Ceramics Monthly Apr87 Cei04

2 C eramics Monthly William C. Hunt...... Editor Ruth C. Butler ...... Associate Editor Valentina Rojo ...... Assistant Editor Robert L. Creager...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver. . . . Circulation Assistant Jayne Lohr ...... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $18, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1987 Professional Publications, Inc. All rights reserved April 1987 3 4 Ceramics Monthly Ceramics Monthly Volume 35, Number 4 APRIL 1987

Feature Articles Asparagus Valley Pottersby Angela Fina...... 26 John Gilla review by Michael Rubin...... 28 Summer WorkshopsThere are lots of un­ Clay Today in New Harmony...... 30 usual or interesting places you can learn ceramics. How about rakuing on the beach in Hawaii? CM’s annual “clay camp” com­ Summer Workshops 1987 ...... 31 pendium begins on page 31. Portfolio: Pine Mills Potteryby Floyce Korsak...... 37 John GillAre his most ambitious works zvith Wood Firingby Gary Hatcher...... 38 the least successful? Michael Rubin re­ and by Daphne Hatcher views this New York exhibition starting on Division of Labor ...... 42 page 28. Two Tile Bathroomsby David Lortz...... 48

Anderson Ranchby MalcolmS. Bates...... 50

Departments Letters to the Editor...... 7 Suggestions...... 23 Comment: Where to Show...... 12 Japanese Aesthetics by Pam Murakami ...... 25 Questions...... 15 Classified Advertising...... 86 Itinerary...... 17 Index to Advertisers...... 88

News & Retrospect Debra Norby...... 63 Chapman/Klingman Show ...... 73 Sun Valley Center Closes...... 63 Promotion through ArtQuest ...... 73 Mary Lou Alberetti...... 63 German Ceramics 1950-80...... 75 Swiss Porcelain Triennial ...... 63 Czech Symposium Concept in Flux ...... 65 by Pravoslav Rada ...... 75 Anderson RanchDaniel Rhodes is among West Michigan Potters Guild Marsha Karagheusian ...... 77 the well-known ceramic artists who fre­ by Mary Kuilena ...... 65 Marion Weiss-Munk...... 77 quently teach and work at Anderson Ranch Anne Goldman ...... 67 Dorothy Torivio...... 77 Arts Center in Colorado; page 50. Wayne Bates/Edwin Scheier...... 67 Joseph Mannino...... 79 Mary Ann Fariello...... 67 Elizabeth MacDonald Workshop ...... 79 The coverMineola, Texas, potter Gary Hatcher realized his dream of firing “for Kenneth Beittel/William Pitney...... 69 Tenacity of Vision in Ontario ...... 81 the cost of labor” with a large, efficient, Juried National at Arrowmont ...... 69 Jere Lykins wood-burning kiln. See the extensive view Wabi Sabi Special by Dorothy Joiner...... 83 of Pine Mills Pottery in the portfolio be­ by Michio Sugiyama...... 71 Virginia Scotchie ginning on page 37. Photo: Bob Buchanan. Pottery about Pottery by Marybeth Holleman ...... 87 by Angela Fina ...... 71 Hamada’s Wasp Nest...... 87 April 1987 5 6 Ceramics Monthly Letters The Vessel and Politics I do not believe that the rich and famous consideration. This fact need not reduce the I totally agree with Warren MacKenzie’s will understand Warren MacKenzie’s plea delight one feels in experiencing a pot, but commentary in the February issue. A strong to show restraint and not apply for a grant. it does, from time to time, require some re­ functional pot is meant to be viewed as a form They must be forbidden to apply for a grant straint on the part of the potter. The chal­ in itself but has the added dimension of use. by a needs test. lenge for the functional potter is to achieve Higby’s inability to understand Hans Cop­ Edward Higgins personal expression- within the limits of an er’s work shows either lack of perception on Pittsboro, N.C. established problem. This is a very difficult his part or ignorance. The book Hans Coper and noble task. by Tony Birks is an excellent reference [in Hold onto Basics Those of us who have worked with clay this regard]. Coper considered himself a pot­ When Warren MacKenzie speaks his mind for any length of time realize that the res­ ter; he was not a ceramist, not a clay artist (February 1987 issue), quiet fireworks go off! olution of a particular technical problem can and certainly not a person making pots about Like a patient teacher, he reminds us that determine the success of a piece. Of course, pots. we all need to “re-center” once in a while all artists must contend with technical and As far as the NEA fellowships are con­ and hold onto a few basics like integrity and organizational dilemmas, but it is clear that cerned, it seems more than a coincidence that common sense. Thanks, Warren! some materials and circumstances dictate many artists selected are well established. The Peggy Jacobsmeyer greater demand for technical expertise than jury appears to be following trends. They Florissant, Mo. others. The point I made in my essay on the don’t trust their own judgment but adopt al­ vessel was not as Warren assumed—that ready well-known opinions. People whose How Many Angels? nonfunctional potters do not use technical work has artistic merit and who aren’t con­ Upon reading for the first time Warren organization or rational order—but that the cerned with the political art scene (and whose MacKenzie’s reply to my article on the vessel degree to which their final products depend names are therefore not known) are not given (December 1986, page 25), I thought—he’s on technical perfection is considerably less an equal chance. rignt! How do I get myself into these things? than it is for those who wish to make useful Sometimes I think the NEA grants should His logic is so simple and direct. I must have objects. If the teapot cracks in the firing or only go to professional craftspeople. The ma­ been in academia too long. I would save my­ the lid won’t come off the jar because it warped jority go to teachers. Although a grant would self a great deal of intellectual anguish if I during the drying process, there are few re­ be nice, they already have the financial se­ didn’t indulge in such esoteric puzzles about sources other than starting over. On the other curity to continue working. The entire scene pottery. As Warren implies: Who cares about hand, Peter Voulkos, no doubt, loses little is oriented towards academics. They get an how many angels can dance on the head of time worrying about whether his work will undergraduate degree, a masters degree and a pin? Then it dawned on me.... I’ve always develop a crack. In fact, he may hope that it then teach. How many of these people have been intrigued by that question about the does. I have made both functional and non­ the dedication and strength it takes to con­ angels. I don’t really know why except that functional pieces. It is true that both kinds tinue working without the security of the ac­ it caused me to wonder about angels. What of work present technical dilemmas—just not ademic system? The NEA grant was estab­ are angels, anyway? That question led me the same ones. My freedom to push the limits lished to help artists set aside time and to inquire into my own spiritual nature and is always greater when I’m not concerned purchase materials for the development of to think more deeply about the metaphysical with function. If a handle falls off, I’ll just their art. It was not meant to be another aspects of human existence. I guess I’m just glue it on. medal to hang around one’s neck. a person with a strong sense of curiosity. I The heart of my article was not about who Willem Gebben enjoy thinking. It gives me great pleasure and has the worst technical problems nor was it Beldenville, Wis. sometimes even insight. about whether or not having good manners For many years I have recognized and ap­ is a restriction on freedom of expression. It A Needs Test for NEA Grants preciated Warren MacKenzie’s commitment was concerned with my observation of a phe­ I read the article by Warren MacKenzie to the potter’s art and I’m very pleased that nomenon unique to contemporary ce­ on “Who Needs NEA Fellowships?” and I he took the time to share his point of view. ramics—the purposeful denial of function. agree with him 100%. I hope that everyone His comments about pottery provide an ex­ As an artist I have, for the most part, been who reads that article [February 1987, page cellent sounding board for my own. My dis­ educated visually. I depend on observation. 42] will write the National Endowment for appointment in regard to Warren’s writing Rather than going directly to the dictionary the Arts and their senator about their utter concerns its tone. He seems to feel that truth to understand something, I usually observe, disgust at giving money away to people who is simply a matter of being declarative in the think, compare, contrast, etc. It is always a don’t financially need it. extreme. At this point in time, I’ve heard too helpful grounding to later see what the When I apply for a Pell Grant to go to many political speeches to accept that par­ dictionary has to say, but I prefer to leave college, I need to pass a financial needs test. ticular rationale. the channels open and not begin with a def­ If I earn too much, I don’t get the grant. Often differences of opinion can be re­ inition. Of course, life would be a lot simpler If I apply for food stamps or any other solved by a careful and reflective reading of if it fit neatly into the dictionary—simpler grant, I need to pass a financial needs test. each individual position. I do believe that but much less interesting. This same needs test should apply to an NEA functional pottery restricts freedom of As I observed the work of those artists grant. expression. However, I did not write that mentioned in my essay (Woodman, Nagle, Professors earning $30,000 to $40,000 a restrictions are necessarily bad. In fact, re­ Voulkos, Higby, Daley, DeVore), I realized year, artists earning like sums, and the in­ strictions can be useful tools. There would that they made objects which looked very much dependently wealthy could still enter, but be no river without its banks. like pots but did not fit into the realm of would be awarded ribbons of recognition but As a society we presently seem to prefer function. At the same time, I observed that no money. no rules—no restrictions. It seems that we other artists made objects of a similar nature Artists, who did meet the needs test and have come to think of good manners as a which functioned easily. A Nagle piece that who were selected, would have to use the nuisance. On the contrary, one of the things looks like a cup but has no bottom certainly money as the grant calls for, “...to set aside I enjoy most about functional pottery is that cannot be used as a cup. Whereas, a Hans time to pursue their work and to purchase it is a form of art which is inherently involved Coper vase, while similar in scale, surface, materials and equipment,” not for new roofs with good manners. Like a polite guest who intensity and sculptural presence, is also util­ on their homes or septic systems as one doesn’t say everything he or she is thinking, itarian. However, unlike a teapot or pitcher $15,000 winner did this year. a successful functional pot takes the user into Continued April 1987 7

Letters Obviously, I’m interested in the intricacies concertos and Gregorian chants are both forms and subtle perplexities of concept which in­ of music, but they are not the same. This form the potter’s art. I realize some individ­ fact, of course, suggests that there is a rich which requires physical contact in order to uals are not. I am embarrassed to say that I variety of music to be enjoyed and reassures reveal full meaning, Coper’s work is so com­ have never found an opportune time to dis­ in us a belief in the complex creative inge­ plete visually that to achieve closure it need cuss these issues with Ken Ferguson or Bob nuity of the human race. not be used. Maybe a truly successful vase Turner, so I am working purely from what I did not write about the vessel in hopes is not complete without the flowers. Why I can observe. Nevertheless, I believe that of causing a disaster by inventing new usages didn’t Coper go as far as Nagle in declaring Ferguson and Turner include in their work for words, although I wouldn’t want to deny his intentions? I can only guess that he wasn’t indications that they understand the idea of the poets their prerogative. I was merely sug­ concerned about doing so. Maybe he was pots about pots. I have read “Born Remem­ gesting that it is possible for words to shift ambivalent about the issue of function. bering,” an article Bob Turner wrote about in emphasis in accordance with their use­ At this juncture, it may help to refer back his work for the June 1982 issue of Studio fulness and in light of new developments or to the article I wrote. Nowhere in that text Potter. It seems that for Turner the pot, rath­ circumstances to which they may apply. did I write that Hans Coper did not under­ er than being especially made for use, is con­ Whether or not one accepts my definition of stand or was not aware of the distinctions of ceived as a structure for exploring an au­ the vessel is not the point anyway. The im­ use/non-use. I suggested that he was am­ tobiographical relationship to the experience portant thing is to understand that denying bivalent about these distinctions. Ambiva­ of making pots as well as to imagined con­ function is an established approach to pottery lence, as I see it, means the coexistence of nections between the work and things noticed which should not be overlooked when edu­ two potentially opposing feelings about the and felt in the external environment. cating the eye and mind in the process of same subject or a fluctuation caused by the Warren asks rhetorically: Are there houses developing an appreciation for ceramic art. simultaneous desire to say or do two opposite about houses? I’m surprised at such a ques­ Also, it is important for students of ceramics things. What Lucie Rie does with Coper’s tion. Surely he is aware of postmodern ar­ to understand that making significant pots is pots is really of little pertinence. chitecture. Maybe it would be easier for a complex, thought-provoking process and After viewing, at length, Hans Coper’s Warren to understand pottery about pottery not just a matter of spinning clay on a wheel, retrospective in Toronto a year or so ago, and if he thought of it as a play within a play. looking at picture books and accepting blind­ upon reflecting about the careers of several No doubt, he is aware of that longstanding ly the dogmatic statements of a teacher. other potters, I have come to believe that it dramatic arts concept. Entertaining new thoughts is sometimes a is not uncommon for a functional potter to The artists I wrote about in my essay on taxing proposition. I sympathize with War­ gradually move away from strictly functional the vessel certainly seem to know what they ren’s difficulty, and as I said, I greatly ap­ ware to an involvement with the general dy­ are doing even if Warren does not. Voulkos preciate his willingness to exchange ideas. I namics of the basic pot. Voulkos, at one time, explains in a statement edited by Bill Wood­ like to feel the adrenalin flow. However, the made functional pots; Woodman still does, cock in the December 1984 Studio Potter, night I first read Warren’s comments I lay although much less frequently than she did “Most of the forms I make refer to pottery. awake until 4:30 A.M. formulating, over and earlier in her career. However, unlike Voul­ Maybe that makes me a potter. The utili­ over, various incredibly intelligent responses. kos or Woodman, Coper seems never to have tarian aspect doesn’t interest me though. I’d I would have gotten more sleep if I had stuck taken the final step of denying function. In just as soon eat off plastic plates.” Betty to counting those angels. this respect, he shares a close relationship Woodman, writing for a Boston publication Wayne Higby with Ken Ferguson and Robert Turner, two said: “When I make a pitcher that wells up Alfred, N.Y. excellent potters who also have moved away like a pillow, has a great jutting spout, and from a steadfast interest in function without, holds 10 gallons of liquid, I am trying to All Pots Are about Pots except on rare occasions, removing it as a construct a drama out of the preconceived I read the opinion pieces by both Wayne possibility in their work. Ferguson has made ideas one has of a pitcher. ... I am concerned Higby (December 1986) and Warren Mac- a few impossibly large teapots, and once I with producing pots that make significant Kenzie (February 1987) with great interest saw displayed in an important exhibition a reference to the vernacular of pottery. ... I and some amusement. It was valuable to share Turner pot with a huge crack, obviously ig­ enjoy making pots whose relation to function the views of two potters who have thought nored, running the full width of its base. is metaphorical, symbolic or transformed; long and hard about the vessel, its meaning Both Ferguson and Turner, like Coper, seem pottery, the content of which is pots, not and its context as art. While I found Higby’s not to be especially concerned with whether sculpture.” Both of these artists are engaged essay most articulate and persuasive I was their work is used or not. Does this mean in making pots about pots, and in order to nonetheless in agreement with MacKenzie’s that they don’t understand the complexities do so they are compelled to deny function. I criticism on one point, the issue of the Hans of use/non-use? No. Does this mean that think that this is important and very inter­ Coper pot. A pot by Coper is anything but they aren’t overly concerned with that prob­ esting. Clearly and purposely denying func­ ambiguous—it is so simply, so perfectly and lem? Probably. Does this mean that they are tion in order to make pots which refer to the so serenely a vessel, and the option of func­ ambivalent in regard to their own work con­ concepts of pottery is a new development in tion flows quite naturally from the forms. cerning the functional/nonfunctional issue? the history of ceramics which probably has Indeed, Coper himself hated his pieces being Quite possibly. Why? I’m not sure. That, of a distant relationship to conceptual art, al­ referred to as sculpture for he saw them— course, does not mean that it isn’t an inter­ though Voulkos’s connection to this strategy without any ambiguity—as being firmly esting question. I would speculate that if there may have its roots in modernist painting which within the tradition of pottery. is or ever has been a feeling of ambivalence involved ideas about the feasibility of pro­ However, I did find it amusing to have about utility on the part of such potters as ducing work with no external references. MacKenzie argue against Higby’s notion of Ferguson, Turner and others, it grows out In closing his remarks, Warren creates an “pots about pots” and treat it with such scorn. of the intuited rather than reasoned process analogy involving a trap, an animal and Higby is perfectly correct in setting Betty of their work’s evolution. Caught up in this something about gnawing a limb to get free. Woodman’s work within this premise. And process, they may never have objectively con­ I thought I was the one with the convoluted to answer MacKenzie’s question (which I sidered confronting the possibility of denying reasoning. Is Warren afraid he will be set am sure he meant to be rhetorical) there are function because for them use has always adrift all alone with his philosophy of func­ buildings about other buildings, paintings been such a natural, taken for granted, part tion—cast out from the temples of culture— about other paintings. There are numerous of the idea of the pot. Also, of course, they and therefore he must insist that all pottery pieces of architecture and art that have as have other things to explore. I am engaged is the same? Warren has no cause to worry. their primary inspiration, homage to another here in risky theoretical musing—but, noth­ He just needs to understand that pottery isn’t building or artwork that preceded them. This ing ventured, nothing gained. that different from the other arts. Mozart Continued April 1987 9 Letters they agree that I would take issue. Both Hig­ the utilitarian bias sweeps the field and is in by and MacKenzie seem to accept a cate­ control of the language. gorical model that is illogical and dangerous. My alternative is simple: Everything func­ process of appropriation, as it is now termed With this model there are only two cate­ tions—and a most fundamental and neces­ by postmodernists, has been going on for cen­ gories: “functional” and “nonfunctional.” sary human need is to function expressively. turies. “Function” is held to mean anything that has I propose an alternate model in which there This denial of the “pots about pots” by utilitarian purpose and “nonfunctional” in­ is only one category—function. “Nonfunc- MacKenzie strikes me as being particularly cludes everything else. tion” is abandoned since everything func­ odd given the particulars of the writer’s own Nowhere in my dictionary are the words tions. The questions then become more in­ involvement in pottery. MacKenzie, Leach, “function” or “functional” related to or equated teresting. What is the nature of the function Cardew and the others of the “traditional” with the concept of utility. And yet function this object represents? What attributes does school, all base their aesthetic upon a hom­ and utility are commonly used as synonyms. it hold that invite our consideration? With age, translated quite literally, from “other” This model is used almost without exception this model, “function” is not a category but pots. In the case of Cardew, it was English everywhere, which demonstrates the power an attribute that varies in quality relative to slipwares. In the case of MacKenzie and of a particular philosophical doctrine—that its effectiveness in representing its function Leach, it is the pottery of China, Korea and of Utilitarianism. or functions! Yes, functions! We know that a Japan. If anyone makes pots about pots, it Utilitarianism espouses as its chief crite­ pot/vessel can possess attributes of several is MacKenzie and his school. Without the rion that what is good and worthwhile is functions simultaneously. We just seem to ig­ Orient the MacKenzie pot would not exist— what is useful in the utilitarian sense—the nore that fact. at least not in its present form. greatest good for the greatest number. We I’ve identified eight functions and it amus­ In a sense all good pots, no matter how seem to have an unquestioned acceptance of es me to consider my own work relative to innovative, are also about other pots. Good this value projection by our materialistic, them. They are: sensory, evocation, utility, art is rooted in the truth of experience. As pragmatically oriented society, and allow it psychological, communication, symbolic William Blake wrote, the creator “must drive to confuse our goals. If we cannot, in our contemplative and aesthetic. My list is im­ horse and cart over the bones of the dead.” own minds, revise this culturally derived bias, perfect and probably incomplete. There may Garth Clark we will continue to be encumbered by this be redundancies. Several that appear distinct New York City disabling hierarchy of “function” and “non- at first may prove to converge or connect in function.” These categories are false dichot­ some way. It may be that the aesthetic func­ Dysfunctional Categories omies, and who’s on top is irrelevant. Objects tion is simply how well it all comes together, After reading the recent articles on the and ideas that attract thoughtful con­ how simultaneous purposes and meanings vessel (“Architecture of the Vessel,” Decem­ templation carry clearly important human join artfully in an integral image. ber 1986; “The Vessel,” February 1987), I’m functions. To disqualify nonutilitarian forms The pot/vessel has always been a pow­ moved to join in the dialogue. I wouldn’t and ideas from holding inherent function is erful archetypal metaphor for the human body dispute or take sides in the differences be­ to deny not only art but, so too, flowers and with its multifunctional capabilities. This is tween Wayne Higby and Warren Mac­ children. Who would claim them to be “non­ the original for my model. In application, Kenzie, which are interesting, but it is where functional”? What is really apparent is that interesting dynamics surface: Functions may

