William C. Hunt...... Editor Ruth C. Buder...... Associate Editor Robert L. Creager...... Art Director Kim Schomburg...... Editorial Assistant Mary Rushley...... Circulation Manager Mary E. Beaver...... Circulation Assistant Jayne Lx>hr...... Circulation Assistant Connie Belcher...... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de­ scribing standards and procedures for the preparation and submission of a manu­ script is available upon request. Mail sub­ missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor­ mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com­ puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452. A 20-year subject index (1953- 1972), coveringCeramics Monthly feature ar­ ticles, the Suggestions and Questions col­ umns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xero­ graphic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1990 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly

4 Ceramics Monthly Volume 38,N umber 6 • June/July/August 1990

Feature Articles

Carlos Runcie Tanaka ...... 26 George Bowes ...... 28 Spain’s Angel Garraza by TxenaEsparta ...... 30 Portfolio: Abstractions in Black and White by Robert Sperry...... 33 Running the Mazeby Roddy Reed...... 41 Sarah Frederick Inspiration can come Sarah Frederick ...... 46 from many sources and in many guises. Louisville production potter Sarah Freder­ Lynelle Youngquist...... 48 ick checks out the local farmer’s market for ideas on form and color; see page 46. Portfolio: Poul Jensen by Frank Boyden...... 49 Functional Expression...... 57 Joyous Flameby Ben Cohen ...... 60 Conductivity and Thermal Shockby Robert Tichane ...... 98

Departments

Letters...... 6 Comment: A Ceramist’s Significant Other Where to Show ...... 8 by M. L. Grace ...... 24 New Books ...... 10 Suggestions...... 92 Film & Video ...... 94 Itinerary ...... 16 Classified Advertising ...... 102 Questions...... 20 Index to Advertisers...... 104

News & Retrospect

Henry Hammond Estate Auction...... 71 Lyn Riccardo...... 82 CAA Call for Endowments Support .... 71 Focus on Illinois...... 82 Carlos Runcie Tanaka A Peruvian of Jap­ anese descent, Runcie combines tradi­ Fragmented Scripps Annual Getting into His Work...... 84 tions from both cultures in his abstract by Kathy Koop...... 71 Stephanie DeLange...... 84 sculpture and functional ware; page 26. Lithuanian Ceramics Sally Goodman ...... 84 by Joyce Patton-Kavanagh ...... 72 Rene Murray...... 86 The coverRoddy Reed (Ybor City, Flor­ Prehistoric/Medieval Collection Sold.. 76 Washington Potters Annual ida) makes a living from pinch pots! Like Andree Richmond ...... 78 by Matthew Kangas ...... 86 the mazes decorating some of these works, Karon and Louie Doherty...... 79 Out of the Ashes Reed’s life took many twists and turns be­ by Jewell Gross Brenneman ...... 88 fore he reached his goal of being a full­ Walter Hall...... 80 time, professional artist; see his story start­ Amplification...... 82 Don Davis...... 100 ing on page 41. Photo: Robert Polzer. Jim Kemp...... 82 Third American Crafts Awards ...... 104

June/July/August 1990 5 Letters (page 105), Robert Delaunay (page 199), letter, I come up with a grand total of just Paul Klee (page 257); and his work was under 100 pages! admired by such greats as Redon, Degas, Before you decide to give Mino a try Toulouse-Lautrec and Renoir (page 281). next year, you might find it worth your “Rousseau’s last great work, ‘The Dream,’ while to ask a few questions. Should the is a fantasy that the surrealists undoubtedly organizers be trusted with the responsibil­ envied” (page 282). “The conception is ity they have voluntarily assumed? Is this Shaner’s Autobiography perfect, too entrancing to need any expla­ exhibition a significant showcase for ce­ It’s refreshing to know that in the razz­ nation other than its existence.” ramic artists around the world, or is it a matazz world of contemporary ceramics, I could go on, but I believe I have made competition for those who prefer paper­ the quiet forms of David Shaner [April my point. Henri Rousseau was a genius work over studio work? CM] can captivate our attention as well. (pages 278 and 282), and was recognized Neil Tetkowski Like the big sky on a clear Montana day, by his peers for that! Buffalo, N.Y. Shaner’s work embodies a natural sense of “Rousseau, as painter and prophet, be­ order, enriching our lives along the way. longs next to Picasso, Braque, Matisse and Sickening Peter Held the other painters who constituted the first In the March issue I found clay heart Corvallis, Ore. generation of 20th century art” (page 282). pictures sickening, as I have heart trouble. If you, Mr. Zakin or the readers ofCe­ After I tore the page out, though, CM is In response to the autobiographical ar­ ramics Monthly, can’t or won’t accept my still number one. ticle on Dave Shaner: Thank you; it is ar­ premise (and the words of knowledgeable John Kelsey ticles such as this that keeps me subscribing art critics), then use your eyes—for that is Albuquerque, N.M. to CM. Shaner’s spirit resounds in his pot­ what art is all about—to look at and appre­ tery and inspires me to remain committed ciate a work such as Rousseau’s “CarnivalPotter Prefers Prices to clay. Wonderful photographs of pots Evening.” And if that doesn’t work, try to Publish prices, please—it would be very that “speak for themselves” delight my buy it! helpful for those of us who live at the end of senses. I hope to find more of the same in Name withheld by request the world with few galleries nearby. subsequent issues. Marsha Silverman Frances Smoker Mino, A Shipping Nightmare Miami Juneau, Alaska I have to give the Japanese a lot of credit for hosting the largest competitive interna­ Pots Not Pouts, Please George Ohr Comment tional exhibition in the ceramic arts [May Please give us pictures of pots rather Thank you for Richard Zakin’s fine CM, page 53]. Nevertheless, the responsi­ than posing pouting potters on the cover Comment article on George Ohr (April bility the Mino organizers voluntarily as­ of CM. issue). Zakin looks at Ohr in light of the sumed should be questioned seriously by Barnett Addis history of “outsider” art and American ce­ the international community they at­ Van Nuys, Calif. ramics, but I suggest that he also has a place tempted to serve. Perhaps the exhibition in the modern tradition of the artist as was self-serving? The unexpected expenses Conceptual Economics eccentric, shamelessly self-promoting po­ involved were enormous for artists who In attempting to reconcile the conflicts seur. From Ohr to Warhol to Dali to any wanted their artwork returned, and the between functional and conceptual work, number of rock stars, this kind of artist difficulty communicating with Mino’s or­ it seems that economics plays a significant inevitably raises an intriguing question—is ganizers was incredible. role. My intuition says that if potters were the “act” simply a way to draw attention to The Mino prospectus clearly stated that convinced they could earn a decent wage the art, or is the art just a vehicle for the real they would pay the cost of shipping art­ via functional work, sold at reasonable creation, the public persona or myth? works from New York City to Mino, Japan. prices, they would not be pressured to make The editorial staff of Ceramics Monthly, it The contestants would be required to pay one-of-a-kind works that will fetch “high seems, has already decided this question. the return shipping cost. I knew that Nip­ art” prices. The two-page article was illustrated with pon Express charged $859.60 to ship my Paul Weinberg three wonderfully outrageous pictures ofwork to the exhibition. I was especially San Francisco Ohr, and exactly none of his pottery. shocked when the organizers expected me Daniel Mehlman to sign a document guaranteeing no less Attaining Goals Delmar, N.Y. than $2,119.65 for the return of my work I live in a large West Coast city. As I six months down the road. make the rounds of my business through I would like to address Richard Zakin’s I attempted to communicate via tele­ the murky air, I dream of the day when I comparison between George Ohr, “The phone and fax without success, and found will look out over open space while throw­ Mad Potter of Biloxi,” and the French artist it particularly frustrating since English was ing pots. Building the lifestyle of my choice Henri Rousseau. chosen by the Mino organizers themselves and making a living from it are slow going; Mr. Zakin states: “Their work evolved as the international language of the com­ the goals seem to recede as I move toward from folk art to a position in which they petition. Finally, after endless hours de­ them. I suspect there are a lot of us out were isolated and quite independent from voted to letters, faxes and phone calls, I here plodding toward the same goals and either prevailing fashion or the avant-garde.” managed to get Nippon Express to agree to encountering the same kinds of obstacles. This statement, in regard to Rousseau, could a return shipping charge of $576.28. Whether we do “art” or “craft” is moot. not be further from the truth. Rousseau The good news is that my work has been We want to do what we love and what will not only was accepted by the avant-garde, returned to my studio, where this all started. Please turn to page 65 but was a major influence on 20th-century It is truly a miracle that it all arrived safely art and in fact was responsible for its incep­ since the artworks were repacked so poorly Share your thoughts with other readers. All letters tion in many ways. in Mino. must be signed, but names will be withheld on To wit—I take my references from His­ On reviewing my Mino file today, I request. Mail to The Editor, Ceramics Monthly, tory of Modem Art by H. H. Arnason—his counted exactly 82 pages plus the prospec­ Box 12448, Columbus, Ohio 43212; or fax to work had a major influence on Raoul Dufy tus, which is 13 pages long. Including this (614) 488-4561.

6 C eramics Monthly June/July/August 1990 7 tries. Fee: $10 for 1-3 entries. Send SASE to Flor­ Send sase to Andrew La Combe, 148 Main Sueet, ida Craftsmen Gallery, 235 Third St., S, Saint New Rochelle 10802; or phone (914) 235-4554. Where to Show Petersburg 33701; or phone (813) 821-7391. Exhibitions Fairs, Festivals and Sales July 14 entry deadline Fairs, Festivals and Sales } Mesa, Arizona “Inner Meanings” (December 21^January 19,1991) isjuried from slides. Open June 15 entry deadline to all media. Awards: $1200. For prospectus, Oak Park, Illinois “36th Annual Village Art contact Galeria Mesa, Box 1466, Mesa 85211; or Fair” (September 9) isjuried from slides. Entry International Exhibitions phone (602) 644-2242. fee: $5. Booth fee: $30. Cash awards. Contact July 20 entiy deadline Village Art Fair, Box 483, Oak Park 60303. June 30 entry deadline Boulder, Colorado “The Function of Art” Havre de Grace, Maryland “27th Annual Havre New York, New York “International Art Com­ (August 31-September 27), open to all media, is de Grace Art Show” (August 18-19) is juried petition” (August 10-31) is juried from a mini­ juried from slides. Award: month-long solo show from slides or photos. $1500 in awards. Contact mum of 3 slides. Fee: $7 per slide. Awards: $7000. in 1991. Contact Handworks Gallery, 1115 Pearl Cindy Height, Box 174, Havre de Grace 21078; Contact LAC, Dept. ED, Box 1058, Lodi, New Street, Boulder 80302. or phone (301) 879-4404 or (301) 939-3303 Jersey 07644; or phone (201) 646-0222. July 30 entry deadline (evenings or weekends). October 22 entry deadline Burbank, California “15th Annual Multimedia Rochester, New York “The Main Event Art and Warrensburg, Missouri “Greater Midwest In­ Exhibition” (September 16-28) isjuried from a Craft Show” (July 21-22) isjuried from 3 slides. ternational VI” (January 21-February 22, 1991) maximum of 3 slides. Entry fee: $7. Awards: Fee: $60 ($10 nonrefundable). Contact Arts for isjuried from slides; maximum 3 entries, 2 slides $2000. Send 25£ stamp to Juried Art Show, Box Greater Rochester, 335 E. Main St., Suite 200, per entry. Open to all media; artists 21 years and 6459, Burbank 91510; or phone (818) 953-8763. Rochester 14604; or phone (716) 546-5602. older. Awards: 4 prizes totaling $1500 and exhi­ August 31 entry deadline June 30 entry deadline bition contracts. Entry fee: $15. For prospectus, Northfield, Illinois “ The Eternal Vessel” (Octo­ Eureka Springs, Arkansas “14th Fall Art Fair” send business-size SASE to Billi R. S. Rothove, ber 6-27) isjuried from slides. Entry fee: $15. (October 5-7) isjuried from 5 slides. Awards. Director, Art Center Gallery, Central Missouri Cash awards. For prospectus, send sase to North­ Entry fee: $10. Booth fee: $65-$95. Contact Lynn State University, Warrensburg 64093; or phone field Pottery Works Gallery, 1741 Orchard Lane, Williams, Uptown Gallery, 128 Spring St., Eu­ (816) 429-4481. Northfield 60093; or phone (708) 446-3470. reka Springs 72632; or phone (501) 253-8313. September 1 entry deadline July1 entry deadline National Exhibitions Ames, Iowa “Octagon Annual” (November Manitou Springs, Colorado “Commonwheel 11-December 30) isjuried from slides; up to 3 Artists 16th Arinual Labor Day Festival” (Sep­ June 15 entry deadline entries. Open to artists working in clay, fiber, tember 1-3) is juried from slides. Fee: $55. Lancaster, California “10th Desert West Juried metal, glass, wood and paper. Clayjuror: Yoshiro Commission: 10%. Contact Commonwheel Art­ Art Exhibition” (September 15-October 14) is Ikedo. Entry fee: $20 for 3 works. Send sase to ists Labor Day Festival, Box 42, Manitou Springs juried from slides. $1500 in awards. Fee: $10 for “Octagon Annual,” Octagon Center for the Arts, 80829; or phone (719) 685-1008. 1 entry; $15 for 2; $20 for 3-5. For prospectus, 427 Douglas Avenue, Ames 50010; or phone Mason City, Iowa “MacNider Museum Art send SASE to Desert West Application, c/o Lan­ (515) 232-5331. Market” (August 19) isjuried from up to 5 slides caster City Hall, 44933 North Fern Avenue, Lan­ September 12 entry deadline or photos. Fee: $10. Awards: best of show and caster 93534; or phone (805) 723-6250. Denton, Texas “Current/Recurrent Trends” honorable mention. Contact Robin Wagner, New Haven, Connecticut “Celebration of Ameri­ (October 9-November 9), open to all media, is Charles H. MacNider Museum, 303 Second St., can Crafts” (November 11-December 23) isju­ juried from slides. Entry fee: $18. Awards: cash SE, Mason City 50401; or phone (515) 421-3666. ried from slides. No fees. For prospectus, send and purchase. For prospectus, contact the Gra­ July 11 entry deadline SASE to The Celebration, Creative Arts Work­ ham Horstman Gallery, 114 West Congress, Pittsburgh, Pennsylvania “A Fair in the Park” shop, 80 Audubon Street, New Haven 06510; or Denton 76201; or phone (817) 382-6558. (September 7-9) isjuried from 5 slides. Entry phone (203) 562-4927. September 15 entry deadline fee: $5. Booth fee: $95 for an 8x10-foot space, June 21 entry deadline New Haven, Connecticut“Gilding the Lily” $120 for a 10x10-foot. Contact A Fair in the Park, Wichita, Kansas “Wichita National 1990” (March 24-April 20,1991) isjuried from 5 slides Box 10128, Pittsburgh 15232; or phone Kay (September 1-October 7) isjuried from slides; of works emphasizing decorated surfaces. Con­ Christy (412) 361-8287 or (412) 562-3712 (days). up to 3 entries. Juror: Jane Kessler, owner, Cura­ tact Creative Arts Workshop, 80 Audubon Street, July 15 entry deadline tors’ Forum, Charlotte, North Carolina. Fee: New Haven 06510; or phone (203) 562-4927. Mobile, Alabama “26th Annual Outdoor Arts $20. Commission: 30%. Cash, merit and pur­ October 15 entry deadline and Crafts Fair” (September 29-30) is juried chase awards. For prospectus, send 250 stamp Tempe, Arizona “NCECA Clay National” (March from slides. Entry fee: $10. Booth fee: $75. Up to and self-addressed mailing label to Wichita Na­ 3-May 26, 1991) isjuried from slides. Fee: $20, $6500 in awards. Contact the Fine Arts Museum tional, Wichita Art Association, 9112 East Cen­ members free. Prospectus available in August. of the South, Attention: Nita Ruland, Outdoor tral, Wichita 67206; or phone (316) 686-6687. Location: Arizona State University Art Museum. Arts and Crafts Fair, Box 8426, Mobile 36608; or June 29 entry deadline For further information contact Regina Brown, phone (205) 343-2667. Jackson, Wyoming “ArtWest Open Competi­ Executive Secretary,NCECA, Box 1677, Bandon, Herkimer, New York “15th Annual Herkimer tion and Tour” (August 12-September 2) isju­ Oregon 97411; or phone (503) 347-4394 (Mon- County Arts & Crafts Fair” (November 10-11) is ried from slides; no limit to number of entries. day-Friday, 9-5). juried from 5 slides. Fee: $90 ($5 nonrefund­ Open to all media. Entry fee: $21 for 3 slides; $7 able). Awards and purchase prizes. ContactJean each additional slide. Awards: solo show plus two Regional Exhibitions Slavik, Herkimer County Community College, cash awards. Top 30 winners eligible for tour to Reservoir Road, Herkimer 13350. other museums and art centers. Send SASE to June 23 entry deadline July 21 entry deadline Susan Brittain, Competition Director, Box 1248, Huntsville, Alabama “The Red Clay Survey: A Ellicottville, New York “16th Annual Fall Festi­ Jackson 83001; or phone (307) 733-6379. Biennial Exhibition of Contemporary Southern val Arts and Crafts Show” (October 6-7) isjuried July 6 entry deadline Art” (September 9-October 28) is open to resi­ from 3 slides of work, 1 of display. Entry fee: $5. Bethlehem, Pennsylvania “National Juried Ex­ dents of Alabama, Arkansas, Florida, Georgia, Booth fee: $55 for a lOxlO-foot space. Contact hibition of Contemporary Crafts” (October Kentucky, Louisiana, Mississippi, North Caro­ Fall Festival Art Committee, Box 808, Ellicottville 6-November 4) isjuried from up to 3 slides per lina, South Carolina and Tennessee. Juried from 14731; or phone (716) 938-6794. work; maximum 3 works. Jurors: Grace Nellis, 1-3 slides. Juror: Harry Rand, National Museum August 1 entry deadline gallery owner; Sandra Brownlee-Ramsdale, of American Art, Smithsonian Institution. Fee: Ormond Beach, Florida “28th Annual Halifax weaver; and Mark Sfirri, woodworker. Entry fee: $25. Awards: over $6000. Contact Red Clay Sur­ Art Festival” (November 3-4) is juried from 3 $15. $1000 in awards. For prospectus, send SASE vey, Huntsville Museum of Art, 700 Monroe St.,slides per category. Over $15,000 in awards. Fee: to Lynn Berkowitz, Luckenbach Mill Gallery, SW, Huntsville 35801; or phone (205) 535-4350. $80 ($10 nonrefundable). Contact Halifax Art 459 Old York Avenue, Bethlehem 18018; or August 1 entry deadline Festival, Box 2038, Ormond Beach 32175; or phone (215) 691-0603. Boston, Massachusetts “Mass Quantities: Lim­ phone (904) 253-3772. July 7 entry deadline ited Editions by Local Artists” (Novem- Augusta, Georgia “Arts in the Heart of Au­ Saint Petersburg, Florida “Clay as Utilitarian ber-January 1991) isjuried from proposals, slides gusta” (September 22-23) isjuried from 5 slides. Object” (January 11-February 23,1991) isjuried or photos. For further information contact Soci­Cash awards. Booth fee: $50. Send sase to Greater from up to 2 slides per entry; maximum 3 en- ety of Arts and Crafts, Julie Mansfield, Executive Augusta Arts Council, Box 1776, Augusta 30903; Director, 175 Newbury Street, Boston 02116; or or phone (404) 826-4702. Send announcements of juried exhibitions, fairs, festi­phone (617) 266-1810. August 15 entry deadline vals and sales at least four months before the event’s September 22 entry deadline Nashville, Tennessee “13th Annual Tennessee entry deadline (please add one month for listings in JulyNew Rochelle, New York “New Rochelle Art Fall Crafts Fair” (October 26-28) isjuried from 5 and two months for those in August) to Where to Show,Association’s 76th Annual Open Juried Exhibi­ slides. $2000 in awards. Entry fee: $10. Booth Ceramics Monthly, Box 12448, Columbus, Ohio tion” (September 24-October 13) isjuried from fee: $225-$350. For prospectus, contact Alice 43212; or phone (614) 488-8236. Fax announce­works hand delivered on September 22,10 A.M.- Merritt, Tennessee Fall Crafts Fair, Box 120066, ments to (614) 488-4561. 2 P.M. Awards: over $2100, plus art materials. Nashville 37212; or phone (615) 665-0502.

