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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. E-mail unillustrated texts to [email protected] or fax to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Feature articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through pub­ lic and university libraries. copies: For a fee, photocopies of articles are available through Customer Service. Telephone (614) 794-5890; or e-mail [email protected]. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rose­ wood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081, USA. postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2004 The American Ceramic Society All rights reserved

Ceramics Monthly February 2005 2

FEBRUARY 2005 / Volume 53 Number 2

featu res

32 Pottery Unplugged The Handbuilt Pottery of D. Hayne Bayless by Scott Ruescher monthly methods Surface: Stencils and Resist 37 Recollecting the Past The Work of Joan Takayama-Ogawa by Judy Seckler monthly methods Low-Temperature Multifiring

42 Lee Middleman by Diane Chin-Lui A California potter experiments with surfaces by throwing, texturizing, then throwing again recipes Cone 10 Glazes 45 Clays We Use Formulae for Clays in CM Recipes 47 Centering: Community, Clay and Culture NCECA 2005 Conference Preview by Leigh Taylor Mickelson 49 Antje Wiewinner A Dialog Between Interior and Exterior by Nesrin During recipes Stain, Slips and Glazes

52 Beauty in Simplicity: Danisha Sculpture by Eleanor Piazza Dan and Nisha Ferguson, partners in both life and art, focus on design

56 Rain Harris: The Process of Addition by Leah Kaplan Intricate slip-cast work explores issues of beautification and excess

cover: "Fiesta," 17 inches (43 centimeters) in height, slip-cast earthenware with underglazes, fired to Cone 04, by DaNisha Sculpture, San Miguel de Allende, Mexico; page 52. Photo: Juan de la Torre

Ceramics Monthly February 2005 5 departments

1 0 letters from readers

14 upfront reviews, news and exhibitions

26 answers from the CM technical staff

28 suggestions from readers 30 Tip of the Month: Tile Cutter from Bed Rails

60 call for entries 60 International Exhibitions 60 United States Exhibitions 62 Regional Exhibitions 62 Fairs and Festivals

64 new books 68 calendar 68 Conferences 68 Solo Exhibitions 70 Group Ceramics Exhibitions 78 Ceramics in Multimedia Exhibitions 80 Fairs, Festivals and Sales 80 Workshops 86 International Events

92 classified advertising 94 comment The Butter Dish Saga by Dannon Rhudy 96 index to advertisers

onlinewww.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities

Ceramics Monthly February 2005 6 Ceramics Monthly February 2005 7

happy potters/artists, especially describing 2004 CM]. From 1965-67, he did several letters how they’ve overcome obstacles to reach workshops at my studiolschool. Sadly, my new heights of success and joy in their work. signed copy of his book was stolen during Timeless Beauty I came to the conclusion early that pots are the surge of raku activity in the mid-1960s. I subscribe to CM for the articles on func­ for people and vice versa. I love people and Frank Colson, Sarasota, FL tional ware with classic forms and great pots. I’m even warming up to some con­ glaze work. Simplicity is an integral part of temporary work (never thought I’d say that). Time Well Spent beauty. Classic, timeless form by artists like Neil Besenfelder, Hannacroix, NY I am 53 and have taken college ceramics Michael Cardew, Bernard Leach, Warren courses for six years. It’s therapy, and I MacKenzie, Shoji Hamada, Lucie Rie, etc., Deserved Recognition actually have a few good pieces. We (the exude beauty and inspiration for millennia! At Last! So good to see Hal Riegger receive class) all use Ceramics Monthly for inspira­ What I like most about CM are the the honors for putting raku on the map [see tion, information and goals. I may never get stories, testimonials and photos of the “Hal Riegger Retrospective,” November my work on the cover, but I can spend three or four hours and have something to show for it. It beats TV! Bette D. Albers, Oakley, KS

Colorful Balance I’ve been enjoying your magazine for many years now and, for the most part, I think you balance a lot of different subjects and topics fairly. I really enjoy the color images and clear explanations of many of the art­ ists’ techniques. Xander Cintron-Chai, Honolulu, HI

A Clay Life During a workshop at Anderson Ranch, Ellen Shankin explained what drew her to clay: “In college, I met Cynthia Bringle, and everything she talked about—her style, her knowledge, her immersion in clay, her freedom—all drew me to the potter’s life. I knew I wanted that life.” I have never forgotten what Shankin said. I have never forgotten because I am so far from living that kind of potter’s life. I did not make the life choices that she made. Shoot, I didn’t even discover clay until I was over 40. How am I to go about living a life with clay while being a single mom to three kids, two of whom are teenage boys, with a mortgage and a full-time job? Like so many, I wear many hats—how do I find time to wear the artist’s beret? So there I was in 1994, age 40, with one kid barely out of diapers and two others running around creating the usual madness and mayhem, needing to find something to call my own. I went to my local arts center and signed up for a beginning handbuilding and throwing class instead of sculpture. (The sculpture class was an hour longer and I didn’t have that kind of time. Little did I know . . .) I showed up for class and an­ nounced that I was there to make a teapot (okay, so I cringe at that memory and eter­ nally grateful that my patient teacher did not give me the heave-ho right that second). I threw my ball of clay on the wedging table, listened to the explanation for making Ceramics Monthly February 2005 10

letters

a tile and announced that I didn’t want to make tiles, I wanted to do that (pointing at the wheel). I am not usually this horrible but tiles, at that time, looked so dull and the wheel looked like so much fun. I now know how wrong I was. So, my patient teacher sat me down at the wheel, gave me some basic guidelines and let me go about my merry way. Thankfully, the class was small and I was the only rebel in the group. I couldn’t center. I was covered in clay from head to toe. No apron, though in all fairness I would have needed a tarp. I was totally, completely, hopelessly in love. I know this is a familiar story to many of you. It hit me hard. I couldn’t get enough. The center had no open studio time, so I would sneak in during the afternoon, keep the lights off and try, try, try to center. The janitors would catch me now and then, and I soon made friends with them. I just wanted so badly to learn, to be better, to be able to gosh darn center! Pretty soon I didn’t want to be anywhere else. But I was still a mom with three kids and the respon­ sibilities that cling to that role. When I complained to my friend, she gave me some simple advice: No matter what, every day, dosomething dealing with clay. So I took subscriptions to clay maga­ zines and kept one in the car for when I waited in the carpool line. I sketched pots on a tiny pad I kept in my purse while I waited for soccer practice to end. I read every book I could get my hands on. Now, I know you can’t become a potter by reading books. A friend told me that a man wandered in during an open studio session and informed her that she was throwing all wrong. He said he knew be­ cause he had studied throwing on the Inter­ net. At any rate, reading kept me involved with clay. Little by little, my awareness of the whole clay world expanded. My knowl­ edge grew and I began to know how far I really had to go. Somehow it didn’t frus­ trate me—it thrilled me. I knew this was something I could do forever. With the utmost respect to Cynthia Bringle and Ellen Shankin; it may not be their clay life, but ten years later, it is mine. Celeste Balog, Wichita, KS

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

Ceramics Monthly February 2005 12 Ceramics Monthly February 2005 13 upfront

14 Wit and Wine: A New Look at Ancient Iranian Ceramics by D. Wood Arizona State University Art Museum's Ceramics Research Center, Tempe

16 Get Fresh2 Devon Guild of Craftsmen, Devon, England

16 Clay and California by Nancy Kapitanoff Freehand Gallery, Los Angeles

20 Dan Anderson and Matt Wilt Goldesberry Gallery, Houston, Texas

20 Southern Cups Southern Pottery Workcenter and Gallery, Columbia, South Carolina

22 Eric Serritella Blink Gallery, Andes, New York

22 Cheryl Boykin Bryant Galeyrie Fine Art, Falmouth, Maine

Top: “Beak-spouted Vessel,” 18.5 centimeters (7 inches) in height, gray clay, north-central Iran, 800-600 B.C. Center Left: “Vessel with Two Feet,” 48 centimeters (19 inches) in height, red clay, northern Iran, 1000-800 B.C. Center Right: “Cosmetic Bottle on a Two-Headed Horse,” 19 centimeters (7½ inches) in height, gray clay body with burnished surface, northwestern Iran, Azerbaijan province, Urartian culture, 800-600 B.C. Bottom Left: “Camel Vessel,” 21 centimeters (8 inches) in height, light orange clay with burnished cream slip and reddish-brown paint, southern Iran, Parthian period, 250 B.C.-A.D. 224. Bottom Right: “Spouted Vessel,” 21.5 centimeters (9 inches) in height, buff clay, burnished, with red paint, central Iran, 800-600 B.C.; at Arizona State University Art Museum’s Ceramics Research Center, Tempe.

Ceramics Monthly February 2005 14 “Spouted Bull Vessel,” 36 centimeters (15 inches) in height, ceramic with burnished surface, northern Iran, Gilan province, 1200-800 B.C.

review Wit and Wine: A New Look at Ancient Iranian Ceramics by D. Wood

Minutes before arriving at the Arizona State University (ASU) Art used in a social ceremony or religious ritual requiring slow, elaborate Museum’s Ceramics Research Center (http://asuartmuseum.asu.edu), pouring of wine or water. And while this vessel is a metaphor for a I swerved to miss a car making a sudden right-hand turn. A collision water bird, others are directly imitative of birds with painted pat­ was avoided, but I was still trembling when I entered the gallery. terns on the beak, neck, body and even the base. Soon, however, as I peered into cases containing “Wit and Wine: A The whimsy of the ancient artists is evident in the anthropomor­ New Look at Ancient Iranian Ceramics,” I was overcome with a phic character of their designs. But they also contrived intricacies of sense of calm: I was transported back thousands of years to a time construction that would amuse at the time of imbibing. Double­ when the speed of traffic was dictated by camels. I was charmed and spouted vessels, possibly for weddings, require two people to per­ engaged by an exhibition that was a serene oasis in the bustling 21st- form the filling of the jug as well as drink from spouts in the base. century desert. “Vessel with Two Feet” has an opening beneath each toe so that the On view through January 8, Wit and Wine came from the drinker would be seen with a foot in his/her mouth. The shape and Arthur M. Sackler Foundation and was curated by Dr. Trudy Kawami. texture of this object imitate the soft leather of a wineskin. From a By means of 45 objects, it proposed that Iran’s technically sophisti­ modern observer’s viewpoint the vessel could be a metaphor for any cated ceramics are on a par with pre-Columbian, Chinese and Greek serious drinker—the head is gone, replaced by an opening for alcohol. achievements. Though the objects lack archaeological documenta­ The over-large feet (ankle bones and instep are deliberately mod­ tion, they have been verified by reference to authoritative excava­ eled) support an ample belly dedicated to the storage of intoxicant. tions in Iran since the late 1950s, and subjected to thermoluminescence Exploration of Iranian sites has occurred only in the last 50 years, testing by the Research Laboratory for Archaeology and the History and there is still much to learn about the beliefs and customs of its of Art at Oxford University. The works in the exhibition, which are people. To date, assumptions about the social milieu have been pre-Islamic, date from 5000 B.C. to A.D. 224. extrapolated from nearby documented cultures. Since the Ceramics Research Center is devoted to contemporary Animal imagery—sheep, goats, cattle, horses, donkeys, camels, a ceramics, I asked the curator, Peter Held, how ancient vessels came crocodile—abounds. Removed from the scene of drinking and fri­ to be on display. He said he became aware of the show three years volity is a vessel type that served both men and women. “Cosmetic ago while he was director of the Holter Museum in Helena, Mon­ Bottle on a Two-Headed Horse” stored kohl, a black substance that tana. When he took up his post at ASU in 2003, he remembered the was used to outline the eyes. The color was applied with a slender sense of design, playfulness and technical finesse of the Iranian work wand that fitted, in this case, into a stylized human figure seated on a and felt it would mesh nicely with the Research Center’s collection. two-headed horse. Since the horse was associated with the ruling Enthusiasm for the subsequent installation has been more than elite of Iran, it is likely that this bottle belonged to a male. Incised anticipated—visitors have had the opportunity to see significant chevrons decorate the figure and horses’ necks suggesting a shield or pieces not normally seen in the region and are surprised that ceram­ patterned armor. ics of antiquity look as fresh as those made a decade ago. The magnificent “Spouted Bull Vessel” that is the “poster child” Viewers experience the objects in a social, historical and political for the exhibition has been identified as a zebu, a type of cattle context. Large color photographs of the northern and western Ira­ originating in India. Five of these ceramic creatures were discovered nian countryside provide a sense of the wine region from which the in a tomb, indicating that, in addition to their functional purposes, vessels originated. The majority of the work was created for storing they were tomb gifts. Bull’s urine was regarded as a purifying agent and serving libations. Some are adeptly crafted utilitarian forms with in Zoroastrian belief and it may be that the vessels, filled with urine, incised marks and rigorous burnishing; others demonstrate design were used in funerary ceremonies prior to entombment. The humped, and technical accomplishment in complex and delightful shapes. powerful shoulders of the bull, extending forward into a pouring For instance, “Beak-Spouted Vessel” has a spout whose length is snout and down and back to a spherical rump, establish a graphic twice the diameter of the body. It is speculated that such a vessel was profile that is controlled and contemporary. Raised ridges, referring