10 Ceramics Monthly or may not be exclusive. In a given case they can be compatible or they can confound one another. A thing can function very well in terms of one attribute and be dysfunctional in terms of another. For example, a Styro­ foam cup is quite operable in its utilitarian function but might be held aesthetically dys­ functional, whereas a Cardew teapot may be admired for its strong and sensitive blending of several functional attributes. In my own view, a pot with a strong util­ itarian functional attribute is not disqualified in any way from serving other functional purposes; its attributes may include aesthet­ ic, symbolic or other functions. Perhaps the best are capable of carrying most or even all of the set. How’s that for a test? How many functions can your pot/vessel carry? My purpose in offering this model for con­ sideration is to help stop the perpetuation of the currently popular but useless and false dichotomy. We can abandon our protective stances that divert us from more compelling issues. New models based on polyfunctional realities are needed to bring the exercise of our several functional capacities to conscious intention. We give birth to our own vision and our objects are as our children. They are in our care and we nurture them, give them the best form we can, present them to the world and then they are on their own! If we have been successful the work will reflect, in its attributes, the functional concerns that captivated us and directed their making. Such human gifts always invite human response. Lewis Mumford wrote, “Art uses a min­ imum of material to express a maximum of meaning.” In that spirit every pot is a small miracle of communication. I hope that the communication I’ve tried to form here con­ veys my deeper purposes. My proposal is not just a nifty shift in conceptualizing. It is in­ tended to support a truth that every child and artist is in possession of: it is through our creative imagination that new (or for­ gotten) unities are revealed. That is our true work; by expressing our small but integral vision, we further the advance of sensitive relationship among all living things. Every pot is designed to hold more than itself— some foodstuff or a bit of space or an idea, and sometimes it can beautifully contain all at once. An inclusive image is planted in our psyches in the various transformational forms of the Horn of Plenty. It’s time we revalued and stopped the dissembling of our diverse but complimentary gifts by continuing in use a utilitarian-obsessed, short-sighted and ex­ clusive bias called “nonfunctional.” George Kokis Eugene, Ore. Age of Illusion Flower pot, chimney pot, chamber pot, go to pot, win the pot. Use a vessel, be a vessel, clog a vessel or sail in one. I make pottery because I use clay, not wood, glass or metal. On one person’s shelf it may be a vessel; in another’s hand it may be a pot. What is important is “the best that is Please Turn to Page 58 April 1987 11 Where to Show exhibitions, fairs, festivals and sales Kaminski and Jack Troy. S3000 in awards. Fee: Affairs, 224 Lawrence St., Marietta 30060; or call: Send announcements of juried exhibitions, fairs, SI5 for up to 3 entries; $5 for each additional (404) 428-2787. festivals and sales at least four months before the entry. Send SASE to: John Ground, Market House Louisville, Kentucky “Kentucky Art and Craft entry deadline to: The Editor, Ceramics Monthly, 87 Gallery, Box 552, Lancaster 17603. Summer Fair” (July 17-19) is open to residents Box 12448, Columbus, Ohio 43212; or call: (614) of Illinois, Indiana, Kentucky, Missouri, Ohio, 488-8236. Add one month for listings in July and Virginia and West Virginia. Juried from 5 slides. two months for those in August. Regional Exhibitions $2500 in awards. Fee: $125. Contact: Water Tower April 17 entry deadline Art Association, 3005 Upper River Rd., Louisville Los Alamos, New Mexico “Third Biennial Jur­ 40207; or call: (502) 896-2146. International Exhibitions ied Painting, Drawing, Sculpture and Print Ex­ Sheboygan, Wisconsin “Seventeenth Annual May 1 entry deadline hibition” (June 5-July 19) is open to residents of Outdoor Arts Festival” (July 18-19) is juried from Auckland, New Zealand “Fletcher Challenge Arizona, Colorado, New Mexico, Texas and Utah. 5 slides. Awards. Entry fee: $5. Booth fee: $30. Pottery Award” (May 30-June 30), formerly the Juried from slides. Send SASE to: Biennial, FLAC, Contact: John Michael Kohler Arts Center, 608 annual Fletcher Brownbuilt Pottery Award, is jur­ Box 790, Los Alamos 87544; or call: (505) 662- New York Ave., Box 489, Sheboygan 53082; or ied from 1 work. Contact: Fletcher Challenge Pot­ 9331. call: (414) 458-6144. tery Award, Box 881 Auckland 1; or call (09) April 27 entry deadline April 30 entry deadline 798665. Chicago, Illinois “The Great Lakes Show” (June Springfield, Illinois “LincolnFest” (July 4-5) is 27-July 25) is open to artists from the states and juried from 3 slides or photos. Fee: $100 for an provinces that border the Great Lakes. Juried from 8x 10-foot space. For further information contact: National Exhibitions 4 slides. Awards. Fee: $15. Contact: Lill Street LincolnFest, 624 E. Adams, Springfield 62701; or April 15 entry deadline Studios, 1021 W. Lill, Chicago 60614; or call: (312) call: (217) 789-2274. Jackson, Wyoming “Art West Open Competi­ 477-6185. Birmingham, Michigan “Art in the Park 1987— tion II” (July 31-August 26) is juried from 3 slides. May 2 entry deadline A Community Festival of the Arts” (September Awards include a 3-week solo exhibition. Fee: SI5. Kingston, Rhode Island The “16th Annual 12-13) is juried from 5 slides. Awards. Entry fee: Send SASE to: Judy Sensintaffar, Box 822, Jackson Earthworks” (May 14-29) is open to present and $7. Booth fee: $150 for a 10X 10-foot space. Con­ 83001; or call: (307) 733-4926. former Rhode Island residents. Juried from works; tact: Art in the Park/Common Ground, 1090 S. April 30 entry deadline up to 5 entries. Hanging work should weigh a Adams Rd., Birmingham 48011; or call: (313) 645- Shreveport, Louisiana “Spar National Art Show maximum of 20 pounds. Awards. Fee: $5 per en­ 1173. ’87” (August 7-31) is juried from slides. Juror: try. Contact: Susan Caswell, South County Art May 1 entry deadline Ted Potter. SI700 in awards. Fee: SI 5 for 3 slides; Association, 1319 Kingstown Rd., Kingston 02881; Dubuque, Iowa The ninth annual “Dubuque- SI0 for each additional entry. Contact: Shreveport or call: (401) 783-2195. fest” (May 14-17) is juried from 3 slides or photos. Parks and Recreation, 800 Snow St., Shreveport June 1 entry deadline Awards. Fee: $50 for a 1 Ox 10-foot space. Send 71101; or call: (318) 226-6446. Flagstaff, Arizona “Wood, Fiber and Clay—A SASE to: Dubuquefest, 422 Loras Blvd., Dubuque Corvallis, Oregon “Pegasus Gallery’s Second Four Corners Juried Exhibition” (August 14- 52001. Annual Mask Exhibit Celebration of Summer” September 16) is open to residents of Arizona, Saint Joseph, Michigan “St. Joseph’s 26th An­ (June 14-August 19) is juried from 2 slides per Colorado, New Mexico and Utah. Jurors: Verne nual Art Fair” (July 11-12) is juried from slides. entry. Awards. Fee: S10. Send SASE to: Linda and Charlotte Funk. Awards. Contact: Coconino Fee: $65. Contact: KRASL Art Center, 707 Lake Brewer, Pegasus Gallery, 7580 N. E. Logston Rd., Center for the Arts, Box 296, Flagstaff 86002; or Blvd., Saint Joseph 49085; or call: (616) 983-0271. Corvallis 97330; or call: (503) 745-5772. call: (602) 779-692L Chautauqua, New York “Chautauqua Crafts May 11 entry deadline July 14 entry deadline Festival ’87” (July 3-5 and August 7-9) is juried Mesa, Arizona “Night Screams/Day Dreams” Gatlinburg, Tennessee “Spotlight ’87: Southeast from 4 slides. Entry fee: $5. Booth fee: $85 per (October 9-November 5) is juried from slides. Crafts” (October 15-December 12) is open to res­ show. Send SASE to: Gale Svenson, Chautauqua Contact: Night Screams/Day Dreams, Galeria idents of Alabama, Florida, Georgia, Kentucky, Crafts Festivals ’87, Box 89, Mayville, New York Mesa, Box 1466, Mesa 85201; or call: (602) 834- Louisiana, Mississippi, North Carolina, South 14757. 2242. Carolina, Tennessee, Virginia and West Virginia. Lima, Ohio “Square Fair ’87” (August 7-9) is June 1 entry deadline Juried from 2 or 3 slides each of up to 3 entries. juried from slides. Fee: $40 for a 10X 12-foot space. Evanston, Illinois “Humor in Art” (October Fee: $15. Send SASE to: Spotlight ’87, Arrowmont For further information contact: Patty Burton, 16-November 15) is juried from 10-12 slides, a School of Arts and Crafts, Box 567, Gatlinburg Council for the Arts of Greater Lima, Box 1124, resume and a statement. Send SASE to: Evanston 37738; or call: (615) 436-5860. Lima 45802; or call: (419) 222-1096. Art Center, Exhibits Committee, 2603 Sheridan Greensburg, Pennsylvania “Westmoreland Arts Rd., Evanston 60201. and Heritage Festival Juried Arts/Crafts Show” Buffalo, New York “Crafts: National II” (Sep­ Fairs, Festivals and Sales (July 2-5) is juried from 3 slides. Awards. Entry tember 9-October 8) is juried from a maximum April 6 entry deadline fee: $20. Booth fee: $80. Send SASE to: Juried Arts of 2 slides each for up to 3 entries. Jurors: Lois Farmington, Connecticut “The Autumn Crafts Competition, Box 203, RD 12, Greensburg 15601; Moran and Albert Paley. Awards. Fee: S20. Con­ Fair” (October 10-11) is juried from 5 slides. En­ or call: (412) 837-8650. tact: Chairman, Design Department, Buffalo State try fee: SI0. Booth fees: $135—$225. Contact: Brian May 9 entry deadline College, 1300 Elmwood Ave., Buffalo 14222; or J. McCartney, Mil Productions, Box 938, Ver­ Marietta, Ohio “Indian Summer Festival” (Sep­ call: (716) 878-6032. non, Connecticut 06066; or call: (203) 745-5071. tember 18-20) is juried from 5 slides. Awards. Fee: June 5 entry deadline April 10 entry deadline $75 for a 10X 10-foot space. Contact: ISF, Box Bethlehem, Pennsylvania “Luckenbach Mill Garrison, New York Garrison Art Center’s “18th 266, Marietta 45750; or call: (614) 373-8027. Gallery Juried Exhibition of Contemporary Crafts” Annual Arts and Crafts Fair” (August 15-16) is June 1 entry deadline (October 3-November 1) is juried from 3 works, juried from slides. Entry fee: $5. Booth fee: $125 Gaithersburg, Maryland The “12th Annual Na­ 3 slides each, including close-ups. SI000 in awards. for a 10x10-foot space. Contact: Laurie A. Clark, tional Craft Fair” (October 16-18) is juried from Jurors: Bennett Bean, Patricia Malarcher and Karel Garrison Art Center, Box 4, Garrison 10524; or 5 slides. Entry fee: $10. Booth fees: S185—$285. Mikolas. Fee: S10. Send SASE to: Janet Goloub, call: (914) 424-3960. For further information contact: Noel Clark, Na­ Historic Bethlehem, 501 Main St., Bethlehem Salem, Oregon The “38th Annual Salem Art tional Crafts Ltd., Gapland, Maryland 21736; or 18018. Fair & Festival” (July 17-19) is juried from 6 call: (301) 432-8438. June 30 entry deadline slides. Fee: $60 for a 10x10-foot space. Send SASE Asheville, North Carolina The 12th annual Calgary, Alberta, Canada “Going for Gold” to: Artist Prospectus, 1987 Salem Art Fair & Fes­ “Highland Heritage Art & Craft Show” (June (January 15-March 4, 1988), in conjunction with tival, 600 Mission St., SE, Salem 97302. 11-13) is juried from slides or photos. Fee: $135; the International Winter Olympics, is open to Ca­ April 13 entry deadline $120 for members. Send legal-size SASE to: Dana nadian artists. Juried from slides of up to 3 entries. Fort Wayne, Indiana “Three Rivers Festival Arts Kropf, High Country Crafters, 29 Haywood St., Fee: $15 per entry. Contact: Going for Gold, c/o and Craft Show—19” (July 11-12) is juried from Asheville 28801; or call: (704) 254-0072. 7056D Farrell Road, SE, Calgary, Alberta T2H 5 slides, 1 of display. Awards. Fee: $40 for a 10x10- Richmond, Virginia The 12th annual “Rich­ 0T2. foot space. Contact: Betty Newton, 1707 Ken­ mond Craft Show” (November 20-22) is juried August 1 entry deadline sington Blvd., Fort Wayne 46805. from 5 slides. $6,750 in awards. Contact: Hand Saint Louis, Missouri “Form and Function: Tea­ Margate, New Jersey “Craft Concepts ’87” (June Workshop, 1812 W. Main St., Richmond 23220; pots” (February 5-27, 1988) is juried from slides. 13-17) is juried from 4 slides. Jurors: Hortense or call: (804) 353-0094. Juror: Barbara Jedda and Valerie Miller. Contact: Green and Jane Korman. Awards. Fee: $10. Con­ June 15 entry deadline Craft Alliance, 6640 Delmar Blvd., Saint Louis tact: Craft Concepts ’87, Jewish Community Cen­ Aurora, Illinois “Fifth Annual Fine Arts Show­ 63130; or call: (314) 725-1151 or 725-1177. ter, 501 N. Jerome Ave., Margate 08402. case” (October 17-18) is juried from slides. Awards. August 12 entry deadline April 15 entry deadline Entry fee: $10. Booth fee: $35. Contact: Anna Lancaster, Pennsylvania “Market House 87 Marietta, Georgia “Jubilee Arts Festival” (May Trotter, Aurora Art League, 1975 Liberty St. Rd., National Juried Craft Exhibition” (October 4-25) 18-25) is juried from 3 slides. Fee: $100. Contact: Aurora 60504. is juried from slides. Jurors: Anne Graham, Vera Shelley Smith, Cobb County Arts and Cultural Scaly Mountain, North Carolina The fourth an- 12 C eramics Monthly nual “A High Country Art & Craft Show” (July 3-5) is juried from slides or photos. Fee: SI05; members, $90. Send legal-size SASE to: Gail Gom­ ez, High Country Crafters, 29 Haywood St., Ashe­ ville, North Carolina 28801; or call: (704) 254- 0072. June 19 entry deadline Memphis, Tennessee “Fourth Annual Folkfest” (August 29-30) is juried from 3 to 5 slides. Fee: $75 for a 10X 10-foot space. Contact: Kate Canon, Mud Island Folkfest, 125 N. Front St., Memphis 38103; or call: (901) 576-7230. June 22 entry deadline Pittsburgh, Pennsylvania “A Fair in the Park” (September 11-13) is juried from 5 slides. Entry fee: $5. Booth fee: $80 for a 10x8-foot space. Contact: The Craftsmen’s Guild of Pittsburgh, Box 10128, Pittsburgh 15232. June 26 entry deadline Dillon, Colorado “Lake Dillon Arts Guild 11th Annual Craft Fair” (July 18-19) is juried from 3 slides or photos. Fee: $40 for a 10x10-foot space. Contact: Lake Dillon Arts Guild, Box 1047, Dil­ lon 80435. July 1 entry deadline Gaithersburg, Maryland The “12th Annual Na­ tional Craft Fair” (October 16-18) is juried from 5 slides. Entry fee: $10. Booth fees: $185-$285. Contact: Noel Clark, National Crafts Ltd., Gap- land, Maryland 21736; or call: (301) 432-8438. Dayton, Ohio The fourth annual “Dayton Art Expo ’87” (November 6-8) is juried from 3 slides. Juror: Alex Powers. Awards. Fee: $60. Send SASE to: Carole Shoemaker, Dayton Art Expo ’87, 340 Butterfly Dr., Beavercreek, Ohio 45485; or call: (513) 426-1576, or Doris Zimmerman (513) 299- 2212. July 15 entry deadline Scaly Mountain, North Carolina The fourth an­ nual “A High Country Art & Craft Show” (July 31-August 2) is juried from slides or photos. Fee: $105; members, $90. Send legal-size SASE to: Betty Kdan, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0072. July 18 entry deadline Dillon, Colorado “Lake Dillon Arts Guild 15th Annual Art & Music Festival” (August 1-2) is juried from 3 slides or photos. Fee: $40 for a 10x10- foot space. Contact: Lake Dillon Arts Guild, Box 1047, Dillon 80435. July 31 entry deadline# New York, New York The “16th Annual WBAI Holiday Crafts Fair” (December 4-6, 11-13 and 18-20) is juried from 5 slides. Entry fee: $20. Booth fee: $600. Contact: Matthew Alperin, WBAI Crafts Fair, Box 889, Times Square Station, New York 10108; or call: (212) 279-0707. August 1 entry deadline Asheville, North Carolina The eighth annual “Summerfest Art & Craft Show” (August 14-16) is juried from slides or photos. Fee: $115; mem­ bers, $100. Send legal-size SASE to: Dana Kropf, High Country Crafters, 29 Haywood St., Ashe­ ville 28801; or call: (704) 254-0072. August 15 entry deadline Herkimer, New York The “12th Annual Her­ kimer County Arts & Crafts Fair” (November 14-15) is juried from 5 slides, 1 of display. Awards. Entry fee: $5. Booth fee: $80. Send SASE to: Grace McLaughlin, HCCC, Reservoir Rd., Herkimer 13350. September 12 entry deadline Dillon, Colorado “Lake Dillon Arts Guild 9th Annual Color Fest” (September 26-27) is juried from 3 slides or photos. Fee: $40 for a 10X 10-foot space. Contact: Lake Dillon Arts Guild, Box 1047, Dillon 80435. September 15 entry deadline Asheville, North Carolina The ninth annual “Indian Summer Art & Craft Show” (October 1-3) is juried from slides or photos. Fee: $135; mem­ bers, $120. Send legal-size SASE to: Gail Gomez, High Country Crafters, 29 Haywood St., Ashe­ ville 28801; or call: (704) 254-0072. April 1987 13 14 CERAMICS MONTHLY Questions Answered by the CM Technical Staff Q I work near a factory that produces glass bottles and thus have access to a large supply of cullet which could be obtained free or at very little expense. Can I use this as a glaze material? Is it like any other standard glaze material? Does it have a generalized formula I could use in glaze calculations?—S. A If the cullet is clear to light blue or green in color, it can be assumed to be crushed glass with a generic formula of 0.5 Na O • 0.5 CaO • SiO . This formula suggests that cullet is very similar2 to a number of common2 frits, but that it lacks the alumina found in glazes. If you would like to run a line blend (a test of various proportions of two materials) between the cullet available to you and kaolin, using 5% increments of each, you will find one or more suitable glazes resulting from the blend. A more complex glaze can be produced with a triaxial blend between kaolin, feldspar and cullet. Because of its high shrinkage, cullet fired by itself on clay crazes severely, although this effect can be used to a decorative advantage; for example, by sprinkling cullet lightly over the top of a glaze. Also try mixing cullet with local clay, again using line- blend tests to find the appropriate formula. The result in this case is a totally cost-free glaze if your cullet was obtained without charge. The cullet should be screened between 60 and 100 mesh in order to produce a sufficient mix, and 2% to 3% bentonite or some other flotant should be added to prevent the batch from solidifying at the bottom of the glaze bucket. Q My cobalt brushwork often develops black or reddish patches which are very unpleasant looking. Can you suggest how I might avoid these?—J.T. When there is too much cobalt present in brushwork, sometimes the compound cobalt silica crystallizes on the surface of the deco­ ration producing the effect you mention. Dilute your cobalt with a feldspar or frit in order to avoid this problem. Q What glaze materials have been shown to affect the solubility of lead frits? How does one determine a frit’s solubility without actually testing it? And are there any tricks to properly introducing lead frits in a glaze? —C.B. An excellent discussion of lead solubility is contained in Cullen W. Parmelee’s book Ceramic Glazes revised by Cameron G. Har­ man. A small part of their lead discussion includes answers to your question: “The acid solubility of lead-containing frits increases with an increase in boric oxide and alkalies contained therein, but more so with the former. The soda content influences the solubility slightly more than the potassium. Both alumina and silica tend to decrease the solubility. Zinc, barium and calcium oxides are increasingly effective in decreasing the lead solubility in the order given, but none is as effective as silica and alumina. Other useful deterrents are beryllia, titania and zirconia, but these have not been employed generally. Magnesia is reported to be practically without effect. “Petrik recommended the use of two frits, one containing all the lead oxide with no alkali or boric acid and the second frit containing these, but no lead. Thereby, the solution of lead from the glaze batch will be greatly reduced. “Currier worked out a precise method for determining the lead solubility of frits. He prepared and used a set of simple frits con­ taining 60% to 65% of PbO, 30% to 35% of SiO , and 0.12% to 8.25% of Al O . He leached these with a 0.5% hydrochloric2 acid solution at 40°C.2 3 There was a crude correlation between the lead extracted and the Al O content of the frit.” This last paragraph is a good rule of thumb 2 forjudging3 frits by their percent compositions, but usually solubility data are available for the asking from the frit’s manufacturer or your ceramics supplier. Subscribers' inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff\ Ceramics Monthly, Box 12448, Columbus, Ohio 43212. April 1987 15 16 Ceramics Monthly Itinerary conferences, tours, exhibitions, fairs, workshops and other events to attend Send announcements of conferences, tours, exhi­ April 14-May 2 Ragnar Naess, sculpture and celain Today,” with Virginia Cartwright, folded bitions, juried fairs, workshops and other events at functional work; at the Franz Bader Gallery, 1701 vessels; Dorothy Feibelman, agate porcelain bowls; least two months before the month of opening to: Pennsylvania Ave., NW. Lyn Haxton, layered sculpture; Catharine Hier- The Editor, Ceramics Monthly, Box 12448, Co­ Georgia, AtlantaApril 18-30 “Ron Meyers Re­ soux, thrown and assembled vessels; Coille lumbus, Ohio 43212; or call: (614) 488-8236. Add turns,” large functional earthenware; at Claywork McLaughlin Hooven, handbuilt sculpture; Deb­ one month for listings in July and two months for Gallery, 1131 Euclid Ave., NE. orah Horrell, installations; Karen Massaro, sculp­ those in August. Illinois, Chicagothrough April 18 Richard Not- ture; Jeanne Otis, colored-clay wall forms; and kin, sculptural vessels; at Esther Saks Gallery, 311 Joan Carol Spamer, translucent handbuilt cones; W. Superior St. at Wita Gardiner Gallery, 535 Fourth Ave. Maine, Belfast April 3-30 Randy Fein, “Clay and California, San Franciscothrough June 28 “Ital­ Conferences Paper,” wall forms and sculpture; at Artfellows ian Maiolica from the Arthur M. Sackler Collec­ Hawaii, Oahu April 7-10 The “National Con­ Gallery, 1 Beaver St. tion,” works from the 15th through 18th centuries; vention of Craftspeople” will include seminars on Michigan, Bloomfield Hillsthrough April 5 Gra­ at the California Palace of the Legionof Honor, marketing techniques, insurance, financial plan­ ham Marks, large coil-built, sandblasted earthen­ Lincoln Park. ning, workplace hazards, legal issues, computer ware works; at the Cranbrook Academy of Art Florida, Coral GablesApril 8-May 3 The Ce­ software for craftspeople, etc. Fee: SI00 per per­ Museum, 500 Lone Pine Rd. ramic League of Miami “37th Annual Members’ son; $150 for couples. Contact: The National Con­ Missouri, Saint LouisApril 5-30 Randy Mc- Exhibition”; at the Metropolitan Museum, Bilt- vention of Craftspeople, c/o Joao and Holly, 111 Keachie-Johnston, salt-glazed, wood-fired ce­ more Hotel. Liberty St., Petaluma, California 94952; or call: ramics; at Pro Art, 5595 Pershing. Illinois, Chicagothrough April 18 Chris Gustin, Harvest Festival (800) 321-1213; or, within Cal­ New Jersey, Millburnthrough April 18 Barry sculptural pots; and Liz Wolf, raku-fired sculp­ ifornia, (707) 778-6300. Zawacki, sawdust-fired vessels; at Sheila Nuss- ture; at Objects Gallery, 341 W. Superior. New York, SyracuseApril 8-11 “Ceramics in the baum Gallery, 358 Millburn Ave. Illinois, Highland Park April 4-May 15 Tom Art World,” the 21st annual National Council on New York, Brooklynthrough May 11 Peter Coleman and Frank Boyden, “The Vessel En­ Education for the Ceramic Arts (NCECA) con­ Gourfain, “Roundabout and Other Works,” sculp­ hanced: Nature and Fire”; at Martha Schneider ference. For details, consult January Itinerary. ture; at the Brooklyn Museum, 200 Eastern Pkwy. Gallery, 2055 Green Bay Rd. Contact: Ronald A. Kuchta, Everson Museum of New York, New YorkApril 28-June 6 Patrick Indiana, Indianapolisthrough May 3 Nina Ger- Art, 401 Harrison St., Syracuse 13202; or call: Minervini, raku-fired wall constructions and ves­ lardi and John Shedd; at the Indianapolis Mu­ (315) 474-6064. sels; at Frank Caro Gallery, 41 E. 57 St. seum of Art, 1200 W. 38 St. April 11 “Exploring the Creative State,” annual New York, Rochesterthrough April 25 Nancy Michigan, Detroit April 10-May 9 “Michigan- meeting of the Empire State Crafts Alliance, in Jurs; at Oxford Gallery, 267 Oxford St. Ohio Functional Ceramics Exhibition”; also Joe conjunction with the NCECA conference. For de­ North Carolina, CharlotteApril 3-30 Michael Zajac, vessels; and Mark Chatterley, sculpture; at tails, consult February Itinerary. Contact: ESCA, Sherrill, “Contemporary Raku”; at Skillbeck Gal­ Pewabic Pottery, 10125 E. Jefferson Ave. 9 Vassar St., Poughkeepsie, New York 12601; or lery, 119 E. Seventh. New York, New Yorkthrough April 27 David call: (914) 471-8188. North Carolina, Winston-Salemthrough May 24 Leach and John Leach, porcelain; at Greenwich Ohio, Cincinnati May 7-10 The “National Matt Savino, sculpture; at the Sculpture Court. House Pottery, 16 Jones St. Sculpture Conference: Works by Women.” For de­ April 24-June 7 Peter Berry, small-scale sculp­ April 7-May 2 Rudy Autio, monumental vessels tails, consult March Itinerary. April 15 preregis­ ture; at the Porch Gallery, Southeastern Center and plates; and Anne Kraus, narrative vessels in tration deadline. Contact: NSC: WW, College of for Contemporary Art, 750 Marguerite Dr. the Meissen and Sevres porcelain tradition; at Garth DAAP, Mail Location 16, University of Cincin­ Ohio, Oxfordthrough May 10 “Daniel Rhodes— Clark Gallery, 24 W. 57 St. nati, Cincinnati 45221. The California Years”; at the Miami University April 23-May 17 “Aspects of Dutch Ceramics ’87”; Pennsylvania, PittsburghApril 26-30 The 89th Art Museum. at Contemporary Porcelain, 105 Sullivan St. annual “American Ceramic Society Meeting and Pennsylvania, HarrisburgApril 1-30 Dennis New York, Staten Islandthrough June 30 “Ce­ Exposition.” For details, consult March Itinerary. Christopher Murphy, abstract wall sculpture; at ramics at the Crossroads: American Pottery at New Contact: The American Ceramic Society, 757 Metro Arts, City Government Center. York’s Gateway 1750-1900,” approximately 150 Brooksedge Plaza Dr., Westerville, Ohio 43081; Pennsylvania, Philadelphiathrough April 19 stoneware and redware objects; at the Staten Is­ or call: (614) 890-4700. “Joyce Kozloff: Visionary Ornament,” includes land Historical Society, 441 Clarke Ave. photographs of public works, tiles mounted on ply­ New York, SyracuseApril 8-June 28 The “27th wood and collaborative ceramics; at the Goldie Ceramic National Exhibition,” and “Meeting of International Conferences Paley Gallery, Moore College of Art, 20th at the Contemporary Ceramists of Latin America,” trav­ Canada, Alberta, CalgaryMay 29-31 “Future Parkway. eling exhibition organized by the Museo de Arte Strategies/Future Intent.” For details, consult Pennsylvania, PittsburghApril 10-June 7 Ruth de Ponce, Puerto Rico; at Everson Museum of March Itinerary. Contact: Evelyn Grant, Leisure Duckworth, sculpture; at the Society for Art in Art, 401 Harrison St. Learning Services, Division of Continuing Edu­ Crafts, 2100 Smallman St. Ohio, CantonApril 5-May 31 The second bien­ cation, Dr. Carl Safran Centre, 3rd Floor, 930 Washington, Seattle April 21-May 3 Lorraine nial “National Ceramics Invitational”; at the Can­ Thirteenth Ave., SW, Calgary, Alberta T2R 0L4; Cohn, paintings on porcelain; at Foster/White ton Art Institute, 1001 Market Ave., N. or call: (403) 229-3327. Gallery, at Frederick and Nelson. Ohio, Clevelandthrough April 26 “Ceramics In­ Canada, Ontario, TorontoMay 29-31 “Fusion,” vitational 1987,” works by 11 artists from the U.S.A. the annual conference of the Ontario Clay and and Canada; at Sylvia Ullman American Craft Glass Association. For details, consult March Itin­ Group Ceramics Exhibitions Gallery, 13010 Woodland Ave. erary. Contact: Fusion, 140 Yorkville Ave., To­ Arizona, Tempe April 5-May 24 “Works in Clay Texas, Irvingthrough April 24 Animals and ronto, Ontario M5R 1C2; or call: (416) 923-7406. from the Permanent Collection,” contemporary ce­ Company, Susan Farago, Sherry Loehr, Kathy ramics; at the Art Museum, Arizona State Uni­ Triplett, Union Hill and Laura Wilensky, “A Mad versity, Matthews Center. Tea Party,” variations on contemporary teapots; at Solo Exhibitions Arkansas, Conwaythrough April 8 “Small Ce­ Culler Concepts, 109 Mandalay Canal. Arizona, Scottsdalethrough April 17 Bunny To­ ramics National”; at the University of Central Ar­ Texas, San AngeloApril 16-May 24 The second bias; at Elaine Horwitch Galleries, 4211 N. Mar­ kansas. annual “Monarch Tile National Ceramic Com­ shall Way. California, Claremontthrough April 5 The “43rd petition”; at the San Angelo Museum of Fine Arts, through April 19 Nancy Youngblood Cutler, Santa Ceramics Annual”; at the Lang Gallery, Scripps 704 Burgess. Clara pottery; at Gallery 10, 7045 Third Ave. College. Virginia, AlexandriaApril 1-26 “Spring Begin­ Arizona, TucsonApril 11-May 2 Wesley An- California, La Jollathrough April 11 “The Con­ nings”; at Scope Gallery, Torpedo Factory Art deregg, raku vessels; at Obsidian Gallery, 4340 N. temporary Human Element: Large-Scale Figur­ Center, 105 N. Union St. Campbell Ave., Saint Philip’s Plaza, Suite 90. ative Sculpture in Terra Cotta”; at Grove Gallery, California, Los Angelesthrough April 20 John University of California, San Diego. Mason, modular vessels glazed with geometric California, Los Angelesthrough May 17 “Italian Ceramics in Multimedia Exhibitions patterns; at Rena Bransten Gallery, 77 Geary at Renaissance Maiolica,” flasks, plates, drug jars, Arizona, Mesa April 14-May 9 “The Human Grant. plaques, inkstands, dishes and ewer basins from Form”; at Galeria Mesa, 155 N. Center St. California, San FranciscoApril 2-25 Scott the 15th and 16th centuries. April 2-July 19 California, Claremontthrough April 22 “Maloof, Chamberlin, sculpture; at Dorothy Weiss Gallery, “Contemporary Ceramics from the Smits Collec­ McIntosh and Soldner,” works in wood and clay; 256 Sutter St. tion,” 45 works by American, British and Euro­ at the Clark Humanities Museum, Scripps Col­ Connecticut, South Norwalkthrough May 24 pean ceramists; at the Los Angeles County Mu­ lege, Tenth and Columbia. Jonathan Nash Glynn, large-scale urns; at John seum of Art, 5905 Wilshire Blvd. California, Los AngelesApril 28-May 24 “Cal­ Cusano Gallery, 136 Washington St. California, ReddingApril 3-27 Michael J. Bli- ifornia Classics,” includes work by Laura Andre- D.C., WashingtonApril 5-May 2 Norman Schul- ven and Socorro Hernandez, sculpture; at Shasta son; at the Craft & Folk Art Museum, 5814 Wil­ man, sculpture; at Maurine Littleton Gallery, 3222 College Art Gallery, 1065 N. Old Oregon Trail. shire Blvd. N St., NW. California, San Diegothrough April 18 “Por­ Continued April 1987 17 18 Ceramics Monthly Egyptian Scarabs, Seals and Amulets,” includes “Tennessee Crafts Fair”; at Centennial Park. Itinerary faience objects; at the Brooklyn Museum, 200 Texas, LubbockApril 24-26 The ninth annual Eastern Pkwy. “Lubbock Arts Festival”; at Lubbock Memorial California, San DiegoApril 25-June 20 Bill New York, New Yorkthrough January 3, 1988 Civic Center. Abright, Aurore Chabot, Ann Christenson, Ste­ “Selections from the Permanent Collection.” April phen Kafer, Juta Savage and Nancy Selvin, “Clay 11-July 17 “Interlacing: The Elemental Fabric,” and More,” sculpture; at Wita Gardiner Gallery, includes contemporary examples of interlaced forms; Workshops 535 Fourth Ave. at the American Craft Museum, 40 W. 53 St. Alabama, FlorenceApril 23-24 Tim Weber, slide California, San Franciscothrough April 26 “Hopi North Carolina, Goldsborothrough April 17 lecture and demonstration. Contact: M. C. Jer­ Art: A Century of Continuity and Change”; at the “Goldsboro 8th Annual Juried Art Exhibition”; at kins, Kennedy Douglass Art Center, 217 E. Tus­ Craft & Folk Art Museum, 626 Balboa St. the Community Arts Council, 901 E. Ash St. caloosa St., Florence 35630. through May 2 A dual exhibition with Peter Voul- North Dakota, Valley CityApril 5-24 “15th California, Bakersfield April 4-5 Ken Catbagan, kos; at the Braunstein/Quay Gallery, 177 Post St. Biennial National Art Exhibit”; at 2nd Crossing porcelain workshop. Fee: $20 for one day, $35 for through May 3 “Tokyo: Form and Spirit,” includes Gallery, Valley City State College. two. For further information contact: Vic Bracke, Edo period ceramics; at the San Francisco Mu­ Ohio, ClevelandApril 22-May 31 “May Show,” Bakersfield College, 1801 Panorama Dr., Bakers­ seum of Modern Art, 401 Van Ness Ave. 68th annual juried exhibition; at the Cleveland field 93305; or call: (805) 395-4404. April 11-May 31 “Stories from China’s Past: Han Museum of Art, 11150 East Blvd. California, MendocinoMay 9-10 “Drawing and Dynasty Pictorial Tomb Reliefs and Archaeolog­ Ohio, Columbusthrough April. 25 Ohio De­ Painting in Ceramic Materials,” with Beth ical Objects from Sichuan Province, People’s Re­ signer Craftsmen “The Best of 1987”; at the Co­ Changstrom. Fee: $30; members, $25. Contact: public of China”; at the Chinese Culture Center, lumbus Cultural Art Center, 139 W. Main St. Mendocino Art Center, 45200 Little Lake St., Box 750 Kearny St. Oklahoma, TulsaApril 24-May 16 “3 Women in 765, Mendocino 95460. Colorado, Denverthrough April 19 “Art in New Art,” includes daywork by Linda Alien; at Crain Connecticut, BrookfieldMay 9-10 “Architec­ Mexico, 1900-1945: Paths to Taos and Santa Fe,” Wolov Contemporary Crafts Gallery, 3346 S. Peo­ tural Model Making” with Dan Trupiano. May includes pottery; at the Denver Art Museum, 100 ria. 16 “Developing a Marketing Plan for Your Art” W. 14 Ave. Pkwy. Oregon, Salem April 30-May 24 “The Spring with Wanda McPhaden. May 30 “Your Slides and Connecticut, Greenwich April 15-May 30 Show,” includes ceramics by Craig Martell and the Jury Process” with Bruce Baker. May 31 “Cuisine Art”; at the Elements, 14 Liberty Way. Patrick Horsley; at the Salem Art Association, 600 “Professional Linkage for Art & Architecture” with D.C., Washingtonthrough May 1 “Earth Views,” Mission St., SE. Ken VonRoenn. June 13 “Financial Planning for a national competition of artists’ interpretations of Tennessee, Gatlinburg through May 2 “Arrow- the Artist/Craftsperson” with Harriet Kessinger. the world seen from above; at the National Air mont Spring Faculty and Staff Exhibition,” in­ June 20 “Promotion & Communication Skills and Space Museum. cludes work by Cynthia Bringle, Donald Frith, Workshop” with Stanley M. Siegel. June 20-21 through May 17 “The Age of Sultan Suleyman Yosuke Haruta and Richard Zakin; at Arrowmont “Introduction to IBM Personal Computer Con­ the Magnificent,” includes tiles and ceramics; at School of Arts and Crafts. cepts” with Tom Sherman. June 27 “IBM PC the National Gallery of Art, Fourth St. at Con­ Texas, Irving.April 25-May 30 “Brooching the Computers: Business Software Applications” with stitution Ave., NW. Subject,” contemporary jewelry includes work by Tom Sherman. Fees: $60 for one day (members, Florida, Belleair April 25-May 31 “Contempo­ Kathleen Dustin and Laura Wilensky; at Culler $50); $105 for two days (members, $95). Contact: rary Crafts Southeast”; at the Florida Gulf Coast Concepts, 109 Mandalay Canal. Brookfield Craft Center, Box 122, 286 Whisconier Art Center, 222 Ponce de Leon Blvd. Utah, Cedar City April 2-May 1 “Cedar City Rd., Brookfield 06804; or call: (203) 775-4626. Florida, Orlandothrough May 8 “A.D.V,” recent 46th Annual Multimedia Art Exhibition”; at Illinois, ChicagoApril 18 “Large-Scale Sculp­ work by the Art faculty; at the East Campus Gal­ Braithwaite Gallery, Southern Utah State College. tured Vessels,” with Ron Mazanowski. Fee: $20, lery, Valencia Community College. Washington, Seattlethrough July 12 “A Thou­ $15 for students. Preregistration required. Con­ Georgia, GainesvilleApril 1-30 “Pieceworks II,” sand Cranes: Treasures of Japanese Art from the tact: Special Workshops, University of Illinois at second annual juried exhibition; at Georgia Permanent Collection,” includes ceramics; at the Chicago, 750 S. Halsted, Chicago 60607; or call: Mountain Crafts, 311 Green St., SE. Seattle Art Museum, Volunteer Park. (312) 413-5050. Hawaii, Makawao through April 12 The ninth April 2-May 30 A two-person exhibition with Joan Indiana, IndianapolisMay 1-2 “Raku and Col­ annual “Art Maui ’87,” juried exhibition; at Hui Bazaz, vessels; at Artworks Gallery, 311½ Occi­ laboration,” slide lecture, demonstration and hands- Noeau Visual Arts Center at Kaluanui, 2814 dental Ave., S. on session with Susan and Steven Kemenyffy. Free Baldwin Ave. West Virginia, Huntingtonthrough April 5 “Ex­ materials. Contact: American Art Clay Co., Inc., Illinois, Evanstonthrough April 5 “Collabora­ hibition 280: Works off Walls,” annual regional 4717 W. 16 St., Indianapolis 46222; or call: (800) tions,” includes clay and calligraphy by James competition; at the Huntington Galleries, Park 428-3239 or (800) 358-8252; within Indiana call: Thomas and Ken Macintosh; at the Evanston Art Hills. (317) 244-6871. Center, 2603 Sheridan Rd. Massachusetts, Amherst April 25-26 “Hand- Illinois, Springfieldthrough May 2 “Contempo­ building: An Expressive Workshop,” two sessions rary Masks in All Media”; at the Springfield Art Fairs, Festivals and Sales with Randy Fein, will cover vessels (April 25) and Association, 700 N. Fourth St. Alabama, Birmingham April 10-11 “Magic City relief construction (April 26). May 2 “Working Indiana, IndianapolisApril 6-May 8 “Gifts”; at Art Connection”; at Woodrow Wilson Park. with Colored Clays” with Debbie Freed. May 3 the Indianapolis Art League, 820 E. 67 St. Arkansas, Mountain View April 17-19 “The “Teapots and Other Domestic Ware” with Bob Iowa, Iowa CityApril 1-30 A two-person show Ozark Foothills Craft Guild’s 25th Annual Spring Parrott. For intermediate students through profes­ with Marilyn Maiberger Davis, salt-glazed, inlaid Show & Sale”; at the junction of Highways 5, 9 sionals. Fee: $45 each. Contact: Horizons, 374 Old colored clay and cut porcelain works; at Iowa Ar­ & 14. Montague Rd., Amherst 01002; or call: (413) 549- tisans Gallery, 13 S. Linn St. D.C., WashingtonApril 24-26 “The Washington 4841. Kansas, Topekathrough April 29 “Topeka Crafts Craft Show”; at Departmental Auditorium, 1301 Massachusetts, Falmouth April 25 and May 2 Competition 11”; at the Topeka Public Library Constitution Ave., NW “Raku Workshop” with Steven Branfman and Pol­ Gallery of Fine Arts, 1515 W. Tenth. Florida, Boca RatonApril 11-12 Fifth annual ly Egelson. Fee: $48. Preregistration required. Maryland, BaltimoreApril 28-June 1 “Annual “Meet Me Downtown Festival”; downtown. Contact: Falmouth Artists’ Guild, 744 Main St., Regional Juried Exhibition”; at the Art Gallery Maryland, GaithersburgApril 10-12 “12th An­ Falmouth 02540; or call: (617) 540-3304. of Fells Point, 811 S. Broadway. nual Spring Arts & Crafts Fair”; at the Mont­ New Jersey, MontclairApril 25 Ken Ferguson, Massachusetts, Bostonthrough May 31 “The Art gomery County Fairgrounds. movie, slide show and demonstration, at Montclair that Is Life: The Arts and Crafts Movement in Maryland, TimoniumMay 1-3 “10th Annual State College. Fee: $10, includes lunch. Contact: America, 1875-1920”; at the Museum of Fine Arts, Spring Crafts Festival”; at the Maryland State Hortense Green, New Jersey State Council on the 465 Huntington Ave. Fairgrounds. Arts, 109 W. State St., Trenton, New Jersey 08625; Massachusetts, Worcester through April 5 “4 Massachusetts, LexingtonMay 1-3 “Annual or call: (609) 292-6130. Major U.S. Craftsmen,” includes John Gill; at the Spring Exhibit and Demonstrations”; at the Lex­ New Mexico, AbiquiuMay 27-30 “Metal Fusion Worcester Craft Center, 25 Sagamore Rd. ington Arts and Crafts Society, 130 Waltham to Ceramic Pieces and Related Subjects” with Mi­ Michigan, Detroitthrough May 3 “Ebla to Da­ Street. chael J. Oliver at Ghost Ranch. Fee: $90; mem­ mascus,” approximately 300 objects from prehis­ Minnesota, Saint Paul April 8-12 “Handmade bers, $75; includes materials and firings. Contact: toric times through the Islamic era, includes mo­ in the USA,” ACE craft fair; at the Saint Paul Bill Armstrong, New Mexico Potters Association, saics, cuneiform-inscribed clay tablets and glazed Civic Center. Box 206, Corrales, New Mexico 87048; or call: pottery; at the Detroit Institute of Arts, 5200 New York, Long IslandMay 1-3 “Spring Fling (505) 898-7471. Woodward Ave. Crafts Festival”; at the Nassau Coliseum, Union- New York, BrockportApril 6 Rudy Autio slide Nebraska, Omaha April 11-June 21 “The Paris dale. lecture at the Tower Fine Arts Gallery. Contact: Style 1900: Art Nouveau Bing”; at the Joslyn Art New York, New YorkApril 30-May 3 American State University of New York College at Brock­ Museum, 2200 Dodge St. Craft Enterprises’ and the Associates of the Amer­ port, Brockport 14420; or call: (716) 395-2754. New Mexico, Los AlamosApril 3-May 3 “Que ican Craft Museum’s “American Craft at the Ar­ New York, New YorkMay 2 Don Reitz lecture. Pasa: Art in New Mexico,” second annual juried mory”; at the 7th Regiment Armory, 67 Street on Fee: $5. May 2 Don Reitz workshop on surface exhibition; at Fuller Lodge Art Center, 2132 Cen­ Park Avenue. treatment. Fee: $25. Contact: Greenwich House tral Ave. Pennsylvania, LewisburgMay 2 The 18th an­ Pottery, 16 Jones St., New York 10014; or call: New York, Brooklynthrough May 18 “The Col­ nual juried “Lewisburg Festival of the Arts”; Mar­ (212) 242-4106. lector’s Eye: The Ernest Erickson Collections.” ket St. New York, ScarsdaleMay 3 Andrea Gill, slide through June 29 “Magic in Miniature: Ancient Tennessee, NashvilleMay 1-3 The 16th annual Continued April 1987 19 20 CERAMICS MONTHLY 7131 Midbury Dr., Dallas 75230; or call: (214) ing one pot from the first firing in October 1921; Itinerary 363-5480. at the City Museum and Art Gallery, Bethesda Texas, San AntonioMay 1-2 “Throwing and Street. lecture and demonstration on vessel forms and sur­ Handbuilding with Porcelain,” with Joyce Ja- England, West Yorkshire, Elland May 24-30 face decoration. Fee: $35. Contact: Carol Strong- blonski. Fee: $60, plus $10 lab fee. Contact: South­ “Pipe Sculpture Workshop” with Jerry Caplan, at hilos or Gloria Sherman, YM & YWHA of Mid- west Craft Center, 300 Augusta, San Antonio 78205; W. T. Knowles & Sons Ltd. Fee: $235, includes Westchester, 999 Wilmot Rd., Scarsdale 10583; or or call: (512) 224-1848. clay and salt firing. Up to 10 participants will be call: (914) 472-3300. selected from slides and a short resume. April 6 New York, West NyackApril 25 and May 3 deadline for slides. Send SASE to: Jerry Caplan, “Sculpture: Clay Is Not Just Pots,” 2 sessions by International Events 5819 Alder St., Pittsburgh, Pennsylvania 15232; Margaret Cherubin. April 26, May 31 and June Canada, Alberta, Edmontonthrough May 16 or call: (412) 661-0179. 21 “Raku Workshops” with Rosemary Aiello; par­ “Chinese Export Porcelain,” traveling exhibition; France, Arras April 15-June 21 “French Por­ ticipants should bring 3 to 5 bisqued pieces and at the Provincial Museum of Alberta, 12845 102nd celain from the XVIII Century,” traveling exhi­ lunch. Fee: $35 per session, includes glazing and Ave. bition of works from the collections of the regional firing. Contact: Carol Kemelgor, Rockland Center Canada, Ontario, MississaugaMay 29-31 Karl museums from the northern region; at the Musee for the Arts, 27 Greenbush Rd., West Nyack 10994; and Ursula Scheid, lecture and demonstration on des Beaux Arts, Abbaye de Saint Vaast. or call: (914) 358-0877. throwing and handbuilding. Fee: Can$75 (ap­ France, Lille through May 25 “Glazed Pottery North Carolina, BrasstownApril 17-19 Pottery proximately $57). Contact: Susan Corrigan, 140 from the 17th through the 19th Centuries,” trav­ with Jerry Chappelle. May 10-16 “Elderhostel Yorkville Ave., Toronto, Ontario M5R 1C2; or eling exhibition of examples from the Musees du VI,” includes pottery instruction with Paul call: (416) 923-7406. Nord-Pas-de-Calais; at the Musee Regional de Menchhofer. Contact: Registrar, John C. Camp­ Canada, Ontario, OttawaApril 30-May 3 “In l’Hospice Comtesse, 32 rue de la Monnaie. bell Folk School, Brasstown 28902; or call: (704) Celebration of Spring,” an exhibition of works by France, Saint-Amand-les-Eaux through June 8 837-2775 or 837-7329. members of the Ottawa Guild of Potters; at the “Italian Majolicas,” approximately 100 works from North Carolina, PenlandMay 1-15 “Kilnbuild- Glebe Community Centre, 690 Lyon St. the Italian Renaissance or inspired by that period, ing” with Bill Brouillard and Steve Bradford, a Canada, Saskatchewan, Saskatoonthrough April selected from the collections of the northern mu­ hands-on session to build a salt kiln and a down­ 30 “Beyond the Object,” experimental and inno­ seums; at the Musee Municipal, Grand Place. draft car kiln. Up to 6 participants. Fee: $300; vative works; at the Saskatchewan Craft Gallery, Netherlands, DeventerApril 20-May 17 A two- room and board: $370. Contact: Penland School, 1231 Idylwyld Dr., N. person exhibition with Gerhard Lutz, handbuilt Penland 28765; or call: (704) 765-2359. England, Chichester May 22-24 A session with porcelain and stoneware objects; at Kunst & Ke- Ohio, Cincinnati May 7-9 “Dialogue Criticism John Gunn on handbuilding; for all skill levels. ramiek, Korte Assenstraat 15. Workshop” in conjunction with the “National Fee: £74 (approximately $118) includes lodging Netherlands, ’s-Hertogenboschthrough April 5 Sculpture Conference: Works By Women.” Con­ and meals. Contact: Heather Way, West Dean “Functional Glamour: Functional Ceramics from tact: Dialogue Criticism Workshop, Box 2572, Co­ College, Nr. Chichester, West Sussex P018 0QZ. the United States”; at the Museum voor Heden- lumbus, Ohio 43216. England, Londonthrough May 10 “Alan Caiger- daagse Kunst Het Kruithuis, Citadellaan 7. South Dakota, MadisonApril 25-26 Susan and Smith and the Aldermaston Pottery,” tin-glazed, Spain, Conil June 6-August 8 Ceramica La Ta- Steven Kemenyffy, raku workshop. For experi­ smoked-luster works; at the Geffreye Museum, cita is offering 2-week workshops on handbuild­ enced students and professionals. Contact: Connie Kingsland Rd. ing, throwing, glazing and raku with Jose Luis Herring, Division of Liberal Arts, Dakota State April 8-June 7 An exhibition of work by David Aragon; for all skill levels. Live-in accommoda­ College, Madison 57042; or call: (605) 256-5265 Garland, large painted bowls, jugs, plates and dishes. tions and camping available. For further infor­ or 256-5270. April 23 Alison Britton, a discussion about the mation contact: Jose Luis Aragon, La Tacita, El Texas, DallasApril 10 Lee Akins, “Zen and the work of David Garland; at the Crafts Council Gal­ Colorado, Conil, Cadiz; or call (56) 440912. Art of Electric Kiln Repair.” Fee: $35; members, lery, 12 Waterloo Place. West Germany, DusseldorfApril 1-May 5 “Kak- $25. April 23-24 Gennie Espinosa, “Combining England, Stoke-on-Trentthrough April 30 Ber­ iemon,” traditional Japanese porcelain; at the Handbuilt and Thrown Forms.” Fee: $50; mem­ nard Leach, an exhibition of works made at Saint Hetjens-Museum, Deutsches Keramikmuseum, bers, $40. Contact: The Craft Guild of Dallas, Ives, Cornwall, from 1921 through 1939, includ­ Schulstrasse 4.