8 Ceramics Monthly June/July/August 1990 9 fun or even funny became heresy,” and The Davenport factories produced a New Books appreciation for majolica dropped sharply, variety of wares (creamware, basaltware, so much so that “by World War I, majolica caneware, etc.), but much of the output was almost a derogatory term. between 1795 and 1850 was earthenware “However, to appreciate majolica today,” with transfer-printed decoration, because the author explains, “we must remember the process “permitted long runs of plates the spirit in which it was made. To judge and complete services to be decorated with these wares with ‘high seriousness’ is to often tasteful and intricate patterns at a Majolica judge them unfairly.” 224 pages, including price that most of the buying public could British, Continental 8 cAmerican Wares, appendixes on minor British and Ameri­ afford.” To describe the process, the au­ 1851-1915 can manufacturers; biographical notes on thors include excerpts from Charles Binns’s designers, modelers and decorators of Brit­ book The Story of the Potter (George Newnes, by Victoria Bergesen ish ware; lists of shape and pattern num­ 1898) and from Ernest Albert Sandeman’s Though probably inspired by Italian bers; annotated bibliography; and index. book Notes on the Manufacture of Earthenware maiolica, colorfully glazed majolica pro­ 21 color plates; 75 black-and-white illustra­ (Crosby Lockwood8c Son, 1901). duced during the 19th century originated tions. $65. Distributed by David & Charles, Davenport also produced “the fuzzy or in England. In fact, the first evidence of the Inc., North Pomfret, Vermont 05053. misty designs which are known under the commercial use of the word “majolica” name ‘Flown’ or ‘Flow Blue’ [and were suggests an intended association. ‘The trade particularly popular in the American mar­ name ‘Imitation Majolica’ was coined by Davenport ketplace]. The technique and its merits or Minton to describe a wide range of bril­ China, Earthenware 8c Glass, 1794-1887 failure were discussed at some length in liantly glazed earthenwares introduced at by Terence A. Lockett and Geoffrey A. GoddenEngland at the period.” In an 1844 article the Great Exhibition of 1851 in London.” in Art-Union magazine, the editor “made But most of the ware marketed as majolica During the 19th century, the Davenport the following observations about this ‘pre­ had little in common with the tin-glazed Pottery of Longport, Staffordshire, was “one cious novelty’: ware of Renaissance Italy. of the leading quartet of potteries, along “ ‘This Kaolin fluescence...was discovered “The question of just what constituted with Minton, Spode/Copeland and, despite by accident and, being a novelty, it took Victorian majolica wares is a complicated fluctuating fortunes, the inevitable Wedg­ amazingly. Some patroness of fashion, in­ one,” notes the author of this collector’swood. Davenport’s export trade was proba­ dulging untrained caprice, declared that it guide. “Whichever definition one uses, it bly as large as any in the industry.” More­ was beautiful; and her opinion became as seems that some wares are left out. For that over, the family, “alone amongst English far removed beyond appeal as the laws of reason it is wise to consider msyolica as a potters, was able to claim truthfully that the Medes and the Persians. The manufac­ loosely defined genre. The body is usually they were ‘Manufac­ turers were forced into the adoption of the earthenware, but sometimes stoneware or turer to Their Majes­ barbarism much against their will; for the even Parian. It was painted with or dipped ties’ of ‘China, Earth­ coloring matter of the blue is costly, and into lead glazes, although some were gilded enware and Glass.’” the flow, being produced during the pro­ or painted with enamels in addition to this. Unlike those cess of firing, is far from being certain in The majority of majolica was relief molded. books on specific production. In fact, we have heard of in­ However, not all the relief-molded earthen­ wares that are basi­ stances in which the manufacturers have wares decorated with lead glazes were nec­ cally catalogs of styles lost from one-third to one-half of the con­ essarily majolica.” and patterns, this tents of the oven from the failure of the By 1860, majolica was in great demand, history makes full use flow. Consumers, of course, must pay some­ and by 1870 it was produced by nearly every of published and un­ thing additional for the lottery of chances major British pottery. An economic depres­ published sources in this costly ugliness; we wish it were pos­ sion (1873-1878) hit ceramics producers (books, magazine articles, business and sible to charge them an extra percentage particularly hard, but family letters, county records, etc.) so that for the indulgence of bad taste.’” by 1878 the economy the reader might “see the people as well as Potters who think they’d like to indulge had recovered and the pots.” Through such first-hand accounts, in such “bad taste” can consider the follow­ “Americans could af- the authors determined that founder John ing, potentially toxic recipes republished ford to indulge Davenport was “a hard, gritty capitalist, who (from an undated manuscript) in this text. themselves. Indulge made his mark, indeed a very considerable All of these appear to be fluxes that would they did, and the fortune, by his own efforts.” But he was also be dusted over glaze and colorant(s) to ‘majolica craze’ was apparently a benevolent master, and “most cause running. But today they would carry bom, with a conse­ surely commanded respect.” significant health warnings if listed by a quent boom in sales Though not actually a potter (nor were modern author because of the presence of in Staffordshire. This any of his heirs), Davenport had a good eye both raw and soluble lead compounds— boom was, ironically, for design and the good sense to hire work­ dangerous to the potter and to the pur­ largely responsible ers who could produce consistent results— chaser/user of the ware: for the ultimate decline of majolica, in the as many as 1500 in the firm’s heyday. It is estimations of Victorians and succeeding clear thatjoseph Shirley, the son of a Hanley Flow Powder for Flowing Blue generations. Under pressure of large or­ earthenware potter, “played a major part in Whiting...... 10 lbs. ders, the quality of the goods of even the the guidance of the firm for many years.” Red Lead...... 4 best manufacturers deteriorated. This pe­ He began work as an errand boy and rose Salt (probably NaCl) ...... 2 riod also saw the entrance of many small through the ranks to become general man­ 16 lbs. firms into the trade. No one wanted to miss ager. “After his death, the post seems to Flow Powder for Blue out on the majolica bonanza.” have passed either at once or shortly after­ Whiting...... 10 lbs. But “as the century progressed there wards to another Shirley, his son John. And WTiite Lead...... 6 were increasing cries against the flamboy­ so the dynasties continued: the Shirleys’ Lead Chloride ...... 2 ance and inappropriateness of majolica father and son managed the factory; the 18 lbs. designs. The idea that ceramics should be Davenports’ father and son owned it.” Continued

10 CERAMICS MONTHLY June/July/August 1990 11 New Books Because the ware was produced at vari­ sonably logical progression” within each of ous kilns in China, “there is wide disagree­ the eight chapters: Clay, Glaze, Decora­ ment as to the definition of Kraak porce­ tion, Kilns, Throwing and Turning, Finish­ lain. This disagree­ ing and Handbuilding, Tools and Equip­ Flow Powder for Mulberry ment centers around ment, plus a General chapter to cover a Salt (probably NaCl) ...... 2 lbs. the decoration and variety of subjects as wide ranging as floor Nitre (probably potassium nitrate) .. 1 not the technical cleaners and labeling materials. 186 pages, Red Lead...... 1 aspects of the ware, including an index. 155 black-and-white 4 lbs. on which there is illustrations. $15, softcover.Ceramic Review In use, this recipe was mixed with the general consensus. Books, 21 Carnaby Street, London W1V1PH, “saggar wash.” The wash is composed of 3 Some Dutch scholars England. parts red lead and 1 part stone (perhaps tend to define Kraak Cornwall Stone). porcelain as only Clay Illustration those wares whose by Kyozo Hayashi Flow Powder for Mulberry decoration divides Whiting...... 2.5 lbs. the surface into panels, although there is In Japan, a print media illustrator is no Lead Chloride ...... 1.0 no agreement whatsoever as to what should longer limited to two-dimensional draw­ 3.5 lbs. be considered a panel.” ings, paintings and watercolors. Because of The book also lists analyses for Daven­ However, panel decoration is not an ab­ advances in photography and printing tech­ port’s chalcedony or orange earthenware, solute. A pot may be labeled Kraak if it is nology, artists such as Kyozo Hayashi are porcelain bodies and bone china—the lat­ decorated with typical motifs and complies frequently hired to ter being: silica 32.2%, lime 26.3%, phos­ with the following general characteristics: produce three-di- phorus pentoxide 19.5%, alumina 15.8%, “Thinness and lightness are the principal mensional works in lead monoxide 2.1%, potash 1.7%, magne­ features; even large pieces that have thick clay to illustrate a sia 0.7%, ferric oxide 0.4%. “This analysis bottoms always have thin rims. Even the variety of publica­ will not vary greatly from other standard finer [bodies] retain impurities that pro­ tions, including mag­ types of the same approximate period, al­ duce pitting and small imperfections. The azine covers, calen­ though the percentage of phosphorus glaze has a bluish tinge and, due to a slight dars, record jackets pentoxide and therefore the amount of incompatibility with body materials, has a and posters. calcined bone in the mix is on the high tendency to flake off [shiver] on rims, a This book is basi­ side. An analysis of early Spode bone china condition known as moth-eaten. Foliated cally a portfolio of of this approximate period has given 16.5%, rims predominate. Foot rims in dishes have Hayashi’s recent of Minton bone china 17.5%, and of rather rounded edges and are often undercut; in work; however, it also later New Hall 17.7%. These give percent­ bowls, they are thin and straight. Bases includes step-by-step photos (with captions ages of bone ash in the original body of often bear chatter marks. Reign marks and translated into English) of the techniques about 40%. Today, it is usually 50% or shop marks are rare, but not unknown.” involved. 80 pages. 74 color photographs; more. The Davenport sample showed about In addition to describing the various 82 black-and-white illustrations. $24.95, soft­ 43%. The point must be made, however, classifications of Kraak porcelain, this study cover.Books Nippan, 1123 Dominguez Street, that the mix within a given factory would provides historical perspective, explains the Suite K, Carson, California 90746. have altered slightly from time to time or development of trade, and identifies imita­ from one batch to the next.” 302 pages, tions. 255 pages, including appendix on The Guide to Arts & Crafts including a list of registered shapes and auspicious symbols and naturalistic motifs; patterns (1849-1886), bibliography and Workshops bibliography; and index. 85 color plates; by Shaw Associates index. 28 color plates; 328 black-and-white 400 black-and-white photos; 93 drawings This guide to 237 workshops contains illustrations. $90. Distributed by David & and 3 maps. $85, plus $10 airmail postage. descriptions of short-term programs offered Charles, Inc., North Pomfret, Vermont 05053. Han-Shan Tang, Ltd., Dept. CM, 717Fulham by individual artists, arts and craft centers, Road, London SW6 5UL, England. Kraak Porcelain schools and colleges worldwide. Arranged in alphabetical order by sponsor, each list­ A Moment in the History of Trade Potters Tips ing includes dates, type and scope of in­ by Maura Rinaldi edited by Robert Fournier struction, knowledge/experience required, When two Portuguese carracks (mer­ This compendium of practical advice teacher to student ratio, faculty creden­ chant ships) were captured and brought to and information was compiled from read­ tials, costs and accommodations, location, the Netherlands at the beginning of the ers’ submissions published since 1974 in and who to contact. 17th century, their cargoes “caused a sensa­ Ceramic Review maga­ Geographic and Spe­ tion, for it was the first time that northern zine. As editors Em­ cialty Indexes help Europe had seen such staggering quanti­ manuel Cooper and readers find entries ties of blue-and-white porcelain. In their Eileen Lewenstein for workshops in a bitter struggle for trade hegemony in the note, potters are gen­ specific medium or East Indies, the Portuguese and the Dutch erous “in sharing in a particular area. often sank or captured each other’s ships.” their ideas and expe­ Also included are With the auction of the captured cargoes in riences with other 29 listings on residen­ Amsterdam, Kraak porcelain (after the potters. [Such] ad­ cies and retreats, with carracks that had carried it from China) vice, often brilliantly information on liv­ became a highly sought commodity, and simple, sometimes ing/working facili­ “the Dutch traded briskly with the Chinese quirkily individual, ties, admission re­ until the war and famines resulting from but always useful, quirements, costs, the invasion of the Manchus and the found­ contributes to the way we, as potters, work etc. 253 pages. $14.95, softcover; plus $2 ing of the Qing dynasty in 1644 disrupted and think about our craft.” shipping and handling. Shaw Associates, 625 commerce.” The tips have been grouped in “a rea­ Biltmore Way, Coral Gables, Florida 33134.

12 CERAMICS MONTHLY June/July/August 1990 13

June/July/August 1990 15 of decorative arts, the Nelson-Atkins Museum ofAmerica’s Potter”; at the Historical Society of Art, Kansas City, Missouri; N.J. Pearce, assistant York County, 250 East Market Street. Itinerary keeper of Oriental art, Burrell Collection, Texas, Houstonthrough June 23 Sonja Light, Glasgow, Scotland; Rachel Russell, associate di­ “On the Light Side,” clay and mixed-media wall Conferences, Exhibitions, Fairs, rector, Glass Department, Christie’s, London; reliefs; at Archway Gallery, 2600 Montrose Blvd. Workshops and Other Events to Attend John Sandon, author and director of ceramics, Texas, Wacothrough July 1Trey South, “Cowjazz Phillips, London; and Rudolf Schnyder, curator, Landscapes, and Other Assorted Works”; at the Schweizerisches Landesmuseum, Zurich, Swit­ Art Center, 1300 College Drive. zerland. Also includes a loan exhibition from Washington, Seattle through July 29 Richard Conferences the City Museum and Art Gallery, Stoke-on-Trent, Notkin, “Documents Northwest: Teapots”; at the “Unearthing Staffordshire—Towards a New Seattle Art Museum, Volunteer Park. Arizona, TempeA/?n7 3-6, 1991“NCECA 25 Years: Understanding of 18th-Century Ceramics”; as Wisconsin, Paoli June 2-July 2Dick Woppert, Past-Present-Future,” National Council on well as the fair with 48 international exhibitors. “Clay Contrasts”; at Wisconsin Artisan Gallery, Education for the Ceramic Arts annual meeting. Fee: first lecture, $10; additional lectures, $7 Highway PB off Verona Road. Contact Regina Brown, Executive Secretary, Box each. Location: the Park Lane Hotel, Piccadilly. 1677, Bandon, Oregon 97411. Contact Brian and Anna Haughton, Brian Group Ceramics Exhibitions D.C., Washington June 15“Society of Glass and Haughton Antiques, 3B Burlington Gardens, Ceramic Decorators (SGCD) Seminar” will focus London W1X 1LE; or phone (734) 5491. Arizona, Phoenixthrough August 12 “The Art of on communication with government officials onNorway, OsloJune 6-9 “Oslo International Ce­ the Yixing Potter: The K. S. Lo Collection,” 100 current and proposed lip/rim standards, indus­ ramics Symposium” will focus on the relation­ examples of stoneware teapots and utensils; at try response to proposed ceramic standards by ship between art and research. Events: lectures; the Phoenix Art Museum, Asian Gallery, 1625 the Food and Drug Administration (FDA), en­ workshops; panel discussions; an international North Central Avenue. forcement procedures by the FDA, state regula­ student forum; performances; exhibitions, in­ Arizona, Scottsdale June 1-September 20“Con­ tions, Environmental Protection Agency(EPA) cluding an “Instant Exhibition” for artists bring­ temporary Teapots: West Meets East,” with tea­ lead and cadmium requirements, Occupational ing three works; plus social gatherings. Fee: pots by Gordon Andrus, Virginia Cartwright, Safety and Health Administration (OSHA) worker U.S.$150, students U.S.$100. For further infor­ Chen Ching-Leon, Annette Corcoran, Rosemary standards (including OSHA’s new proposal on mation contact OICS-1990, Annie Gisvold, Ex­ MacConnell, Richard Notkin and Tom Rippon; cadmium exposure), testing methods, hazards, ecutive Secretary, the National Academy of Art at the Joanne Rapp Gallery/the Hand and the and international standards. Speakers will in­ and Design, Ullevalsvn. 5, 0165 Oslo 1; or phone Spirit, 4222 North Marshall Way. clude officials from theEPA, FDA and OSHA. Fee: 2 2012 35; or fax 2 11 1496. Arkansas, Little Rock August 19-October 14 $185 SGCD members; $225 nonmembers; after “American Studio Ceramics”; at the Arkansas June 1, $245. For further information contact Solo Exhibitions Arts Center. James Calderwood, the Society of Glass and Ce­ California, La JollaAugust 11-September 22 “Ralph ramic Decorators, Suite 505, 1730 M Street, California, Los Angeles June 20-0ctober 28 Bacerra Students: New Talent from Otis/Par- Northwest, Washington, D.C. 20036; or phone Beatrice Wood, “Intimate Appeal,” 66 works in sons,” with Keiko Fukazawa, Jim Hinkley, Mike (202) 728-4132. clay and on paper; at the Craft and Folk Art Johns, Yumi Kiyose, Cindy Kolodziejski, Pru February 21-23, 1991 “Studio Art Sessions, Col­ Museum, 5814 Wilshire Boulevard. McDonald, Ed O’Reilly, Leslie Rosdol, Portnip lege Art Association Annual Conference,” will California, Mill ValleyJune 4-30 Ronna Neuen- Sangvanich and Joan Takayama-Ogawa; at Gal­ include such topics as art censorship, Eastern schwander; at Susan Cummins Gallery, 32 Miller lery Eight, 7464 Girard Avenue. European art in Western perspective, teaching Avenue. California, LincolnJune 2-30 “Feats of Clay III,” strategies, the use of computers, the harmful California, San Franciscothrough June 30 Jack national juried exhibition; at Lincoln Arts, 660 impact of art materials on the environment, and Earl; at Dorothy Weiss Gallery, 256 Sutter Street. Fifth Street. nonfunctional crafts. For further information through July 1Candelario Medrano Lopez, “The California, Los Angelesthrough /nme_50“Natzler,” contact College Art Association, 275 Seventh Myth and Fancy of Medrano,” 38 sculptures; at works by Otto and Gertrud Natzler; at Couturier Avenue, New York, New York 10001; or phone the Mexican Museum, Fort Mason, Building D. Gallery, 166 North La Brea. (212) 691-1051. Illinois, ChicagoJune8-July 14Karen Ami, sculp­ June 2-July 3Works by William Underhill and ture; at 1935 Gallery, 1935 South Halsted. Beatrice Wood. July 7-31 Group exhibition; at International Conferences Indiana, Indianapolis June 5-30 Richard Bur­ Garth Clark Gallery, 170 South La Brea. kett; at Alliance Museum Shop, Indianapolis California, San Diegothrough September 3 “Ecua­ Denmark, Odense July “Clay Today,” an interna­ Museum of Art, 1200 West 38 Street. dor,” exhibition of Pre-Columbian ceramics; at tional symposium for ceramic art and industry, Massachusetts, Lincoln through June 7 1 Makoto the San Diego Museum of Man, 1350 El Prado, will include exhibitions; brainstorming sessions; Yabe; atDeCordova Museum and Sculpture Park, Balboa Park. studies in technology, chemistry and artistic Sandy Pond Road. California, Santa MonicaJune 28-July 30Works expression; and workshops with 21 ceramists Montana, Missoulathrough June 8Christine Pen­ by Rancho Santiago College students and in­ from Canada, Northern Europe and the United dergrass, wall sculpture; at the University Center structors James Buddie, Patrick Crabb, Ingrid States. Location: Tommerup Brick Works. For Gallery, University of Montana. Lilligren, Bill Menke and Scott Young; at Art Op­ further information contact Clay Today, Inter­ New Jersey, Millbum June 9-July 7 Mary Lou tions Gallery, 2507 Main Street. national Symposium of Ceramic Art and Indus­ Higgins; at Sheila Nussbaum Gallery, 358 California, Sherman Oaks June 23-July 28 “Clay: try, Gaesteatelier Hollufgard, Hestehaven 201, Millburn Avenue. A Convergence of Two,” works by Patrick Shia DK5220 Odense. New Jersey, Newark through July 1Albert Green, Crabb and Yoshiro Ikeda; at Contemporary Im­ England, London June 8-11 “The International “In Retrospect”; at Newark Museum, 49 Wash­ ages, 14027 Ventura Boulevard. Ceramics Fair and Seminar” will include lectures ington Street. Florida, Orlandothrough June 16Robert Reedy by Michael Archer, senior research curator (ce­ New Jersey, Red Bank throughJune 23 Sica, Mon- and Michael Sheba, works in raku and low fire; at ramics and glass), Victoria and Albert Museum, tauk paintings and ceramic works; at Art Forms, the Eitharong Gallery, 300 N. Rosalind Ave. London; David Barker, acting keeper of archae­ 16 Monmouth Street. Florida, Saint Petersburg throughJune 8“All Fired ology, City Museum and Art Gallery, Stoke-on- New York, New York June 5-July 20Morihiro Up: Florida Ceramists,” works by Rene Aguilar, Trent; Aileen Dawson, curator, Department of Wada; at Alexander F. Milliken, 98 Prince Street. Susan Banks, Michelle Coakes, Tim Ludwig and Medieval and Later Antiquities, British Museum, July 3-September 20 “The Ceramic Art of Joan Ed Ross; at Florida Craftsmen Gallery, 235 Third London; David Howard, author and director of Miro,” approximately 60 plates, vases, plaques Street, South. Heirloom and Howard Limited, Bath; Oliver and large sculptural forms; at IBM Gallery of Georgia, Atlanta August 17-October 26 “Putting Impey, assistant keeper, Department of Eastern Science and Art, 590 Madison Avenue. Pottery in Perspective: Past, Present and Future”; Art, Ashmolean Museum, Oxford; C. J. A. Jorg, North Carolina, AshevillethroughJune 14 Sandra at the High Museum of Art, 1280 Peachtree keeper, Department of Decorative Art, Gronin- Blain; at the Folk Art Center and SouthernHigh­ Street, Northeast. ger Museum, Groningen, Holland; Genevieveland Handicraft Guild, the Focus Gallery. Illinois, Chicago June 9-July 29“Fourth Annual Le Due, author; John Mallet, author, formerly Ohio, ColumbusJune 3-30Jim Brunelle, “Primi­ Great Lakes Show,’’juried national exhibition; at keeper of ceramics, Victoria and Albert Museum; tive Firings.” July 1-31 Rose Stevens, “Colorful Lill Street Gallery, 1021 West Lill Street. Margaret Medley, author, formerly curator of Stoneware”; at Helen Winnemore’s, 150 East Kentucky, LouisvilleJune 4-July 29“Italian Ren­ the Percival David Foundation of Chinese Art, Kossuth at Mohawk. aissance Maiolicafrom Southern Collections”; at University of London; Christina Nelson, curator Oregon, Warm Springs through July 21 Lillian J. B. Speed Art Museum, 2035 South Third Street. Pitt; at Kah-Nee-Ta Resort. Maryland, BaltimoreJune 8-22“Feminist Imagi­ Send announcements of conferences, exhibitions, Pennsylvania,ju­ Pittsburgh through July 3 Willie nation in Clay,” juried national; at Baltimore ried fairs, workshops and other events at least two Singleton, “Wood-Fired Stoneware Pots.” June Clayworks, 5706 Smith Avenue. months before the month of opening (add one month8-August for 8John Gill. June 24-August 22 Mary Massachusetts, Bostonthrough June 24 “Imperial listings in July and two months for those in August)Barringer, to clay and drawings. August 10-October Taste: Chinese Ceramics from the Percival David Itinerary, Ceramics Monthly, Box 12448, Columbus, 17 Duke Miecznikowski; at the Clay Place, 5416 Foundation”; at the Museum of Fine Arts, 465 Ohio 43212; or phone (614) 488-8236. Fax an­ Walnut Street. Huntington Avenue. nouncements to (614) 488-4561. Pennsylvania, Yorkthrough October 30 “Pfaltzgraff, Massachusetts, Ipswich June 3-30 “Function and

