from still popular today. This glaze is high in alumina thin (usually dark green or brown), and another the May 1983 issue of CM) since 1986: (over 20%—from the EPK and Custer feldspar) when they’re thicker. The fi rst glaze I ever used and lower in silica than most glossy glazes. You’ll of this kind was called “Art Center Double Dip,” ORANGE SATIN MATT notice there’s no fl int in the recipe: the silica comes and we students all did just that; dipping part of (Cone 10) entirely from the other ingredients. a pot once, and the rest twice, which resulted in a Bone Ash ...... 2.8 % We can usually predict what surface qualities a nice bicolor pattern. Talc...... 3.8 high-fi re matt will have from the predominant alka- There are a number of coloring oxides that work Whiting ...... 20.1 line-earth fl ux in the glaze. The four alkaline-earth well, and it’s common to see them used alone, or in Custer Feldspar ...... 49.7 fl uxes that ceramists use are calcium, magnesium, various combinations. Tin oxide can make a very EPK Kaolin ...... 23.6 strontium and barium. This glaze is high in calcium, nice white, and when the glaze “breaks” over an 100.0 % which it gets from the whiting and bone ash. It also edge it can be a nice bright rust color against the Add: Red Iron Oxide ...... 2.4 % gets a little magnesium from the talc. High-fi re, bone white. Up to 10% tin oxide is usually used. Rutile ...... 2.4 % calcium-magnesium matts tend to be very smooth, Iron and titanium dioxide (rutile is an impure titanium This glaze has suddenly turned a muddy brown. with lovely touchable surfaces that work quite dioxide) are also quite popular. Iron tends to give a What could cause this, and how might I go about well on functional pottery. They don’t have a very rust color, and the rutile gives a slightly broken visual fi xing it? I would surely appreciate any help you bright color response (compared with barium and texture and colors in the tan/yellow range. Together could offer.—B.T. strontium) but do tend to produce rich, complex they produce a rusty orange color: “pumpkin” is a tones, especially in the earthy color range. Because name attached to many recipes similar to this. Before we get into what could be going on they tend toward earthy colors and respond nicely I have a silly rule for troubleshooting: if it worked with your glaze, let’s establish some background: to iron, they have always been popular on stoneware before, and it doesn’t work now, then something Orange Satin Matt is more commonly known as bodies. Bone ash adds a nice touch to this. Besides changed. Okay, that’s not exactly Nobel-quality Shaner’s Gold, and it’s a terrifi c glaze: I used it calcium, it also provides a little phosphorous, which thinking, but it points the way towards a process myself as an undergrad. When 4% iron (and no has a strong inclination to oxidize colorants in a glaze. for fi nding the answer. The fi rst thing I recommend rutile) is added, it goes by the name of Shaner’s The presence of phosphorous will tend to make the when facing a situation like this is to write down Red. It’s a classic matt glaze of the type that was a iron in a matt glaze a bit brighter, pushing it toward a list of everything that might have changed (no staple of the ’60s and ’70s, and was popularized by an iron red, rather than an iron brown. matter how trivial or ridiculous), and then cross potters like Dave Shaner and Val Cushing. These Most calcium-magnesium matts are “two things off the list as you test them or eliminate that are great glazes, and it’s not surprising that they’re color” glazes: they’ll tend to be one color when particular cause. (continued on page 16)

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JJ_07_010_019.indd 14 5/3/07 10:01:30 AM Jonathan Kaplan and Annie Chrietzberg of Ceramic Design Group in Steamboat Springs, Colorado with a Viking-28 Paragon kiln. It features an easy-access switch box that opens forward, mercury relays, heavy duty elements, and 3” bricks. UL Listed to U.S. and Canadian safety standards. “I used to be Paragon’s worst critic” —Jonathan Kaplan onathan Kaplan bought one of Paragon’s ler I have ever used. It’s easy to program and what I need and I know what works,” said Jon- Jfirst digital kilns. Six years ago he posted a very accurate. The brickwork is superb, and the athan. listofcomplaintsabouthisParagonkilnson extra 2” of solid brick at the top eliminates Call now or visit www.paragonweb.com for the Internet. breakage when you’re lean- a free catalog and the name of a local Paragon "My hands were bruised ing into the kiln. distributor. from replacing relays in a “The counter-balance lid confined space,” said Jona- is effortless, and the sectional than, “and I was frustrated design of the Paragon trying to work on the wiring Viking makes it easy of our early Paragon Kilns. I to move and assem- thought of ways to improve ble,” said Jonathan. 2011 South Town East Blvd. access to the wiring as well as “I've been making Mesquite, Texas 75149-1122 upgrade the electronics. Par- my living with kilns 800-876-4328 / 972-288-7557 agon listened. for thirty-plus years. I know Toll Free Fax 888-222-6450 “The Paragon Sentry 2.0 www.paragonweb.com is the best electronic control- [email protected]

Ceramics Monthly June/July 2007 15

JJ_07_010_019.indd 15 5/3/07 10:01:51 AM answers

Is it a new batch of glaze? Then perhaps you mismeasured something. The best way to test this is by mixing a small (500 gram) batch of the glaze and fi ring it next to a sample of the large batch. Did you buy new bags of materials? If so, perhaps one of them changed, and might be ground differently, or have a slightly different chemical composition. The answer for testing that is to try and fi nd some of the old material from a fellow potter and (again) do side-by-side tests. Think your clay body might have changed? Put the glaze on a number of different clays (again, it’s always nice to have a local network of potter friends to fall back on). Fire them together and compare the results. Think your fi ring might have changed? Put the glaze on a number of your test tiles, farm them out to your potter friends and compare the results from numerous fi rings. Another common cause of problems can be bisque fi ring: if you’re accustomed to bisquing to a certain temperature, and you bisque fi re at either a higher or lower temperature, then the porosity of the bisqueware will change, and the same length of dip will result in a different thickness of coat, and a very different color response. Similarly, if you bisque in a gas kiln, the presence of any reduction can make the bisque ware less porous, which would also result in a different glaze thickness. This might have its root in something as simple as bisquing on a windy day, which might provoke a potter to “close things up” a bit too much for a bisque in an effort to keep the burners from blowing out. I suspect that the answer to your question is hid- den in your description above: this glaze is turning a muddy brown because it’s not being applied thick enough. This may be due to bisque temperature, or a slightly thinner batch of glaze. The easiest test is to hold it in the glaze a little longer, and try it that way, or wait until the glaze has settled out in the bucket and remove some of the water. Sometimes a glaze can become slightly defl oc- culated with age and doesn’t apply on the bisque as quickly. With 23% kaolin (EPK) in it, this glaze isn’t likely to settle out. However, it can become defl oc- culated just enough to “seal” the bisque, resulting in a thinner coat. You could try adding a bit of Epsom salts (perhaps one teaspoon per 5 gallon bucket of glaze for a high-kaolin glaze like this). That will open the texture of the glaze and help it build up more easily on the surface of the bisque. In the end, the best response to any mystery like this is to follow a logical sequence, like a list of “things that might have changed.” Be methodical, incremental (only change one variable in each test) and tenacious, and you’re sure to fi nd the answer. Sometimes the search for an answer doesn’t seem worthwhile, but what we learn in the process of searching is often as important—and empower- ing—as the answer we ultimately fi nd. Peter Pinnell Associate Professor of Art University of Nebraska, Lincoln Ceramics Monthly June/July 2007 16

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JJ_07_010_019.indd 17 5/3/07 10:02:33 AM suggestions e-mail suggestions to [email protected]

Clean Speak When I am going to have my hands in clay, tip of the month I put my phone in a small plastic bag. That way, when it rings, I can pick it up, bag and all, and Rolling Away answer without having to take time to clean off Use discarded casters or bed-frame rollers as clay rollers. Even new ones will work, and my hands, and without getting clay all over the they are not that expensive. Drill a hole the same diameter as the caster stem into a piece phone.—Sara Torvik, Rockville, MD of wooden dowel to create a handle. Caster posts can be glued into this hole if they are Lid Loosening loose. The surface of some of the softer wheels can be carved with designs or altered to a If gentle tapping will not free a stuck lid that particular shape. has found a bit of stray glaze, place the pot in the freezer for about an hour. Quite often, this will free the lid. If not, have someone hold the pot while you gently tap the lid with a small rubber or plastic hammer. Make certain all persons involved are wearing safety glasses and gloves. If the location of the sticking is known, tap opposite that spot; if it is not known, tap gently around the circumference of the lid. If this effort fails, return the pot to the freezer. The next time, have the person holding the pot wrap the location just below the lid with a damp hot rag or towel; try the same tapping as Drill a hole in the handle that is The rolling surface of the the same diameter as the caster post. wheels can be carved. previously described. Be prepared to catch the lid or have it fall onto a soft surface; it would be a shame to loose a pot you just saved!—Richard Congratulations to Charley Farrero of Meacham, Saskatchewan, Canada. Your subscription has been extended by one year! Erickson, Green Bay, VA

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JJ_07_010_019.indd 19 5/3/07 10:04:23 AM upfront reviews, news and exhibitions

20 On the Table: 100 Years of Functional Ceramics in Canada by Virginia Eichhorn Gardiner Museum of Ceramic Art, Toronto, Ontario, Canada 22 Stephanie Craig and Todd Leech The Artisan Gallery, Northampton, Massachusetts 23 Jeff Oestreich Red Lodge Clay Center, Red Lodge, Montana 23 A Discerning Eye Art School at Old Church, Demarest, New Jersey 23 Best of 2007 Ohio Craft Museum, Columbus, Ohio 24 Michael Geertsen Drud and Køppe–Contemporary Objects, Copenhagen, Denmark 24 Josh Deweese and Rosalie Wynkoop Archie Bray Foundation for the Ceramic Arts, Helena, Montana 26 Salt and Pepper Santa Fe Clay, Santa Fe, New Mexico 28 Two by Two Eastern Washington University Gallery of Art, Cheney, Washington 30 Mark Shapiro Lacoste Gallery, Concord, Massachusetts 30 Click and Collect Pay a virtual visit to the galleries in this issue

Top: Laura McKibbon’s canoe dish, 8 in. (20 cm) in height, molded earthenware with screen-printed decoration, 2006. Collection of Laura McKibbon. Middle left: Herta Gerz’s curling stone ashtray, 4 in. (10 cm) in height, molded, late 1950s. Collection of Allan Collier. Photo: Allan Collier. Middle right: Foley Pottery’s bean pot, 8 in. (20 cm) in diameter, stoneware, glazed brown slip, 1880s. Photo courtesy of the Royal Ontario Museum. Bottom left: Ballard, Cornwall, two-gallon jug, 15 in. (38 cm) in height, buff-glazed stoneware with hand-painted cobalt ﬂ oral decoration, 1860s. Collection of Raphael Yu. Photo: Ferruccio Sardella. Bottom right: Blue Mountain Pottery’s coffee pot, to 10 in. (25 cm) in height, slip-cast red earthenware. Collection of Conrad Biernacki and Brian Musselwhite. Photo: Doug Hall.

Ceramics Monthly June/July 2007 20

JJ_07_020_031.indd 20 5/3/07 10:51:39 AM Hycroft China’s Stetson ashtray, 3 in. (8 cm) in height, slip-cast white ware, glazed with gold trim, 1957–70; at Gardiner Museum of Ceramic Art, Toronto, Ontario, Canada. Photo: Doug Hall. review: On the Table: 100 Years of Functional Ceramics in Canada by Virginia Eichhorn

The century mark is a natural time to look to the past, assess The essays, authored by such notable experts as Gail Crawford, the present and wonder in which direction the future will take Alan C. Elder, Susan Jefferies and Ruth B. Phillips, cover great us. And in a country as relatively young as Canada (140 this range and scope in discussing the works presented. year), the century marker is extremely signifi cant, indicating In a country whose expanse is as vast as Canada’s, it is inter- a tremendous part of the country’s history. It’s an appropriate esting to note the commonalities in works, rather than just the time for a reckoning as we “come of age” in so many artistic differences. Certain characteristics seem to be particularly Cana- endeavors. dian despite where or when the work was created, or whether its “On the Table: 100 Years of Functional Ceramics in Can- maker was a production house or an individual artist. There is, of ada,” on display through April 22 at the Gardiner Museum of course, the omnipresent reaction to the landscape; a seminal trait Ceramic Art (www.gardinermuseum.on.ca), in Toronto, On- within Canadian fi ne and decorative arts. There is, for the most tario, Canada, provided such an part, a strong sense of modesty, artistic reckoning. An extremely reserve and practicality in how the ambitious and comprehensive work is created. And there is a wry project, this exhibition was and subtle humor, something that curated by Sandra Alfoldy, the might be missed by others, but that fi rst person in Canada to receive those of us in the Northlands will a doctoral degree in craft history understand implicitly. Yet, there and the fi rst craft historian to are undeniable differences and teach full time at a Canadian distinctions in form, color and post-secondary institution, and types of pottery made here that Rachel Gotlieb, who served as refl ect and echo the differences and curator of the Design Exchange distinctions found in the forms, for eleven years and received her colors and types of landscape that M.A. in design history from the make up the country itself. Royal College of Art and Victo- A nineteenth-century bean pot ria and Albert Museum. They by Foley Pottery (New Brunswick) Isabella St. John’s (Blue Moon Pottery) Cod place setting, to 10 in. brought together the work of (25 cm) in diameter, stoneware, 2006. Photo courtesy of Crafts is heavy, with a functional shape, more than 100 Canadian cera- Council of Newfoundland and Labrador. deep brown glaze, insulating sides mists and twenty manufacturers, and sturdy handles. This sensible examining the intersections between studio and commercial and effi cient design continues to be used today and variant ceramics. Rather than presenting the work within a linear examples can be found across the country. In Alberta, Medalta timeline, the exhibition is thematically arranged covering such Potteries created a bean/crock pot that varied only slightly from its issues as the construction of Canadian identity; the relationship nineteenth-century predecessor. The bowl is rounder, the handles between craft, design and industry; and the impact of aesthetics slightly slimmer, but, for all intents and purposes, the bean pot’s on the decoration and display of ceramics. The exhibition is quintessential design remains constant. accompanied by a catalog, which should be required reading for Blue Mountain Pottery, which stopped production in 2004, anyone interested in modern and contemporary ceramic work. was inspired by the colors of the Georgian Bay landscape where it

Ceramics Monthly June/July 2007 21

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was located. The red clay used in the original pieces came from local conserve our natural resources then these images may indeed be all areas and, in the early years, they were mixed in old washing machines, we have left one day. and almost all of the pieces (vases, mugs, ashtrays) were molded. In In her interview with Raphael Yu, a prominent collector of ceram- the last generation or two, this pottery has become almost ubiquitous, ics, Susan Jefferies quotes him as saying, “The basic pottery forms and few households were without at least one or two pieces. Because are almost universal—open forms for serving, and closed forms for of its proliferance, it was often treated with a kind of insouciant regard storing—but the variations are infi nite. I believe that it is in the pot- but has recently begun to engage collectors’ attentions. ters’ unending response to these core forms that meaning dwells.” Included were a wide variety of individual potters’ works which This sentiment is echoed by Ojibwe–Canadian artist Carl Beam, who ranged from the Leach-infl uenced pieces of Sean Kunz (Alberta) to combined traditional Anasazi and Mimbres ceramic traditions with the modernist functional forms of Gaëtan Beaudin (Quebec) to the contemporary iconography and techniques. In 2004, Beam wrote, functional sculptures of Ann Beam (Ontario). “The hemispherical quality of a large bowl still excites me…It is a The exhibition proved that pottery can be many things—includ- universe unto itself, where anything can happen—the designs are ing political. Newfoundland artist Isabella St. John’s dinner service limitless.” On the Table: 100 Years of Functional Ceramics in Canada enables the viewer to discover the great breadth, vision, ambition and innovation that has taken place in the Canadian ceramic world within the last century. One leaves the exhibition confi dent that this century will see ceramists continuing to respond to the infi nite variations and limitless designs offered by this medium.

Stephanie Craig and Todd Leech “Transformations,” an exhibition of new works by Stephanie Craig and Todd Leech, is on view May 26–July 8 at The Artisan Gallery (www.theartisangallery.com) in Northampton, Massachusetts. “The aesthetics of my artwork are rooted in keen observations of form and design in nature,” stated Craig. “I am captivated by

Gaëtan Beaudin’s beer mugs, 6 in. (16 cm) in height, slip-cast, glazed earthenware, 1950; at Gardiner Museum of Ceramic Art, Toronto, Ontario, Canada. Photo: Doug Hall.

is an elegiac paean created in stoneware impressed with twine and ﬁ sh netting and then inscribed with the English, Russian, French and Spanish words for cod. These elements, combined with the fragmentary composition, become an evocative lament for the loss of cod-ﬁ shing as a way of life. Nature asserts itself in works by many of the artists, from abstracted or inferred representations through colors or form. This is apparent

in pieces by Robert Archambeau (Ontario), Herta Gerz (British Co- Stephanie Craig’s “Coleoptera Collection,” 21 in. (53 cm) in width, lumbia), Jean-Jacques Spenard (Quebec) and the tenderly rendered, stoneware, fi red to Cone 6. delicate, evocative and realistic representations by Ann Mortimer (Ontario) of cups and saucers inspired by native fl ora and fauna. encapsulated forms, revealed interiors, skeletal structures, surface Mark Jaroszewic (Ontario) is a young potter who uses a sophisticated textures and patterns, symmetries and the scars of erosion. Although geometric inlay pattern within his cups in order to render the history organic, my art forms are interjected with human made markings such of Ontario’s geology. as text, numeric codes and industrial stampings. I am interested in But this love of landscape is treated as often with playfulness as the ambiguous place between natural and human made: is it cultural it is with reverence for many. Laura McKibbon (British Columbia) artifact or natural object?” creates retro-shaped tableware onto which she screen prints “iconic” “My current artwork addresses the themes of time, mortality and Canadian imagery such as pine trees, canoes and moose. In one sense, the disintegration of the human body,” explained Leech. “These she can be seen as satirizing the souvenir industry and the “wilderness” themes, at once very personal to me, are universal. I address the tourist industry that Canada is noted for internationally, but in a more duplicity of my themes and my choice of working with a permanent poignant vein she may be reminding us that if we don’t preserve and material such as clay by using nontraditional fi ring techniques and dry,

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JJ_07_020_031.indd 22 5/3/07 3:53:53 PM textured glazes. The ting, both physically and aesthetically. Initially all work is thrown results are artworks on a potter’s wheel, later to be altered using a variety of techniques. that appear aged and These techniques are often traditional ones modifi ed to suit my eroded by time. ideas. A trip to New Zealand ten years ago reintroduced me to “Dry, foaming and Art Deco architecture with its abundance of geometric and playful blistering glazes, which detail. This has become a central theme in my work.” cover the ceramics, relate to themes of A Discerning Eye disintegration,” he The Art School at Old Church (www.occcartschool.org) in continued. “The heav- Demarest, New Jersey, will host an exhibition and auction of ily textured and pitted surfaces allude to disease and decay of the physical self. Interestingly, I selec- tively erode away the surfaces of my pieces, revealing deeper layers and details concealed beneath. This final process confi rms the complexity of the art- Todd Leech’s “Pierced,” 15 in. (38 cm) in height, stoneware, fi red to Cone 10 in reduction; at The work, as well as that of Artisan Gallery, Northampton, Massachusetts. human existence.”

Jeff Oestreich “Jeff Oestreich: 59-and-a-Half Pots,” is on display through June

22 at Red Lodge Clay Center (www.redlodgeclaycenter.com), in Betty Woodman’s oval tan Italianate pot, 6¹⁄₂ in. (19 cm) in diameter, Red Lodge, Montana, The exhibition will feature 59-and-a-half thrown stoneware with extruded linear elements, wood ﬁ red, 1979; pieces in honor of Oestreich’s 59-and-a-half-year birthday. The at the Art School at Old Church, Demarest, New Jersey. other “half” will be presented on Oestreich’s sixtieth birthday in December. cofounder Mikhail Zakin’s collection of American pottery June “The subject matter of my work is function,” stated Oestreich. 21–22. Proceeds from “A Discerning Eye: The Mikhail Zakin “Of concern to me is how my pottery operates in a domestic set- Collection,” will beneﬁ t the educational programs at the Art School at Old Church. “I am committed to excellence and the breadth of possibilities in ceramics,” said Zakin. “For the last 32 years, I have had the opportunity to purchase a few pieces each year, not only to support the center, but to indulge my own love of the potters’ art. Now that I am in my 86th year, it seems organic that this collection, which represents a potter’s choice, should be shared with other ceramic collectors and supporters of the Old Church.”

Best of 2007 Ohio Designer Craftsmen’s 24th annual juried members’ competition, “The Best of 2007,” will be on display through June 24 at the Ohio Craft Museum (www.ohiocraft.org/museum.html) in Columbus, Ohio. Curated by metal artists Roberta and David Williamson, the exhibition features more than 100 works in clay, metal, fi ber, wood and mixed media. “We looked for work that was strong, original, innovative and well crafted,” the Williamsons said. “Our fi nal choices reveal work that is unique, conceptually interesting and that conveys a Jeff Oestreich’s faceted bowl, 5¹⁄₂ in. (14 cm) in height, thrown stoneware with wax resist and glazes, soda-fi red to Cone 10, $200; at Red Lodge personal vision. How exciting to see the work of students in their Clay Center, Red Lodge, Montana. twenties alongside the pieces of veteran craftspeople still active

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elements from the swinging sixties, Michael Geertsen quests the mean- ings and connotations of ornamentation and decoration. “On the one hand, these perfectly made objects are extremely decadent, sophisticated and stylish,” they continued. “Then again the pieces exemplify the fact that objects often speak of other objects. Finally, thanks to the discordant clashes the pieces are funny; however the aim is not simply to amuse.”

Josh Deweese and Rosalie Wynkoop The Archie Bray Foundation recently hosted a “Farewell Exhi- bition” of new work by Josh DeWeese and Rosalie Wynkoop.

Barbara Humpage’s “Covered Serving Dish/Unmasked,” 11 in. (28 cm) in height, handbuilt earthenware with screen printing, slips and glazes, $150; at Ohio Craft Museum, Columbus, Ohio.

and productive into their eighties. Their vitality was evident in the energy inherent in their work—simply inspiring.”

Michael Geertsen “Black Holes and Revelation: Ceramic Objects,” an exhibition of work by Michael Geertsen, was on display through May 19 at Drud and Køppe—Contemporary Objects (www.drud-koppe.com) in Copenhagen, Denmark. “Michael Geertsen is playing intellectual mind games,” said gallery owners Birgitte Drud and Bettina Køppe. “Through the decorative elements, which delicately adorn the surface of the ceramic bodies, he refers to ideological movements and eras in the history of art, crafts and design. Drawing on the early eighteenth-century Rococo, the Russian Constructivists, American Streamlined Design and fashion

Josh Deweese’s large jar, 28¹⁄₂ in. (72 cm) in height, soda-ﬁ red stoneware, 2007.

The show featured wood- and salt/soda-fi red pottery by De- Weese, the former resident director at the Bray, and brightly painted, majolica-glazed pottery by Wynkoop, a long-time Bray resident. The complete exhibition can be viewed online at www.archiebray.org. DeWeese and Wynkoop’s exit exhibition signifi es a turning point in a more than fourteen-year relationship with the Bray. The new year marked the end of DeWeese’s tenure as resident director. He and Wynkoop will soon be leaving Helena for Boze- man, Montana, where they plan to establish their own studios and to continue to pursue their artistic careers. “The work in this exhibition refl ects my continuing interest in

Michael Geertsen’s “Object # 8,” 23 in. (58 cm) in width, earthenware with decals and pottery,” DeWeese commented, “and fourteen years of research platinum, 2007; at Drud and Køppe—Contemporary Objects, Copenhagen, Denmark. with several favorite kilns at the Bray, which gave me the op-

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a peaceful gaiety that aptly describes my own state of being. With this work, I noticed how my mood affects the choice of color, the weight of the brush when I am painting, and the overall feel of each ﬁ nished piece. The festive and ﬂ uid feeling of this work

Rosalie Wynkoop’s platter, 17 in. (43 cm) in width, tin-glazed terra cotta, 2007; at the Archie Bray Foundation for the Ceramic Arts, Helena, Montana.

Josh Deweese’s wall tile, 19 in. (48 cm) in height, wood-fi red stoneware, 2007. directly refl ects the good place I am in with our upcoming move. portunity to develop a palette for painting within the ceramic I feel resolved in that it is the right time, that I am ready, and that process. Thanks Archie!” there is much ahead to be excited about.” Wynkoop also expressed her gratitude and nostalgia by stating, “As I survey the body of work in my Farewell Exhibition I want Salt and Pepper to call it ‘Zen and the Art of Exuberance’ for its ability to exude Santa Fe Clay (www.santafeclay.com), in Santa Fe, New Mexico, presented “Salt and Pepper,” a national invitational exhibition of ceramic salt and pepper shakers, through May 26. “I am the fi rst to admit that I use clay in lieu of therapy,” said Gena Fowler. “Although, at initial viewing, my work is humorous and can be interpreted two-dimensionally, my intent is to present a

Gena Fowler’s “Hostility & Defensiveness,” 4 in. (10 cm) in height, Rosalie Wynkoop’s covered jar, 8¹⁄₂ in. (22 cm) in height, tin-glazed terra cotta, 2007. handbuilt porcelain with underglazes, $225.

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truly dark combination of sarcasm and sincerity beneath the surface. a sense of the familiar that works to invite use and understanding. In the same manner that stand-up comedians process and fi lter their Coffee fi nds its way easily into a cup that is simple and comfortable. deeper, and often heavier, emotional baggage, I refl ect upon my own Within the relationships of the pots to one another, a dynamic is built insecurities and self-perceived limitations through my work. I hope that clearly describes a footprint for where one pot should go; on the that anyone viewing my work appreciates the humor that masks the saucer, in the larger bowl, next to the similar form. There can also be fragility we all experience in our lives.” found a familiarity in the landscapes that these series or sets of pots create that is similar to a group of buildings on a horizon. The best pots are simple and comfortable, yet mysterious and inviting, and each time one returns to them there is a discovery of something new and never seen before.”