April 1987 21 22 CERAMICS MONTHLY Suggestions from our readers Visible Cones In a recent issue of CM, the Suggestions column included the hint that cones coated with iron oxide are more visible during firing. At Alfred a good many years ago, Charles Harder had his students coat the high-fire cones with a thin wash of black underglaze or glaze stain. Cones so treated were quite apparent at Cone 12. To make them even more visible, try coating only one face of each cone. With an apex of the cone’s triangular shape facing the

spy hole, the contrast between black and white makes the cone even more apparent than when viewed uncoated or entirely coated. —Charles J. Lakofsky, Bowling Green, Ohio Inventory Reminder I have been using a method of “reserve stock” inventory in the studio that has worked quite well for me. Predetermined quantities (based on average usage compared with how long it takes to pur­ chase/obtain each item) of accessories, such as sugar spoons, spigots, pumps, computer disks, packing tape, order forms, packing list en­ velopes, etc., are set aside in plastic bags. When I have to open one of these bags, that indicates it is time to reorder. It is a handy reminder for those often easily overlooked studio items. —Don Kopyscinski, Newton, Conn. Extruded Test Tiles For test tiles, I use extruded cylinders of clay. Long sections (in various diameters) may be extruded very quickly and cut to any length. Stood on end, these cylinders simulate a pot by providing a

top rim and vertical glaze surface. If wax is applied to both ends so that the glaze adheres only to the middle, the cylinders may be stacked in the kiln like posts. Also, testing with an extruded cylinder makes it easy to tie the test to the glaze bucket. —Larry Bock, Oxford, Ohio Gyproc Surfaces All the shelves, ware boards and tables (even the wedging table) in my studio are covered with Gyproc (a brand of plasterboard). Merely a sheet of plaster with a strong absorbent paper surface that withstands hundreds of soakings, Gyproc is inexpensive, clean, and pots dry very evenly on it. You can sponge it clean several hundred times with no damage. — W James Murray, Nova Scotia, Canada Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items. April 1987 23 24 C eramics Monthly Comment Japanese Aesthetics by Pam Murakami

The Western mind is largely preoccu­Unlike tea masters before him and in pied with outward form, that is, those contrast to the trends of the time, Rikyu things which are tangible and visible. emphasized frugality and restraint, and Form is often associated with aesthetics maintained this attitude as a way of life. relating to concrete perfection—un­ Rikyu’s attitude was rooted in Zen blemished ideals in symmetry and ele­ beliefs. His choice of unadorned, un­ gance, perhaps bordering on opulence.pretentious tea utensils represented a “Imperfections” in ceramics such aspursuit for inward spirit. These repre­ cracks, crawling, pinholing and crazingsented humility, harmony with nature are regarded with certain vexation. These and other people, tranquility and purity. are, at best, associated with the short­ Within the tea ceremony, other aes­ comings of an amateur. thetic tastes (besides Rikyu’s) include There are some, however, who findthe use of temmoku-glazed ware or blue- beauty in the asymmetrical, somber andand-white porcelains, and other elabo­ “flawed.” Likewise, “flawed” forms (thatrate utensils. However, in Zen, opposites is, forms perfect in imperfection) are do not contrast, and these are merely placed in high esteem by the Japanese. viewed as different facets of the same Japanese sensibility for beauty aspect. is largely concerned with inward form. In the tea ceremony, it is essential to Difficult to define because it is an ab­ keep a fresh perspective in life. The oc­ straction one cannot always see, inward casion, season, time of day, place and form is something that speaks directly people must all be thoughtfully consid­ to the heart and is fulfilling to the spirit. ered when selecting one’s utensils. Thus, Inward form involves a mental disci­the aesthetics for a particular ceremony pline which encompasses the ephemer­ are never confining. al—the transiency of life. Rikyu, however, developed a set of These aesthetics evolved largely fromaesthetic ideals that are the basis for the chado, the “way of tea.” The study best and of Japanese etiquette and taste. This discipline of the Japanese tea ceremony philosophy is at the core of Japan’s fine evolved over hundreds of years, andand its applied arts, including the design aesthetics have profoundly influenced theand construction of tea rooms, garden Japanese sense of beauty. architecture, flower arranging, litera­ Tea was brought to Japan in the 12thture and cuisine. century by monks who went to ChinaThe Japanese are lovers of nature, to study Zen Buddhism. Tea functioned and it is this intimacy with nature that as a stimulant to aid their study and allows them to perceive certain “flaws” meditation, and was considered a me­ in ceramics, such as cracks and other dicinal beverage. blemishes, as visually appealing ele­ Tea found its way into society through ments. These are often considered part the teachings of Zen. The nobility, theof a harmonious composition in form, samurai (or warrior class) and eventu­color, line and texture. ally the common people, became ac­ The love for rustic simplicity also rep­ quainted with it. resents an attitude toward life. It endows Tea became the focus of social gath­the Japanese with an ability to recognize erings. Competitions arose as a form andof accept inherent characteristics in life amusement for the affluent, where guests forces, and art forms such as ceramics. tested their skills in identifying various Acquiescing to the results of a firing teas. process is an acceptance of the final met­ These gatherings, though unlike the amorphosis that occurs between clay and tea ceremony as practiced today, wereits union with fire. the antecedents for the “way of tea.” ButAccidental occurrences during the fir­ the rules, then form and style evolved ing give character and uniqueness which from these tea competitions. Tea masters cannot be duplicated, and in this sense, eventually developed it into an art form“imperfections” are desirable because it which has permeated Japanese culture. is natural beauty. The Japanese feeling The tea master, Sen no Rikyu of oneness with nature is described as (1522-1591), was instrumental in shap­ wa harmony. ing the aesthetics of the tea ceremony. Please Turn to Page 88 April 1987 25 Berry baskets, approximately 6 inches square, reduction-fired stoneware, handbuilt from slabs and extruded coils formed over a wooden mold, by Michael Cohen, founder of the Asparagus Valley Potters Guild which serves the Amherst, Massachusetts, area. Asparagus Valley Potters by Angela Fina

surance information, taxes, apprentice­ In looking over the group’s past Established just over ten years ago, theships, fairs and pricing, plus general craft achievements at the tenth anniversary Asparagus Valley Potters Guild (oftenworld gossip. To save money, we some­meeting, the current 24 members came referred to as the AVPG or “Piggies”) times buy packing materials or otherup with some significant statistics. Of is a rather informal, mostly social or­supplies as a group, and get a group ratethe 41 members the group has had, 17 ganization of full-time, self-sustaining on gas. We also produce a brochure about have left because they no longer work potters in the Amherst, Massachusetts, our studios and pots for distribution inat clay. Of the 15 founding members, area, who meet in members’ homes about nearby tourist information centers, andonly six are still potters. The reasons for ten times a year to share information, we occasionally sponsor workshops the or high drop-out rate are principally encouragement and great food. Mem­lectures. poverty and burnout. I suspect these sta­ bers are chosen for their full-time com­ The guild’s annual project is a party tistics are not uncommon across the mitment to pottery, and for the profes­for all the craftspeople and buyers whocountry. Ceramic production is a time- sional quality of their work. participate in the Springfield fairs in consuming and precarious way to make Meetings include a lot of shop talk, June. Last year’s party was a benefit fora living. But a group such as the AVPG ranging from discussions of technical the independent, nonprofit foundation offers a supportive network of friends problems, clay supply difficulties andCrafts Emergency Relief Fund (CERF), who are all in the same boat and willing accounts that don’t pay on time, to andin­ realized $2100 for its coffers. to help one another survive as potters. 26 CERAMICS MONTHLY Michael Cohen uses cut foam to quickly stamp repeated- pattern oxide decoration onto glazed stoneware plates. Above right Angelina Fina sets freshly thrown porcelain vessels outside to speed drying; her ware is brushed with underglazes, matt glazed and fired to Cone 1 7. Right For her vessels and wall plaques, Leslie Ferrin develops landscape imagery with colored porcelains. AVPG members offer a supportive network for potters.

Tom White fires temmoku-, celadon- or copper-red-glazed Bob Woo's stoneware and porcelain vessels are thrown and ware in his 60-cubic-foot gas kiln. sometimes excised at the rim.

April 1987 27 John Gill a review by Michael Rubin

cessful forms are bottles that bulge and Glazing is subordinate to the pots, The work in John Gill’s recent exhi­bend into organic tangles. Gill, who usu­either reinforcing contour or hardening bition at Grace Borgenicht Gallery inally is crisp in his articulation of formsilhouette. The colors are just off neutral New York City continues his commit­relationships, is here lost in ambiguous with a preference for yellow and blue. ment to making pots. Even when theedges that must be clarified by contrast­The exception is a semitransparent green shapes seem overly exaggerated, Gill’sing glazes or overlapping shapes. Al­glaze, brushed in a repetitive pattern on pottery remains sound in form and re­though the idea of interpenetrating forms several pieces. affirms the nature of ceramic art as vol­is an important part of his work, in these Given in the past to pots which seemed umetric invention. bottles he is indecisive in leading thefilled with nervous energy, Gill is now While making reference to the pot’s viewer’s eye through the protruding maze.disciplining emotional tone with sure- rim, body and foot, Gill uses these ele­The redemptive quality, however, is Gill’sness of formal design, resulting in more ments collectively as plastic shapes tounpretentious exploring of pottery temperate as but improved expressive form. pull into elongated pillow forms or shiftsensuous form. Of equal value is his insight into the into oval cylinders. There is a definite The series of “Ewers” best demon­formal language of ceramic design which softening compared to earlier work, withstrates his sense of shape, contour, pro­serves as ample reminder of the key role a better balance of sharp, straight edges portion and scale. Animated spouts nar­the compositional issues of balance, pro­ or curving walls. row to pointed beaks or flare open likeportion and rhythm play in effective pot­ The most ambitious but least suc­ a truck’s air horn. tery.

Glazed stoneware vessels, each approximately 20 inches in height, slab built, by John Gill, Alfred, New York. “Gill, who usually is crisp in his articulation of form relationships, is here lost in ambiguous edges...”