16 C eramics Monthly June/July/August 1990 17 Itinerary lection of the Museum of American Folk Art”; at Lori Mehan; at Weyrich Gallery, 2935-D Louisi­ Huntsville Museum of Art, 700 Monroe Street,ana Boulevard. Southwest. New Mexico, Los AlamosJune 22-August “19905 Arizona, Mesa through June 9“Galeria Mesa Con­ Craft Biennial "juried regional; at Fuller Lodge Beyond: Innovative Approaches to Tableware,” temporary Art Collection”; at Galeria Mesa, 155 Art Center, 2132 Central Avenue. with clayworks by Gary Crabb and Lanse Stover; North Center. New Mexico, Santa FeJune 30-July 21 Dual exhi­ at Ocmulgee Pottery and Gallery, 263 High Street. California, Davis July 13-August 12 “1990 Cal- bition featuring ceramics by Robert Turner; at Michigan, Detroit June 1-29“Pewabic Student, gene Contemporary Fine Art Competition”; at Bellas Artes, 301 Garcia at Canyon Road. Faculty and Staff Exhibition”; at Pewabic Pot­ Natsoulas/Novelozo Gallery, 132 E Street. New York, Brooklynthrough August 6 “The Blue tery, 10125 East Jefferson. California, Los Angeles June 17-August 26“A of Jintai: The Samuel P. Avery Collection of Michigan, Royal OakthroughJune 16“Containers Primal Spirit: Ten Contemporary Japanese Chinese Cloisonne Vessels,” includes 15 ceramic for Flowers,” vases by 35 ceramists.June 30-Au- Sculptors.” June 21-September 9“Treasures from objects; at Brooklyn Museum, 200 Eastern Pkwy. gust 25 “Summer Group Show,” with ceramics by the Fitzwilliam Museum”; at the Los Angeles New York, CooperstownJuly 15-August 17 “55th Val Cushing, Barbara Diduk, Anne Hirondelle, County Museum of Art, 5905 Wilshire Blvd. Annual National Art Exhibition”; at Cooperstown Paul Kotula, Jean-Pierre Larocque, Frank Mar­ California, Oakland through July 1“Oakland’s Art Association, 22 Main Street. tin, Polly Ajnn Martin, Rebecca Rupp, Brad Artists ’90,” featuring Sherry Karver, wall sculp­ New York, New Yorkthrough June 30Exhibition Schwieger, John Stephenson, Susanne Stephen­ ture; at the Oakland Museum, 1000 Oak Street. of over 25 contemporary works of pottery as well son, Jack Troy and Bruce Winn; at Swidler Gal­ California, San FranciscothroughJune 17“Treas­ as photographs from the Richard Sparrow House lery, Washington Square Plaza, 308 W. Fourth St. ures of American Folk Art from the Abby Aldrich of Plymouth, Massachusetts; at the Woodhull Missouri, Saint Louisthrough June 16 “The Gar­ Rockefeller Folk Art Center”; at M. H. de Young Gallery, 743 Fifth Avenue. den Show ” through July 1Functional works show Memorial Museum, Golden Gate Park. through July 29‘Japanese Art from the Gerry featuring works by Willem Gebben. June 19-July California, Santa Barbara through July 15 “Two Collection”; at the Metropolitan Museum of Art, 12 “New Faces. nJuly 13-28 “Plate Invitational”; at Private Views: Asian Art from Private Collec­ 1000 Fifth Avenue. Pro-Art, 5595 Pershing. tions "with Chinese,Japanese, Korean and South­ August 10-31 “International Art Competition”; Montana, HelenaJuly 1-31 “Ashen Beauty: Wood- east Asian ceramics from the 14th to the early at Marcuse Pfeifer Gallery, 568 Broadway, Soho. Fired Ceramics,” with works by Frank Boyden, 20th centuries; at the Santa Barbara Museum, New York, Piermont-on-Hudsonthrough June 30 Peter Callas, Paul Chaleff, Chuck Hindes, Karen 1130 State Street. “Garden Art,” including clayworks by Ajmy Maser Karnes, Eric Nelson, Jeff Oestreich, Carol Roor- Florida, Melbournethrough June 8“New Faces Kolar, Elizabeth Nields, Karen Ratazzi-Stein and bach, David Shaner and Jack Troy; at the Holter for a New Decade,” works by 7 Florida artists Siglinda Scarpa; at America House Gallery of Museum of Art, 15 East Lawrence Street. aged 18-30, including clay artists Timothy Baker, Contemporary Crafts, 466 Piermont Avenue. Montana, Kalispell August 15-September 15“Ashen Michael Chomick, Kim Kirchman and McKen­ North Carolina, Winston-Salemthrough July 15 Beauty: Wood-Fired Ceramics,” with works by zie Smith; at the Fifth Avenue Art Gallery. “Next Generation (The Southern Black Aes­ Frank Boyden, Peter Callas, Paul Chaleff, Chuck Florida, North Miami June 29-August 24“New thetic),” including daywork by Martha Jackson- Hindes, Karen Karnes, Eric Nelson, Jeff Oe­ Faces for a New Decade,” works by 7 Florida Jarvis, Arlene Burke Morgan and Winnie Owens- streich, Carol Roorbach, David Shaner and Jack artists aged 18-30, including clay artists Timothy Hart; at the Southeastern Center for Contempo­ Troy; at the Hockaday Center for the Arts, Sec­ Baker, Michael Chomick, Kim Kirchman and rary Art, 750 Marguerite Drive. ond Avenue, East and Third Street. McKenzie Smith; at the North Miami Museum Ohio, Cantonthrough July 29“The Best of 1990,” New Jersey, New Brunswick through July7 “Born and Center of Contemporary Art, 12340 North­ juried exhibition of works by Ohio craft artists; at to Kiln,” works by Connie Bracci-Mclndoe, Chris east Eighth Avenue. the Canton Art Institute, 1001 Market Street, Browne, Nancy Dwyer, SaraJones, Marla Powers, Georgia, Atlanta through July 18“By the Hand,” North. Athena Sarafides and Elizabeth Zingg; at New 20th-century crafts. August 28-November 11“Hid­ Ohio, Cincinnati through June 8“1990 MFA The­ Jersey Designer Craftsmen Gallery, 25 Living­ den Heritage: Recent Discoveries in Georgia sis Exhibition,” works by graduate students; at ston Avenue. Decorative Art 1733-1915,” includes 8 ceramic the Tangeman Fine Arts Gallery, University of New York, New Yorkthrough July 7 Works by pieces; at the High Museum of Art, 1280 Peach­ Cincinnati, 304 Tangeman. Chris Gustin, Cindy Kolodziejski and Phillip tree Street, Northeast. Ohio, Cleveland July 5-September 2 “Severance Maberry. July 10-31 “Organic Abstraction”; at Georgia, Dahlonega through June 10“Mountain and Greta Millikin Collection,” includes Yuan-, Garth Clark Gallery, 24 West 57 Street. Images,” small sculpture exhibition; at North Ming- and Qing-dynasty porcelain, Indian sculp­ New York, Syracusethrough August 26 “28th Ce­ Georgia College, Student Center Art Gallery. ture, and Japanese porcelain and stoneware. ramic National: Clay, Color, Content”; at the Maine, Portland July 1-September 3 “1990 Sum­ July 6-August 24 “Ohio Selections X,” with ce­ Everson Museum of Art, 401 Harrison Street. mer Exhibition,” including clayworks by Joy ramics by Nina Borgia-Aberle, Jack Earl, Ban New York, Yonkersthrough June 30 “Craft Focus Brown, Barbara Diduk, John Frantz, John Kajitani, Eva Kwong, Tim Mather, Judith Salo­ VIII: Porcelain”; at the Hudson River Museum, Rolfing, Sandy Shaw and James Watral; at the mon and Robert Shay; at Cleveland Center for 511 Warburton Avenue. Nancy Margolis Gallery, 367 Fore Street. Contemporary Art, 8501 Carnegie Avenue. North Carolina, Chapel Hill June 17-August 4 Maryland, Bethesda June 7-July 7“The Crafts July 24-December 30 “Powerful Form and Potent “Claytopia: An Invitational Clay Exploration,” Collection,” juried regional exhibition of clay, Symbol: The Dragon in Asia”; at the Cleveland with works by 20 artists, featuring George Alex­ fiber, glass and metal/enamel; at Strathmore Museum of Art, 11150 East Boulevard. ander, Mary Lou Higgins, Charles Malin, Carl Hall Arts Center, 10701 Rockville Pike. Ohio, Columbusthrough June 24“Visual Distinc­ Peverall, Elyse Saperstein, Norman Schulman, Massachusetts, Boston July 1-August 15 “The tions: Student Art Exhibit”; at the Columbus Tom Suomalainen and Kathy Triplett; at Somer- Glorified Goblet,” works in clay, metal, glass, Cultural Arts Center, 139 West Main Street. hill Gallery, 3 Eastgate, East Franklin Street. wood, paper and mixed media by over 400 art­ August 2-19“Ohio State Fair Fine Arts Exhibi­ North Carolina, Charlottethrough July 1“Islamic ists; at Signature Gallery, Dock Square, North St. tion”; at the Ohio Expositions Center, Ohio State Pottery” and “Hispano-Moresque Pottery”; at the Massachusetts, Chestnut Hill July 1-August 15 Fair, 632 East 11 Avenue. Mint Museum, 2730 Randolph Road. “The Glorified Goblet,” works in clay, metal, Oklahoma, Tulsa through June 23 “House Jewelry Oregon, Portlandthrough June 16 “International glass, wood, paper and mixed media by over 400 and Office Gems,” including ceramic vessels by Tea Party Juried Competition,” including prize- artists; at Signature Gallery, the Mall at Chestnut Cheryl Williams; at Art Collectors Gallery, 1579 winning works by Jerry Harpster, Dennis Mein- Hill, Boylston Sueet. E. 21 St., Helmerich and Payne Building. ers, Tom and Nancy Myers, and Paul Young. Massachusetts, Hyannis July 1-August 15“The Pennsylvania, Bethlehem through June “Fish10 August 5-September 8“Oregon Potters Associa­ Glorified Goblet,” works in clay, metal, glass, Images,’’juried national; at the Luckenbach Mill tion,” juried exhibition; at Contemporary Crafts wood, paper and mixed media by over 400 art­ Gallery, 459 Old York Road. Gallery, 3934 Southwest Corbett Avenue. ists; at Signature Gallery, the Village Marketplace, Pennsylvania, Doylestownthrough June 24 “Re­ Pennsylvania, PhiladelphiaJune 10-30 “Shapes,” Stevens Street. volving Techniques: Thrown, Blown, Spun and with works by Steven Parker Bradford, Roy Massachusetts, Lexingtonthrough June 15 “Cura­ Turned,” an exhibition of works created with the Cartwright, Mitch Messina, Joyce Nagata, Janet tor’s Choice,” includes ceramics from the deco­ potter’s wheel, revolving pipe, and metal and Nesteruk, Greg Pitts, JoAnn Schnabel and David rative arts collection; at the Museum of Ourwood lathe; at the James A. Michener Arts Cen­ Wright; at the Clay Studio, 49 N. Second St. National Heritage, 33 Marrett Road. ter, 138 South Pine Street. Pennsylvania, Pittsburgh July 20-September 19 Massachusetts, Northampton June 2-July 14 Pennsylvania, Harrisburg June 9-July 7Three- Works by Archie Bray Foundation potters; at the “Treasure Boxes,” box forms in all media; at person exhibition featuring ceramic sculpture Clay Place, 5416 Walnut Street. Ferrin Gallery, Pinch Pottery, 179 Main Street. byJeremyJernegan; at Art Association of Harris­ South Carolina, Columbiathrough September 9 Minnesota, Minneapolis June 21-July 20 “1990 burg, 21 North Front Street. “Crossroads of Clay: The Southern Alkaline- Contemporary Tribal Mask Exhibit,” three-per­ Pennsylvania, Philadelphiathrough July 8“Con­ Glazed Stoneware Tradition”; at the University son exhibition featuring ceramic masks by Lil­ temporary Philadelphia Artists: A Juried Exhibi­ of South Carolina, McKissick Museum. lian Pitt; at the Raven Gallery, 3827 W. 50 St. tion”; at the Philadelphia Museum of Art, Ben­ New Jersey, Red Bank June 16-July 23Painting jamin Franklin Parkway. Ceramics in Multimedia Exhibitions and sculpture show, including ceramics by Wendy June 26-July 21 Dual exhibition featuring ce­ Williams; at Art Forms, 16 Monmouth Street. ramic sculpture by Etta Winigrad; at Muse Gal­ Alabama, Huntsville July 1-August 26 “Life in the New Mexico, Albuquerque through June 22 A lery, 1915 Walnut Street. New World: Selections from the Permanent Col­ three-person exhibition featuring ceramics by Please turn to page 66

18 Ceramics Monthly June/July/August 1990 19 Questions out element usually comes out of its groove in pieces, but just tape them together so Answered by the CM Technical Staff you’ll know how long the original was and have some gauge of its diameter, too. Then you can find the length of the element by running a thread along the coil (admit­ tedly, a tedious process), removing the Q I’m sure you get as many cries of despair thread and measuring its length. from the kiln shed as Dr. Ruth does from the For a perfect match, all the following bedroom! element measurements should be the same: the actual length of the wire, wire diame­ My problem is with pots that blew up inter, coils per inch, length of the wire coil various ways in the final firing: Two large coil- after winding, and length of the tails that built pots were scraped to about Vs inch 2orinch V pass through the kiln wall. thick, and consequently survived bisque firing toIf you can’t find a currently manufac­ about Cone 04. When fired in a reduction kiln tured to match, you must wind your own (or Cone 8, they blew up, but a while before reaching have someone custom wind elements for peak temperature. Upon examining the shards, Iyou). found two kinds of blowouts—one where the clayA rule of thumb for determining proper had split into thin layers moving in the direction element size is 3.5 kilowatts per cubic foot of the coils from which it was made, and a of interior kiln space up to 5 cubic feet, 3 circular pattern very similar to a BB shot throughkilowatts per cubic foot of space from that a window. Why did these occur— ?L.K. point up to 10 cubic feet, and an additional Most any time a pot actually blows up in kilowatt per cubic foot of space above that, firing, the culprit is steam produced by according to Robert Fournier’s Illustrated water trapped in the wall. Usually when this Dictionary of Practical Pottery. Fournier says happens, the pyrometer reads significantly that a “convenient maximum load is around higher than 212°F, because it measures the 5 kilowatts per circuit. Each circuit is then atmospheric temperature, not the internal considered separately in calculating the wall temperature of a specific clay piece. length of wire needed. Kanthal or a similar When pots are completely dry before wire is needed for regular firings above firing, steam is not a problem. The kinds of 1000°C. Each gauge or thickness of wire is blowouts you describe simply demonstrate given a rating of so many ohms of resis­ the prior location of the water and the tance per foot [of] length. It is a simple weak points the steam finally found to re­ matter to divide the total ohms required by lease pressure—along coil seams where they this figure to arrive at the length of a cir­ weren’tjoined completely, and directly out cuit. The gauge [Kanthal wire] recom­ the wall side when other weak points were mended for stoneware is 13 s.w.g. or thicker. not available. So dry pots completely prior The ohm rating (for Kanthal A1) is roughly to firing, and this won’t be a problem. 0.1 per foot. The wire needed for a 5- kilowatt circuit on a 240-volt supply is there­ Q I recently inherited an unmarked electric fore: 5000/240 = 20.8 amperes, 240/20.8 = kiln—an old model (produced in the 1960s) 11.5 ohms, 11.5/0.1 = 115 feet of 13 s.w.g. with one element burnt out. There is no label onA1 Kanthal. the kiln, and no way for me to know who made it “There is a minimum practical length or when. All its bricks and the jacket are in very for a circuit. As a very rough guide, reject good condition, so I’d like to replace the element, any computation by means of the above but how do I know what I need ? Better yet, canequations that results in less than 100 feet you tell me something about the theory of how of wire to produce 4.5 kilowatts. much electricity is needed per so much kiln space, “Another limitation on possible wiring and how element lengths are determined ? Then schedules is the length of wire, which can perhaps I could make my own.—A.L. be physically accommodated in a kiln. As a If you have all of the dead element, why guide: 17 feet of 13 s.w.g. wound on a ¾- not remove it and take it to local ceramics inch mandrel will give 30 inches of stretched suppliers to see if a match from a currently element. manufactured kiln can be found. A kiln of “The length of the element ‘tails’ must the same size with the same number of be the width of your kiln wall plus an extra similarly wound elements is quite likely to inch. It is a good idea to allow twice this provide a useful match, provided both havelength so that the tail can be doubled back the same wall plug prong configuration. on itself and twisted together. This effec­ A high-school physics teacher or an elec­ tively doubles its cross-sectional area, low­ tronics repair person may be able to meas­ ering its resistance and preventing heat ure the resistance, etc., of a working ele­ being generated where it will do no good.” ment (watts/volts = amps; volts/amps = ohms) and compare that with currently Subscribers ’ questions are welcome and those of available elements of the same length. general interest will be answered in this column. The real problem is getting a whole, old Due to volume, letters may not be answered per­ element out of the kiln and/or measuring sonally. Address the Technical Staff, Ceramics it without breaking the element. The burnt- Monthly, Box 12448, Columbus, Ohio 43212.

20 Ceramics Monthly June/July/August 1990 21

Comment A Ceramist ’$ Significant Other

by M. L. Grace

With several hundred students gradu­ well-respected line of work—at least in ating yearly from ceramics programs some circles. across the country, there are vast num­ We have resisted our inner voices bers of “significant others” who are when, from time to time, you became also coming of age. These “others” are so engrossed in work that we wanted to spouses, parents, children, partners and cry out, “Lighten up! It’s only mud.” endurers all. For those ceramists who We have patiently listened and relis- have lost track of the ages, names and/ tened to your dreams, hopes and ram- or faces of their particular loved ones,blings as you plan to become the Dr. let’s review what the last several years Ruth of clay; and we’ve quietly watched have held for them. (I have some expe­ the fear and anxiety in your eyes as you rience in this area.) contemplate the possibility of becom­ We have postponed and resched­ ing the next artistic tragedy instead. uled dozens of meetings, meals, bap­ We have heard you debate the func­ tisms and brisses, while waiting for kilns tional versus nonfunctional aspects of to oh-so-slowly heat, and have waited clay until we would probably be con­ up with you until 4 A.M. for pieces totent to be served on Chinet for the rest oh-so-slowly cool so that they could be of our lives. photographed and images put in the We have temporarily allowed our overnight mail for a deadline that you own careers and promotions to take a swore would never find you again. back seat to the needs and complexi­ We have washed clay and chemicals ties of your own, because somehow our out of our clothes that were worn intonine-to-fives are not quite as invigorat­ the studio only long enough to tell youing as simply watching you work. that the gas was going to be shut off We have given you our checkbooks unless you could find the money and and our forgiveness as you apologeti­ time to drop the payment in the mail. cally consider whether to enter the next And when we look at your clothes at major exhibition, which is very impor­ the end of an especially productive tant but not as important as, say, new day, we can only hope that the inside of shoes. Since summer was coming any­ your lungs doesn’t match the outside way, shoes weren’t really all that neces­ of those jeans. sary, were they? We have been at your disposal for And finally, even as this is written hours of photography, perfectly posi­ with a smile on the author’s face, the tioning blazing lights while trying to smile is egocentrically interpreted by capture the best reflections of your you to be an offering of approval for passion and sweat (so thatajudge could the as-yet unrecognizable brown mass spend 15 seconds marking the reject resting on the table. box). So, while we hope your dreams come We have watched your eyes glaze true, we will also allow ourselves a few over as your mind creates yet another dreams of our own—like what it will be three-dimensional icon designed to like to be the significant other of a give the world your own very specialreally significant artist someday. Proba­ message. bly just as good as it is now. We have brightly explained to fam­ ily and friends that an art career is not The author Significant other M. L. Grace just a whim, but is actually considered a resides in Worthington, Ohio.

24 CERAMICS MONTHLY June/July/August 1990 25 Carlos Runcie Tanaka produces both sculpture and functional ware at his studio in Lima, Peru.

“HONEST WORK is that which surges, In 1979, Runcie went to Ogaya, Ja­ Now a studio artist in Lima, he sees not that which is forced. It is move­ pan, to apprentice with Tsukimura recurring “traces of my first works, ment: the turning of the wheel, the Masahiko, whom he had met in Lima. taking the circle and spiral as starting free touch of the hand,” says ceramic During the early ’80s, he traveled to and finishing points. I search for the artist Carlos Runcie Tanaka, whose Italy four times, first to study, then to stylization of forms, creating open sculpture was featured recently at the exhibit in group and solo exhibitions and closed volumes. I acknowledge Museum of Modern Art of Latin in Florence. the fortuitous element in these forms, America in Washington, D.C. In­ “After sharing the rigid work disci­ that the limits of clay itself can con­ cluded in “Parallel Propositions,” his pline of the Japanese potters in Ogaya, tribute to the definition of lines” first U.S. exhibition, were 14 stone­ I found in Italy the freedom to break His sculpture is wheel thrown and ware forms, assembled from wheel- away from a tradition that had be­ handbuilt from a mixture of com­ thrown and handbuilt elements, ac­ come somewhat oppressive. The Ital­ mercially prepared and local clays. cented with slips, and fired to Cone 9 ians indulge in a greater design lib­ “Peru has wonderful natural clays, in reduction. erty; there is a playful attitude in their rich in iron and ilmenite, and my A Peruvian of Japanese descent, pottery that encourages you to try towork relies heavily on their peculiar Runcie is heir to two ceramic tradi­ get different elements together in a color as well as the textures produced tions. Since abandoning philosophy single pot.” by the surfacing of the fused ores at studies to work with clay 12 years ago, Runcie finds functional ceramics high temperatures. he has been “growing together with rewarding, but not just from an eco­ “I am also perfectly aware that I do my materials. Through clay, I discover nomic viewpoint. “A production linenot have the last word in my work. new forms; there is a response to my of some sort forces you to solve tech­Each ceramist has a very personal touch, intent, intuition. It is a process nical problems under pressure. And, relationship with his kiln. The fire of togetherness: the wheel, the hand, of course, there’s the beauty of func­ seals this relationship, and fire does the clay and something else.” tion achieved.” not make concessions.” A

26 CERAMICS MONTHLY Untitled sculpture in two sections, approximately 16 inches high, stoneware and local clay, with slip and incising, bisqued, reduction fired twice to 1250°C (2282°F), $1500.

“Vessel Object,” approximately 19 inches in length, coiled and paddled stoneware/local clay, patterned with slip and incising, single fired in reduction to 1250°C, $1500, by Carlos Runcie Tanaka.

June/July/August 1990 27 George Bowes

FOR RECENT solo exhibitions [“Look­ would start thinking of it as a whole. I Before graduate school at the Nova ing for Reason (s)” at the Cleveland didn’t want to preach, or try to tell Scotia College of Art and Design, Center for Contemporary Art and people what they should think. I sim­ Bowes had been primarily interested “How Much Can We Really Know ply wanted to nudge the viewers out in sculpture. Then, he was “intro­ about this World?” at Lill Street Gal­ of their own little worlds, to [make duced to and immersed in historical lery in Chicago], Ohio ceramist them] think and come to some deci­ ceramics. At first, this gave me a valu­ George Bowes utilized functional sions concerning the world. able resource of shapes and decora­ forms to voice concerns about do­ “Optimism is a very elusive thing. tive organization. As my enthusiasm mestic and global issues, controversy, At times it seems there is always space for historical ceramics grew, it became and the often passive role people un­ for cynicism in one’s life; this is often clear that I was becoming more at­ wittingly accept. reflected in my current work. No tracted to functional objects of a very Bowes admits that he too was not longer do I feel I can just represent a intimate scale. always an active member of society. pretty view of the earth. I started us­ “This connection with historical “Growing up in what probably could ing eyes—usually one is open wide ceramics has grown from being a vi­ be called a very normal way, I was and crazed or scared; the other eye is sual source to a very meditated use of taught by example not to worry about drooping, half closed and sleepy. a format which does not fall into the politics—that everything works and These eyes for me represent aware­ mainstream hierarchy of the art world. works well without you. ness or apathy toward world issues. I And I have become more stubborn in “This myth was exploded when I started putting negative images— my conviction that the format one lived in Canada for a year. Suddenly, I cooling towers, toxic waste contain­ uses to express ideas should have no felt as if I represented every political ers, condoms—swirling around the bearing on whether one’s ideas are policy of the United States. Not only earth. I used sources of information taken seriously by the viewer. did this take me by surprise, but it (television, radio, magazines) in pat­ “I like making small intimate ob­ really opened my eyes as well. Since terns alternating with different views jects. I enjoy making things that be­ then, my work often represents ques­ of the world. come involved with peoples’ lives tions and concerns I have about the ‘"Within the last year, I have also through daily or occasional use. If ce­ U.S. and the world as a whole. started to incorporate words and text; ramic artists of the late 1970s and “For a long time I simply used vari­ language is becoming increasingly early 1980s stated that ceramics need ous images of the earth in my work. important to my work. A written state­ not be functional to be valid, I believe By presenting different views of the ment on a functional object at times it is time to say ceramics need not be world, I thought that maybe people can be more effective than an image.” nonfunctional to be valid.” ▲

28 CERAMICS MONTHLY PHOTOS: JOAN TRACY NEUBECKER

above “Catherine’s Pitcher, Looking South ” 8 inches in height, handbuilt porcelain, brushed with slip, glazes and china paints. right Cleveland artist George Bowes.

PRECEDING PAGE: left “Luxury Item with Patriotic Motif” 12 inches in height, porcelain with slip, glazes and china paints. middle “Object Whose Potential for Serious Consideration Is Greatly Reduced by the Format in Which It Was Produced; History Repeats Itself 11 inches in height. right “ Vase for Comparisons #4; M.A.D. Isn’t It” 14 inches in height, porcelain with slip, glazes, china paints and luster.