Tw o b y Two “Two by Two: Small-scale Ceramic Sculpture Exhibition,” was on display recently at the Eastern Washington University Gallery of Art (www.ewu.edu) in Cheney, Washington. The exhibition was co- curated by Sandra Trujillo and Elisa Nappa, and featured work by twenty artists from around the country. “This year’s Two by Two: Small-scale Ceramic Sculpture Exhibi- tion represents a cross-section of work from an inspired group of contemporary studio artists working with clay,” said Curtis Stewardson

Elizabeth Lurie’s salt and pepper set, 6 in. (15 cm) in width, handbuilt porcelain in an essay in the exhibition catalog. “The show, while not framed with matt glaze, $85; at Santa Fe Clay, Santa Fe, New Mexico. by an overarching conceptual idea, leaves the ﬁ eld wide open for a variety of cultural discourse. The artists touch upon myriad themes: “In all my work, I am concerned with the same things as a sculptor: form, mass, surface, line and color,” explained Elizabeth Lurie. “The possibility of containment is not an afterthought but comes from my desire to make beautiful, useful pieces for the home.” “Each pot seeks its own place; the place found where a cup sits on a saucer, within a family of bowls, the horizon and visual landscape of a line of bottles, or on one’s kitchen table,” said Stacy Snyder. “The boundaries of such places are both deﬁ ned by and broken by a familiarity; one that is taken by what we understand and intrigued by what we do not. Function and relationships play roles in creating

Jeffrey Kaller’s “Cone Form,” 14 in. (35 cm) in height, extruded coil-built stoneware, colored engobe, crater glazes, ﬁ red to Cone 8, $600, 2006; at Eastern Washington University Art Gallery, Cheney, Washington.

the ﬁ gure, human embodiment, personal narrative, and the domestic sphere. Within these competing conceptual aims, there are various tactile and visual explorations in the material itself. Whether the artists stay grounded in the historic continuity of ceramics, or whether they subvert convention, it is clear that these aesthetic negotiations with water and earth remain a testament to the enduring history and the evolving future of ceramic art.” “In ‘Cone Form,’ Jeffrey Kaller’s work can be compared to the base materialism of Lucio Fontana’s ceramic sculpture of the 1950s. The form is roughly conical, but the cone seems to be digested as if eaten Stacy Snyder’s salt and pepper set, 4 in. (10 cm) in height, away by acid. It is a frozen ﬂ ow of foaming glutinous paste barely con- handbuilt dark stoneware and enamel, $100. tained within a skeleton of blue veins. In Kaller’s sculpture, chemical

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and artistic experiments coincide, and the residue of that investigation handling, the shipping and so on, channels the ancient search for the materia prima. In the end, Kaller until the pot reaches its home, presents a compelling vision intent on subverting the aesthetic beauty where—if it’s used—it rotates often associated with the traditional ceramic artifact.” from the cupboard to the table to the dishwasher and back again.” Mark Shapiro “In this group of work, I am “Range of Motion: Mark Shapiro Solo,” an exhibition of wood-fi red thinking about getting the motion vessels, sculpture and functional work with gestural markings by Mark inherent to the life of a pot onto the Shapiro, was presented by Lacoste Gallery (www.lacostegallery.com) in pot’s surface,” he continued. “For Concord, Massachusetts, through May 3. me, the gestural markings that I “Clay is moved and transformed many times on its way to becoming have been experimenting with for a pot,” said Shapiro. “Internally, clay particles align as they are wedged, the last several years express the shaped on the wheel, and trimmed. The pots themselves are further energy that making pots both de- moved as they are altered, handled, assembled, inverted and rotated for mands and inspires, the expansive drying, slipped, waxed, glazed. Then, the shuffl e of kiln-loading: ware possibilities of moving clay.” boards lined with pots carefully carried out to the kiln, pieces wadded Mark Shapiro’s “Vase with Markings,” 18 in. (46 cm) in height, wood-fi red and placed. Once inside the kiln, the fi ring moves the clay chemically, stoneware; at Lacoste Gallery, making it hard and impervious. After, the unpacking of the kiln, the Concord, Massachusetts.

Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and images in conjunction with exhibitions or other events of interest for publication. Images should be high- resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.

click and collect pay a virtual visit to the galleries in this issue

Abacus Gallery, Portland, Maine Gardiner Museum of Ceramic Art, Toronto, Ontario, Canada www.abacusgallery.com www.gardinermuseum.on.ca AKAR, Iowa City, Iowa Grovewood Gallery, Asheville, North Carolina www.akardesign.com www.grovewood.com American Museum of Ceramic Art, Pomona, California Harvey/Meadows Gallery, Aspen, Colorado www.ceramicmuseum.org www.harveymeadows.com Archie Bray Foundation for the Ceramic Arts, Helena, Montana Holter Museum of Art, Helena, Montana www.archiebray.org www.holtermuseum.org Ariel Gallery, Asheville, North Carolina Lacoste Gallery, Concord, Massachusetts www.arielcraftgallery.com www.lacostegallery.com Art School at Old Church, Demarest, New Jersey New Morning Gallery, Asheville, North Carolina www.occartschool.org www.newmorninggallerync.com Artisan Gallery, Northampton, Massachusetts Northern Clay Center, Minneapolis, Minnesota www.theartisangallery.com www.northernclaycenter.org Artworks, Bozeman, Montana Ohio Craft Museum, Columbus, Ohio www.artworksmontana.com www.ohiocrafts.org Caleb Meyer Studio, Philadelphia, Pennsylvania Penland Gallery, Penland, North Carolina www.calebmeyer.com www.penland.org/gallery Cedar Creek Gallery, Creedmoor, North Carolina Pewabic Pottery, Detroit, Michigan www.cedarcreekgallery.com www.pewabic.com Ceramics Research Center, ASU Museum, Tempe, Arizona Prima Gallery, Bloomington, Indiana http://asuartmuseum.asu.edu/ceramicsresearchcenter www.primagallery.com The Clay Place, Pittsburgh, Pennsylvania The Real Mother Goose, Portland, Oregon www.clayplace.com www.therealmothergoose.com The Clay Studio, Philadelphia, Pennsylvania Red Lodge Clay Center, Red Lodge, Montana www.theclaystudio.org www.redlodgeclaycenter.com Drud and Køppe–Contemporary Objects, Copenhagen, Denmark Red Star Studios, Kansas City, Missouri www.drud-koppe.com www.redstarstudios.org Earth and Fire, Leesburg, Virginia Rocky Mount Arts Center, Rocky Mount, North Carolina www.earthandﬁ regallery.com www.ci.rocky-mount.nc.us/artscenter Eastern Washington University Gallery of Art, Cheney, Washington Santa Fe Clay, Santa Fe, New Mexico www.ewu.edu www.santafeclay.com Exploding Head Gallery, Sacramento, California Stewart/Kummer Gallery, Gualala, California www.explodingheadgallery.com www.stewartkummergallery.com Fire Opal, Boston, Massachusetts Twist, Portland, Oregon www.ﬁ re-opal.com www.twistonline.com Flux Gallery, Rhinebeck, New York Verdigris Clay Studio + Gallery, San Francisco, California www.hudsonvalleypottery.com www.verdigrisgallery.com

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JJ_07_020_031.indd 31 5/3/07 11:04:02 AM What It Takes: WORKING POTTERS

Nine full-time potters share what they wish they knew years ago.

North Carolina. My work cycles from six days a week, twelve to Ken Sedberry fourteen hours a day, to periods of time when I’m not in the studio at all—taking care of things I put off while I was immersed in the studio! There’s a rhythm, but not a routine. I really enjoy working with clay, but sometimes if you want to con- I’ve been working in clay since 1971 when I took a class with Doug tinue to do something over a long period of time you have to do less Thompson at Frostburg University in Western Maryland. Since that of it. I don’t have the desire to be in the studio until it hurts anymore. class, I’ve been pretty well immersed in clay. I have been a full-time I enjoy coaching youth soccer. I am currently doing a lot of work with studio potter since 1982 at my present location in Loafer’s Glory, concrete as it pertains to architecture and ceramic sculpture. I use a calendar to layout what events I’ve committed to and work backward, leaving plenty of time for the unexpected. Leaving plenty of cushion between deadlines allows a more-relaxed and less-hurried schedule where PHOTOS: MARY VOGEL MARY PHOTOS: fewer mistakes are made. The most diffi cult decision I’ve made as a potter is probably the decision to follow the work wherever it took me; the commitment to remain true to what I feel is my best work, regardless of what the market might be saying. There are certainly fi nancial pressures to make work that appeals to a broad range of people. I do take commissions on custom sinks. I can work with a client in a general way with color and imagery. I solicit their input; however, I must be satisfi ed with the fi nal product. Most of the time it works—sometimes it doesn’t. In the rest of my work, I do what pleases me. My wife and I have spent all of our adult lives trying to keep healthy. We exercise regularly, don’t smoke, maintain a vegetarian diet and have a spiritual life. The only health insurance we’ve been able to afford is catastrophic coverage, since we’ve not been able to to fi nd group coverage that is affordable. If you are self motivated and comfortable with a great deal of risk in your life, being a potter is fantastic. If you need a lot of security and Fish Plate, 8 in. (20 cm) in diameter, wood-fi red stoneware. a regular paycheck, avoid this profession!

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The Time it Takes Making work (including ﬁ ring): 80% Promoting: 20% Ofﬁ ce and bookkeeping: 0% (my wife, Connie, does this part. She spends 8–16 hours per week on the pottery business.)

Where to See More www.sedberrypottery.com Ariel Gallery, Asheville, NC Cedar Creek Gallery, Creedmoor, NC Rocky Mount Arts Center, Rocky Mount, NC

Ken Sedberry, hard at work in Loafer’s Glory, North Carolina.

The Business One of the ﬁrst things I did when starting out was to build a small gallery outside of my studio where potential buyers could see the work free from the clutter of the studio. I felt that, if I could just increase sales out of this gallery 6–7% a year, in a few years I would not be as dependent on wholesale and craft fairs. This strategy has worked. The gallery doesn’t have to be huge or fancy, but it cultivates a clientele, a mailing list and a personal relationship with my customers. Another successful venture has been to establish a local guild of professional potters: The Potters of the Roan. We pool our talents and resources to promote our work. One of the requirments is that each potter has a gallery at their pottery. We have a brochure and website that include a self-guided tour to all of our studios. Lastly, we are founding members of Ariel, a contemporary crafts cooperative gallery in Asheville, North Carolina. Twenty professional artists share in all the work that it takes to run the craft gallery. We promote each other’s work and can reach a much larger audience, which is possible in a city known for its arts community. The gallery is in its ﬁ fth year. We take care of most of our accounting and record keeping. We just recently incorporated on the advice of our tax preparer. We have IRA’s and have saved for our sons’ college educations. For most of our married life, my wife has held an outside job so that there has been another income, which is especially helpful during the slower winter and early spring.

Pitcher, 12¹⁄₂ in. (32 cm) in height, wood-ﬁ red stoneware.

Ceramics Monthly June/July 2007 33

JJ_07_032_047.indd 33 5/3/07 11:44:35 AM Christa Assad

I work in clay full time, meaning 40–50 hours a week. Usually, I can The most diffi cult decision I face continues to be choosing a per- convince myself to work as many consecutive days in the studio as manent location for my studio. I want to feel comfortable investing I have free, until a business trip or workshop opportunity takes me in larger equipment, such as a clay mixer and pug mill, knowing I out of town. I also like to think that if I work every day, I can then won’t have to move it around several more times. This may mean justify taking off the days I need to recharge my creative batteries by buying a small building so I will no longer be at the mercy of a visiting museums, hiking or just catching up with neglected friends. landlord’s unpredictable decision to suddenly sell the property I oc- I might work double-time one month, then take two weeks off the cupy. Choosing a city with a low cost of living has recently become next month to travel and research new ideas. very important to me—a realization made in reaction to living and My typical day begins at 8 am with a ninety-minute Bikram yoga working in one of the most expensive cities in the country. class (for my back problems) that I consider to be a part of my studio My business location has a huge impact on the design and routine. I wedge clay and throw on the wheel for the fi rst half of the production of my work. Working on site in a retail venue has put day, leaving the afternoon for trimming, handbuilding and assem- me face to face with buyers, and also those who have no interest bling. If I try to do any one thing all day, I get bored or physically in ceramics, but are simply browsing while on vacation. The un- exhausted from keeping my body in only one position. I break the solicited criticism is often shocking, sometimes enlightening, but day into blocks, working through forms in similar stages of construc- most consistently tiresome. This has actually made me a versatile tion. I work in about a three-week cycle, from wet clay through glaze educator—I can now throw, trim and build while describing my fi ring. My attention span for any one body of work seems to wane entire process to any novice off the street! The downside is hearing after that, so this is a natural progression of making that I have come constant commentary from tourists about their needs for a small to recognize from eight years of full-time potting. gift for their housekeeper/dog-sitter/in-law, which never amounts to more than a cup or key chain made by my business partner. It would be easy to fall prey to this limited tourism market and produce quick knick-knacks decorated with cable cars and Golden Gate Bridge motifs. I exert extra effort in opposing this demand despite the al- lure of instant fi nancial gratifi cation. I have learned to listen to my own voice, which may have remained quiet had it not been roused by this constant external examination. In this way, my immediate surroundings have clarifi ed my intent. I buy my own health insurance, with a deductible that suits my personal needs and defi nitely covers emergencies. I feel very strongly about the need for artists to have health insurance coverage. Despite our government’s lack of support in this area, I can, in fact, deduct some of this cost as a business expense. My best advice would be to keep initial studio and business overhead as low as possible. Be cautious about borrowing money, signing contracts, and making choices about business partners and locations. It can be a very fulfi lling and rewarding career, accented by travel and other amazing opportunities for collaboration, experi- ment and self-discovery. Pursuing studio ceramics is by no means an easy path, nor is it fi nancially rewarding—at least not at the beginning. It requires a lot of personal strength, self-motivation and direction, as well as continued perseverance, sacrifi ce and overtime hours. Luckily, the people you encounter on this path make it well worth the hike.

Christa Assad at Verdigris Clay Studio + Gallery, San Francisco, California.

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“One Button Symphony,” 7 in (18 cm) in height, thrown and handbuilt brown stoneware, ﬁ red to Cone 6 in oxidation, 2006.

The Business After graduate school, I moved to San Francisco. I wanted to go where there was a strong local market for art and craft, and plenty of support for young entrepreneurs. I joined forces with two other clay artists who had secured a retail space and opened a small clay studio and gallery in the Fisherman’s Wharf area (www.verdigrisgallery.com). Our plan was to use half the space for our studio and half for a consignment “Duality,” 11 in. (28 cm) in height each, thrown and handbuilt gallery, displaying our work and a collection of Bay Area ceramics to white stoneware, fi red to Cone 6 in oxidation, 2006. suit the tourist market. We’ve kept operating expenses low by staffi ng the gallery ourselves. We’ve also periodically hosted interns and international students for college credit, using the traditional apprenticeship model to teach practical skills in exchange for studio and gallery assistance. Over the past seven years, we have helped support more than thirty local potters while The Time it Takes funding our studio space. Making work (including fi ring): 70% I realized it was important that I cultivate a national market as well, and Promoting: 20% began by establishing my website, www.christaassad.com. I now have about Offi ce and bookkeeping: 10% a dozen galleries across the U.S. that represent my work. I avoid wholesale accounts, despite the appeal of recurring orders, because I don’t want to be committed to repeating the same forms and glazes for a solid year or more. Where to See More www.christaassad.com Both of my business partners thrive in the wholesale market, but for me it is AKAR, Iowa City, IA an issue of protecting my creative freedom. Ceramic Research Center, ASU Museum, Tempe, AZ The business of full-time potting does affect the work directly, though. The Clay Place, Pittsburgh, PA I fi nd it necessary to design a cohesive line of work that can be displayed in The Clay Studio, Philadelphia, PA small groupings at any of the varied venues I supply. The work needs to be Copia, The American Center for Food, Wine & the Arts, consistent enough that I can restock galleries with pots that relate to previous Napa, CA shipments. Consequently, the work becomes more categorized, and I feel less De Young Museum, San Francisco, CA spontaneous about changing my processes and products. This is an aspect of Exploding Head Gallery, Sacramento, CA full-time potting that I am driven to combat to allow for more personal growth Flux Gallery, Rhinebeck, NY and development of new ideas. Harvey/Meadows Gallery, Aspen, CO Iota, Dallas, TX I spend far more time on making work than on other aspects of the business. Prima Gallery, Bloomington, IN This, in part, is due to the physical separation of my studio and home offi ce. Red Lodge Clay Center, Red Lodge, MT I keep my computer and paperwork out of the studio so it doesn’t distract me Red Star Studios, Kansas City, MO from potting. This tends to backfi re on me, though, because I always favor Stewart/Kummer Gallery, Gualala, CA studio work over offi ce work! I hire a tax accountant to fi nalize my taxes every Verdigris Clay Studio + Gallery, San Francisco, CA year, but the rest of the bookkeeping I do myself. No retirement plan yet. The Washington Street Gallery, Lewisburg, WV

Ceramics Monthly June/July 2007 35

JJ_07_032_047.indd 35 5/3/07 11:45:27 AM Sarah Jaeger

Clay work is 100% of my work life. If I stopped to calculate how Increasingly (as I get older I suppose) I have made retirement much of my life in general is spent on studio work, it might be too savings (IRA/SEP) a priority. Self-employed people can now con- scary. Suffi ce it to say I love what I do, and I feel so fortunate that I tribute more than in the past and once I got past fi fty, I realized that can make my living doing something I love, even if there are times I’d better do as much as I can. Not that I ever want to retire, but when I am doing a little more of that thing I love than I might maybe I’d like to be able to work less at some point. otherwise choose. My best piece of advice is to keep overhead low! If you don’t My friends tell me that I am extremely disciplined. The structure have to spend the money you don’t have to earn it. That will give of my studio time is pretty simple: I walk out the back door of my you freedom to concentrate on your work. You don’t need a perfect house in the morning, across the yard to my studio, and I go to studio to begin with, just get to work with whatever you have and work. Apparently I am not easily distracted, and I am somewhat improve equipment and such as you can afford to. jealous about my studio time. By some people’s standards I probably neglect other aspects of this career because mostly I just want to make pots. Also, as much as breaks from working are important for recharging my energy, I only really get ideas when I am actually working. In other words, latent periods are important, but I return to the studio with a blank mind, or thinking where I left off. Only after I get back to work do the new ideas begin to come to the surface. The most diffi cult decision I have made as a working potter was to go back to school. I got my fi rst college degree in English, and some years later found myself making my living (barely) as a potter (it was the ’70s after all). I realized that I had come to a dead end with my work. I didn’t want to keep making the same work and I didn’t know how to make it grow. I decided I needed to go back to school, and in 1983 I went to the Kansas City Art Institute (at the ripe old age of 33) for a B.F.A. and studied with Ken Ferguson, Victor Babu and George Timock. That was one of the hardest things I ever did (deciding to go and going) and also one of the best. Sometimes I make more pots than I might like, and sometimes I make more of certain pots because I know they’ll sell (which is NOT the same as making pots I don’t like). On the other hand, some days it may be fi nancial necessity that gets me into the studio to make work, but it is that act of making that gets me through the dry, uninspired times, and through which the inspiration comes. I believe that my hands have become more intelligent through the years and that my work has gained a relaxed and fl uid quality. I owe this in part to the fact that I have made so many pots. I buy health insurance, a major medical policy with a high deductible, and I have been blessed with good health. I pay for basic annual preventative exams. This is hard physical labor and I do try to take care of my body—yoga, going to the gym, monthly acupuncture/massage to work out the kinks. Sarah Jaeger working in her Helena, Montana, studio. Photo: George Lane.

Ceramics Monthly June/July 2007 36

JJ_07_032_047.indd 36 5/3/07 11:46:55 AM The Business About 65% of my income from selling pots comes from sales directly out of my studio (as opposed to the usually small amount of income from teaching workshops etc.). This has evolved partly I think because of where I live: Helena, Montana, home of the Archie Bray Foundation. I came here in 1985 to do a residency at the Bray, and afterward decided to establish my own studio here. Helena itself is incredibly supportive of the ceramic arts, and the Bray draws collectors and enthusiasts who also visit my studio. I have two studio sales a year and my showroom is open by appointment year round. I like talking with people who use and live with my work; I always learn something from their reactions. Otherwise, I have work in a couple of galleries in Montana, and a handful around the country on an ongoing basis. My work is included in a number of shows each year. I do not typically pursue grants, although about ten years ago, I received an Individual Artist Fellowship from the Montana Arts Council ($2000). In 2006, I was awarded a $50,000 Target Fellowship from United States Artists, a grant for which one must fi rst be nominated and then must submit an application. I probably never would have applied on my own, on the misguided assumption that such a grant would never be awarded to a utilitarian potter! I do have an accountant, and she has been very helpful not only with taxes, but also with advice on the ramifi - cations of fi nancing new studio construction and some long-range planning. Yellow pitcher, 9 in. (23 cm) in height, porcelain, gas fi red in oxidation, 2006.

Small green tureen, 8 in. (20 cm) in height, porcelain, reduction

PHOTOS: DEAN ADAMS DEAN PHOTOS: fi red, 2006. The Time it Takes Making work (including fi ring): 85% Promoting: 10%, including packing and shipping. Offi ce and bookkeeping: 5%; I keep it pretty simple. I don’t have much patience with the computer, but I am organized.

Where to See More www.sarahjaeger.com Artworks, Bozeman, MT Art Fusion, Bigfork, MT The Clay Studio, Philadelphia, PA Harvey/Meadows Gallery, Aspen, CO Holter Museum of Art, Helena, MT Northern Clay Center, Minneapolis, MN Pewabic Pottery, Detroit, MI Santa Fe Clay, Santa Fe, NM

Ceramics Monthly June/July 2007 37

JJ_07_032_047.indd 37 5/3/07 11:47:14 AM Daniel Johnston

I spend most of my life in the studio working. I always work six days a week, and sometimes seven. My days are at least eight hours long, but most of the time I work ten or twelve hours a day. I am thirty years old, and have made pots full time for fourteen of those years. I feel as if I need to spend a lot of time in the studio working, developing my skill and working through my ideas. I consider myself to be just at the start of my career, and I realize how much time I must put in before my work will contribute to today’s ceramic culture. I work for about three months making pots, and then a month loading, fi ring and cleaning the pots. I spend a week loading the kiln, four days fi ring the 850-cubic-foot wood kiln, a week off while the kiln cools, and a week to unload and prepare the pots for sale at my kiln openings. So I work on a four-month cycle, three times a year. This structure allows me to work on a large body of work at one time. I can focus for several months on the one aspect of making the work. The time line also prevents me from becoming stagnant and gives me a deadline to work against. This prevents me from becoming stuck on my mistakes and forces me to work through them. This cycle also allows some conclusion to a body of work and allows me to start over again, developing ideas from the last cycle. I can not isolate a single decision that has been the most diffi cult. However, I do fi nd that a decision eliminates other options, and as I make more decisions I ultimately eliminate more options. Eliminating my options narrows my focus. I fi nd that the more I pursue an idea or a body of work, the more committed I have to be to that work. It can be diffi cult to put yourself on the line and fully commit to an idea. I buy my own health insurance, which is very expensive. I also have become very careful about putting my health in danger. I am aware of how risky it is to run a business that relies on my good health and physical abilities. I think the fi rst thing to be aware of is that your fi nancial situation is ultimately going to be what allows you to produce the work that you are interested in. So you have to look at an honest budget in the beginning. If your work is important, then you have to make fi nancial decisions and sacrifi ces that allow you to do the work. You have to be creative fi rst in your fi nances and marketing before you can be creative in your work. I think it is most important to view yourself with an objective eye. You have to look at your weaknesses and take responsibility for them. Understanding your weaknesses Daniel Johnston side-stokes his kiln in Seagrove, North Carolina. and your strengths is the fi rst step to artistic and fi nancial success.

Ceramics Monthly June/July 2007 38

JJ_07_032_047.indd 38 5/3/07 11:47:37 AM focus working potters

The Business Working with Mark Hewitt and experiencing kiln openings played a roll in my decision to sell my work at three kiln openings a year. The advantages to having kiln openings are that I can sell a large body of my work during three weekends a year. It also creates a nice system of three four-month cycles. Kiln openings cut the cost of having to maintain an open shop to sell my wares. I also can work for months at a time without many interruptions. The disadvantage is that my wares are sold very shortly after I fi re them, which does not allow me time to look and understand what happened in the kiln. I also have to have a large mailing list of interested customers. This requires a lot of self promotion, which can be expensive and takes a lot of time. I hire an accountant to do my quarterly taxes, however I do most of my bookkeeping myself. I fi nd that I need to be aware of the fi - nancial shape of the business. I also manage my own retirement plan. I fi nd it very hard to trust anyone with my profi ts. I also think that, because the profi t can be small in this business, that it’s important to keep a close eye on it.

The Time it Takes Making work (including ﬁ ring): 80% Promoting: 15%

Bookkeeping: 5% PHOTOGRAPHY VILLA PHOTOS:

Where to See More Email [email protected] to be added to the kiln-opening mailing list.

Above: Vase, 36 in. (91 cm) in height, coiled and thrown local stoneware, with ash glaze and earthenware clay runs, wood ﬁ red and salt glazed.

Right: Jar, 46 in. (117 cm) in height, coiled and thrown local stoneware clay, with local earthenware slip under ash glaze and blue glass runs, wood ﬁ red and salt glazed.

Ceramics Monthly June/July 2007 39

JJ_07_032_047.indd 39 5/3/07 4:03:25 PM Laura Zindel

Aside from spending time with my family and friends, who some- choices that made me very nervous at the time. Now my anxieties times get the short end, just about all of my time is spent with lie in areas that make our business larger; adding more space, buying clay or something to do with what my husband and I like to call more equipment, hiring more people. The easiest choice I made was “The Business.” marrying my husband, Thor. While this was not a career decision, I am in the studio by 8 or 9 A.M., and I leave the studio on he and I are partners in our business. When you have someone a good day at 6 P.M.—midnight when things get out of hand. I supporting what you do, things get much easier. fabricate two days a week and decorate two days a week. One day Being a production potter affects everything about my work. For is for paperwork and business-related issues. My husband does the instance, I used to draw on each piece I made with a glaze pencil. I slip casting and shipping, and we have great assistants who glaze do not think I would be doing what I do today if I had not discovered and fi nish the cast ware. There are things that have to be done ev- decals. This process allows me to repeat patterns, and make my work eryday, like loading kilns and e-mails and answering the phone, so functional and affordable. Finding time to be creative is a challenge the “schedule” is subject to change. with wholesale. I give a lot of consideration to making changes or Quitting a paying job is scary. First, I quit waitressing to do adding new pieces. I have never been able to judge things like “cost retail shows. Then, I quit teaching to be a full-time potter—good effectiveness” very well, so there are times when I don’t realize how misguided I was to put eighteen tiny spiders on one bowl until I have to make twenty of them for one order. I learn a little something everyday. We have a family health plan that we pay 100%. It is very expensive, but what is the alternative? If my husband or I could not work for an extended period of time, I do not know what would happen to our business. I have not heard of any secret to insuring myself against the unknown—if anyone knows the secret, please call me. If you are just starting out, my best advice is to, fi rst, get yourself a show. Any show. There are many group shows to apply to (see the Call for Entries in the back of Ceramics Monthly). Juried shows are a good way for curators to see your work. Join an open studio tour in your city. Donate pieces for fundraisers. Make a CD of your work and send it to galleries. Do whatever it takes to let the public see what you do. If you want to start the process of becoming a sustainable potter through retail shows, you will need the Art Fair Source Book. It is the bible of craft shows. Before you do a retail or wholesale show, go to a show and look at the work and booth displays. Displaying your work properly is extremely important. Talk to the artists and ask them questions. Then apply. There is nothing like the fear of fi lling a 10×10-foot booth to motivate you. Always have great photos of your work. Never ever photograph your own work, even if you think that your digital camera is really good. Laura Zindel cleans up the edge of a slip-cast plate in her Guilford, Vermont, studio.