28 CERAMICS MONTHLY stoneware, withbrushedpolychromeglazes. Above “Bottle No.6”23 1 A inchesinheight,slab-built Below approximately 12inchesinheight,byJohnGill. “Ewer No. 7 ” (left)and K

Ewer No.8,”each Photos: Steve Myers, courtesy of Borgenichl Gallery April 1987 29 Clay Today in New Harmony

interaction between the work and the tunate enough to spend 11 years in Featured recently at the New Harmony real world. Thailand. The Thai people are very Gallery of Contemporary Art in historic “I believe that despite death or sep­spiritually oriented and extremely su­ New Harmony, Indiana, was an exhi­aration there exists a kind of commu­perstitious. They believe that all objects, bition focusing on the use of clay innication a or spiritual connectedness be­animate and inanimate, are possessed by sculptural context. Shown in “Clay To­tween people who love one another,” or bear an inner soul or spiritual exis­ day” were Anne Meszko’s handbuilt commented Melissa Pokorny. “In the tence last which is invisible yet highly in­ “Trophy Heads,” reflecting her disdain six months, I have experienced the deathfluential to humans. During my stay for the needless killing of animals forof my father and a temporary separation there, I could not help but internalize sport; Melissa Wright Pokorny’s bright­from my husband.” Works such as themany of these beliefs which seem so a- ly colored figures, exploring feelingswall of relief “Ivich” evolved from lien her to our own culture where we are loneliness and separation; Mark Rich­ “feelings of loneliness, isolation and theoretically the ruled by one supreme being. ardson’s slip-cast assemblages, combin­ desire to feel the presence of these two The ‘Sentinels’ either depict or repre­ ing architectonic and vessel forms; andvery special people.” sent these spirits. As their titles imply, Walter Zurko’s “Sentinels,” designed toWalter Zurko’s figures are “largelyI intend for these pieces to take on the project a sense of animism and spiritual inspired by my youth when I was for­role of protectorate oriented fetishes.”

“Sentinel,” 23 inches in height, slab-built “Ivich ” 29-inch wall relief, with engobes whiteware, with low-fire glazes, by Walter and acrylics, by Melissa Wright Pokorny. Zurko. 30 CERAMICS MONTHLY Les Miley throwing at New Harmony, Indiana, in the Sarah. Blajjer Ceramics Studio designed by architect Richard Meier. Summer Workshops 1987 This marks the twenty-ninth year Ceramics Monthly has compiled its special listing of workshops for ceramics. We hope its timely appearance will be of help to those planning summer vacation activities. Because enrollments are limited, make reservations early.

Arizona, Mesa Contact: Pipe Sculpture Symposium, 5819 Alder St., sons School of Design, Continuing Education, 2401 Wil- June-July Pittsburgh, Pennsylvania 15232; or call: (412) 661-0179. shire Blvd., Los Angeles 90057; or call: (213) 251-0550. Mesa Cultural Program is offering 4- and 8-week pottery July 12-18 California, Mendocino sessions for all skill levels. Contact: Margaret Peterson, “Pipe Sculpture Workshop,” at Mission Clay Products June 15-August 21 Mesa Cultural Program, Box 1466, 155 N. Center St., Co., will involve working with extrusions 6-12 inches in Mendocino Art Center is offering: “Throwing: Function Mesa 85201 ;or call: (602) 834-2242. diameter and up to 6 feet in height. For intermediate & Aesthetics” (June 15-26) with Clary Illian, for inter­ Arkansas, Hindsville students through professionals. Participants will be se­ mediate and advanced students; fee: $270. “Colored Por­ June 8-19 lected from slides. Entry deadline: May 16. Fee: $225, celain: Technique and Application” (June 29-July 3) “Ozarks Arts and Crafts Seminar” includes instruction includes materials and firings. Limited camping facilities with Carole Aoki, for beginning through advanced stu­ on handbuilding, throwing and some raku, with Jack and available. Contact: Jerry L. Caplan, 5819 Alder St., Pitts­ dents; fee: $135. “Salt Firing: Throwing, Loading and Alzora Hooker, at War Eagle Farm. For beginners and burgh, Pennsylvania 15232; or call: (412) 661-0179. Firing” (July 6-10) with Sandra Johnstone, for inter­ intermediate students. Fee: $95, includes some materials California, Idyllwild mediate and advanced students; fee: $135. “Mold Mak­ and firings. Camping facilities available. Contact: Shirley June 21-August 14 ing/Slip Casting” (July 13-17) with Kathy Erteman, for Sutton, War Eagle Mills Farm, Route 1, Hindsville 72738; Idyllwild School of Music and the Arts is offering 1-, 2-, intermediate and advanced students; fee: $135. “Hand­ or call: (501) 789-5398. 3-, and 4-week workshops on throwing; handbuilding; building” (July 20-24) with Virginia Cartwright, for be­ California, El Cajon saggar, raku, salt and wood firing; and Native American ginning through advanced students; fee: $135. “Utilitar­ June 8-July 2 pottery. Instructors: Blue Corn, Laura Gachupin, Delores ian Pottery” (July 27-August 7) with Byron Temple, for “Commercial Colors for Studio Ceramics” with Yoon- Lewis Garcia, Greg Kennedy, Lucy Lewis, Emma Mitch­ intermediate and advanced students; fee: $270. “Low-Fire chung Kim; for intermediate students through profes­ ell and Juan Quezada. For beginning through advanced Clay” (August 10-14) with Erik Gronborg, for beginning sionals. Fee: $15. Camping facilities available. Contact: students. Live-in accommodations available. Contact: through advanced students; fee: $135. “Porcelain” (Au­ Yoonchung Kim, Department of Art, Grossmont College, Idyllwild School of Music and the Arts, Box 38, Idyllwild gust 17—21) with Catharine Hiersoux, for beginning 8800 Grossmont College Dr., El Cajon 92020; or call: 92349; or call: (714) 659-2171. through advanced students; fee: $135. Fees include some (619) 465-1700, ext. 252. California, Los Angeles materials and firings. Camping facilities available. Con­ California, Fremont July 6-August 7 tact: Peter von Wilken Zook, Box 765, Mendocino 95460; July 11-12 “Clay in L.A.,” an intensive studio session for interme­ or call: (707) 937-5818. “Pipe Sculpture Symposium II,” at Mission Clay Prod­ diate students through professionals. Instructors: Ed O’­ California, Point Arena ucts Co., will include discussions, slide lectures and dem­ Reilly and visiting artists Ralph Bacerra, Juanita Ji- June 15-19 onstrations by Jerry Caplan, Stephen DeStaebler and Judy menez-Mizuno and Mineo Mizuno. Live-in accom­ “Burnished Pottery Workshop” with Kaye Like at Bran- Moonelis. Fee: $50; students, $40. For all skill levels. modations available. Contact: Otis Art Institute of Par­ dybuck Ranch, a session for advanced students and

April 1987 31 professionals. Fee: $150, includes materials and firing. Registration by April 30 required. Camping facilities available. Contact: Kaye Like, Brandybuck Ranch, Box 266, Point Arena 95468; or call: (707) 882-2269. California, Santa Ana June 29-July 1 “Throwing: Production-Utilitarian Forms to One-of-a- Kind,” with Patrick Horsley. For beginning through ad­ vanced students. Fee: $75. Contact: Patrick S. Crabb, Rancho Santiago College, Art Dept., 17 and Bristol Sts., Santa Ana 92706; or call: (714) 667-3173. California, Walnut Creek June 15-August 15 Walnut Creek Civic Arts Summer Ceramics will include: “Sculpture” with Andre Thompson; “Lowfire” with Sher­ ry Karver; “Raku” with Skip Esquierdo; “Saggar/Salt” with Pete Coussoulis and guest artists; “Handbuilding Ocarinas/Whistles” with Sharon Rowell; and “Decorat­ ing” with Elizabeth Stanek. Contact: Civic Arts Educa­ tion, City of Walnut Creek, Box 8039, Walnut Creek, 94596; or call: (415) 943-5847. Colorado, Cortez June 14-27 “Third Annual Sand Canyon Primitive Pottery Work­ shop,” an investigation of prehistoric Anasazi techniques, including clay processing, tool making, throwing, hand- building, adobe sculpture and various firing processes. Instructors: Leander Gridley and Mark Snowdon. Fee: $650, includes materials, firings, lodging and meals. Con­ tact: The Kelly Place, 14663 Co. Rd. G, McElmo Can­ yon, Cortez 81321; or call: (303) 565-3125, evenings. Colorado, Crestone June 7-26 Visiting Seagrove, North Carolina, traditional potters Walter and Dorothy Native American pottery workshops: “Handbuilding, Auman as part of Montgomery Technical College’s “Seagrove Pottery in the ’80s.” Burnishing and Sawdust Firing” (June 7-14) with Laura Wee Lay Laq; and “Native Clay Workshop” (June 22-26), covering clay mixing, coil building, slip design and pit firing, with Barbara Gonzales. Up to 15 participants. Fee: $120, includes materials and firings. Contact: White­ beginners; plus an intermediate and advanced student class Camping and live-in facilities available. Contact: Lindis- head Street Pottery, 1011 Whitehead St., Key West 33040; focusing on stoneware, porcelain and raku. Instructor: farne Mountain Retreat, Box 130, Crestone 81131; or or call: (305) 294-5067. Dale Raddatz. Live-in accommodations available. Con­ call: (303) 256-4692 or 256-4690. Georgia, Rising Fawn tact: Dale Raddatz, Summer School Program, Luther Colorado, Denver June 1-July 10 College, Decorah 52101; or call: (319) 387-2000. June 15-July 3 “Salt Workshop” with Vincent Sansone, emphasizing salt Kansas, Wichita A 3-week session on handbuilding, throwing, clay and glazing and decorating techniques (June 1-12); “Porce­ June 8-July 17 glaze technology, decoration and firing, plus a section on lain” for advanced students with Susan Z. Hudson (June A 6-week workshop on porcelain, stoneware and raku, wood firing, with James McKinnell and visiting artists 15-26); and a session for beginners with Sue Cannon including glaze experimentation, with Monte Bucacek. Nan McKinnell and Frank Gray. Contact: James (June 29-July 10). Fee: $125 per week. Camping facil­ For all skill levels. Contact: Wichita Art Association, 9112 McKinnell, Loretto Heights College, 3001 S. Federal Blvd., ities available. Contact: Rising Fawn Pottery, Rte. 2, Box E. Central, Wichita 67206; or call: (316) 686-6687. Denver 80236; or call: (303) 936-8441; or Frank Gray 11, Rising Fawn 30738; or call: (404) 657-4444. Maine, Brooks 659-4025 or 654-1321. Hawaii, Honolulu July 19-August 22 Colorado, Snowmass Village June 13-14 Three intensive sessions (July 19-25, August 2-8 and June 1 -August 21 “Raku Hoolaulea,” at the Kualoa Regional Park, will August 16-22) on working with terra cotta, porcelain and Anderson Ranch Arts Center is offering: “Basic Throw­ include a lecture at the Honolulu Academy of Arts The­ stoneware, plus reduction, raku and pit firing. For all ing and Pottery Making” with Doug Casebeer (June 1-12); atre on June 10, and a juried exhibition. Camping fa­ skill levels. Fee: $325 each session, includes materials, “Low-Fire Salt” with Paul Soldner, and “Glaze Making cilities available. Contact: Raku Hoolaulea, c/o Hawaii firings, lodging and meals. Contact: Starflower Forge & and Glaze Technology” with Val Cushing (June 15-19); Craftsmen, 1128 Smith St., 2nd Floor, Honolulu 96817; Pottery, RFD Box 1360, Brooks 04921; or call: (207) “Low-Fire Objects” with Ron Nagle (June 22—29); or call: (808) 531-2888. 525-3593. “Master’s Workshop” with Wayne Higby (June 24-July Illinois, Evanston Maine, Deer Isle 3); “Surface Ornamentation” with Jacquie Rice, and June 20-August 5 June 7-September 4 “Handbuilt Constructions” with John Gill (June 29-July Evanston Art Center is offering sessions in handbuilding, Haystack Mountain School of Crafts is offering ceramic 10); “Throwing Your Own Pots” with Ken Ferguson, and throwing, raku and alternative firing processes, plus col­ instruction with George Kokis (June 7-19); Scott Cham­ “Wheel-Thrown Porcelain” with Victor Babu (July ored slips and stains on earthenware. Instructor: Stephen berlain (June 21-July 10); Jim Makins (July 12-24), 13-24); “Basic Plaster Mold Making” with Doug Case­ Mickey. Fees: $100-$ 110. Contact: Stephen Mickey, Ce­ for experienced students; Michael Simon (July 26-August beer (July 13-17); “Tight or Loose Pots” with Chris ramics, Evanston Art Center, 2603 Sheridan Rd., Ev­ 14), for experienced students; and Karon Doherty (Au­ Staley, and “Form in Clay” with Daniel Rhodes” (July anston 60201; or call: (312) 475-9139 or 475-5300. gust 16-September 4). Contact: Haystack Mountain School 27-August 7); “What Pots Are All About” with David Illinois, Northfield of Crafts, Deer Isle, 04627. Shaner and George Lowe, and “Clay, Movement, and Summer Maine, North Edgecomb Words” with M. C. Richards and Carolyn Bilderback Northfield Pottery Works is offering 4-week sessions on June 15-September 5 (August 10-21). For all skill levels. Camping and live- handbuilding, throwing and low-firing techniques for all Watershed Center for the Ceramic Arts is offering studio in accommodations available. Contact: Lou Gressett, An­ skill levels. Instructors: Jill Grau Danesi and John Kev- space, with access to two beehive kilns and a downdraft derson Ranch Arts Center, Box 5598, Snowmass Village ern. Fee: $100, includes materials and firings. Contact: kiln, for intermediate students through professionals. 81615; or call: (303) 923-3181. Jill Grau Danesi, Northfield Pottery, 1741 Orchard Ln., Technical assistant: David Alban. Fee: $250 per week Connecticut, Brookfield Northfield 60093; or call: (312) 446-3470. (two week minimum), includes unlimited earthenware June-August Indiana, Fort Wayne brick clay, room and board. Contact: Watershed, Box 7635 Brookfield Craft Center is planning weekly, weekend and June 1-September 25 DIS, Portland, Maine 04112; or call: (207) 871-8661. day-long sessions on throwing, handbuilding, glazing and Ambercreek Pottery is planning 4-week sessions on hand­ After June 1, contact: Box 62, North Edgecomb 04556; firing, including “Drawing and Painting on Clay” with building, throwing, glazing, high firing and raku. For or call: (207) 882-6075. Beth Changstrom (June 20-21); “Mold Making and Jig- beginning through advanced students. Instructors: Letitia Maine, Portland gering” with Jonathan Kaplan and Bill Campbell (July Niswander and Sanford Snyderman. Fee: $180, includes June 22-July 31 11—12); “Dialogue: Potter & the Pot” with Harvey Sadow materials and firings. Contact: Ambercreek Pottery, 7216 Handbuilding, throwing, glazing and pit-firing instruc­ (August 1-2); “Colored Clay Workshop” with Kendra Amber Rd., Fort Wayne 46804; or call: (219) 672-8218. tion for all skill levels. Live-in facilities available. Contact: Conn (August 10-14); plus “Promotion & Communica­ Indiana, New Harmony Connie Hayes, Continuing Education, Portland School tion Skills” with Stan Siegel (June 27). For all skill levels. June 8-july 10 of Art, 97 Spring St., Portland 04101; or call: (207) 775- Fees: $60, one day; $105, weekends; and $250 per week. Instruction on handbuilding, throwing, glazing, plus elec­ 3052. Contact: Brookfield Craft Center, Box 122, Brookfield tric, salt and raku firings with Les Miley. For beginning Maine, Unity 06804; or call: (203) 775-4526. through advanced students. Camping and live-in accom­ June 1-7 D.C., Washington modations available. Contact: Les Miley, Dept, of Art, “Kilnbuilding Workshop,” with David Alban, will cover June 15-July 24 University of Evansville, 1800 Lincoln Ave., Evansville, the construction and firing of a wood-burning kiln and a Handbuilding, throwing and firing instruction with Bill Indiana 47714; or call: (812) 479-2043. small experimental gas kiln. Fee: $350, covers materials, Suworoff, for beginning through advanced students; and Iowa, Decorah firings, lodging and meals. Contact: Leonard Craig, Fine “Low-Fire Ceramic Sculpture—Building a Clay Envi­ June 2-August 22 Arts, Unity College, Quaker Hill Rd., Unity 04988; or ronment” with Martha Jackson Jarvis, for intermediate South Bear School is offering three sessions (June 2-27, call: (207) 948-3131, ext. 239. and advanced students. Contact: Corcoran School of Art, June 30-July 25 and July 28-August 22) on throwing, Maryland, Baltimore 17 and New York Ave., NW, Washington 20006; or call: decorating, glazing, and firing; for all skill levels. Instruc­ July 11-August 6 (202) 628-9484. tors: Dean and Gunnar Schwarz, plus guest artists. Fee: “Creative Exercises” with Jo Schneider (July 11-12); for Florida, Key West $400 per session. Camping and live-in accommodations all skill levels. “Potters Wheel Intensive” with Amy Doi- June 8-14 available. Contact: Dean Schwarz, Rte. 5, Box 163, De- gan (July 13-31); for beginning and intermediate stu­ Whitehead Street Pottery is planning a session on throw­ corah 52101; or call: (319) 382-5221. dents. “Large-Scale Pinched Forms” with Elsbeth Woody ing, handbuilding, glazing and raku firing for beginning June 29-July 24 (July 27-31); for intermediate students through profes­ and intermediate students. Instructor: Charles Pearson. Handbuilding, slip-casting and throwing instruction for sionals. “Educated Clay” with Deborah Bedwell (August

32 Ceramics Monthly 3-6); for beginners. Contact: Deborah Bedwell or Sophie modations available. Contact: Carol Sphar, Sierra Nevada Parr, Baltimore Clayworks Education Center, 5706 Smith College, Box 4269, Incline Village, Nevada 89450; or call: Ave., Baltimore 21209; or call: (301) 578-1919. (702) 831-1314. Massachusetts, Cambridge New Jersey, Layton June 15-August 9 June 10-August 31 Radcliffe College is planning a session on handbuilding, “Anagama” with Everette Busbee (June 10-30); “Throw­ throwing, glazing, decorating, raku, soda vapor firing and ing—Then Changing Pots” with Chris Staley (July 1-8); sculpture for all skill levels. Instructors: Warren Mather, “Salt/Production” with Byron Temple (July 11—19); Shawn Panepinto and Makoto Yabe. Contact: Office of “Porcelain Wheel-Throwing Methods: Cylinder, Hemi­ the Arts, 10 Garden St., Cambridge 02138; or call: (617) sphere and Cone” with James Makins (August 1-3); 495-8676. “Functional Pottery” with Jeff Oestreich (August 6-12); Massachusetts, Housatonic “Earthenware with Color” with Everette Busbee (August June 1 -August 31 15-16); “Functional Electric-Fired Porcelain” with Laura The Great Barrington Pottery will offer three 1-month Burch (August 20-26); and “Decorating and Designing workshops on Japanese throwing and turning techniques Majolica” with Jane Gustin (August 29-31). Limited with emphasis on production; includes firing a wood- live-in accommodations available. Contact: Peters Valley, burning kiln. Instructor: Richard Bennett. For all skill Layton 07851; or call: (201) 948-5200. levels. Contact: The Great Barrington Pottery, Route 41, New Jersey, Loveladies Housatonic 02136; or call: (413) 274-6256. June 29-August 28 Massachusetts, Newton Long Beach Island Foundation of the Arts and Sciences Summer is planning a functional ceramics session with Mark Dav­ “Raku: Theory, Kilnbuilding and Firing” and “Electric ies (June 29-July 17, July 27-31 and August 17-28); Kiln Maintenance, Repair, Customizing” with Steven handbuilding, including decoration and firing, with Bruce Branfman; and “Clay in the Classroom: Teacher Training Lenore (August 3-14); and figurative vessels with Jack and Rejuvenation” with Carol Temkin; plus open studio Thompson (July 20-24). Fee: $40 per week. Contact: sessions. Live-in accommodations available. Contact: Ste­ Long Beach Island Foundation, 120 Long Beach Blvd., ven Branfman, The Potters Shop at Lasell College, 1844 Loveladies 08008; or call: (609) 494-1241, mornings. Commonwealth Ave., Newton 02166; or call: (617) 965- New York, Alfred 3959. June 22-July 31 Massachusetts, Somerville A six-week session on handbuilding, throwing, slip cast­ June 22-August 28 ing and various types of kiln firings; for all skill levels. “Altering the Thrown Form,” with Janet Neuwalder, will Instructors: Mark Burns, Anne Currier and Walter Os- focus on combining handbuilding and throwing tech­ Making pots from pipe extrusions at Mission trom. Fee: $1100. Camping and live-in accommodations niques, plus paddling, engobe and slip application; and Clay Products Company, Fremont, California. available. Contact: Lewis C. Butler, Summer School Of­ “Forming and Materials,” with Earl Constantine, will fice, Box 1155, Alfred University, Alfred 14802; or call: include formulation of slip and glazes; for advanced stu­ (607) 871-2141. dents. Fee: SI45 each. Contact: Mudflat Studio, 149 New York, Chautauqua Broadway, Somerville 02145; or call: (617) 628-0589. one 6-week or two 3-week sessions for high school stu­ June 29-August 21 Massachusetts, Truro dents (June 28-August 9). For all skill levels. Instructor: Chautuauqua Institution is planning 1- to 4-week ses­ June 29-September 4 Debbie Freed. Fee: $1225 for 3 weeks, plus $165 for sions on handbuilding, throwing, glazing, experimental Truro Center is offering: “Wheel & Handbuilding for materials. Also “Raku and Primitive Firing” (August processes and sculpture; for all skill levels. Instructors: the Beginner” with Mark Bell (June 29-July 1 and 3), 11-17) for adult intermediate and advanced students. Fee: Larry Bush, William Daley, Neil Forrest and Paul Wil­ fee: $90; a handbuilding and throwing session with Mark $415, plus $55 for materials. Fees include tuition, lodging moth. Fee: $65 per week, includes firings. Live-in accom­ Bell for beginning through advanced students (July and meals. Contact: Jane Sinauer, Horizons, 374 Old modations available. Contact: Jean Quinette, Chautau­ 6-September 3), fee: $60 per week; a 3-day session with Montague Rd., Amherst, Massachusetts 01002; or call: qua Institution, Chautauqua 14722; or call: (716) 357- Mark Bell for beginning and advanced students (July 13, (413) 549-4841. 6200. 15 and 17), fee: $90; “Yes, You Can Throw on the Wheel” Michigan, Ann Arbor New York, Clayton with Maree Nicholson for beginning and intermediate July 20-August 7 July 13-24 students (July 6-August 29), fee: $75 per month; slide “Imagination: Ceramic Tiles for a Public Setting” with Instruction on throwing porcelain and earthenware, elec­ lecture and demonstration by Val Cushing (July 8), fee: Tom Phardel. For all skill levels. Live-in accommodations tric firing, and glazing techniques, including underglazes $35; “Vessel Forms in Stoneware” with Chris Gustin for available. Contact: School of Art, University of Michigan, and oxides on wet, leather-hard and bisqued clay. For all intermediate students through professionals (July 20-24), Ann Arbor 48109; or call: (313) 764-0397. skill levels. Instructor: Sharon Schuchardt. Camping fa­ fee: $150; “Raku Workshop” with Susan Reque for be­ Michigan, Kalamazoo cilities available. Contact: Thousand Islands Craft School ginning through advanced students (July 27, 29 and 31), June 15-19 and Textile Museum, 314 John St., Clayton 13624; or fee: $90; “Porcelain Throwing Workshop” with Mark Don Reitz workshop. Fee: $150. Contact: Tom Kendall, call: (315) 686-4123. Bell for intermediate students through professionals (Au­ Kalamazoo Institute of Arts, 314 S. Park St., Kalamazoo New York, Elmsford gust 3-7), fee: $60; “High Fire Porcelain Glazing” with 49007; or call: (616) 349-7775. May 11 -July 31 Anne Smith for intermediate students through profes­ Michigan, Saint James Westchester Art Workshop is offering a session on stone­ sionals (August 10-14), fee: $125; “Ceramic Tile” with August 10-20 ware and porcelain handbuilding and throwing, plus Cliff Gardiner for intermediate students through profes­ Central Michigan University is offering a session at Bea­ glazing. For all skill levels. Instructors: Carla Rae John­ sionals (August 17-24), fee: $150; and “Salt Firing” with ver Island on handbuilding, raku and primitive firing for son, Harriet Ross and Connie Sherman. Contact: West­ Mark Bell for all skill levels (August 24-September 4), beginning and intermediate students. Instructor: Susan chester Art Workshop, 2269 Sawmill River Rd., Elmsford fee: $90 per week. Additional materials and firing fees. Wink. Fees: $136—$156, includes materials and firings. 10523; or call: (914) 592-2153. Camping facilities available. Contact: Mark Bell, Truro Camping and live-in accommodations available. Contact: New York, New York Center for the Arts at Castle Hill, Box 756, Truro 02666; James Gillingham, Brooks Hall 114, CMU, Mount June 2-August 13 or call: (617) 349-7511. Pleasant, Michigan 48859; or call: (517) 774-3291. After Craft Students League of YWCA is offering workshops Massachusetts, Williamsburg May 1, contact: James Gillingham, CMU Biological Sta­ on throwing and handbuilding functional and nonfunc­ June 28-August 17 tion, Beaver Island, Saint lames 49782; or call: (616) tional forms from red earthenware (June 2-July 23) and “Horizons: The New England Craft Program” includes 448-2325. from porcelain (August 4-13). For beginning through Minnesota, Duluth July 5-August 15 Split Rock Arts Program will include throwing, hand­ Potting at Glenville College, Glenville, West Virginia. building and decoration instruction with Makoto Yabe, Emidio Galassi and students in Faenza, Italy. Tom Kerrigan and Gail Kendall. For intermediate stu­ dents through professionals. Live-in accommodations available. Contact: Vivien Oja, Registrar, Split Rock Arts Program, 320 Wesbrook Hall, 77 Pleasant St., SE, Min­ neapolis, Minnesota 55455; or call: (612) 624-6800. Montana, Missoula June 28-July 31 Grimmstone Pottery offers instruction on throwing, hand­ building, glazing, raku kilnbuilding and firing, clay pros­ pecting and processing, photographing ceramics, plus trips to Glacier National Park, potters’ studios, abandoned bee­ hive kilns, etc. For beginning through advanced students. Fee: $125 per week (two week minimum), includes firing and lodging. Contact: Douglas Grimm, Castle Grimm on the Rattlesnake, 2524 Sycamore, Route 7, Missoula 59802; or call: (406) 543-7970. Nevada, Lake Tahoe July 6-August 14 Sierra Nevada College is planning: “Multimedia: Clay, Wood, Metal” with Dora DeLarios (July 6-10); “Throw- ing/Handbuilding/Glaze Technology” with John Kar- rasch (July 13-17); “Throwing/Wood Fire” with Fred Olsen (July 20-24); “Decoration” with F. Carlton Ball (July 27-31); “Color and 3-Dimensions/New Ideas in Sculpture” with Roland Reiss (August 3-7); and “Raku” with Nancy and Tom Giusti (August 10-14). For all skill levels. Fees: $150-$300. Camping and live-in accom­