Ceramics Monthly February 2005 15 upfront “I am drawn to the pureness of porcelain and bone china,” said Exeter artist Cresta Glass. “My intention is to explore surface decora­ tion, and give identity and personality to my work by pushing the to the dewlap on the neck and the tail, emulate bronze detailing. Works material’s boundaries to exploit its inherent properties and translate such as this demonstrate why Iranian ceramics fit comfortably in the them into a series of forms. I am particularly interested in simplicity of context of 20th- and 21st-century makers. form and integrity to materials such as the beauty of the unglazed surface. As I left the Research Center to return to the real world, I fixed “I feel that part of being a designerlmaker is having the ability to “Camel Vessel” in my mind. The camel is seated with its legs tucked make an object that says something to you ... you might not know why under its body, a feat that can’t be duplicated by cattle or horses. Two you like it but it just feels right,” she continued. “I feel that this role is an storage containers meld into its ample body; the camel is resting before important one for todays maker.” being goaded into action once more. Its lips turn upward in what can be only be construed as a smile, as enigmatic as that of the Mona Lisa. Clay & California Though I’m forced to assume the speed of the prevailing traffic once I by Nancy Kapitanoff leave the parking lot, I am nostalgic for the wit and wisdom of the The California clay movement is alive and thriving at Freehand Gallery camel’s era. (www.freehand.com) in Los Angeles. The gallery’s current exhibition, “Wit and Wine: A New Look at Ancient Iranian Ceramics” will be “Clay & California,” features the latest in contemporary California on display at the Berkshire Museum in Pittsfield, Massachusetts, May ceramic design and pays tribute to the state’s innovative ceramics indus­ 14-October 30, 2005. try and history. D. Wood is an instructor at Tucson Design College and a freelance writer specializing in fine craft.

Get Fresh2 “Get Fresh2,” an exhibition celebrating emerging designerslcraftspeople from Southwest England, will be on view at the Devon Guild of Craftsmen (www.crafts.org.uk) in Devon, England, through February 27. The exhibition, containing product-based crafts alongside works that are experimental in both intent and material, aims to build a network for emerging artists, designers and craftspeople across the region.

Barbara Willis’ black platter, 20 inches (51 centimeters) in diameter, handbuilt and hand-painted low-fire clay, 2004.

“There’s a certain history to clay in California that is unique and complicated,” says Carol Sauvion, owner of Freehand and a potter herself. “The East Coast may be famous for their earth tones and ash, but there has always been a whole different aesthetic here. It has been shaped by various influences including—because we sit between the Pacific Rim and Latin America—the centuries-old pottery techniques of Asia, Mexico, and Central and South America.” In this exhibition one finds contemporary plates, vessels and mirrors in exuberant figurative scenes, and large sculptural pieces that reflect a personal expression of art and the relationship between production and function. “There has always been, and continues to be, a lot of invention with craft. It’s not just nostalgia,” Sauvion says. “Something almost disap­ pears and then it’s rediscovered again.”

Cresta Glass’ “Swirl Vessel,” 17.5 centimeters (7 inches) in height, Barbara Willis, one of the 16 artists presenting recent work here, was slip-cast porcelain, £37; at Devon Guild of Craftsmen, Devon, England. a pioneer in the mid-20th-century design and production of machine-

Ceramics Monthly February 2005 16 upfront she decided to deliver it in her green 1929 Model A Ford with yellow wheels. “I filled the rumble seat and drove up to Bullock’s Wilshire with my made ceramics. She was rediscovered in 1995 after she saw a couple of pottery,” she recalls. “I know I made the day of the guys in the receiving her ceramic pieces at a flea market and innocently told the vendor that department. I can still see the big chop plates poking out of the top of she had made them. Until then, she hadn’t realized that her production the rumble seat.” pieces, which she stopped making in 1958, were so collectible. Not long after that 1995 encounter at the flea market, and after buying back some of her own pieces, sometimes in eBay auctions, she told herself, “I’ve got one more go ’round in me, and this is it.” Her contemporary handmade pieces have a kinship with her earlier production work, in which the outside surface of a piece served to focus the eye on the colorful inside glaze. In her pieces in the gallery, intensely dark undersides heighten brilliant orange-red glazes sparkling inside.

Dave Wulfeck’s large bowl, 14 inches (36 centimeters) in height, wheel-thrown stoneware with stencil decoration, $300.

In 1943, after studying with Laura Andreson at UCLA, Willis opened the Barbara Willis Pottery in Los Angeles. Her plates, bowls and vases were glazed on the inside and top rim—turquoise, yellow, char­ treuse or white—leaving the outside in a more natural state with a textured surface. The first order she received was from the department store, Bullock’s Wilshire. Rather than packing and shipping the order,

Keiko Fukazawa’s “Louis Vuitton Happy Cat,” 9 inches (23 centimeters) in height, slip-cast and hand-painted whiteware, $1000.

For many studio and production potters working in California since the 1930s, the California aesthetic begins with color. Brightly colored glazes are the hallmark of the Malibu and Catalina potteries. After World War II, the California studio craft movement flourished through ceramics departments that had been established at universities such as UCLA and USC, and the GI Bill that paid the way to college for some of the movement’s early leaders. Sauvion sees the influence of professors Laura Andreson and Adrian Saxe on UCLA alum David Wulfeck. “There’s a power and volume in

Marc Digeros’ vase, 7 inches (18 centimeters) in height, handbuilt Wulfeck’s throwing. When you look at his pieces, you can feel the clay,” and hand-painted redware, $110; at Freehand Gallery, Los Angeles. she says. Continued

Ceramics Monthly February 2005 18 upfront forms, and his objects appear at once archaic and futuristic. Wilt’s most recent sculptures represent a synthesis between the physical body and the artificial mechanisms sometimes employed to sustain it. “There is an energy involved in each artist’s work, and you can feel Anderson is known for his architectural wood-fired vessels, which he that energy in the pieces,” Sauvion says. “Here in California, you also has recently begun installing in groupings incorporating found objects. have this feeling of industry, where you just open up a studio. Not only His industrial forms, coupled with striking, sensitive surface treatment, did these artists learn how to work with clay, glazes and how to fire, but speak of his passion for such obsolete objects as 19th-century tools and [they also learned] how to be a pro, how to run a studio.” vessels as well as his ties to a rural life in the Midwest, his reverence for the past, and his appreciation for the simple and the sensuous. Dan Anderson and Matt Wilt New works by Illinois artists Dan Anderson and Matt Wilt will be Southern Cups exhibited at Goldesberry Gallery (www.goldesberrygallery.com) in Hous­ Southern Pottery Workcenter and Gallery (www.southernpottery.org) ton, Texas, from February 12-March 12. Anderson is professor emeri­ in Columbia, South Carolina, recently celebrated its one-year anniver­ tus of ceramics and Wilt is assistant professor of ceramics at Southern sary with “Southern Cups: Tradition Redefined.” More than 20 artists Illinois University in Edwardsville. were invited to help redefine the Southern cup, creating over 200 pieces Using cast, thrown, handbuilt and found parts, Wilt creates ceramic for the exhibition—some functional, some not. assemblages of ambiguous function. Weathered surfaces overlay obscure Tamassee, South Carolina, artist Jay Owens uses layers of saturated color and incised lines on his wheel-thrown works. “My interest in color developed after visiting Niger, West Africa, in 2001,” he said. “I saw all around me a culture that was not afraid to express itself with color. From fabrics used to make clothing to watering cans, colorful and lively decoration was used to infuse life with an energy unlike I had ever seen.

Matt Wilt’s “Underwater,” 26 inches (66 centimeters) in length, cast, thrown and handbuilt stoneware and porcelain, concrete, steel.

Jay Owens’ cups, 5 inches (13 centimeters) in height, wheel-thrown earthenware with colored slips and clear glaze, fired to Cone 04 in an electric kiln, $18 each.

“Throwing forms on the wheel enables me to create a surface that showcases the interaction of multiple layers of color. I don’t think in terms of decorating forms with color but rather giving them life with layers of saturated color and incised lines. The linear structure I think about as I draw on my work is similar to the structures I see when houses are being built. Before the interior is closed off, you see relation­ ships happening between lines and spaces within the walls and the overall structure. I concentrate on using color and form interactions in my work to achieve a fun and lively surface, and an object that is a pleasure to use and appreciate.” Shelby, North Carolina, potter Ron Philbeck explained that he “fell in love with the idea of producing functional pots for everyday use in people’s homes” after reading an article by Warren MacKenzie. “Finally,

Dan Anderson’s “Water Tower Tea Set,” to 16 inches (41 centimeters) in height, I had found a medium in which I could express my creativity and at the soda-fired stoneware with decals; at Goldesberry Gallery, Houston, Texas. same time serve a purpose—that of preparing and serving food,” he

Ceramics Monthly February 2005 20 upfront dency in Taiwan, during the winter of 2004. Stoneware and porcelain were used in combination with surface treatments including terra sigillata, glazes, oxides and multiple firing methods. “This past winter, I lived in Taiwan amidst centuries of pottery and ceramic tradition,” Serritella said. “I met artists, and shared ideas and methods. Upon return, I wove together the techiniques, skills and forms I learned with my own preferences, designs and desires. ‘Opened Earth’ is a journey into those influences.”

Cheryl Boykin Bryant “Running a Muck, Part 2,” an exhibition of paintings and sculptures by Weehawken, New Jersey, artist Cheryl Boykin Bryant, was on view recently at Galeyrie Fine Art in Falmouth, Maine. The exhibition included 17 handbuilt vessel forms and 15 works on paper and canvas. Her paintings often allude to the vessel, and her vessels function as Ron Philbeck’s cups, 4½ inches (11 centimeters) in height, canvas in the round. wheel-thrown stoneware with slips, salt fired to Cone 10, $20 each; at Southern Pottery Workcenter and Gallery, Columbia, South Carolina. continued. “Being a functional potter is challenging in that I have to work within certain limitations. After all, the pots must work well and stand up to everyday use. Also, I’d like them to be pleasing visually and invite the user to hold and touch them. I feel the pottery is a communi­ cation between the potter and the person using the pot.”

Eric Serritella “Opened Earth: The Beauty Within,” an exhibition of new work by ceramics artist Eric Serritella, was on view recently at Blink Gallery in Andes, New York. The exhibition featured wheel-thrown pottery and sculptural ceramics that were influenced by Serritella’s five-month resi-

Cheryl Boykin Bryant’s “Pink and Brown,” 20 inches (51 centimeters) in height, handbuilt stoneware with velvet underglaze, wax and low-fire glaze, fired to Cone 2; at Galeyrie Fine Art, Falmouth, Maine.