Ceramics Monthly June/July 2007 40

JJ_07_032_047.indd 40 5/3/07 11:48:57 AM focus working potters

The Time it Takes Making work (including ﬁ ring): 70% Promoting: 20% Ofﬁ ce and bookkeeping: 10%

Where to See More www.zindelceramics.com ABC Carpet and Home New York City Abacus, Portland, ME Barneys, Chicago, Dallas, Los Angeles Fire Opal, Boston, MA Lori Mclean, New York City New Stoneage, Los Angeles New York City, San Francisco Twist, Portland, OR Small Oval Scarab Platter, 14 in. (36 cm) in length, slab-built earthenware with low-ﬁ re glazes and hand- drawn transfers, ﬁ red to Cone 06 in oxidation.

The Business I started doing retail shows when I was teaching part time. I would work in the studio, make whatever I wanted and then bring it to a show and see what happened. I did a lot of these shows for eight years, and it was like being at a critique for three days. The public lets you know exactly what it thinks, good and bad. I have had people look at me and say, “Do people really buy this stuff?” And I have seen (a few) people go into a Water Tumblers, 6 in. (15 cm) in height, slip-cast earthenware, with low-fi re state of rapture while looking at my work. Both glazes and hand-drawn transfers, fi red to Cone 6 in oxidation. reactions are helpful. I listen carefully to what my customers have to say because, after all, they have the money. rapidly to a large audience. All of a sudden I had work in a variety I enjoyed doing retail shows; I traveled and met a lot of people. of venues from art galleries to department stores. I have relationships I gained an enormous mailing list and used it to promote the shows with buyers now, instead of the public, and their needs and language and my website. I gave out thousands of business cards and cre- are something that I had to learn. My work is now someone else’s ated a customer base. Shows are where I get my information about product, and keeping my clients happy is my priority. It has taken EVERYTHING: Where to get supplies; what shows to do, or not me a while to understand how to schedule orders and to know how do; problems with my production; where to find a photographer, much work the studio is capable of making. The income from whole- or a sandwich. Doing retail shows is hard work, and the reasons sale is more steady and reliable, but the overhead is much larger. they are good are the same reasons they are bad; traveling, deal- Now I only go to shows a couple of times a year. When I do, ing with the public and never really knowing how much money I stay in a pretty good hotel, wear clean shoes and stand with my you will make. work in my dust-free booth. It feels like a vacation. I started wholesale when I moved from the west coast to the east The secret to my (partial) sanity is the bookkeeper and the ac- coast. My husband and I did not want to look for jobs, so we decided countant. In place of boxes fi lled with tear-stained receipts, there to team up and try it full time. Our goal was to not do as many is now a CD. My bookkeeper gives it to my accountant. It is im- shows, because we had a child and it was getting complicated. portant to let the professionals do what they do best. Retire? Do The switch from retail to wholesale came with a completely new artists retire? I do have an IRA that I plan to buy some food with set of problems and challenges. Wholesale exposed my work very when I am old.

Ceramics Monthly June/July 2007 41

JJ_07_032_047.indd 41 5/3/07 11:49:15 AM Peter Karner

One-hundred percent of my work life is spent in clay. It’s hard to over the fi rst couple of days, which gets me back into the groove distinguish my work life from my life outside of work, because even of making pots. From there, I stretch into my more complex forms when I’m doing something like skiing or riding my bike, I’m think- and new ideas. To stay on schedule, the latter part of the cycle often ing about pots. When I travel, I search out galleries and museums requires me to work very long days. After the period of making pots, and, when possible, visit potters’ studios to see and discuss work. I move into my glaze period. Having fi red my kiln many times, I I’ve come to fi nd that a cycle of work takes me fi ve weeks—three am aware that I must stay focused, well fed and rested in order to weeks of making pots and two weeks of glazing and fi ring. I must maintain the energy required to execute my glazing. I fi nd that be open to the fact that, as my work grows, the cycle might take fi fteen minutes of meditation/focused breathing fi rst thing in the even longer. For years, I tried to accomplish a body of work in an morning helps me center for the day. I also fi nd it best to throw in unrealistic time frame. This led to much stress and anxiety! At the the morning, leaving the afternoon to alter, assemble or trim work outset of a new cycle of work, I review my orders and upcoming made earlier that day or the day before. shows, etc., and have a general mental inventory of what I need No one decision has been all that hard, because making pots is to make and how the kiln loads will fi t together. Because I fi nd it in alignment with my heart’s desire. I do what I have to do to create challenging to get back into the studio after fi ring and shipping out my work. A decision that I made at the outset of establishing my orders or traveling for shows, I start by making some standard forms pottery was to buy a piece of undeveloped land that spoke to my soul, instead of a house with a studio and kiln that a local potter was selling. Having made that decision, I was fi nancially strapped. I chose to live in a 24-foot yurt and made my studio by combining two 8×16-foot sheds to make a 16×16-foot studio. I believe two of my greatest creations will be building a home and studio on my land; however, living in a yurt and working in a very small studio has allowed me the opportunity to purchase an extraordinary piece of property and establish my pottery. From time to time, I have also used credit cards to fi nance the pottery. While I have managed to balance this debt, it has occasionally been a very tight rope. My business practice doesn’t really affect the design or production of my work. I am interested in making functional pottery with a strong, modern design element—things that I might like to have in my home or see in an architectural space. I am able to push my creative boundaries more for non-wholesale work but usually end up wholesaling new ideas after some development of the form and/or glaze. I have a major medical plan with a huge deductible. Unless I’m dying or really need something, I don’t go to the doctor. Being healthy in body and mind is my answer to wellness. I eat a relatively balanced diet, exercise (biking, skiing, walking), and remain aware of the fl ow of the universe (a.k.a., god), as much as possible. Make what you like and are interested in, not what you think will sell. Be willing to take risks and step outside of your comfort zone. Stretching out will lead you to make pots that you will be uncomfortable with. Discomfort can impel you to pursue and resolve creative challenges, which can lead to understanding and growth. I also believe that when intention is in line with the heart, Peter Karner bought land and built a yurt in order to allow for the construction of opportunities arise which allow a person to explore their dreams. his studio in Hesperus, Colorado. Dare to believe.

Ceramics Monthly June/July 2007 42

JJ_07_032_047.indd 42 5/3/07 4:10:22 PM focus working potters

The Time it Takes Making work (including ﬁ ring): 85% Promoting: 10% Ofﬁ ce and bookkeeping: 5%

Where to See More www.peterkarnerpottery.com Appalachian Spring, Washington, D.C. Caleb Meyer Studio, Philadelphia, PA Cedar Creek Gallery, Creedmoor, NC Earth and Fire, Leesburg, VA New Morning Gallery, Asheville, NC The Real Mother Goose, Portland, OR

Box, 6 in. (15 cm) in height, glazed stoneware. Jug, 16 in. (41 cm) in height, glazed stoneware.

The Business A majority of my work is sold wholesale. Wholesale allows me the freedom to live in a remote area of the country, close to the mountains and desert that I love, without having to leave home. It also allows me the opportunity to gain exposure in many areas of the country and the opportunity to make a lot of pots, which has been invaluable to my creative evolution. For me, the disadvantage of wholesale has not been that great since I like what I make and have a lot of freedom in putting together a body of work that constitutes an order. I occasionally do retail and gallery shows as well. Retail shows allow me to travel, interact with patrons and other artists, and get me out of the studio (which is nice, as I spend tons of time alone). Both gallery and retail shows offer me the opportunity to stretch creatively and build a reputation of being a committed studio artist, as well as to see the responses people have to my work. The drawback to these types of shows is that you can’t rely on being accepted. This is why gallery contact/wholesale is important to my business structure. Finances are an area of my life that I am currently focusing on and working to restructure. Frankly, over the ﬁ rst ten years of establishing my pottery, almost all of my energy and attention was given to the making/understanding/selling of my work. Up until the last year or two, I’ve avoided dealing with taxes until the very last minute. I hire a local tax preparer to take the numbers I’ve compiled and prepare my taxes. I have no formal retirement plan at this point, although I am turning my attention to changing this. I’m fortunate enough to have purchased land at a good price in a community where property values have soared, so the equity of my land is considerable, and I could always use this equity if I have to.

Ceramics Monthly June/July 2007 43

JJ_07_032_047.indd 43 5/3/07 11:50:24 AM Marty Fielding

All of my work life involves clay. The majority of my time is spent well as I could with gallery orders, but they were not enough. I had in the studio, with a small percentage spent teaching workshops and to take the dreaded step of going back to baking. This gave me a lot community center classes. of hours of shaping loaves and planning my escape. I fi re a relatively small kiln, so my cycle is between three and four The following February, I attended the American Craft Council weeks. I typically start by making the most-involved forms and the wholesale show for the fi rst time. By summer, I was able to leave the forms that need to dry slowly. By nature, I work fairly slowly, and bakery. Incentive for my decision to dive into being a full-time potter I do a lot of assembling and constructing. I work in series: sixteen were all the jobs that fi nancially supported my art, but drained so cups, fi ve boxes, four teapots or pitchers. I bisque as early in the much time and energy from it. The last straw was being fi nancially cycle as possible, which allows me to start glazing as soon as the last forced into work I didn’t want to do after two years of working in handle is attached or foot is cut in the greenware state. clay full time. In 2000, I had reached a point where I had quit my job as a I am currently the resident potter at Frog Hollow Craft Center pastry chef and started teaching in community centers and selling in Middlebury, Vermont. As resident, I am given private studio some work. By 2002, my income was split 50/50 between selling space and I pay for materials and fi ring costs. Living in Vermont, work and teaching. I knew that if I could make more work, I could I’m struck by the mass movement toward a local economy. With fi nd a way to sell it. It was hard to see how to transition smoothly the consequences of global warming looming in the near future, I’m away from the consistent paycheck of the pottery instructor into looking for ways to lessen my impact. I feel that becoming a more the sporadic paydays of the working artist, and I couldn’t seem to sustainable business will double as a selling point for my work. On make the break. the local level, I’m working toward selling more work in the state, In the fall of 2002, my wife Tiffany and I moved from Raleigh, therefore cutting down on energy spent traveling and shipping. North Carolina, to Columbus, Ohio, where she was starting In conjunction with Frog Hollow, I am planning to convert the graduate school. With all my early attempts to make contacts in kiln to bio fuels and lower the fi ring temperature from Cone 10 Columbus, I couldn’t fi nd any teaching jobs. I booked that fall as to mid-range. I try to keep business considerations out of the design process and allow the work to evolve. I have to keep the faith that if I follow my sensibilities and design visually intriguing functional pots, buyers and customers will agree. The Baltimore American Craft Council Show is my PHOTO: KATHY CLARKE KATHY PHOTO: only face-to-face contact with galleries for the year. The majority of buyers are specific in their ordering of forms and glaze combinations. When I am filling gallery orders, they define my production schedule for that time. However, as the year passes, I allow myself creative license to strengthen the designs and nurture their evolution. There is more freedom in making work for retail opportunities. I am covered under my wife’s health insurance plan. I am lucky not to have had any emergencies. For preventive care, in times of good self-discipline, I practice yoga. Yoga is great for mental focus and keeping the aches and twinges of the potter’s body at bay. Take your time to develop confi dence and ability to articulate the material before expending energy trying to sell. Do whatever the clay asks to make work that you feel Marty Fielding at the wheel in his studio at Frog Hollow in Middlebury, Vermont. passionately about, and price the work accordingly.

Ceramics Monthly June/July 2007 44

JJ_07_032_047.indd 44 5/3/07 4:10:59 PM focus working potters

The Time it Takes Making work (including ﬁ ring): 75% Promoting: 20% Ofﬁ ce and bookkeeping: 5%

Where to See More www.martyﬁ elding.com Earth and Fire, Leesburg, VA Grovewood, Asheville, NC Renwick Gallery Store at the Smithson- ian Institution, Washington, D.C. Penland Gallery, Penland, NC

Square whiskey glasses, 4 in. (10 cm) in height, thrown-and-altered stoneware, ﬁ red to Cone 10 in reduction.

The Business The conversation on how to make a living is one that I fi nd myself in often with potter friends. We seem to con- stantly recalibrate our business philosophies. The current evolution of my selling practice is split between wholesale and retail, with a small percentage of consignment and exhibition sales. I heard about wholesaling before I was ready to start actively selling work. Wholesale sounded appealing for three reasons: The potential of staying in the studio as opposed to traveling to retail shows; not needing to be tied to a location; and the security of booking orders throughout the year and knowing where the income is coming from. These have all proven to be true, but there are disad- vantages to wholesale. Although some galleries are willing to trust the potter’s judgement and specify orders in dollar amounts alone, most are more specifi c and detailed in placing orders. So, I try to offer forms and decoration that I enjoy making and won’t get tired of. I have also tried to continue offering a wide range of forms, and several glaze combinations and patterns to keep it interesting for myself. Another limitation is fi nding the time to explore Square Teapot, 7 in. (18 cm) in height, thrown-and-altered new ideas, but this may be true of making a living from stoneware, fi red to Cone 10 in reduction. your work in general. In the last few years, I have applied to more retail shows in an attempt to keep the retail value of my work for myself. Some- Throughout the year, I save expense receipts and pass all the times this works out, sometimes it doesn’t. To be more lucrative than pertinent information on to an accountant friend who prepares our wholesale, the gross sales from a show have to more than double the returns. Her dinnerware set has been growing year by year, as we expense of the show. This happens to varying degrees. trade for the accounting services.

Ceramics Monthly June/July 2007 45

JJ_07_032_047.indd 45 5/3/07 11:54:59 AM Matt Kelleher / Shoko Teruyama

We spend all of our work life in the studio, except for when we The hardest decision we have been battling with is whether Matt have opportunities to teach workshops. Matt teaches in an adjunct was going to teach full-time or not. Matt spent six years applying capacity four to six hours a week. We each spend forty hours a week and interviewing for full-time positions, but was never offered one. in the studio (some weeks are more than fi fty and some around This past year was the fi rst year he did not apply for teaching posi- thirty). We both work seven days a week, so some days are ten hours tions. Job hunting is a diffi cult situation to be in. First, an enormous in the studio and others only four. The variation exists because we amount of energy goes into applications, waiting, phone interviews, selfi shly work when we want to. This system has worked for us campus interviews, anticipating and fi nally dealing with rejection. because we love to go to the studio. Our life only takes balance if Second, you still have to focus on improving your portfolio and work is in progress. positioning yourself for the next round of applications. Third, you We break the day up into three chunks. Two to three hours in cannot make decisions in your life—like building a studio, a house the morning, three to four hours in the afternoon, and one to four or even a kiln—that would confl ict with your ability to move for hours at night. We work this way because of our attention spans. In a temporary teaching position. We have recently decided to stop a three-hour session of quality work time, we can achieve the same standing at that fork in the road between teaching and being a full- amount as if we worked unfocused for eight hours straight. Also, we time artist. We have chosen to pursue studio work. can only mentally withstand concentrated activities like throwing The ideas we pursue in our work are the most important aspect or glazing in three-hour chunks. We fi nd we need to walk away or to our business. The development of our portfolio comes before change tasks throughout the day. the development of our marketing. Our business practice affects the production of our work when it comes to inventory. We cannot make a living if we just make one of something. Being potters, we have to make multiples. We work in small batches and nothing is mass-produced. Our ideas evolve too fast for mass production. We buy individual health insurance for Shoko and hope to buy insurance for Matt within a year or two. We would suggest to anyone interested in pursuing studio ceramics as a profession to enter an artist residency. We have found our residencies to be a protected entrance into the world of selling work. We suggest taking advantage of everything a residency offers. This can include subsidized living and studio rental, discounted materials and equipment, and an audience of buyers. In our case, visitors to the Archie Bray Foun- dation bought Matt’s work and Large Bean, 13 in. (33 cm) in length, handbuilt over a bisque mold, then coiled. Outside: white earthenware with terra sigalatta and patina, multiple fi rings to Cone 04 and Cone 018. Inside: Red earthenware with sgrafi tto decoration, fi red to visitors to Penland School of Crafts Cone 04, 2007, by Shoko Teruyama, Penland, North Carolina. are buying our work now.

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JJ_07_032_047.indd 46 5/3/07 11:55:39 AM focus working potters

The Business We are trying many different modes of selling our work. We don’t have many answers yet. It has been diffi cult, and we think staying optimistic is an accomplishment in itself. Wholesale: We think the most important aspect to wholesaling is making all the rules yourself so the galleries cannot put restrictions or limitations on you and your work. We choose a limited number of objects for our wholesale line. If a cup is ordered, we will make a cup, but not a cup just like the example. We state that we will have similar glazes, color palette and sizes. We do not allow the buyer to Fry Pan Bowl, 11 in. (28 cm) in diameter, thrown stoneware with slab-built handle, determine the shape and exact fl ashing slip, soda-fi red to Cone 10, 2007, by Matt Kelleher, Penland, North Carolina. decoration. We encourage buyers to believe in buying us as artists and not just a product. If the The Time it Takes buyer trusts our decisions, our relationship will last because we will Making work (including fi ring): 70% be happier fi lling the orders. Before we take orders, we know exactly Promoting: 20% how much time we want to dedicate to fi lling them and how much Offi ce and bookkeeping: 10% money we want to make. We take orders until we reach this limit and then we stop. Where to Find More High-end craft shows: We target these venues because they www.mattkelleher.com attract an audience with a high percentage of educated craft buy- AKAR Gallery, Iowa City, IA ers. These shows are expensive to do, so we limit the number we Artworks Gallery, Bozeman, MT Northern Clay Center, Minneapolis, MN participate in to three or four a year. It has been our experience Penland Gallery, Penland, NC that each show also produces future orders and invitations to future gallery shows. Local craft shows: We target these shows to build awareness of Consignment galleries: We are very discriminating when it comes our studio in hopes that people will visit and buy directly from to agreeing to consign work. We are with galleries that have a good us. These shows are often close enough to drive to the morning reputation for selling high-quality crafts, that give us a presence on the show starts, they are inexpensive, and they are only one or their website, that sell work and pay us every month, and galleries two days long. with whom we have had a long relationship. Local studio tour: This is the best show for ratio between expens- Gallery shows and juried shows: We participate in these shows es and income. When this audience buys right out of our studio, we because they spotlight our work. We think of them as advertising. keep 100% of the sale. Plus people leave with a better understanding We believe in being honest about paying taxes. Matt does our of who we are as artist after seeing our studio. Our hopes are that taxes. We will hire an accountant when we buy a house and studio. they will feel welcome to come back and buy more pots. What’s retirement?

Ceramics Monthly June/July 2007 47

JJ_07_032_047.indd 47 5/3/07 4:11:29 PM NO PLACE LIKE HOME: Doing Business Through Open Studio Tours

Artists and organizers of the Toe River Studio Tour discuss the secrets to, and beneﬁ ts of, a well-planned studio tour.

As we all know, making a living by making and selling artwork is River region had been conducting informal holiday sales and open no easy task. It is one that takes perseverance, creativity and adapt- houses on this particular weekend. Paul Lundquist, a local black- ability. In this month’s focus, “Working Potters,” we are examining smith, traveled around the area to visit the studios and noticed the various routes successful studio potters have taken to achieve people en route asking for directions. This sparked the idea of a viability in their careers, in hopes of providing valuable information coordinated studio tour. Lundquist felt the Toe River Arts Council for this segment of our community. One approach to selling artwork, (TRAC) would be a good partner in this project, took the idea to the open studio tour, continually gains popularity with self-guided them, and they agreed. studio tours popping up all over the country. We asked the organiz- The fi rst tour sponsored by TRAC included 24 studios (44 total ers and artists involved with one such tour—the Toe River Studio artists represented) and four galleries from Mitchell and Yancey Tour—some questions on the nuts-and-bolts of their operation. Counties, the counties that TRAC serves. The tour grew in popular- The fi rst Toe River Studio Tour was held on the fi rst weekend ity from the standpoint of both the studios and visitors. In 1997, a in December of 1993. For many years, several studios in the Toe spring tour was started. Initially, it took place the fi rst weekend in continued on page 53

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JJ_07_048_057.indd 48 5/3/07 4:12:23 PM focus working potters

Mark Peters These tours can add a signifi cant boost to the local economy. Sometimes organizers If you look at the TRAC tour map, you’ll see that my studio is on the outskirts of the tour area. It’s actually on the opposite side can get some fi nancial help from local of where most of the traffi c comes from. As a result, the tour is businesses or the chamber of commerce if not a signifi cant moneymaker for me, however, there are other benefi ts that make it worthwhile. There is very little overhead, they make them aware of all the outside so the sales are pretty much pure profi t. Also, visitors like to see dollars that are brought in during the tour. where the work is made. They are interested in seeing the kiln, —Mark Peters the wheel and the work in progress. Customers gain a greater appreciation of the work when they have a clear understanding of everything that is involved in the process of creating pots. This often translates into bigger sales and repeat customers. The tour is roughly equivalent to a craft fair in sales, without the stress, fees, packing and unpacking, travel expenses and down time. I can actually get some work done in between visitors. In addition to the marketing that TRAC does, I send out a mass e-mail to everyone on my list reminding them of the tour dates and inviting them to come. I include a couple of photos of some new work, as well as links to my website and a link to TRAC’s website, where they can download and print a tour map with a list of all of the participants. Advertising is expensive so target your audience well with your paid advertising. Try to fi nd free advertising such as an- nouncements on public radio stations. Press releases with photos often result in newspaper and magazine articles. These tours can add a signifi cant boost to the local economy. Sometimes organizers can get some fi nancial help from local businesses or the chamber of commerce if they make them aware of all the outside dollars that are brought in during the tour. Keep it on the same weekend every year. Preferably when good weather is reliable. Stick with it. It takes a while to get established. Ultimately word of mouth will be the best form of advertising. Organization and consistency is the real key. Denise Cook does a fabulous job. A successful tour needs someone like her. As the tour gets bigger, with more and more artists participating, diplomacy also becomes an issue. Not everyone will agree on the way things should be done. Ultimately, the tour organizers need to identify exactly what the event hopes to accomplish. In our case, the tour is designed to bring more customers to our studio door. Our area is very remote with a small population base. However, there are a lot of world-class full-time crafts people here, and the tour is a great way to get people from outside of the area to come up, enjoy the mountains and maybe buy a few pots.

Jar, 11 in. (28 cm) in height, thrown stoneware, wood ﬁ red, by Mark Peters, Bakersville, North Carolina.

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JJ_07_048_057.indd 49 5/3/07 4:13:11 PM We like to remind Kent McLaughlin [customers] that we have We’ve been participating in the TRAC Studio tour for probably ten years or more. It’s new work, great food an event we look forward to twice a year. The December tour requires us to move our and that they can get a “showroom” to the heated studio space from the outside barn and compels us to do a thorough cleaning. It’s always nice to go into the new year with a clean studio. The June 10% discount on their tour is simply a matter of opening our permanent showroom (a barn at the end of our purchase if they sing on drive) with more modest preparations. We always make a point of having good homemade our karaoke machine. In foods and drinks for anyone that shows up as a thank you for coming. Although we are open for business year around, the tour seems to give visitors ‘per- other words, we make the mission’ to explore our area and see where we work and live. We encourage people to experience as memorable stop in whenever they are in the area. It’s a big plus to sell our work for retail without and enjoyable as we can. the expense of leaving home. Although we don’t do many craft shows anymore, it seems like there are always pots being shipped to galleries and exhibitions and it takes a great deal of time to pack and ship the work. We also feel it’s important to be able to speak —Kent McLaughlin directly to the people who buy and use our work. The one thing we do for the December tour in addition to all the advertising that TRAC does, is mail a reminder to our mailing list folks. We like to remind them that we have new work, great food and that they can get a 10% discount on their purchase if they sing on our karaoke machine. In other words, we make the experience as memorable and enjoyable as we can.

“Pitcher and Tumblers,” to 12 in. (30 cm) in height, thrown porcelain, wax resist, layered glazes, ﬁ red with waste oil to Cone 10 in reduction, by Kent McLaughlin, Bakersville, North Carolina.

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JJ_07_048_057.indd 50 5/3/07 2:09:18 PM focus xxxxxxx

“Squat-Footed Teapot,” 5¹⁄₂ in. (14 cm) in height, handbuilt, thrown-and-assembled stoneware with paper-resist slip decoration, salt ﬁ red to Cone 10, by Suze Lindsay, Bakersville, North Carolina.

The Toe River Tour is special to us because many of our neighbors will stop by for this open studio, and all the participating studios encourage customers to travel out to see another studio and more work. It is a time for us to educate the public about contemporary craft. —Suze Lindsay

Suze Lindsay

Any opportunity we get to stay home and sell from our showroom with directions to each studio. And every Labor Day weekend, we is always benefi cial. Open studio tours have the same unpredict- have our own home studio sale. So there are many chances for ability as a show—it can depend on the weather since we live in a customers to come to our studio to buy directly from us. very rural area and customers are out on the roads trying to fi nd This May will be our fourth year selling pots at the St. Croix our studios (which is also part of the fun)! Studio Tour outside Minneapolis, as guests at the studio of Bob The Toe River Tour is special to us because many of our neigh- Briscoe. Otherwise, we participate in invitational exhibitions, and bors will stop by for this open studio, and all the participating apply to juried exhibitions, travel to a few craft shows, and teach studios encourage customers to travel out to see another studio workshops here and there. In the past, we both did alot of whole- and more work. It is a time for us to educate the public about sale, and now fi nd the things listed above allow us to cut way back contemporary craft. on wholesale accounts. We are also on a mapped tour that is open to the public year My advice for those who want to start a tour is to keep a good round through a group of potters who live and work in Bakersville, mailing list, collecting names, addresses and email addresses from North Carolina, called Potters of the Roan. We designed and printed all the things you do. Start small by inviting friends, coworkers and brochures with information about each studio on the tour, along neighbors. Show with other artists. Create an event!