April 1987 33 Gordon Batten (July 5-18); “Pottery/Porcelain” with Barbara Joiner (August 2-15); “Pottery” with Lee Davis (August 16-29), and with Bob Wager (August 29-September 4). Fee: $275, includes materials, firings, lodging and meals. Contact: Freddy Segar, John C. Campbell Folk School, Brasstown 28902; or call: (704) 837-2775 or 837-7329. North Carolina, Penland June 1-September 11 “Raku” with James Lawton, and “Colored Porcelain” with Allan Kluber (June 1-5); “Porcelain: Form and Design” with Catharine Hiersoux, and “Human and An­ imal Figuration” with Joe Bova (June 2-19); “Earthen­ ware: Functional Form” with Stanley M. Andersen, and “Clay and Myth: The Quest for Form” with George Ko- kis (June 22-July 3); “Functional Pottery” with Jeff Oestreich, and “Low-Fire Glazing: Raku and Electric Firing” with David L. Gamble and Martha Holt (July 6-24); “The Potters Wheel” with Rick Berman, and “Clay/ Glazing/Electric Kiln Firing” with Richard Zakin (July 27-August 13); “Form and Color/High-Temperature Firing” with Gerry Williams, and “Color in Clay” with Nancy Selvin (August 17-28); “Surface on Pots” with Angela Fina, and “Pinch Pots—Utilitarian and Sculp­ tural Vessel Forms” with Mike Imes (August 31-September 11). For all skill levels. Fee: $125 for one class; $225 for two, etc. Live-in accommodations available. Contact: Geri Camarda, Penland School, Penland 28765; or call: (704) 765-2359. North Carolina, Troy August 24-27 “Seagrove Pottery in the ’80s” will cover throwing, glazing and decorative techniques, kiln types and firings, plus functional and aesthetical concerns. Instructors: Mack Chrisco, Jerry and Charlotte Fenberg, David Garner, A1 and Millie McCanless, Mark and Meredith Heywood, Phil Morgan, and Don and Susan Walton. For all skill levels. Fee: $15. Camping facilities available. Contact: Mike Ferree, Montgomery Technical College, Box 787, Troy 27371; or call: (919) 572-3691. Ohio, Cleveland June 15-July 31 “Figurative Ceramics” will cover handbuilding and throwing with concentration on the figure. For all skill levels. Instructor: Steven Bradford. Contact: Judith Sal­ omon, Summer School Program, Cleveland Institute of Art, 11141 East Blvd., Cleveland 44106; or call: (216) 229-0900. Ohio, Kent June 15-July 10 Blossom Summer School is offering an intensive session for advanced students. Instructor: Kirk Mangus with vis­ iting artists Anna-Maria Osipow (from Finland) and Ron Nagle. Live-in accommodations available. Contact: Mel­ anie Holliday, Department of Art, Kent State University, Kent 44242; or call: (216) 672-2192. Ohio, Logan June 14-20 “Pipe Sculpture Workshop,” at Logan Clay Products Co., will involve working with pipe extrusions 6-12 inches in Kilnbuilding and firing with Dutch potter Kees Hoogendam. diameter and up to 6 feet in height. For intermediate students through professionals. Participants will be se­ lected from slides. Fee: $225, includes materials and fir­ ings. Contact: Jerry L. Caplan, 5819 Alder St., Pitts­ advanced students. Instructors: Arthur Gerace, Tom Lol- sessions on handbuilding, throwing, sculpture, etc.; for burgh, Pennsylvania 15232; or call: (412) 661-0179. lar and Liz Rudey. Fee: $100, includes materials. Contact: all skill levels. Contact: Clay Art Center, 40 Beech St., Oregon, Coos Bay Craft Students League of YWCA, 610 Lexington Ave., Port Chester 10573; or call: (914) 937-2047. July 6-17 New York 10022; or call: (212) 735-9731. New York, Rochester “A Sculptural Approach to Pottery,” with Richard Not- June 22-August 24 June 15-July 17 kin, will cover handbuilding, throwing, carving, plaster Sculpture workshop for beginning through advanced stu­ The Rochester Institute of Technology College of Fine molds, etc. For all skill levels. Fee: $175. Camping fa­ dents. Instructor: Ailene Fields. Fee: $170, includes ma­ and Applied Arts is offering 2 sessions in ceramics for cilities available. Contact: Larry Watson, Coos Art Mu­ terials. Contact: Margaret Simonds, Earthworks Pottery, all skill levels. Live-in accommodations available. Con­ seum, 235 Anderson Ave., Coos Bay 97420; or call: (503) 1705 First. Ave., New York 10128; or call: (212) 534- tact: RIT Summer Sessions, 1 Lomb Memorial Dr., Box 267-3901. 9711. 9887, Rochester 14623; or call: (716) 475-2229. Oregon, Corbett July 6-24 New York, Saratoga Springs August 9-23 Teachers College of Columbia University is offering three May 18-August 7 “Arts at Menucha” includes handbuilding and raku firing 1-week sessions on handbuilding, throwing and raku for Skidmore College is offering: clay modeling from life for with Frank Irby and Gail Pendergrass (August 9-15); beginning through advanced students. Instructor: James all skill levels with Regis Brodie (May 18-June 22); stu­ and handbuilding/garbage firing with Dale Rawls and K. Hill. Fee: SI00, includes materials and firing. Live- dio ceramics for all skill levels with Regis Brodie and Gail Pendergrass (August 16-23). For all skill levels. in accommodations available. Contact: James K. Hill, Leslie Strong (May 20-June 24 and July 1-August 5); Fees: $350 for one week; $625 for two; includes some Box 78, Arts in Education Program, Teachers College, advanced studio ceramics with Regis Brodie (June 30-July materials, firings, lodging and meals. Contact: Connie Columbia University, New York 10027; or call: (212) 17 and July 20-August 7); and 3-dimensional concepts Cheifetz, 724 S.E. 27 Ave., Portland, Oregon 97214; or 678-3360. in several media for beginning and intermediate students call: (503) 234-6827. New York, Oneonta with Leslie Strong (June 30-August 7). Camping and Oregon, Portland July 5-25 live-in accommodations available. Contact: Holly Schwarz, June 22-July 17 “Studio Arts Workshop for High School Students,” with Summer Six Art Program/Skidmore College, Saratoga Portland State University is planning a session on stone­ Roberta Griffith, will cover handbuilding, throwing, dec­ Springs 12866; or call: (518) 584-5000, ext. 2372. ware throwing and handbuilding, and raku. For all skill orating, glazing and firing. Fee: $685, includes tuition, New York, Troy levels. Instructor: Yoshiro Ikeda. Camping and live-in room and board. Contact: Milly D’Angelo, Studio Arts May 27-July 15 accommodations available. Contact: Robert Kasai, De­ Workshop, Hartwick College, Oneonta 13820. “The Summer’s Challenge: Advanced Student Seminar,” partment of Art, Portland State University, Portland 97207; New York, Pine Bush with Jayne Shatz, will cover throwing, handbuilding, or call: (503) 229-3515. June-August sculpture, raku and pit firings. Fee: $120, includes ma­ July 13-August 9 Pots and Panes is planning workshops on handbuilding, terials and firings. Camping facilities available. Contact: “Sculptural Ceramics Workshop” with Donna Polseno throwing, sculpture and pottery. Fee: $100 per month, Jayne Shatz, Rensselaer County Council for the Arts, (July 13-16). For all skill levels. Fee: $124; members, includes materials and firing. Contact: Patty Vogel Mul­ 189 Second St., Troy 12180; or call: (518) 273-0552. $112; plus materials. “Low-Fire Salt” with Paul Soldner lins, Pots and Panes, Box 451, Pine Bush 12566; or call: North Carolina, Brasstown (August 8-9). For intermediate students through profes­ (914) 744-3993, evenings. June 7-September 4 sionals. Fee: $67; members, $60; plus materials. Live-in New York, Port Chester The John C. Campbell Folk School is offering “Photo accommodations available. Contact: Valorie Hadley, Or­ July 6-20 Ceramics” with Julie Bruton (June 7-19); “Pottery” with egon School of Arts & Crafts, 8245 S.W. Barnes Rd., Clay Art Center is offering several daily or weeklong Doug Dacey (June 21-27); “Wood-Fired Pottery” with Portland 97225; or call: (503) 297-5544.

34 C eramics Monthly Pennsylvania, Doylestown Washington, Bellingham June 8-August 28 July 6-24 The Moravian Pottery & Tile Works is offering appren­ “Ceramic Intensive Workshop” will cover handbuilding ticeships on the production of tiles. Apprentices will be and throwing; for all skill levels. Live-in accommodations paid for 3 days of production work and will be given available. Contact: Patrick McCormick, Western Wash­ studio space and materials. For advanced students. Con­ ington University, Art Dept., Bellingham 98225; or call: tact: Larry Moore, Moravian Tile Works, Swamp Rd., (206) 676-3660. Doylestown 18901; or call: (215) 345-6722. Washington, Entiat Pennsylvania, Huntingdon June 8-12 June 1-13 “Sixth Annual Raku Workshop” with Zeljko Kujundzic “Anagama Workshop” will cover all aspects (history, assisted by Elizabeth Campbell, will include sculpture, forming, loading and firing) except wood chopping. For handbuilding, glazing and firing instruction. For all skill intermediate students through professionals. Instructors: levels. Fee: $85, includes materials and firings. Camping David Shaner and Jack Troy. Fee: $450, includes ma­ facilities available. Contact: Elizabeth Campbell, Box 462, terials, firings, lodging and meals. Contact: Jack Troy, Entiat 98822; or call: (509) 784-1823. Art Department, Juniata College, Huntingdon 16653; or Washington, Tacoma call: (814) 643-3554. June 22-26 Pennsylvania, Philadelphia “Raku/Handbuilding” will cover clay formulation, hand­ July 6-August 14 building, glaze mixing and application, plus firing. For Instruction on handbuilding, throwing, exploration of large beginning through advanced students. Contact: John architectural forms and a variety of firing techniques, with McCuistion, University of Puget Sound, Art Department, Paula Winokur. For intermediate and advanced students. 1500 N. Warner, Tacoma, 98416; or call: (206) 756-3348. Fee: $144, includes materials and firings. Contact: Tyler West Virginia, Elkins School of Art, Beech and Penrose Aves., Elkins Park, July 12-31 Pennsylvania 19126; or call: (215) 782-2828. Augusta Heritage Arts Workshop includes “Stoneware Rhode Island, Providence Pottery” with Duke Miecznikowski and Steve Sienkiel June 22-July 31 (July 12-24), fee: $330; and “Raku Pottery” with Duke Rhode Island School of Design is offering one 6-week or Miecznikowski (July 26-31), fee: $170. For all skill lev­ two 3-week sessions on expressive functional pottery; in­ els. Live-in accommodations available. Contact: Doug Hill, cludes throwing, handbuilding and mold making instruc­ Augusta Heritage Center, Davis & Elkins College, Elkins tion with M. J. Bole, William Brouillard, Lawrence Bush 26241; or call: (304) 636-1903. and James Lawton. For beginning through advanced stu­ West Virginia, Glenville dents. Fee: $650 for 3 weeks or $1150 for the whole June 8-August 7 session. Live-in accommodations available. Contact: Kelly “Pottery Workshop,” 3-, 6- or 9-week sessions for all skill Jean Zanghi-Clark, Rhode Island School of Design, Dept. levels. Instructor: Charles C. Scott. Live-in accommo­ Patrick Crabb and postjiring reduction at Rancho 7CM, Providence 02903; or call: (401) 351-3511, ext. dations available. Contact: Charles C. Scott, Department Santiago College, Santa Ana, California. 415. of Art, Glenville State College, Glenville 26351; or call: South Dakota, Spearfish (304) 462-7361. July 6-17 Wisconsin, Cascade pany enable artists to use industrial modeling, mold-mak- “Raku Workshop” will include handbuilding, glaze and Summer ing and slip-casting techniques to develop their own ideas. firing processes. Instructor: Jeannie French. For begin­ One-week individual apprenticeships on hand-pressed tile For mid-career and emerging artists; selection is from ning through advanced students. Fees: $150-$ 180, in­ techniques. Instructor: Ellie Hudovernik. Fee: $200, in­ slides and a proposal. Free housing, materials, round-trip cludes firings. Camping and live-in accommodations cludes materials, firings, lodging and breakfast. Contact: fare from the artist’s hometown (continental U.S.A. only) available. Contact: Continuing Education Department, Box 49, Cascade 53011; or call: (414) 564-2913. and an honorarium are provided. Contact: Arts/Industry Black Hills State College, 1200 University Ave., Spearfish Wisconsin, Drummond Coordinator, John Michael Kohler Arts Center, Box 489, 57783; or call: (605) 642-6771. June 21-27 608 New York Ave., Sheboygan 53081; or call: (414) 458- Tennessee, Gatlinburg The University of Wisconsin at River Falls is planning 6144. June 8-August 14 a workshop, at Pigeon Lake Field Station, on throwing, Arrowmont School is offering: “Raku—Surface and Fir­ handbuilding, sawdust-, pit-, salt-, raku- and drum-fir- ing Processes” with Penelope Fleming (June 8-12); ing, and kilnbuilding, plus terra sigilatta and Indian “Utilitarian Pottery” with Ron Meyers (June 15-19); blackware techniques. For intermediate students through International “Handbuilding with Emphasis on Anthropomorphic Forms professionals. Instructors: Kurt Wild and Doug Johnson. in a Historical Sense” with Tom Suomalainen (June Contact: Kurt Wild, Art Department, University of Wis­ Belgium, Rochehaut 22-26); “The Aesthetics of Thrown Utilitarian Pots” with consin, River Falls, Wisconsin 54022; or call: (715) 425- August 17-28 Clary Illian (June 29-July 10); “Low-Fire Surface Pos­ 3308 or 425-3266. The Maison Artisanale de Rochehaut is offering a session sibilities for Clay” with John Natale (July 13-17); “Wood Wisconsin, Menomonie on handbuilding, throwing, glazing and raku for ad­ Firing” with Rob Barnard, and “Clay Sculptural/Utili­ July 13-18 vanced students. Instruction in French and English. Fee: tarian” with Paul Dresang (July 20-31); “Flandbuilding “Low-Fire Ceramics,” includes raku, primitive and dung BF6000 (approximately $170), includes materials and with Soft Slabs” with Jamie Fine (August 3-7); and “Ox­ firings; for all skill levels. Instructor: John Perri. Camp­ firing. Camping and live-in accommodations available. idation Surfaces for Clay” with Barbara Tipton (August ing and live-in facilities available. Contact: John Perri, Contact: Denise Frankinet, Route de Poupehan 62, B6839 10-14). Contact: Arrowmont School of Arts and Crafts, Ceramics, Art & Design Dept., Applied Arts Bldg., Uni­ Rochehaut; or call: (061) 46 6480. Box 567, Gatlinburg 37738; or call: (615) 436-5860. versity of Wisconsin-Stout, Menomonie 54751; or call: Canada, Alberta, Banff Tennessee, Smithville (715) 232-1236. June 1-August 21 July 24-31 Wisconsin, Sheboygan “Summer Ceramics Studio” at Banff Centre School, 6- “Family Art School” will include clay courses for youths Summer or 12-week sessions for advanced students. Instructors: and adults. For beginning through advanced students. Residencies (from 8 to 16 weeks long) at the Kohler Com- Gary Williams and Robert Harrison plus guest artists Fee: $115, includes materials and firings. Camping and live-in accommodations available. Contact: Alf Ward, Ap­ palachian Center for Crafts, Box 347 A-l, Route 3, Smithville 37166; or call: (615) 597-6801. Throwing session at Arrowmont School in Gatlinburg, Tennessee. Texas, Dallas June 5-19 “Earthenware with Slip Decoration” with Lisa Ehrich and Richard Hensley. For all skill levels. Fee: $205 ($40 for Dallas county residents), includes firings. Contact: Lisa Ehrich, Brookhaven College, 3939 Valley View Ln., Farmers Branch, Texas 75234; or call: (214) 620-4733 or 620-4730. Texas, San Antonio June 1-August 7 Southwest Craft Center offers weekend sessions on throw­ ing, handbuilding, slip casting, glazing, firing, etc. For all skill levels. Contact: Suzanne Detwiler, Southwest Craft Center, 300 Augusta St., San Antonio 78205; or call: (512) 224-1848. Utah, Logan June 8-August 1 “Vessel Forms: Strategies for Studio and Classroom” with Brad Pekoe (June 8—12); “Big Forms in Clay: Throwing and Handbuilding” with Brad Schweiger (June 15-19); and “Stoneware and Porcelain” with Tim Mather (July 28-August 1). Fee: $95 each. Contact: Department of Art, Utah State University, Logan 84322; or call: (801) 750-3460. Vermont, Middlebury August 28-30 “Surface Exploration” with Elizabeth MacDonald will focus on color with stains. Fee: $100. Contact: Summer Workshops, Vermont State Craft Center at Frog Hollow, Middlebury 05753; or call: (802) 388-3177.

April 1987 35 Aurore Chabot, Lome Falk, Steve Heineman, Kathy Holt, wood and gas firing. For intermediate and advanced stu­ in Italian and English. Fee: L215,000 (approximately Jeff Kelly, Roland Reiss, Imre Schrammel and Joe Sol- dents. Fee £160 (approximately $255). “Clay, Glaze and $177) per week, includes materials and firings. Camping date. Fees: Can$775 (approximately $590) for 6 weeks; Kiln Technical Course” (August 22-30) with Nigel Wood and live-in accommodations available. Contact (in Ital­ Can$1200 (approximately $915) for 12 weeks. Live-in and Douglas Phillips will cover theory and practice of ian): Scuola di Ceramica, Via alia Massa, 17.011 Albisola accommodations available. Contact: Ruth Quinn, Visual clay and glaze making, kilnbuilding and firing. For in­ Superiore, Savona; or call (019) 45785. Arts Registrar, The Banff Centre, Box 1020, Banff, Al­ termediate and advanced students. Fee: £250 (approxi­ Italy, Cortona berta TOL 0C0; or call: (403) 762-6100. mately $399). Fees include materials, firing and meals. June 12-August 21 Canada, British Columbia, Victoria Camping facilities available. Contact: Douglas Phillips, The University of Georgia “Studies Abroad Program” July 19- August 1 Ridge Pottery, Queen Camel, Yeovil, Somerset BA22 7NF; will include a session with Ron Dale. For all skill levels. Metchosin International Summer School of the Arts is or call (0935) 850753. Fee: $3500, includes travel fares, materials, housing and offering “Ceramics—Glaze and Colour” with Robin England, Suffolk, Eye most meals. Contact: Director, UGA Studies Abroad Pro­ Hopper; for up to 15 experienced students. Selection is Summer gram, Department of Art, University of Georgia, Visual from 10-20 slides, and a resume or outline of previous Robin Welch Pottery is offering weeklong or weekend Arts Building, Athens, Georgia 30602; or call: (404) 542- experience. Fee: Can$755 (approximately $575) includes sessions on throwing, handbuilding, mold making, glaz­ 7011. basic materials, firings, lodging and meals. Contact: Deirdre ing, firing, etc. For all skill levels. Instructors: Robin and Italy, Faenza Chettleburgh, 4611 William Head Rd., RR 1, Victoria, Jenny Welch, plus visiting artists. Instruction in French July 3-19 British Columbia V8X 3W9; or call: (604) 478-1558. and English. Fees: £155 per week (approximately $247); “Workshop ’87 Faenza” with Emidio Galassi; for inter­ Canada, Manitoba, Snow Lake £55 per weekend (approximately $120); includes mate­ mediate students through professionals. Instruction in Summer rials, firing, lodging and meals. Camping facilities avail­ English, French, German, Italian and Spanish. Contact: Weeklong or weekend sessions on throwing and raku, able. Contact: Robin Welch, Stradbroke, Eye, Suffolk 1P21 Emidio Galassi, Via Borgo S. Rocco 12, Faenza; or call: wood, propane and pit firings with Emily Crosby. For 5JP; or call: (0379) 84416. (0546) 661655. intermediate and advanced students, up to 4 participants England, Suffolk, Ipswich Italy, Siena per group. Fee: Can$25 per day (approximately $19), Summer August 15-29 includes materials, firings and lodging. Contact: N. Can­ “The Alan Baxter Pottery Workshop” includes weeklong Verrocchio Arts Centre is offering a session on earthen­ ada Art School, Emily Crosby, Box 484, Snow Lake, sessions on pottery for all skill levels. Instructors: Alan ware handbuilding and throwing, and raku firing with Manitoba ROB 1M0. and Patt Baxter. Fee: £150 (approximately $239) per Jenifer Jones at the Casole d’Elsa. For beginning and Canada, Ontario, Haliburton week, includes materials, firings, lodging and meals. Con­ intermediate students. Fee: approximately $200, includes July 13-31 tact: Alan or Patt Baxter, The White House Studio, Som- materials and firings. Live-in accommodations available. Haliburton School of Fine arts is planning “Production ersham, Ipswich, Suffolk IP8 4QA; or call: (0473) Contact: C. M. Porter, The Verrocchio Arts Centre, 41 Design” with Jane Agnew (July 13-17); “Raku” with 831256. Norland Square, London Wll 4PZ, England, or call Leta Cormier (July 20-24); and “Crystalline Glazes” with England, West Sussex, Chichester (0172) 73313 or (0160) 35298. Diane Creber (July 27-31). Contact: Christine Lynd, May 31-August 14 Ivory Coast, Abidjan Haliburton School of Fine Arts, Box 339, Haliburton, “Decorative and Functional Ceramics,” with emphasis on June 30-July 25 Ontario K0M ISO; or call: (705) 457-1680. design, with John Gunn (May 31-June 5). For inter­ “Parsons in West Africa” will study West African art Canada, Ontario, North Bay mediate through advanced students. Fee: £175 (approx­ traditions, including differences in locally produced ce­ July 6-25 imately $279). “Oriental Stoneware and Porcelain” with ramics. Students will visit separate cultural regions, which “Handbuilding Sculpture” for beginning and intermedi­ Russell Coates (June 28-July 3). For beginning through have remained unchanged over the last few hundred years. ate students (July 6-10) and for intermediate students advanced students. Fee: £242 (approximately $386). Fee: $3600, includes tuition, transportation from New through professionals (July 13-17) with Dzintars Me- “Small-Scale Figure Groups” with John Gunn (July York, land transfer and hotel accommodations. Contact: zulis; “Studio Practice Clay,” throwing and decorating 24-26). For beginning through advanced students. Fee: Parson School of Design, Office of Special Programs, 66 earthenware for all skill levels with John Ikeda (July £74 (approximately $118); “Decorative Processes of Fifth Ave., New York, New York 10011. 13-17); and “Decorative Porcelain,” throwing, decorating Handbuilding with Porcelain—Stretching Techniques” Mexico, San Miguel de Allende and glazing for all skill levels with Keith Campbell (July with Gordon Cooke (August 1-7). For beginning through June 8-August 28 20-25). Fee: Can$50 (approximately $38) per workshop, advanced students. Fee: £242 (approximately $386). Gres Arte y Diseno will be offering “Ceramic Sculpture” plus materials. Live-in accommodations available. Con­ “Decorative Processes of Handbuilding with Porcelain— with Miriam Perez (June 8-July 8); and “Throwing and tact: Keith Campbell, Artsperience, Canadore College, Agate and Marbling” with Gordon Cooke (August 8-14). Handbuilding” with Nancy Sclight (July 13-August 28). Box 5001, North Bay, Ontario P1B 8K9; or call: (705) For beginning through advanced students. Fee: £242 (ap­ For all skill levels. Instruction in English and Spanish. 474-7600. proximately $386). Fees include lodging and meals. Con­ Fee: $120 per month includes materials. Contact: Gres Canada, Ontario, Toronto tact: West Dean College, Nr. Chichester, West Sussex Arte y Diseno, Aparicio 4, San Miguel de Allende, Gua­ May 25-July 6 P018 0QZ; or call: (0243) 63301. najuato; or call: (465) 2-18-66. “Introduction to Throwing, Handbuilding, Decorating England, Worcestershire, Tenbury Wells Netherlands, Heusden and Glazing,” for beginning through advanced students, Summer Summer with Deborah Black and Gerry Johns (May 25-June Martin Homer Pottery offers weekend and weekly cours­ Ceramic Work Centre is offering “Body and Architecture” 12); “Majolica Workshop,” including handbuilding and es for all skill levels. Fee: £175 (approximately $279) per for postgraduate students. Live-in accommodations avail­ throwing, for intermediate and advanced students, with week; £69 (approximately $110) per weekend; includes able. Contact: Ceramic Work Centre (A.I.C.), Hans v. Dale Pereira (June 15—July 6). Fee: Can$l57.50 (ap­ lodging and meals. Contact: Martin Homer, Lower Aston Wijck, Box 15, Pelsestraat 15, Heusden 5256ZG; or call: proximately $120) per session, includes materials and House, Aston Bank, Knighton-on-Teme, Tenbury Wells, 04162-1694. firings. Live-in accommodations available. Contact: Deb­ Worcestershire WR15 8LW; or call: (0584) 79404. Netherlands, Oosterwolde (Fochteloo) orah Black or Gerry Johns, George Brown College, Ce­ Italy, Albisola Superiore May 18-September 18 ramics Department, Casa Loma Campus, Box 1015, Sta­ July 13-August 1 “Throwing and Decoration Techniques” (May 18-22); tion B, Toronto, Ontario M5T 2S9; or call: (416) 967- Scuola di Ceramica is offering three 6-day sessions on “Raku” (May 25-29); “Throwing, Handbuilding and 1212, ext. 2486 or 2487. handbuilding and decoration in the old Albisola style, plus Decoration” (June 8-12); “Reduction Stoneware and Canada, Quebec, Montreal raku firing. For intermediate students (July 13-18 and Porcelain” (June 15-19); “Primitive and Traditional Pot­ July 9-28 July 27-August 1); beginners (July 20-25). Instruction tery” (July 6-10); “Throwing, Sculpture and Decoration” “Raku Ceramics,” with R. L. Studham, includes hand­ (September 7-11); and “Salt Glazing” (September 14-18). building, throwing and kilnbuilding. For intermediate Fee: f 150 (approximately $76) per week. Instruction in students. Live-in accommodations available. Contact: R. English and Dutch. Live-in accommodations available. L. Studham, Education in the Arts, McGill University, Jerry Caplan and pipe sculpture at Contact: Kees Hoogendam, De Knolle 3A, 8431 RJ Oos­ 3700 McTavish St., Montreal, Quebec H3A 1Y2; or call: Logan Clay Products Company, Ohio. terwolde (Fochteloo); or call: 05160-8238. (514) 392-8855. Netherlands, Veghel England, East Sussex, Rye June 28-August 22 July 13-September 7 Instituut Pieter Brueghel is offering “Ceramic Sculpture” John Solly is offering weekday sessions on throwing, with (June 28-July 4) with Yos Verwiel; “Salt-Glazed Stone­ some handbuilding and slip decorating; for all skill levels. ware and Porcelain” (July 5-11) with Petra van Hees- Fee: £75 (approximately $120) per week, includes ma­ been; “Raku” (August 9-15) and “Primitive Pottery” terials, firings and meals. Camping and live-in accom­ (August 16-22) with Wim van Huenen. For all skill modations available. Contact: John Solly, Goldspur Cot­ levels. Fee: fl60 (approximately $80). Live-in accom­ tage, Flackley Ash, Peasmarsh, Rye, East Sussex TN31 modations and camping available. Contact: Instituut Pie­ 6YH; or call (0797) 21276. ter Brueghel, Middegaal 23-25, 5461 XB Veghel; or call: England, Norfolk, Kings Lynn 04130-64236. Summer Scotland, Caithness,# Lyth by Wick The Clock House is planning weeklong and weekend Summer sessions on handbuilding for all skill levels. Instructors: Lyth Ceramic Workshop offers weeklong courses on Daphne and Stephen Llewellyn. Fee: £175 per week (ap­ stoneware and porcelain functional pottery, sculpture, re­ proximately $279); £55 per weekend (approximately $88), duction, raku, and pit firing; for all skill levels. Instructor: includes materials, lodging and meals. Contact: Daphne Alan Bain. Instruction in English and French. Fee: Llewellyn, The Clock House, Marham, Kings Lynn, £ 150—£ 175 (approximately $239-$279), includes mate­ Norfolk PE33 9HS; or call: (0366) 4596. rials, firings, lodging and meals. Camping facilities avail­ England, Somerset, Queen Camel able. Contact: Alan and Schoniad Bain, Lyth Ceramic June 29-August 30 Workshop, Lyth by Wick, Caithness; or call: (095) 584339. Two 1-week sessions (June 29-July 4 and July 6-11) Switzerland, Muggio on throwing, once firing and wood firing with Douglas June 29-September 12 Phillips. For beginning through advanced students. Fee: Centro Sperimentale Elisabetta Mellier is offering “Glaze £100 (approximately $160). “Advanced Pottery” (July Technology” with Gustav Weiss (June 29-July 3); “Clay 13-25), with David Eeles, Mike Dodd and Douglas Phil­ and Nature” with Kohei Ota (August 3-8); and “Dif­ lips, will cover throwing, decoration, once firing and wood ferent Surface Treatments” with Giovanni Cimatti (Sep­ firing. For advanced students and professionals. Fee: £290 tember 7-22). Fee: SF950 (approximately $640), includes (approximately $463). “Porcelain Throwing” (August materials, firings, lodging and meals. Contact: Centro 2-16), with Caroline Whyman, Colin Pearson and Doug­ Sperimentale d’Arte, Elisabetta Mellier, 6831 Muggio; las Phillips, will include throwing, decorating, once firing, or call: (091) 491462.