June/July/August 1990 29 Spains Angel Garraza by Txena Esparta

SPANISH CERAMIST Angel Garraza something. What is really important right Installation view of a solo started his sculptural work in Bilbao is that the piece works with the mate­ exhibition in Bilbao, Spain. “Struck by more than 15 years ago, when he was rial you have chosen. That is all. the importance of ceramics as an associated with what was then called Interviewer: Is there a ceramist whose element that covers architecture,” the “Basque School,” an intense artis­ work you admire in particular? Garraza was “inspired to make ceramic ‘covers’for my sculpture tic movement that centered around Garraza: Starting around the ’50s, such figures asjorge de Oteiza Embil some painters began to show an in­ far right “Cerca del Mar ” refractory and Eduardo Chillida. As time goes terest in the medium. Two in particu­ clay tile, approximately 8 feet in height. by, the universal imposes itself overlar, Picasso and Miro—perhaps be­ the particular. Such is the case with cause they lacked the discipline, the below Angel Garraza in his studio Angel Garraza, whose work has ad­ rigor that the crafts impose—seemed with works in progress. vanced along roads more independ­ to confront clay more freely, more ent and personal: openly. They dared to use the me­ Garraza: When thinking about my dium without being afraid to make work, I realize that there are elements mistakes. Tradition didn’t weigh them that are not always clear, because one down. I am interested in Picasso from does things—at least in my case—by a more decorative point of view, and impulse. What interests me more, on Miro more from a spatial and formal a philosophical level, is expression ofone—in fact, because of this, Miro self, sentiments, sensations. When one interests me more. In any case, I think tries to elaborate on this, doubts, both are very important, and they ghosts, insecurities grow. This is im­ have helped to change the way ce­ portant because there are always ramics are viewed. Among more con­ doubts, and they make you go further temporary figures, I would mention and further to solve them. I have said [Antoni] Tapies and Chillida, who, from the beginning that we have to without getting very involved in ce­ confront the medium without pre­ ramics, have demonstrated that it is conceptions, searching in the hope as good as any other medium for that its own possibilities will grow and making interesting works. And last, I reveal themselves—possibilities that have to mention Jun Kaneko. In his one, sometimes, can’t even imagine case, my interest is more from ceram­ were there. ist to ceramist. I understand his work­ Interviewer: That is to say, then, that ing methods. I like the fact that he yours is the work of a sculptor rather makes work that is not mediated by than that of a ceramist? craft, as happens to other ceramists. Garraza: I don’t believe so. Maybe Interviewer: What kind of clay do you the word sculptor is more encom­ prefer to use? passing, but I remember that this kind Garraza: In art there are no hierar­ of polemic also appeared some years chies. In other words, everything can ago, when there were artistic expres­ work. The same goes for ceramics. sions that couldn ’ t be clearly classified That is why all ceramic materials in­ as paintings, sculpture or theater. terest me without preference. Porce­ Then they started to talk about the lain, stoneware, earthenware, what­ “artistic object.” In the end, the least ever, are chosen during the working important thing is the label put on process. I reject only those materials

30 CERAMICS MONTHLY I 1

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June/July/August 1990 31 “Delante del Museo,” approximately 9 feet high, Detail of “Delante del Museo”; Garraza rarely uses glazespreferring, unglazed, oxidation- and reduction-fired tile. to work with “materials that reveal aspects of the process.”

that make the process more difficult. Interviewer: To what temperature do Garraza: I am still at work on an idea I prefer to take advantage of what you fire your sculpture? that started two years ago, after a trip each material can give, rather than Garraza: It depends on the material to Morocco. There, I was struck by try to vanquish the difficulties. used. As I have already explained, I the importance of architectural ce­ Interviewer: Do you use glazes or any avoid using problematic materials. ramics as an element that covers the other kind of finishing processes? The higher the temperature, the big­ architecture. That is what has inspired Garraza: I have used glazes for some ger the problem, so I try to use mate­ me to make ceramic “covers” for my specific effects. I reject nothing. This rials that don’t require high tempera­ sculpture. So far I have concentrated supports what I just said. But I tend to tures to mature. on wall works, but now I want to elabo­ work with materials that reveal as­ Interviewer: What are you working rate on this concept with free-stand­ pects of the process, so I generally on now? ing sculpture.A don’t cover that up with something superficial. I am more interested in the material’s own imprints. Interviewer: How is your work fired? Garraza: I have an electric kiln and a gas kiln, but my better experiences are with a kiln that I built two years ago. A conventional kiln is limiting regarding size: the works you make have to fit inside. With this new kiln, I have inverted the process. Instead of making pieces to fit a kiln, I have made a kiln that envelops the works. Made from aluminum sheets and ce­ ramic blanket, it is very lightweight. It sits on a refractory brick platform over which I could even make the pieces if they are too big and difficult to transport. The work is enclosed with one, two or three modules, ac­ cording to its size, and fired with four Instead of making work to fit the kiln, Garraza built a modular kiln out of propane burners. aluminum and ceramic blanket that can be readily adjusted to fit the work.

32 CERAMICS MONTHLY

The force of a natural process—like gravity, a form. At times, it even becomes a way of covering up what would human gesture, an explosion, the hammeringotherwise be a very prosaic form. And, of course, color becomes of a nail or the dropping of slip on a concavethe first thing about a form to disappear as light diminishes.

surface—produces a record of the moment of creation, asColor is also susceptible to being influenced by the surrounding

form is changed by the energy and material interaction. Itenvironment is more than black and white. Although at times this this moment of interaction that fascinates me. The act of workingmay be a desirable quality, it can also lead to a more imprecise the slip onto the form can be frozen by the fire into a geologiclikeexpression because its meaning changes as it is placed in record. The thing I have to guard against most is not to becomedifferent environments. I don't mean to denigrate the use of color too pictorial; for then one is describing rather than creatingin an any way, but merely to explain my current preference for black event. The idea of art as an event, rather than a description,and white. appeals to me very much. Cracking The cracked surfaces of my ceramics come from

Black and White It was while film making in the late '60s that several sources, but are primarily stimulated by the work of I first became interested in working in black and white. I hadAlberto Burri. I have always liked his use of materials. My first ex­ always liked the intensity of their contrasts, and began tryingposure to to his art was while I was a student at the Chicago Art understand the full significance of this liking. I also began to thinkInstitute—in the early 1950s. His combination of burlap and about the nature of reality—what purports to be real and whatpaint later influenced a group of paintings that I did around purports to be unreal. 1960. Later, while visiting ceramic sculptor Nino Caruso in Rome The film "Elvira Madigan," which shifts from black and whitein 1979,1 saw a small exhibition of Burri's work in which he had to color, was largely responsible for initiating this thinking. Whenused some kind of industrial material to produce a field of cracks I was watching the film, it suddenly occurred to me that colorlike a mudflat. These pieces were also in black and white, and gives the impression that it is telling the truth about an object,they renewed my interest in this combination. while black and white is obviously a lie. This automatically makes The show also brought back childhood memories of the Sas­ a black-and-white film more abstract. It is more a symbol ofkatchewan prairies where I grew up. In the spring the snow melt reality than an attempt to recreate reality. would accumulate in shallow ponds that later would dry up, Also, color can be so seductive that it covers up or disguisesleaving huge plains of cracked mud. I always enjoyed walking

Seattle ceramic artist Robert Sperry A platter begins Sperry has devised a less-mechanical', A large coil, quickly rolled by hand, in his studio. Sperry credits "the with wedged clay more-sensitive jiggering system using will just be used to form a tall foot rim once accidental happenings of which slammedlife onto the a potter's wheel and a length of flexible it has been attached to the bottom of a is full" for some of his best ideas. floor to form a thick wood. At the wheel\ two clay pancakes jiggered platter. Throwing the foot "pancake"—an (25 pounds each) are positioned overseparately a (instead of using a complex portfolio cover Untitled platter efficient process for plaster mold', then shaped with pressure foot template) makes it possible to take (#921), jiggered stoneware, with producing uni­ from the wooden jiggeri, armwhile a full advantage of the natural arch of cracked surface from slip (applied formly compacted handheld sponge provides lubrication. the jigger arm. It also allows room for over fired, matt black glaze), dried slabs. More leverage is possible when artistic decision making. and refired to Cone 5. standing. on these flats, both for the visual strangeness and the interestingbut the slip must contract as it dries. With the technical means sound made as the dried mud crunched beneath my feet. now at hand, I was ready to begin doing some serious work. A third influence came from my own work with crawling Accidents and Control The accidental happenings of which glazes during the '70s. One glaze I had intended to use as a baselife is full have led to some of my best ideas. When an accident is for brushwork—although it was beautiful when applied nor­recognized and repeated, it is no longer an accident, but a con­ mally—crawled where it built up around handles and on scious the act of creation. One of the things I like most about inside corners. I began working with this property and found Japanesethat pottery is the use of and reverence for firing accidents.

I could achieve considerable control over the crawl pattern The by fire is an entity in the creative process—a real living varying the thickness and the method of application. If the glazeelement—something one could almost communicate with. In was poured, the crawl pattern would follow the flow. If painted,Europe, it the tendency has been to protect pots with muffles and would follow the direction of the brushstroke. I was graduallysaggars, while in Japan the accidents that happen in the kiln are able to build a rather extensive vocabulary of patterns. encouraged and revered. On the return flight from Rome, all of these things began to When I work with slips over fired glazes, there is much that is come together, and I soon began experimenting with slips overaccidental, especially in the way the cracks form. Yet I have con­ glazes. As you know, raw slip over a raw glaze is rather hard tosiderable control by choosing the method of application. I can work with, so I tried using cloth dipped in slip and cracking brush it slip, pour it, trowel it, throw it, drop it, make it thin or thick. before laying it onto the raw-glazed plates. This was somewhatEach method will create different forms of cracking. When the more satisfactory, but was still rather limited and cumbersome. slip dries, I can see how the cracking has developed. At this

Then I recalled seeing a student piece where there had beenpoint, I can choose to keep the results and fire the piece a second an attempt to reglaze after it had already been fired. However,time to "glue" all of the cracked slip to the glaze, or hose it down kiln wash had inadvertently been applied rather than glaze.and The start again. This ability to instantly edit fits my method of ex­ piece turned out gruesomely like a diseased organ, but it waspression very well. exactly what I had unknowingly been searching for. When you use a slip over a fired glaze, you automatically get some beautifulThe author An important influence in the Pacific Northwest, cracking due to the fact that the glazed piece has already shrunk,Robert Sperry teaches at the University, ofSeattle. Washington

The crude coil is securely The platters are left to dry on theirBisque fired to Cone 06, the platters After the Cone 7 glaze firing, slip attached to the platter bottom, molds. Jiggered forms in various are coated with a matt black glaze. is applied over the matt surface annularly centered, then stages of completion are strewn Note the refractory fiber pinned toand allowed to dry. Because quickly thrown into a tall foot across the floor of the studio. the underside of the kiln's lid. Thisun fired slip will shrink significantly in proportion to the platter Sperry also works with large tiles added insulation helps prevent aon fired ware, cracking results. mass and diameter. (background), surfaced, too, withcold center, which can be The manner/direction in which black glaze and white slip, thenhazardous to broad forms near theslip is applied over the fired glaze assembled to form wall murals. top of the firing chamber. determines how cracking will develop. Incising can help start cracking of specific forms.

Untitled stoneware platters (clockwise from above, #93/, #923 and #898A), with thick and thin white slip inlaid, brushedpoured and troweled over fired black glaze to produce cracked surfaces reminiscent of mudflats. BELOW Platter #917, jiggered stoneware, bisqued, glazed black, fired to Cone surfaced7, with poured and brushed white slip that cracked as it dried\ refired to Cone 5. PHOTOS: JIM BALL, ROGER SCHREIBER

ABOVE Platter #925, jiggered from two "pancakes" of wedged stoneware>, patterned and textured with thick white slip poured and brushed over fired black glaze.

Running the Maze by Roddy Reed

Like THE ZIGZAG PATTERNS that me­ months of that boredom, my brother Having gone through the full art ander over the surfaces of my “Maze” and I decided to open a store selling curriculum once, at all levels, I began series, the road to my career as a pro­ Hobie Cat sailboats. Having been a repeating courses to have access to all fessional artist has been full of twists, sailor since the age of nine, it was that wonderful studio equipment and turns and detours. Each side trip interesting, fun, but not challenging space. Classes in photography, paint­ added to, and ultimately led to, where enough. What’s more, we eventuallying, drawing, sculpture, lithography I am today. lost the dealership. and ceramics, plus related history and “You want to be an artist? ... Oh, Sometime around 1971-72, I de­ design classes, kept me very busy. dear!” cided to return to college and take By 1973,1 moved into my current That question and opinion are some basic courses on the G.I. Bill. I residence/studio on the second floor heard by most anyone who has ever was interested in earning a degree at of a commercial building in Ybor City, expressed an interest in the arts as a first; but, as time passed, I found my­ a historical Latin district of Tampa, vocation. Like many others, I was not self taking only art courses—primar­ Florida. The space had 16 rooms, two encouraged to pursue art seriously,ily studio classes. Soon I realized that 70-foot hallways and bare walls—ideal much less to rely on it for an income. I just wanted to make art, and experi­ for exhibiting art. I invited three other My job experiences have been ment as much as possible. artists to move into the building and many and varied—truck driver, dish­ we began showing our work, as well as washer, rug cleaner, records clerk, that of other local artists. above An assortment of pinch pots, construction worker, to name a few. averaging less than 6x6 inches and On the first Saturday of each After serving in the Army (Korea), I 8-10 ounces, with freehand glaze month, we exhibited to the public came home to ajob as a stock-control decoration, by Ybor City, Florida, uncensored work by a variety of ama­ and accounting clerk. After six potter Roddy Reed (inset). teur and professional artists. The roof

June/July /August 1990 41 of the first floor was accessible having to rely on odd jobs f or finan­ ness success kept me Irom potUng as through a second-story window, and cial support, I decided that running a much as I would have liked, it was in this area, under starlight, individ­ shop specializing in pottery, plants rewarding in many ways, teaching me ual musicians and bands, mimes, jug­ and collectibles would provide a di­ much about the business world, and glers and theater groups performed. verse and adequate income with free­ sparking an interest in history and The entertainment, as well as food dom/time to continue making my working with old materials. and wine, were offered free to the art. The problem with this plan was Prior to opening the retail busi­ artists, patrons and guests. Although that the only place I could afford to ness, I had read the book Finding not registered as nonprofit, it became rent was in a depressed area with little One’s Way with Clay by Paulus Beren- obvious we were. Because of the spon­walk-in traffic. But, with the assur­ sohn, and decided to move from func­ taneous nature of these monthly ance that the city was going to restore tion and the wheel to nonfunction events, I and the other participants Ybor City (now on the National His­ and pinch potting. Berensohn showed remember this as a rewarding and torical Registry), I opened the shop me that this process could be ap­ stimulating time—we were able to in February 1976—my bicentennial proached in an expressive and seri­ make it last three years. effort. The rejuvenation did not hap­ ous manner. Plus, it was satisfying to By 1974, I had begun concentrat­ pen rapidly enough. work without the wheel, without other ing on wheel-thrown functional work, In order to support myself, and tools or additive and subtractive meth­ while experimenting with other tech­ because I wanted to be independent, ods; I aimed for the difficulties of niques, other directions. For a time, I I took on another free-lance career, symmetrical vessels with small closed also enjoyed working with Charles the restoration of old houses and openings. On the wheel and with Fager on a 23-ton ceramic mural. buildings dating from the 1880s to other processes, one can make a pot, With my G.I. Bill running out and the 1920s. While working toward busi­ and close or open the neck regard-

“7200” with an equal number of glaze dots per row, applied in overlapping patterns for a moire 5 effect, inches in diameter; each pot in this series has the number of dots noted in glaze on the inside, with the highest so far being 8400.

42 CERAMICS MONTHLY less of the size of the piece. In pinch­ ing, with the objectives of symmetry and a small opening, the size of the piece remains rather small. After waiting 11 years for business to thrive in a commercial district that was simply not to be restored anytime soon, I decided to close the store in June of 1987, quit the restoration business, and simply risk devoting all my time and resources to full-time daywork. It was finally time for taking greater risk in order to go forward. With the freedom of not having to resort to other means of survival, I was driven to pursue every avenue of exhibiting, including the Florida art festival circuit. Having only shown Pinch pot, “Maze” series,7/s 5 inches in diameter-only one of the locally for many years and not having black lines goes completely around the form; the others are blocked. had my work subjected to critical re­ view, judging and the public eye na­ tionally, I was anxious to hit the road and wondered how my small pieces would be received. Much to my pleasure, considering the number and quality of ceramic artists doing these shows, I began to receive awards. Some artists feel such awards are superfluous, but for me they were encouraging. Plus, the money accompanying them has made a difference in the stress associated with worries about income. They have also helped validate my work to an audience who may be usually im­ pressed primarily by size, and to col­ lectors who may not be aware of the process and time required to form and surface such pieces. One factor affecting the response “Stress” pot,5V 2 inches in diameter, with fissures (developed by from critics, and the general public expanding the wall from the inside) accented with underglaze. as well, has been presentation. My work was not suited for conventional ceramics displays because of the deli­ cacy, small size and fragile balance of the pieces, so I decided to build a display that would show the work bet­ ter, as it might be seen in a gallery or museum setting. Many hours were spent considering the factors of sun, light, rain, wind, children, jostling crowds, unlevel surfaces and those individuals who love to touch pieces without appreciation (or the thought of buying). The display took 120 hours to build. Internal leveling devices, slid­ ing glass doors on both sides of the cases and a canopy, enable viewers to easily see the work from all sides; meanwhile, each fragile piece remains well protected. Rice-patterned pot, 3 5A inches in diameter, pinched stoneware, with After two years on the Florida fair gold luster over Cone 05 glaze.

June/July/August 1990 43 PHOTOS: PETER FOE, ROBERT POLZER. RODDY REED

circuit, I began expanding that sched­ ule to include out-of-state shows. I had come to feel that fairs/festivals were worthwhile for both the artist and the public. The art festival acts as a direct and casual educational tool, allows the artist to establish new col­ lectors and representation, and pro­ vides an opportunity to interact with many artists from across the country. At present, especially after years of being locked into retail business, I thoroughly enjoy traveling, being outside and visiting new places. It is true that the time one loses attending festivals, if spent in the studio pro­ ducing, could increase the return realized when showing through other means (even including galleries). But the expenses of doing the craft/art fair circuit are comparable to com­ missions taken by galleries/dealers. Creating art has been the only last­ ing thing that has given me satisfac­ tion, a challenge and a sense of ac­ complishment. “You want to be an artist?” Yes. I enjoy what I’m doing tre­ Pinched stoneware pot from the “Black-on-Black” series, 5 inches in diameter. mendously, and doubt I’d be satisfied with anything else. ▲ top Straw-patterned pinch pot,4V 2 inches in diameter, with brushed gold luster.

44 CERAMICS MONTHLY A Pinch Process Primer all applied by brush—using no masking, Green stencils or resist. Commercial under- and Iron Oxide...... 3 grams overglazes, as well as studio-mixed raku by Roddy Reed Celadon/Mint Green recipes, make up my palette: Black Copper Oxide ...... 2 grams Although pinching is seldom used by Base Clear Raku Glaze Iron Oxide...... 2 grams professional potters today, for me it is a satisfying and direct technique, requiring (Cone 05) Blue just hands and clay. Gerstley Borate...... 80% Cobalt...... 5 grams In a solid ball of clay, a small opening Nepheline Syenite ...... 20 100% Deep Green is made with one finger. Then the clay is Copper Oxide...... 7 grams slowly turned in the hands, as the walls To givesome stability to this glaze and are pinched from the bottom upward to keep it from flowing so much, I add some I usually dry mix about 50 pounds of expand the shape, without significantly of the clay used to pinch the pots—a the base glaze at a time; that way I can just increasing the original opening. After Cone 8 commercial body. I just cut off a mix variations from that batch and don’t forming, each piece is burnished with a slab, let it dry, pulverize it with a mortar have go to the trouble of measuring out smooth object. These two steps require and pestle, then sift it through a 100- the base each time. from two to four hours, depending on mesh screen. So the clear base becomes: While the pots with organic glaze the size of the piece. splashes or simple patterns are usually As my control has increased during Altered Clear Raku Glaze raku fired, oxidation (electric) firings are the last 15 years, the process has become (Cone 05) the rule for the highly detailed and almost meditative, and shapes now seem Gerstley Borate...... 68.2% brightly colored pieces. One, two, even to emerge from my fingers without con­ Nepheline Syenite ...... 17.1 three underglaze colors are applied to scious thought. Sifted Clay (100 mesh) ...... 14.7 the bisqueware, then clear glaze right over The pots vary in size and shape, though 100.0% those, so that they go through just one Cone 05 glaze firing. most are less than 6x6 inches and average To keep it simple, another way of stating 8-10 ounces in weight. The walls are ap­ Often the pots to be rakued are simply this glaze is: proximately Vie to XA inch thin, with the loaded on the top shelf of an oxidation neck made thicker for strength. They are Altered Clear Raku Glaze firing. When the kiln kicks off, I just snatch pieces out with tongs and run them out­ so light that another potter once accused (Cone 05) side to the reduction area. Postfiring re­ me of slip casting them, “No one could Base Clear Raku Glaze...... 87 grams duction is in 30-gallon trash cans filled pinch so thin and round”; thus inadver­ Sifted Clay (100 mesh)...... 15 with straw or hay—either combusts nicely, tently extending one of the finest compli­ 102 grams ments. doesn’t burn too rapidly, and gives nice, Finishes are a combination of burnish­ Color variations are mixed with metal almost jet-black carbonization to the clay ing and glaze, or overall glaze patterns— oxides: with significant crackle in the glaze.

“Black-on-Black”pot, 5 inches in diameter, pinched stoneware, with surfacing reminiscent of Southwest Indian work; instead of applying slip to a burnished surface, Reed brushes clear gloss glaze over black under glaze.

June/July/August 1990 45 Sarah Frederick

FOR INSPIRATION, as well as groceries, key pieces that have a life of their own product means you must become a Louisville potter Sarah Frederick of­ and aren’t any good repeated. businessperson, which I had not ten goes to the local farmer’s market. “For the past ten years I have counted on either, but this has its en­ Back at the studio, the bulbous shapes earned a living as a production pot­ joyable and educational aspects, too. of fruits and vegetables are translated ter,” Frederick said. “That’s still some­ “I am having a good time with into functional vessels (covered jars,what surprising to me, though it was daywork now. It seems that most of teapots, bowls) and small decorative one of my fantasies when I first stud­ the important events of my life have objects. Featured in a recent solo ied ceramics some 20 years ago. Mak­ centered around clay, and still it’s exhibition at Western Kentucky Uni­ ing production ware has been a bal­ what I would rather be doing most. versity in Bowling Green were her ancing act and learning experience. The challenge is to keep moving and latest production designs and “some Working in multiples and having a to keep the fun in it.” ▲

Gourd teapot, 7 inches in height, press molded and handhuilt, sprayed with stains, fired to Cone 2 in oxidation, with actual vine handle on the lid.

above Sarah Frederick at the Louisville farmer’s market, where she finds inspiration, as well as fresh fruit and vegetables.

right Press-molded and handbuilt “vegetable” covered jars and teapot, 8 inches in height, with gloss-glazed interiors and matt-stained exteriors.

46 CERAMICS MONTHLY PHOTOS RON FORTH. JOHN NATION

Teapot, 9 inches in height, wheel thrown and handbuilt, with sprayed stains, Cone 2 oxidation fired. top Serving bowl with ceramic fruit, 9 inches in diameter, with sprayed stains (resisted by crocheted cotton) and luster. left Teapot, lithium glaze, 9 inches in height, wheel-thrown stoneware, with vine handle, by Sarah Frederick.

June/July/August 1990 47 Lynelle Youngquist

FLOOR AND TABLE LAMPS by Nebraska studio ceramist Lynelle Youngquist were featured in recent exhibitions at the West Nebraska Arts Center in

PHOTOS: LARRY FERGUSON Scottsbluff and at the Boulder (Colo­ rado) Artists Gallery. Ranging to 5 feet in height, the lamps are slab built from stoneware; pierced-slab shades are drape molded over found objects. Carved surfaces are usually glazed then wiped with a sponge to leave glaze only in the recessed areas. After a Cone 8 oxidation firing in a gas kiln, the shades and sometimes the bases may be accented with acrylic paints and irregularly overlapped pieces of fabric “to create subtle color values and surface textures.” Besides the fully functional lamps, Youngquist also produces nonobjec- tive sculpture that “digs deeper into the realm of clay and the subcon­ scious. For me, the creative process means being aware of, trusting and acting on subjective experiences.”A

Floor lamps, 4V2feet high, slah-built stoneware, fired to Cone 8 in oxidation, accented with acrylics and fabric (muslin or canvas), $1300 each, by Lynelle Youngquist, Orleans, Nebraska.