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JJ_07_048_057.indd 51 5/3/07 4:15:55 PM “A connection is made Liz Zlot Summerﬁ eld between myself and the I have been very pleased with the income generated from all customers, because they see the TRAC tours that I have participated in. Each tour, my sales my home, my studio and increase and more people visit my studio. I often have repeat learn more about the work. customers who come not only during the tour weekend, but also year round. I have received many custom orders from I create the vibe; I want people who have bought during the tour weekend. people to feel comfortable I generally do not participate in many craft shows. I pick one or two a year that are regional, so that customers are close and welcomed.“ enough to drive to my studio. I carry the TRAC map to the show, because it has all my information and directions to my —Liz Zlot Summerﬁ eld studio. I believe the map encourages people to visit, because they have an opportunity to see so many artists in one area. The tour allows the customers to meet me and see the environment where the work is made. A connection is made between myself and the customers, because they see my home, my studio and learn more about the work. I create the vibe; I want people to feel comfortable and welcomed. My husband and I share a gallery space next to the studios. He is a glass blower, so we showcase his glass and my pottery. We are very particular about our display, and spend several

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JJ_07_048_057.indd 52 5/3/07 2:10:20 PM focus working potters

days getting the showroom ready for the weekend. We feel May, and then in 2004, it was moved to the second weekend that the presentation of the work can make or break a sale, in June to accommodate the area’s seasonal residents. so our space is very clean and organized. We have a variety “For the fi rst tour, we printed some 4000 maps,” said Denise of pedestals and shelving to display the work. I am very picky Cook, executive director of the Toe River Arts Council. “For about price tags, so I make printed price cards for each piece the current tours, we are printing around 13,000 maps with 77 and display them next to the work. We always have a vari- studios (132 total artists) and fourteen galleries.” ety of fresh fl owers in the vases. It is wonderful to have the To get into the tour, artists must follow an application showroom full of new work in anticipation for the weekend. process, which includes a small fee of $60. Artists and galleries In the winter, I make hot cider and cookies. I enjoy preparing must offer original handmade work and agree to open their for the tour; it is so easy since the showroom is adjacent to our studios for the days and hours of the tour. The arts council, along with the help of volunteers, designs and prints the maps. home. I can run out and arrange work or restock the shelves A growing database of approximately 5000 names is mailed a as needed throughout the weekend. copy of the map and the remaining maps are placed at various Every tour we ask customers to join our mailing list, so venues throughout the region. Artists traveling to craft shows that we can send them notices about shows in their area and also take extra maps to market the event, and each participant send them next year’s TRAC map. I include a personal invita- receives 25 maps to hand out before or during the tour. For tion with the map that includes an image of each of our work the most part, TRAC handles the marketing and publicity for and a welcoming note to our studio. Last year I invited people the tour, although some artists do additional marketing on to meet our daughter. Many people that came commented their own. on the invite and were excited to meet her. It creates a more Sales from the tour go solely to the artists and TRAC does personal experience, which is what we are going for. not receive a commission. However, in addition to the tour I am truly lucky to have settled in this area where a very itself, there is an exhibition of participants’ work in one of established tour was already in place. My one piece of advice TRAC’s galleries. The arts council retains 30% commission to others who would like to organize a similar studio tour is on sales from this exhibition. The exhibition serves not only to take the time to make a very professional and readable to offset costs for TRAC, but gives tour goers an overview of map. I believe it is a true refl ection of what one will fi nd on the work on the tour. the tour. I am very grateful that the board members and staff “We encourage people to come to our gallery in Spruce Pine of TRAC spend so much time on the tour map. where we have the work on display in a geographical fashion,” During the tour, there is a preview show where customers explained Cook. “People take the map and look around the can view examples of the work. This really helped me the exhibition to decide where they would like to go. Many times, fi rst year when I was new in town and nobody knew of my we see people with map in hand, circling [points on the route] work. Most of the people that came to my studio that year as they observe the exhibition. The exhibition is displayed said that they saw my work in the show. Now, I have people several weeks ahead of the tour and we have a reception the that come who see work in the TRAC preview exhibition and night before.” also people who see my work in regional galleries, exhibitions On the weekend of the event, signs are placed at various and craft fairs. crossroads and turning points. People use the map and look for the arrowed tour signs to fi nd their destinations. The tour is free to the public and self-guided, so visitors can go where they desire. There is no designated route to follow. Cook says that the benefi ts of the tour go beyond the mon- etary. “Sales of course are a benefi t, but greater than that is the opportunity for people to get to know artists and understand their work,” she explained.

“Quilted Green and Black Butter Dish with Red Buttons,” 6 in. (15 cm) in length, slab-built earthenware with terra sigilatta, underglaze and glaze, ﬁ red to Cone 04, $105, by Liz Zlot Summerﬁ eld, Bakersville, North Carolina.

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JJ_07_048_057.indd 53 5/3/07 4:16:27 PM The Many Faces of Iron: Fe AnO Exploration in Cooling 2 3 by Dr. Carol Marians

One of the more fascinating, sometimes off the pot. At this point, the glaze is not a frustrating parts of ceramics is learning to homogenous melt, but a mixture of several recipe balance the innumerable factors that affect the melts. It is not fully blended. It may contain outcome of a fi ring. Glaze ingredients, the clay a dissolved second phase—in our case an iron body used, fi ring cycles, atmospheres, kiln- compound—analogous to sugar dissolved in The glaze used in these tests is a minor stacking techniques and geography (to name hot tea. More sugar dissolves in hot tea; less as modifi cation of the glaze GA16 from Michael a few variables) can all affect fi ring results. the tea cools. The sugar precipitates as crystals Bailey’s Cone 6 Glazes, poured thick on Geor- gies Ceramic Supply’s G Mix 6 clay body. This may be frustrating if you don’t control as the tea cools. Our glaze, when melted, has a those variables, but if you do, there is opportu- dissolved iron compound—the “sugar” in the nity for new discoveries. By changing just one tea. The iron precipitates as the glaze cools. So variable, the same glaze recipe can be deliberately how does the iron form in the glaze? GA16 VARIATION manipulated to yield different results. In this Glaze is more complex and more viscous (Cone 6) instance, I decided to investigate one variable in than tea, inhibiting motion. The iron crystals Bone Ash ...... 4.6 % an iron-rich glaze: the cooling period. cannot precipitate and sink to the bottom of Dolomite ...... 13.6 I achieved greatly differing results in a the glaze, nor can they grow very large, as the Lithium Carbonate ...... 4.6 Red Iron Oxide ...... 9.1 single glaze with a single clay body, consistent iron ions do not congregate in the same loca- Unispar ...... 22.7 glaze thickness and application, and the same tion. Instead, as the glaze cools, the dissolved Bentonite ...... 1.8 heating schedule for all of the fi rings. The iron separates out, forming numerous small OM4 Ball Clay ...... 20.9 differences in the resulting appearance of the crystals suspended in the glaze. The number Silica (Flint) ...... 22.7 glaze on the pots came exclusively from their of particles, and their eventual size, is affected 100.0 % heat treatment after they reached maturity. by the surface texture of the underlying clay When the witness cone bends, the glaze body, the cooling speed of the melt, the thick- should be fully vitrifi ed. The kiln has reached ness of the glaze application and several other EMPIRICAL FORMULA CaO ...... 0.4126 temperature, but has not yet begun to cool. I factors. The competition between the number K2O ...... 0.0454 studied what happens between that point and and size of particles as the glaze cools results Li2O ...... 0.2013 the return of the kiln to room temperature. I in the variety of desirable effects (see accom- MgO ...... 0.2521 found that I could get a glossy black surface, panying fi gures). Na2O ...... 0.0886 a densely textured rough surface, a golden As it cools, the glaze becomes progressively Al2O3 ...... 0.3424 red/mud color, or anything in between, just more viscous and less mobile, until it reaches SiO2 ...... 2.7566 from different cooling schedules. a temperature at which it “freezes” and noth- P2O5 ...... 0.0480 Fe2O3 ...... 0.1912 ing can move or precipitate within it. If the TiO2 ...... 0.0104 How does this happen? glaze is held at a temperature high enough to At the top of the fi ring cycle, the glaze is permit continued mobility of the iron into matured, but not watery; it doesn’t fl ow progressively larger crystals, but low enough

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JJ_07_048_057.indd 54 5/3/07 2:10:54 PM Cool down: An uncontrolled drop from 2200°F to 1750°F, then –50° per hour from 1750°F to 1500°F.

Results: The cooling was slower from 2200°F down to 1450°F. Because the solubility of iron in glaze decreases at lower temperatures, I cooled at ¹⁄₃ the speed between 1750°F and 1500°F. The result was a substantially textured surface, with much visible variation, and crystals of a variety of colors breaking the surface. The glossy black was gone, and the surface variation uniformly distributed. There were a relatively small number of largish particles. The color was intermixed red, bronze and mud brown. Bronze predominated where the glaze was thickest. I interpreted this as substantial particle growth below 1750°F, with little precipitation of new particles.

test 1

Cool down: A continuous cool from Cone 6 to 1500°F at –150° per hour.

Results: This is the cool-down profile from Hesselberth and Roy. It gave a predominantly glossy black glaze, not greatly different from the quick cool, but with a hint of variegated color. I could see isolated metallic bronze and red ﬂ ecks, but no crystals breaking the surface. test 2

that the glaze doesn’t run off the pot, the is thin, different kinds and shapes of crystal cooling outside the selected ranges. Since surface will become matt. The multitude of will form. If the crystals are stuck to the clay extended fi ring cycles can be costly, I framed tiny iron particles disrupt light transmission. body at the bottom of a thick opaque glaze my experiments with a maximum extension Otherwise, the glaze solidifi es with the same layer, they will be largely invisible. Crystals to the fi ring cycle of four hours. smooth, glossy surface as it had while fully that fl oat on top of the glaze give the ap- I started out with the fi ring profi le in Hes- melted. If the glaze is cooled quickly, few pearance of sandpaper, which can present selberth and Roy’s Mastering Cone 6 Glazes. visible, very small particles form. Most of the utilitarian problems. We want the crystals The ramp for reaching temperature was a fast visible color is the refl ection off the smooth near the surface but not on it, large enough rise (200°F in the fi rst hour, then 500°F per surface. This gives an aesthetically pleasing to create surface and color effects, but not hour to 2100°F) until the last three hours, clear glossy black glaze, somewhat akin to a be overwhelming. which had a rise of approximately 30°F per temmoku (see test 1). The opacity and depth A series of cool-down profi les with lots hour. Orton cones showed a hard Cone 6. of the glossy black show that the glaze can of jigs and jags showcases a different phase, These fi rings were done in a very old Skutt dissolve quite a lot of iron. exposing a range of surface effects. This trans- 1227 with a computer controller. I examined As the glaze cools and becomes more lates into profi les with one or more narrow the results of my fi rings and based my next viscous, crystals begin to form at edges and temperature ranges with extreme slow cooling fi rings on those results, only changing one imperfections in the body. If the glaze layer and/or long holds, and possibly no retarded factor with each fi ring. I chose 1450°F as

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JJ_07_048_057.indd 55 5/3/07 2:11:03 PM Cool down: An uncontrolled drop to 1750°F, then –50° per hour to 1600°F, a hold at 1600°F for one hour, then –50° per hour to 1500°F.

Results: By adding a one-hour hold at 1600°F, the color shifted from gold/ brown to red/gold. The red and brown regions followed the throwing lines, indicating that glaze thickness has signiﬁ cant inﬂ uence. The strength of this effect showed there is a critical region for this glaze’s development somewhere near the temperature 1600°F. test 3

Cool down: An uncontrolled drop to 1750°F, hold at 1750°F for half an hour, then –50° per hour to 1650°F, hold at 1650°F for one hour, then –50° per hour to 1500°F.

Results: Adding a half-hour hold at 1750°F and a one-hour hold at 1650°F gave smaller particles and a near-smooth, lustrous satin, variegated bronze glaze with small specks of red and brown. The original glossy black was completely gone. Color variation in the throwing line showed the considerable effect that glaze 5thickness has. The half-hour hold at 1750°F facilitated the formation of a large number of small particles, leaving little free iron to add to crystal growth later. This uniform result was much like a pointillist painting, with exceedingly ﬁ ne points. Moving the hold from 1600°F up to 1650°F could have a similar effect. Alternatively, we could see this change as a result of the glaze spending more test 4 time in the critical temperature interval for crystal development.

Cool down: An uncontrolled drop to 1800°F, then –50° per hour to 1450°F.

Results: As the previous test result could have come from extended time in the crystal growing range, or speciﬁ cally from the hold at 1650°F and 1750°F, I gave this ﬁ ring just as much time in the sensitive zone, but uniform decrease in temperature over the extended region. The results were similar to the previous test, but with larger grain size and a lizard-skin feel to the texture. The glaze was mottled and less uniform. The smooth satin look was gone. I concluded one of the holds in the previous test hit the “sweet spot,” at which point many small particles form. I did not know test 5 at which level.

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JJ_07_048_057.indd 56 5/3/07 2:11:38 PM Cool down: From Cone 6 to 2100°F at –50° per hour, then uncontrolled cooling to 1700°F, then –25° per hour to 1600°F.

Results: To test a second slow-cooling region, the kiln was cooled quickly from the top temperature to 1700°F, then slowly to 1600°F. The result was an intensely variegated effect with relatively few but larger particles in red and brown. The throwing lines were not prominent, so glaze thickness was not as important. The texture is lizard-skin satin, not the gloss of tests 1 and 5, nor the smooth satin of test 4. This result was related, but not quite like anything previous. This could be a jumping off point for a new series of tests.

test 6

Cool down: An uncontrolled drop to 2000°F, then –50° per hour to 1650°F.

Results: The slow cool from 2000°F to 1650°F gave a surface and color as in test 1, with a much greater number of gold particles. This also shows that the effects of test 4 depended on the 1650°F hold. This critical test showed that the greater color effect I wanted needed two holds. test 7

a low end for controlled cooling, selecting several identically glazed test pieces distributed proximately 1600°F, then reheating to around intervals for markedly slow cooling in the throughout the kiln. I obtained an encourag- 1800°F should obtain both good numbers and temperature range 2200°–1450°F. ing indication that the different results were development of microcrystals. caused by the cooling-down profi les and not Speculation extraneous effects. I next will explore whether the author Dr. Carol Marians holds a Ph.D. in With this limited series of tests, I produced maximal particle size growth takes place “hot- materials science from the Massachussetts Institute a variety of textures and colors, by “poking” ter” than the temperature at which the greatest of Technology, and makes pots at Basic Fire studio the cool-down profi le. Each fi ring included number of particles is formed. Cooling to ap- in Portland, Oregon.

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JJ_07_048_057.indd 57 5/3/07 4:16:56 PM Ira Winarsky Layered Landscapes by Glen R. Brown

“Skateboard Landscape #8,” 17 in. (43 cm) in length, handbuilt earthenware with iridescent glazes, wood, steel, plastic wheels.

Smoldering like live coals beneath a fi ne dusting of gray ash, the It would perhaps be predictable for Winarsky, a professor of calescent colors of Ira Winarsky’s ceramic works seem inherently architecture at the University of Florida and a specialist in ecologi- active: aspects of energy gathering within rather than simply lying cal design, to approach clay with a literalist mentality, envisioning upon surfaces. The molten appearance of his vessels and sculptures it as earth and modeling it like a landscape. He does in fact admit suggests an origin in metallurgy or, more signifi cantly, geological to a profound aesthetic attraction to the land. “There’s a scientifi c disturbances in which convection currents in the earth’s mantle shift interest in it in terms of the ecology,” he explains, “but there’s also the plates in its crust, or magma from deep within splits the ground this beautiful passion for making it into my art. It’s slowly pulling into fi ssures then seeps out in torrid rivulets along the wounds. the parts of my life together: the architecture and the art. They’re The impression of heat rising to the surfaces from the interiors of both concentrating on landscapes in general.” This does not, how- Winarsky’s works is in reality an effect not of temperature but of light ever, imply a desire to render stylized representations of terrain in in which unique iridescent glazes play a central role. Light penetrates clay. Winarsky’s landscapes are largely conceptual. His professional the glassy surfaces and rebounds from points within, creating for the knowledge of ecology—which entails the ability to read stories of eye an illusion of radiance rather than mere refl ection. Winarsky’s fl oods, plant life and distribution of animal species in a small sample sculptures, as a consequence, are experienced as luminous energy of soil —ensures a conception of landscape that extends well beyond more than as matter. the picturesque.

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JJ_07_058_065.indd 58 5/3/07 2:19:00 PM The natural environment is for most conventional landscape In order to emphasize the continual stirrings beneath surfaces artists, despite their psychological or even spiritual affi nity for the rather than the surfaces themselves, Winarsky’s passion has been subject, a phenomenon to be carefully viewed and then rendered, iridescence. For more than ten years he has pursued this quality in varying degrees of abstraction, in the service of expression. In through a variety of means, beginning with some fairly unsatisfactory that scenario, even a superfi cial observation of natural features can metallic paints applied to forms with a spray gun. “It just didn’t work suffi ce. Winarsky, however, views the landscape fundamentally for me,” he recalls. “Then I saw a show of work by Beatrice Wood in through the eyes of an ecologist and consequently cannot help but New York and was blown away by the glazes. I realized then that I had conceive of nature in terms of its many layers, most of which are to quit fooling around with paint and start seeking the effects that I not immediately visible at any given moment. The stratifi cation of was looking for in glaze.” The inspiration of Wood’s work and some the landscape—both literal, in of George Ohr’s pieces terms of geological levels, and would prove significant to metaphorical, with respect Winarsky’s development, to the systems that operate but equally influential within it—is forever before was the fact that no in- him. Not surprisingly, his formation was readily artistic approach to landscape available regarding the has from the start involved composition of their glaz- layering. His earliest sculp- es. Compelled to develop tures were pieces that he aptly his own formulas through described as landscape sand- careful experimentation, wiches: layered affairs through he resolved not to settle which he attempted to convey for the bright though a sense of the complexity that opaque quality of luster, he perceives even in ostensibly but instead to persevere simple patches of ground. until he had achieved Perhaps the most unusual true iridescence. consequence of Winarsky’s Although proceed- special awareness of coming with a methodical plexity and dynamism in the precision that has gener- landscape has been his series ated volumes of detailed of “mobile” works: undulat- notes and an archive of ing, iridescent slabs fi tted with test pieces, Winarsky wheels and hardware from toy conceives of his project wagons or skateboards. These as “part of a tradition of whimsical sculptures derived alchemists” in which mys- their initial inspiration from terious transformation fortuitous circumstances years in the kiln—the radical ago when Winarsky’s pickup change from chalky off- truck, exceptionally dirty from “Wagon Landscape,” 31 in. (79 cm ) in length, slip-cast earthenware white surfaces to viscous with iridescent glazes, steel, rubber wheels. construction work, developed fl ows of metallic hues—is spontaneously into a moving as enthralling as the ef- ecosystem. “Grass started growing from the bed of the truck,” he fects achieved through it. The magic of this transformation has fueled recalls, “and there were anthills, worms and bird nests. This had me Winarsky’s dedication for a task that would otherwise have been laughing, because, apart from deserts and a few other exceptions, land- tedious. “I label each piece,” he explains, “and compare the effects scapes only move around over millions of years.” The unusual mobile on thirty to forty of them after each computerized fi ring. At this landscapes consequently employ hyperbole to emphasize what is, in point I’ve done nearly two thousand tests. I’ve made drawings of reality, the gradual transformation of the earth and its ecosystems: a each shelf when it’s gone into the kiln and I’ve photographed them metamorphosis that ordinarily cannot be witnessed within the paltry all so that I know what was next to each one. It’s taken a great deal lifespan of human beings. By our terms, the earth is exceptionally of discipline and a lot of passion to make it happen.” The reward slow, although we may recognize that it is never still. To represent the has been a richer iridescence than that of raku ware or of most work landscape in the manner of most conventional, especially classical, fi red by potters in the Cone 10 range. landscape artists is to render it inert, restricting its appearance to a The ultimate living quality of his work —arising less from organic conception of time framed in years rather than millennia. formal traits than from the sense of mysterious and elusive energy

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JJ_07_058_065.indd 59 5/3/07 2:19:55 PM LAYERS FOR LUMINOSITY

Understandably, Winarsky is reluctant to unveil all the secrets of his unique glazes, but he has disclosed a few intriguing bits of information about materials and process. While achieving successful results with a variety of clay bodies, including porcelain, he prefers to apply his glazes to white earthenware. Iridescence results from refraction of light at different MONTHLY METHODS levels within the translucent surface, and to encourage this effect he utilizes an airbrush to apply three to fi ve layers of glaze. In order to distinguish one muddy, unfi red coating visually from the next, he tints the glazes with a red, blue or green food coloring that burns out during fi ring. “It’s a process routinely

used in architecture,” he comments. “Chasm (Copper Red),” 6 in. (15 cm) in length, slip-cast earthenware with “When you paint a room, the base coat iridescent glazes, by Ira Winarsky, Archer, Florida. has to be a different color from the fi nal coat so that you can see that nothing within—is crucial to Winarsky, whose art has always been to some degree ac- has been missed.” At the same time, a tive. While a graduate student in sculpture at the Tyler School of Art at Temple few details left to chance, or even some University in Philadelphia, he experimented with electronic art that reacted to outright mistakes, have often led to touch or to movement in the surrounding space. Later, after his relocation to breakthroughs, especially since Winarsky Florida, he developed cast-plastic sculptures composed of phosphorescent mate- has developed a method of layering glazes rial in a range of colors that glowed weirdly in the darkness. These works—re- that can revivify dead surfaces. lated to the Process Art that emerged as a reaction against second-generation New York School formalist theory in the 1960s and early 1970s—were answers to the entropy of traditional sculpture. In his role as architect, Winarsky has maintained a similar emphasis on dynamism. One of his most popular classes, titled “Energy, Ecology and Architecture,” stresses the necessity of harmonizing human constructions with the fl uctuation of existing ecosystems. In a sense, this imperative governs his recent ceramic sculptures as well. Winarsky’s home, a largely glass structure situated on fi fteen acres of wooded land in a rural area outside Gainesville, is an ecological architect’s paradise complete with eighteen peacocks that roam the grounds and shed their colorful feathers on the earth like scatterings of iridescent leaves. Visually, Winarsky’s work in ceramics has evolved as an essential component of this ecosystem: an aspect of a dynamic environment of which he is himself a vital part. Self-expression has, in a sense, become for Winarsky equivalent to capturing the character of the landscape that he inhabits and that he has, by his presence, subtly altered. This landscape is understood to be fundamentally energetic: perpetually active as myriad factors interact within it. Capturing this inherent dynamism without thereby negating it—transfi xing it in clay and glaze while not, in the process, rendering it inert —has been both a constant challenge and a consistent impetus to Winarsky’s art. “Mated Landscapes,” 7¹⁄₂ in. (19 cm) in length, Additional information and images of Winarsky’s work can be found on his handbuilt earthenware with iridescent glazes. website www.artfromiraland.com.

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JJ_07_058_065.indd 60 5/3/07 2:20:38 PM INSIDE AND OUT Trimming Porcelain in Jingdezhen by Xu Yanli

Master trimmer Yu Dongquan working in the traditional manner. Yu started trimming during an apprenticeship at age sixteen and has been trimming for 21 years now.

Jingdezhen is famous as the origin of the word kaolin, named after the nearby Kaoling Mountain, the source of the fi rst pure white, hard-burning clay. The traditional porcelain vessels produced here have been described as “thin as a sheet of paper, bright as a mirror, white as jade and as beautiful sounding as a bell.” Classic Jingdezhen porcelain ware is famous for its thinness, but many don’t know that it is made thin not by throwing, but mainly by trimming because it is diffi cult to throw thin-walled wares with this clay body. This inside and outside trimming is a traditional skill that has been handed down from generation to generation for more than 1000 years. Trimming the insides and outsides of ware is very diffi cult and requires much skill and practical experience. Although there are fac- tories that use machinery to make porcelain wares, this time-honored skill is still popular for producing the authentic, thin, blue-and-white wares for which Jingdezhen is famous.

The cup to the right has been trimmed to translucency in the traditional fashion, which has been handed down for 1000 years.

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JJ_07_058_065.indd 61 5/3/07 2:22:35 PM NO DETAIL OVERLOOKED

This trimming method has been passed down for centuries. The artisans of today work the same way their ancestors did, right down to the set up of the workspace. The broad knives are placed on a board on the right and the narrow knives are on a board at the right front. Each trimming artisan has a complete set of tools, including chucks, broad and narrow trimming knives, and a hammer, anvil and fi le for knife sharpening. Having been used and improved for more than 1000 years, the tools in Jingdezhen are very well designed. Each part of the knives performs a specifi c function. The broad knife, which is mainly used in exterior trimming because it is wide, thick and strong, is actually a combination of two blades. The wider blade on one end can be used to cut down the unnecessary foot clay left from throwing. The other end bends at about a 90° angle. Its corners are sharpened to cut the outer form of a foot ring while the long edge can level the foot, trim the rim, make the fi nal form and smooth the outer surface of the ware. The length of the handle is sized to fi t the width of a palm so that the knife can be held tightly. The cutting edge of the narrow blade is also angled at about 60° inward, which reduces resistance and damage when trimming. Yu seated at the wheel with the tools of the trade arranged in the traditional manner around him.

A REGIMENTED TRADITION

According to tradition, the trimming order must go from the foot to the rim and from the outside to the inside, whether the piece is an open or closed form. After centering the ware upside down on the wheel, unnecessary clay on the foot is cut down and the foot is leveled. Then the outer form of the foot ring is determined. After the outside curve is satisfactory, the inner part of the foot ring is trimmed. Next, the pot is turned over and the rim is trimmed with the broad knife. Finally, the inside is trimmed with a narrow knife. All the knives are made of iron because it is a low-cost, easy-to-get material that is easily bent and sharpened. Iron also rusts and wears down easily. To avoid blending rust into the ware, an artisan

must temper and sharpen the knives with an anvil, This illustration shows the typical progression from greenware to hammer and fi les every day before use. fi nished ware. Most Jingdezhen porcelain is once fi red.