“I find the exchange complementary,” says Bryant. “They feed into one another and allow me to step back and mull over the process. I paint and draw for several weeks and then shift to clay for several weeks ... it becomes cyclical.” She explains, “I find it hard to cover up the passage of hand and tool marks on the surface. They show how the piece evolved, much like smudges and movements of line through charcoal drawings. I enhance these marks with wax allowing the warmth of the clay body to glow through without disguising the medium.”

Eric Serritella’s teapot, 10 inches (25 centimeters) in height, Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ wheel-thrown and handbuilt black stoneware, with sand, statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events of fired to Cone 6; at Blink Gallery, Andes, New York. interest for publication. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081.

Ceramics Monthly February 2005 22

cause glaze degradation? Should I scrap this There are four rules for making a glaze stable: answers glaze?—K.F. From the CM Technical Staff 1. Fire it high enough so it melts completely. Jack's Egg Shell Matt 2. Have enough silica content. Dolomite...... 10.00% 3. Have enough alumina content. Gerstley Borate...... 10.00 Q At a recent craft fair, a customer asked me 4. Don’t overload it with coloring oxides. about the stability of the glaze on one of my Whiting...... 14.00 lotion/soap dispensers. They had purchased one Custer Feldspar...... 47.00 You do not indicate what pyrometric cone the EPK (Edgar Plastic Kaolin)...... 19.00 of my dispensers and were using it for dispens­ glaze is fired to, but I am assuming you are firing it ing antimicrobial soap. They noticed a streak of 100.00% to Cone 6 or 7. deterioration or discoloration where the soap Add: Cobalt...... 0.25% Here is the unity molecular formula for your dripped on the outside of the dispenser. Is there Copper Carbonate...... 1.00 % glaze (* indicates oxides contributing to unity): some ingredient in antimicrobial soapthat would Rutile...... 2.00% *CaO...... 0.62 *MgO...... 0.17

*K2O...... 0.14

*Na2O...... 0.07

Al2O3...... 0.39

B2O3...... 0.09

SiO2...... 1.84 I see that the silica is quite low at 1.84. The minimum I recommend is 2.5. Glazes that are short of silica tend to craze. The shorter of silica, the more chance of crazing. In this case, the glaze is a matt glaze, so crazing will not be as obvious to the eye as with a gloss glaze. We can tell it is matt, not so much because the name says it is matt but because of the ratio of alumina to silica (1:4.66), which results in a matt surface. These glazes are called alumina matt, because of the high amount of alumina in relation to silica. If we increase the silica (say, until the ratio becomes 1:8), we turn it into a semigloss or gloss glaze. This is the case with a great majority of alumina matt glazes, and it is almost impossible to solve the stability problems with these glazes. The best solution is to use a high calcium matt glaze. When a high calcium glaze is cooled slowly enough, you can achieve a matt surface while maintaining stability. To answer your question more specifically: Do not use this glaze where it can come into contact with food, or with liquids which may have a deleterious effect on it. Any number of ingredients in the soap could have the effect of discoloring an unstable glaze. For instance, if there is any citric acid (from lemon juice), the glaze will discolor in a short time. It is clearly not suitable for this particu­ lar application. Ron Roy Ceramics Consultant Brighton, ON, Canada

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

Ceramics Monthly February 2005 26

suggestions From Readers

Supportive Pillows & Pantyhose Pillowcases, pantyhose or tights filled with vermiculite make fabulous bolsters for clay dur­ ing all stages of making. Pillowcases can be used beneath slabs as a flexible support, allowing you to press down and create volume in the base of a piece, or to support an arch. The pantyhose can be used for both interior and exterior support, keeping a piece in place during construction. Essential tip: don’t fill the fabric completely. Leave space for the vermiculite to shift inside the fabric, making it possible to gently remove sup­ port from an interior space, or from beneath an arch, without damaging the piece.—Annie Chrietzberg, Steamboat Springs, CO

Paddle and Anvil When I want to make large, hollow, hand­ built forms, I use the paddle-and-anvil method. The problem can be finding the right anvil to use inside the shape. I have found wood to be ideal for this purpose. Because the wood will absorb some of the water, there is less trouble with sticking. Unfinished wooden spheres from craft- supply stores are perfect for rounded forms.

Decorative wooden finials meant for deck rail­ ings work well for other types of symmetrical forms. Old wooden sausage stulfers or pestles that come with food mills can be handy for elongated shapes like spouts and handles. All of the above can be found at thrift shops and antique malls for anywhere between $2-$ 12, so shop around a bit.—Kim Hohlmayer, Mechanicsburg, OH

How Can You Resist? How many times have you goofed with the wax resist and spoiled a piece, only to make things worse trying to correct the problem? Good news! Rubbing alcohol removes wax com­ pletely. I learned this when my husband spilled a molten candle on a brand new carpet. A carpet wholesaler suggested mopping it up with an alcohol-soaked rag. It worked beautifully, and is

Ceramics Monthly February 2005 28

suggestions where pieces are to be attached. This is especially ture for throwing. The sponges also make fast handy when building inside a form, or building work for glaze cleanup. After wiping up glaze with slabs that have been stamped with designs spills or the excess glaze from foot rings, the on one side.—-Jackie Melissas, Evanston, IL sponges rinse out clean, without a trace of no less efficient on ceramic ware. Use it straight glaze. When the sponges get ratty, just throw from the bottle; those alcohol wipes are actually Half an Idea them away and you still have an endless sup­ water and alcohol and do not generally work as Dollar stores hold promise for the inspired ply—all for a dollar!—Christine Barros Cannon, well. Cotton swabs are great applicators for small potter. For $1, you can buy a package of the Kew Gardens, NY spots. Sponges, cotton balls and rags work for rainbow-colored cellulose sponges (usually 10— larger areas.—-Jillian Wolf, Arden, NC 16 in a package). Get the skinny ones. Tool Cushion I cut the sponges in half and use them for When I’m working on the wheel, I use one of Specific Slip Spots throwing. The skinny sponges fit perfecdy around my prepared balls of clay to hold my tools. It is I use an old toothbrush with a little bit of my fingers and are thin enough to still feel the very efficient. I just stab the tools into the clay water to create slip right on the surface of a pot clay. They hold just the right amount of mois­ and voilal When it comes to picking up a tool, they are all right there, separated—easy access. No searching in a can or jar, or shuffling through them on the table.—Gina Garoogian, Santa Barbara, CA

Tip of the Month

Tile Cutter from Bed Rails A very simply tile cutter can be made from angle iron. A friend of mine made several for me from old bed rails. They are basically simple square or rectangular welded boxes. The downward-facing vertical edges

form the box, and they are sharpened on the edge to cleanly cut through the clay. A piece of thin plywood is cut to match the interior dimensions of the box and is used to force the tile cleanly out of the cutter.The horizontal edges of two opposite sides are oriented toward the outside of the box, forming handles for pressing the cutter into the clay slab. The other two opposing horizontal edges are oriented inward, forming a back stop for the plywood. Congratulations to Brenda S. Richardson of Cincinnati, Ohio. Your subscription has been extended by one year!

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

Ceramics Monthly February 2005 30

“Teapot with Hinged Lid,” 9 inches (23 centimeters) in height, slab-built and extruded stoneware, with black pigment cut-stencil design, fired in a Minnesota flat top kiln to Cone 9 in reduction. “Left-Handed Espresso Carafe and Cups,” to 9 inches (23 centimeters) in height, extruded stoneware, with Tile 6 slip, black pigment and latex resist, Shino interior, spalted maple handle, wood/salt/soda fired to Cone 10-11.

Outside of the convention center where the

prestigious CraftBoston show took place in PHOTOS: HAROLD SHAPIRO, COURTESY OF THE ARTIST the spring of 2003, the breeze-blown ban­ ners meant to attract the crowds of Copley Square each did so with one of several attrac­ tive images from the show. One banner flapped away merrily with a fanciful pitcher (pictured on page 36) made by D. Hayne Bayless, but no matter how hard it blew, the breeze couldn’t manage to break the pitcher. A lighthearted vessel that appeared to be dancing for joy at the thought of being on display in the company of other dazzling works in ceramics, glass, fiber and wood, the pitcher’s body looked lighter and—para­ doxically—less fragile than a body of fired clay should. “I was completely surprised to see them use my pot on the banner,” says Bayless of this suddenly most the asymmetry of the pattern and the asymmetry of the form to visible piece at the annual show hosted by the Society of Arts and shadow and, in a sense, speak for one another. How he goes Crafts in Boston. about doing that—shifting perfect balances to activate the ob­ Bayless makes most of his living on sales from the four or five ject and in turn the beholder—involves more inspired technical major shows he applies to each year. He sells to individual collec­ ingenuity than one might imagine from the neat, unified ap­ tors at these shows, and also works with two galleries—the Blue pearance of any piece of Bayless ceramics. He isn’t one to accept Heron in Deer Isle, Maine, and the Works Gallery in Philadel­ standardized forms in any aspect of his artistry, neither in the phia—to make ends meet. But external symbols of success haven’t appearance of a finished piece of pottery nor in the tools he uses stymied his urge to evolve his art. to make the pottery. The pitcher on the banner, for example, certainly looks like a Though Bayless makes handbuilt functional objects of all finished idea. But Bayless says he “doesn’t like the prospect of sorts—including trays, espresso carafes, oil and vinegar cruet sets, making 20 copies of a single piece,” and if he had it to do over teacups, pitchers, wine goblets, flower vases, and coffee mugs— again, he would do some things differently. “See these feet?” he the dancing pitcher from the banner in Boston serves as a good asks, pointing out the four spiraled nubs. “I’d make them more example of his ingenuity. “That one’s not thrown on a wheel,” he pointed, which would make the teapot look even lighter on its stresses, adding that nothing he makes of clay starts out on the feet. And the handle, next time, would have more of a bend to it. wheel. “It’s built by hand, with extrusions for the sides of the top It wouldn’t be so regular. part; a single rolled-out slab for the billowing, cone-shaped part; “I like symmetry well enough,” the self-assured and serenely and extrusions for the feet, spout and handle.” He used a rolling relaxed potter continues, “as long as it’s not lock-step symmetry.” pin to stretch the single slab that forms the bottom, but it may But he loves putting the curve or the bend in both the form of a not have been an ordinary baker’s rolling pin (a perfect cylinder piece and its surface decoration; especially, it seems, if he can get with a handle at either end). Of the ten or more rolling pins he

Ceramics Monthly February 2005 33 “Demitasse for Two,” to 5 inches (13 centimeters) in height, wire-cut slab-built and extruded stoneware, thuya burl handles, wood fired.

stores on a shelf beneath a worktable in his studio, one features a Five years ago, Bayless built a Minnesota flat top kiln, of the prominent bulge in the middle, “formed,” he says, “by carving it kind invented by Nils Lou. Itself a product of the technical on a small lathe.” That rolling pin’s good for irregular shapes like ingenuity Bayless admires, the Minnesota flat top lives half out­ the ovular cone of the pitcher. side and half inside the garage he converted into a studio when he Rather than buying extruder dies, Bayless makes his own steel moved in the mid ’90s to a laurel-enwreathed house on a steep dies to form feet, spouts and handles. He maintains a selection of outcropping of granite in the woods of Ivoryton, Connecticut. approximately 30 dies, including the expected triangles, squares Outside stands the body of the car kiln, a yellow and brown and circles. “I use an electric scroll saw fitted with a metal- brick affair that a small adult can barely stand up in. It’s 4 feet wide cutting blade to cut the metal pieces,” he says, “and a torch to inside and contains 75 cubic feet. Its barely arched lintel consists of braze them together.” two rows of bricks that he “dipped in a slurry of sand and clay” that It’s worth repeating that all of Bayless’ pots are handbuilt with makes each brick wider at one end. Each wider end faces skyward in slabs and extrusions, if only for the way the elemental sound of the double row of bricks, causing the narrow ends of the vertically the phrase “handbuilt with slabs and extrusions” seems to simu­ arranged bricks to buckle together just a bit and rise up slightly to late the satisfying sound of the slabs being fused together. “I love form the mere suggestion of an arch. “It’s not catenary or Roman,” what spawns in the friction between what I want the material to says Bayless, “but I guess you could call it an arch. An arch that do and what it would rather do,” he says. “I’m intrigued by what won’t fall.” But there is no door attached to the kiln. happens when clay is rolled, stretched, pressed, incised, inlaid, Inside the clean, sliding doors of the well-lit studio stands the extruded, bent, cut and put back together.” And while he uses the car section of the kiln (with the door attached to one end), which wheel only to round off the lips of some of his vases, he does not slides through the open doors on a pair of iron rails to snugly fit limit himself in the method of decorative glazing or in the range into the airtight frame outside. “I was going to put the whole kiln of patterns he makes with those glazes. inside,” Bayless explains, “until I remembered a couple of stories