48 CERAMICS MONTHLY Poul Jensen by Frank Boyden

A Ceramics Monthly Portfolio THE FRAMEWORK of tradition can be styles have been eclectic. Yet their passe at that time, and Poul fought used as a standard by which we can production has had little effect upon this all through his training. That took judge past and present ceramics. A studio ceramics. a great deal of strength. His persis­ degree of hasty rebellion is all too Poul Jensen is at the forefront of tence has produced some of the best often the crux upon which floats ce­ the new generation of Norwegian work in Scandinavia, and he has taken ramic success. Many of the finest and ceramic artists who are probing the the knowledge and made a position most meaningful aspects of current questions of what it means to be a of power that he now uses to help so ceramics are the results of knowledge­ Norwegian potter and to be a part of many.” Ase is referring to Poul Jen­ able, thoughtful and rational exten­ the complex Scandinavian design tra­ sen’s current professorship at the sions of strong traditions that were dition. National Academy of Art and Indus­ manipulated—ideologically and tech­ Born on a tiny island in Denmark, trial Design and perhaps, more im­ nically—to espouse contemporary his early memories include walks portantly, to his position as one of the concerns. along the beaches, collecting colored directors of the 104-year-old porce­ How does an artist handle such stones and the bullet-shaped fossil lain factory at Porsgrund, located ideas when he lives in Norway, a coun­ belemnites, which folk tradition says along the Oslo Fjord. try that has no ancient ceramic tradi­ are the candles of ancient spirits. He It was in 1983 that Jensen’s work tion and that has known studio ce­ remembers with pleasure the finding first attracted the attention of design­ ramics in the western sense for only of flaked projectiles and magnificent ers and management at the factory, 40 years? It is a particularly interest­ flint axes plowed up in the fields in and he was invited to design some ing question in light of our sense ofthe spring, and gives credit to such contemporary forms for them. Two Scandinavian design, which would objects as a source of mystery and years later, they asked him to become tend to group aesthetic concerns of a inspiration. art director of the factory. This offer small area of the globe rather than As a teenager, Jensen worked in a presented a dilemma for Jensen the isolate specific countries or regional large production pottery and was artist and craftsman. What would such concerns within countries. trained in throwing. He then met his a position do to his personal work, Norway is a nation rich in visual future wife, Anne, who was in an Oslo and what could he do with the posi­ symbolism, mythology and mysticism. art school, and subsequently moved tion as an interface between industry The best Norwegian ceramic artists to Norway. They settled in Oslo and and the arts? Jensen’s feelings con­ have probed the nonceramic tradi­ had two children, David and Kristin. cerning the industrial process and tion and have utilized much from Jensen was accepted to art school design, and the need to produce as their other cultural concerns and vi­ to be classically trained as a sculptor, an artist, were to be defined by his sual traditions. Most of the emerging gravitated toward ceramics and even­ subsequent decision to accept the artists have been brought up with a tually enrolled in the National Acad­ offer, but on his own terms. The heart strong Scandinavian design back­ emy of Art and Industrial Design, of the decision was whether he could ground, and are currently faced with where he received an advanced de­ initiate a strong program for arts and choices of utilizing aspects of this short gree in ceramics, with an emphasis industry akin to what has been in tradition or rejecting it. on mold making. His teacher, Arne place at Kohler Company in the Scandinavia has long been known Ase, remembers: “Poul became very United States, and whether he could for its manufacture of fine porce­ proficient with plaster and molds—a make his own art and run the pro­ lain—Royal Copenhagen, Arabia and very unpopular thing to do. Thereduction end of the traditional porce­ Porsgrund are well known. Such fac­ was general rebellion against mold- lain ware at the same time. tories comprise a parallel tradition, made ceramics in the college and So, as a director, Jensen initiated a but a young one, essentially just a few throughout studio ceramics in Scan­ program by which students from the hundred years old. Their work has dinavia—reaction to a perceived Scan­ National Academy of Art and Indus­ had an international flavor and such dinavian tradition that we felt was trial Design and the University in

left A barefoot Jensen stoking the anagama he shares with Torbjorn PORTFOLIO COVER Slip- Kvasbo in Venabygd, cast porcelain box with Norway. faceted crystal lid, approximately 8 inches right Poul Jensen with a square, brushed with Japanese-made, computer- chlorides (soluble controlled molding colorants), wood fired, machine (capable of by Poul Jensen, who producing 1300 plates or combines a studio career saucers per hour) in use at with overseeing the artistic the Porsgrund Porcelain side of Norway’s largest Factory, where he has been ceramics factory. art director since 1985.

50 CERAMICS MONTHLY

Bergen work and study at the factory. shape of those ships. They are with not hide the process of their birth He also started a residency program me in the same way as the Scandi­ from molds, nor do they hide the that has hosted prominent Norwe­ navian design from my past, and it is process of violent wood firing. Jen­ gian artists and artists from abroad. through looking closely at such things sen is making things that have not Jensen believes that what he and that I find new ways to see.” been considered before. Porsgrund are doing is a wave of the In 1984, Poul was given the oppor­ Torbjorn Kvasbo notes thatjensen future for Scandinavian porcelain tunity to fire his porcelain pieces in has been successful in presenting the factories. “What we are attempting to an anagama kiln built by Torbjorn viewer with “a somewhat irrational do,” he says, “is see clearly what is Kvasbo, who had recently returned and intuitive solution to what we think happening today. So the opportuni­ from study in Japan. The results have we know about Scandinavian design.” ties we are giving students and artists shaped Jensen’s work since that time. Jensen wishes there to be no con­ will eventually be good for the fac­ He says it was like being given a key or fusion. “I think that clarity is part of tory. It will give us new ways to look atdiscovering a code. “Prior to the time my Scandinavian design background.” the tools we are already using and I first fired with Torbjorn, my work However, he adds that “even though I possibly give us insight into ways to was very controlled. I was using com­ have that sort of background, I can­ make quite new tools and learn new plex molds and casting very carefully. not deny aspects of the irrational and ways of using them. It will also have The pieces were finely finished and the intuitive. Intuition is one of the an effect upon our designers and give quite pristine looking. They had a most important parts of life, and us new energy.” definite parallel to my classical train­ sometimes I have not listened enough It is this approach to thinking that ing as a sculptor. It was certainly not to that part of my soul. The wood characterizes Poul Jensen’s dialogue the traditional approach to work firing has allowed me a door to see with his own work. His current direc­ made for an anagama. In 1983,1 had that more clearly. To tell you the truth, tion represents a major extension of salt fired some of my mold-made I was surprised.” Scandinavian tradition relying on the pieces, and learned that in working Because of this type of thinking, balancing and reconciliation of op­ with salt there were things that could Jensen has asked that ideas of the posites—a vital paradox. happen that were better than my fan­ intuitive be discussed in relation to Although he has stated that con­ tasies. I thought that wood firing the design work at Porsgrund. “We nection to Scandinavian design is ex­ might be a logical next step.” have agreed to do that. Such consid­ tremely important to him, he does Since that time, the majority of erations can bring more warmth to not advocate a continuation of 1950sJensen’s porcelain vessels have been the work at the factory” or ’60s design elements. “It is essen­ fired in Kvasbo’s anagama, with spec­ Jensen’s work with the anagama is tial that people do not deny this back­ tacular results. The current pieces pre­ a benchmark. Not surprisingly, it goes ground. We have to face it, look at itsent us with the paradox of a very against the contemporary swell of a very closely and continue on. We mustcomplex functional industrial pro­ pseudo-traditional wood-firing aes­ go new ways, but we must take care of cess, which has been made essentially thetic and makes a fresh statement. the qualities that we feel are spring­ irrelevant by denying industrial func­ Recent wood-fired forms include ad­ boards for ourselves. For instance, I tionalism. They are so very antitheti­ ditions of glass, pushing his objects to often think about the fantastic Viking cal to what we are used to as a tradi­ the point where the lines between ships we have made in our part of the tional wood-fired aesthetic that they vessel and sculpture blur, and where world, and I think about the feeling demand questions and resolution by materials and techniques become ir­ for beauty and function that people the viewer. relevant to the final form. had when they were building those By taking an industrial process and shapes and the wonderful ornaments relinquishing control to some degree, The author Also an avid wood firer, they put on them. I am proud of that Jensen has extended Scandinavian ceramist Frank Boyden maintains a stu­ background and I am in love with the ceramics. The resulting objects do dio in Otis, Oregon.

right Combining art and industry, Jensen wood fires work made using industrial processes. A typical firing in the anagama takes about three days to reach Cone 12-14; on the kiln shed wall right Wood-fired and leaning against the porcelain box, slip cast, foundation stilts are brushed with cobalt thrown, wood-fired chloride and ammonium platters by Torbjorn dichromate, shown actual Kvasbo. size, by Poul Jensen.

52 CERAMICS MONTHLY

PHOTOS: ESPEN GR0NLI, TROND ISAK LID, ELAINE COMER SHAY

above Cone 14 production at Porsgrund ranges from dinnerware to glazed porcelain tiles for snowless ski jumps. Here, pugged clay travels by conveyor belt (top left) to the plate- pressing machine at the other end of the factory. At the end of the pressing cycle, the ware is inspected and off-loaded by hand (top right). Rubber-wheeled carts (left) carry pressed and cast greenware to cars on tracks (right) leading to continuous-firing tunnel kilns.

left Jensen with his own molds in the factory studio at Porsgrund.

right Double-walled form with inlaid stains and dry-matt, crackle glaze, slip-cast industrial porcelain, approximately 9 inches in height, wood fired to Cone 14, by Poul Jensen.

54 CERAMICS MONTHLY

Incised and stained porcelain form, approximately 6 inches in height, slip cast, wood fired, by Norwegian ceramist Poul Jensen. Functional Expression

EACH of the four potters whose work for instance, blades of grass, snow­ potter does. From that knowledge, I was featured in a recent exhibition at flakes, or our human family. All mem­ select and grade the work, choose the Wilkes College in Wilkes-Barre, Penn­ bers of each class conform to fairly wasters, the seconds, the firsts, and sylvania, has embraced function as a consistent characteristics. Yet, no two the two or three per hundred that means of individual expression. Of­ individuals are exactly alike. will go off to exhibitions such as this. ten their work is intended to function The parallel in pottery is obvious. James Makins: As utilitarian objects, on several levels, as evidenced by the As a functional “production” potter, I my pots are oriented to social interac­ following comments: make pieces that fit specific needs tion and private ritual. My concerns Joseph Bennion: Nature, in its crea­ and are repeated in dozens or hun­ are based upon the formal issues of tion, establishes certain norms that dreds. A novice to ceramics looks at a line, edge, rhythm, repetition, color become more or less constant. Within rack of ware and remarks at how ex­ and surface—the enclosure or defi­ the boundaries of those norms, how­ act they are. Having made and fired nition of volume and the evidence of ever, there is endless variety. Consider, the pots, I know them each as only a passage of linear time through the

Salt-glazed stoneware jar, approximately 8 inches in height, wood fired, $850, by Byron Temple, Louisville, Kentucky.

June/July/August 1990 57 choreography of overlapping finger gestures. Sandy Simon: The poet Roland Flint observed, “Making a shape against death / is at least as harmless as mak­ ing a poem / and so much less poor / as I am able to drink from it.” I’ve come to a new realization about the meaning of success—and that is that creativity itself equals lon­ gevity. Byron Temple: I limit myself to de­ signs that can be easily repeated. I neither find this restrictive, nor in­ hibiting; rather, I am able to explore more intensely the fundamental quali­ ties of form, craftsmanship and ex­ pression. As an independent studio potter, producing 5000 pieces of stoneware and porcelain tableware a year, I am also aware of my contribution to and limitations within an industrial soci­ ety. For me, “utility” of everyday ware is a focal point rather than a brace. My challenge is to produce simple forms whose economy of expression extends beyond function to gesture and visual empathy. This empathy transfers everyday ware into objects of ritual esteem. I have always admired pots that stand tall despite their lack of adorn­ ment: Bizen, pre-Columbian, early American bean pots and crocks, the naked Haniwa figures. These pieces were made to fulfill a function: they acted as storehouses for grains or ves­ sels for water, or were buried with the dead. They were supplied in mass because of popular demand, and they thus lost any possibility of affectation and preciousness. I work within the spirit of these pots, and by producing in quantity, hope to avoid becoming self-conscious. I strive for purity and precision in objects that extol the vir­ tues of harmony and proportion. ▲

above right Wheel-thrown porcelain teapot, V52 inches in height, $300, by James Makins, New York City.

right “Salt Box ,” 4 inches in height, stoneware, wheel thrown and altered, salt glazed, $100, by Joseph Bennion, Spring City, Utah.

far right “Creamer/Sugar” set, to approximately 7 inches in height, porcelain, $350, by James Makins.

58 CERAMICS MONTHLY right “Puffed Handle (Cup and Saucer),” wheel-thrown porcelain, $50 each, by Sandy Simon, Berkeley. below “Footed Fluted Jar,” 6 inches in height, salt-glazed stoneware, $80, by Joseph Bennion. PHOTOS: RICHARD M ROSS, CURTIS SALONIK

June/July/August 1990 59 Joyous Flame by Ben Cohen

FOR THE PAST 11 years, exactly a quar­ my work has drawn nourishment from ter of my life, I’ve lived in the Echizen its natural beauty. pottery area of Japan. I came as an I named my pottery Coh-en, using apprentice and spent the first year the Japanese characters for ‘joyous alone, struggling with the wheel and flame.” Despite advice to the contrary, straining to understand the local dia­ I made a few crude alterations to the lect my teacher spoke. My wife came kiln to convert from burning oil to up from Kyoto on weekends and, wood. The first firing was a night­ when it became obvious that I would mare of stalled temperature, shattered not become a potter in a year, she nerves and acute embarrassment in agreed to move here. front of the 20 guests who had as­ After three years of study, I took sembled to cheer me on. In the end, over a dilapidated oil kiln (located in the mostly glazed pots and I were remote Kadanji), abandoned by a rescued by a veteran potter. potter fleeing the Great Snow of 1981. I continued to experiment with The village’s rice-growing valley is long glazes for the next year or so, but with and narrow, flanked by low, cedar- increasing dissatisfaction, particularly covered mountains. The trees are when I visited the local collection of gradually being replaced with bam­ old Echizen ware. These pots, made boo. Kadanji’s bamboo sprouts are between the 12th and 16th centuries, renowned, and my neighbors have are mainly large storage vessels, coil kept us well supplied each May. built and fired for weeks in huge As the community’s first foreigner, A 55-hour firing in Cohen’s first kiln communal anagamas dug into the I am no longer a curiosity, nor am I consumes 300 bundles of cedar. mountainsides. Unglazed in the con­ really a member. Social contacts are ventional sense, but with long expo­ friendly, but brief. Old women greet sels and snakes also make occasional sure to ash and flame, the surfaces me on their way to mountainside appearances. Crows, kites and her­ are often dramatic. vegetable patches. Children stop by ons are in abundance, and a lone Sometime in 1983,1 threw away all to get clay for figurines. bush warbler often calls across the my glazes and increased the firing The valley’s Mosquito Valley Tem­ rice fields. time to 55 hours, using 300 bundles ple was destroyed during the civil wars In years of heavy snow, it is hard to of local cedar. As firewood, Japanese of Japan’s middle ages, but the over­ get in and out of Kadanji. Pots crack cedar (sugi) has a bad reputation. It sized mosquitoes are still here. Bad­ overnight from the cold. But I’veburns fast and makes for a tiring fir­ gerlike creatures, wild monkeys, wea- loved this valley in all its seasons, and ing. But cedar does have the advan­

Cohen’s studio (upper right) in Kadanji, a remote village in the Echizen pottery area offapan, hugs the edge of a valley.

60 CERAMICS MONTHLY tages of being relatively cheap and gray, sandy green and a little ocher. pitchers, sake cups and plates as well. yielding ash that fuses at a lower tem­ For the last few years, the roof tiler A second kiln, three times the size perature than the harder woods used has kindly run the mixture through of the first, allows both red and black by other Echizen wood firers. Cedar his stone crusher. Before he bought firings—color depends on the timing was the right fuel for a beginning this wonderful machine, I had to pick in closing the chimney as the kiln is potter with few customers and a kiln the larger stones out by hand. I’ve being clammed shut. Firing takes four that barely got to 1200°C (2200°F). enjoyed using this clay pretty much as and a half days and consumes about I also used moderate amounts of it comes out of the ground. Its touch800 bundles of wood. A standard fea­ salt-impregnated Siberian pine, which and smell linger in my senses. ture of each firing has been a Satur­ gradually yielded the pleasing orange Initially, all of my pots are wheel day night open house with a core of flashing of a light salt glaze, yet—true thrown. But then they’re usually re­ regulars who make soba (buckwheat to the warnings—deteriorated the shaped by hand. I cut, paddle, pound noodles) and keep the sake cups kiln’s softbrick. But I haven’t changed and squeeze. It’s a playful and satisfy­ filled. fuels. I like the soft matt of fused ing way to work. Even when I do a For the last six years, I’ve exhibited cedar ash. There is gentleness even in long series, the irregularity of the final frequently, yet managed to avoid the the more spectacular combinations forming method assures diversity; debate among viewers as to whether of ash and flame flash. The ware is these pots are siblings, not clones. my pottery is Japanese or “different.” refired a lot, not an economical way Some are variations on standardjapa- Such classifications mean less to me to work, but the surfaces of twice- nese and Western forms. Others are than the emotional response of those fired pots tend to be the richest. inspired by stones, birds’ nests, sea who see and use my pottery. I’ve My clay, primarily used in the pro­ horses, the Zen patriarch Daruma, aimed for pots that express the sensu­ duction of roof tiles, comes mostlyJapanese fans and tombstones. I’ve ality of clay, the passion of fire and from a huge pit near my house. From tended to concentrate on flower ves­ reveal in some small measure the spirit various strata, I’ve chosen mostly fatsels, but I’ve enjoyed making teapots, of their maker. A PHOTOS: AKIRA SATO. TERUHISA TANAKA, NEIL WARREN

Pitcher (above ) and vase (left), thrown from local clay, with fly ash and flashing from firing with cedar and some salt-impregnated pine, by Ben Cohen, shown (top) unloading the kiln he converted from oil to wood.

June/July/August 1990 61

64 CERAMICS MONTHLY Letters Continued from page 6 inspire excitement in our lives. Thanks for these articles and debates. They prove that goals, no matter how farfetched compared to the realities we live in, can be attained. Joseph Petito Torrance, Calif.

Adventures in Potting I am one of the “adventurous ones” who quit an office job for the rewards of work­ ing for myself. It is very interesting to learn how other folks have started in the “pottery business.” I learn many useful things from articles about bookkeeping, marketing, pricing, etc. Elizabeth Spillman Chuckey, Tenn.

I would like to see stories about potters who have left a job—in my case 18 years of nursing—to become a full-time potter fol­ lowing art show circuits to make a living— only to find out “all you ever wanted” is as big a headache, but in different ways. The paperwork is overwhelming. Getting into good shows is next to impossible. Travel has its good points and bad points. Figur­ ing out how to produce enough product and take a little time away for self is a challenge. Ingrid Farmer Lehigh, Fla.

Many Ways It’s about time that Americans stopped trying to be Japanese or anything long es­ tablished. We are a nation of many back­ grounds, many contributions, and they all have importance. Right here at home the American Indians did/do wonderful sur­ face design. Look at the wonderful colors from all of the Mediterranean area. What a marriage those two make. We have such results in Latin America. There is no way that’s the only way. Helen Kruger Mattituck, N.Y.

Spirit Lifting The spirit of the artist is not always re­ warded, but it is persistent. Receiving CM lifts my spirits every time! Pamela Hanna Mineola, N.Y.

Bon Appetit Like a fine Christmas pudding, Ceramics Monthly should be a mix of all the varied as­ pects of daywork. Often one small spicy morsel will leaven a sackful of new ideas. It’s always nice to see some of the half- baked ones illustrated, with justifying com­ ments. The controversy restarts the cycle. Ivor Lewis Redhill, S.A. Australia