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JJ_07_058_065.indd 62 5/3/07 2:26:14 PM Two examples of bent narrow knives used to shape the interior of vessels, and the forms on which they are used.

TRIMMING WITH DELICATE PRECISION

The narrow knife, a special tool for interior trimming, is usually straight, however it can be bent with pliers according to the inner curve of the ware. When using the narrow knife to trim the inside of a piece, Yu braces the knife on his cheek to keep it stable. He also puts pressure onto the rim, taking care not to press too hard because the piece can easily be broken. The inside trimming of closed forms is more difﬁ cult than that of open forms, especially the small closed forms that Yu works on. With these forms, the narrow knife is often covered with the trimmings, so most of the time the knife is invisible. Yu is able to judge thickness simply by touch and sound. The chuck is usually made of clay and its size depends on the size of the ware. The chuck can be either one piece or made of several assembled pieces. If it is the latter, the chuck at the bottom should be Yu demonstrates using a narrow knife to trim the inside of a pot. The knife is braced securely against his cheek, while the biggest and the heaviest, which helps to maintain his left hand gently stablizes the pot. the center of gravity.

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JJ_07_058_065.indd 63 5/3/07 2:29:33 PM Comment functional pride: putting the fun back into functional pottery by Mark Hewitt I am a maker of mugs, pitchers and plates, Do these stories and images of ordinary peo- with Abstract Expressionism and Post-Mod- among other things. I do not want to make ple using pots validate the cultural and aesthetic ernism. The debate between functional pottery nonfunctional pots; I tried it once and I relevance of functional pottery? Yes, I think they and the Post-Modern camp took a serious turn did not like it, neither the process nor the do. They illustrate the role functional pots play for the worse during the unfortunate argument outcome. I am neither a ceramic artist nor a in our culture. Advocates can help explain and between Garth Clark and Warren MacKenzie sculptor: I am a potter and I am proud. My endorse a potter’s work and place it within a several years ago. This sad episode had the pots are expressions of my individuality; they wider historical and cultural context; certainly, effect of intimidating the voice of functional illuminate the world; they rage against it; artists and craftspeople need all the champions, potters for several gloomy years (we tend to be they fascinate me with their myriad details. all the encouragement, they can get. It is impor- a shy lot, preferring the sanctuary of our work- My reasons for making pots are complicated tant that we aspire to the highest standards, but shops to the thrust-and-parry of conferences and keep changing, but make them I do, and it is not necessary to wait for positive criticism and criticism.) But we did not stop making make them I will. My soul is at stake each time before recognizing the value of what we do. I pots; we merely went underground, trying I squeeze eloquence out of dirt. make pots to please myself; I love making pots. new things, welcoming many new voices into I have a favorite mug that I use every day, I am responsible for my work, and, with my our midst, until an even larger and more col- which I value at $6 million; $300,000 more wife Carol, who is my business partner, we are orful rainbow of styles of functional pottery than the highest price ever paid for a piece of responsible for our economic well-being. My emerged. This, for me, marked the beginning contemporary ceramics. My mug is worth ev- work may not titillate the “potterati,” but that of the Neo-Functional movement. ery penny of the asking price, though I would is not why I make pots. I make pots because I Examples of the broad range and high qual- be quite willing to give half of the money to want to, and any extra attention I get for doing ity of the Neo-Functional movement can be whomever sells it. Until it sells, however, I’ll so is a dividend, not a goal. found at the annual Santa Fe Clay exhibition use it every day. Historically, the world of ceramics has been “La Mesa,” held during NCECA (National My mugs are valuable beyond their mon- divided into different, and often rival, camps. Council on Education for the Ceramic Arts) etary worth, because people tell me so. One There are the divisions between Imperial ce- conferences, and in the delightful Artstream customer even said that one of my mugs saved ramics and folk ceramics, between industrial traveling gallery. The Utilitarian Clay Sym- her life. She is sick and takes pills daily to keep and handmade, between brown pots and white posia at Arrowmont School of Arts and Crafts her alive, and she sips water from my mug to pots, between functional pottery and ceramic highlight the superb talents and differing ap- swallow down her medicine. Maybe it’s a magi- sculpture, between tradition and modernism, proaches of many leading contemporary prac- cal mug. Other testimonials are equally moving. between the academy and the marketplace, titioners. Functional potters in the U.S. and in A woman I know was sitting behind me at and—heaven help us—between art and craft. Britain are enjoying the interest from galleries my daughter’s homecoming basketball game Which category is better, “cooler?” Which like AKAR in Iowa City and Goldmark in Brit- the other day; she tapped me on the shoulder is more culturally and aesthetically relevant, ain. The British “Spawn of Leach” are having and said she was still enjoying using the mug I which is more exciting, which camp has most a well-deserved re-appraisal thanks to the pro- picked out for her ten years ago. It is a direct and of the most power, which is ascendant, which motion of gallery owner Michael Goldmark, simple reward to know my aesthetic has touched generates more money? The debate can be in Rutland. His lavish monographs, handsome her life. I know I am not the only contemporary educational and quite entertaining if not taken exhibitions and attentive patronage have culti- functional potter who has experienced this. too personally. It can also be maddeningly vated connoisseurship, generated strong sales Here is an illustrative statement from acrimonious and bitterly divisive, as people and put these veterans back in the spotlight. Ayumi Horie’s emblematic web page, “Pots jockey for money, power and status, and, wit- Sanjay Akar’s elegant online presentations have in Action,” that is representative of what I tingly or unwittingly, knife their fellow potters also created a vibrant national market for many like to call the Neo-Functional Movement: and ceramics artists in the back. Mistrust and styles of functional pottery in America. These “In part, I am a potter because I see pots as incomprehension habitually lie between the galleries are not located in the metropolis, but having the incredible privilege of being part tastes of a libertine and an ascetic. Sadly, these they are undeniably cosmopolitan, and their of people’s private, everyday lives. Because of rivalries between ceramic camps frequently successes point to a healthy and increasingly this intimacy, we let our guard down around prevent excellence from being acknowledged. evolved market. pots, allowing them to convey ideas about What connects us all is quality, and that is what Some Neo-Functional pots made today aesthetics, function and social issues. Through potters and ceramics artists work toward, and are traditional, some have emerged from art repeated use, pots can become habit-forming what good pottery criticism encourages. schools, and some are design-based. Within and comforting, creating memory for those After years of relative power in the ceram- each of these approaches, potters have devel- using the pots. They are objects of service ics world when Leach, Hamada, Yanagi and oped recognizable personal styles; each has a and conduits between people. These pots are Cardew were alive and active (and let’s not distinct voice. Individual expression, repetition independent of me; they are ﬁ nding their own forget Rie and Wildenhain), the critical fate of and reﬁ nement create our individual styles, way and accumulating histories with various functional pottery has steadily declined during whether we are functional potters or sculptural people, in various homes, in various places the last forty years or so, coinciding with the artists. And once we have found our mature around the world.” ascendance of ceramic sculpture associated voices, we improvise like jazz musicians on

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JJ_07_058_065.indd 64 5/3/07 2:30:46 PM songs we already know—modifying, exploring plicity, however, is deceptive. Traditionally times it serves as a buffer against it. Many and innovating as we go. It could be argued, inspired pots are a continuity remembered and potters care about natural materials, finely- for instance, that what Voulkos was doing for myths newly minted. Like landscape paint- tuned aspects of functionality, and have a the last part of his career was improvising on ings, they refl ect the character of a region; in romantic sensibility about the role of func- the same stacks, platters and mizusashis (water evoking history, they guide us to the heart of tional pots in daily life, but does that mean jars) that he’d been making for years, and that a culture. we should be branded as fundamentalists? he was moving toward his own personal classi- I enjoy being part of a regional, performance- The word fundamental is more acceptable, cism. It matters less what the subject matter is based tradition. My work is part of a venerable of course, as it gives a fairer sense of the role and more that your voice rings true, your skills heritage but is also new and fresh. By grafting that functional potters play in contemporary are honed, your passions alive. All art has to be North Carolina traditions to what I learned as ceramics. Fundamental goes to the root of the made so, in a sense, all art is performed, whether an apprentice with Michael Cardew in England, matter, serves as the base or foundation, and design- or tradition-based. For instance, I might I produce wares that have a regional aesthetic, is essential or indispensable. All parts of the decide to make 175 mugs in a day, endowing as well as a contemporary sensibility. My “Iced ceramic community could claim to be funda- each one with all my knowledge, passion and Tea Ceremony Vessels,” for instance, are a mental, but for the sake of argument: if, as a talent, allowing my voice to resound in each counterpoint to the Japanese tea ceremony, and functional potter, I think of myself as part of one. Indeed each mug is an idea, a symphony combine both the North Carolina alkaline glaze the foundation of the house of ceramics, then and a performance; in making them, I am and the salt-glaze traditions on the same pot. I have no problem with what I support; a col- theoretician, composer and virtuoso. They are also alive with contemporary ceramic orfully decorated interior, a fl amboyant fi nial Pots can be performers in their own right: references; the alert decorative lines and loose ornamenting a cornice, or an interesting roof they hold people’s attention in a way that is geometric placement of glass scraps relate to the line made of new, exquisitely engineered ma- specifi c to pots alone. They “entertain” in your work of Peter Voulkos, Liz Fritsch and Adrian terials. In fact, I love the beautiful complexity hands, on your tables, in your fridges and in Saxe. These tall tumblers are good to look at, of this big house and don’t want to be pitted your sinks. Pots are not music, nor poems, nor think about and use. Sometimes I like my pots against my will, or misrepresented as a rival, painting, nor sculpture, but they can be equally to be spare and minimal, sometimes elaborately to all those other potters and ceramics artists engaging. By extension, potters too are enter- ornamented. I am not root-bound, but choose who contribute to its glory. We live in the tainers, having a place in communities across to use these healthy Carolinian traditions as the house together and it is big enough for us all. the country that is a step or two outside the rootstock for my own hybrid growth. I also gladly Foundations are not always buried, however, mainstream, where they are more independent. acknowledge that traditional pots are but one and we functional potters are often decorated We hold collective creative dreams in our hands, part of the ceramic spectrum. The aesthetic and and playful, and enjoy our own days in the sun. fi ghting against the forces of uniformity, provid- technical qualifi cations for excellence within such We are strong and essential, so the suggestion ing insight, hope and reverie. Our pots become traditions are too high to be brusquely dismissed. that no one would miss functional potters if part of people’s lives, where they accomplish It has been suggested that some members of my they didn’t exist seems to me inaccurate, if not more than the task at hand. school of functional pottery are negative and unkind. I know my family would miss me, and Some contemporary potters, myself in- anachronistic “fundamentalists” and should be my friends, community and customers too! cluded, choose to make pottery that is in some contained and quarantined. One can only ask, Functional pottery is an acknowledged part way connected to regional traditions. What “Where?” Perhaps in some aesthetic prison? of American cultural life. We potters address is the continuing appeal of these folk pots? Would a music critic suggest that musical “fun- ceramic history and fi nesse it in individual Louis Menand, reviewing Bob Dylan’s music damentalists” like B.B. King, Tony Rice, or Doc ways. We are always trying to make better, and writing in the New Yorker, comments, Watson be quarantined, or silenced? more-intelligent, more-inspired pots. We “When my children were little, we used to There is, of course, a pejorative sense would all like to make a little more money, have a cassette around the house of songs for accompanying the word fundamentalist, work a little less and gain recognition for kids by pop stars, on which Dylan did ‘This now often connected with radical religious our work. Each of our voices and spirits is Old Man’ (with a knick-knack paddy-whack, fundamentalists who are blinkered by a unique; we are independent operators fi ght- give the dog a bone). That performance had strictly maintained set of orthodox religious ing for our livelihoods in a highly competitive the weight of the whole world in it. I listened beliefs. Many potters, from all different market. Since its beginnings in the 1920s, the to it a hundred times and never got tired of it. schools—not just potters from the Leach functional pottery community has changed ‘You can refute Hegel,’ Yeats said, ‘but not the school—hold strong opinions about the from within. It is now more diverse and less Song of Sixpence.’” state of the world, especially regarding issues strident than in the past, and we can rightly When I go out to the workshop and make such as social justice, the environment and be proud of the quality, range and maturity a mug, I’m like Dylan singing “This Old globalization (Richard Notkin, Matt Nolan of the Neo-Functional movement. To address Man.” He didn’t write the song, and I didn’t and Adelaide Paul come to mind as examples these changes, I would like to propose a way invent the mug form, but my voice identifi es of ceramics artists with a conscience). I too of shifting people’s perceptions toward the the mug as mine; it can be used a thousand view my work as a humanistic, even moral, many different types of functional pottery times and you’ll never get tired of it. Its sim- protest against an unjust world, though at being made today: (continued on page 96)

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JJ_07_058_065.indd 65 5/4/07 9:57:21 AM call for entries Deadlines for Exhibitions, Fairs and Festivals Submit online at www.ceramicsmonthly.org

international exhibitions July 14 entry deadline Center Dr., Smithville 37166; [email protected]; Illinois, Chicago “Naked Clay” (September 7–Novem- www.tntech.edu/craftcenter; (615) 597-6801. ber 8), open to women artists working in clay. For entry June 2 entry deadline June 14 entry deadline form, visit www.womanmade.org/artisangallery.html. Illinois, Chicago “Small Works” (August 4–26), England, Warwickshire, Shipston-on-Stour Contact Artisan Gallery at Woman Made, 685 Milwaukee open to work less than 22 inches in all directions. “The Cup & Saucer Exhibition” (July 14–July 31). Ave., Chicago 60622; [email protected]; Juried from digital (preferred) or slides. Submit up Awards: £500 (US $977). Contact Fiona or Bruno, (312) 738-0400. to ﬁ ve images to Lauren Levata, Lillstreet Gallery Where I Fell in Love Gallery, the Shambles, Market July 15 entry deadline Director, 4401 N. Ravenswood, Chicago 60640; Place, Shipston-on-Stour, Warwickshire CV36 4AG; New York, Brooklyn “Fabulous Finishes Ex- [email protected]. www.whereifellinlovegallery.com; 44 1608 663 809. hibition” (September 12–October 27), open to June 4 entry deadline June 15 entry deadline ceramic work with an exterior treatment. Fee: $35 Kansas, Wichita “Wichita National 2007” Kapfenberg, Austria “Illusion: 5th International Bi- for three entries. Contact Gloria Kennedy Gal- (September 7–October 24), open to traditional and annual of Ceramics” (September 28–November 11). Jur- lery, 111 Front St. Gallery 222, Brooklyn 11201; nontraditional craft. Juror: Bede Clark. Fee: $25. For ied from digital. For complete submission guidelines, visit www.gkgart.com/pages/submissions.html. prospectus, e-mail [email protected]. Contact Wichita www.keramik-biennal-kapfenberg.at. Contact Stadtge- July 31 entry deadline Center for the Arts, 9112 E. Central, Wichita 67206; meinde Kapfenberg, Kulturzentrum, Mürzgasse 3, China, Shaanxi, Fuping “Emerging Artists Compe- www.wcfta.com; (316) 634-2787, ext. 218. A-8605, Kapfenberg; [email protected]; tition and Exhibition” (November 2007). Juried from New Mexico, Roswell “Roswell Fine Arts League/New 43 3862 25501 1241. digital. Awards: $1000, 10 one-month residencies at Mexico Miniature Arts Society Juried Art Show” (August July 1 entry deadline Fuping Pottery Art Village. For complete submission 3–13), open to all medium. Fee: $40 for four images. Ohio, Westerville “1st Annual PMI Reader Contest: guidelines, e-mail Dr. Hsu; [email protected]. For prospectus, send SASE to RFAL/NMAS, Box 2928, Thinking Outside the Bowl” (Winners published in No- Contact Fuping Pottery Village, 1 Qianshan Rd., Fuping, Roswell 88202; [email protected]; www.rfal.org. vember/December issue of Pottery Making Illustrated), Shaanxi 700710; www.ﬂ icam.com June 18 entry deadline open to functional and handmade works that enhance Colorado, Carbondale “Carbondale Clay National the presentation of a favorite food. Juror: PMI staff. united states exhibitions III” (August 1–31). Juried from slides. Juror: Doug Case- Awards: $850. For complete submission guidelines, beer. Fee: $30 for three entries. For prospectus, send visit www.potterymaking.org/contest/bowlcontest.pdf. June 1 entry deadline SASE to Carbondale Clay Center, 135 Main St., Carbon- Contact Pottery Making Illustrated, 735 Ceramic Pl., New York, Rochester “History in the Making II: dale 81623; or e-mail [email protected]. Suite 100, Westerville 43081. Ceramic Traditions–Contemporary Pots” (September July 1 entry deadline July 6 entry deadline 29–October 27). Juried from digital or slides. Juror: Tennessee, Bell Buckle “Bell Buckle Art & Music Korea, Cheongju City “5th Cheongju Interna- Val Cushing. Fee: $25 for three images; $5 for ad- Festival” (September 14–16), open to glass, ceram- tional Craft Competition” (October 2–28). Juried ditional entry. Contact Joe Fastaia, Director, Gen- ics and wood turnings. Juried from digital. Fee: $75. from digital or slides. Contact Cheongju International esee Pottery, 713 Monroe Ave., Rochester 14607; Contact Catherine Freeman, 22 Railroad Square, PO Box Craft Biennale Organizing Committee, 755, Sajik 1- [email protected]; www.geneseearts.org; 5023, Bell Buckle 37020; www.bellbucklefestival.com; dong, Heungduk-gu, Cheongju City, Chungbook-do, (585) 271-5183. (423) 508-0103. 261-828, Republic of Korea; [email protected]; Tennessee, Smithville Call for Exhibition Proposals July 7 entry deadline www.okcj.org; or www.cheongjubiennale.or.kr; 82 for 2008–2009. Juried from digital and slides. Contact Arkansas, Hot Springs National Park “3rd Annual 43 277 2604. Gail Looper, Appalachian Center for Craft, 1560 Craft Diamond National Juried Exhibit” (September). Contact

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Fine Arts Center of Hot Springs, 612 Central Ave., Hot 1200 W. 35th, Chicago 60609; [email protected]; form, visit www.lawrenceartscenter.org/ceramicsshow. Springs National Park 71902; [email protected]; (312) 331-0453. Contact Ben Ahlvers, 940 New Hampshire, Lawrence www.hsfac.com; (501) 622-3100. July 13 entry deadline 66044; educoord@sunﬂ ower.com. Massachusetts, Worcester “Drink It In” (October Texas, Ingram “National Juried 3-D Competition” August 8 entry deadline 4–25), open to drinking vessels in any craft media. (September 5–October 6). For prospectus, e-mail North Carolina, Wilmington “Bowls 2007” Juried from digital. Fee: $20. For more information, visit [email protected]. Contact Debbie Luce, (October 1–31). Juried from digital. Juror: Virginia www.worcestercraftcenter.org. Contact Candace Casey, Hill Country Arts Foundation, 120 Point Theatre Rd., Scotchie. Fee: $20 for three images. For prospectus, Worcester Center for Craft, 25 Sagamore Rd., Worcester Ingram 78025. visit www.uncw.edu/art/bowls2007.html. 01605; [email protected]; (508) 753- August 1 entry deadline August 11 entry deadline 8183, ext. 3006. North Carolina, Raleigh Call for Solo or Group Exhibi- California, Pasadena “Clay: The Ecstatic Skin July 9 entry deadline tion Proposals. Contact Artspace, 201 E. Davie St., Raleigh of the Earth” (October 13–November 24), open Illinois, Chicago “Hand Harvested: Artists for a 27601; www.artspacenc.org; (919) 821-2787. to handcrafted ceramics. Juried from digital and Greener Planet” (September 1–29), open to all media. August 4 entry deadline slides. Juror: Paulus Berensohn. Fee: $20. Contact Juried from digital and slides. Fee: $15 for three im- Kansas, Lawrence “National Juried Ceramics Exhibi- Suzette Munnik, Xiem Gallery, 1563 N. Lake Ave., ages; $5 for additional images. For application, visit tion and Symposium” (October 19–November 28). Juror: Pasadena 91104; [email protected]; www.handharvested.org; or send SASE to Lunar Media, Dan Anderson. Fee: $25 for three entries. For entry www.xiemclaycenter.com; (626) 794-5833. August 29 entry deadline Minnesota, Bemidji “Fifth Annual It’s Only Clay National Juried Ceramics Competition and Exhibit” (October 5–27). Juror: Jeff Oestreich. Fee: $30 for three entries. For prospectus, visit www.bcac.wordpress.com. Contact Bemidji Community Art Center, 426 Bemidji Ave. N., Bemidji 56601; (218) 444-7570. August 31 entry deadline Texas, Lubbock “Clay on the Wall: 2007 Clay National” (December 1–February 17, 2008). Juried from digital and slides. Juror: Matthew Kangas, Se- attle-based independent art critic. Fee: $25 for three entries, $5 each for two additional entries. Awards: $2500. Contact Texas Tech University School of Art, Landmark Arts/Clay on the Wall, Box 42081, Lubbock 79409; [email protected]; (806) 742-1947. September 1 entry deadline Illinois, Chicago “Holiday Art Show and Sale” (November 30–January 8, 2008). Juried from digital (preferred) or slides. Submit up to ﬁ ve images to Lauren Levata, Lillstreet Gallery Director, 4401 N. Ravenswood, Chicago 60640; [email protected]. September 20 entry deadline Pennsylvania, Wayne “Craft Forms 2007” (Novem- ber 30–February 1, 2008). Juried from digital and slides. Juror: Mark Richard Leach, Chief Curator, Mint Museum of Craft. Fee: $30/digital; $40/slides. Awards: $3000. For prospectus, send SASE to Wayne Art Center, 413 Maplewood Ave., Wayne 19087; www.wayneart.org; www.craftforms.com. October 18 entry deadline Arkansas, Monticello “3rd Annual UAM Na- tional Juried Cup Show” (December 7–Janu- ary 25, 2008). Juried from digital and slides. Juror: Conner Burns. Fee: $20. For prospectus, visit www.uamont.edu/arts_humanities/sahcalendar.html. Contact Scott Lykens, Cup Show, PO Box 3460, Ceramics Dept., University of Arkansas Monticello, Monticello 71656; [email protected]. December 31 entry deadline Oregon, Portland Call for Exhibition Proposals for 2008–2009. Contact Arthur DeBow, Oregon College of Art and Craft, Hoffman Gallery, 8254 SW Barnes Rd., Portland 97225; [email protected].

regional exhibitions

June 1 entry deadline Mississippi, Biloxi “Diggin’ It 2007 Ohr Rising Gulf States Juried Competition” (August 24–September 28), open to artists from AL, FL, LA, MS and TX or who were displaced during the hurricanes of 2004 and 2005. Juried from digital and slides. Juror: Scott Young. Fee: $15. For entry form, visit www.georgeohr.org. Contact Ohr-O’Keefe Museum of Art, 1596 Glenn Swetman St., Biloxi 39530; (228) 374-5547. June 15 entry deadline Pennsylvania, Pittsburgh “WAD Clay Institute 4th Juried Clay Annual” (September 7–October 5), open to ceramics artists residing east of the Mississippi River. Juried from slides. Juror: Paul Jay, nationally recognized raku artist. For prospectus, send SASE to Ceramics Monthly June/July 2007 68

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WAD Clay Institute, 2100 Mary St., Pittsburgh 15203; July 10 entry deadline (November 9–December 8), open to functional [email protected]; (412) 279-9956. California, Santa Monica “2007 California Open ceramics artists living within 100 miles of Chester June 25 entry deadline Exhibition” (August 14–September 1), open to all me- County, Pennsylvania; Empty Bowls donations are Virginia, Arlington Call for Solo Exhibition Proposals dia, work must be hand delivered. Juror: Peter Frank, not juried or limited to region. Juror: Gwendolyn for 2008, open to artists living in DC, DE, MD, PA, VA Curator of the Riverside Art Museum. For prospectus, Yoppolo. For prospectus, send SASE to The Arts or WV. Fee: $25; AAC members, $15. Contact Arling- send SASE to TAG Gallery, 2903 Santa Monica Blvd., Scene, DTE, 530 E. Union, West Chester 19382; or ton Arts Center, 3550 Wilson Blvd., Arlington 22201; Santa Monica 90404; www.tagtheartistsgallery.com; visit www.downtoearthexhibit.org. www.arlingtonartscenter.org; (703) 248-6800. (310) 829-9556. July 3 entry deadline July 16 entry deadline fairs and festivals Nebraska, Lincoln “The Art of Fine Craft Regional Indiana, Indianapolis “University of Indianapolis Juried Exhibition” (October 4–November 2), open to 2007–2008 Campus Sculpture Walk.” Awards: $2000 June 1 entry deadline fi ne craft and printmaking artists from NE, IA, KS, CO, for two-year lease. For prospectus, send SASE to Dept. Colorado, Manitou Springs “Commonwheel Art- MN, ND, SD and WY. Juried from digital (preferred) and of Art and Design, University of Indianapolis, 1400 E. ists 33rd Annual Arts & Crafts Labor Day Festival” slides. Jurors: Kevin Bradley, Kathryn Finnerty and Jeanne Hanna Ave., Indianapolis 46227; (317) 788-3253. (September 1–3), open to fi ne art and craft. For Quinn. Fee: $30. Awards: $150 and $500. For more July 31 entry deadline application, visit www.commonwheel.com; or call information, visit www.luxcenter.org/afc2007. Pennsylvania, West Chester “Down to Earth” (719) 577-7700. New Jersey, Montclair “Spring Brookdale Park Fine Art and Crafts Show” (June 16–17), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. June 20 entry deadline California, Santa Monica “Contemporary Crafts Market” (November 2–4 and June 6–8, 2008). Booth fees: $401-1425. Contact Contemporary Crafts Market, 575 Cooke St. #A2820, Honolulu, HI 96813; [email protected]; www.craftsource.org; (808) 422-7362. July 17 entry deadline Michigan, Monroe “4th Annual Downtown Mon- roe Fine Art Fair” (August 11–12). Fee: $100. Contact Monroe Fine Art Fair, PO Box 2114, Monroe 48161; [email protected]; www.dmbn.org/artfair.html; (734) 242-1472; (517) 703-0236. August 1 entry deadline Connecticut, Westport “32nd Annual Westport Creative Arts Festival” (November 17–18). For application, send SASE to Creative Arts Festival, Westport Young Women’s League, 44 Imperial Ave., Westport 06880; [email protected]; www.wywl.com/caf.html; (203) 222-1388. September 1 entry deadline Illinois, Chicago “Holiday Art Show and Sale” (November 30–January 8, 2008). Juried from digital (preferred) or slides. Submit up to fi ve images to Lauren Levata, Lillstreet Gallery Director, 4401 N. Ravenswood, Chicago 60640; [email protected]. New Jersey, Upper Montclair “Fine Art and Crafts Show at Anderson Park” (September 15–16), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. September 3 entry deadline D.C., Washington “Smithsonian Craft Show” (April 9–13, 2008). Booth fee: $1100–1800. Contact Smithsonian Craft Show, PO Box 37012, SI, Rm. 436, MRC 037, Washington, D.C. 20013; [email protected]; www.smithsoniancraftshow.org; (202) 633-5006; (888) 832-9554. September 10 entry deadline New Jersey, Cranford “Fall Nomahegan Park Fine Art and Crafts Show” (October 20–21), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. October 1 entry deadline New Jersey, Montclair “Fall Brookdale Park Fine Art and Crafts Show” (October 13–14), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. Ceramics Monthly June/July 2007 70

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JJ_07_066_075.indd 71 5/3/07 2:39:52 PM new books The Essential Guide to Mold Making and Slip Casting by Andrew Martin Many potters are drawn to mold making and slip casting because of the endless possibilities they present for developing unique forms and producing identical multiples of those forms. The Es- sential Guide to Mold Making and Slip Cast- ing, is the newly revised, full-color edition of Andrew Martin’s original self-published guide to these techniques. It features hun- dreds of photos, key techniques, projects and troubleshooting tips. “I approach mold making as an integral part of the creative process, not just as a tool,”states Martin. “For example, before making molds for slip casting, you must create a full-scale prototype of the form you wish to cast. Some artists visualize what they want to make and then use technology to create it. Others simply start working with materials and intuitively feel their way to the fi nished forms. And some artists do some of both. My approach allows for both methods. In fact, while exploring these systems, you might discover a whole new way of looking at how to make a pottery form.” A thorough introduction addresses materials and tools, and presents Martin’s simple template method for making clay prototypes. Martin uses this method to create easy one- piece molds to make tiles, bowls and platters, or multi-piece molds for more-complex forms. The book also covers slip formulation, offering slip recipes for low-, mid-, and high-fi re clay bodies. In addition, a troubleshooting section addresses such issues as repairing broken molds and remedying “plaster disasters.” Interspersed throughout are master artist profi les with beautifully photographed examples of work. 159 pages including appendixes with plaster- mixing ratios and slip recipes, glossary, list of contributing artists, acknowledgements and index. Published by Lark Books, Lark Books, 67 Broadway, Asheville, NC 28801; www.larkbooks.com; or tel (800) 284-3388. Ceramics Monthly June/July 2007 72

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JJ_07_066_075.indd 73 5/3/07 2:40:59 PM video Handbuilding with Mitch Lyons In this two-part DVD, Mitch Lyons shares his unconventional method of handbuilding vessel forms, as well as his methods for applying texture and color to clay surfaces. Lyons begins with what he refers to as the “broomstick” method, in which he rolls a seamless cylinder from the inside out, using a thick coil of clay and a series of dowels. In addition to demon- strating how to roll the form, he shows various methods of imparting texture to it. In part two, Lyons shares his techniques for inlaying color and texture using colored clays and slips. Among the techniques covered are using the broomstick method to inlay the pigmented porcelain into a vessel and monoprinting with colored slips. Lyons also demonstrates using polymer clay to impart a ﬁ gurative relief onto a form. 60 minutes. $39.95, plus $3 shipping and handling (for orders to Canada, add $5 shipping and handling). Produced by Mitch Lyons, POBox 40, New London, PA 19360; www.mitchlyons.com; (610) 869-8652.