Ceramics Monthly February 2005 34 about studio fires. I figured it would be safer to keep the body of the main track from a steam train they run for tourists down in the kiln outside.” Also, by loading the car of the kiln inside, he Essex,” he says. “They’re about 120 years old, I’d guess.” avoids the bother and danger of loading in inclement weather, It seems that Bayless likes nothing more than to make use of “without having to clamber into the kiln itself.” old stuff that’s just been lying around, whether rolling pins, needle­ To support the rails in their 5-foot-long, mid-air journey from point canvases, deer tails or iron rails. The only tool he hasn’t the studio door to the elevated threshold of the kiln, Bayless, with modified might be the 1000-gallon propane tank that gets him another stroke of ingenuity that could be called “New England through about 13 firings or so—roughly two years of production. Yankee” if he hadn’t grown up in the Pacific Northwest, installed an Bayless loads his gas-fired kiln six or seven times a year with undergirder of additional heavy iron rails. “I got the rails that girder about 150 pieces of stoneware. “The less furniture you put in a kiln, the better,” he advises. One carefully stacked firing can include everything from teapots to platters to vases to mugs. The ware is bisque fired in an electric kiln, then glaze fired to Cone 9. The Minnesota flat top takes 18 hours to fire, then 48 hours to cool and just a few hours to unload. Selling the products of his ingenious efforts hasn’t always been Bayless’ means of making a living. In his 20s, he did work at somewhat related jobs, in the shipping department of a craft shop, for example. Then, after majoring in a succession of inter­ esting subjects at several schools in the Pacific Northwest, he finally graduated from the University of Minnesota. “When people hear that I went to the University of Minnesota, they often wonder what it was like to study ceramics under the legendary Car Inside, Kiln Outside: D. Hayne Bayless loads pasta bowls onto the car of his propane-fired Minnesota flat top. The car rolls into the studio’s double Warren MacKenzie in Minneapolis. I have to tell them that I never doors, making loading easy for a winter firing. took a ceramics class in college. I tried to take one, but the classes

Tray, 16 inches (41 centimeters) in width, slab-built stoneware, with copper matt glaze and wax resist, fired in reduction.

Ceramics Monthly February 2005 35 were always full!” His degree was in editorial journalism—his true tually built a body of work with a mature artist’s range and depth of calling at the time, in a discipline for which the University of form, and content that can accommodate further ingenious ex­ Minnesota was well known. Afterward, in 1983, he moved to perimentation within a recognizably D. Hayne Bayless style. Connecticut to work at the New Haven Register. By 1992, he had For further information and more images of D. Hayne Bayless worked as a reporter and then as the arts editor for the newspaper. work, see www.sidewaysstudio.com. Meanwhile, though, Bayless also had enrolled in classes at the Creative Arts Workshop in New Haven, to nurture the nagging the author A frequent contributor to Ceramics Monthly, Scott urge to work with clay. Gradually, he developed his interest in Ruescher lives in Cambridge, Massachusetts, and works in the Arts in handbuilt ceramics—what he calls “pottery unplugged”—and even­ Education Program at the Harvard Graduate School of Education.

MONTHLY methods Surface: Stencils and Resist

Bayless uses several found objects for stencils when it comes time to glaze the pieces. For the “banner in Boston” pitcher (right), the lucky found object was a perforated sheet of plastic—what’s known in needlepoint circles as a canvas, though it’s anything but—for stenciling a slip pattern onto the slabs before building the piece. “You can make a stencil out of anything,” he claims, leafing through a selection of kitchen shelf liners and stiff crinolines long ago used to line petticoats so that they would billow like the dancing pitcher’s skirt. Bayless stencils an optically illusory, warped grid of black dots onto a rolled slab of clay. Affixing the needlepoint canvas to the slab, he seals the plastic firmly against the clay so that the slip or pigment he’ll apply to the perforations won’t leak between the dots and make the eventual asymme­ try messy and obvious rather than neat and subtle. “I get lots of inspiration from Shang and Zhou Dynasty ritual bronzes and Jomon-period pots,” he notes. After applying the pattern, he removes the stencil and

flings the slab lengthwise along a clean worktable at an angle Pitcher, 12 inches (30 centimeters) in height, slab-built and extruded just steep enough to cause an interesting collision of the slab stoneware, with inlaid black slip, copper and matt Shino glazes; by D. with the table. If it were a plate, the slab would skid right off Hayne Bayless, Ivoryton, Connecticut. the table at this angle. Like a restless chef with a nice wad of kneaded dough that he doesn’t want to throw into the same He uses brushes as well—a homemade deer-tail brush, of old symmetrical pizza, Bayless undrapes the slab from the course—to paint patterns on certain bisque-fired surfaces. table to see what pattern he’s come up with—accidentally on That’s true of the gorgeous turquoise trays, pots and cups purpose, as it were. He knows roughly what to expect from that bear the pattern of multiple, parallel ribbons of brown having done it before, and there it is: a pattern that faithfully kelp trailing long leaves through aqueous space. After apply­ takes the shape of the clay it not only adorns but of which it ing a latex resist that will be peeled off before the firing has become an integral part. The stenciled grid of dots has (“otherwise it leaves an ugly residue,” he cautions), he dips felt the impact, shifting in the direction of Bayless’ forceful the pieces in the glaze, lets the glaze dry, and then applies the fling—a poetic wave in the regimented grid. seaweed pattern with the deer-tail brush.

Ceramics Monthly February 2005 36 “Rose Parade Float: Tea Time at Great Aunt Tillie’s,” 9 1 /» inches (23 centimeters) in height, slab-built and wheel-thrown whiteware, with china paints and lusters, fired multiple times. When Joan Takayama-Ogawa, then dean of studies at the Cross­ roads School in Santa Monica, California, first signed up for a ceramics class on summer vacation, she had no idea it would reconnect her with her past. What she discovered that summer was that her father’s family had a role to play in her newfound creativity. Her ancestors produced ceramics in Tokoname, Japan, for six generations, and several had earned reputations as noted potters in their time. One such ancestor, Jumon I, had a reputation for making red clay teapots and became renowned in several cities for it. This talent for daywork lay dormant in her genes until it was given a chance to bubble up to the surface and lay the groundwork for her new life as a clay artist. When Takayama-Ogawa swapped the life of a middle-school administrator for ceramist, she chose the teapot as her vehicle. It’s a familiar cultural symbol that allows her to express wit with texture and color. Much of the appeal of teapot art, given its associations with hearth and home, is that it’s accessible to the public, who in turn are able to “drop defenses” and be receptive to the message an object contains. Exhibition curators suggest that these messages can range from the complexly autobiographical to political, all the way to social commentary. One of Takayama-Ogawa’s earlier pieces, “Rose Parade Float: Tea Time at Great Aunt Tilly’s,” consists of a homey English cottage and intricate flower-garden images that overshadow the actual teapot function. With some of the artist’s other works, the teapot form is instantly recognizable. Takayama-Ogawa is known for scholarly explanations of what she does. However, she thinks of her art as “beauty holding humor in check and humor holding beauty in check.” Her teapot ideas start with the writing process. Often from 5 A.M. to 8 A.M., ideas start to flow on paper. Then she takes time to walk the dog. Back at her journal, she edits her thoughts into a concrete idea for a ceramic piece. Her eye often sets out to create provocative pieces in which tension between the forms brings out the most visual interest. Over time, Takayama-Ogawa has interwoven Japanese and women’s themes and even political events into her work. In her

“Tea Totem #1,” 22 inches (56 centimeters) in height, wheel-thrown “Sea Urchin” teapot series, she covered the pieces with recogniz­ whiteware, with china paints and lusters, fired multiple times. ably spiny forms by squirting glaze out of a condiment squirt bottle. The sea urchin texture gave the teapot and its matching teacup new visual interest. Other series have explored women’s domestic role in the kitchen and included stacked tea sets Takayama-Ogawa calls tea towers. If the tea towers remind the viewer of something, it is because the artist was inspired by the daily chore of stacking dishes in the sink. “Tea Totem I” exists as a largely vertical piece that begins at the base with a teapot, followed by a plate, a smaller teapot and another plate, with three teacups balanced on top.

Ceramics Monthly February 2005 38 “Coral Tea Set,” 12 inches (30 centimeters) in height, wheel-thrown whiteware with pencil texture, china paints and lusters, fired multiple times, with slab base.

In one of her latest series, Takayama-Ogawa has looked to the The beaded teabags recollect the days of glamorous eveningwear, world of pop culture for inspiration. She’s fashioned teapots in bedecked with multicolored crystals offset by constellations of the style of women’s handbags. These “Teabags,” as she calls color. These have the character of Samantha written all over them. them, were inspired by the popular television show “Sex and the A public-relations consultant, Samantha has an appetite for men City.” As a devoted fan of the show, she has designed the teapots that oozes from her every pore. By day, she dresses in sleek power to reflect handbags the show’s characters would wear. The objects suits; by night, her wardrobe becomes sultry. In Samantha’s world, fall into three subgroups—trophy, beaded and floral. most one-night stands look like fun and inspire her lust for life in The trophy handbag “Blue Gator Tea Bag” evokes the charac­ the bedroom and the boardroom. It is no accident that some of ter of Miranda through the classical alligator textures and the the beaded teabags have gold metallic lipsticks, combs and Mont whimsical use of the reptile’s gold metallic head and tail. A suc­ Blanc pens protruding from the clasp. And the teabag itself looks cessful, witty corporate lawyer who dresses conservatively on the as though it has enough room for an extra pair of Samantha’s job, Miranda waits until after business hours to express her unique panties and a toothbrush. Takayama-Ogawa doesn’t mind if her fashion spirit. Shades of red, orange, blue and purple, as well as audience also connects with the piece’s underlying sexual messages. exotic jewelry and accessories express her character’s duality. The The surfaces of the floral teabags have lush tropical flowers teabag’s alligator theme is a reminder of hunting (a sport popular spilling over their surfaces or used as accents fanning out from with the powerful set Miranda works among) and a sly reference them. The powerful female sexuality expressed in these works to the skin that once provided women with so many elegant and speaks to preppy Charlotte’s character. She is a former art dealer luxurious accessories. now involved in public service and charity work, and is always

Ceramics Monthly February 2005 39 “Ark of Paradise,” 27 inches (69 centimeters) in width, handbuilt whiteware, with china paints and lusters, fired multiple times, with semiprecious stones and gold beads.

classically polished, poised and perfect. Her outfits are always feminine and often accompanied by a classic strand of pearls. The character of Carrie is represented by some of the smaller evening teabags, with gold accents and a field of miniature rosettes covering the surfaces. She is a columnist who covers New York City’s night life. There is a saucy edge to her clothing that mirrors the singles scene she tirelessly follows. Whether she is decked in spiky heels, a feather boa or vintage wear, she is out to attract attention. Like the television program that inspired this work, Takayama-Ogawa takes her audiences on a journey, explor­ ing social issues and cultural identity. However, beyond the beautifully textured surfaces of her teapots lie other mes­ sages. “Japanese American Cultural Baggage” shows the artist’s cultural leanings and contains symbols of her ethnic identity. A teabag fashioned with a bamboo handle, a gold lid in the shape of a stylized fan and a horizontal clasp, patterned after eaves from a Japanese temple, sit serenely on a lacquered tray. The teabag’s surface draws its inspira­ tion from the constellation of stars seen in the foothills of Pasadena, California. “Blue Gator Tea Bag,” 18 inches (46 centimeters) in height, handbuilt and cast whiteware, with china paints and lusters.

