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 Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 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. 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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,