The Art of Sculpting Volume 3: Men by Philippe Faraut In this third installment of his instructional series, Philippe Faraut focuses on sculpting men. Faraut takes viewers through the entire process of sculpting a bust of a man, including hair and clothing. Though the process is much the same as in his previous portrait sculpting videos, Faraut focuses on the structural characteristics unique to the male anatomy. His demonstrations also include basic structural comparisons of different ethnicities, techniques for modifying expressions, the mechanics of the aging process and fa- cial weight distribution for heavyset men. This 111 minute DVD is geared toward advanced artists, however, because of its thoroughness, it could beneﬁ t less-experienced artists interested in ﬁ gure sculpting. $69.95 plus $4 shipping and handling. Set of volumes 1–3, $174.95 plus $5 shipping and handling. Produced by PCF Studios, Inc., PO Box 722, Honeoye, NY 14471; www.pcfstudios.com; (585) 229-2976. Ceramics Monthly June/July 2007 74

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JJ_07_066_075.indd 75 5/3/07 2:42:16 PM calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org conferences California, Ventura through June 10 “Beatrice Vermont, Brattleboro June 1–30 Aysha Peltz; at Wood: Art & Alchemy”; at the Museum of Ventura Brattleboro Clayworks, 532 Putney Rd. Kansas, Lawrence October 17–19 “National County, 100 E. Main St. Juried Ceramics Exhibition and Symposium,” in- Florida, St. Petersburg June 1–16 Liz Bryant, “Frag- group ceramics exhibitions cludes demonstrations and presentations by Dan ments of Memory”; at St. Petersburg Clay Company, 420 22nd St. South. Anderson, Bob Archambeau, John Balistreri, Mark Arizona, Scottsdale July 5–12 “Twisted: The Georgia, Decatur June 16–July 7 Vernon Smith; Burns, Brad Schwieger, Jane Shellenbarger, Beth Pottery Art of Lisa Holt and Harlan Reano.” August at MudFire Gallery, 175 Laredo Dr. Cavener Stichter and Michaelene Walsh. Contact Ben 2–16 “August Miniature Madness”; at King Galleries Indiana, Indianapolis through June 24 Scott Fran- Ahlvers, Symposium Director, 940 New Hampshire of Scottsdale, 7100 Main, #1. kenberger; at Artifacts Gallery, 6327 Guilford Ave. St., Lawrence 66044; [email protected]; Arizona, Tempe through September 4 “Renegade Iowa, Grinnell through June 3 “New Work by www.lawrenceartscenter.org/ceramicsshow. Clay: Five Views from the West”; at Ceramics Research Jill Schrift”; at Grinnell College, Faulconer Gallery, Maine, Deer Isle July 15–19 “The Object and Mak- Center, ASU Art Museum, NE corner of 10th St. and 1108 Park St. ing: Function and Meaning,” includes presentations by Mill Ave. Ellen Dissanayake, Rob Forbes, Lisa Hunter, Lewis Hyde, Massachusetts, Brockton through June 17 California, Burbank July 6–26 “Seven Guys and Barry Katz, Chris Rose and Chris Staley. Fee: $300. Megumi Naitoh, “Bitmapped Characters: Ceramic Their Work,” works by John Hopkins, Stephen Horn, Contact Haystack Mountain School of Craft, PO Box Tiles”; at Fuller Craft Museum, 455 Oak St. Shane Keana, Ricky Maldonado, Kevin Myers, Mark 518, Deer Isle 04627. Massachusetts, Lenox through June 3 Kari Poore and Adrian Sandstrom; at Creative Art Center Michigan, Detroit October 26–27 “Michigan Mud Radasch. July 8 Mara Superior. June 9–July 8 Chris Gallery, 1100 W. Clark Ave. 2007: Michigan Ceramic Art Association Conference,” Antemann. July 14–August 12 Mark Shapiro; at Ferrin California, Davis through June 2 “California Clay includes demonstrations, lectures, exhibitions and tours. Gallery, 69 Church St. Competition”; at The Artery, 207 G St. Contact Kay Yourist, 1133 Broadway, Ann Arbor, MI Massachusetts, Northampton August 10–Sep- through June 3 “Daphne Gillen & Susannah Israel: 48105; [email protected]; www.michclay.com. tember 23 Robbie Heidinger; at The Artisan Gallery, New Ceramic Work”; at Pence Gallery, 212 D St. Minnesota, Duluth July 16–26 “International 162 Main St. California, Half Moon Bay August 8–September Wood-Fire Conference,” includes Wenzhi Zhang, Lu Minnesota, Rochester through August 26 War- 3 “Clay: A Personal View”; at Coastal Art League Gal- Pinchang, Bjorn Norgaard, Bob and Cheryl Husby, Rich- ren Mackenzie, “Legacy of an American Potter”; at lery, 300 Main St. ard Gruchalla, Broc Allen, Sara Haugen, Lenore Lampi Rochester Art Center, 40 Civic Center Dr. SE. California, Los Angeles June 3–August 19 “Voices Rukavina and Tonya Borgeson. For more information, Missouri, Kansas City July 5–28 Sequoia Miller; from the Pacifi c Rim: Asian American Ceramists”; at e-mail Dorian Beaulieu at [email protected]. Contact at Red Star Studios, 821 W. 17th St. Platt and Borstein Galleries, University of Judaism, Dorian Beaulieu, Lake Superior College, 2101 Trinity Missouri, St. Louis through June 16 Michael 15600 Mulholland Dr. Rd., Duluth 55811; www.blog.lsc/woodfi reconference; Lucero. Paul Dresang; at Duane Reed Gallery, 7513 California, Pasadena through June 2 Geoffrey (218) 725-7715. Forsyth Blvd. Tjakra and Douglas Blechner, “Scholars, Stoneware and New York, Nassau June 22–24 “British Ceramics: Montana, Bozeman June 5–July 10 Joseph Pintz; The Development of Technical Genius in the British King EpiCai’s Effi gies.” July 28–August 11 “ACS-DC at Michelle Gantt Ceramics Gallery and Studio, 111 S. Jeanne Ward Foundation Emerging Artists Exhibit”; at Ceramic Industry 1650–1850,” includes lectures and Grand Ave. #108. demonstrations. Fee: $465. Contact Eastfi eld Village, Xiem Clay Center, 1563 N. Lake Ave. Montana, Helena June 15–19 Deborah Schwartz- California, Pomona June 9–August 25 “Mata PO Box 539, Nassau 12123; [email protected]; kopf; at Archie Bray Foundation for the Ceramic Arts, (518) 766-2422. Oritz Pottery: A 40 Year Phenomenon”; at American 2915 Country Club Ave. Museum of Ceramic Art, 340 S. Garey Ave. North Carolina, Beaufort June 22–24 “Pot- Montana, Red Lodge through June 22 Jeff Oes- ters Council Conference, Natural Instincts,” includes Colorado, Carbondale July 2–31 “Small and treich, “Fifty-Nine and a Half Pots.” June 1–30 Andy Exquisite: Clay for a Miniature World.” August 1–31 demonstrations on carving, modeling and more with Shaw. July 6–31 Jeremy Kane. July 6–27 Stephanie Dan Finch, Marie Gibbons, Elizabeth Priddy, Can- “Clay National III”; at Carbondale Clay Center, 135 Lanter. August 3–31 Linda Christianson. Frank Saliani; Main St. dace Young and Lois Sharpe. For more information, at Red Lodge Clay Center, 123 S. Broadway. visit www.potterscouncil.org/naturalinstincts; (866) Connecticut, Guilford through June 17 “Biennial New Jersey, Surf City July 7–25 Collette Smith. 721-3322. Exhibition of North American (Functional) Clay”; at July 28–August 15 Hayne Bayless; at m.t. burton gal- Ohio, Moscow June 8–10 “Professional Potter Guilford Art Center, 411 Church St. lery, 1819 N. Long Beach Blvd. D.C., Washington through July 15 “Tea bowls Series,” includes demonstrations with Sarah Cul- New York, Albany through August 12 “Playing breth. Contact Gwen Herndon, Artisan Center at in Bloom: Botanical Decoration on Tea Ceremony with Clay: Frank Giorgini’s Udu Drums”; at Albany Ceramics.” through November 4 “Parades: Freer Maple Creek, 527 Maple Creek Rd., Moscow 45153; Institute of History and Art, 125 Washington Ave. [email protected]; www.maplecreekart.com; Ceramics,” installed by Gwyn Hanssen Pigott; at Freer New York, New York through June 9 Elise Siegel, (513) 876-0081. Gallery of Art, Smithsonian Institution, Jefferson Dr. “I am what is around me”; at Nancy Margolis Gallery, at 12th St., SW. Virginia, Front Royal October 4–7 “7th Biennial 523 W. 25th St. Mid-Atlantic Clay Conference,” includes demonstrations through June 15 “Bowled Over,” works by Mar- New York, Nyack July 28–August 26 Lin Barnhardt; and workshops. Contact The Clay Connection/7th Bien- garet Boozer, Kathy Erteman, Barbara Liotta and Jim at Hopper House Art Center, 82 N. Broadway. nial Mid-Atlantic Clay Conference, PO Box 3214, Mer- Thompson. June 15–September 15, gallery closed in New York, Port Chester June 30–July 28 Mari rifi eld, VA 22116; [email protected]; August “Perforations,” works by Ruth Borgenicht, Tony Ogihara; at Clay Art Center, 40 Beech St. (540) 636-6016. Marsh and Michal Zehavi; at cross mackenzie ceramic North Carolina, Asheville through June 23 Lisa arts, 1054 31st St. NW. Clague; at Blue Spiral 1, 38 Biltmore Ave. solo exhibitions Florida, Tallahassee August 27–September 23 North Carolina, Burnsville July 14–August 18 “Combined Talent’s 22nd Annual Juried Competi- Shane Mickey, “ A Room Full of Ladies”; at Toe River tion”; at FSU Museum of Fine Arts, 530 W. Call St., California, Davis through June 7 J.J. Baum, Arts Council, Main St. 250 FAB. “Creations of a Ceramocentric Mind”; at Craft Center North Carolina, Seagrove August 31–November Georgia, Decatur through June 9 “Put a Lid On Gallery, University of California, Davis, 142 S. Silo Bldg., 24 Hitomi Shibata, “Hitomi’s Farewell”; at North Caro- It.” July 14–August 4 “Miniature Power.” August One Shields Ave. lina Pottery Center, 250 E. Ave. 11–September 8 Becca Floyd and Christopher Green- California, Los Angeles through July 7 Linda Smith; North Carolina, West Jefferson June 1–30 Tena man; at MudFire Gallery, 175 Laredo Dr. at Del Mano Gallery, 11981 San Vincente Blvd. Wenta; at Smart Gallery, 109 N. Jefferson Ave. Georgia, Watkinsville August 1–September California, Pasadena June 9–July 21 Christa Assad, Pennsylvania, Erie through June 1 Eva Zeisel; at 19 “5th Annual Perspectives: Georgia Potters and “Maker and Collector: The Poetics of Pottery”; at Xiem the Erie Art Museum, 411 State St. Collectors”; at Oconee Cultural Arts Foundation, 34 Gallery, 1563 N. Lake Ave. Pennsylvania, Philadelphia through July 1 Mer- School St. California, Pomona through June 2 David Fur- edith Brickell, “Colors of Shade.” June 1–July 1 Rob Illinois, Alton through June 17 “Material Attrac- man, “Figurative Experience”; at Armstrong’s, 150 Raphael, “Uomo.” Katherine Hackl. July 6–29 Lorna tion: Diverse Reactions II”; at Jacoby Art Center, 627 E. 3rd St. Meaden; at the Clay Studio, 139 N. Second St. E. Broadway. California, San Francisco June 1–30 Ilana Crispi, June 1–30 Mary Fischer; at Works Gallery, 303 Illinois, Chicago June 2–23 Elizabeth Robinson and “Dibujos en Barro/Drawings in Clay”; at La Casa del Cherry St. Julie Johnson. July 7–29 “Raku Group Exhibition.” Au- Libro Gallery, 973 Valencia St. Tennessee, Nashville June 22–October 7 “Sylvia gust 4–26 “Small Works Group Exhibition”; at Lillstreet June 2–24 Liz Worthy, “Refl ections on Water”; at Hyman: Fictional Clay”; at Frist Center for the Visual Art Center, 4401 N. Ravenswood Ave. Ruby’s Clay Studio, 552A Noe St. Arts, 919 Broadway. Illinois, St. Charles June 1–July 14 “Fine Line Ceramics Monthly June/July 2007 76

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Student Exhibition”; at Fine Line Creative Arts Center, Maine, Deer Isle June 10–July 7 “The Cup Show.” Massachusetts, Northampton through July 8 Kavanagh Gallery, 6N158 Crane Rd. July 8–August 11 “Annual Clay National”; at Dowstudio “Transformations,” works by Stephanie Craig and Todd Iowa, Iowa City June 1–July 8 “Romulus Craft,” Showroom, 19 Dow Rd. Leech; at The Artisan Gallery, 162 Main St. works by Ikuzi Teraki and Jeanne Bisson; at Iowa Artisans Maine, Newcastle July 2–27 “4th Annual Summer Michigan, Detroit June 1–August 31 “Architectural Gallery, 207 E. Washington St. Exhibition”; at Watershed, 19 Brick Hill Rd. Aspects–Tiles & Murals”; at Pewabic Pottery, 10125 E. August 17–31 “Forms and Shapes: Inspired by Maryland, Baltimore June 2–13 “Teachers and Jefferson Ave. Architecture”; at AKAR, 257 E. Iowa Ave. Their Students.” June 23–July 25 “North Meets South,” Michigan, Lansing July 10–August 24 “Fire and Kentucky, Louisville through June 23 “The Best works by resident artists from Penland School of Crafts, Mud”; at the Lansing Art Gallery, 113 S. Washing- of Kentucky Clay.” “NCECA Clay National Biennial EnergyXchange and the Clay Studio. August 4–Sep- ton Square. Exhibition Old Currents/New Blends: A Distillation of tember 1 “Fahrenheit 1940”; at Baltimore Clayworks, Minnesota, Minneapolis through July 1 “Five Art and Geography”; at Kentucky Museum of Art and 5707 Smith Ave. McKnight Artists,” works by Bob Briscoe, Mika Negishi Craft, 715 W. Main St. Massachusetts, Brockton through June 17 “A Laidlaw, Yonghee Joo, Junko Nomura and Nick Renshaw. through June 24 “From Folk to Modern: Kentucky Class Act: Collaborating in Clay”; at Fuller Craft Mu- July 13–August 26 “2007 Artists of NCC”; at Northern Pottery, 1900–1950.” “From Vessel to Sculpture: seum, 455 Oak St. Clay Center, 2424 Franklin Ave. E. Outstanding Ceramics at the Speed”; at the Speed Massachusetts, Monson June 15–30 “T-pots and Minnesota, St. Paul through June 15 “Japanese Museum, 2035 S. 3rd. Tings”; at the House of Art, 200 Main St. Bowls: A Western Perspective”; at American Associa- tion of Woodturners Gallery, 2nd Fl., Landmark Center, 75 W. Fifth St. Mississippi, Biloxi June 15–August 10 “Mississippi Clay Invitational,” works by Conner Burns, Matt Long, Matt Steadman, Antoinette Badenhorst and Claudia Cartee; at Ohr-O’Keefe Museum of Art, 1596 Glenn Swetman St. Mississippi, Natchez August 4–31 “New Talent: Recent Works of the Studio Members at Burns Pottery”; at Burns Pottery, 209 Franklin St. Missouri, Kansas City June 1–30 Tom and Elaine Coleman; at Red Star Studios, 821 W. 17th St. Montana, Bozeman through June 7 “Bozeman High School Students Ceramic Art Show”; at Michelle Grant Ceramics, 111 S. Grand #108. Montana, Helena June 1–3 “Community Exhibi- tion.” June 22–July 28 “Annual Resident Artist Summer Exhibition.” “Resident Artist Scholarship Auction and Exhibition.” July 13–August 3 “Farewell Exhibition,” works by Andrea Marquis, Melissa Mencini and Tara Wilson. August 10–31 “Lilian, Lincoln and Taunt Fel- lowship Exhibition,” works by Christina West, Joseph Pintz and Jennifer Allen; at Archie Bray Foundation for Ceramic Arts, 2915 Country Club Ave. Montana, Missoula June 1–24 Ryan Labar and Gerit Grimm; at the Clay Studio of Missoula, 1106 Hawthorne Unit A. New Jersey, Surf City through June 25 “Jersey Shore Clay National, 2007.” August 18–September 5 Rick Hensley and Donna Polseno; at m.t. burton gallery, 1819 N. Long Beach Blvd. New Mexico, Albuquerque June 1–23 “Celebra- tion of Clay 2007”; at Arts Alliance Gallery, Courtyard Shopping Center, 1100 San Mateo Blvd., Ste. 10. New Mexico, Santa Fe June 1–30 “By Six,” works by Victoria Christen, Marc Digeros, Erin Furimsky, Peter Pinnell, Joseph Pintz and Jerilyn Virden; at Santa Fe Clay, 1615 Paseo de Peralta. New Mexico, Silver City through August 1 “Modern American Woodﬁ re”; at Blue Dome Gallery, 307 N. Texas St. New York, Alfred June 6–September 28 “KleinReid: Works by James Klein and David Reid”; at Schein-Joseph International Museum of Ceramic Art, 2 Pine St. New York, Buffalo through July 22 “Selections from Annette Cravens Modern Ceramics Collection”; at Burchﬁ eld-Penney Art Center, Buffalo State College, Rockwell Hall, Third Fl., 1300 Elmwood Ave. New York, Long Island City through June 30 “Mu- tant Housewife 3: Guess Who’s Coming to Dinner?”; at Garth Clark Gallery’s Project Space, 45-46 21st St. New York, New York through June 9 “Annual Member’s Show”; at Greenwich House Pottery, 16 Jones St. through June 30 “Mutant Housewife 2: Go Figure”; at Garth Clark Gallery, 24 W. 57 St., Suite 305. New York, Port Chester June 8–17 “At the Table: Morning, Noon and Night”; at Clay Art Center, 40 Beech St. New York, Water Mill August 17–September 10 “Out of the Fire: John Brickels, Tony Moore and Ceramics Monthly June/July 2007 78

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Bill Shillalies”; at Celadon–A Clay Art Gallery, 41 Old Florida, Naples through October 30 “Art Naples Massachusetts, Brockton through January 6, Mill Rd. Group Artists Exhibition,” including ceramics by Billie 2008 “Pulp Fiction”; at Fuller Craft Museum, 455 New York, Windham June 16–July 29 “Journeys in Collins, Alexandra McCurdy, Gabrielle Nappo and Oak St. Clay”; at GCCA Mountaintop Gallery, 5348 Main St. Richard W. Rosen; at Rosen Studios, N. Line Plaza, Massachusetts, Cambridge through June 30 North Carolina, Penland through June 3 “NEW,” 2172 J&C Blvd. “The Moche of Ancient Peru: Media and Messages.” works by new Penland instructors. June 12–July 29 Georgia, Marietta July 13–August 19 “South Cobb through June 30 “Imazighen! Beauty and Artisanship “Resident Artists, 2007.” August 7–September 30 “The Arts Alliance 20th National Juried Art Exhibition”; at in Everyday Berber Life”; at Peabody Museum, Harvard Power of Red”; at Penland Gallery, Penland School of South Cobb Arts Alliance, 631 Elaine Circle. University, 11 Divinity Ave. Crafts, 67 Doras Trail. Illinois, Chicago through June 16 “Garden In- Massachusetts, Worcester June 7–30 “Halfway North Carolina, Seagrove through August 25 spired,” including ceramics by Natalie Blake, Suzanne Home,” including ceramics by Rebecca Lesnik and “Slipped, Dipped and Dotted: 18th–21st Century Crane and Steve Gardner; at Vale Craft Gallery, 230 Roberta Massuch; at Worcester Center for Craft, 25 North Carolina Redwares.” August 31–November W. Superior St. Sagamore Rd. 24 “Johnston and Jones,” works by Daniel Johnston Kansas, Manhatten through June 16 “Kansas Minnesota, Bloomington through June 29 “31st and Mark Jones; at North Carolina Pottery Center, Masters Invitational”; at Strecker-Nelson Gallery, 406 Annual Members’ Juried Exhibition”; at Bloomington 250 E. Ave. ¹⁄₂ Poyntz Ave. Art Center, 1800 W. Old Shakopee Rd. Ohio, Canton through July 22 “Contemporary Ohio Ceramics”; at Canton Museum of Art, 1001 Market Ave. N. Ohio, Kent through June 9 “National Juried Cup Show”; at Kent State University, School of Art, Down- town Gallery, 223 N. Water St. Ohio, Westerville through June 1 “Chinese Ceram- ics: from the Collection of Paul M. Steele”; at Frank Museum of Art, 39 S. Vine St. Oklahoma, Tulsa October 4–26 “Red Heat: Con- temporary Work in Clay”; at University of Tulsa, School of Art, 600 S. Delaware Ave. Pennsylvania, Lancaster through June 30 “The National Juried and Invitational Cup Show”; at the Isadore Gallery, 228 North Prince St. Pennsylvania, Philadelphia June 1–July 1 “Made at the Clay Studio.” July 6–29 “Associate Artists’ Group Exhibition.” “Fourth Annual Marge Brown Kalodner Graduate Student Exhibition”; at the Clay Studio, 139 N. Second St. Texas, Lubbock through August 12 “Teapots: Object to Subject”; at Museum of Texas Tech University, Fourth St. and Indiana Ave. Washington, Anacortes June 1–30 “Clay, Fire and Form”; at Gallery at the Depot, 6th and ‘R.’ Washington, Bellevue June 7–August 19 “Offer- ing Reconciliation,” works by Israeli and Palestinian artists; at Bellevue Arts Museum, 510 Bellevue Way NE. Wisconsin, Racine July 1–October 21 “What a Dish! Dinnerware and Serving Pieces from RAM’s Collection”; at Racine Art Museum, 441 Main St.

ceramics in multimedia exhibitions

Alaska, Anchorage through September 16 “Changing Hands—Art Without Reservation: Con- temporary Native Art from the West and Northwest”; at Anchorage Museum of History and Art, 121 W. Seventh Ave. Arizona, Tucson through June 9 Group Exhibition including ceramics by David Aguirre; at Obsidian Gallery, 4320 N. Campbell Ave. #130. Arkansas, Little Rock through June 24 “Craft in America: Expanding Traditions”; at Arkansas Arts Center, 501 East 9th St. California, Gualala through June 3 “Layer Upon Layer: Recent Work by George-Ann Bowers, Jane Burton and Karin Lusnak,” including ceramics by Jane Burton; at Gualala Arts, 46501 Gualala Rd. Colorado, Denver through July 31 “Japanese Art from the Colorado Collection of Kimiko and John Powers.” through August 19 “Breaking the Mold: The Virginia Mattern Collection of Contemporary Native American Art”; at Denver Art Museum, 100 W. 14 Ave. Pkwy. D.C., Washington through July 22 “From the Ground Up: Renwick Craft Invitational 2007,” including ceramics by Beth Cavener Stichter; at the Renwick Gallery, Smithsonian American Art Museum, 1661 Pennsylvania Ave. NW at 17th Ave. Ceramics Monthly June/July 2007 79