Ceramics Monthly February 2005 The tray is filled with objects like a Medal of Honor commemorating the Japanese American 442 Regimental Combat Team and 100th Battalion (the most decorated military units in U.S. history), cherry blossoms, rice balls and fans. Also displayed are an origami gold crane; fish to represent those who earned their living by fishing; ginko leaves to represent those who became gardeners to support themselves; and geta, the wooden sandals that were part of traditional Japanese dress. Takayama-Ogawa has cleverly arranged many objects and managed to squeeze in a short history lesson in the process. Meanwhile, the joy of creation has never left her. “Opening the kiln after a firing is better than any Christmas morning,” she said. “Japanese American Cultural Baggage,” 28 inches (71 centimeters) in width, slab-built whiteware, with china paints and lusters, fired multiple times.

MONTHLY methods Low-Tem peratu re Multifiring

After slabs are rolled, Takayama- Ogawa slams them on the ground to release moisture. It pools along the outer edges so that it can be removed. She uses patterns to duplicate forms, a trick she borrowed from the fash­ ion department at Otis College of Art and Design, where she teaches English and speech classes. It takes between eight and nine firings to create a finished piece. She begins with the highest glaze firing at Cone 05 and works down to the lowest at Cone 019. She mixes her own glazes, and makes hundreds of test tiles to obtain the color combi­ nations needed. Her teapots have an air of elegance due to her liberal use of gold. The metallic finish is usually the last firing and the most tricky. “You either get gifts and kisses from the kiln or clay breaks your heart,” she said. About 50% of her pieces “Deco Beaded Tea Bag,” 9 inches (23 centimeters) in height, slab-built whiteware, with china paints and lusters, fired multiple times, with semiprecious are damaged or ruined before they stones and pearls, by Joan Takayama-Ogawa, Pasadena, California. make it through the entire process.

Ceramics Monthly February 2005 41 “Mihari Tower—Winter Series,” 13 1 /2 inches (34 centimeters) in height, handbuilt from wheel-thrown and textured stoneware slabs, double glazed. Portola Valley, California, potter Lee Middleman’s com­ plex work integrates seemingly simple pottery forms with sophisticated manipulations of the vessel surface. Accord­ ing to Middleman, “this allows the patterns [of his work] to evolve as the clay twists and expands,” to create vessels that “intrigue the eye and demand to be handled.” Five years ago, Middleman, who has a doctoral degree in physics, quit his job as vice president for research and development of a major medical instrumentation com­ pany to begin his ceramics career. Now he is involved in research and development of a different kind: exploring the plasticity and texture of clay, and the nuances of glaze. His study of texture began when he attended a workshop in Mashiko, Japan, and metTatsuzo Shimaoka, one of Japan’s Living National Treasures. When he returned home, Middleman tried to recreate the rope-impressed inlay work for which Shimaoka is widely known, but he found that impressing the rope into the clay distorted the shape of the vessel. He began “Southwestern-Style Vase,” 71 /2 inches (19 centimeters) in height, experimenting and developed a technique that “result[ed] wheel-thrown and hand-textured stoneware, with celadon glaze. in the texture evolving during the expansion of the ves­ sel.” Using this technique, he could make patterns that “gracefully twisted around the surface and spread its pat­ tern” without distorting the vessel shape. Instead of using a rope, Middleman created an im­ pressing tool—a bisqueware strip of clay with square teeth. With this tool, he forms different geometric pat­ terns on the exterior walls of a wheel-thrown stoneware cylinder with a flat base. After the cylinder dries to the stage at which it will hold the impression yet not be leather hard, Middleman “rethrows” the cylinder, using a soft rib inside to form a vessel shape while maintaining the integrity of the exterior texture. While experimenting with this new process, Middle­ man discovered that the impressed parts of the cylinder would stretch out and expand more than the unimpressed parts, which appeared as protruding shapes emerging from the stretched areas of clay. The more he stretched the clay to create the body of the vessel, the farther apart he would push the protruding shapes. This process cre­ ated a visual tension between the projecting shapes of the unstretched clay and the smooth surface of the vessel walls. It also created an interesting swirling pattern as he “Wings—Desert Series,” 8 inches (20 centimeters) in height, wheel-thrown reshaped the cylinder into a pot. and hand-textured stoneware, thinly glazed to retain microtexture. Middleman uses glaze to enhance the high-relief pat­ terns on his vessels. The swirling patterns on the surface of the pots create small valleys where glaze collects. This results in the glaze being thicker on the walls and thinner

Ceramics Monthly February 2005 43 (Cone 10) Bone Ash...... 6.9 % Dolomite...... 15.0 Whiting...... 9.3 Custer Feldspar...... 46.6 EPK (Edgar Plastic Kaolin)...... 22.2

100.0%

Add:Zircopax...... 9.6% Red Iron Oxide...... 1.0 Rutile...... 1.0

This glaze is thinly sprayed on work to retain the micro-texture or the clay surface while highlighting the hand texture.

Winter Series Glaze (Temmoku) (Cone 10) Whiting...... 20 % Custer Feldspar...... 33 EPK (Edgar Plastic Kaolin)...... 15 Silica (Flint)...... 32 100%

Add: Red Iron Oxide...... 9 %

The Winter Series is actually double glazed. An underglaze of Temmoku is first sprayed or poured over the piece. Then the Desert Series Glaze is applied on top. This highlights the texture and adds an interesting visual texture to smooth surfaces such as the lips.

“Chain Vase—Winter Series,” 9 inches (23 centimeters) in height, wheel-thrown and hand-textured stoneware, double glazed, by Lee Middleman, Portola Valley, California.

on the raised areas. He states that the “thinly glazed surfaces more space than they actually do. The tactile quality of the small highlight the macropatterns and reveal the stoneware clay’s projecting shapes from the smooth hand-thrown vessel walls cap­ microtexture [that was] created during the expansion process.” tures our immediate attention. Through his experimentations, his While ceramists are attracted to Middleman’s experimentation work has evolved to handbuilt ceramic structures that reflect his with the vessel surface and application of glaze, others may see the continuing interest in Asian and Native American influences. The influence of nature in the vessel forms. The “Sunflower” series body of work that Middleman has developed in the last five years resembles the whirling geometric spiral of seeds from the center has been keeping him busy. Currently, Middleman is president (corolla) of the flower. Yet to his Japanese viewers, his Sunflower and juried member of the Association of Clay and Glass Artists of series brings to mind Japanese iron teapots (nambu tetsubin). California, which represents over 500 artists. Middleman’s construct is the interplay between the inner and For further information about the work of Lee Middleman, see outer spaces, which creates tension as the walls appear to occupy www. leemiddleman. com.

Ceramics Monthly February 2005 44 Clays We Use Formulae for Clays in CM Recipes

There are probably as many kinds of clay as there are riverbanks, reliability of air-floated materials mined in large quantities. Even creekbeds, roadcuts, abandoned coal mines and backyard gullies, though the reasons for using commercially mined clays are most but most of the clays that many of us use on a regular basis are often based on a desire for a trouble-free product, the properties of commercially mined. Ceramics Monthly publishes several of these in clay as a natural material can make this goal somewhat elusive. The clay body and glaze recipes from professional studio artists and following chart contains the most recent information available. educational institutions with some regularity. However, because the chemical and physical makeup of naturally Because not all materials are available through all suppliers, this mined materials can change across a given deposit, this chart is chart is meant to provide data for the clays that have appeared in meant to be used as a starting point for clay substitutions. In order recipes published in Ceramics Monthly since 1980. You can use these to precisely recalculate a recipe using a substituted clay, you will data to compare the materials available through your supplier, or need to obtain a current data sheet for all materials you purchase those you have on hand, with materials in the published recipes. from your supplier (see “How to Interpret a Typical Data Sheet,” If you read “Choosing the Right Clay,” by Jeff Zamek, in the November 2003 CM). January issue, you became aware of some of the market forces Please note that the clays are presented in alphabetical order, and affecting the clays that are widely available to ceramics artists. While the formulae are presented with alumina (Al2O ) in unity (totalling the satisfaction, discovery and personal control that is possible through 1). This makes it easier to immediately see the ratio of alumina to prospecting and processing your own clay are certainly valid reasons silica, and also more accurately compares the relative amounts of all for the effort, most of us rely on the consistency and (relative) other components in the clays.

Ceramics Monthly February 2005 45 Ceramics Monthly February 2005 46 NCECA 2005 Preview

Centering: Community, Clay and Culture by Leigh Taylor Mickelson

There has been quite a buzz about what is coming to Baltimore in outdoor skating rink. But if it’s the art you are looking for, you the spring of 2005: the much-anticipated National Council on can start with the Baltimore Visitor’s Center, right on the harbor, Education for the Ceramic Arts (NCECA) conference, with all of where pamphlets are available on just about anything in Balti­ its bells and whistles. Baltimore more, including Tour de Clay. Then walk Clayworks saw the responsibility of on­ around to the tallest building on the har­ site liaison as an incredible opportunity bor, the World Trade Center, take a trip to engage local communities in a mean­ up the elevator to the Top of the World, ingful and productive way, sharing where you can see large-scale figurative Baltimore’s unique urban lifestyle. We works by Aaron Brophy, as well as the worked with a host of other cultural in­ best possible view of Baltimore’s harbor stitutions and came up with what has and cityscape. become “Tour de Clay.” Running Febru­ But there’s more to Baltimore than ary 19—April 3, it consists of over 170 what you see at first glance. Many his­ exhibitions of clay art in 123 venues. torical neighborhoods are bursting at the The theme of the 2005 NCECA con­ seams with clay exhibitions. Little Italy, ference is “Centering: Community, Clay a 10-15 minute stroll down Pratt Street, and Culture.” It was inspired by a quote is a pasta lover’s paradise, and while there from M.C. Richards that reads, “Free­ you can see five exhibitions at the Star dom is presence not absence. Centering Spangled Banner Flag House (did you is the act of bringing in not leaving out. know that Baltimore is the home of the It is brought about not by force but by Star Spangled Banner?) and the Balti­ coordination.” We see this theme as both more Public Works Museum. broadly inspiring and inclusive, impart­ Fells Point is just a bit further down ing a strong and centered focus for ce­ the harbor (you also can get there by ramics artists, as well as for Baltimore’s water taxi), and is the oldest section of institutions and individuals. Baltimore. This is the place to go if you Baltimore is a city of diverse ethnic want cobblestone streets, unique shops and racial communities with historical and plentiful pubs and restaurants. Plus, roots in Africa, Eastern Europe, the Car­ there are six galleries in the neighbor­ ibbean, Central America, Taiwan and hood showing everything from whimsi­ Korea. Broadly considered, culture is im­ “Rising,” 21 inches (53 centimeters) in height, cal teapots to abstract sculpture. earthenware, by Ho-Jeong Jeong; from “Uncommon portant to Baltimore’s lively atmosphere, The south side of the harbor holds Denominator,” at the Whole Gallery. and several cultural institutions have em­ the American Visionary Art Museum, ex­ braced the conference collectively and have worked to incorporate hibiting a “Community Mosaic Wall” and other mixed-media clay into their own organizational programs in 2005. The Greater works. A ten-minute walk further down Light Street will bring Baltimore Cultural Alliance has been our partner in convening you to the historical Federal Hill neighborhood, named for Fed­ the organizations and institutions as exhibition hosts, and we eral Hill Park (big hill with the flag on top). Aside from being a have brought together large institutions that are cornerstones to very chic residential neighborhood, it holds a host of unique Baltimore’s cultural life, as well as smaller grass-roots art and restaurants and bars, as well as a handful of galleries. Be sure not culture organizations throughout greater Baltimore. to miss Montage Gallery’s “Terra-Sutra II, Erotic Ceramics 2005” Upon arrival to downtown Baltimore, you will most likely be and School 33 Art Center, which will host solo installations and a drawn to the Inner Harbor like a moth to a light on a hot summer large group exhibition, “The Clay Studio: Thirty Years.” night. It’s okay—everybody does it. Just two blocks from the Walk north of the Inner Harbor area (or hop on the light rail) Baltimore Convention Center, the Inner Harbor is a scenic and to the National Register historical neighborhood of Mt. Vernon, popular waterfront area with retail stores, trendy restaurants (where and you’ll find large Victorian homes and carriage houses, numer­ you can partake of the ever famous Maryland Crab Cake) and ous restaurants, galleries, and cultural attractions. The district will other attractions such as street entertainers, paddle boats and an be hosting a total of 45 exhibitions during NCECA! You can