36 CERAMICS MONTHLY PINE MILLS POTTERY A Ceramics Monthly Portfolio by Floyce Korsak PINE MILLS POTTERY A Ceramics Monthly Portfolio by Floyce Korsak It’s dusk at Pine Mills Pottery near “If a new shape doesn’t function like Mineola, Texas, and a full moon low in it should, or it has some annoying as­ the northeast is beginning to glow as pect, I will break as many as I have the sky darkens. There’ll be more light made of it. One has to be ruthless about yet tonight because the wood-burning certain things. I try not to be compla­ kiln is being fired. Gary and Daphne cent about what I think about my work. Hatcher will carefully stoke with pine If I like it, it deserves to be made again. wood, intermittently catching naps un­ I am responsible for whether or not it der an adjoining shed. The pots in the justifies its existence.” kiln represent six weeks of their labor. “The beginning of a firing is like the foundation of a house. It sets up what Wood Firing takes place later. We need to go slowly by Gary Hatcher in the beginning. It’s essential to begin In the mid seventies, we spent two firing slowly and evenly. Too aggressive Gary and Daphne Hatcher years working in England, first for Mi­ stoking can overheat one particular area chael Leach, Bernard’s younger son, at of the kiln. Fire is attracted to where 1940s I would have starved had I tried his Yelland Pottery near Barnstaple in fire already exists. So if an area is over­to make a living from pottery. Still, I North Devon; then for David Leach, heated by stoking too much, we can respond very much to those early Bernard’s older son, at his Lowerdown never even the fire. Hot spots in the American pots because they are a part Pottery in South Devon. While working kiln can be disastrous.” of my heritage, and they were made for Michael, we had the opportunity to Gary points out that his work is pri­ with honest directness and were essen­ take a small part in the building of a marily about shape. “I owe my percep­tial items that were used. large, round Bourry box kiln (the top- tion of shape to David Leach, who “Therein lies some of the difficulty loaded, self-stoking firebox design of taught me that every portion of a pot isthat craftspeople face today. Basically French kilnbuilder Emil Bourry) at worthy of critical attention. Daphne my handmade pottery is not necessary Clive Bowen’s Shebbear Pottery. Until and I spent four years in art school for preparation or storage of food in thethat time we had had little experience where originality and novelty are sense that need existed in colonial with wood firing—Michael’s kiln was stressed. Then we went to England and times. A lot of pots are sold today be­ oil fired. worked as apprentices with no signifi­ cause they look nice. That is a difficult I remember visiting Clive and being cance placed on our opinion about the thing for me to completely accept, be­ taken to a building site where the sub­ work. We were able to concentrate cause I feel pottery should be beautiful, terranean portion of the new kiln was purely on craftsmanship without the not only in the aesthetic sense, but also laid out. It was to be a monster. pressure of aesthetic decisions. in utility. Special beauty is revealed in Though designed by Michael O’Brien “At one time the primary problems pottery’s use.” along the lines of Michael Cardew’s with my work that I sought to solve “Pots are an integral part of our life­ kiln explained inPioneer Pottery, were physical ones—mastering tools to style,” says Daphne. “We eat and drink Clive’s would be over twice as big, 360 materialize what I saw in my mind’s from our own plates and mugs, and I cubic feet in the first chamber alone. eye. Currently, the physical problems use pots for baking, too. It’s hard to Our second experience with wood fir­ are minute compared with the ideologi­ make a distinction between a ‘function­ ing was at Svend Bayer’s Sheepwash cal ones. My situation was complicated al’ pot and a pot concerned with only Pottery, also near where Daphne and I by spending those years in England form and surface. I am always aware of were working. After working for Mi­ being totally saturated with the dogma vast differences in quality, but to me chael Cardew, Svend had studied kilns of the Leach/Cardew aesthetic. I say there is no ‘functionless’ pot. All pots in the East, which ultimately led him to this with no disrespect to Bernard have a function for someone. design and help build Todd Piker’s kiln Leach and Michael Cardew, or my “The more uses an object has, the [see “Closing Thoughts on Firing 138” teachers Michael Leach and David more it pleases me. A baking dish by Mark Skudlarek in last December’s Leach, for certainly they went about pleases me more if it not only bakes my CM] in Connecticut. Svend then went their work with great conviction. I am beans properly, but also has a graceful on to England where he established his amazed when every year or so I see a and gracious form, a harmony with my own pottery and built a larger climbing group of David Leach’s work and it hands as I take it from the oven, a com­ kiln with several doors along the side, shows continual exploration of shape, fortable texture and color that I can live making it easier to load than the Corn­ pattern and color. He continues acting with and not grow tired of.” wall Bridge kiln (rebuilt in 1983). and reacting to things of his time, place To Gary “there’s little which is more and culture. annoying than something which pre­ “I grew up in an American culture, tends to be a utilitarian object that falls Page right After apprenticing in England but when I returned from Europe, I short. I remember many times within for two years, the Hatchers worked at found my work greatly influenced by the last ten years when I have begun to nonpotting jobs for another two years before English tradition. There really is not a use a pot (my own work or a gift from saving enough money to buy property in strong American tradition of handmade another potter or a piece I bought) and East Texas—where good clay and wood for pottery because the early American pot­ found it failed in design. Perhaps it was firing are readily available. They had ters were actually German, English and a dripping spout on a teapot, a short planned to start firing with wood right away, French. The developing American tra­ handle or a handle too low on the ves­ but the economic realities of establishing a dition was cut short during the Indus­ sel. It doesn’t matter how beautiful a business, building studio space, and buying a trial Revolution because the potter was pitcher is if it is so uncomfortable that pugmill and mixer delayed construction of pushed out by the machine. And it’s it conjures up negative feelings every the wood-burning kiln for four years. only within the past 25 years that a time you use it. It’s important to me to renaissance in handmade items has tak­ make a good utilitarian pot and make it Portfolio cover With a full moon glowing en place. one or two or four times over the overhead, Daphne stokes one of the “There’s no doubt that in the mid course of a year. 120-cubic-foot kiln's two fireboxes. A Ceramics Monthly Portfolio

Our third experience with wood fir­ working for another potter. ing was after we had been in England We chose East Texas as we knew we over a year and were working for Dav­ wanted to do wood firing, and this id Leach, who also had a two-cham- thickly wooded area has hundreds of bered, oil-fired kiln. Although we had small sawmills to supply us. been to visit Michael Cardew’s Wenford After many trips, we found what we Bridge Pottery, we had never taken part had been looking for: a Victorian-style in the firing of his wood-burning kiln. house built around 1920 on 13 acres of Then we had the good fortune to meet land. With half of the $10,000, we Michael O’Brien, who had taken over made a down payment and in Decem­ the Abuja pottery in Nigeria in 1969, ber moved to Pine Mills, Texas, in a after Gardew had returned to England. 1969 truck with our six-week-old son Michael O’Brien knew a tremendous Gabriel. amount about the operation and con­ We were crazy to leave good-paying struction of wood-fired kilns and shared jobs with only $5000 and a new baby, this information with us. He also en­ but we were also desperate to get our couraged us to ask Michael Cardew if hands back into clay. Human beings we could help fire his kiln. As anyone can do amazing things when backed who knew Cardew will confirm, asking into a corner. In January we built a him questions almost invariably resulted 50-cubic-foot, oil-fired kiln. In February in unpredictable, although always inter­ we made pots to fill it. Then in March esting, responses. To me, he was a mys­ we fired the new kiln two times and terious person whose every statement participated in the first American Craft was filled with meaning. Each encoun­ fair in Dallas. As I look back, I don’t ter I had with him while in England is know how we did it, but we managed etched permanently on my brain. to secure enough business to sustain us. Frightened as I was, I managed to get Pine Mills Pottery's and Daphne's stamps. We are fortunate to have very good the question out and Michael said yes clay nearby, because freight is very high we could come to the next firing. A few fired with two cords). When we visited on heavy material, sometimes more than weeks later, he phoned us at David Winchcombe, Ray was involved in the the material itself. Large deposits of Leach’s saying they would be firing the steady, relaxed stoking of the kiln, white clays in East Texas account for following weekend and we were wel­ which he fired every week. I knew at the fact that there were many potteries come to come down for a few days. Thethat moment that this was the kiln I here in years gone by. About three firing lasted 36 hours and consumed wanted. times annually, I pick up 4000-5000 over six cords of wood. Although firingOn our return to the U.S. in 1978, pounds of clay that has been ground but Cardew’s kiln was definitely the most Daphne sold furniture wholesale and I not airfloated or dried at a nearby brick exciting event that had taken place thus worked as a cabinetmaker for almost plant. Many commercial clays have far in my potting career, I somehow two years to amass enough money tobeen run through low-temperature could not visualize myself back in the open our pottery. Both of these experi­drying kilns to remove moisture so that U.S. throwing six cords of wood into aences helped immensely, as our art they can be shipped without lumps. Al­ 150-cubic-foot kiln for 36 nonstop school training provided little practical though this heating process may be all hours. experience when it came to running a right for people using the clay for lay­ Daphne and I were sure we wanted profitable business. ing bricks, it damages plasticity which to set up our studio with a wood-firing A potter is confronted almost daily is of prime importance to the potter. kiln, but every kiln we had experienced with building tasks. I feel fortunate in Nature took thousands of years to care­ thus far had one major weakness—inef­ that I grew up around people who fully introduce moisture to this amal­ ficiency. Wood firing is very costly inknew how to work with wood, metal gamation of minerals. Drying clay in terms of human labor and anyone who and electricity, and that I had the op­ kilns removes moisture and kills pre­ tells you that wood is vastly more effi­portunity to work in several potteries. Icious micro-organisms that make a nat­ cient than gas or oil is simply misin­ would have most certainly failed had I urally occurring clay such a plastic joy formed. When a kiln yields a large per­ tried to set up a pottery without so for the potter to work with. centage of seconds, regardless of the much practical experience. I always test a new batch of clay be­ gems, this tends to significantly decrease What Daphne learned in the whole­ fore making pots from it as there is al­ studio productivity. I was sure that we sale business also helped us start out ways the possibility that there will be could never establish an economically serving customers in a professional lime or lignite in the fireclay. Mixing viable pottery if we started out with anymanner. Lack of professionalism has clay is like plowing to prepare for of the aforementioned kilns. been the downfall of many a potentially Our last and most meaningful experi­ good craftsperson. If you don’t take ence with wood firing in England was your business seriously, you certainly Page right Working with a clay body made at Ray Finch’s Winchcombe Pottery. can’t expect anyone else to either. primarily from Texas fireclay obtained at a Although most of the other wood-fired After saving about $10,000, we began nearby brickyard, the Hatchers produce a pots we had seen were made very well, looking for a house and land to buy in variety of functional forms. Gary does most of one thing stood out about the Winch­ East Texas. The past two years living the throwing and is responsible for buying combe pots—the kiln was obviously in Dallas had been hard in that we and mixing the clay, studio maintenance, producing good, reliable and efficient were not able to make pots, but we plus loading and firing the kiln. Daphne's results in firing after firing. With a ca­ knew what it would take to set up the claywork is slab built for the most part; she pacity of about 124 cubic feet (a rea­ pottery and chose to go cold turkey forhandles glaze testing and mixing, sonable size so that a bad firing did not that period of time so that we could accounting, packing and shipping, showroom negate months of work), it could be start properly. After having worked forand house maintenance. During the first few fired in a day by one person. It was David Leach, making pots part time or years, she made slabs by hand, but now a also efficient in its use of wood (Car­ renting a work space was out of the slab roller produces “huge, perfect slabs of dew’s kiln used six cords to fire about question. And one certainly does not any thickness and frees my energy for the same amount of pots as Finch’s kiln have the option of making much moneymaking pots.” A Ceramics Monthly Portfolio planting seed. The work is labor inten­ mixer and pugmill. It was a good deci­ sive, but it must be done correctly or sion. The rebuilt pugmill practically de­ the harvest may be a disappointment. I airs the clay. For throwing, we need mix about 6000 pounds of clay every only to wedge the clay lightly after three to four months, then put it (in a weighing it out. For slab work, it is very moist condition) into six old bath­ used straight from the pugmill. tubs and barrels to age. After that, it is I am responsible for all the glaze ma­ removed and dried slowly in 50-pound terials, glaze mixing and testing. I buy lumps, then cut up and run through a materials in large quantities—both for pugmill just before use. In order to pre­ cost effectiveness and for consistent vent potential materials problems, we quality control. New lots of a glaze ma­ always keep at least a year’s supply of The Hatchers work together in the studio. terial are always tested in two or more the following clay body. firings before a full glaze batch is siphon. A beautiful analogy of fire and mixed. The materials are weighed on Stoneware Body water is that a forced draft, oil or gas two scales, a 24-pound capacity produce (Cone 12) kiln is similar to water being pumped; scale and a small triple-beam balance large volumes of water can be pumped scale. Each of the following recipes is Talc...... 5pounds through a small pipe, and the size of mixed in approximately 50-pound Calcined Virginia Mullite that pipe is not directly proportional tobatches with 15 gallons of water in a (70 mesh)...... 8 the amount of pumped water it is able large fiber glass utility sink: Calcined Virginia Mullite to carry. A wood-fired kiln is like water (200 mesh)...... 8 being siphoned, in that the level of the Celadon Glaze Texas Fireclay...... 125 volume of water to be moved is critical, (Cone 12, reduction) Texas Kaolin...... 25 as is the diameter of the pipe provided Flint...... 5 to move the water. No matter what is Whiting...... 28.0% 176pounds done, there is a certain volume of water Potash Feldspar...... 20.0 Add: Red Iron Oxide...... 1pound that will move through the siphoning Edgar Plastic Kaolin...... 20.0 Mix with 6 gallons (48 pounds) water. pipe of a certain size. If a wood kiln is Flint ...... 32.0 The talc, flint and iron oxide in our expected to fire efficiently, a sufficiently 100.0% clay body are also mined in Texas. high stack must be provided and ade­ Add: Red Iron Oxide...... 1.0% Our intentions were never to use the quate area must be allowed for the gas­ Bentonite ...... 1.5% oil kiln for four years, but as we got in­es to flow. These principles are thor­ We have a sink (on legs) for each volved in constructing buildings and or­oughly explained in Michael Cardew’s glaze we use. Empty, they are light­ ders for pots began to increase, we were bookPioneer Pottery. weight and easy to move around. Full, forced to postpone the planned wood Building our 120-cubic-foot kiln took they are very stable, and wide and deep kiln. Finally after 150 firings in our from March to August in 1983. It is enough for nearly any pot. The drain “temporary” oil kiln, it was time to dofired approximately once each month, plug facilitates sieving the glaze and something about a new kiln. using two cords of pine and oak to cleaning with a hose. These sinks are Our wood kiln is an amalgamation ofreach Cone 12 in 18 hours. Regardless large enough to accommodate a ware several designs: the Joe Finch kiln at of what happens to gas and oil prices, board when glazing, and there’s a tray Appin Pottery in Aberfoyle, Scotland; we will always be able to fire for the an improved version of the Ray Finchcost of labor. As of late we have been on the back on which to set a dipper. kiln mentioned earlier; Peter Dick’s kiln using small pine trees (4-6 inches in di­ which was also built along the lines of ameter) thinned from the woods on our Speckled Wheat Matt Glaze the Ray Finch kiln; and several round own property. It’s good for the woods (Cone 12, reduction) Bourry box kiln plans given to us byand good for security against the cost ofBarium Carbonate...... 2.11% Michael O’Brien. Although we built a producing our work. We keep about 20 Bone Ash...... 2.11 rectangular kiln, not a round one, the cords of wood on hand, enough to fireTalc...... 9.47 plans were a great help in understand­ the kiln for a year. ing many of the essentials significant to Wood Ash...... 15.79 the design of an effective wood kiln. All Potash Feldspar...... 57.89 the O’Brien round kilns are equipped Division of Labor Edgar Plastic Kaolin...... 12.63 with primary air preheaters. The idea by Daphne Hatcher 100.00% of preheaters is that instead of allowing Gary and I used to try to do every­Add: Ultrox...... 5.26% cold air (100°F) to be drawn in for pri­ thing in the studio “equally,” but over Rutile...... 4.21% mary combustion, you force the firebox­the years a division of labor has taken Bentonite ...... 3.16% es to draw air past certain hot areas of place naturally. Fortunately, we each the flues, causing the air to be preheat­ prefer different activities and the jobs Above right Many of these throwing and ed before being supplied to the burning that neither of us enjoy much are dealt decorating tools were made for specific wood, resulting in more efficient com­ with as they come up. purposes. A potter is confronted almost bustion. Gary is responsible for all the clay— daily with building tasks” says Gary >, who A wood kiln must be designed with ordering materials, mixing, keeping the feels “fortunate in that I grew up around careful attention given to the expansion machines in order. He uses a clay mix­ people who knew how to work with wood, and contraction of the gases as they are er and a 1947 pugmill, which he rebuilt metal and electricity, and that I had the heated. As the flame travels through the two years ago, auger and all, following opportunity to work in several potteries .” kiln, it is at different temperatures at a set of Harry Davis’s pugmill plans. different points. If adequate volume is Early on we mixed the clay with our Right Oval bakers are assembled from not provided for the expansion of the feet in a bathtub and wedged by hand. 3-inch-high walls, thrown without a bottom, gases as they increase in temperature, When our business accelerated and we and slab bases. “A baking dish pleases me the kiln will not draw properly. Nor required more clay, we bought ready- more if it not only bakes my beans will it draw properly if too large an mixed clay for a few months until a properly,” says Daphne, “but also has a area is provided. A blower is like a bad batch ruined a whole firing. graceful and gracious form, a harmony with pump and a natural draft kiln is like a We took out our first loan to buy themy hands.” A Ceramics Monthly Portfolio A Ceramics Monthly Portfolio Shino (Carbon Trap) Glaze a period of time—months—I’ll return (Cone 12, reduction) to pleasing shapes. In the office, we also have a division Soda Ash...... 7% of labor. I do the accounting: bookkeep­ Nepheline Syenite...... 38 ing, banking, state sales tax filing, ac­ Soda Feldspar...... 15 counts payable, billing. In turn, Gary Spodumene...... 15 takes all of this orderly information and Ball Clay...... 20 fills out the federal income tax forms. Edgar Plastic Kaolin...... 5 We both handle correspondence. 100% I do the packing, shipping, and take Add: Bentonite...... 2% care of the showroom and house main­ Must be heavily reduced. tenance, including gardening. Gary does the workshop maintenance, including Basic White Glaze mowing. (Cone 12-13, reduction) We occasionally hire someone for Talc...... 13.00% routine maintenance, but have always Whiting...... 16.00 found that the quality of the finished Potash Feldspar...... 46.00 pottery (and our satisfaction with our Edgar Plastic Kaolin...... 15.00 work and life) suffers when we turn Flint ...... 10.00 over any part of the production cycle to someone else. 100.00% Gary packs both the bisque and glaze Add: Bentonite...... 2.00% kilns and is in charge of the firing The following are among the color vari­ schedule, but we both fire the kilns. ations possible with additions. With the wood kiln, so much labor is involved: Gary starts it off early in the Blue: morning and stays with it until about Cobalt Oxide...... 0.50% Poured glaze and trailing. mid morning. Then I stoke for a Red Iron Oxide...... 0.75% while—an hour or so while he does Copper Red: Rutile Pigment other things. Between stokes, we move Tin Oxide...... 1.50% Whiting...... 16% wood closer to the fireboxes. Later in Copper Oxide...... 1.50% Potash Feldspar...... 9 the afternoon, I stoke for two hours or Black Purple: Red Clay...... 75 so, then again after dinner. We end Cobalt Oxide...... 4.50% 100% each firing together. Manganese Dioxide...... 3.00% Add: Red Iron Oxide ...... 30% The hour or so immediately after we Because of the interaction of the Rutile...... 70% shut down the kiln is very special. For glaze with the fly ash in the wood-fired Bentonite...... 6% a while we do a quick cool by opening kiln, this recipe varies from semimatt to all the firebox doors wide. It’s dark out­ glossy. Gulfwax, cut with paint thinner and side and quiet. The kiln is glowing and Tests and wash glazes are mixed in kept at the correct temperature in an the remaining embers are tinking. The 5-gallon buckets; while the following electric skillet, is used both for waxing kiln is softly exhaling—all that air trailing glaze and pigments are stored lid rims and for resist decoration. moving through it as it cools. Gary and in 1-gallon plastic jars: In the studio, Gary throws while I I sit and talk about the firing, these mainly work with slabs, though I do pots, the studio, future plans. It’s an throw some forms. Our slab roller is an hour of contemplation and reflection, Wood Ash Trailing Glaze invaluable tool. During those first one of understanding that there it is— (Cone 12, reduction) years, I either rolled out slabs by hand another cycle, another firing completed, Wood Ash...... 25% or beat out blocks of clay and cut the good or mediocre—and we are the only Potash Feldspar...... 32 slabs with a wire and guide sticks. The ones responsible for the outcome. Ball Clay...... 13 slab roller always forms huge, perfect Neither of us could enjoy life as fully Flint...... 30 slabs of any thickness and frees my en­ without clay as a vehicle for expression. 100% ergy for making pots. Clay is a complete medium, encompass­ I don’t like being held to a fixed ing every aspect of our lives. It is a me­ This glaze can be trailed over other mold that makes the same pots over and dium that is consuming and affects glazes as is, or it can be colored with over. The few hump molds used only everything we do, from the time we oxides. I mix the dry base with the bluedelineate the interior base shape; the wake until we sleep. pigment instead of water for varying in­angle, shape and height of the rim are tensities of blue. still variable. I prefer to work with sling molds—heavy canvas draped overAbove right The 120-cubic-foot, twin a square, round or rectangular frame Bourry box kiln has a track-suspended ware Blue Pigment and affixed tightly for platter or loosely chamber door (metal lined with ceramic Potash Feldspar...... 26% for bowl forms. The depth of the pot fiber attached by ceramic buttons and Edgar Plastic Kaolin...... 56 can be altered further by placing clay Nichrome wire fasteners). Flint...... 18 wads under the rim of the pot while it’s 100% drying. Consequently, I can use the Right To build a bed of embers, initial Add: Cobalt Oxide...... 40% same sling for a variety of forms. stoking is with small sticks in the four Red Iron Oxide...... 60% Shapes are cut from the rolled slab arched firemouths; at about 900°F these are Bentonite...... 6% following cardboard templates. The cut bricked up and larger wood is stoked Used for brush decorating and as an slab is then molded in the sling, using a through the four iron-doored end ports. over- or underglaze, this pigment recipe rubber kidney to form it. Usually I is based on a porcelain body; color vari­work in series, making about a dozen of Far rightEach hinged, refractory-fiber- ations are possible with other oxide ad­one form, then altering the idea and lined firebox door opens with a handle made ditions. making a dozen of the new form. Over from a welder's chipping hammer. A Ceramics Monthly Portfolio Photos: Bob Buchanan, Peggy Wolf A Ceramics Monthly Portfolio Far left Oval platter, 17 inches in length, sling-formed slab, with a high magnesium copper-red glaze and slip-trailed wood ash glaze, by Daphne Hatcher. Left Stoneware plates, 8 inches square, with wood ash glaze and rutile/iron brushwork, by Daphne Hatcher. Below Thrown pitchers, ½-gallon and 1-gallon capacities, stoneware, with wood ash glaze, once fired, by Gary Hatcher.

Opposite page Usually fired once a month, the kiln burns two cords of pine and oak to reach a flat Cone 12 (top middle,) in 18 hours. Approximately 80% of the Hatchers’ work is sold retail from their own showroom ftop right). Two Tile Bathrooms by David Lortz

Water from the rain forms a stream that the help of ceramist John Nelson, tiles I recently received a commission to de­flows from the window down tiles onwere cut from a buff commercial clay sign and produce ceramic tile for a bath­the mirrored wall, across the tub and body, with ¾-inch borders on all sides room, a project which turned out to downbe the side to the sandy beach andto allow for shrinkage. After bisque fir­ an interesting challenge. Interior de­ the sea. ing, they were reassembled For glazing. signer S. Ronald Church (with whom At night, blue and red lights installed I wanted to keep glazing as simple as I’ve worked on other commissions) on set the house’s exterior illuminate thepossible to concentrate on a painterly up an appointment with the clients. stained glass to suggest a tropical sunset. quality for the punk bathroom and to Before this meeting, I talked with him On the inside, green and blue lights en­ render an appropriate feeling for the is­ about the clients’ background, finances hance the feeling of a cool, lush glade. land environment. A palette of com­ for the project, as well as physical char­ The clients accepted this concept, then mercial underglazes, applied with and acteristics of the room. Important limi­asked if I had any ideas for their teenage without slip, was test fired at Cone 6 to tations were that the fixtures, window son’s bathroom. serve as a color guide. placement, mirrored walls on three sides I suggested a punk treatment, with Tiles for the punk bathroom were of the Jacuzzi and steps had been se­ tilework on the floor and walls negating handpainted, while those for the island lected, but were not yet installed. the standard 90° angularity of the room. room were airbrushed with four to seven Meeting with the clients, I suggested Since teenagers are not usually endowed colors to capture landscape realism. For an environment, instead of working onlywith bathroom decorum, towel racks example, the lava tilework consists of with the floor. The idea was to createwould be installed at angles on the tiletwo shades of gray with black, green (for an island setting with the Jacuzzi be­ walls—a thrown towel would hit the rack, algae growth near the water line) and coming a pool in a flowered glade. En­slide down and look proper wherever red-brown it (for mineral content). tering the room, you appear to walk stopped.out Installed on the wall would be Sprayed with clear glaze and fired to of a sea that gently laps and foams ona piece of slate, complete with chalk, asCone 6 in an electric kiln, the tiles were the beach. You cross a black lava flowan outlet for teenage philosophy. secured to mirrored surfaces with sili­ and climb dunes (stairs) to enter the pool Full-scale mockups of both bathrooms cone, and installed on the walls and floor (bathtub). Sitting in the pool, you areset up in the studio allowed me to move with commercial mastic. Grout between surrounded by orchids, bird-of-paradise from one to the other with a clear image the tiles was colored with latex enamels flowers and palm trees. of each. for design unity. Finally, all grout lines The stained glass window depicts a Because of plumbing deadlines, the on the floor were coated with liquid sil­ rain storm hitting the top of a mountain.floors had to be completed first. Withicone for easy cleaning.

Punk bathroom, with tilework images and grout lines negating Tahitian bathroom, with airbrushed tiles representing the sea , the standard 90° angularity of the room. foam, sand dunes, tropical flowers and trees. 48 CERAMICS MONTHLY I i i i I

Drawings of the proposed tilework for both Back in the studio, full-scale mockups were A number-coded paper template was cut bathrooms were made on site. constructed with wood. out for each tile piece.