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New Mexico, Santa Fe through June 11 Jon Eric Southern Highland Craft Guild.” July 21–September Pennsylvania, Philadelphia through September Riis and Avital Sheffer, including ceramics by Avital 11 Sandy Webster and Mark Tomczak, including ceram- 30 “Tutankhamun and the Golden Age of the Pha- Sheffer; at Jane Sauer Gallery, 652 Canyon Rd. ics by Mark Tomczak; at Folk Art Center, MP 382 Blue raohs”; at Franklin Institute Science Museum, 222 through October 7 “Secrets of Casas Grandes: Ridge Parkway. N. 20th St. Pre-Columbian Art & Archaeology of Northern North Carolina, Charlotte June 2–December Tennessee, Gatlinburg August 17–September 22 Mexico”; at the Museum of Indian Arts and Culture, 2 “Point of View IV: Windgate Charitable Founda- “Spotlight 2007: American Craft Council Southeast 725 Camino Lejo. tion”; at Mint Museum of Craft and Design, 220 Region Annual Juried Exhibition”; at Arrowmont School New York, New York through June 16 “Tea, Wine N. Tryon St. of Arts & Crafts, 556 Parkway. and Poetry: Qing Dynasty Literati and their Drinking Ohio, Columbus through June 24 “The Best of Virginia, Alexandria July 28–September 3 “Visual Vessels”; at China Institute Gallery, 125 E. 65th St. 2007”; at Ohio Craft Museum, 1665 W. Fifth Ave. Rhythms/Ritmos Visuales”; at Target Gallery, Torpedo through August 26 “Collector’s Choice,” includ- Oregon, Portland July 22–September 23 “Craft Factory Art Center, 105 N. Union St. ing ceramics from South, Southeast and East Asia, in America: Expanding Traditions”; at Museum of Virginia, Waynesboro through June 27 “A Twist and the Himalayas; at Asia Society and Museum, 725 Contemporary Craft, 724 NW Davis St. on Tradition”; at Artisans Center of Virginia, 801 W. Park Ave. August 2–September 27 “Craft Biennial: A Review Broad St. North Carolina, Asheville through September of Northwest Art & Craft”; at Oregon College of Art Washington, Bellevue through June 17 “Women’s 16 “Beyond Expectations: New Members of the and Craft, 8245 SW Barnes Rd. Tales, Four Leading Israeli Jewelers”; at Bellevue Arts Museum, 510 Bellevue Way NE. Wisconsin, Racine July 1–October 21 “New Works 2007: Celebrating Recent Gifts to RAM”; at Racine Art Museum, 441 Main St. fairs, festivals and sales

California, Laguna Beach July 1–August 31 “Festival of Arts”; at Irvine Bowl Park, 650 Laguna Canyon Rd. California, Mendocino July 7–21 “Mendocino Street Fairs”; at Heider Field. California, Pomona July 14 “Pottery Market”; at American Museum of Ceramic Art, 340 S. Garey Ave. California, San Francisco August 10–12 “American Craft Show”; at Fort Mason Center, 99 Marina Blvd. California, Santa Monica June 8–10 “Contempo- rary Craft Market”; at Santa Monica Civic Auditorium, 1855 Main St. at Pico Blvd. Connecticut, Brookfi eld June 3 “BowlFest 2007 Auction”; at the Brookfi eld Craft Center, 286 Whis- conier Rd. Illinois, Chicago July 13–15 “16th Annual Chicago Tribune Magnifi cent Mile Art Festival”; at Pioneer Court at the Chicago Tribune Tower. Illinois, Evanston August 24–26 “American Craft Exposition 2007”; at Henry Crown Sports Pavilion, Northwestern University, 2311 North Campus Dr. Illinois, Rosemont July 20–22 “Craft and Hobby Association Convention and Trade Show”; at Donald E. Stephens Convention Center, 5555 N. River Rd. Illinois, St. Charles June 9 “13th Annual Raku Day Festival”; at Fine Line Creative Arts Center, 6N158 Crane Dr. Indiana, Michigan City August 18–19 “26th Annual Lakefront Art Festival”; at Washing- ton Park. Iowa, Clinton June 16 “45th Annual Art in the Park”; at Riverview Park. Maine, Falmouth September 28–30 “Portland Pottery’s Sale”; at Maine Audubon Society, 20 Gilsland Farm Rd. Maine, Newcastle July 14 “Salad Days”; at Water- shed Center for the Ceramic Arts, 19 Brick Hill Rd. Maine, Portland June 1–3 “Summer Sidewalk Sale”; at Portland Pottery & Metalsmithing Studio, 118 Washington Ave. Maryland, Baltimore June 1–June 3 “Clayfest 2007”; at Baltimore Clayworks, 5707 Smith Ave. Maryland, Frederick June 2–3 “Frederick Festival of the Arts”; at East St. and Carroll Creek Linear Park. Michigan, Grand Haven June 30–July 1 “46th Annual Downtown Grand Haven Art Festival”; at Washington Ave. Michigan, Monroe August 11–12 “The 4th An- nual Downtown Monroe Fine Art Fair”; next to St. Mary’s Park. Minnesota, Minneapolis September 3–9 “2007 American Pottery Festival”; at Northern Clay Center, 2424 Franklin Ave. E. Ceramics Monthly June/July 2007 80

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September 15 “The 6th Annual Minnesota Tile New Jersey, Montclair June 16–17 “Spring Brook- New York, Roslyn Harbor October 6–7 “11th An- Festival”; at the American Swedish Institute, 2600 dale Park Fine Art and Craft Show”; at Brookdale Park, nual Craft as Art Festival”; at Nassau County Museum Park Ave. S. Watchung, Bellevue and Grove Ave. of Art, 1 Museum Dr. Missouri, Kansas City September 14-16 “Arts New Jersey, Upper Montclair September 15–16 New York, Schenectady August 4–5 “Albany Sara- Fair at Zona Rosa”; at Zona Rosa, NW corner of I-29 “Fine Art and Crafts”; at Anderson Park, corner of N. toga Pottery Trail Summer Open Studios.” For more infor- and Barry Rd. Mountain Ave. and Bellevue Ave. mation, visit www.albanysaratogapotterytrail.com. Montana, Helena July 22–28 “Resident Scholarship New York, Cazenovia August 18–19 “27th Annual North Carolina, Asheville July 19–22 “The 60th Silent Auction and Cup Auction.” “Resident Scholar- Pottery Fair”; at Stone Quarry Hill Art Park. Annual Craft Fair of the Southern Highlands”; at ship Live Auction,” includes works by Sarah Jaeger, Jun New York, New York June 1–3 “SOFA New York Asheville Civic Center, 87 Haywood St. Kaneko, Chris Staley, Beth Cavener Stichter and Kurt 2007”; at Seventh Regiment Armory, Park Ave. and North Carolina, Charlotte September 20–23 “Fes- Weiser; at Archie Bray Foundation for the Ceramic Arts, 67th St. tival in the Park”; at Freedom Park, 1409 E. Blvd. 2915 Country Club Ave. June 2–3, 9–10 “31st Annual American Crafts Fes- North Carolina, Penland August 10–11 “Penland New Jersey, Augusta September 15–16 “37th tival.” September 8–9, 15–16 “22nd Annual Autumn School of Crafts 22nd Annual Beneﬁ t Auction”; at Annual Peters Valley Craft Fair”; at Sussex County Crafts Festival”; at Lincoln Center for the Performing Penland School of Craft, 67 Doras Trail. Fairgrounds, 37 Plains Rd. Arts, 64th St. at Columbus Ave. Ohio, Cambridge August 10–12 “Salt Fork Arts & Crafts Festival”; at Cambridge City Park, McFar- land Dr. Ohio, Lyndhurst June 9–10 “The 17th Annual Beachwood-Lyndhurst Art Festival”; at Main St. of Legacy Village. Oregon, Lake Oswego June 22–24 “44th Annual Lake Oswego Festival of the Arts”; at Lakewood Center for the Arts and George Rogers Park. Pennsylvania, Pittsburgh June 1–17 “48th Annual Three Rivers Arts Festival”; at 937 Liberty Ave. Texas, Houston June 23–24 “Second Annual Clay- Houston Festival”; at Houston Center for Contemporary Craft, 4848 Main St. Utah, Park City August 2 “Kimball Art Auction and Gala.” August 4–5 “38th Annual Park City Kimball Arts Festival”; at Kimball Art Center, 638 Park Ave. Washington, Anacortes August 3–5 “Anacortes Arts Festival”; at 505 O Ave. Washington, Bellevue July 27–29 “The 61st Annual Bellevue Arts Museum ArtsFair”; at 510 Bel- levue Way NE. Washington, Edmonds June 15–17 “Edmonds Arts Festival”; at Frances Anderson Cultural Center, 700 Main St. Wisconsin, Cambridge June 9–10 “2007 Cam- bridge Pottery Festival & U.S. Pottery Games”; at Lake Ripley Park, Park Rd. Wisconsin, McNaughton July 27–29 “8th Annual Northwoods Summer Art Tour”; For more information, visit www.northwoodsarttour.com. workshops

Alabama, Montgomery August 25–26 “Wheel Thrown, Altered and Combined Slab Vessels” with Conner Burns. Fee: $125; after August 1, $175. Contact Margaret at [email protected]. Arkansas, Mountain View September 1–3, 13 “Primitive Clay Techniques” with Helen Phillips. Fee: $210. Contact Terri Van Orman, Ozark Folk Center, PO Box 500, Mountain View 72560; [email protected]; www.ozarkfolkcenter.com; (870) 269-3851. California, Pomona June 10 “Mata Oritz Pottery” with Juan Quezada, Noe Quezada and Diego Valles. Fee: $65. June 23 “Coil a Pot.” Fee: adults, $10; children, $5. Contact American Museum of Ceramic Art, 340 S. Garey Ave., Pomona 91766; www.ceramicmuseum.org; (909) 865-3146. California, San Diego October 20 Workshop with Patrick Shia Crabb. Fee: $50; CASD members, $40. Contact Jackson Gray, Clay Artists of San Diego, PO Box 22524, San Diego 92104; [email protected]; www.clayartistsofsandiego.org; (858) 270-3828. California, Sunnyvale June 9–10 “Clay Mono- prints” with Eduardo Lazo. Contact Mother Earth Clay Art Center and Foundation, 790 Lucerne Dr., Sunnyvale 94085; [email protected]; www.mamasclay.org; (408) 245-6262. Colorado, Manitou Springs June 29 “An Evening with Alleghany Meadows and David Pinto.” Fee: $50. June 30 CLAYFEST. Fee: $25. July 1 Workshop with Alleghany Meadows and David Pinto. Fee: $100. For Ceramics Monthly June/July 2007 82

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more information, visit www.clayfest.com; or contact Mark Wong, (719) 685-1460. Colorado, Snowmass Village September 8–21 “Developing a Potter’s Voice” with Josh DeWeese, Peg Malloy and Alleghany Meadows. Fee: $1195. Contact Registrar, Anderson Ranch Arts Center, PO Box 5598, Snowmass Village 81615; [email protected]; www.andersonranch.org; (970) 923-3181. D.C., Washington October 6–7 Workshop with Charity Davis-Woodard. Fee: $125. Contact Hinckley Pottery, 1707 Kalorama Rd. NW, Wash- ington, D.C. 20009; [email protected]; www.hinckleypottery.com; (202) 745-7055. Georgia, Decatur October 6–8 “Reduction Firing and Ceramic Glazes” with John Britt. November 9–11 “Dreaming in Clay with Metal” with Lisa Clague. Fee: $295. Contact MudFire Clayworks, 175 Laredo Dr., De- catur 30030; info@mudﬁ re.com; (404) 377-8033. Georgia, Watkinsville September 1 “Image Trans- fer to Ceramics Without Firing” with Cameron Covert. “Success with Laser Print Transfers” with Michael Schmidt. Fee: $60; students, $40. Contact Oconee Cultural Arts Foundation, 34 School St., Watkinsville 30677; (706) 769-4565. Illinois, St. Charles September 13–14 “Carved Forms Workshop” with Deb LeAir. Contact Fine Line Creative Arts Center, 6N158 Crane Rd., St. Charles 60175; [email protected]; www.finelineca.org; (630) 584-9443. Maine, Portland June 16 “Raku” with Jamie Oates. September 8 “Extruded Forms” with Lori Watts. September 22 “Clay Creatures” with Robbi Portela. October 20 “The Perks of Porcelain” with Mark Bell. October 27 “Glaze Application and Glaze Strategy” with Chris Archer. November 10 “Pouring Vessels and Glaze Formulas” with Woody Hughes. Fee: $60. Contact Portland Pottery & Metalsmithing Studio, 118 Washing- ton Ave., Portland 04101; www.portlandpottery.com; (781) 772-4334. Massachusetts, Truro September 3–7 “From Mud to Music” with Susan Rawcliffe. Fee: $450. September 10–21 “Wood Kiln Building and Firing Workshop” with Donovan Palmquist. Fee: $500. Contact Cherie Mitten- thal, Truro Center for the Arts at Castle Hill, 10 Meeting- house Rd., PO Box 756, Truro 02666; [email protected]; www.castlehill.org; (508) 349-7511. Massachusetts, Williamsburg October 6–8 “The Square Wheel: Altered Forms” with Sequoia Miller. Fee: $315. October 27–28 “Raku Firing: Hot! Hot! Hot!” with Bob Green. Fee: $215. Contact Snow Farm: The New England Craft Program, 5 Clary Rd., Williamsburg 01096; [email protected]; www.snowfarm.org; (413) 268-3101. Mississippi, Biloxi June 16–17 “Demonstration Workshop” with Conner Burns. Contact Ohr-O’Keefe Museum of Art, 1596 Glenn Swetman Dr., Biloxi 39530; [email protected]; www.georgeohr.org; (228) 374-5547. Mississippi, Natchez October 27 “Basic Glaze Mixing Part 1” with Conner Burns. Fee: $75. Contact Conner Burns, Burns Pottery, 209 Franklin St., Natchez 39120; www.connerburns.com; (601) 446-6334. Montana, Helena September 8–9 Demonstration with Takeshi Yasuda. Fee: $200. September 29–30 “Functional Pleasures: Pottery Thoughts” with Linda Sikora. Fee: $200. Contact Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave, Helena 59602; [email protected]; www.archiebray.org; (406) 443-3502. Montana, Red Lodge September 8–9 “Functional Pots” with Warren MacKenzie. Con- tact Red Lodge Clay Center, PO Box 1527, Red Lodge 59068; [email protected]; www.redlodgeclaycenter.com; (406) 446-3993. New Jersey, Lincroft June 13, July 25, August 18 “Raku Seminar” with Stephen Jaskowak. July 18 “Crystalline Workshop.” Fee: $70. August 7 “Horse Hair Ceramics Monthly June/July 2007 84

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Firing.” Fee: $40. August 14 “Throwing Large Forms.” Fee: $40. Instructor (unless noted above): Bryan Quin- cannon. Contact Theresa Secks, Monmouth County Park System’s Creative Arts Center, 805 Newman Springs Rd., Lincroft 07738; [email protected]; www.monmouthcountyparks.com; (732) 842-4000, ext. 4314. New Mexico, Abiquiu October 1–7 “Mica- ceous Pottery.” October 8–14 “Take a Walk on the Lighter Side: Pottery Light.” Instructor: Camilla Trujillo. Fee/session: $260. Contact Ghost Ranch Abiquiu, Registrar’s Ofﬁ ce, HC 77 Box 11, Abiquiu 87510; [email protected]; www.ghostranch.org; (505) 685-4333, ext. 152 or 179. New York, New York July 5–6 “Throwing White” with Sanam Enami. Contact 92nd St. Y Arts Center, Lexington Ave. at 92nd St., New York 10128; www.92Y.org; (212) 415-5562. New York, Port Chester June 3, 24 and July 1 “Discover the Joy of Raku Firing” with Denis Licul. Fee: $80. Limited to 5 students. July 19, 26 “Making Majolica Magic” with Posey Bacopoulos. Fee: $180. Contact Leigh Taylor Mickelson, Clay Art Center, 40 Beech St., Port Chester 10573; [email protected]; www.clayartcenter.org; (914) 937-2047. New York, Troy June 2–3 “Ceramic History in Studio Practice” with Mary Barringer. Fee: $115; members, $105, includes studio fee. Contact Kyra TePaske, The Arts Center of the Capital Region, 265 River St., Troy 12180; [email protected]; www.artscenteronline.org; (518) 273-0552. North Carolina, Asheville September 14–16 “The Unexpected” with Randy Brodnax. Fee: $300. Contact Odyssey Center for Ceramics Arts, 236 Clingman Ave., Asheville 28801; [email protected]; www.highwaterclays.com; (828) 285-0210. June 2 “Clay Day.” No fee. Contact Folk Art Cen- ter, MP 382 Blue Ridge Parkway, Asheville 28805; www.craftguild.com; (828) 298-7928. North Carolina, Creedmoor June 16–23 “Full Spectrum Color Slips and Glazes for Wood Soda Firing” with Alan Bennett. Fee: $475. Contact Jen- nifer Dolan, Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor 27522; [email protected]; www.cedarcreekgallery.com; (919) 528-1041. Pennsylvania, Farmington June 4–8 “Out of the Heart and Onto the Wheel” with Kevin Crowe. June 11–15 “Hot Metal/Hot Clay: Earth-Fire-Metal” with Dave Olson and Joe Sendek. Fee: $550. June 17–24 “Wood Fire: Out of the Frying Pan into the Fire” with Jim Dugan. Fee: $650. June 25–29 “Throwing for All Levels” with Donn Hedman. July 1–7 “The Process of Discovery” with Trevor Youngberg. July 9–13 “Vessels that Pour” with Susan Beecher. July 16–20 “Intermediate Wheel” with Joe Sendek. July 23–27 “Small Scale Sculpture and Handbuilding” with Laura Jean McLaughlin. July 25–27 “Funky Clay Beads” with Tracey Donoughe. Fee: $250. July 30–August 3 “Surface Decoration Techniques” with Yoko Sekino-Bove. August 6–10, 13–17 “Wheel Thrown Pottery” with Valda Cox. August 19–28 “Shino Glazes” with Malcolm Davis. Fee: $825. September 7–9, 14–16 “Sculpting with Clay” with Dave Olson. Fee: $390. September 21–23 “Pinch Pots and Pit Fir- ing: Ancient Methods for Modern Times” with Jimmy Clark. Fee: $250. September 28–30 “Non-traditional Forming and Firing” with Donn Hedman. Fee: $195. October 12–14 “Alternative Raku” with Joe Sendek. Fee: $195. Fee (unless noted above): $495. Contact Touchstone Center for Crafts, 1049 Wharton Furnace Rd., Farmington 15437; [email protected]; www.touchstonecrafts.com; (724) 329-1370. Pennsylvania, Harrisburg June 5 “Decorative Clay Wall Pockets: Workshop for Youth.” June 12 “Mug Mugs: Clay Workshop for Youth.” June 19 “Mini Pinch Pot Teapots: Clay Workshop for Youth.” Fee/session: $30. Instructor: Kathy O’Neal. Contact

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Radius, HACC Gallery, 300 N. St., Harrisburg 17120; www.pacrafts.com/radius; (717) 787-5590. Pennsylvania, Philadelphia June 23 “Explore the Sea: Adult and Child Workshop.” Fee: adult and one child, $55; 2nd child, $10. Contact The Clay Studio, 139 N. 2nd St., Philadelphia 19106; www.theclaystudio.org; (215) 925-3453. Vermont, Brattleboro June 23 Workshop with Aysha Peltz. Fee: $40. Contact the Brat- tleboro Clayworks, 532 Putney Rd., Brattleboro 05301; [email protected]; www.brattleboroclayworks.com; (802) 254-9174. Vermont, Middlebury October 27–28 “Pots and Possibilities Workshop” with Nick Joerling. Fee: $160. Contact Frog Hollow Craft School, 1 Mill St., Middlebury 05753; [email protected]; www.froghollow.org; (802) 388-3177, ext. 7. Vermont, Shelburne September 15 “Folk Pottery” with Todd Piker. Fee: $125; members, $115, includes materials. Contact Judy Raven, Shelburne Art Center, PO Box 52, Shelburne 05482; [email protected]; www.shelburneartcenter.org; (802) 985-3648. Virginia, Alexandria October 12–14 “Alterna- tive Firing” with Linda and Charlie Riggs. Contact Gail Adkisson, Creative Clay Studios, 5704E General Washington Dr., Alexandria 22312; [email protected]; www.creativeclaypottery.com; (703) 750-9480. international events

Australia, Adelaide July 28–September 9 Leo Neuhofer, “Connections”; at JamFactory, Lion Arts Centre, 19 Morphett St. Australia, Glebe July 27–September 2 “The 2007 Sydney Teapot Exhibition”; at Inner City Clayworkers Gallery, Cnr. St Johns Rd. and Darghan St. Australia, New South Wales, Gulgong through June 18 Martin Coyote, “Contemplations.” through June 19 Lex Dickson, “Tall Stories.” June 22–August 6 “Beyond Hill End.” August 10–27 Patty Wouters, “Strength and Persistence.” Chris Adams, “Resonance”; at Cudgegong Gallery, 102 Herbert St. Australia, New South Wales, Newtown June 15–27 Tasmin Pepper; at Mura Clay Gallery, 49 King St. Belgium, Brussels through June 2 Thomas Bohls and Tora Urup; at Puls Contemporary Ceramics, Kasteleinsplein 4 Place du Châtelain. Canada, Alberta, Calgary June 10–12 “IV (Invisible/Visible) Symposium,” includes exhibitions, demonstrations, lectures and panel discussions. Contact Alberta College of Art & Design, 1407-14 Ave. NW, Calgary, AB T2N 4R3; www.canadiancraftsfederation.ca/craft_year_2007. June 14–17 “2007 Craft Organization Development Association Conference,” includes lectures by Lynette Jennings, Charles Lewton-Brain, Sandra Alfoldy and Jennifer Salahub. Fee: $345; members, $295. Contact CODA, PO Box 51, Onia, AR 72663; [email protected]; www.codacraft.org; (870) 746-5159. through December 31 “Telling Tales: A Celebration of the Narrative in Contemporary Studio Ceramics, Glass and Sculpture”; at Dashwood Galleries, 100 Seventh Ave., SW #203. Canada, Alberta, Edmonton July 21–September 8 Diane Sullivan, “To China With Love”; at Alberta Craft Council Gallery, 10186-106 St. Canada, British Columbia, Castlegar June 8–July 13 Sam Dickie, “Elusive Containment”; at Kootenay Gal- lery of Art, History and Science, 120 Heritage Way. Canada, British Columbia, Slocan Park July 27–29 “Stoked and Glazed: Potters and Friends”; at Slocan Park Hall. Canada, British Columbia, Vancouver, Granville Island through June 5 Gillian McMillan. July 6–31 Rachelle Chinnery; at Circle Craft Gallery, 1-1666 Johnston St. Ceramics Monthly June/July 2007 88

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Canada, British Columbia, Victoria July 2–13; Illinois, Sandwich February 28–March 2, 2008 Two-Part Workshop “An Eight Month Journey: Throwing, Per- sonal Style and Developing a Body of Work” with Steven Hill. September 22–23 “Enriched Vessels,” throwing and altering with Nick Joerling. Fee: $135. Contact Meira Mathison, Metchosin School of Art, 650 Pearson Col- lege Dr., Victoria V9C 4H7; [email protected]; www.missa.ca; (250) 391-2420. Canada, New Brunswick, Rothesay July 7–8 “Rothesay Fine Craft Festival”; at the Rothesay Com- mons near St. John. Canada, Nova Scotia, Halifax November 23–25 “Neocraft Conference,” includes lectures and round- table discussions on crafts and modernity. Fee: $150; students, $75; after October 26, $200; students, $100. Contact Dr. Sandra Alfoldy, Nova Scotia Col- lege of Art and Design University, 5163 Duke St., Halifax, Nova Scotia B3J 3J6; [email protected]; [email protected]; www.neocraft.ca; (902) 494-8306. Canada, Ontario, Belleville June 7–June 19 “Divided: Separated; Separate,” including ceramics by Peta Hall; at John M. Parrot Art Gallery, Belleville Public Library, 254 Pinnacle St. Canada, Ontario, Burlington through August 12 Bill Reddick, “Functional.” June 3–September 16 Kasia Piech, “The Garden of Earthly Delights”; at Burlington Art Centre, 1333 Lakeshore Rd. June 9–10 “23rd Annual Art and Craft Fair”; at Spencer Smith Park, 1333 Lakeshore Rd. Canada, Ontario, Collingwood June 9–July 2 Steve Irvine, “Photons and Fire”; at Blue Mountain Foundation for the Arts, 163 Hurontario St. Canada, Ontario, Guelph June 2–3 “The Guelph Pottery Festival”; at Goldie Mill Park. Canada, Ontario, Ottawa through June 3 “As- pect,” including ceramics by Paula Murphy; at City Hall Art Gallery, Ottawa City Hall, 110 Laurier Ave. W. June 28–July 18 “Ceramic Sculpture Now,” works by Mimi Cabri, Susan Collett, Paula Murray, Laurie Rolland, Jim Thomson, Wendy Walgate and others; at Lafreniere and Pai Gallery, 13 Murray St. Canada, Ontario, Port Hope July 9–August 6 Angelo Di Petta; at A.K. Collings Gallery, 41 John St. Canada, Ontario, Toronto June 12–24 “The Distill Cup 2007”; at Distill, 55 Mill St. #56. through August 6 “Ancient Peru Unearthed: Golden Treasures of a Lost Civilization”; at Royal Ontario Mu- seum, 100 Queen’s Park. through September 16 “Made in China–Export Porcelain from the Leo and Doris Hodroff Collection at Winterthur”; at Gardiner Museum of Ceramic Art, 111 Queen’s Park. Canada, Ontario, Waterloo June 3–September 2 Anong Beam. Susan Collett; at Canadian Clay and Glass Gallery, 25 Caroline St. N. Canada, Ontario, Whitby July 21–September 2 Keith Campbell, “Turn of the Screw”; at Station Gal- lery, 1450 Henry St. Canada, Quebec, Gatineau through August 5 “Unique! 30 Years of Outstanding Crafts”; at the Canadian Museum of Civilization, 100 Laurier St. Canada, Quebec, Montreal through June 11 Marie-Andrée Côté, “Pendant que l’eau ﬁ le...”; at Maison de la Culture Pointe-aux-Trembles, 12001 rue Notre-Dame est. through June 23 Rose Szaz; at Canadian Guild of Crafts, 1460 Sherbrooke St. W., Suite B. Canada, Saskatchewan, Saskatoon through June 4 “Power of 10,” works by clay artist’s guild Sask Terra; at Saskatchewan Craft Council Gallery, 813 Broadway Ave. Chile, Santiago January 2008 “Soda and Wood Kiln Firing Safari” with Doug Casebeer and Marilo Pelusa Rosenthal. For more information, visit www.chileanceramicworkshop.com. Contact Ceramics Monthly June/July 2007 90