Ceramics Monthly February 2005 47 Roots.” Maryland Institute College of Art (MICA) boasts the most exhibitions for a single venue-15! Here you will find the “NCECA 2005 Regional Student Juried Exhibition,” “Contem­ porary Swedish Ceramics” and much more. You cannot visit Baltimore without coming to see us at Balti­ more Clayworks. We are a 24-year-old not-for-profit ceramic-art center in Mt. Washington, just 7 miles north of downtown, with a light-rail stop practically at our door step. In our main gallery, you’ll find “Endless Variations: Shino Review 2005,” featuring 123 shino pieces by artists from the U.S. and Canada. Addition­ ally we are very excited to host a Richard DeVore solo exhibition. Also, roughly 140 pieces from “The 2004 International Orton Cone Box Exhibition” will be on display. In our newly expanded and renovated studio building, there will be an exhibition featur­ ing the works of Baltimore Clayworks member artists and a juried student exhibition. Baltimore Clayworks residents will open their studio spaces to display additional artwork. NCECA’s bus loops and tour will be key in getting around to see as much as possible. The North Baltimore Loop has ten stops that include MICA, Baltimore Clayworks, Coppin State College and Morgan State University. Other points of interest on the North Loop are “Gas it Up: Salt, Soda and Slip” at the Potter’s Guild of Baltimore, and two exhibitions at the alternative ware­ house space, G-spot Audio/Visual Playground, featuring Beth

“Vessel Marker,” 14 inches (36 centimeters) in height, stoneware, Cavener-Stichter’s visceral animal sculptures, and sculpture by with underglazes, tired to Cone 6 in oxidation, by Blaise Depaolo; Ching-Yuan Chang and Bede Clark. from “Uncommon Denominator,” at the Whole Gallery. With nine stops, the South Baltimore Loop brings you to NCECA’s ever-popular “Clay National, School’s Out,” featuring the works of artists out of school less than six years, and “Pygmalion’s Gaze Reimagined: The Figure in Contemporary Ceramics,” a large exhibition of works exploring how gender affects interpretation of the human form. In addition, the south loop will make stops in Federal Hill, Little Italy and Fells Point. The NCECA Bus Tour will go to Annapolis, Maryland’s capital, where there are 14 downtown galleries showcasing clay. The tour also will stop at Anne Arundel Community College, which will host “Norwegian Clay” and “Ceramic Currents,” featuring artists and instructors from the University of Massachusetts Program in Artisanry. The Chesapeake Art Center will host the fourth-annual large-scale sculpture and installation show “Mish Mash Again.” But you still won’t be finished! These highlights only skim the surface of what will be on view during NCECA 2005 in Balti­ more. There are clusters of wonderful exhibitions in areas sur­ Teapot, 6 inches (15 centimeters) in height, stoneware, with Shino and ash glaze, fired to Cone 11 in reduction, by Tina Gebhart; from rounding Baltimore, all worth a visit, including six shows in “Endless Variations: Shino Review 2005,” at Baltimore Clayworks. Baltimore County, four in the quaint town of Westminster, four in Howard County, two in Cecil County—and the list goes on. enjoy historical ceramics at the Walters Art Museum or visit the After NCECA, there are two post-conference bus tours going to Maryland Historical Society to see brilliantly colored 19th-cen­ Frederick and Philadelphia, both of which have wonderful exhibi­ tury ceramic pieces in “American Fancy; Exuberance in the Arts tions. So here’s our advice: Come early and stay late! 1790-1840.” Meredith Gallery, which normally features hand For further information about attending the NCECA 2005 con­ crafted furniture, will host “Porcelain in the Anagama.” ference in Baltimore, Maryland, see www. nceca. net. Mt. Vernon is also home to the Eubie Blake National Jazz Institute & Cultural Center, which will host four multicultural the author Leigh Taylor Mickelson is the director of programs and exhibitions, including contemporary Taiwanese ceramics in “Taichi media relations for Baltimore Clayworks in Maryland. For further 66,” and works by eight New York clay artists in “Honoring Our information, see www. baltimoreclayworks. org.

Ceramics Monthly February 2005 48 “Gray Villa,” 21 centimeters (8 inches) in height, slab-built grogged stoneware, with Gray Matt Glaze, fired to 1230°C (2245 F) in reduction.

Ant je Wiewinner A Dialog Between Interior and Exterior by Nesrin During

German ceramics artist Antje Wiewinner makes architectonic, slab-built house forms and double-walled thrown vessels. Born in Munster in 1957, she studied art in Bremen. In 1981, she started her studio in Osnabruck, where she still lives. Her home, shoplgallery and studio are located on a crowded main street, but her inspiration lies in the woods of Finland, and her work radiates calm and quietness. She wants to recreate the harmony she feels in the woods, a sense of sacredness that transcends time and culture. She tries to capture qualities of the northern lights in her buildings—to let the light be seen as a quiet presence, floating through openings, creating its own shapes.

Ceramics Monthly February 2005 49 “Double-Walled Vessel,” 26 centimeters (10 inches) in height, wheel-thrown grogged stoneware with Red Stain, White Slip and Semi- matt Glaze, fired to 1230°C (2245°F) in reduction.

The buildings are empty rooms, with an inner and outer Other pieces are fired with sawdust after being sprayed with space. Light passes through them, creating deep shadows. The Red Stain. Wiewinner makes a saggar for each piece made of four internal spaces are perhaps rooms “free to be filled with your own or five layers of newspaper covered with thick slip. She fills the imagination,” says Wiewinner. They have dignity. They are sober unfired saggar with sawdust and packs the pieces into the saw­ archetypes that seem timeless. The stairs in some of the works dust. She inverts the entire sagger on a kiln shelf so that the kiln lead “wherever you can imagine yourself. Maybe a better or higher shelf becomes the bottom of the saggar and then fires these pieces point of view,” says Wiewinner. to 1230°C (2245°F). She starts by visualizing the pieces in her head and making The third, and the most recent, option is work made of light simple schetches. She then cuts templates from cardboard to gray firing, grogged stoneware clay. With these pieces, straight construct a maquette. Only then can she see if it is what she had walls are giving way to rounded, slanted walls. After being as­ in her mind. Changes of proportions happen at this stage. When sembled at the leather-hard state, these pieces are scraped to bring the final maquette is satisfactory, the clay work begins. out the texture of the grog. They are bisque fired and then She rolls out clay slabs of grogged stoneware and cuts out the brushed with a solution of copper oxide in water. This is washed pieces according to the cardboard templates. When she first began away under a tap, so only the grooves retain the copper oxide, making these shapes, she lost a lot of work. Because the outer then a layer of Red Slip is sprayed on top. space dries before the inner space, she dries them very slowly and Wiewinner started her ceramics career throwing. She still carefully. She also never fires them higher than 1240°C (2265°F) throws—it is, for her, a meditative process. She is well known for so they don’t sag or bend. her robust double-walled Germanic shapes. She likes the tension After bisque firing in an electric kiln, some of the houses are between the inside and the outside of the form, and the feel of glazed with a Gray Matt Glaze. The pieces are then fired in thickness and strength. These vessels are thrown of a grogged reduction to 1230°C (2245°F) in a gas kiln. pyrite (mica) stoneware. After throwing the forms, when the pots

Ceramics Monthly February 2005 50 reach the leather-hard stage, she textures them by adding bits of clay to the surface by hand. She bisque fires them and stains the surface with the Red Stain, on top of which she applies a layer of White Slip. This slip is washed away with water, so that the texture retains the slip. After the slip is dry, a thin layer of Semimatt Glaze is applied, and the pieces are then fired to 1230°C. Wiewinner is a perfectionist. She tries to make pieces of quiet, lasting value—simple, interesting and exciting. She is a quiet person who creates quiet pieces, where interior and exterior engage in dialog.

Gray Matt Glaze (1230°C!2245°F) Barium Carbonate...... 8 % Whiting...... 8 Nepheline Syenite...... 50 Potassium Feldspar...... 34 100% Add: Red Iron Oxide...... 2 %

Red Stain Red Iron Oxide...... 34 % Manganese Dioxide...... 22 Kaolin...... 22 Silica (Flint)...... 22 100%

Red Slip Red Clay...... 45 % White Clay...... 22 Silica (Flint)...... 33 100% Firing in oxidation to 1240°C (2265°F) gives reddish hues. Firing in reduction to 1230°C (2245°F) gives grays.

White Slip Wood Ash ...... 8 % Potassium Feldspar...... 8 Kaolin...... 84 100%

Semimatt Glaze (1230°C12245°F) Dolomite...... 3 % Whiting...... 11 Nepheline Syenite...... 77 Kaolin...... 9 “Stair,” 44 centimeters (17 inches) in height, slab-built grogged stoneware with copper wash and Red Slip, saggar fired to 1230°C (2245 F), 100% by Antje Wiewinner, Osnabriick, Germany.

Ceramics Monthly February 2005 51 Beauty in Simplicity: DaNisha Sculpture By Eleanor Piazza

Not the types to spend days driving to a special site to mine a these three things. In fact, we realized that these fundamentals particular clay, or fan a wood-fired kiln, nor to disrespect those were all the things we ignored or deemed too boring to pay who do, Nisha and Dan Ferguson get right to the heart of their attention to in art school. They are precisely the things the teach­ art form: a union of sculpture and painting. Two artists and two ers were trying to impress upon us as the most important.” art forms integrated in one seamless unit: DaNisha Sculpture. “It is Dan creates the base, a sculpture, which supports the bowl, the love of art that excites us: not the process and production, not designed and painted by his wife Nisha, partner in both life and the clay or the glaze, but the resulting sculpture. We respect process art for 13 years. Dan, who apprenticed Canadian sculptor Will­ and spend long hours in the details of creation,” declares Dan, iam McElceran from 1989 to 1991, stresses that “Sculpture doesn’t “but our passion for what we do lies in the image, in the end result.” have to be bronze or stone to be art.” Dan creates the original “Our work consists of sculpture, drawing and painting, and sculpture from plastelina, and then plaster piece molds are made design,” Dan tells us. “Over the years we have found ourselves around the sculpture, and the original model is discarded. The drawn to restudying and reviewing the fundamental principles of plaster piece molds take much longer to make than the actual

“Esther,” 11 inches (28 centimeters) in height, slip-cast earthenware, with underglazes, fired to Cone 04. “Triple Elephant,” 13 inches (33 centimeters) in height, slip-cast earthenware, with underglazes, fired to Cone 04.