June/July/August 1990 65 Itinerary Annual Havre de Grace Art Show”; at Millard E. Wisconsin, SheboyganJuly 21-22 “20th Annual Tydings Park. Outdoor Arts Festival”; on grounds of the John Continued from page 18 Michigan, Ann Arbor July 18-21 “Ann Arbor Michael Kohler Arts Center, 608 New York Ave. Street Art Fair”; on South and East University Pennsylvania, University ParkJuly 5-30 “Crafts Avenues, next to the University of Michigan. Workshops National”; at Zoller Gallery, 102 Visual Arts Build­ Michigan, Midland June 2-3 “Summer Art Fair”; ing, Penn State University. on the grounds of the Midland Center for the Arizona, Scottsdale July 14-15 “Contemporary Texas, Dallas July 8-September 2 “Treasures of Arts and the Grace A. Dow Library. Yixing: Two Viewpoints” with Richard Notkin American Folk Art from the Abby Aldrich Minnesota, Saint PaulJune 23-24 “Minnesota and A-Leon. Location: Arizona State University. Rockefeller Folk Art Center”; at the Dallas Mu­ Crafts Festival”; at College of Saint Catherine. Contact JoAnne Rapp Gallery/the Hand and seum of Art, 1717 North Harwood. New Hampshire, CanterburyJuly 28 “32nd An­ the Spirit, 4222 North Marshall Way, Scottsdale Texas, Denton through June 22 “Primarily the nual Canterbury Fair”; at Canterbury Center. 85251; or phone (602) 949-1262. Figure”; at the Graham Horstman Gallery, 114 New Jersey, AllaireJuly 14 “Allaire Craft Fair”; at California, Idyllwild June 24-30 “Hopi Pottery” West Congress. Allaire State Park, Wall Township. with Eunice Navasie. Fee: $465. July 1-7“Acoma Utah, Logan through August 26 “Permanent Col­ New Jersey, LaytonJuly 28-29“20th Annual Pe­ Pottery” with Lucy Lewis and her daughters, lection Exhibition”; at Nora Eccles Harrison ters Valley Craft Fair”; at Peters Valley Craft Delores Garcia and Emma Mitchell. Fee: $465. Museum of Art, Utah State University, 650 North Center, Route 615. July 1-7 “Casas Grandes Pottery” with Juan 1100 East. New Jersey, Margate June 9-11 “Craft Concepts Quezada. Fee: $465. July 8-14 “San Ildefonso Virginia, Richmond August 10-September 21 “New Invitational”; at die Jewish Community Center, Pottery” with Blue Corn. Fee: $465. Contact Art Forms: Virginia III/’juried exhibit of Virginia 501 North Jerome Avenue. Idyllwild School of Music and the Arts, Box 38, crafts; at the Hand Workshop, 1812 W. Main St. New Jersey, MoorestownJune 30 “Summer Ju­ Idyllwild 92349; or phone (714) 659-2171, ext. Washington, SeattleJune 1-September 30 “Moscow: ried Craft Show and Sale”; at Perkins Center for 207, or (213) 622-0355; or fax (714) 659-5463. Treasures and Traditions,” more than 200 works the Arts, Kings Hwy. and Camden Ave. California, MendocinoJune 18-22“Saggar and dating from the 15th through the 20th centu­ New Mexico, Albuquerque June 22-24 “New Pit Firing” with Bob andjenny Kizziar. Fee: $175. ries, including porcelain; at the Washington State Mexico Arts and Crafts Fair”; at the New Mexico June 25-29 “Sculpture: Facial Anatomy” with Convention and Trade Center, Eighth Avenue State Fairgrounds. Harry Perkins. Fee: $175 .July 2-13 “Salt Kilnbuild- and Pike Street. New York, Chautauqua July 6-8 and August 10-12 ing and Firing” with Sandra Johnstone. Fee: June 7-September 2“Views and Visions in the Pacific “Chautauqua Crafts Festival, ’90”; at Bestor Plaza, $350. July 16-27 “Form and Decoration” with Northwest”; at the Seattle Art Museum, Volun­ Chautauqua Institution. Cynthia Bringle. Fee: $350. July 30-August 10 teer Park. New York, GarrisonAugust 18-19 “21st Annual “Handbuilding and Low-Fire Glazing” with Erik Wisconsin, Milwaukee through June 23“His and Arts and Crafts Fair”; at Garrison’s Landing, on Gronborg. Fee: $350. August 13-17 “Beginning Hers,” works by male and female artist teams. the Hudson River. Throwing and Handbuilding” with Harald June 29-August “Calliopes 4 and Clowns”; at A. New York, LewistonAugust 11-12 “24th Lewis­ Nordvold. Fee: $175. August 27-31 “Functional, Houberbocken, 230 West Wells, Suite 202. ton Outdoor Art Festival”; along Center Street. Nonutilitarian and Ceremonial Containers” with Wisconsin, Sheboyganthrough July 29 “Arts/In­ New York, New YorkJune 30-July 1 and July 7-8 Patrick Horsley. Fee: $175. Contact Mendocino dustry Collaborations ’89,” including ceramic “American Crafts Festival.” August 25-26 and Art Center, 45200 Little Lake Street, Box 765, sculptures by Kent Anderson and clay/mixed- September 1-3 “Autumn Crafts Festival”; at Lin­ Mendocino 95460; or phone (707) 937-5818. media work by Melissa Stern; at the John Mi­ coln Center for the Performing Arts, Fordham California, Santa Ana June 30 Low-temperature, chael Kohler Arts Center, 608 New York Avenue. University Plaza. salt/saggar firings of large wheel and handbuilt Wyoming, JacksonAugust 12-September 2 “ArtWest New York, RochesterJune 23-24 “Harbor Festi­ vessels with Rico Piper. Fee: $25. Contact Patrick Open Competition”; at the ArtWest Gallery, 49 val Art and Craft Show”; at Ontario Beach Park. Crabb, Rancho Santiago College, 17 and Bristol West Broadway. July 21-22 “The Main Event Art and Craft Show”; Streets, Santa Ana 92706; or phone (714) 667- on Main Street. 3173 or 667-3195. Fairs, Festivals and Sales New York, Syracuse July 13-15 “20th Annual California, Walnut Creek June 9A session with Syracuse Arts and Crafts Festival”; at Columbus Gary Holt and Kenichi Saito. Fee: $30, seniors California, Laguna BeachJuly 7-August 26“Festi­ Circle, downtown. $25. Contact Walnut Creek Civic Arts Education, val of Arts”; on Laguna Canyon Road. New York, ValhallaJune 16-17 “Clearwater’s 1990 Box 8039, Walnut Creek 94596; or phone (415) California, Santa MonicaJune 8-9 “Contempo­ Great Hudson River Revival”; at Westchester943-5846. rary Crafts Market”; at the Santa Monica Civic, Community College. Colorado, GunnisonJuly 16-20 “Ceramic Sculp­ Pico and Main Street. North Carolina, AshevilleJuly 19-22 “Southern ture” with Christine Federighi. Fee: $190. Begin­ California, SausalitoSeptember 1-3 “Sausalito Art Highland Handicraft Guild Fair.” August 17-19 ning to intermediate skill levels. Live-in accom­ Festival”; at the Bay Model Visitor Center, Bridge­ “Summerfest Art and Craft Show”; at the Asheville modations available. Contact Summer School way and Harbor. Civic Center, Haywood Street. Office, Western State College, Gunnison 81231; California, Walnut CreekJune 15-17 “Clay Arts Ohio, CantonJuly 21-22 “Hall of Fame Artfest”; or phone (303) 943-2063 . Or phone Larry Run­ Guild Summer Ceramics Sale”; at the Civic Arts at the Stark Technical College. ner (303) 943-3083 or NancyJane Cushing (303) Education Ceramics Studio, 1313 Civic Drive. Ohio, Chagrin Falls June 9-10 “Art by the Falls”; 641-2238. Colorado, Beaver CreekAugust 4-5 and 11-12 at Chagrin Falls Riverside Park. Connecticut, BrookfieldJune 30-July 1“Ceramic “Curious Enchantment”; at the Plaza Mall. Ohio, Cincinnati June 8-10 “Summerfair ’90”; at Jewelry” with Claire Kirpich. July 9-72“Tilemak- Colorado, EvergreenAugust 26 “Evergreen Fine Coney Island. ing Workshop” with Siglinda Scarpa. July 21-22 Arts and Crafts Fair”; at Heritage Grove, next to Ohio, Kettering August 19 “Art on the Com­ and 28-29“Low-Fire Ceramics: Decoration” with Hiwan Homestead Museum, Meadow Drive. mons”; at Civic Commons. Caryn Kreitzer. Contact Brookfield Craft Cen­ Colorado, Manitou SpringsSeptember 1-3 “Com- Ohio, Peninsula June 29-July 1 andJuly 4-8“Bos­ ter, 286 Whisconier Road, Brookfield 06804; or monwheel Artists 16th Annual Labor Day Festi­ ton Mills Artfest”; at the Boston Mills Ski Resort, phone (203) 775-4526. val”; at Memorial Park. Riverview at Boston Mills Road. Connecticut, Middletown July 10-14 A session Colorado, VailJuly 14-15 “Vail Arts Festival 7”; at Oklahoma, Norman June 29-30“A Midsummer with Bruce Cochrane. Fee: $200. Contact the Lionshead Mall. Night’s Fair”; at the Firehouse Art Center, 444 Wesleyan Potters, 350 South Main Street, Mid­ Connecticut, Guilford July 19-21 “33rd Annual South Flood. dletown 06457; or phone (203) 347-5925. Crafts Exposition”; at the Guilford Town Green. Oregon, PortlandSeptember 1-3 “Artists’ Market­ Idaho, McCall August 4-8 “Raku,” demonstra­ Idaho, Coeur D’Alene August 3-5 “Art on the place”; on Broadway. tion, lecture and hands-on experience, includ­ Green”; at North Idaho College. Oregon, SalemJuly 20-23 “41st Annual Salem ing kiln-building, with Jim Shrosbree. Fee: $155. Illinois, EvanstonAugust 31-September 3 “Sixth Art Fair and Festival”; at Bush’s Pasture Park. University housing available. Contact Walter Annual American Craft Exposition and Sale”; at Pennsylvania, GreensburgJuly 5-8 ‘Westmore­ Dunn, University of Idaho/McCall campus, Box the Henry Crown Sports Pavilion, Lincoln Street. land Arts and Heritage Festival”; at Twin Lakes 1025, McCall 83638; or phone (208) 634-9937. Indiana, Fort WayneJuly 7-8 “Festival Arts and Park, off Route 30. Illinois, EdwardsvilleJuly 16-28 “Low Tempera­ Crafts Show”; at Freimann Park, Main Street. Pennsylvania, LancasterJuly 26-29 “43rd State ture Ceramic Workshop” with Sue Bostwick. Iowa, Mason CityAugust 19 “MacNider Museum Craft Fair”; at Franklin and Marshall College. Contact the School of Fine Arts and Communi­ Outdoor Art Market”; at the Charles H. MacNider Pennsylvania, Shawnee-on-DelawareJune 23-24 cations, Department of Art and Design, Box Museum, 303 Second Street, Southeast. “The Pocono State Craft Festival”; at Shawnee 1774, Southern Illinois University, Edwardsville Kansas, Lenexa June 8-10 “Dimensions ’90”; at Inn Resort. 62026; or phone (618) 692-3071. Sar-Ko-Par Trails Park. Pennsylvania, State College July 12-15 “24th Kentucky, LibertyJune 24-July 15“Wood-Fired Kentucky, LouisvilleJune 16-17 ‘Waterside”; on Annual Sidewalk Sale”; along Allen Street. Workshop,” three 1-week workshops with Mit- the grounds of the historic Water Tower, beside Washington, BellevueJuly 27-29 “Pacific North­ suo Kakutani, Ron Knight and Connie Smith. the Ohio River. west Arts and Crafts Fair”; at Bellevue Square. Fee: $225, 1 week; $600, 3 weeks. Contact Ron Maryland, Columbia June 29-July 1“Columbia Washington, SeattleAugust 31-September 3 “Bum- Knight, Route 1, Box 32, West Branch, Iowa Festival of the Arts”; at the Lakefront of Kitta- bershoot”; at the Seatde Center. 52358; or phone (319) 351-7937. After June 7, maqundi. Wisconsin, MadisonJuly 14-15 “32nd Art Fair on write to Ron Knight, Route 8, Box 250B, Liberty Maryland, Havre de GraceAugust 18-19 “27th the Square”; on Capital Square. 42539; or phone (606) 787-6105. Continued

66 C eramics Monthly June/July/August 1990 67 Glazed Pottery,” lecture by Charles Zug, Univer­ France, Saint-Amand-les-Eaux through September Itinerary sity of North Carolina, Chapel Hill. Contact the 30 “Potiers de France en Egypte,” exhibition McKissick Museum, University of South Caro­with Michel Pastore and Evelyne Porret; atMusee lina, Columbia 29208; or phone (803) 777-7251. Municipal, Tour Abbatiale. Maine, North Edgecomb June 24 Slide lecture Texas, MineolaSeptember 21-22 “50 Years a Pot­ Italy, Firenze (Florence) September 16-28 with John Glick .July 15 Slide lecture with Linda ter” with David Leach. Location: Pine Mills Pot­ “Handbuilding: Terra Cotta of Florence—Spe­ Christianson. August 5 Slide lecture with Winnie tery. For further information contact Gary or cial Traditional Pottery,” workshop with Silvia Owens-Hart. August 26 Slide lecture with Eddie Daphne Hatcher, Route 1, Box 167, Mineola Fossati. Fee: 500,000 lire (approximately US$375). Dominguez. Contact Watershed Center for the 75773; or phone (214) 857-2271. Instruction in Italian and English. Contact Stu­ Ceramic Arts, Box 62, North Edgecomb 04556; Utah, Park City August 20-31 “Useful Pots: A dio Giambo, Associazione Culturale, Via Giano or phone (718) 643-0409. Personal Approach,” with Joseph Bennion. Con­ della Bella, 22, Firenze 50124; or phone 055- Michigan, Saugatuck June 24-August 26One- to tact Kimball Art Center, Box 1478, Park City 224447; or fax 055-229125. three-week workshops. Contact Ox-Bow, c/o 84060; or phone (801) 649-8882. Italy, UrbinoSeptember 9-29 Ceramics workshop Office of Summer Programs, School of the Art Virginia, Richmond June 9Demonstration and with Trigvie Derr. Fee: US$2300; includes mate­ Institute of Chicago, 37 South Wabash Avenue, slide lecture by Donna Polseno. Fee: $45. Con­ rials, firings, lodging, meals and day trips. Con­ Room 707, Chicago, Illinois 60603; or phone tact the Hand Workshop, 1812 West Main Street, tact Lynne Streeter, 627 Adams Street, Albany, (312) 899-5130. Richmond 23220; or phone (804) 353-0094. California 94706; or phone (415) 524-7115. Montana, Helena July 5-6 A session with Irma Japan, Chuo-koJune 29-July 12Morihiro Wada; Starr. Fee: $25/day. August 4 A session with Chris International Events at Fujii Gallery Modern, 7-4-14, Ginza. Staley. Fee: $25. Contact the Archie Bray Foun­ Mexico, ChihuahuaAugust 3-13 “Casas Grandes dation, 2915 Country Club, Helena 59601; or Australia, Melbourne through June 10“Benwell Pottery,” workshop with Juan Quezada. Fee: phone Carol Roorbach (406) 443-3502. and Potter,” clayworks by Stephen Benwell and US$750. Contact Registrar, Summer Program, New Mexico, Chaco CanyonAugust 21-31 David Potter; at the National Gallery of Victoria, Idyllwild School of Music and the Arts, Box 38, “Acoma Pottery” with Lucy Lewis and her daugh­ 180 Saint Kilda Road. Idyllwild, California 92349; or phone (714) 659- ters, Delores Garcia and Emma Mitchell. Fee: Canada, British Columbia, Ganges June 8-Sep- 2171, extension 207, or (213) 622-0355; or fax $850. Location: Chaco Culture National Histori­ tember 3 “Artcraft ’90,” arts and crafts sale; at (714) 659-5463. cal Park. Contact Registrar, Summer Program, Mahon Hall, Salt Spring Island. Netherlands, Amsterdam June 5-30 Dual exhibi­ Idyllwild School of Music and the Arts, Box 38, Canada, Ontario, Torontothrough June 17 “Con­ tion by Setsuko Nagasawa and Netty van den Idyllwild, California 92349; or phone (714) 659- temporary Ceramics from the Smits Collection”; Heuvel; at Galerie De Witte Voet, Kerkstraat 149. 2171, extension 207, or (213) 622-0355; or fax at the George R. Gardiner Museum of Ceramic Netherlands, Bussum September 7-9 Workshop (714) 659-5463. Art, 111 Queen’s Park. with Steven and Susan Kemenyffy. Contact Pot- New York, AccordJune 23-24 “Anagama Work­ July 25-29 “Harbourfront Festival of Craft and terysupply Lucky Lambo, Honor Lambostraat shop,” lectures, demonstrations and hands-on Design”; at Harbourfront, 235 Queens Quay 14-16, 1401 VA Bussum; or phone 2159-32506; experience, with Jeff Shapiro. Participants can West. or fax 2159-37416. bring work to be fired in anagama kiln. Japanese Canada, Quebec, Montreal throughJune 9Three- Netherlands, Delft July 21-September 9“Contem­ lunch optional. Contact Jeff Shapiro, Yakishime person exhibition featuring ceramics by Liz porary Delftware”; at Stedelijk Museum, St. Pottery, Raycliff Drive, Accord, New York 12404; Menzies .June5-July 1“Contemporary Canadian Agathaplein 1. or phone (914) 626-0684. Ceramics in Oslo,” with works by 22 artists. June Netherlands, Deventer June 10-30 and July New York, New YorkJune 23, 30 “Studio Prac­ 15-July 7 Three-person exhibition featuring ce­ 25-August 19“Four Potters from Limburg,” with tices for Intermediate/Advanced Students” with ramics by Evelyn Grant; at Galerie Franklin Sil- Joop Crompvoets, GeertJacobs, GuulJacobs and Andrew Quient. Fee: $125. Limited to 12 partici­ verstone, 1618 ouest, rue Sherbrooke. Hein Severijns; at Kunst and Keramiek, Korte pants. Contact the YWCA of the City of New York, throughJune 16Rose Szasz solo exhibition, “Gods Assenstraat 15, Secretariaat. 610 Lexington Avenue, New York 10022; or and Mortals”; at Canadian Handicraft Guild, Scotland, Edinburgh June 1-26 Three-person phone (212) 735-9731. 2025 Peel Street. exhibition featuring ceramics by Imogen Mar- North Carolina, AshevilleJune 16 “Clay Day,” July 2-26 “Raku I,” workshop with Alain Guibeault. grie. August 10-September 4 Four-person exhibi­ with over 12 artists demonstrating various activi­Fee: Can$110 (approximately US$92), plus ma­ tion with ceramics by John Maltby; at the Scot­ ties, including the firing of works and the dem­ terials. “Throwing Workshop.” Fee: Can$110, tish Gallery, 94 George Street. onstration of the raku process. Contact the Folk plus materials. “Painting on Porcelain Work­ Scotland, Glasgowthrough June 17 “Clay in Her Art Center of the Southern Highland Handi­ shop (Classic Style).” Fee: Can$110, plus mate­ Hands,” includes works by Sandy Brown, Sheila craft Guild, Box 9545, Asheville 28815; or phone rials. Contact the Centre des arts visuels, 350, Casson, Marilza Gouvea, Madoline Keeler and Andrew Glasgow (704) 298-7928. avenue Victoria, Montreal H3Z 2N4; or phone Mary Rich; and “Scottish Potters”; at Formakin North Carolina, Brasstown September 9-15 (514) 488-9558. Mansion, Bishopton. “Handbuilt Colored Porcelain” with Barbara Canada, Quebec, Trois-Rivieres June 12-August Spain, Gijon August 6-11“The Movement,” work­ Joiner. Contact the John C. Campbell Folk 23 “4th National Biennial of Ceramics”; at Ma- shop with Erich Haberlich and Ingrid Mair. Fee: School, Route 1, Box 14-A, Brasstown 28902; ornoir de Tomnamcour, 864 Des Ursulines. US$300; includes materials, firings, lodging and phone (800) 562-2440. England, Framlingham, Aldeburgh June 16-July meals. Instruction in English, Italian and Span­ Oregon, Otis June 10-13 “Mosaic Mural Making” 2 “Patrons of Pots” festival will include lectures, ish. Advanced and professional levels. Contact with Barry Rose. Fee: $60. Contact Sitka Center demonstrations and the exhibitions “Clay in Her Antonio Soriano, Textura, Oscar Olavarria, 11, for Art and Ecology, Box 65, Otis 97368; or Hands,” with works by Sandy Brown, Sheila Cas- Gijon, Asturias 33201; or phone (985) 345-545. phone (503) 994-5485. son, Marilza Gouvea, Madoline Keeler and Mary Sweden, Malmo June 1 September 2uNordForm90,” Oregon, Portland June 30-July 1 “People and Rich, and “Scottish Potters.” Live-in accommo­ an exhibition of art handicrafts, industrial de­ Pots” with Chris Staley. Fee: $100. July 7 dations available. For further information con­ sign and architecture from Denmark, Finland, “Teapots-East Meets West” with Ching-Leon tact Patrons of Pots, Box 30, Oswestry SY10 OHW; Iceland, Norway and Sweden; along the harbor. Chen and Richard Notkin. Fee: $49. August 17-22 or phone (069) 17^308. Switzerland, Aubonne throughJune 23Exhibition “Pictorial Vessels” with Akio Takamori. Fee: $211. England, Londonthrough June 17 Sarah Scamp- by ceramists Jean Claude de Gousaz, Francesca Contact Oregon School of Arts and Crafts, 8245 ton solo exhibition; at the Crafts Council shop, Pfeffer, Charles Spacey and Sabina Teuteberg; Southwest Barnes Road, Portland 97225; or Victoria and Albert Museum, South Kensington. at Galerie de l’Amiral Duquesne, Rue de l’Ami- phone (503) 297-5544. through July 29Three-person exhibition featur­ ral Duquesne 6. August 5-11 A session with Debra Norby. Fee: ing pots by Richard Slee; at the Crafts Council Switzerland, Lausanne through July 21“8 Euro­ $400. August 12-18 Asession with Judy Teufel. Gallery, 12 Waterloo Place. pean Ceramists,” with Suzy Atkins, Edouard Fee: $400. Contact Arts at Menucha, Box 4958, June 1-13 Masutaro Murata solo exhibition, Chapallaz, Carmen Dionyse, Aline Favre, Beate Pordand 97208; or phone (503) 760-5837 or ‘Yakimono ’90”; at the Orangery, Holland Park. Kuhn, Philippe Lambercy, Karl and Ursula (503) 253-9124. England, Oxford July 2-August 1Sandy Brown Scheid; at Galerie Leonelli, rue Vuillermet 6. Pennsylvania, CheltenhamJune 4—1.5 “Large-Scale solo exhibition, “Figuratively Speaking”; at the Switzerland, Muggio September 10-15 “Glazes and Handbuilt Vessels” with William Daley. Fee: $350. Oxford Gallery, 23 High Street. their Treatment,” workshop with Gustav Weiss. Housing: $75. Contact Cheltenham Center for England, West Dean July 28-August 10 “Explor­ Fee: Sfrl050 (approximately US$693); includes the Arts, 439 Ashbourne Road, Cheltenham ing Decoration in Stoneware” with Josse Davis. materials, firings, lodging and meals. Advanced, 19012; or phone (215) 379-4660. Fee: £281 (approximately US$440). August 4-10 professional levels. Contact Elisabetta Mellier, Pennsylvania, DoylestownSeptember 17-December “Pots for Plants” with Gordon Cooke. Fee: £281. Centro Sperimentale d’Arte, CH 6831 Muggio. 7 “Apprentice Workshops in Tilemaking.” Regis­ Beginning through advanced skill levels. Con­ West Germany, DiisseldorfJune 10-September 16 tration deadline: June 18. Contact Moravian Pot­ tact Heather Way, West Dean College, West Dean, “Con Fuoco,” exhibition of works by Italian ce­ tery and Tile Works, 130 Swamp Road, Doyles­ near Chichester, West Sussex P018 0QZ; or ramists; at the Deutsches Keramikmuseum, town 18901; or phone (215) 345-6722. phone (243) 63301. Heyens-Museum, Schulstrasse4. South Carolina, ColumbiaJune 9“Folklore in France, Nancay throughJuly 15Exhibition featur­ West Germany, Sandhausen June 16-17 “Potters the Classroom,” teachers’ workshop with Betty ing ceramics by Gisele Buthod-Garcon and Seminar,” with Svend Bayer, Sandy Brown and Belanus, folklife specialist, Smithsonian Christine Fabre; at Galerie Capazza, Grenier de Imre Schrammel; at Galerie fur englische Ker- Institution.June 24 “North Carolina Alkaline- Villatre. amik Marianne Heller, Allmendstrasse 31.