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Marilu Pelusa Rosenthal, Curaumilla Arts Center, The Wallace Collection, Hertford House, Man- Germany, Frechen through August 5 Beate Kuhn [email protected]; 56 2 321 6886. chester Square. June 17–February 10, 2008 “One Century of Ceram- China, Shaanxi, Fuping November 5–9 “2007 IC- June 7–16 Stephen Parry. July 16–28 Lisa Hammond. ics”; at Stiftung Keramion-Zentrum für moderne und MEA Conference.” Contact ICMEA (International Ceramic August 9–18 Wendy Lawrence; at Contemporary historiche Keramik Frechen, Bonnstraße 12. Magazine Editors Association), Fuping Pottery Art Village, Ceramics, The Craft Potters Association Gallery, 7 Germany, Heidelberg through June 3 Ruth Fuping, Shaanxi 711700; [email protected]; Marshall St. Duckworth and Ken Eastman. June 24–August 12 www.fl icam.com. July 1–August 17 Gordon Baldwin; at Anthony Shaw Sandy Brown, “The Still Point and the Dance”; at China, Shanghai August 21–24 “2007 China In- Collection, 11 Billing Place, West Brompton. Galerie Marianne Heller, Friedrich-Ebert-Anlange 2, ternational Ceramic and Stone Exhibition”; at Shanghai July 18–August 31 Summer Exhibition; at Galerie Im Stadtgarten. New International Expo Centre,2345 Longyang Rd., Besson, 15 Royal Arcade, 28 Old Bond St. Germany, Höhr-Grenzhausen June 2–3 “In- Pudong New Area. November 5–7 “Transfer: the Infl uence of China on ternational Ceramics Market.” Contact Tourist October 23–25 “2007 China (Shanghai) In- World Ceramics.” Fee: £70 (US$140). Contact Elizabeth Information Höhr-Grenzhausen, Rheinstraße 60a, ternational Advanced Ceramics Exhibition and Jackson, Percival David Foundation of Chinese Art, 53 Höhr-Grenzhausen D-56203. For more information, Conference.” Contact Shanghai Worldwide Ex- Gordon Square, London WC1H 0PD. visit www.hoehr-grenzhausen.de. hibitions, 19 Yunhai Bldg. No. 118 Qinghai Rd., England, Nottinghamshire, Newark June 23–24 Germany, Oldenburg August 4–5 “25th Interna- Shanghai 200041; [email protected]; “Earth & Fire: International Festival of Ceramics”; at tional Oldenburg Pottery Market”; at the Schlossplatz, www.aceramicsexpo.com. Rufford Craft Centre, Rufford Country Park, Ollerton. city center of Oldenburg. For more information, visit Denmark, Copenhagen through June 9 Aage England, Penrith July 27–29 “Potfest in the Park”; www.oldenburger-toepfermarkt.de. Bick, Hans Börjeson and Birgitte Börjeson; at Galleri at Hutton-in-the-Forest. Italy, Firenze, Certaldo October 7–20 “Wood- Nørby, Vestergade 8. England, Suffolk September 14–16 “Jane Perry- firing Workshop in Tuscany” with Jason Law- July 2–August 11 “Summer Exhibition”; at Drud & man Firing Workshop 2.” Fee: £245 (US$481) includes fer. Fee: C2100 (US$2808), includes materials, Køppe Gallery–Contemporary Objects, Bredgade 66. materials, fi rings and meals. October 13–14 “Jane Per- fi rings, lodging and meals. Contact Pietro Mad- August 23–September 30 “Nicaraguansk Keramik, ryman Firing Workshop.” Fee: £190 (US$373) includes dalena, La Meridiana International School of Ce- Tradition og Fornyelse”; at Kunstindustrimuseet, materials, fi rings and meals. For more information, visit ramic Art in Tuscany, Loc. Bagnano, 135, Certaldo Bredgade 68. www.janeperryman.com. Contact Jane Perryman, Wash 50052; info@lameridiana.fi .it; www.lameridiana.fi .it; Denmark, Kolding through June 3 “Ceramics in Cottage, Clare Rd., Hundon, Sudbury, Suffolk C010 39 0571 660084. Kolding: The Ceramic Department 1968–2007”; at 8DH; [email protected]. Italy, Ravenna, Faenza through August 19 Koldinghus Museum, Markdannersgade 11. England, Surrey, Farnham June 12–September 15 “55th Premio Faenza for Young Artists”; at Museo Denmark, Silkeborg through June 10 “Nicara- Simon Carroll, “Suggestion and Statement”; at Crafts Internazionale delle Ceramiche in Faenza Fondazione, guansk Keramik, Tradition og Fornyelse”; at Kunst- Study Centre, Farnham Campus, Falkner Rd. Via Campidori, 2. Centret Silkeborg Bad, Gjessørej 40 A-D. England, Warwickshire, Shipston-on-Stour July Korea, Icheon through June 24 “4th World Ceramic Denmark, Skaelskoer October 8–12 “Ceramics 14–31 “The Cup and Saucer Exhibition”; at Where I Fell Biennale 2007 Korea Festival.” “4th World Ceramic Form and Material” with Hans and Birgitte Börjesen. Fee: in Love Gallery, The Shambles, Market Place. Biennale 2007 Korea Exhibition”; at Icheon World DKr1700 (US$305). October 22–26 “Computer, Print England, West Sussex June 10–24 “Southern Ceramic Center, San 69-1, Gwango-dong, Icheon-si; and Clay” with Scott Rench. Fee: DKr1900 (US$341). Ceramic Group.” July 1–20 Alexandra Beale; at Forge www.wocef.com. Contact International Ceramic Research Center, Heil- Gallery, The Street, Walberton, Near Arundel. Mexico, Centro Histórico through June 3 “3rd mannsvej 31A, Skaelskoer 4230; [email protected]; England, West Sussex, Arundel June 30–July 1 Biennial of Utilitarian Ceramics”; at Museo Franz Mayer, www.ceramic.dk; 45 5819 0016. “Contemporary Craft Show”; at the Arundel Castle Av. Hidalgo 45. England, Cumbria, Bowness-on-Windmere and Gardens. Myanmar (Burma), Mandalay, Bagan, Inle Lake, through June 10 Gareth Mason at Blackwell, The Arts England, Worcerster August 4–25 Will Levi Yagon January 14–February 2, 2008 “Burma: Ceramics and Crafts House, just off Lyth Valley Rd. Marshall, Daniel Smith and Fritz Rossman. September and Cultural Excursion,” includes pottery making and England, Cumbria, Penrith August 3–5 “Potfest 1–29 John Bedding and Tim Gee; at Gallery at Bevere, fi ring in traditional villages, cultural and historical tours. in the Pens”; at Skirsgill Auction Mart. Bevere Ln. Limit/session of 12. Contact Denys James, Discovery England, Derbyshire, Bakewell June 1–3 Finland, Porvoo July 5–August 5 “Nicaraguansk Art Travel, 182 Welbury Dr., Salt Spring Island, British “Potfest Peak”; at the Bakewell Agricultural Centre, Keramik, Tradition og Fornyelse”; at Vanha Kappalais- Columbia V8K 2L8 Canada; [email protected]; Agricultural Way. entalo, Kaivokatu 40. www.denysjames.com; (250) 537-4906. England, Devon, Bovey Tracey June 16–July 18 France, La Borne through July 10 Agathe Larpent. Netherlands, Amsterdam through June Tim Gee. June 30–September 9 “Carbon Footprints: July 13–21 “La Borne in Flames.” August 11–September 16 Johan van Loon; at the Gallery Carla Koch, the Devon Guild Summer Exhibition.” September 23 Jérome Galvin; at Centre Création Céramique La Prinsengracht 510. 29–October 31 Julie Ayton; at Devon Guild of Crafts- Borne, 18250 Henrichemont. Netherlands, Delft July 14–15 “Delft Ceramica men, Riverside Mill. France, Le Fuilet through December 31 “Potières 2007.” “Girls of Vermeer”; at Het Meisjeshuis, Oude June 8–10 “The Contemporary Craft Fair”; at Mill et poteries de Kalabougou”; at La Maison de Potier, Delft 112. Marsh Park. 2, rue des Recoins. through June 30 Jennifer Forsberg. August 17–Sep- England, East Sussex, Hailsham August 9–12 France, Paris through July 8 Fanny Ferré; at Galerie tember 29 Márta Nagy; at Terra Delft, Nieuwstraat 7. “Sussex Guild’s Crafts in Action”; at Michelham Priory, Capazza, 18330 Nançay. Netherlands, Deventer June 17–July 14 Gustavo Upper Dicker. France, Saint Eloy de Gy July 1–21 “First Inter- Pérez; at Loes & Reinier, Korte Assenstraat 15. England, East Sussex, Wadhurst September national Young Wood Firers Symposium.” For more Netherlands, Leeuwarden through October 28 1–2 “Contemporary Craft Show”; at Pashley Manor information, visit www.yiwa.org. “Pretty Dutch: Eighteenth-Century Dutch Porcelain Gardens, Ticehurst. France, Saint Germain en Laye June 10–July 28 and Modern Refl ections”; at Princessehof Leeuwarden, England, Hampshire, Basingstoke June 9–11 Paul Beckrich, “Raku Sculptures”; at Anagama Gallery, Grote Kerkstraat 11. “Hackwood Art Festival 2007”; at the Hackwood 29 rue du Vieil Abreuvoir. Scotland, Edinburgh July 7–28 Nicholas Rena, Farm, Tunworth. France, Sarreguemines through July 22 “Serie Ken Eastman and Tessa Clegg; at The Scottish Gallery, England, Hampshire, Petersfi eld September Blanche: La Céramique, Naissance d’une Industrie au 16 Dundas St. 18–October 13 Ruthanne Tudball and Jack Doherty; at Cœur de l’Europe”; at Musée de la Faïence de Sar- Turkey, Istanbul, Cappadocia, Ankara September Smartgallery, Dumpford Farmhouse, Trotton. reguemines, 17, rue Poincaré. 15–October 4 “Turkey 2007 Ceramics Excursion,” England, Herfordshire August 3–5 “The 13th France, St Quentin La Poterie June 3–August 2 hands-on workshop including handbuilding, colored Art in Clay Pottery and Ceramics Festival”; at Hatfi eld Vincent Potier, “Chemins.” August 5–September 6 porcelain and decals with Mehmet Kutlu, hands-on House, Hatfi eld. Serge Castillo, “Fictions.” Christine Fabre, “Natives.” workshop with Erdogan Gulec, tours and studio vis- England, Leeds through July 31 Charlton through January 6, 2008 “200 Bols D’Exception”; at its. September 17–21 Mehmet Kutlu workshop only. Nicoll July 7–October 31 Kate Schuricht; at the Galerie Terra Viva, 14 rue de la Fontaine. Limit/session of 12. Contact Denys James, Discovery Craft Centre & Design Gallery, City Art Gallery, Germany, Darmstadt June 16–25 Ceramics in Art Travel, 182 Welbury Dr., Salt Spring Island, British The Headrow. the Country. September 3–23 Johannes Nagel and Columbia V8K 2L8 Canada; [email protected]; England, Liverpool through June 9 “Looking Jan Liebmann, “Containers and Objects”; at Galerie www.denysjames.com; (250) 537-4906. Back,” including ceramics by David Cleverly and Kate Keramikum, Untere Mühlstrasse 26. Wales, Ceredigion, Aberystwyth June 29–July 1 McBride; at Bluecoat Display Centre, College Ln. Germany, Duesseldorf through July 8 “Ceramics “International Ceramics Festival 2007”; at Aberystwyth England, London through June 24 “Fragmented from the South Seas Collection”; at Heljens-Museum, Arts Centre, University of Wales. For more information, Images: New Artworks by Charlotte Hodes”; at Schulstrasse 4. visit www.internationalceramicsfestival.org. Ceramics Monthly June/July 2007 92

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Ceramics Monthly June/July 2007 93

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Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Per- Sell your work to galleries and shops. For 25 years sonals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the we’ve helped thousands of artists grow their careers. first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! You’ll discover more studio time, less travel time and See www.ceramicsmonthly.org/classifieds.asp for details. more profi t than ever before. Average sales $25,000! www.AmericanCraft.com or (410) 889-2933.

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Ohio Slip fi res Cone 6 through Keramic Studio magazines from 1912 to 1916, $39 www.mudandfi repotters.com; (570) 623-3335. 12. 10 lbs—$.80/lb, 25 lbs—$.70/lb, 120 lbs—$.60/lb, each w/post. Features china pottery decoration with 350 lbs—$.50/lb. Family owned. Mined and processed “Tabletops: A Ceramics Invitational Exhibition.” many ads, articles, photographs. Great fun, fi ne by A&k Clay Co., LLC. Phone (937) 379-1495. condition, 40 pages. Contact [email protected]; June 2–25, 2007. Opening reception: Sunday, June (415) 564-6375. 10, 5:30–7:30 pm. Celebrate 50 nationally recognized publications ceramics artists and their functional and non-functional Pottery and art gallery (established 1984) for sale interpretations of the theme TABLETOPS. Meet many New release: Get A Handle ON IT! New instructional in the U.S. Virgin Islands. Owner will consider fi nanc- of these talented artists and learn more about their DVD by Tony Clennell. 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Considerable potential for fi ring), room and board, monthly stipend, gallery sales. expansion by advertising and/or wholesale. E-mail real estate Check www.whitefi shpottery.com for more details [email protected]. about applying. Pottery West in Las Vegas, Nevada. Pottery classes: 6 Pottery for sale—Sedgwick, Maine, near Haystack: weeks of classes and open studio time, $150. Attend as 2-bedroom cabin on wooded acre; studio, gallery, events many classes as you’d like during the 6 weeks. Studio downdraft kiln; offi ce with skylights; inclusive, caring, fees, $25, includes 25 lb of clay, glazes and fi ring (Cone political, active, artist community; $175,000. Call Third Annual Vasefi nder Nationals. Please see 10 gas reduction). For information and directions, (207) 359-2320. WWW.VASEFINDER.COM for details. call Amy Kline at (702) 987-3023. Visit us online at www.potterywest.com or www.potterywest.net. Artist Dream Home—two acres; spectacular Zion Pottery course Spain: Seth Cardew and Simon Park views; two 600-sf indoor studios, 1200-sf at- Leach team up to teach from the wheel. Great Mid-Coastal Maine Potter’s Retreat. Beautiful tached kiln and raku fi ring workshop, 2200-sf open Spanish experience! Also at the pottery, a fully ceramics studio/living space on 110 acres. Woods main fl oor home with a third fl oor, 1000-sf unfi nished furnished 4-bedroom house is available to rent by trails, swimming pond, private lessons and cri- master bedroom; radiant fl oor heat/master cooled/huge the week. www.cardew-spain.com; or e-mail tiques/group workshops. Nearby ocean and sailboat. deck/720-sf garage space; $575,000. (866) 301-8649; [email protected] for details. www.starfl owerfarmstudios.com; (207) 525-3593. [email protected]. Ceramics Monthly June/July 2007 94

JJ_07_094_096.indd 94 5/3/07 3:14:43 PM Potter’s home, studio, gas kiln and barn–showroom. services travel 1806 cape located in coastal Maine village. 35-year- old summer business gives access to a niche market. Private deck overlooks lush gardens, pond and marsh Master Kiln Builders. 26+ years experience design- Ceramics residency in Ghana. Learn indig- fi lled with wildlife. Tidal river across the road. Skate in ing and building beautiful, safe, custom kilns for enous techniques. Fee includes equipped studio, winter, kayak in summer. (207) 594-7915. $315,000. universities, colleges, high schools, art centers and materials, tours, lodging and meals for three private clients. Soda/salt kilns, wood kilns, raku kilns, weeks. E-mail [email protected]; Established pottery location on 31+ acres. Unique stoneware kilns, sculpture burnout kilns, car kilns and www.studiomateceramics.com. property consisting of pottery building, 3-bedroom specialty electric kilns. Competitive prices. Donovan. cedar home w/full basement, barn, riding arena, Phone/fax (612) 250-6208. additional 2-bedroom dwelling. Private setting in Craft and folk art tours. Mexico, SW Balkans, Ro- Seagrove North Carolina, close to galleries, potteries, mania, Morocco, South Africa, Burma, India, Central Ceramics Consulting Services offers technical infor- Asia. Small, personalized groups. Craft World Tours, the Museum of NC Traditional Pottery and NC Pottery mation and practical advice on clay/glaze/kiln faults Center. More than 100 potters showcase their craft 6776CM Warboys, Byron, NY 14422; (585) 548-2667; and corrections, slip casting, clay body/glaze formulas, throughout the area. Excellent opportunity priced www.craftworldtours.com. salt glazing, product design. Call or write for details. at $345,000. E-mail Vickie Gallimore with RE/MAX Jeff Zamek, 6 Glendale Woods Dr., Southampton, Central Realty at [email protected]; or Ceramic China trip: Beijing, Xi’an, Three Gorg- MA 01073; (413) 527-7337; e-mail fi[email protected]; call (336) 626-5600. es, Jingdezhen, Yixing and Shanghai. October or www.fixpots.com. 8–27, 2007. www.ChineseClayArt.com; Contact 60 acres in Seagrove, North Carolina. Beautiful rolling [email protected]. property with 3 ponds, partially wooded, pasture, some Molds custom made for potters, ceramics manufactur- fencing, timber, excellent pottery location, perfect for ing companies and hobby ceramics. Contact Reach Overseas ceramics workshops and tours—Turkey, horses. $299,500. E-mail Vickie Gallimore with RE/MAX Molds, 20 Camp Rd. 41, Ogdensburg, NY 13669; Istanbul and Cappadocia: 9/13–10/4/2007, workshops Central Realty at [email protected]; or (315) 393-6065. call (336) 626-5600. with Mehmet Kutlu and Erdogan Gulec. Myanmar (Burma): 1/14–2/2/2008, ancient potteries; Mandalay; Accept credit cards in your ceramics retail/whole- Custom home beautifully situated on 58 acres. Yangon; Inle Lake; Bagan temples. Upcoming: Laos sale/home-based/Internet and craft-show business. This 4-bedroom, 3-bath home located in Seagrove, and Angkor Wat, Morocco. Small, culturally sensitive No application fee. No monthly minimum. No lease North Carolina, has a lot of special features: great groups using local translators and experts. Discovery requirement. Retriever/First of Omaha Merchant room w/rock fi replace and antique mantel, hardwood Art Travel, Denys James, Canada; (250) 537-4906; Processing. Please call (888) 549-6424. fl oors, cathedral ceilings, tongue and groove pine, [email protected]; www.denysjames.com. 2 bonus rooms, covered back porch, in-ground pool, goldfish pond, double garage and more. Glaze Kitchen. Do you have a glaze recipe and want $550,000. E-mail Vickie Gallimore with RE/MAX to use it but don’t want to buy all those chemicals? Central Realty at [email protected]; or Let us make your glaze. Contact Tin Barn Pottery for Remember to check out the classified ads online: call (336) 626-5600. details: (703) 330-1173. www.ceramicsmonthly.org/classifi eds.asp.

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Ceramics Monthly June/July 2007 95

JJ_07_094_096.indd 95 5/3/07 4:56:19 PM Comment functional pride (continued from page 65)

Fun’ Pottery: Redefi ning Functional Cabau Fun’ (rhymes with Ka-pow!): Con Fun’: Conceptual Functional. Pots I started thinking about how the phrase California Bauhaus Functional. Marguerite based on, or related to, functionality, that “functional pottery” is generally interpreted, Wildenhain’s Pond Farm 1950s style contin- look like they might work, but don’t (all those laden as it is with dreary images of Birkenstocks, ues to exert a powerful aesthetic infl uence on eccentric teapots, etc.). beards, granola and a general sense of overbear- mainstream American Fun’ pottery. Glam Fun’: or more poetically, “Glam-ce- ing earnestness. The more I thought about the Chunky Fun’ (formerly known as Mingei- ram.” Designer-labeled, white-ware. actual reality of contemporary functional pot- sota): A distinctly American synthesis of Japanese No Fun’: Norwegian Functional. More fun than tery, the sadder I became that this vibrant and and Korean ceramics that is related to Le Fun,’ but the name suggests. Not to be confused with: exciting world is still described by such a dull is more infl uenced by Hamada than Leach, and NO FUN: Sometimes confused, incorrectly, and out-of-date phrase, and is often portrayed also manifests a distinct design component. with Le Fun’, which in fact can be lots of fun, NO by an inaccurate and demeaning set of stereo- Funky Fun’: Loosely Thrown Functional, FUN is available in all aesthetic categories, and types. Words matter; phrases and descriptions which is not necessarily “Japanese” in deriva- depends more on individual character and politi- enter our consciousness and create, or trigger, tion or appearance. cal conviction than particular style. As a counter- prejudices that are diffi cult to shake. But give a Psycho Fun’: Psychedelic Functional. Deco- point to the excesses of contemporary Western life, group a new name and its image changes. Re- rated in a bright rainbow of colors, whether however, it has many lessons to teach us all. label and re-identify an activity and, beyond earthenware, stoneware or porcelain. I haven’t begun to exhaust the many styles mere spin, it is possible to look at that activity Struck Fun’: Structural Functional. Pots of Fun’ Pottery, and of course, combinations of with new eyes. Therefore, I’d like to propose with clean lines and plain surfaces. these styles also exist. For example, when I make that we start looking at functional pottery as Alt Fun’: Thrown and Altered Functional. planters, I’m working in a Le Prohowoesofo Fun’ “Fun’ Pottery,” with an implied silent “c,” clearly Frilly Fun’: Elaborately formed/decorated. style. Linda Sikora, whose work I admire, might distinguished from its cousin Funk Pottery, but Sofo Fun’: Southern Folk Functional. The be characterized as a Frillypsychoindoakaporka no less serious. It’ll be kind of fun. oldest continuing Anglo-root of Fun’ pottery Fun’ potter. Quite a mouthful, to be sure, but so Fun’ Pottery includes handmade pots that in the U.S. Inexpensive (not to be confused much more fun than being labeled a Functional were created to be useful—items like mugs, with SOFA). Potter. Arguments may rage about the merits of bowls, plates, pitchers, jars, teapots, casseroles, Ho Fun’: (previously known as Hor Fun’). each of these styles, but, to summarize, hand- baking dishes, planters and vases. Often, these Horticultural ware, made throughout the U.S. made functional pottery is alive and well! pots are used for their obvious purpose (a mug Pro Fun’: Production Functional. There Fun’ Pottery is not monolithic but diverse. holds liquid, and so forth), but they are also are many highly skilled potters throwing in Fun’ potters are well-established within American used decoratively to ornament a home or gar- larger shops, working piece rate, who rarely culture, making work that is imaginative, play- den. Usually they serve both purposes. get mentioned in these pages. ful, stylistically variable and economically viable. I’ve divided and deconstructed Fun’ Pot- Woe Fun’: Wood-Fired Functional. Sub-di- Some Fun’ potters make pots that are quiet, and tery into groups, listed below, determined by vided into several groups, by kiln type: others make work that is decadent. Fun’ potters their history, geography, style or personality. ’Borig Fun’: Naborigama Functional. work in Manhattan and Peoria, in the backwoods Although my approach is deliberately light- Made in chambered kilns, often in the of West Virginia and under the sunny skies of hearted, its purpose is far from fl ippant. spirit of the Japanese Mingei movement. Santa Barbara. We work alone and in groups. The list is a serious attempt to shift people’s I’m A-Gonna (have) Fun’: Anagama Some Fun’ potters are rich, some are poor, some perception about each category by encourag- Functional. Made in the spirit of unglazed are famous, some are not. We sell work from our ing them to consider useful pots from a new Momoyama Japanese tea-ceremony ware. homes, at street fairs, on the Internet, at presti- perspective. We live in competitive times, and Hawg Fun’: Southern Groundhog Kiln gious art fairs and in major galleries. Our work repositioning Fun’ Pottery in the marketplace, Functional. Closely related to Sofo Fun’. is bought by regular folk and billionaires, and is and championing its many types, will help Aka Fun’: Academic Functional. Made by seen on tables, in sinks, on museum pedestals and boost the fortunes of the fi eld at large. These faculty and students at academic institutions. on TV. There are more Fun’ potters than ever. categories are fabrications, and my intent is to Porka Fun’: Porcelain Functional. Many Fun’ And furthermore, I know that many of them are enlighten and amuse rather than cause offense. potters use porcelain in a variety of styles. having lots of fun. Fun’ Pottery is not in a funk, In any case, the list is incomplete and I encour- Jolly Fun’: Majolica Functional. Scores of nor in a crisis: it fl ourishes. All of us Fun’ potters age readers to add their own new categories: potters make fi ne Neo-Majolica ware. strive to make wonderful pots that add depth and Le Fun’ (said with a French accent): Leach Indo Fun’: Industrial Functional. Aside from beauty to the world we know. What more can we Functional. Mistakenly characterized as a pots made by large-scale manufacturers, several ask of ourselves than that? pompous British fuddy-duddy, Bernard Leach potters take industrial models, historical or con- was an aesthetic adventurer, a sexual explorer temporary, as a basis for studio-scale pottery. the author Mark Hewitt makes fun in Pitts- and the original “rock star” potter, whose Classy Fun’: Classic Functional. Referencing any boro, North Carolina. To join in the fun, see “Asian-fusion” style continues to inspire. of the innumerable classic ceramic traditions. www.hewittpottery.com.

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