Ceramics Monthly February 2005 53 “Guardian Angel,” 11 inches (28 centimeters) in height, slip-cast earthenware, with underglazes, fired to Cone 04.

sculpture itself. Never one to sacrifice the intricacy of the form for expansive studio. To wander around this studio, where there is production’s sake, Dan’s molds have anywhere from 12 to 30 always music playing, is an intoxicating experience. Not often is pieces. Most molds for commercial ceramics are composed of one surrounded by such an exotic menagerie; animals from zoos, only one or two pieces. the circus, jungles and the farmer’s field mix it up happily with “I have learned, and am continuously learning, how to edit the humans and angels. forms of life so as to describe the figure elegantly and without Nisha presides over a long, narrow table laden with bowls. clutter. Real life contains an infinite amount of detail. It is my job Some she has just drawn and they wait, full of promise, but still to find just the right amount of detail in order to create some­ nude of color. Some are partially painted, and others, just fin­ thing beautiful. As in all things, there is beauty in simplicity. This ished, gleam with fresh underglaze and vitality. She sits easily in a is the art of sculpture. I also am continuously improving the comfortable office chair; necessary due to the long hours she technical side of sculpture: proportion, anatomy and form.” spends painting and drawing, and has an array of glaze jars The base of each sculpture is cast in an edition of 44, but around her, in her very own vibrant palette. Her long brush Nisha draws and paints the bowls differently each time. Each twitches with creative force as she works her way around the belly sculpture is unique; despite the number in the edition. They sign of a frog, the inside of a bowl full of flowers, or each spot on a each piece individually, Nisha her bowl and Dan his sculpture. cheetah’s coat. An old warehouse comfortably settled into a hillside overlook­ In the “Redondo” edition. Three hefty elephants, in magnifi­ ing the city of San Miguel de Allende, Mexico, serves as an cent circus harness, steadfastly balance a bowl that spills over with

Ceramics Monthly February 2005 54 stars and crescents. Overseeing all of this, in bovine benevolence, Around the arched windows and doorways are found further is good old “Esther” the cow—a force unto herself. ornamentation: stencils, tiles and trim colors that enrapture the Possessing an intimate relationship with their environment senses. It is to step back into the unedited innocence of a rainy and a keen sensitivity to the immediacy of their surroundings, the day, armed with a new box of crayons and lots of paper. Fergusons have developed through various external influences. Mexico has provided so much inspiration for the Fergusons, First, bustling Toronto, where Dan and Nisha met in 1986 as and yet another source of energy has come in the form of libera­ students at the Central Technical School’s Art Centre in Toronto. tion. In the nearby town of Dolores Hidalgo, an important center Next, the pastoral retreat of their studio in southern Ontario. of Talavera pottery in Mexico, Dan discovered a master crafts­ They moved there soon after graduation, and that is where their man, part of a multigenerational family mold making business. firstborn son arrived in 1992. It was there, in a moment of He agreed to produce the complicated, time consuming and inspiration that was to become their destiny, that they mounted demanding plaster piece molds for Dan. How appropriate that one of Nisha’s bowls onto one of Dan’s sculpted bases that their the experience of a skilled, competent, Mexican artisan lend a collaboration as artists took shape in earnest. hand to DaNisha Sculpture. In 1994, the couple returned to Toronto and this time lived in “Sculpture is my department; drawing and painting is Nisha’s a community, surrounded by other artists, performers and musi­ department. However,” Dan reminds us, “design is what unites cians. Nisha’s fascination for the renowned Canadian aerial acro­ us. The overall design of a piece is where we collaborate most and batic troupe, Cirque de Soleil, spurred by her love of dance and it is here that we have had to feel around the most in order to find being a practicing gymnast herself, accounts for the circus theme a purchase with which to climb. It has been slow sometimes, but so prevalent in their work. Nisha developed her own trapeze we feel now that we are beginning to understand the subtle, yet troupe at this time, GravityWorks Canada, whose routines she profoundly important rules of elegant design which will help us choreographed and took on the road. They started out in Canada, create something very beautiful and very pleasing to the eye.” then to the United States, and eventually to Mexico where she Forfurther information on Dan and Nisha Ferguson and Danisha took to the air in GravityWorks South. This meant that Dan’s Sculpture, see www.danishasculpture.com. beloved Esther, over time, ran away with the circus and joined up with elephants, zebras, acrobats and camels. One of the newest subjects to emerge from the Fergusons, the angel, once again reflects their immersion into, and love for, a new geography and culture. Angels are omnipresent in the archi­ tecture and art of Mexico, and this is where they established their new home and studio, following the birth of their second child. “After moving to Mexico in 2001,” Nisha relates, “the first thing that infiltrated my work was the colors of this beautiful country. I find that I am feeling freer to experiment with color in more unusual ways.” And that may explain why Esther now has a bright yellow sister. “Line, color and composition are my play­ ground,” Nisha continues, “and I use them to express everything I feel and see inside my head. Over the years my drawing skills have improved so much, and with each year they improve still. It is such a pleasure to be able to render what you feel. I am always discovering new things and learning more and more how to really see. My work is continually evolving and changing. That is the best thing about it!” For an artist having a love affair with brilliant colors, it is difficult to imagine a better place to be than in an old colonial gem of a town in the central highlands of Mexico. San Miguel de Allende exudes color—color in the most surprising of combina­ tions. Just dashing out the door on a routine errand can be an otherworldly experience. All year long, aubergine, copper, peach and scarlet blossoms carpet the streets and form kaleidoscopic drifts along the sides of the road. In the springtime, towering jacaranda trees burst into lavender canopies of shade. Not since watching a kid let loose at an easel in kindergarten will you find “Zebra Dance,” 17 inches (43 centimeters) in height, slip-cast earthenware, houses all in a row painted yellow, cobalt, fuchsia and orchid. with underglazes, fired to Cone 04, by DaNisha Sculpture.

Ceramics Monthly February 2005 55 Rain Harris: The Process of Addition by Leah Kaplan

Untitled, 41 /2feet (1.4 meters) in height, slip-cast “Ebb,” 8 feet (2.4 meters) in height, slip-cast porcelain, with luster wallpaper. porcelain, with luster wallpaper.

A bundt cake pan, an old metal hand juicer, a Christmas orna­ methods of mass production, but ultimately thinks of herself as a ment, a hobnailed lamp part. Each object shares a repeating handbuilder, since slip casting is merely a means to an end. pattern or interesting symmetry that has caught the eye of ceram­ Nature’s patterns and growth structures infuse her work, but her ics artist Rain Harris. She is about to cast them in plaster, adding vessels have a decidedly manufactured quality. Her inspiration is to her already considerable collection of molds that line one wall not so much nature, but nature once removed—the stylized pho­ of her studio. Harris refers to these plaster molds as the building tographs of pods and plants by Karl Blossfeldt, for example, or blocks, or vocabulary, of her work. One soon sees why. vintage botanical drawings. Reaching below a work table, Harris pulls out a plastic bin Harris creates through the process of addition and transforma­ filled with a monochromatic treasure trove of gray, slip-cast ob­ tion, building up elemental forms to create ever more complex jects, still moist and pliable. With a utility knife, she expertly shapes. Only upon close inspection of her finished work is it bisects a slip-cast Christmas ornament and turns it upside down. possible to identify remnants of the original objects. Out of her In the hollow, Harris inserts a smaller hemisphere with angled stowed bin of cuttings and castoffs emerge some of her best cuts, then adds another piece in the center. After a few skillful pieces. “I have no allegiance to particular things. They’re not twists and turns, the resulting form looks like a flower, but is not precious—just leftovers that I can cut apart, section and assemble quite a flower. again until I get something I like,” says Harris. By creating organic forms through the deconstruction and For the past three years, these objects have primarily taken the reassembly of cast, found and man-made objects, Harris explores form of poison bottles, a reference to decorative cosmetic jars and unusual juxtapositions and teases out contradiction. She uses the vials that once contained ingredients such as lead, cadmium and

Ceramics Monthly February 2005 56 arsenic, among other toxins. Harris traces the origins of the ultimately leaving their skin yellow and parchment thin, to Victo­ poison bottle series to her interest in feminist themes, along with rian women who took arsenic to clear their complexions. While a penchant for the bizarre, obscure and macabre. Her research on many of the examples are rooted in the past, Harris also is quick womens’ beautification rituals has covered many cultures and to point out several contemporary beauty practices, such as Botox eras, from Japanese geisha girls who lined their faces in white lead, injections. “It’s only after the fact that we understand what’s good for us and what’s bad for us,” says Har­ ris. “One hundred years from now, people will look back in horror at things we’re doing today. History always repeats itself.” The poison bottles began as single, slip-cast forms, but have grown in com­ plexity over time. Many are composed of bilaterally and even trilaterally sym­ metrical pod and gourd shapes, reflecting Harris’ interest in natural structures, as well as her constant need to challenge herself technically. The bottles are bulbous and sexual, often with curving, slightly menacing append­ ages. The idea of deadly beauty perme­ ates the forms. The poison bottles offer an implicit critique: “What price beauty?” The series simultaneously plays with, and even indulges, notions of van­ ity and narcissism. The bottles are of­ ten densely layered with decals built up on the surface over a series of firings. Luster glazes, flocking, rhinestones, gild­ ing and even feathers are added to pieces. Like the women who dipped into their contents for the sake of vanity, the poi­ son bottles can’t help themselves from getting all dolled up—sometimes to the extreme—skirting the line between opu­ lence and gaudiness. Harris’ creative process of addition is as integral to the construction of the poison bottles as it is to their decora­ tion. She piles on surface treatments until she has pushed the poison bottles from refinement to tastelessness and then back again. “There is so much going on that one can no longer read the layers individually. “They become something different,” says Harris. “The vessels become so extreme that they finally come full circle and redeem “Surviving Desire,’’ poison bottle, 16 inches (41 centimeters) in height, slip-cast porcelain, with lusters, rhinestones. themselves.” Harris refers to the overall effect as biomorphic baroque, a term that weds her organic- inspired forms with decorative excess. In addition to the Baroque period, the Rococo and Victorian eras also have served as creative fodder for Harris. Specific objects have inspired her, too. French porcelains and Faberge eggs, with

Ceramics Monthly February 2005 58 their lavishness bordering on garishness, are among those that caused her to question the subjective nature of taste. “I am fasci­ nated by the ridiculous yet elegant object,” says Harris. Her passion for dense surface design was first kindled, albeit somewhat reluctantly, at the Rhode Island School of Design, where she earned her B.F.A. in 1997. “Initially, I was afraid of firing my work,” Harris admits. “The glazes always seemed to ruin it or come out wrong. Then I learned that it’s okay to make stuff you hate. I realized that new ideas and discoveries can come out of it.” Harris credits Jackie Rice, her ceramics professor, for convincing her to layer and build up surfaces. She pushed Harris to keep firing a piece until she either “loved it or wanted to smash it.” Harris traces her irresistible urge to adorn to a long-standing interest in jewelry making. “I like the concepts and ideas behind jewelry. I like the materials and the sculptural qualities,” she says. But the scale and way of working was all wrong for her—too tiny and exacting. Clay offered a more tactile, fluid medium. Harris confesses that her sometimes over-the-top decoration also grows out of her love of costuming and dressing up. When she isn’t in her studio uniform of worn overalls, she can be found in a skirt and high heels, decked out in jewelry and one of her many handbags. “Even as a kid, I was part tomboy and part prom queen. I always gravitated to flounces and purple lame,” she says. When Harris is adding the finishing touches of gold, rhinestones or feathers to her pieces, the vessels often take on their own distinctive personalities. Over the last year, Harris has been as consumed by the settings for the poison bottles as by the vessels themselves. They seemed to call out for a suitable and equally flamboyant stage. Harris first tried putting the bottles on a variety of pedestals, including cake stands. But she still felt she was fighting against the stark white walls and cubes of the galleries in which her work was typically shown. “The minimalism of the gallery spaces clashed with the “Presuming Desire,” 4 feet (1.2 meters) in height, slip-cast porcelain, with decadence of my pieces,” says Harris. lusters, wallpaper and feathers by Rain Harris, Philadelphia, Pennsylvania. Finally, she tried placing a bottle on a wall ledge. The jump from pedestal to wall was an epiphany for her. Before long, she was creating entire wall installations, replete with either matching every which way—inward, outward, upside down and sideways, or clashing wallpaper framed by porcelain tiles that reference the Harris creates intricate patterns on the wall, making the sum truly papers’ arabesque, paisley and floral patterns. At the center of greater than the parts. each installation, Harris placed a poison bottle resting on a coor­ The compositions are sometimes so elaborate, that it’s easy to dinated, equally ornate, shelf. forget that Harris is using the same tile module over and over The culmination of all this experimentation is Harris’ most again. But, for an artist whose motto is “more is more,” Harris recent exhibition “Gilding the Lily,” which contains nine wall also finds a way to create more with less. In her typical fashion, installations. The installations are, by turn, harmonious and tightly endless variation comes out of her self-imposed restraint. She ordered, chaotic, and free-spirited. They eerily creep across the continues to tinker with the wall pieces every time she installs wall or explode with exuberance. Their architecture and design them in a new venue. “One thing I’d like to try is changing the also suggest a woman’s boudoir, with each one reflecting the mood of a piece simply by rearranging the wall tiles,” says Harris. unique personality of the unseen inhabitant. All of them revel in “The one aspect that bothers me about Gilding the Lily,” says their excessiveness. Harris, “is that you can still see a blank wall.” She’d like to do an Each wall installation relies upon a single decorative tile mo­ entire room or even a whole house—covering the walls, the tif—be it a green porcelain s-curve with fruitlike appendages or furniture, the ceiling, the floor, everything. “After all,” says Har­ an octopus-textured arabesque—to create the visual backdrop ris, “if you’re going to explore the concept of excess, you should and framing device for the poison bottle. But by turning the tiles do it in an excessive way.”