68 C eramics Monthly June/July/August 1990 69 70 C eramics Monthly while a larger bowl, identified in the cata­ women and men to express support for the News & Retrospect log as “important,” brought £1100 (approxi­ reauthorization of the NEA and NEH, with­ mately US$1730). out amendments that may hamper free­ dom of expression. “Letter writers should CAA Call for Endowments Support cite specific projects, supported by either It may have been the largest art confer­ or both endowments, that benefited schol­ ence anywhere—5500 participants attended ars, students and others in their states. Henry Hammond Estate Auction the annual College Art Association (CAA) Please urge other leaders—college presi­ Works by Henry Hammond (1914-1989), conference in New York City last February. dents, trustees, influential constituents— along with pots by friends and former stu­ Besides the allure of its location (everyone to write. Also, you can meet with local media dents, were auctioned at Bonhams in Lon­ wanted to see what’s happening artwise in to convince them to write stories in support don on April 5. A pupil ofWilliam Staite New York), the record crowd can be attrib­ of the endowments, and you can write let­ Murray, Hammond “adopted with fervor uted in part to current concern over the ters to the editor and op-ed pieces for local censorship threatened in the awards-grant- newspapers.” ing policy of the National Endowment for the Arts (NEA) and the National Endow­ Fragmented Scripps Annual ment for the Humanities (NEH). In the by Kathy Koop meeting’s convocation address,June Wayne, Winning the Lotto might equate to the founder of Tamarind Lithography Work­ rush of excitement that accompanied an shop, rebuked Senator Jesse Helms for his invitation fromPaul Soldner to be one of the witch-hunt of artists, while he continues to 14 participants in the “46th Scripps Ce­ support the tobacco industry; and recom­ ramic Annual.” But the anticipation of ex­ mended support for permanent, independ­ hibiting in this well-known show was natu­ ent endowments that would not be subject rally linked to questions of self-doubt and to political whim: insecurity. Would my tall “cactus”jars stand “In the last 40 years, I have witnessed up under the scrutiny of the California clay many epidemics of artist-baiting. They peak community? Consequently, it was with some around election time like flu viruses. The apprehension that I flew from my tiny,

Henry Hammond the ethics of Bernard Leach” according to Oliver Watson, curator of ceramics at the Victoria and Albert Museum. But he did not produce a large body of work, as “much of his energies throughout his life were devoted to teaching, and under his guid­ ance Farnham School of Art became an im­ portant center for the formation of potters. His best pots, like the potter himself, show an undemonstrative strength clothed in a warm and generous spirit.” Of his works included in this auction (primarily wheel-thrown porcelain and

Cactus jar series, to 19V2 inches in height, glazed porcelain, fired to Cone 9 in reduction, by Kathy Koop, New Wilmington, Pennsylvania; turn the page to see what happened

cities change, as do the artist victims, but rural Midwest town to Claremont, Califor­ the identical epithets—pornographic, sub­ nia, for the opening. versive, sacrilegious, immoral—are hurled Upon entering the Lang Art Gallery, at abstraction, expressionism, surrealism, where the final preparations were under­ minimalism, every style of art and every way, I couldn’t believe the first objects I saw kind of artist. No one is immune when a were my five jars proudly perched on ped­ demagogue politician is on the rampage. estals. They looked great. No matter what A Henry Hammond wheel-thrown stoneware “What is done is done, but it is not too other fabulous creations filled the other bowl, 6V4 inches in diameter, decorated with late to move toward legislation to make the rooms, I knew it wouldn’t be necessary to three underglaze birds, sold for approxi­ mately $500 (plus 10% buyer’s premium) endowments permanent and independent, wear a bag over my head at the opening. to restructure them into a National Foun­ Anxious to preview the rest of the show, dation of Arts and Humanities with an in­ I moved on. Suddenly, there was an incom- stoneware functional forms), the most dependent board to interface with Con­ sought after were those decorated with gress and the White House, as is the case You are invited to send news and photos brushed oxide images. For example: a stone­ for science; and while we are about it, at about people, places or events of interest. We ware teabowl decorated with six fish sold long last to secure a cabinet seat for the arts will be pleased to consider them for publica­ for £700 (approximately US$1100); and and humanities, to make them integral to tion in this column. Mail submissions to this stoneware bowl with three underglaze the affairs of the nation.” News & Retrospect, Ceramics Monthly, Box birds, shown on the auction catalog cover, To that end, the CAA is encouraging 12448, Columbus, Ohio 43212. went for £320 (approximately US$500); artists to write their senators, congress­

June/July/August 1990 71 News & Retrospect erly arranged where it fell, as the continu­ ous aftershocks prevented a vertical dis­ play. And the large central portion of Adrian prehensible noise that sounded something Arleo’s ‘Two Tree Women” was returned like a train. But I didn’t remember seeing a to its original pedestal. Then a miraculous train track next to the building. A quick discovery was made. Among the shards of glance around brought the realization that my jars was one pot, completely undam­ the whole structure was aged. This lucky survi­ shaking. (One doesn’t vor was effectively dis­ automatically think played alongside frag­ “earthquake” if one has ments of the others. always lived in the Mid­ At the opening, west.) Everyone else Soldner commented: had already made a “This is a memorable beeline for the door, exhibition, and I’m and I was soon on their extremely pleased with heels. How our percep­ the display. Through tion of time can ex­ the thoughtful organi­ pand—20 seconds zation of these frag­ seemed an eternity. ments, neither the art­ The first sound I ists’ integrity nor the heard in the postquake Scripps annual were silence was an exclama­ compromised. In fact, tion from Paul Soldner, the results have been a pause, then, “Kathy, an educational para­ I’m so sorry.” It took a gon. The audience is second for his condo­ curious, interested and lences to register. Then understandably sym­ I looked at my five pathetic. Surprisingly, empty pedestals. some observers are A quick tour of the unaware of the catas­ Before the newly positioned works could be four gallery rooms re­ anchored, an earthquake reduced20 % of the trophe since the aes­ vealed the extent of the 46th Scripps Annual to shards: cactus jar thetic strength of the damage: 50% of the (top) by Kathy Koop and an untitled column work was salvaged.” show had been affected by Raul Baeza Some experiences in some minor way; are beyond human while 20% (including works by Adrian Ar- control. How we respond measures our leo, Raul Baeza and David Miner) had been resourcefulness, which is always best with a reduced to fragments. During the ensuing little sense of humor. Thus, the decision to hours, many decisions had to be made re­ display the damaged work became a con­ garding the integrity of the show. The im­ tinuation of the creative process. Their in­ mediate response of gallery director Mar­ trinsic value remained the same—an hon­ jorie Harth and registrar Steve Comba was to est expression of the human spirit.Photos: uphold the Scripps policy of never display­ Bill Lyons, Kathy Koop. ing damaged work. However, Soldner, who has a very flexible attitude toward almost Lithuanian Ceramics everything, argued, “By using the major by Joyce Patton-Kavanagh fragments, the spirit of each piece would During February, two young Lithuanian be preserved. The primary information was ceramists, Antanas and Kostas Ulevicius, still there, with the original intent of each worked as guest artists at Illinois Wesleyan artist remaining quite obvious.” University in Bloomington. The brothers Harth agreed that this bizarre catastro­ were born in Kaunas, a major city in Lithu­ phe required unorthodox problem solv­ ania, and studied ceramics at the Lithu­ ing. She was “concerned that in exhibiting anian Art Academy in Vilnius, the capital. these fragments, we not communicate an Kostas, who completed his degree and has overly casual impression—i.e., that we were since made a number of public artworks, is taking this lightly. On the other hand, it currently on leave from the faculty at the didn’t seem appropriate to simply clean up Kaunas branch of the academy. Antanas the mess and pretend nothing happened. has finished his studies with the exception By arranging and presenting the ‘remains’ of a thesis, which he prolonged in order to with the same care we devote to any object, do research in the United States. we seemed to strike the right balance.” The influence of European sculpture On receiving permission from the af­ from the teens, twenties and thirties; espe­ fected artists, Soldner, Comba and the gal­ cially cubism, futurism and social realism, lery staff flew into action. With the minor is apparent in their work—much more so debris cleared away, the exposed armature than is evident in contemporary American of Raul Baeza’s untitled column gave newceramic sculpture, which has been so heav­ insight to its structure. David Miner’s 500- ily influenced by pop art. This coincides pound landscape/pig sculpture was clev­ with Lithuania’s brief era of independence

72 C eramics Monthly June/July/August 1990 73 N0WS 8c Retrospect Antanas built a series of Rupintojas, or * Rupinguis (pronounced “roopin guys”), derived from the monumental grave marker figures in Lithuanian cemeteries. The Rup- intoja, or “worried man” as it literally trans­ lates, is an image dating from pre-Christian times, but adopted as a Christ figure by the church. Traditionally carved from oak, said to be a sacred wood, the figure is usually seated with his head in his hands as if con­ templating the fate of the world—a pose similar to Rodin's “The Thinker” In response to his observations of the role of the teapot in American ceramics as a vehicle for personal expression, Kostas made a set of elegant teapots ornamented with attenuated, figurative elements. He also built a series of vases, assembling slab strips in a manner similar to coil construc­ tion; but they have a sharpness not com­ mon to coiled forms. Antanas, too, employed unusual archi­ tectonic construction methods. He worked almost entirely with slabs, balancing his structures like precarious card houses. By the end of their stay, both had begun incorporating some of the pinch and coil techniques common in the U.S. Unlike the more independent system in America, where the ceramist takes a piece through every step of the process, the atel­ ier system (in which the artist acts primarily as a sculptor and consults with technicians who then take care of glazing and firing) is predominate in Lithuania. Kostas and An­ tanas enjoyed the challenge of experiment­ ing with glazing and firing techniques, and we all benefited from the unexpectedly interesting effects they achieved by firing

“Samovar,” 26 inches in height, built from slab strips, fired to Cone8 , surfaced with Cone 018 overglazes, by Kostas Ulevicius

“Constructivist Rupingui,” 32 inches in height, slab built, coated with white slip, fired to Cone 10 in reduction, brushed with underglazes, fired to Cone 05, detailed with Cone 018 overglazes, by Antanas Ulevicius

from 1918 to 1939, after which any further contact with the contemporary art world outside the U.S.S.R. was discouraged. Antanas’s work runs in two distinct, al­ most antithetical veins. One group is pla­ nar, evocative of the Russian constructivists and the Dutch de Stijl school. These angu­ lar, linear pieces may reflect his two years study in architecture before coming to ce­ ramics. His other group of work is much more expressionistic and primitive, remi­ niscent of the sculpture ofGiacometti and Modigliani, with strong reference to Lithu­ anian folk art. With the rise of the nationalist move­ ment in Lithuania, there has been a resur­ gence of interest in traditional folk arts.

74 C eramics Monthly June/July/August 1990 75 News & Retrospect years, with the exclusion of any pots from the period of the Roman occupation of Britain, A.D. 44-410. “With the coming of slips, glazes and overglazes to unusually the Romans, most pottery was wheel-turned high or low temperatures. and bulk-manufactured,” noted Teresa Bris­ In the past, most artists in Lithuania coe of the British Museum (which authenti­ have belonged to the government-spon­ cated the pots). “The trade routes being so sored artists’ union (which guaranteed a good, wares from this country and all over lucrative livelihood from government proj­the western Empire were brought to mar­ ects), but Kostas and Antanas are part of a kets in Britain. Even after the withdrawal of group of young artists who choose not tothe Roman legions, Roman-type pots con­ join the union and work, instead, on free­ tinued for some years; but by the time of lance sculpture and production pieces. the coming of the Anglo-Saxon peoples Hitherto scattered and relatively powerless, across the North Sea, the wheel appears to the number of nonunion artists is increas­ have ceased to be used.” ing, and they are exerting a growing Handbuilding “was the method of manu­ influence on the system. It will be interest­ facture used by the Anglo-Saxon peoples. ing, in the light of Lithuania’s current Most of the whole pots that have reached struggle for independence, to watch how us today come from cremation cemeteries, or if the structure of the artistic community but habitation sites provide evidence of will change. similar pots, so [we know that] they do represent what was used in a household— Prehistoric/Medieval Collection Sold and perhaps later to contain the owner’s Galerie Besson in London recently ashes. handled the sale of a private collection of “The period covered by pagan Anglo- prehistoric, Anglo-Saxon and medieval Saxon pottery is approximately A.D. pots—the kind of loosely thrown pots highly 450-700. The largest cemeteries are found favored by potters of the Leach/Cardew in East Anglia and the Trent Valley, and the school of thought. Some of the works boreAnglo-Saxon pots on display reportedly the characteristic “thumbed foot,” as well as came from Norfolk. coarse throwing marks through slight twists “Kilns used for firing pottery are known from maximum production speed with from the Iron Age and Roman periods, but minimum clay used. Many of these works none have been found from the pagan were produced by impoverished potters Anglo-Saxon times. It is certain that these paid by the piece. Prices for these pots, pots were fired in a bonfire ‘clamp.’ which sold for pennies when new, now “The wheel appeared again circa A.D. range from £600 to £7000 (approximately 900 for the production of cooking pots, jars US$1000 to US$11,000). and bottles. This selection of medieval pots, On display through March 2, the collec­ which probably starts at about A.D. 1000 tion covered a period of approximately 3000 and continues to the 15th century, repre-

Wheel-thrown medieval pots, quickly thrown to10*/2 inches in height

76 CERAMICS MONTHLY June/July/August 1990 77 News & Retrospect

sents types from this country and also for continental Europe. “The use of glaze dates from about the year 1000; [typically such lead-glazed sur­ faces appeared] yellow or green in color. The dark brown glazes are liable to date from the 13th century. “A number of pots in the collection show distortion, and this probably means that these were ‘wasters.’ The finding of whole medieval pots from living sites is rare.” Photo: Prudence Cuming Associates.

Andree Richmond Like adult push/pull toys, the handbuilt clay animals of Tucson artistAndree Rich­ mond (shown recently at Mark Milliken Gallery in New York City) stand on axles with rollable wheels. Sometimes several animals are stacked one on top of another like a circus balancing act. Frequently, the “pieces evolve by them­ selves. I may be making a herd of rhinos when an elephant pops out, or struggling with a gorilla until I realize it’s a bulldog,” admits Richmond. “My criterion for the piece’s success is its ability to elicit a smile.” All the animals have openings. “Some­ times it’s the head that lifts off,” she says, “but more often it has a small hinged door on its side. This makes them perfect con­ tainers for small treasures.” Born in England and educated in Wales, Richmond explains that animals have al­ ways been an integral part of her life. “Since

“The Balancing Act,” 19 inches in height, handbuilt, underglazed/glazed whiteware, with metal axles

78 C eramics Monthly News & Retrospect

“Tucson Two-Step,” 15 inches in height, handbuilt whiteware figures and wheels, with underglaze and clear glaze, on metal axles, by Andree Richmond childhood, I have been watching, reading and learning about them. I spent a week with a circus in London years ago, and the first animals I ever did were elephants. Now the wheels, representing the circus wagons in which they travel, have become a trade­ mark of my work.” Photos: Robin Stancliff.

Karon and Louie Doherty “Shrines to Our Lives,” an exhibition of clay and wood objects by Karon and Louie Doherty (New Bedford, Massachusetts), was presented recently at McKillop Gallery of Salve Regina College in Newport, Rhode Island. Karon recalls that their work as a team “started when Louie was making the basic wooden forms that I turned into tile- and figure-covered shrines. Gradually the input of creative energy became equally shared. Without any initial attempt to do so, the work became a total collaboration, and we were excited by the results. The shrines were made as ‘storyboards’ about our 21+ years together. Continued

Massachusetts artists Karon and Louie Doherty mix wood and clay in their work

June/July/August 1990 79 News & Retrospect It can be a revelation to view concepts in a fresh way. The dual input fuels artistic en­ ergy and encourages both artists to investi­ gate new possibilities.”

Walter Hall Since 1986, Connecticut artistWalter Hall has been working on a series of narrative, largely autobiographical sculptures com­ bining ceramic mortar and steel mesh (see “Refractory and Mesh” in the January 1987 CM). One sculpture in this series, “Inci­ dent at Sea,” toured the United States in the “American Ceramics Now” exhibition (the 27th ceramic national sponsored by the Everson Museum in Syracuse, New York); others were featured recently in a solo exhibition at the College of William and Mary in Williamsburg, Virginia. Hall’s process was developed for sculp­ tural reasons: “I was seeking a way to make ceramic pieces in a paper-thin manner with­ out sacrificing a reasonable degree of strength or the beauty of the fired surface. “Fish Chairs and Shrine Table,”painted Additionally, I wanted to eliminate shrink­ wood, partly covered with glazed tile, with age during drying and firing. clay figure scene in table inset “Modeling steel has allowed me to ar­ ticulate forms with more specificity and in a “After being married for so long, we completely different manner than was sug­ have worked through innumerable situ­ gested by working with clay alone. For ex­ ations requiring cooperation. Our shared ample, because of the use of steel, the pieces art has become a part of this concurrence. are relatively unaffected by the strictures of With our acquired good negotiating skills, gravity during the forming process. A figure collaboration is a mostly rewarding, excit­ can be worked from toe to head in the ing and fun endeavor. traditional manner (for ceramics), from “Often I am asked how I can work with head to toe, or it can be started in the mid- someone else; artwork is so personal. I be­ section, all with equal ease. Perhaps the lieve it is important to respect the art and most significant creative freedom afforded opinions of the person with whom you areby this procedure is that I can make a sec­ cooperating. Without this mutual respect, tion of a piece (the canoe, for example, in discussions could lead to argument and ‘Incident at Sea’) without concerning my­ dissatisfaction. self until later with its orientation or posi­ “It’s wonderful when your collaborator tion in the context of the complete sculp­ brings a different perspective to the work. ture, and without compromising its even-

‘Incident at Sea,” 13 inches in height, clay on steel, 1986, by Walter Hall

80 Ceramics Monthly June/July/August 1990 81 News & Retrospect

tual integration, physically and poetically, into the final form. “These sculptures reflect the spiritual intensity that has been an inseparable part of life in the New England landscape. Fig­ ures are engaged with the land or sea, often performing solitary tasks, enveloped by the mood of the season and the psyche. “I began ‘Incident at Sea’ with George Earthenware teapot, 7 inches in height, by Caleb Binghams ‘Fur Traders Descending Jim Kemp, Greenwood, Indiana the Missouri’ in mind. It also derives from an experience I had in Virginia one sum­ color available. I glaze the inside of green­ mer, sitting at the edge of a creek, reading. ware with a commercial clear glaze, and I kept hearing little splashes in the water, spray the outside with vitreous slip consist­ and realized that fish were jumping. The ing of 2 parts white earthenware and 1 part instant I heard a splash, I would turn to clear glaze. Pots are then sprayed with slips look but never quickly enough to see moremixed with Reward Velvets or Mason Stains, than a tail going back into the water. I tried and gas fired to Cone 04.” staring at the water to see the fish break the surface, but nothing would happen. Even­ Lyn Riccardo tually, I would get bored and go back to my A solo exhibition of angular, sometimes book, then it would happen again. biomorphic, vessels by Brooklyn ceramist “‘Incident at Sea’ focuses on a similar Lyn Riccardo was presented recently at the circumstance. The man in the boat is con­ Cooper Gallery in Manalapan, Florida. centrating on the task at hand (dipping a Simple slip-cast and/or handbuilt forms basket into the water), when a figure plunges from the sky into the sea on the other side of his canoe. He is perhaps aware of it pe­ ripherally, or at least senses that something is happening; but, despite its proximity, he still perceives only a fraction of this sudden occurrence.”

Amplification The Cone 10 clear glaze used by British potter Margaret O’Rorke on her translucent porcelain lights (February 1990 issue of CM, page 74) was originally developed by Eileen Lewenstein, coeditor of Ceramic Re­ view magazine.

Jim Kemp An exhibition of single-fired earthen­ ware pots by Jim Kemp, Greenwood, Indi­ ana, was on view recently at the Indianapo­ Slab-built vase, 19 inches in height, glazed lis Museum of Art Alliance Shop. Having terra cotta high fired for years, Kemp switched to earth­ enware in 1986 “to broaden the range of were assembled to produce “work that is vague and allusive, suggesting rather than Carved platter, 27inches in diameter, with defining,” Riccardo explained. airbrushed stains and slips, single fired to “The forms come from nature and ge­ Cone 04 ometry. I am interested in the way they grow in and out of each other, and am fascinated by the interaction between forms within one piece and from piece to piece. Sometimes I find the work to be humor­ ous—I never quite know if this is inten­ tional.” Photo: Brian Weil.

Focus on Illinois Works by eight Illinois ceramists were featured in the “Midwest Invitational II— Focus on Illinois” at Parkland College Art Gallery in Champaign through March 30. The guest curator for the show wasRimas VisGirda, visiting artist at Illinois Wesleyan

82 CERAMICS MONTHLY June/July/August 1990 83 News & Retrospect

Untitled teapot form, 15 inches in height, Pier, fully engaged —don’t try this at home, porcelain, residual salt glazed, sandblasted, kids; only a professional daredevil should 1989, by Paul Dresang, Scottsville, Illinois attempt such a trick

University. He selected participants to illus­ (Do you think he collared that pot him­ trate the broad range of possibilities within self?) Fitzpatrick, Dave Dunlap and Jody Wally the theme of vessels—from functional workshelped him into the pot; but one wonders to intellectual forms and combinations of how long they left him on the “spin cycle.” the two. “Bye, David. See you in an hour or two.” Photos: Geody Boettel. Getting into His Work As a senior at Pomona College in Clare­ Stephanie DeLange mont, California—studying ceramics with “Attending to the Earth,” a dual exhibi­ Sjoran Fitzpatrick, Norm Hines and Paul Sold- tion featuring porcelain sculpture byStepha­ ner—David Pier decided to really get into nie DeLange, was presented at the Leband his work. Of course, a throwing stunt of this magnitude would have been impossible without a little help from some friends.

David Pier, really into his work

“Arizona Night,”8 inches in height, slip-cast porcelain, 1988

Art Gallery of Loyola Marymount Univer­ sity in Los Angeles through March 3. Con­ cern for the environment is the major influence on her work. She produces real­ istic and geometric images to evoke the natural beauty of Southern California and the Southwest.

Sally Goodman Massachusetts ceramist Sally Goodman exhibited a selection of large-scale figura­ tive and architectural sculpture at the Coo­ per Gallery in Manalapan, Florida, through March 31. Often these forms incorporated

84 CERAMICS MONTHLY June/July/August 1990 85 News & Retrospect landscapes, by New York City studio potter Rene Murray, were on view recently at Home Pottery in Brooklyn. This work reflects Murray’s current interest in exploring how different firing temperatures affect the landscape paintings. She uses the higher (stoneware) range to achieve the stark, cool images inspired by Ansel Adams photo­ graphs; while the lower (earthenware) range affords lush, rich colors.

Washington Potters Annual by Matthew Kangas The sixth annual exhibition of the Wash­ ington Potters Association (WPA) was held at the Northwest Craft Center and Gallery on the grounds of the 1962 Seattle World’s Fair, now called Seattle Center. Nearly half of the approximately 150 members, from all areas of the state, were represented. In general, each show has been slightly better than the one before; and, if it is any gauge, the showcase exhibition strongly suggested that functional pottery of the Pacific Northwest is about to reach another high point in the coming decade.

“Black and Blue Days of Past,” 6 feet in height, glazed terra cotta, wood and grout

a variety of media, including glazed terra cotta and mosaic. “Summer Dream II” 2 IV2 inches in height, Goodman explains that her work “is coil-built stoneware, with low-fire glazes, about my life, relationships and celebra­ by Sandra J. Erickson, Gig Harbor tions. I am interested in planters, vases and garden sculptures, as they offer a rich range Without rehearsing the entire history of of possibilities.” Photo: Powell Photography. local functional ware (seeLaMar Harring­ ton’s book Ceramics in the Pacific North­ Rene Murray west: A History), it is worth remembering Approximately 30 clayworks (both two- that,^s for all the other crafts, the 1960s and three-dimensional), featuring glaze were aTiigh-water mark for pottery in Se-

Rene Murray’s “Clayscape,” 15 inches high, earthenware with brushed majolica glazes, Cone 04, $500

86 CERAMICS MONTHLY June/July/August 1990 87 News & Retrospect thetic demands everyday use presents, as opposed to the inflated economic status of the “gallery vessel” attle, but these strengths were soon eclipsed At the other, extreme fantasy end, San­ by the sculptural clay movement at the dra Ericksons polka-dotted fish appear to University of Washington. jump up out of the water (or through their Since then, however, former students of display surfaces). Coil built from stoneware, U.W. chairman emeritus Robert Sperry (see they are bisqued, then brushed with low- his portfolio, “Abstrac­ fire sand glazes. tions in Black and Frank Fabens s cast White,” this issue), such cups, saucers and as Gerald Newcomb, dishes are at the top Regnor Reinholdtsen of the neo-primitive and Sam Scott, have pottery phenomenon continued to build hereabouts. He is and refine their art, known for his witty while many other in­ “Fred Flintstone” dependent potters look, but his black- have moved to the and-white teasets area from the rest of pointed to new di­ the U.S., as well as rections, employing from Europe and Asia. stripes over irregularly This year’s exhibi­ scratched lines. tion suggested that no Most of these art­ single unifying style is ists avoid exact repre­ as yet apparent, but sentation in favor of Teapot, 10 inches in height, wheel-thrown that many different in­ porcelain with reduction glazes, by Loren abstract gestures and dividuals are creating Lukens, Seattle the most heartening high-quality produc­ sign of all, the dimin­ tion ware in porcelain and stoneware. For ishing of blue pottery, suggests that, when example, Loren Lukens makes beautiful tea­ it comes to decoration decisions, inner pots, working in wheel-thrown porcelain voices rather than market voices arg being with high-temperature reduction glazes. heeded. Photos: Tom Holt. However, he could have used a little inno­ vation in his floral/calligraphic decoration; Out of the Ashes pink and blue must be the most wearying by Jewell Gross Brenneman pottery colors of the past decade. Last sumer, Peter Callas conducted a Several vasemakers presented new work, wood-firing workshop at his farm near Bel- which was admirable in its modesty and videre, NewJersey. The kiln, built in the fall skill, all the while shying away from the of 1987, is on the highest point of the farm, dreadful “gallery vessel” look that has se­ a hillside of spruce and pine trees, and is duced so many potters elsewhere in the protected by a 30x60-foot wooden shed. It nation. Despite the presence in Seattle of rises at an 18° angle and has stacking capac­ many art galleries showing oversized art ity of about 200 cubic feet (on three stair- pots, WPA members favor functional ware, stepped levels). About six cords of wood and are sufficiently challenged by the aes­ were burned during the five-day firing, us-

“Lined Rock Teaset,” with 13-inch-long tray, cast porcelain, by Frank Fabens, Seattle

88 Ceramics Monthly June/July/August 1990 89 News & Retrospect and the mortar from the prior door, which had been pulverized and soaked down.) The goal was a 2- or 3-foot “jet” of flame ing apple and other fruit woods at first, shooting straight into the kiln. This low fire then pine and oak. was maintained for nearly two days. Partici­ Workshop participants brought green­ pants took shifts lasting from 4 to 8 hours, ware and bisqueware for the firing. Other with at least two people present at a time. ceramic pieces were loaded almost com­ (During the final side stoking five people pletely wet. The pots were arranged loosely were needed.) on shelves or just stacked naturally, wad­ By 6 A.M. Sunday, moisture was suf­ ded with a flint/kaolin “putty.” Wadding ficiently evaporated from the kiln to close was also used between pot surfaces that the six side ports; however, the clay-straw touched. A few slab sculptures and pots mortar was still not completely dried out. were set in the sandy firebox area in front By Sunday afternoon, somewhat larger-sized of the first shelves. wood (18 inches and longer) was burned. Loading took all day Friday, and by din­ This was well airspaced, propped diago­ nertime the fire was candled, with kindling nally on the top of other wood at the en­ burning in front of the bottom stoke hole trance of the door stoke hole, but not of the bricked-up door. (The door had pushed completely inside. It was allowed to been mortared with a mixture of new straw burn completely. Please turn to page 100

Peter Voulkos (left) and Peter Callas in front of Callas’s wood-burning kiln in Belvidere, New Jersey

90 CERAMICS MONTHLY June/July/August 1990 91 and thus ensures minimal handling of the Suggestions desired glaze formed on other surfaces from our readers before firing.—Sandy Closs, Marietta, Ga.