Slabs for the tiles were prepared from a Each tile was cut with a H-inch border on After the Cone 6 glaze firing, the tiles were commercial stoneware body. all sides to allow for shrinkage. checked against the pattern.

Commercial mastic was used to install tilework on walls and Colored grout, between the various tile images on the floor, was floors; tiles on mirrored surfaces were secured with silicone. protected with a silicone sealant. April 1987 49 Anderson Ranch by Malcolm S. Bates

wanted to make pots. For a year, theyI sensed an affinity with clay, and it The Anderson Ranch Arts Center in leased a room behind a downtown res­overlooked the valley,” Soldner said. “We Snowmass Village, Colorado, has cometaurant that had once housed a bowling worked in the old lambing shed, but had a long way from its inauspicious begin­alley. When the lease expired, Soldnerto clean it out before moving in.” nings in the back of a restaurant in and company were homeless for only For a two years the ranch was home for downtown Aspen. Combining fiscal re­short while. 15 to 20 pottery students. But after Sold­ sponsibility with artistic integrity, the “Snowmass Village was beginning toner left to teach at the University of Iowa, ranch has managed to travel the some­take shape at that time,” Soldner re­ Anderson Ranch entered a period of times rocky road to respectability with­called, “and the developers asked me limbo,if used at times in conjunction with out sacrificing the ideals that informed I’d be interested in starting an arts cen­ Colorado Mountain College, sometimes its early years: providing instructionter in in Snowmass; they offered us a choice not at all. an informal environment, exposing stu­of ranches they had purchased. My first In the early 1970s, Sherry Hiser dents to a range of techniques, encour­response was, ‘What’s the hitch?’ But opened a school for the visual arts, The aging an exchange of ideas between ar­there was none.” Center for the Eye, at the ranch. She tistic disciplines and establishing an Among the choices was an odd col­asked Soldner if he would start a com­ alternative to institutional learning. lection of log structures at the head ofpanion school for the crafts. With tongue In 1965, ceramist Paul Soldner was Brush Creek, the old Anderson Ranch. a bit in cheek, he dubbed his program approached by a group of Aspenites who“I settled on the Anderson place because“The Center for the Hand.” It included

50 Ceramics Monthly Brad Miller, Robert Milman ; Photos: Jim Baker

Left Established in 1965 in “an odd collection of log structures,” Anderson Ranch Arts Center in Snowmass Village, Colorado, offers ceramics classes from September through May, summer workshops, nine-month studio residencies, plus an ongoing program allowing visiting artists to work in unfamiliar media. Above Selected last year as a resident artist, Carol Roorbach concentrated on functional work this winter and will assist with the ceramics workshops this summer.

April 1987 51 52 Ceramics Monthly not only clay, but photography, wood­ working, metals and weaving. “We op­ erated as a cooperative,” Soldner ex­ plained, “with the idea of eventually becoming an alternative to traditional education. The students agreed to work around the ranch in exchange for studio space; and we operated two stores, one at the ranch and one in Aspen, where we sold our work. But we needed to be­ come more than tenants at the ranch. We had to own the land if we were going to succeed. I had seen too many schools go down the drain because they couldn’t pay the rent.” In the late ’70s, under the leadership of Dorothy Garwood, Caleb Bach and Jeffrey Moore, Soldner’s dream began to mesh with reality. During Moore’s tenure, Anderson Ranch became more visible, viable and, most importantly, owner of its land. Jim Chaffin, president of Snowmass Corporation, observed, “Everyone, the corporation, the board and staff, realized that the ranch needed to become master of its own destiny if it was to become an important year-round arts facility. We offered a three-year challenge to the board and staff: put together a responsible an­ nual operating budget, secure major grants, winterize at least one of the buildings and the deed would be theirs. They met each goal.” Ceramists Bradley Miller and Mollie Favour were hired to direct the clay pro­ gram in 1980. Miller became the direc­ tor of the ranch in 1983, and he cur­ rently oversees a program that offers approximately 60 summer workshops in ceramics, photography, woodworking/ furniture design and printmaking, as well as a full schedule of classes throughout the year. The ranch has also established an ongoing program of visiting artists and a nine-month residency in ceramics.

Above left Carol Roorback discusses her work with Andrew Berends (also a ceramics artist-in-residence ) and Peter Korn (woodworking coordinator). Left “Watering Pot ,” 10 inches high, wood-fired stoneware, by Carol Roorbach. Above right Ceramics draws the majority of the 600 students who attend summer sessions, such as this workshop with Alfred University's Tony Hepburn. Middle right New York City painter Robert Kushner decorating Oribe-like dishes produced by the staff. Right The long studio is used by resident artists in the winter and workshop participants in the summer. April 1987 53 Anderson Ranch Recipes

Stoneware Body Lime Celadon Glaze Yellow Ash Glaze (Cone 9-11) (Cone 9-10, reduction) (Cone 9-10, reduction) Custer Feldspar...... 5 parts Whiting...... 10.42% Whiting...... 31.6% A. P. Green Fireclay...... 35 Wollastonite...... 9.90 Wood Ash...... 7.0 Apache Fireclay...... 2 Wood Ash...... 0.52 Albany Slip Clay...... 46.5 Cedar Heights Goldart Clay . 25 Custer Feldspar...... 46.87 Edgar Plastic Kaolin...... 14.9 Cedar Heights Redart Clay . . 2 Algae Slip Clay...... 1.04 100.0% Foundry Hill Creme Fireclay 25 Edgar Plastic Kaolin...... 10.42 Add: Rutile...... 2.0% Grog (28 mesh)...... _2_____ Flint...... 20.83 96 parts 100.00% Green Ash Glaze Yields buff brown in reduction, choco­Add: Red Iron Oxide...... 2.08% (Cone 9-10, oxidation or reduction) late brown when salt glazed; flashes well Bentonite...... 1.04% Wood Ash...... 33.3% in wood firings. Apache is a Colorado A local slip clay, Algae is high in cal­Custer Feldspar...... 33.3 fireclay (available from Mile Hi Ce­cium, low in iron. Albany Slip Clay...... 33.4 ramics, 77 Lipan, Denver 80223); a rea­ sonable substitute is Ocmulgee red clay. Iron Saturate Glaze 100.0% (Cone 9-10, reduction) Doug’s Satin Black Glaze Ferguson/Babu Porcelain Body Whiting...... 17% (Cone 9-10, oxidation or reduction) (Cone 9-11) Custer Feldspar...... 46 Custer Feldspar...... 30.0 parts Grolleg Kaolin...... 11 Nepheline Syenite...... 30.0% Bentonite...... 3.5 Flint...... 26 Albany Slip...... 70.0 Grolleg Kaolin...... 42.0 100% 100.0% 6-Tile Clay...... 42.0 Add: Red Iron Oxide Add: Black Iron Oxide...... 1.0% Flint...... 20.0 ...... 10% Black Stain 6600 Pyrax Pyrophyllite...... 20.0______Shino Glaze (Mason)...... 15.0% 157.5 parts (Cone 9-10, reduction) Cobalt Oxide...... 0.5% Develops pink blush and flashing in woodSoda Ash...... 3.3% Casebeer Flashing Slip firing. Kona F-4 Feldspar...... 14.6 (Cone 9-10, reduction) Nepheline Syenite...... 50.0 Earthenware Body Spodumene...... 12.5 Kona F-4 Feldspar...... 15% (Cone 04) Edgar Plastic Kaolin...... 2.9 Avery Kaolin...... 35 Barium Carbonate...... 5parts Kentucky Ball Clay (OM 4) . . 16.7 Grolleg Kaolin...... 35 Talc...... 10 Flint...... 15 A. P. Green Fireclay...... 10 100.0% 100% Apache Fireclay...... 10 Developed for firing with wood. If Avery Cedar Heights Redart Clay . 60 Robert’s Clear Glaze is unavailable, directly substitute Grol­ Kentucky Ball Clay (OM 4) _____ 10 (Cone 9-10, oxidation or reduction)leg. 105 parts Whiting...... 20% Custer Feldspar...... 15 White Slip Schulman Pale Blue Celadon Glaze Nepheline Syenite...... 15 (Cone 9-10, oxidation or reduction) (Cone 9-10, reduction) Edgar Plastic Kaolin...... 10 Borax...... 5.26% Barium Carbonate...... 1.96% Flint...... 40 Custer Feldspar...... 21.05 Bone Ash...... 1.96 100% Ball Clay...... 21.05 Whiting...... 17.65 Calcined Kaolin...... 5.26 Cornwall Stone...... 21.57 Mitchell’s Celadon Glaze Edgar Plastic Kaolin...... 26.33 Kona F-4 Feldspar...... 8.82 (Cone 9-10, reduction) Flint...... 21.05 Edgar Plastic Kaolin...... 16.67 Barium Carbonate...... 30% 100.00% Flint...... 31.37 Cornwall Stone...... 30 Add: Zircopax...... 10.53% 100.00% Albany Slip Clay...... 30 Apply to leather-hard surfaces. For a Add: Tin Oxide...... 1.96% Edgar Plastic Kaolin...... 10 black variation, add 2.11% black iron Red Iron Oxide...... 0.50-0.74% 100% oxide, 10.53% Mason stain 6600 and Bentonite...... 1.47% Add: Red Iron Oxide...... 2% 0.53% cobalt oxide.

54 Ceramics Monthly As the backbone of the Anderson Ranch program, ceramics draws the bulk of the 600 students who attend summer courses. But director Doug Casebeer says that the close proximity of the other dis­ ciplines is a plus and offers a variety of experience not widely available. Ken Ferguson, who has taught for several summers at Anderson Ranch, echoed Casebeer’s thoughts. “The ranch is one of the few places where you can get close to people in other areas— painting, wood, photography. When I get the brochure, I first look to see who is going to be there when I am teaching. I appreciate that the possibility for in­ teraction is made available without pushing it, just letting it happen.” Casebeer noted, “In terms of the con­ tact time the students will get in a two- week workshop, it is equivalent to a col­ lege semester course, but in an informal setting without a grade or degree hang­ ing in the balance.” During the summer, there are two ce­ ramics sessions going on at any given time at Anderson Ranch. One will usu­ ally be taught by a ceramic sculptor, the other by a functional potter, thus pro­ viding diversity and taking full advan­ tage of the facilities. Students and staff are in the clay studios 24 hours a day; and the kiln yard (with its gas, wood, raku and salt kilns) is always a center of activity. During a two-week session, students also see slide presentations in all media, as well as participate in open forums on contemporary art issues. At orientation, Casebeer tells stu­ dents, “We are not about taking a truck­ load of pots home. We give no assurance that every pot will be fired. We want to expose students to a variety of processes and ideas. We’re here to question stu­ dent commitment, broaden focus, re­ solve and identify issues in their work.

Above right Ash-glazed storage jar ; 10 inches in height, thrown stoneware, impressed with a wooden stamp, by Doug Casebeer. Right Porcelain and stoneware form from the “History Series,” 9V2 inches in height, by Brad Miller. The base consists of layered scrap clay bodies (with one layer incorporating shards from pots by Philip Cornelius), fired to Cone 10 and cut with a diamond saw. The rounded rock shape was formed in a sling, then placed on a potter's wheel so that a spiral (symbolic of the evolution of life forms) could be impressed. The spiral rock and base are connected by a threaded rod anchored in holes drilled with a masonry bit. Epoxied on top is another layered form which was tumbled in a rock polisher. I want to strike a spark. Maybe I shouldn’t say this, but even if I spark a negative reaction, at least I have touched that person, given him or her something to think about.” “One of the reasons I am drawn to the ranch year after year is the staff,” said Paul Soldner. “I have a great deal of admiration for the people running this place.” Casebeer describes his assistants as grossly overworked and underpaid, but highly qualified. “They are here be­ cause they want to be.” From September through May, ce­ ramics classes are offered to the com­ munity; while another program allows visiting artists the opportunity to work on projects in unfamiliar media with the help of the ranch staff. And 1986 saw the inauguration of a studio residence program. Three potters, Dottie Baker, Andrew Berends and Carol Roorbach, were cho­ sen from a number of applicants to work at the ranch for nine months. This sum­ mer they will assist with the ceramics sessions. “I have a few selfish reasons for es­ tablishing the studio residency pro­ gram,” admitted Casebeer. “It prevents any of the artists at the ranch from be­ coming complacent. Through regular critiques our techniques and ideas are constantly being questioned.” Among the staff at Anderson Ranch, there is a sense of confidence about the future, but little time for complacency. “We’ve developed an ambitious pro­ gram,” said Miller, “but there is still a lot to do.” Scheduled improvements in­ clude covering the kiln yard and adding walls, plus renovating the ceramics stu­ dio. Also in the works are plans for a “Vessel Symposium,” bringing together artists, critics and art dealers to discuss and assess the past and future of Amer­ ican ceramics.

Above left Daniel Rhodes (Davenport, California) working in the long studio in 1981. The Anderson Ranch summer program brings together students and teachers from throughout the country. Two ceramics sessions are underway at any time—one taught by a ceramics sculptor, the other by a functional potter. The intent is “to expose students to a variety of processes and ideas, question commitment, broaden focus, resolve and identify issues in their work.” Left Ceramics studios are open 24 hours a day, and there is always activity around the kiln yard. Scheduled improvements include the construction of a roof and walls to afford the kiln loaders and firers some protection from inclement weather. 56 CERAMICS MONTHLY

Letters Continued from Page 11 being done for any reason and in any form,” as MacKenzie stated in his February 1987 CM Comment article. In January 1986, I was elated to read a statement written by Wayne Higby as one of two curators of an exhibition entitled “Useful Pottery.” He wrote with eloquence and logic about the expressive force and potential of functional pottery. Then came his CM ar­ ticle, “The Vessel: Denying Function.” Clearly, here is an example of confusion and concep­ tual vagueness, not the Hans Coper pot that Higby referred to. All of this may be better understood in the larger context of the age of illusion, when what you see is not what you get, when Tef­ lon replaces true grit and surface gloss out­ shines inner glow. In the long run what is honest, what is focused and nurtures a full range of human response—intellectual, psy­ chological, visual and tactile—and that can be endured for more than a day will be rec­ ognized and valued. This was illustrated to me recently in a stunning exhibition of Shaker objects and implements for daily living at the Corcoran Gallery of Art. Even the untrained eye was able to respond to these objects as works of art with considerable expressive power. The intentions of the makers were to glorify, not deny function. Lynne Bulhack Rockville, Md. Ridiculous Terminology Isn’t terminology in the arts getting to be a bit ridiculous? Most artists are confused to start with, so why add to their confusion? Now, the ceramic artists don’t even know what they are making! But why fuss about it? In time most of what is being produced today will be called...well, let’s not get into that! Claude Conover Cleveland Say It with Art Let art speak for itself. Good will find its way to the top. Junk will fall to the bottom. Debating forums in Ceramics Monthly waste good paper, ink and time. Give informa­ tion—then let us determine how to use it. Let Ceramics Monthly be our school away from school; our teacher away from instruc­ tors. Frank W Summers Santa Ana, Calif. The Amazing Laxative Sprayer? “If you learn just one little thing, then the workshop hasn’t been a waste of time.” I’ve heard this comment at workshops so good that I came away with dozens of new things. I’ve also heard it uttered apologetically at ones so bad that the “one little thing” we learned should have been how to ask for our money back. But at the Clay Symposium in Medicine Hat last spring, I picked up a hint that could bring a new complexion to the 58 CERAMICS MONTHLY face of pottery in Alberta. A somewhat ruddy I enjoyed Walter Kring’s “Taking the Un­ complexion. certainty Out of Copper Reds” in the Feb­ I should pause now to offer an apology to ruary issue. Calgary potter Anita Dumins. My experiences with copper reds are quite You see, I’ve wanted an airbrush for a long similar to Mr. Kring’s. I, too, purchased a time. Ever since seeing Harlan House’s del­ factory-made propane kiln and put it in a icately glazed porcelain vases displayed in shed outdoors. Mine is a 14-cubic-foot, four- Red Deer in 1983, I’ve positively coveted the burner, downdraft kiln, and in five years I equipment that could produce such wonder­ have learned to fire it the same way every ful shading of color. But an airbrush and time. I fire to 800°C in oxidation, then heavy compressor were financially out of reach for reduction until Cone 9 is half down. I finish me. I wasn’t able to convince my husband off with just a very short oxidation period. that we both could use the machine—me to The firing time is seven hours. My copper magically transform my pots into airbrushed reds are very dependable, but the pieces can­ works of art, he to paint blue nudes on his not be exposed to direct flame [during firing]. truck. I’m not sure it matters, but I soak soft fire­ A visiting instructor once showed our local bricks in a copper solution, then scatter them potters’ guild a glaze sprayer made from a around as firebreaks and to enhance the cop­ cat food tin and a straw. But I’m not that per vapor atmosphere. handy. Besides, I don’t have a cat. In addition to glazes similar to Mr. Kring’s So when Anita demonstrated her glaze (which I intend to try), I find that rutile blues sprayer at the symposium, I was delighted. require the same kind of reduction as copper The gadget worked, it was cheap and it was reds, and can be interspersed in the kiln. ready-made. She told us we could pick one Sometimes I think that a load of nothing but up at any art supply store. Artists use them reds and blues comes out better than an as­ to spray lacquer fixative on their paintings. sorted load. The best rutile blue recipe that I was excited to think I’d soon be spraying I have found is one that Peter Shrope pub­ tender blushes of color onto my pots. As we lished a few years ago in CM: drove home, I shared this amazing discovery with a friend. “I learned the neatest thing in Anita Dum- Rutile Blue Glaze (Cone 9, reduction) ins’s workshop,” I gushed. “Now I don’t need Dolomite ...... 15.8% an airbrush and compressor. I’m going to Custer Feldspar...... 30.0 buy a laxative sprayer!” Whiting ...... 11.1 Her reaction of surprise and hilarity near­ Edgar Plastic Kaolin ...... 16.8 ly put us in the ditch. We laughed until tears Flint...... 26.3 flowed and suffered recurrent chuckles for 100.%0 hours. Add: Rutile...... 8.0% Next day, I went to an art supply shop. Very carefully, I asked the clerk for a lacquer To sum up my feelings about such reduc­ fixative sprayer. He led me to the display and tion glazes, I would say that the most sig­ inquired if I wanted the large mouth or small nificant factor is probably the factory-made mouth model. “Oh, I don’t want to spray kiln. I know that there is much mystique laxative,” I told him. “Just glaze. For pot­ about building one’s kiln, but it stands to tery.” reason that a factory kiln, with scientific de­ How he kept a straight face until I left sign, airtight walls, and a hinged tight-fitting the store, I’ll never know. door will fire more predictably and with a Since then, I’m hopeless. I can’t say “lac­ more uniform interior atmosphere, both as quer fixative” to save my life. That’s why I to temperature and reduction. think it was quite unfair of my friend to tell Hank Harmeling Anita. After all, I don’t have to talk about Beverly, Mass. the you-know-what, just use it. I wouldn’t If I Were Joan Rivers blame Anita if she drops that part of her If I were Joan Rivers, I’d say: “Ohhh, decorating demonstration completely. But if come on, grow up!” James T. Sampson (Let­ she doesn’t and if she happens to advise stu­ ters section, February 1987) must have had dents to get themselves a laxative sprayer, bad experiences with “art professors” at some you’ll understand, won’t you? point in his life. He has “no need or interest” Amber Hayward or even respect, from what I gather, for “art Alberta, Canada professors.” Whether or not he has, in fact, Firing Copper Reds ever had formal training in art is not the After reading the article on copper reds issue. by Walter Kring, I became uncertain con­ Yes, there are those “art professors” who cerning the direction in which we are going. aren’t worth reading about, but chances are Granted we are approaching the 21st cen­ they’re not being written about either. tury and modern technology is at our fin­ I think Sampson should be made aware of gertips. However, ceramists should learn how the fact that many “art professors” are artists to fire copper reds by the “seat of their pants.” themselves with something to offer society, It’s essential to learn the what, when, where, just as much as they are teachers with some­ how and why of the copper glaze before im­ thing to share with students. Sampson, I think plementing use of an oxygen probe. it’s time you take your blinders off and re­ Steve Casagranda alize that “art professors” can be good artists, Longmont, Colo. Continued April 1987 59 60 Ceramics Monthly Letters too, perhaps even better artists than they are teachers, and they may be worth hearing about. Just think about some of those “art pro­ fessors” who have made their marks in the world. Some of those include Rhodes, Arne- son, Voulkos, Takemoto, Daley, Soldner, Mason, Shaw, Frey, Sperry, Lucero, Nagle, Soldate, Higby, Gill—the list goes on for miles. Think about those artists/professors in other disciplines as well. This leads me to the topic of the student which Sampson equally “has no need or in­ terest” in reading about. Now Sampson, con­ sider this: Weren’t most of these “art pro­ fessors” students themselves at one point? Are teachers and students not worthy of recog­ nition even if they are very good artists? Is teaching such a degrading position in life? Are they unimportant to the art world and to society? We must examine the reasons why good artists are “art professors.” Perhaps one reason could be that these artists/professors prefer to maintain some integrity in their work and need to be able to pay for studios in which they are able to carry out artistic explorations and expressions. Believe it or not, Sampson, some artists are professors so as to afford their mortgages and better life­ styles. Not all ceramists want to be purely production oriented; therefore alternate jobs give them the freedom to produce art. I personally hope Ceramics Monthly takes no heed in what Sampson has suggested in his letter and recommend to Sampson that when CM does include articles on “art pro­ fessors” or “their students,” he should simply close his eyes and turn the page. No mag­ azine can please all its readers all the time. It is the obligation of CM to keep subscribers informed. This includes what is happening on the educational front, what information is being passed on and who our rising stars are. Thanks Joan. I couldn’t have said it better. Janice Matheson Ontario, Canada Bottomless Bottle “Refrigeration” I noticed in last November’s issue the reader’s question about a bottomless bottle- shaped clay object purchased in an antique shop. It sounds suspiciously like a milk-bottle cooler, such as was popular in England (and Australia) before refrigerators became every­ day equipment. The bottles of milk were stood in saucers of water and the unglazed bottomless clay “bottles” were placed on top. The unglazed clay then absorbed the water in the saucer and the subsequent evaporation provided a cooling effect to keep the milk fresh. Barbara Wilkie Margaret River, Australia Share your thoughts with other readers. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. April 1987 61 62 Ceramics Monthly News & Retrospect

Debra Norby The entire campus has now been sold, and Shown from the exhibition is “Cup with Approximately two dozen colorful clay fig­ the administrators are occupying an office in Two Handles,” approximately 6 inches in ures, ranging from 1½ to 3½ feet in height, downtown Ketchum. height, glazed porcelain, by Jeannie Mah. by Oregon artist Debra Norby , were exhib­ “The cup is a daily utilitarian object; to make ited at Jamison Thomas Gallery in Portland Mary Lou Alberetti a nonutilitarian cup is to make an allegorical through March 4. This playful series grew New Fairfield, Connecticut, ceramist Mary cup, a symbolic honoring of the idea of ‘cup.’ Lou Alberetti presented a series of wall re­ It is a picture of a cup in three dimensions,” liefs and sculptures inspired by classical Ital­ ian architectural forms at the Washington Art Association in Washington Depot, Con-

“Cup with Two Handles” by Jeannie Mah “She's a Little Paranoid,” 3 feet in height Mah commented. “I enjoy the ambiguity of out of the artist’s observations of her friends the physicality and the solid stance of the and acquaintances. Often the forms incor­ 21 -inch-square “Fragment 1” cup in space, a ‘real’ object in our ‘real’ world, porate found objects to enrich the sense of juxtaposed against its illusionistic existence necticut, through March 29. Ranging from created by its absurd frailty, tenseness and 18 inches square to 5 feet in height, these uselessness. It is balanced between the real “Frammenti” were slab built, stained and low- and the ethereal, a metaphor of our own in­ fired. ner and outer world.” Also exhibited were sculptural works by Swiss Porcelain Triennial five invited artists: Jo-Anne Caron, Belgium; The years between 1781 and 1813 marked James Caswell , Santa Monica, California; the heyd^ of porcelain production in Nyon, Giuseppe Lucietti, Italy; Imre Schrammel , Switzerland. With the idea of renewing the Hungary; and Asuka Tsuboi, Japan. vigor of this period, an association of indus­ This slab-built form with polychrome im­ tries from Nyon and the surrounding area agery by James Caswell was made during a organized an international competition un­ seven-month residency in the Atelier Ex- der the sign of the Poisson d’Or (golden fish), a symbol reminiscent of the trademark of the 18th-century porcelain manufactory found­ ed by Jacques Dortu. On screening the 138 entries for the first “Triennale de la Porcelaine” at the Castle of Nyon, the jury selected “sculpture or orna­ ments, results of the artist’s personal thoughts” by 17 ceramists from around the world: Alain “Man from Memphis,” 3V2 feet in height Bresson and Nicole Giroud, France: Vasile animation. Shown from the exhibiton are two Cercel, Tereza Panelli and Ioana Setran , Ru­ of the larger figures, “Man from Memphis” mania; Suzanne Clifford, New Zealand; Paul and “She’s a Little Paranoid,” handbuilt, Dorrschuck-Hanke and Gertrud Eck-Hanke, brushed and trailed with low-fire glazes. West Germany; Maria Geszler , Hungary; Toni Hambleton, Puerto Rico; Jeannie Mah , Canada; Claude-Albana Presset and Fran- Sun Valley Center Closes qois Ruegg, Switzerland; Leen Quist, the Effective last September, one of the major Netherlands; Sarka Radova and Jindra Vi- centers of learning in clay, the ceramics de­ kova, Czechoslovakia; and Maralyn Wood, partment at Idaho’s Sun Valley Center for Great Britain. the Arts and Humanities, was closed. The center was established in 1971 as a “non­ You are invited to send news and photo­ profit school for bringing students together graphs about people, places or events of with working artists, craftspeople and schol­ interest. We will be pleased to consider ars—all developing their work in an intimate them for publication in this column. Mail James Caswell's “The Big Idea,” 24 inches high atmosphere free from the constraints of the submissions to: News and Retrospect, perimental at Sevres. “Creating the shape of conventional institution.” (See “Ceramics at Ceramics Monthly, P.O. Box 12448, the piece is a relatively open process,” Cas­ Sun Valley Center” in the September 1979 Columbus, Ohio 43212. well observed. “The form, though it is frozen CM.) Continued April 1987 63 64 Ceramics Monthly News & Retrospect ential dialogue taking place in the relation of crafts to other more “established fine arts” such as painting, drawing and sculpture. by the drying of the clay, may still be changed Among the ceramic objects on view were and interpreted in many different ways “Cathedral Canyon,” five handbuilt earthen­ through the use of glaze, color and surface ware boxes, to 13 5 /8 inches in height, raku variations. Glazing demands a commitment fired, by Wayne Higby , Alfred, New York; which may be very unnerving. The choice of and “Monkey and Umbrella,” 29 inches in colors, motifs and composition in glazing sig­ nals that the germination and gestation of the idea are finished and only the firing re­ mains to make permanent this already es­ tablished relationship. My glazing involves the use of a wide range of materials and techniques, most importantly engobes and underglazes. Utilized are a broad range of methods of application including masking with tape, gum, wax, latex, paper and various oth­ er stencils; over these I splash, dip, pour, brush, draw and spray the coloring under­ glaze. This will be covered with a clear, semi­ opaque or tinted glaze. Often brightly col­ ored overglazes are applied in successive fir­ “Monkey and Umbrella” by Lizbeth Stewart ings to add another level of color intensity.” height, earthenware with underglaze, glaze, china paints, lusters and paint, by Lizbeth Concept in Flux Stewart, Philadelphia. Photos: Steve Myers; “Contemporary Crafts: A Concept in Flux,” Tom Brummet. a survey exhibition of ceramic, fiber, glass, metal and wood works made since 1985 by West Michigan Potters Guild national and international artists, was or­ “Special Edition...Out of the Ordinary ganized to celebrate the relocation of the So­ Work,” an exhibition of one-of-a-kind ware ciety for Art in Crafts (SAC) to a renovated by members of the West Michigan Potters brick structure in the historic riverside mar­ Guild, was presented in conjunction with the ket district of Pittsburgh. Established in 1971 guild’s third annual show and sale in Grand in Verona, Pennsylvania, SAC is a nonprofit Rapids, Michigan. The purposes of the ex­ organization, “dedicated to the advancement hibition were to encourage those potters who

“Cathedral Canyon ” raku-fired earthenware boxes , by Wayne Higby of crafts as a major contemporary art form.” usually engage only in production work to Executive director Linda Metropulos noted stretch their creative muscles, to encourage that SAC’s move to the larger facility was students and avocational potters to compete necessary to “continue expansion of the so­ in a sympathetic critical forum, and to pre­ ciety’s public outreach programs.” sent to the public a juried-by-peers selection According to curator Helen Drutt English, to define what the potters themselves found Philadelphia, the craftspeople represented in beautiful and successful, though not neces­ this facility-opening exhibition have emerged sarily a marketing success. as important sculptors, artists and designers Most of the “Special Edition” forms dealt of the 1980s. Their works point to an influ­ Continued April 1987 65 66 Ceramics Monthly News & Retrospect eroded coastal rocks from which she draws inspiration. “For me,” Goldman says, “time and the sea have created beauty that compels with the vessel, but could not be described me to go there again and again.” as truly functional ware. Those that were To accent the recesses, the bisqued vessels functional represented a change in direction are covered with Barnard slip, then sponged. from the potter’s typical mode of work. Shown The final firing is to Cone 9 in reduction. A solo exhibition of Goldman’s vessels from the “Sea Erosion Series” was featured re­ cently at the Hudson River Museum in Yon­ kers, New York.Photo: Charles Frizzell.

Wayne Bates/Edwin Scheier A two-person show featuring pottery by Wayne Bates , Murray, Kentucky; andEdwin Scheier, Green Valley, Arizona; was pre­ sented recently at Craft Alliance Gallery in

Face bowls, with low-fire glazes, by Nancy deNijs from the exhibition are two whiteware bowls, to approximately 6 inches in length, with incising, penciled underglazes and china paints, by Nancy deNijs , Grand Rapids. The West Michigan Potters Guild func­ tions as a technical support group and ed­ ucational forum. Monthly meetings assure smooth operation and provide films, dem­ onstrations of unusual techniques, critiques of members’ works, trips to out-of-town ex­ hibitions or workshops with potters from var­ ious parts of the United States. Yet the guild has experienced some diffi­ culty in finding its place in the art world bureaucracy. Since filing for federal non­ profit status and being denied in 1985, it has Bowl with primitive imagery by Edwin Scheier existed as an association in the eyes of the Saint Louis. Among Scheier’s works on view government. Seemingly involved in a “Catch was this stoneware bowl, 9 inches in height, 22,” the guild has to be an educational or­ thrown, with incised, pushed out and applied ganization with a teaching facility in order imagery inspired by the primitive iconog- to be considered a nonprofit organization which can solicit charitable donations; but it is financially unable to set up a teaching fa­ cility without charitable aid. So the guild has to operate more like a trade association, with the annual show as its main public event, even though throughout the year consider­ ably more effort goes into educational pro­ grams. Text: Mary Kuilema; photo: Harry Booth. Anne Goldman To begin her highly textured vessels, Cal­ ifornia potter Anne Goldman thickly throws stoneware forms. The surfaces are then al­ tered with a variety of tools. Impressed, carved and drilled, they are reminiscent of the sea- 10-inch earthenware vase by Wayne Bates raphy of several cultures. Bates’s ware in the exhibition included this white earthenware vase, 10 inches in height, with glaze patterns and incising.

Mary Ann Fariello “Postindustrial Icons,” an exhibition of ar­ chitectural reliefs by MaryAnn Fariello, Richmond, Virginia, was on display at Ten­ nessee Technological University in Cooke­ ville through January 30. During a presen­ tation at the recent Southeast College Art “Tide Pool Vase,” 17 inches in diameter Continued April 1987 67 68 Ceramics Monthly News & Retrospect Detroit and studio potter, were exhibited at George Ciscle Gallery in Baltimore through January 3. Conference in Tuscaloosa, Alabama, Fariello Educated at Pratt Institute and Alfred spoke about this work in the context of tran­ University, Pitney taught for 20 years before sitional times: “The modernist industrial building a pottery studio in Sharon, Con­ world, which began in the 19th century with necticut, in 1973; however, by 1984 his ar­ the advent of the industrial revolution, is giv­ thritis made it impossible for him to continue ing way to the postindustrial, informational production. “With just a few brief excep­ age labeled postmodernism. My own view of tions,” he observed, “my work has been both modernism is that its purpose was icono­ stoneware and porcelain, fired to Cone 10 in clastic and that, in contrast, the avant-garde electric oxidation, dictated primarily by the of the new is struggling to develop an artistic teaching situation I inherited in 1950 where vocabulary out of which can emerge the ev­ large industrial electric furnaces were al­ olution of new icons. The symbols and images ready in use. Much of my early work was

Cast porcelain and mixed-media wall relief, 8 feet in length, from the “Postindustrial Icons” series I use in my work are primary components directed toward developing clay bodies and of a new myth, intended to be read and in­ glazes that captured the pleasant and desir­ tended to connect us with both our past and able qualities of flame-fired, reduction-at- our future. mosphere ware, and I carried these results “The emphasis on history which is char­ into my studio work.” acteristic of the new postmodern style has In addition to his academic career, Beittel brought the criticism that it is simply another has maintained his own studio since 1958. nostalgic revival. It seems to me that this “Pottery is the humblest and most speechless tendency is a recognition of history and an of the arts,” he wrote in 1978. “Even before attempt to integrate the past with the future. it became metaphor, pottery brought Earth The tendency to historicize is also a char­ to shine forth in our World. It is best when acteristic of the turn of any century, a time it is most earth-honest; that includes process- in which the culture looks both forward and honest, fire-honest, honesty-of-being itself.” backward.” Photo: Laine Cantrell. Juried National at Arrowmont Kenneth Beittel/William Pitney “Space: New Form/New Function,” a jur­ Traditional pottery forms by Kenneth ied multimedia exhibition open to artists na­ Beittel, professor emeritus at Pennsylvania tionwide, was presented at Arrowmont School State University, and William Pitney , former of Arts and Crafts in Gatlinburg, Tennessee, faculty artist at Wayne State University in through January 24. Focusing on “concepts relating to space (concrete, atmospheric, ar­ chitectural, illusionary, psychological, inter-

“Temple of Nambe” by Tom Heid stellar and pictorial) as expressed in new forms and functions,” juror Ken Holder, an art pro­ fessor at Illinois State University, Normal, selected 79 works from the field of 874 en- Large stoneware vase by Kenneth Beittel Continued April 1987 69 70 Ceramics Monthly News & Retrospect and supernatural creatures. Nearby was an arched bridge, and on the walls were flying dragons and ghosts. tries. Among the ceramic objects on view was Her creatures are a kaleidoscopic image “Temple of Nambe,” 15 inches in length, of Japanese traditions. For example, fish and glazed earthenware, by Tom Heid, Berkeley. dragons are common subjects in Japanese folk tales, and the combination of gate and pine tree traditionally means happiness. Wabi Sabi Special Also, wabi sabi is one of the most popular by Michio Sugiyama concepts in Japanese philosophy. In ce­ Over the past few years, several young ramics we use this term to explain the spirit ceramists in Japan have been creating under of the tea ceremony and its wares. In his the influence of fine arts movements, refusing book Kenzan and His Tradition, Bernard to allow traditional ceramic values to limit Leach described wabi as “a poetic nostalgia their work. It is too early to define their ob­ for emptiness, the setting autumn sun, the jects and this new movement, but I call them sadness of beauty. Wabi has a different the third generation of Japanese contem­ meaning at different times, solitude in the porary ceramics. And they are the generation hills, in a crowd, at the approach of death,” that is going to make a substantial change he continued. “It is not tinged with sentiment in Japanese clay work. like the other adjective sabi, literally ‘rusty,’ One of the rising stars of this group is or the patina on old glass or bronze. Together Nobuko Tsutsumi, a clay sculptor living in with the third word in the language of tea,

Nobuko Tsutsumi at her studio in Osaka, Japan Osaka. Nobuko graduated from Osaka Uni­ shibui, implying at the same time austerity versity of Arts in 1982, and continued her and nobility, these are aspects of beauty fa­ ceramic research at Kyoto City Industrial miliar to all Japanese.” Laboratory. Since then she has shown at sev­ But do the Japanese really know the eral galleries in the Kyoto-Osaka region. meaning of wabi sabi? This is the question On view recently at Gallery Maronie in Nobuko is asking through her work. Photos: Kyoto was her installation sculpture, entitled Takashi Hatakeyama. “Wabi Sabi Special,” handbuilt and cast white stoneware, with low-fire glazes, china paints, lusters and decals. Standing in the middle Pottery about Pottery was a large gate, with a panda and two an­ A recent invitational show of works by 50 gels (one on each side) on top. The panda clay artists at Pinch Pottery in Northampton, held Hinomaru, the Japanese national flag. Massachusetts, focused on “pottery about Surrounding the gate were abstract pine trees pottery.” The invitation suggested that ob­ jects submitted for exhibition could be sculp­ tural, decorative or functional, and that they could reflect ceramic history, collections, stu­ dio environment or processes. The works shown could be loosely divided into two categories: pottery about pottery in which the makers felt the work has some historical precedent or reference either in process or form; and objects which dealt con­ ceptually with commentary about pottery. “Firing Mystery Revealed,” a clay and “Wabi Sabi Special ” glazed stoneware installation Continued April 1987 71 72 Ceramics Monthly News & Retrospect

Decorated earthenware platter by Jim Klingman Klingman’s work in the show ranged from traditional teapots to large decorative plat­ ters, such as this 23-inch-diameter form, wheel-thrown earthenware with cut rim and sgraffito decoration. Promotion through ArtQuest ArtQuest is a for-profit corporation founded by Los Angeles fiber artist Jonette Slabey to give exposure to works by “prominent or promising” artists. Those selected in the sec­ ond annual “ArtQuest” competition were promoted through several venues. Exhibi­ tions featuring the works of the 1986 place winners were presented at the Parsons School

“Firing Mystery Revealed” by Martha Holt photographic wall piece, 38 inches in height, by Martha Holt, Cambridge Springs, Penn­ sylvania, is an enigmatic and ambiguous comment on the cup and the word firing, with the central image being of the burning of the top photo, and the bottom image being half the cup protruding. Text: Angela Fina. Chapman/Klingman Show On display recently at the Lincoln Art Center in Fort Collins, Colorado, were stone­ ware wall reliefs and porcelain platters by Linda Collins Chapman , Boulder; plus func­ tional porcelain and decorative earthenware byJim Klingman , Greeley. Shown from the exhibition is Chapman’s “Increasing the Crossings,” 46 inches in “Raku Box9½ inches high, by Beverly Saito of Design in New York and at Brand Gallery in Los Angeles; and a one-hour “ArtQuest Video Exhibit” of the works of the place and merit award winners, accompanied by their personal statements, was shown at some 70 locations throughout the country. Also, ap­ proximately 1800 complimentary copies of a full-color catalog (including photos of works by the place winners, merit award recipients and finalists, plus a directory of the artists’ addresses) were distributed to museums, Linda Chapman's “Increasing the Crossings” newspapers and art publications. length, patterned with colored slips and in­ Another promotional tactic begun with the cising. Motivated by the unpredictability of 1986 competition resulted in exposure for firing, she finds “one can control the crafts­ everyone who entered. On the day before the manship and some of the technical aspects jurors met, art consultants, dealers, designers of the process, but ultimately the fire selects and publishers were invited to view all the which works will succeed.” Continued April 1987 73 74 Ceramics Monthly News & Retrospect slides of the entrants. Those who expressed interest were then provided with specific art­ ists’ names and addresses. The slides were then seen by the panel of eight curators and directors from art insti­ tutions across the country. After reviewing approximately 3000 entries for three days, they selected 36 place winners, 36 merit award recipients and 95 finalists in 12 categories. “Broadly speaking, the criterion of selec­ tion used was to choose works which were imaginative, personal in conception, ambi-

Vase by Hubert Griemert, circa 1956-57 glaze surfaces on traditional pottery forms. His postwar reputation was established largely by matt crystallines, as on this vase, approximately 8 inches in height. Photo: Landesbildstelle Rheinland. 6-Joot-tall “Primal Self-Portrait” by Nicholas Kripal tious in execution and technically solid,” ac­ Czech Symposium cording to juror Ann Robbins , who was for­ merly on the board of directors for American The international working symposium Craft Enterprises. “Another important point which takes place every other year in Be- of consideration was to find works which best chyne, Czechoslovakia, celebrated its 20th represented the wide range of ideas being anniversary in 1986; the “Intersymposium explored today.” Bechyne” is the oldest continuous ceramic In ceramics, first place went to Beverly symposium in the world. Saito, San Anselmo, California; second to Artists need to be in contact not only with Nicholas Kripal, Melrose Park, Pennsylva­ colleagues in their own nation, but also with nia; and third to Beth Changstrom, Penn- artists of other nations. They must know oth­ grove, California. Merit award winners were er artists’ works, their personalities, and have Robert M. Johns, Beverly Hills; and Mayer Shacter, Oakland. Finalists were Beth Forer, New York City; Stephen Freedrrtan and Jeanne Cartabiano , Los Angeles; Amanda Jaffe, Las Cruces, New Mexico; Thomas

Earthenware tray, 20 inches long, by David Pendell Kerrigan , Duluth; David Pendell , Salt Lake City; Robert Reddell, Houston; and David Vargo, Cleveland. Photos: Mel Schockner and courtesy oj the artists. 1986 symposium stoneware form by Enrique Mestre the opportunity to discuss aesthetic beliefs. That is why symposia are organized in German Ceramics 1950-80 Czechoslovakia and elsewhere: to gather art­ Featured recently at the Hetjens-Museum ists in the field for joint work. in Diisseldorf, West Germany, were exam­ The small town of Bechyne in South Bo­ ples of works by leading German ceramists hemia was not chosen as the site of the Czech during the postwar period spanning 1950-80. symposia by accident. It has a ceramic school Glaze effects, some spectacular, some sub­ (founded 100 years ago) and a “sanitary ce­ dued, characterized much of the studio work ramics” works. During the four-week sym­ produced then. Prior to the war, Hubert posium, participants work in the school stu- Griemert had concentrated on developing rich Continued April 1987 75 76 Ceramics Monthly News & Retrospect

dios and live in the school hostel. The factory provides materials and the possibility of fir­ ing. Besides accommodations and breakfast, the participants are given money for personal expenses. The symposium is closed by the opening of an exhibition of works created during its course. This exhibition is subsequently pre­ sented in Prague. Part of the works made during the symposium are added to the col-

“Desert Memoirs I,” 19 inches in diameter and oxides, they are then raku fired “by eye” at approximately Cone Oil, usually more than once. “A multitude of variations is possible using one glaze,” Karagheusian explained, “through subtle differences in reduction/ox- idation procedures and slight variation in temperature.” Photo: Ron Forth.

Untitled sculpture by Pravoslav Rada Marion Weiss-Munk lection at the Bechyne Castle Museum; the Although function was once an important remainder are taken home by the artists. element in her work, Marion Weiss-Munk, The first few symposia took place every Edison, New Jersey, is now preoccupied with year, without any thematic limitations. Later the tension that exists between form and glazed it was decided to organize them at two-year surface. The white clay form becomes a kind intervals to alleviate the burden carried by of “shaped canvas.” the volunteer organizers. To utilize all the Through March 13, a selection of her glaze- possibilities afforded by ceramics, every sym­ painted vessels was featured in a solo exhi­ posium is concerned with a different branch bition at Middlesex County College, where of the art (interior ceramic sculpture, archi­ she is an associate professor. The works on tectural ceramics, household ware, etc.), and the participants are selected accordingly. As a rule, five clay artists from Czecho­ slovakia, and eight to ten from other coun­ tries, are invited to participate. So far the symposia have hosted 60 Czech artists and 130 foreign artists from 25 countries and three continents. Participants in the last sympo­ sium included ceramists from the Latvian Soviet Socialist Republic, the Moldavian So­ viet Socialist Republic, Poland, Spain, the United States, Yugoslavia and West Ger­ many. Text: Pravoslav Rada;photos: Antonin Vodak.

Marsha Karagheusian “Soft Stoneware Vessel,” 15 inches in height “The bowl, probably the first ceramic form view, such as “Soft Stoneware Vessel,” 15 to evolve in Neolithic times, is a form that inches in height, with low-fire glazes and has consumed my thoughts and working ef­ gold luster, were made during a recent sab­ forts for a while now,” observed Marsha batical leave. Also included was one piece Karagheusian , Covington, Kentucky, whose made during an international symposium in raku-fired earthenware vessels were exhib­ Czechoslovakia last summer (see page 75), ited recently at Miller Gallery in Cincinnati. where she was the sole American ceramist “The bowl has many functions, both aes­ working alongside 12 other ceramists from thetic and utilitarian,” she continued. “Bowls Eastern and Western bloc countries. contain, hold and ‘embrace’; they welcome you. My most immediate intention is to cre­ ate viable forms—breathing, dynamic forms, Dorothy Torivio not static, but emanating energy to the space Traditionally shaped and fired vessels, above and beyond the confines of the piece.” brushed with increasing and diminishing Her bowls are thrown, trimmed, then patterns to accent the forms, by Acoma potter bisque fired at Cone 06. Sprayed with glaze Continued April 1987 77 78 Ceramics Monthly News & Retrospect

Dorothy Torivio, were featured at Gallery 10 in Scottsdale, Arizona, through February 17.

Black-and-white pots, to 10 inches in height Coil-built from red clay, Torivio’s pots, such as these black-and-white forms, are deco­ rated (by eye) with slips applied with a hand­ made yucca brush. Joseph Mannino Ceramic wall reliefs, inspired by classical caryatid figures, by Joseph Mannino, were exhibited recently at BACA Downtown in Brooklyn, New York. For these “Muses,” the artist used broken tile grouted with different

“Muses,” 7 feet high, grouted tile shards colors to signify both disintegration and re­ construction. Mannino currently teaches at Carnegie-Mellon University in Pittsburgh. Elizabeth MacDonald Workshop A day-long workshop by Connecticut ce­ ramist Elizabeth MacDonald initiated this season’s “Reshaping the Tradition” series of exhibitions, workshops and lectures at Greenwich House Pottery in New York City. In demonstrating the construction of her handbuilt tile murals and freestanding sculp­ ture, MacDonald focused on her method of Continued April 1987 79 80 Ceramics Monthly News & Retrospect

Demonstrating at Greenwich House Pottery applying stains and slips. After rolling out thin, textured slabs, she applies slips with a handmade deer-tail brush. The slabs are then pressed onto layers of stain and the edges torn to suggest weathered surfaces. MacDonald works with small, torn slab squares to “combine the strength of stone­ ware with the fragility of paper. With this form, I try to evoke, through the layering of powdered ceramic stains, the light and depth

Handmade tile mural by Elizabeth MacDonald behind a surface—as in the markings of an­ cient walls, or clouds reflected in a pond, or lichen growing on a stone. Each tile becomes a reflection of time and a fragment of space.” Photos: Peter Muscato, Suzi Romanick.

Tenacity of Vision in Ontario “The Tenacity of Vision,” an exhibition celebrating the 20th anniversary of the Sher­ idan College School of Crafts and Design, was presented at the Craft Gallery in To­ ronto through February 1. Established in 1967 at a branch campus in Mississauga, the school was Canada’s first provincial post-secondary Continued April 1987 81 82 Ceramics Monthly News & Retrospect institution to provide training in the fields of crafts and design. A move to a new facility at the main campus in Oakville, Ontario, is scheduled for September 1987. “As the years go by, I find that I’m getting a much clearer vision of where I want to go with my work,” noted 1974 graduate Steve Irvine. “Ironically, the more clearly I can see it, the more difficult it is to express in words. Although I know that I want my work to have quietness, strength and presence, there

Ash-glazed stoneware teapot by Steve Irvine are still many other qualities that I hope the pieces themselves will communicate.” Shown from the exhibition is one of Steve’s thrown and faceted teapots, approximately 8 inches in height, stoneware, with hardwood ash glaze. Also on view was this cup and saucer set, thrown earthenware, by Shyrl Nussey, a 1983

Thrown earthenware cup and saucer by Shyrl Nussey graduate. “Foremost my work is meant to invite handling while summoning contem­ plation,” she commented. “By ornamenting and decorating, the ‘everyday’ has potential to be meaningful. I rely on my imagination and a developing rapport with the medium to offer a legitimate refuge from pure effi­ ciency.” Jere Lykins With his concern for space, line, shape and color, Jere Lykins talks about his work much as a painter or graphics artist would. He perceives his central focus to be the equi­ librium of discipline and control with spon­ taneity. Continued April 1987 83 84 Ceramics Monthly News & Retrospect

Lykins begins a work by carving into a smooth, dry plaster mold. He then pours slip into the mold, removes the cast slab and al­ lows it to dry fiat. After bisque firing, the slab is airbrushed with acrylic paint. The low-relief marks—hatchings, tiny rounds, squiggles, teardrops, curling ribbons and lines both straight and sinuous—are de­ rived for the most part from miniaturized

Painted clay relief, 22 inches in length electronics and biology. Sometimes they are reminiscent of the intricate network of a computer chip. At other times they appear more like the languorous rhythms of nature: round “peas” with wiggly “roots”; serpentine, oozing ribbons that look as though they were pressed from a tube; wavelike doodles; an arabesque formed by the path of the light from a child’s sparkler in the night. Generally small, ranging from slender, vertical formats to somewhat larger rectan­ gles, these cast slabs are never more than 16x22 inches. At this point in his career, Jere feels no inner need to magnify the di­ mensions of his work. As far as he is con­ cerned, the work is of a size most compatible with the viewer’s field of vision. He wishes to draw the viewer into his work where the scale is “psychological”—that is, flexible ac­ cording to the perception of the individual. Scale is relative. It matters little, he says, whether one perceives in his work an aerial view or a constellation or a magnified com­ puter chip. To those who term this flexibility of scale irresponsible, he retorts that only the Western mind would think so. It is precisely the occidental preference for a fixed per­ spective as well as symmetrical balance that he has rejected. Lykins favors, instead, the more vital kind of order characteristic of dreams. Dreams, he explains, have structure, but one which is “de-differentiated,” to borrow a term from Anton Ehrenzweig whose book The Hidden Order of Art has greatly influenced Lykins. The order he is seeking, then, is that of the unconscious. He is learning to trust “that inexhaustible reservoir” where “design de­ cisions are made.” Yet at the same time that he depends in large measure upon a free flow of improv­ isation from the unconscious, he relies also upon the ordering capacity of the rational mind. To explain his fusion of order and spontaneity, he offers the analogy of a gar- Continued April 1987 85 86 Ceramics Monthly News & Retrospect as acknowledged by humans, is a genuinely positive interaction. This exploration of na­ ture—of man and nature—creates the foun­ den, which embodies the principles of or­ dation for Scotchie’s latest work shown re­ dered life—nature without human discipline cently at the West Virginia University Moun- and cultivation reverts to its original wild tainlair Gallery in Morgantown. Text: state. Marybeth Holleman. Lykins maintains that color, though pow­ erful, is actually somewhat superfluous to art when compared to form. Although he some­ Hamada’s Wasp Nest times uses bright colors on his work, he usu­ Our old friends Hymenoptera, some of the ally prefers shades of gray and gray-blue, as world’s earliest potters even if they are in­ well as reddish tones, including mauves and sects, are again making ceramic news. Ding coppers, with occasional hints of yellow and Denlinger, a ceramist from Cary, North orange. Frequently, he sprays a piece with Carolina, recently visited the museum/stu- several values of a single color, or with two dio of Shoji Hamada in Mashiko, Japan, and colors such as gray and mauve. noticed a wasp nest developing under the In accordance with his predilection for formal values, he finds gray the most satis­ factory tone of all. Gray, he feels, is more than just a mixture of white, black and/or other colors; it embodies an enduring pres­ ence. Lykins’s refusal to affix titles to his slabs is in further accord with his reliance on his unconscious, whose language is of the image rather than the word. Whereas he previously devised long, fairly elaborate titles, he now believes that the verbal aspect or “explana­ tion” of a work is unnecessary. Since 1972, Jere Lykins has taught ce­ ramics at Berry College in Rome, Georgia. An exhibition of his cast-slab forms was fea­ tured recently at West Georgia College in Carrollton. Text: Dorothy Joiner. Virginia Scotchie For the last three years, West Virginia art­ ist Virginia Scotchie has developed ceramic sculpture from ideas abstracted from nature. Clay nest “ growing” under Hamada’s roof Organic in structure, yet simultaneously eaves just outside the studio door. The wasps somewhat geometric, the coiled, slab-built and had gathered clay from potters’ studios in the carved earthenware forms are surfaced with area, reflecting the various colors and types terra sigillatas (made from raw clays or stained in use—porcelain, dark stoneware, earth­ white clay), then once fired to Cone 02 in enware—and amazingly had made a pat- oxidation. Often they are piled into large

“Mound ” earthenware, 32 inches in length mounds or placed on solid clay tableaux as if harvested from the earth and arranged ar­ bitrarily. “These formations evolve from my desire to collect and examine objects in nature,” says Scotchie. “In my work I search for sources in the material world which hold, in their relationship to man, a certain spirituality that goes beyond a material presence. These or­ ganic objects are natural icons from intimate Nerikomi wasp nest and mysterious places. They are not a part terned nest in a modern nerikomi style. Are of the computerized and mechanical world.” Japanese wasps more traditional, more cre­ Tantamount to the work’s message is the ative than those in other countries? Do they underlying notion that there is a universality show a greater sense of appreciation for sub­ of “language” symbolized by organic forms. tle beauty? Such questions are enough to drive The artist believes that this communication, you buggy. Photo: Tim Van Hook. April 1987 87 Comment Continued from Page 25 Inward form is affected by other vital terms such as shibui, wabi, and sabi, and those in search of the meaning of Jap­ anese aesthetics will eventually encoun­ ter these terms. The following defini­ tions appear in Horst Hammitzsch’sZen in the Art of the Tea Ceremony: Shibui refers to profound understate­ ment, restraint and economy. “It de­ scribes an unassuming, quiet feeling.” Wabi is discernible visually, but the spiritual aspects of this word must be experienced. Wabi is idealized simplic­ ity. It is based on the Buddhist view of a life of detachment, seclusion, and tran­ quility. Literally, it means apology. “The wabi feeling is sometimes described as a mature, pregnant beauty—dark and subdued.” Sabi is a mature mellowness that de­ velops from use and time. “It is the pa­ tina of age—it lacks the temperament of something new. It is the beauty of ex­ perience and insight over immature youthfulness—yet, it is heavy with one­ ness, deep solitude.” Appreciation for inward form does not mean we should not strive for outward perfection. Rather, we should develop a sense for inward form, and be able to recognize and appreciate with discrim­ inating taste inherent characteristics as they occur in our work.

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