Plastic Extruder Dies An extrusion profile cut from the cen­ ter of a plastic coffee can lid will make a good die for handle extrusions. Simply cut Spare-Parts Banding Wheel with an X-acto knife, and support with a Any axle from an old bicycle (the older washer as close in diameter as possible to style with the larger flanges work best) can the resulting die profile edge. Such plastic be used to make an inexpensive banding dies work surprisingly well, last for several wheel. Just fit one end of the axle into the months and are easily replaced.— Duke drainage hole of a flowerpot (or footless Miecznikowski, Mannington, W. Va.

Smoothing Foodess Greenware Old, framed window screens (found at the local dump) are great for smoothing and leveling the bottoms of footless pots, tiles, etc. Just lay the screen on a worktable (screen side up) and draw the pot over the taut metal mesh a couple of times; trim­ mings simply fall into the 34- to ½-inch space between the screen and table.— HopeRicci- ardi, Franklin, Mass.

Endless Brushstrokes A useful tool for the application of wax resist, oxide washes or thin glazes can be fashioned from a foam paint applicator (available from hardware stores for less than a dollar) and a mustard or ketchup dis­ ceramic bowl with an appropriate hole in penser. The foam and plastic support is the bottom), then thread the other through simply removed from the applicator handle, a wooden bat so that the end doesn’t pro­ then attached to the dispenser nozzle with trude. The bat is secured by screws through a rubber band. The foam may also be the spoke holes in the flange. rounded, tapered or grooved for decora­ A ready source for the wooden bat/ tive effects. banding wheel head is a spool used for Too much squeezing or too steep an wire. Wire spools come in many sizes. Taken application angle may result in drips, but apart, they provide adequate plywood bats for many uses. Unfortunately, they usually have a number of extra holes, making them awkward for use on the potter’s wheel; but the hole in the center makes them perfect for this homemade banding wheel.— Ste­ phen Plant, Revelstoke, B. C. with a minimal amount of practice the re­ Once-Fire Glazes sult is an artist’s dream—the endless brush­ I’ve found that virtually any glaze can be stroke.—Bruce Kay nor, Boston converted to once-fire by simply adding 8% bentonite. (Add the bentonite as a dry in­ Cove Stripping Ribs and Squeegees gredient to the batch, and dry mix before The plastic cove stripping installed as a introducing water.) The resultant glaze can baseboard in kitchens and bathrooms with be applied easily and safely to a damp or linoleum floors is a great material for mak­ leather-hard pot by dipping or brushing. ing large potter’s ribs or large squeegees The extra bentonite makes for a good glaze for studio cleanup. Scraps are often found fit to the greenware, and good prefiring free for the taking behind linoleum and handling strength. With the exception of carpet stores.—AnneBracker, Lawrence, Kans. slight iron coloring (due to naturally oc­ curring iron in bentonite), there should be Dollars for Your Ideas little alteration of glaze characteristics.— Ceramics Monthly pays $10 for each suggestion David Mischka, Mount Horeb, Wis. published; submissions are welcome individually or in quantity. Include an illustration or photo Glaze-Free Bottoms for Egyptian Paste to accompany your suggestion and we will pay Coat the bottom of pieces made from $10 more if we use it. Mail ideas to Suggestions, Egyptian paste with wax immediately after Ceramics Monthly, Box 12448, Columbus, Ohio fabrication. This prevents soluble salts from 43212; or fax to (614) 488-4561. Sorry, but we forming a glaze on the bottoms as they dry, can’t acknowledge or return unused items.

92 CERAMICS MONTHLY June/July /August 1990 93 ground; it is also more susceptible to smok­ While this may not be the definitive Film & Video ing contrasts than the raw clay. Glazes and video on raku, it’s certainly a good start; oxide washes are then brushed, trailed and and should prove suitable for beginning airbrushed as he tries to envision the fired through advanced students. 75 minutes. results. “There’s a point in glazing,” notes Available as VHS or Beta videocassette; Romberg, “at which, even though the brush packaged with printed table of contents, is poised, it doesn’t seem to find anywhere arranged by running time. $39.95, plus $2 Raku Ceramics to go. That’s usually a nice indication that shipping. Video Textbooks, 341 Mowetza, Ash­ the pot is reaching completion.” land, Oregon 97520. With Jim Romberg As soon as glazes are completely dry, the Marketed as a “video textbook” for stu­ pot can be fired. It’s important in raku, says Special People: Beatrice Wood dents with some knowledge of basic pot­ Romberg, to have a kiln with a door that tery techniques, this near-professionally pro­ opens and closes easily. His kiln is a front ivritten, directed and produced by Joel Parks duced demonstration by Jim Romberg fo­ loader, preheated to 150°F (to make sure This is a video visit with Beatrice Wood, cuses on the aesthetics as well as the how-to the pot is dry) before raising the tempera­ the 97-year-old California ceramist known of raku. A brief overview of the processture quickly—45 minutes to an hour tointernationally for her smoked lusterware. (from forming methods to postfiring re­ reach 1830°F. Voice-over narration, interviews with friends duction) is followed by ten “chapters,” be­ As soon as the glazes are mature, and associates, and comments by Wood are ginning with the preparation of an open Romberg (well protected by gloves, goggles, combined to give viewers a look at her clay body to avoid cracking when the piece etc.) removes the pot with tongs and places fascinating past, as well as her current life­ is subject to rapid cooling. it in a trash can partly filled with com­ style. A sense of eccentricity, nobility, sexu­ There are chapters depicting pinch bustibles—usually crumpled newspaper for ality, theater (or is it direct honesty) per­ forming, slab work and throwing. Then light carbon penetration, twisted newspa­ vades this well-produced, though biogra- glazing begins after the ware is bisqued to per for a heavier concentration, or leaves,phically brief, profile of one of ceramics’s 1800°F. Romberg recommends decoration pine needles or sticks for even heavier, most colorful figures. practice on paper, “finding every way you denser smoke. Wood describes her early years as very can to make a mark” with nontraditional The can is covered tightly for about a difficult; a “new life began when I moved to tools (sponges, crumpled paper, wood), as minute, then Romberg raises the lid (using Ojai [California] in 1948.” The only daugh­ well as a brush or palette knife. Once the it as a protective shield as the fire flares up) ter of an upper-class family, she “was willing “visual vocabulary” is established, “then try to reoxidize. More combustibles may be to do anything to get out of the prison of some in combination, work with relation­ added and/or the lid left slightly ajar to respectability in which I was raised.” ships, lines, spaces, movement.” manipulate smoke patterning. The pot is As an aspiring actress in New York City, For raku, this artist likes to cover the then allowed to cool in a smoky atmosphere she became friends with members of the form with white slip as a neutral back­ for 45 minutes to an hour. art community, including Dada artist Mar-

94 CERAMICS MONTHLY June/July/August 1990 95 Film & Video cassette. $29.95, plus $4 shipping and in progress are Alvin Loving, Jr. and Allie handling. American Craft Council Videos, 72 McGhee—artists who had not worked with Spring Street, New York, New York 10012. clay before—plus George Woodman and ceramistsjun Kaneko, Joyce Kozloff, Diana cel Duchamp, but it wasn’t until she was in Art in the Stations: Kulisek, Tom Phardel and Farley Tobin. her forties that Wood took up ceramics. For artist-viewers, though, the documen­ She found that even those early efforts Detroit People Mover tary fails to explain enough about the art were easily sold, and has since worked nearly Narrated by Sam Sachs, director of the and art processes that it vignettes. This every day with clay. Detroit Institute of Arts, this near-profes- leaves the technically inclined with far more A typical day begins at 6:30. She works sionally produced video shows vignettes ofquestions than answers. for about an hour and a half in the studio, the construction and installation of the 15 Still, there are many pertinent comments then puts in time at her computer, keeping works commissioned for the 13 stations of by the artists about the problems of work­ up with personal and business correspon­ the new Detroit elevated transit system (the ing large scale. Conceiving projects for dence. In the afternoon, she returns to the People Mover)—a $2 million project. spaces shown only in blueprints was an studio for another hour or so. Then after Produced in a variety of media (includ­ obvious stumbling block although it allowed dinner (often a festive meal with friends), ing clay, bronze, neon, glass mosaic, and the works to be integrated into the archi­ she may work a few more hours. enamel on metal), the majority of these tecture rather than simply being stuck on Beatrice Wood has little patience with works were constructed from glazed ce­ the walls. Other concerns included work­ those who think age is an impediment to ramic tile because of the need for durabil­ ing outside a personal studio in the bustle work. In fact, she gets “mad at people who ity. Technical support came from the Kohler of a factory, applying colors that don ’ t show say, ‘Are you still working?’ Of course, I am, Company in Wisconsin and Pewabic Pot­ until after firing (Alvin Loving,Jr., a painter, and I will continue to.... If one is tuned into tery in Detroit. (One work honors Pewabic uses a broom to splatter glaze—roll over life and has things of interest, the problem founder Mary Chase Stratton.) Jackson Pollock), or never seeing the total of age goes.” While there are good views of the De­ work until after installation. “There’s an The result of all this effort is a unique troit skyline to balance its central art con­ enormous postponement of gratification style of ceramics—often quite flashy and tent, the presentation is needlessly flawed [in making public art],” says Kozloff. “The metallic—linked in the video to the color by some slight chamber-of-commerce hype. work doesn’t exist until it’s installed on the field painters by her dealer, Garth Clark, (“There is no doubt that public art en­ site.” And when they say large scale, they who, at a show opening, makes a point of hances and enriches our lives and there’s mean it—for example, 13,800 tiles for Far­ denying any connection between Wood’s no better proof than what you are about to ley Tobin’s mural. 30 minutes. Available as output and the decorative. Also, at the same see,” says Sachs, overdoing it just a bit.) VHS videocassette. Purchase price: $89.95, opening, Paul Soldner recalls his first en­ That objection aside, the video is a good plus $4 shipping and handling. Rental fee: counter with Beato (as she is known to general introduction to some articulate $25. American Craft Council Videos, 72 Spring friends). 26 minutes. Available as VHS video­ artists and how they work. Shown with work Street, New York, New York 10012.

96 CERAMICS MONTHLY June/July/August 1990 97 Conductivity and Thermal Shock by Robert Tichane

A BASIC FEATURE of functional ceramic cause solution by the feldspar of too has been reached, removing the pot objects is that their thermal conduc­ much of the clay and silica, and might and placing it on a cold surface such tivity is poor when compared to ware also lead to bloating (with an increase as a stove top or a trivet. Thermal made of common metals. In other in pore size). These ingredients would stress may result in spalling, cracking, words, if you need a frying pan, get be expected to give an excellent insu­ flaking or violent shattering. One test one made of cast iron, aluminum or lating body. Whether it would have will be worth a dozen estimates. stainless steel. Another reason for not acceptable strength is another mat­ A common reason for thermal using ordinary ceramic bodies for ter—I wouldn’t bank on it. breakage is the slow transfer of heat stovetop applications is that their When developing a recipe for ware through a ceramic body. Naturally, thermal shock resistance is poor. made for baking applications, it might the thicker the wall, the more pro­ Because the thermal conductivity be desirable to back off from this nounced the temperature variation is of clay bodies is generally low and var­ optimum situation, just as one mightliable to be. Taking it from another ies only a small degree from one body back off from optimum translucency viewpoint, if thermal breakage is a to another, it would be fruitless to in order to have a practical body. problem, then occasionally it may be attempt to improve conductivity Because ovenware is placed on a improved by making thinner pieces. through composition changes. It’sjustrack where there is not a lot of con­ Another major cause for thermal not in the cards. tact between the bottom of the dish breakage is a high coefficient of ther­ The only practical way to improve mal expansion. As a classical example the conductivity of a ceramic object of this, one could compare silica glass would be to decrease its wall thick­ to quartz (silica crystals). A ½-inch- ness, and of course this has limita­ “If thermal breakage is diameter rod of silica glass with a tions because of the accompanying a problem, then occasionally coefficient of thermal expansion of decrease in strength. Rather than approximately lOxlO"7 inch/inch/°C trying to use clay where high conduc­ it may be improved may be heated to 600°C (111 0°F) and tivity is a necessity, we should turn our then plunged into cold water without attention to its use in low-conductiv- by making thinner pieces ” fracturing. On the other hand, a crys­ ity applications; in other words, for talline quartz rod of the same dimen­ heat insulation. sions, with an expansion in the neigh­ Air is an excellent insulating mate­ and a hot surface, thermal up-shock borhood of 100x10"7 would definitely rial, so it follows that an increase in is not as serious a problem as thermal not survive such a trauma, and in fact the number of pores in a ceramic down-shock. Most of the heat move­ would probably succumb to a shock body can definitely improve its insu­ ment into the ware will be from hot from 300°C (570°F) to room tem­ lating properties. Witness the typical gases—where there will be poor heat perature water. insulating firebrick, which is ex­ transfer. The chief shock will occur Along the same lines of thermal tremely lightweight because of its high during removal of ware from the oven,expansion problems, another factor air content. at which time it may encounter a cold, that can lead to breakage is a badly Consequently, one might infer that flat surface where there will be inti­ mismatched body-glaze combination the best insulating ceramic body mate thermal contact. where the difference in glaze-body would be made up of materials of a One way of decreasing thermal expansions is too high to withstand single particle size, so that the pore down-shock is fabrication of a rough thermal shock, in addition to the space before heating would be a bottom surface. This will interfere expansion difference already in place. maximum. Thus, an attempt might with the contact between the dish A third cause of extensive thermal be made to develop an insulating and the cold surface; thus there will breakage is a weak body. This situ­ ceramic body by using a large-size be less transfer of heat by conduction ation can be rather confusing though. kaolin (Velvacast, for example) as the to such a surface. Sometimes a porous body seems to plastic material, then include a silica The most effective way to check withstand more thermal shock than a with approximately the same particle sample pieces will be by actual physi­ vitreous body, merely because there size (say Minusil-5), plus a feldspar, cal testing rather than by trying to are a lot of crack-terminating points which had been separated from all of estimate ahead of time what the con­ in the porous body. In this case, al­ its large particles, so that it would sequences might be. If you are going though there may be more cracks have micron-size dimensions also. to make casseroles for sale, then you formed, the body hangs together. On After thoroughly mixing this body, should test a number of pieces under the other hand, with a vitreous body, with little attempt to de-air it, it would the maximum stress that they will be one crack may ruin the whole piece be fired merely to the point at which subjected to. This could involve fillingbecause it will carry through from the feldspar fused (about 1225°C, or a sample with a cold material; placing one side to the other. Thus for raku 2240°F). It would definitely not be it in a hot oven at 450°F; then, after work, a porous body would be chosen beneficial to overfire it, as this might complete temperature equilibration rather than a vitrified body. However,

98 CERAMICS MONTHLY if a porous body and a vitreous body were compared in a test of physical strength, the vitrified body would definitely prove to be stronger. Nev­ ertheless, the vitreous piece would be less apt to survive the thermal shock of the raku process because of the fact that any crack would be propa­ gated from one side to the other; whereas in a porous body, a crack might be terminated somewhere along the line by pores or grain boundaries. To deal with thermal shock, an artist-potter may perform tests to se­ lect the correct body for the type of use that it will see. If making a flower vase, obviously the only time that ther­ mal shock is going to be important is when the vase is removed from the hot kiln. On the other hand, if you are making casseroles, thermal shock can be extremely important. Hence it is advisable to do tests on samples (not just small samples, but actual full-sized examples of the ware). In addition, there should be many tests, because single values of any parame­ ter are unreliable. Just remember that this is an opportunity to get some good out of seconds that might oth­ erwise be discarded. If they are not too badly distorted, they can be util­ ized for thermal shock tests. Heat them all to 100°C (212°F) in an oven, then test by 1) plunging some into cold water; 2) placing only the outer surface of others in cold water; 3) filling the remainder with cold water. If the samples do not crack at this temperature differential, keep test­ ing, but at 50°C (122°F) higher inter­ vals until breakage occurs. Notice the difference in sensitivity to breakage according to the cooling technique. If a piece fails a thermal shock test, it will normally be more practical to try to improve the strength of the article than to try to vary the thermal conductivity. Such strength improve­ ments might involve altering the body and glaze expansions so that the glaze is placed under slight compression. A slight increase or decrease in either the firing time or temperature might also improve strength. Again, tests are more valuable than calculations.

Adapted from the book Clay Bodies, copy­ right 1990, The New York State Institute for Glaze Research, 511 North Hamilton, Painted Post, New York 14870.

June/July/August 1990 99 News & Retrospect dling-sized wood catch on fire before slid­ ing them into the kiln. These forward ports Continued from page 90 were stoked with wood and three small buckets of very fine pea coal during the On Monday morning, stoked wood next 3 ½ hours. When Cone 11 went down, completely filled the bottom hole in the they were closed and stoking began at the door. It had been pushed into the kiln second pair of holes; coal was added two quite a ways, but not up to the main shelves times. By 8:30 P.M., Cone 11 was down at of pots. The goal was to have white and red the second set of side holes, and Cone 10 coals, not just black. Finally, a bank of fire was softening at the last two holes. Moving was established, not just a long ‘jet” of fire up the hill to the last pair of holes, stoking as on Sunday. The only air was primary air, (with coal and wood) was heavy; sometimes which—with the advantage of the 18° rise the holes were closed with wood instead of of the hillside— gives a monstrous draw. port plugs to allow the fire to utilize the Monday also saw 80°F heat and high fuel more fully. humidity. The firing was stepped up with A heavy downpour at this time made the larger slabs of split wood, a fuller stoke slanted paths and stoking area slippery from hole, and wood pushed all the way inside— rain water, but by 11:55 P.M. the last Cone so that by midnight stoking was begun 11 was soft, and the final two holes were through the top hole in the door. closed for the last time. After a 20-minute On Tuesday morning, five hefty slabs wait (to allow all the internal gases to burn), were stoked in the top hole of the door, the chimney opening was covered, and the then six. By then, wood had been stacked damper closed. near the kiln door on each side for easy During the three days it would take for access. Cone 02 began to soften. At 8 A.M., the kiln to cool enough to unload, work­ the flue was closed halfway to get some shop participants had the opportunity to backpressure (reduction) after each stoke. watch Peter Voulkosmake six large wall plates By 9:30, seven or eight slabs were added 20 plus numerous renditions of the pieces he minutes apart and the damper was pushed calls ice buckets. Few adjectives in the Eng­ in a bit more. The 10:30 stoking took ten lish vocabulary do justice to this kind of slabs; and by noon, 12. At 12:30 lots of energy output. For Voulkos, the clay is a 2x3x18-inch pieces of wood were stoked, rhythm, a dance and perhaps life itself. and Cone 02 was almost flat. Unloading brought a Christmas-morn­ By 5 o’clock Tuesday afternoon, with ing type of excitement. The gifts produced heavy stoking of wood (mixed sizes) every by wood firing provided an alternative to half hour, Cone 6 was softening. At 7P.M., glazing in the traditional sense. Colors Cone 6 was bending. After each stoke ranged from jet black to light grays to or­ (40-50 pieces of wood), the smoke was anges, and surfaces from very rough par­ heavy and black, with no flame visible. By tially melted ash to sleek and shiny glaze. 8:00 P.M., there was flame in the smoke, then flame alone when the smoke died Don Davis down. The coals were now level with the Asheville, North Carolina, potterDon bottom of the top stoke hole in the door. Davis was one of 13 artists to receive an Next, the flue was opened all the way emerging artist grant from Buncombe and the coals were stirred. (Other stirrings County, North Carolina. The newly estab- followed later so that wood ash “rained” on Please turn to page 104 the pots.) One large 4- or 5-foot log was shoved into the bottom stoke hole and was Wheel-thrown porcelain vase, 16 inches high, surrounded with smaller pieces. Stoking at with sprayed oxides and glaze trailing, fired the top hole was cut back to four pieces of to Cone 9 in light reduction, 1989 wood to allow a slower rate of temperature rise. Soon Cone 8 was softening, and by 1 A.M. (Wednesday) the bottom door hole was partly closed with bricks. The coals were raked and allowed to burn down, and the chimney flue closed more. By 6 A.M., with the top stoke hole wide open, Cone 9 was down. At 9A.M., Cone 11 was down and ash was running down the shoulders of the pots. Ash was thrown on the pots and the wall pieces near the stoke hole. The bottom stoke hole was closed almost entirely. The top port was stoked all day, then bricked up and sealed with ce­ ramic fiber blanket. At 4:30 P.M., all the workshop partici­ pants went to either side of the kiln to stoke through the first pair of side holes. The same amount of wood was stoked on each side, very slowly, letting 6-8 pieces of kin­

100 Ceramics Monthly June/July/August 1990 101 102 Ceramics Monthly June/July/August 1990 103 News & Retrospect large vases and bowls, with sprayed oxides Continued from page 100 and trailed glazes to emphasize form. Third American Crafts Awards Winners in the “3rd Annual American Crafts Award,” sponsored by Kraus Sikes Inc. (publishers of the Guild), were fea­ tured in an exhibition at Art Connections, Inc., in Bethesda, Maryland. This national competition recognizes artists/craftspeople

Don Davis, Asheville, North Carolina

lished award is intended to help advance the careers of professional artists within the community. Davis used the grant to purchase an Tea/coffeepot with cups by Marek Cecula underfloor, radiant heating system for his new studio building. While working on the who specialize in making individual objects studio, he continued production of wheel- and installations for the home. Among the thrown porcelain vessels at the Highwater ceramics works selected from about 1300 Center in Asheville. entries was this slip-cast porcelain teaset by He is now concentrating on making Marek Cecula, New York City.

104 CERAMICS MONTHLY