Ceramics Monthly February 2005 59 www.mofa.fsu.edu/combinedtalents.htm; or tele­ www.sarreguemines-museum.com; telephone (33) 3 call for entries phone (850) 644-3906. 87 98 93 50. Deadlines for Exhibitions, Fairs and Festivals March 1 entry deadline June 15 entry deadline See call for entries online at www.ceramicsmonthly.org Iowa City, Iowa "Forms and Shapes: Narrative Vessel" Damascus, Maryland "Kaleidoscope Reflections" (Sep­ (June/July), open to thrown or handbuilt vessels using tember 8-October 15), open to all media relating to storytelling in myriad techniques. Juried from slides. kaleidoscopes. For prospectus, send SASE to Brewster Juror: Dan Anderson. Fee: $50. For prospectus, send Kaleidoscope Society, PO Box 95, Damascus 20872; International Exhibitions SASE to AKAR, Attn: Forms and Shapes prospectus, 4 see www.brewstersociety.com. S. Linn St., Iowa City 52240; seewww.akardesign.com; July 1 entry deadline February 14 entry deadline or telephone (319) 351-1227. Cheongju City, Korea "Fourth Cheongju International Tallahassee, Florida "Combined Talents: The Florida March 31 entry deadline Craft Competition" (September 30-0ctober 23), open International" (August 22-September 25), open to Sarreguemines, France "5th International Ceramics to craftworks reflecting the theme "Hide and Reveal." North American artists in all media. Juried from up to 2 Competition: A Set of Three Plates" (June), open to Juried from 3 slides and 1 color photo. Awards: grand slides. Jurors: Florida State University School of Visual functional ceramics. Juried from slides. Awards: grand prize US$20,000 (includes purchase of artwork); four Arts and Dance Faculty. Fee: $20. Awards: $1500. prize, €3800 (US$4668); young ceramist award, €1500 gold prizes US$10,000 each (includes purchase of Contact Jean D. Young, Florida State University Mu­ (US$ 1221); series award, €1500. Contact Musee de la artwork); 1 silver prize per category, US$2500 each; 1 seum of Fine Arts, 250 Fine Arts Bldg., Tallahassee Faience, 17 rue Foincare, Sarreguemines F-57200; bronze prize per category, US$1000 each. For pro­ 32306-1140; e-mail [email protected]; see e-mail [email protected]; see spectus, contact Competition Dept., the Organizing Committee of the Cheongju International Craft Biennale, 755 Sajik 1 -dong, Heungdeok-gu, Cheongju City, Chungcheongbuk-do, 361-828 Republic of Ko­ rea; e-mail [email protected]; see www.okcj.org; telephone (82) 43 277 2603; or fax (82) 43 277 2610.

United States Exhibitions

February 11 entry deadline Lincoln, California "Feats of ClayXVIH" (April 23-May 22). Juried from slides. Juror: Rodney Mott. Fee: $15 for 1 entry; $25 for 2; $30 for 3. Awards: $26,000. For prospectus, send #10 SASE to Lincoln Arts, 580 Sixth St., Lincoln 95648; or see www.lincolnarts.org. Lubbock, Texas "Clay on the Wall: 2005 Clay National" (April 16-June 24), open to wall-mounted ceramics. Juried from slides. Jurors: Glen R. Brown, associate professor of art history, Kansas State Univer­ sity and Juan Granados, ceramics professor at Texas Tech University. Fee: $20 for 3 entries; $25 for 4; $30 for 5. Awards: $2500. For prospectus, send SASE to TTU School of Art, Clay on the Wall, Attn: Joe Arredondo, Box 42081, Lubbock 79409; see www.landmarkarts.org; ortelephone(806) 742-1947. February 14 entry deadline Carbondale, Illinois "The Clay Cup X" (March 28-May 3), open to ceramic works addressing the cup. Juried from slides. Juror: Virginia Scotchie. Fee: $25 for up to 3 works. Awards: $2500. For prospectus, contact Clay Cup X, the School of Art and Design, Southern Illinois University, Carbondale 62901-4301; or e-mail Dyan Green [email protected]. February 24 entry deadline Santa Ana, California "Get it Off Your Chest" (April 2- May 1), open to artwork in all media with breasts as subject matter. Juried from slides. Jurors: Joanna R. Roche and Christina Y. Smith, assistant professors, California State University, Fullerton. Fee: $35 for 3 entries; $ 10 for each additional entry. Contact Orange County Center for Contemporary ArtAVomen in the Arts, 117 N. Sycamore, Santa Ana 92701; e-mail [email protected]; or see www.occca.org. March 1 entry deadline West Palm Beach, Florida "Mad Hatter's Tea Party" (March 15—April 16), open to fun, wild, wacky teapots in all media. Juried from slides or jpegs. Juror: Debbie Weinstein. Fee: $ 15 for up to 3 entries. For prospectus, send SASE to Armory Art Center, Attn: Mad Hatter, 1700 Parker Ave., West Palm Beach 33401; or see www.armoryart.org. March 4 entry deadline Kent, Ohio "Fifth Annual National Juried Cup Show" (April 27-June 11). Juried from slides. Juror: Renee Fairchild, assistant editor, Ceramics Monthly and Pot­ tery Making Illustrated. Fee: $20. Contact Anderson Turner, director, Gallery 138, Kent State University, School of Art, PO Box 5190, Kent 44242-0001; e-mail gallery [email protected] ; or telephone (330) 672-1363. March 5 entry deadline Carbondale, Colorado "For Two" (April 1-May 5), open to ceramics using the theme "2" or "Pairs." Juried from up to 3 slides. For further information and prospectus, send SASE to Carbondale Clay Center,

Ceramics Monthly February 2005 60

February 28 entry deadline call for entries Lancaster, Pennsylvania "Long's Park Art and Craft Festival" (September 2-5). Juried from slides. Fee: $27.50. Contact Long's Park Art and Craft Festival, PO 135 Main St., Carbondale 81623; e-mail Box 1 553CML, Lancaster 17608-1553; e-mail [email protected]; telephone (970) 963-2529. [email protected]; see www.longspark.org; tele­ March 19 entry deadline phone (717) 295-7054; or fax (717) 290-7123. Waynesboro, Virginia "Sacred Icons: A Collective Vision March 7 entry deadline of Symbolic and Ritual Objects" (May 19-June 29), Madison, Wisonsin "2005 Art Fair on the Square" (July open to all craft media. Juried from slides or CD. Juror: 9-10). Juried from 4 slides. Fee: $29. Booth fee: $375. Michael W. Haga, program coordinator at the College Awards. For prospectus, contact Madison Museum of of Charleston's School for the Arts. Fee: $20. Cash Contemporary Art, 222 W. Washington Ave., Ste. awards. Commission: 40%. For prospectus, sendSASE 350, Madsion 53703; see www.mmoca.org; or tele­ to Artisans Center of Virginia, 601 Shenandoah Vil­ phone (608) 257-0158. lage Dr., Waynesboro 22980; e-mail [email protected]; March 15 entry deadline see www.artisanscenterofvirginia.org; or telephone New Brunswick, New Jersey "31 st Annual New Jersey (540) 946-3294. Folk Festival" (April 30), open to all craft media. March 25 entry deadline Juried from 4 slides or 4 digital images. Fee: $5 for Walnut Creek, California "Pots: Objects of Virtue" new crafters; previous participants, free. Booth fee: (June 1-August 14), open to contemporary ceramic $130 for 10x10-foot space. Contact Helene Grynberg, vessels. Juried from up to 3 slides. Juror: Mark Pharis. Rutgers, the State University of New Jersey, 131 Fee: $35. For prospectus, send SASE to Bedford Gal­ George St., New Brunswick 08901-1414; e-mail lery, 1601 Civic Dr., Walnut Creek 94596; or see [email protected]; see http://njfolkfest.rutgers.edu; www.bedfordgallery.org. telephone (732) 932-5775; or fax (732) 932-1 169. March 28 entry deadline April 1 entry deadline Surf City, New Jersey "Jersey Shore Clay National" Verona, New Jersey" 19th Annual Fine Art and Crafts (May 28-June 26), open to functional and sculptural at Verona Park" (May 14-15), open to all handcrafted ceramics. Juried from slides. Juror: Peter Callas. Fee: work. Juried from 4 slides. Booth fee: $295 for 10x12- $10 for 1 entry; $20 for 2; $25 for 3. Awards: Best in foot space. Contact Rose Squared Productions, Inc., Show, $500; 2nd place, $250; 3rd place, $100; pur­ 12 Galaxy Ct., Hillsborough, NJ 08844; telephone chase award. Commission: 40%. For prospectus, send (908) 874-5247; e-mail [email protected]; SASE to m.t. burton gallery, JSCN, 1819 Long Beach see www.rosesquared.com; or fax (908) 874-7098. Blvd., Surf City 08008; e-mail [email protected]; May 1 entry deadline see www.mtburtongallery.com; telephone (609) 494- Cranford, New Jersey" 17th Annual Spring Nomahegan 0006; or fax (609) 494-0105. Park Fine Art and Crafts Show" (June 4-5), open to all April 1 entry deadline handcrafted work. Juried from 4 slides. Booth fee: Bemidji, Minnesota "It's Only Clay" (July 1-21). Juried $295 for 10x12-foot space. Contact Rose Squared from slides; up to 3 entries. Fee: $25. Contact Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ Bemidji Community Arts Council, 426 Bemidji Ave., N, 08844; e-mail [email protected]; Bemidji 56601; e-mail [email protected]; see www.rosesquared.com; telephone (908) 874-5247; www.bcac-mn.org; or telephone (218) 444-7570. or fax (908) 874-7098. May 16 entry deadline Montclair, New Jersey "17th Annual Spring Mableton, Georgia "18th Annual National Juried Art Brookdale Park Fine Art and Crafts Show" (June 18- Exhibition" (July 11-August 14), open to all media. 19), open to all handcrafted work. Juried from 4 slides. Juried from upto 3 slides. Fee: $25. Cash and purchase Booth fee: $295 for 10x12-foot space. For further awards. For further information, contact South Cobb information, contact Rose Squared Productions, Inc., Arts Alliance, 5239 Floyd Rd., Mableton 30126; or see 12 Galaxy Ct., Hillsborough, NJ 08844; telephone www.artshow.com/mablehouse. (908) 874-5247; e-mail [email protected]; June 24 entry deadline see www.rosesquared.com; or fax (908) 874-7098. Geneseo, New York "In Our Cups" (August 27-Sep- August 1 entry deadline tember 15), open to ceramic drinking vessels. Juried Upper Montclair, New Jersey "22nd Annual Fine Art from slides. Fee: $25 for up to 3 works. Awards. For and Crafts at Anderson Park" (September 17-18), prospectus, send SASE to "In Our Cups" Art Dept., open to all handcrafted work. Juried from 4 slides. SUNY Geneseo, 1 College Cir., Geneseo 14454; or Booth fee: $295 for 10x12-foot space. For further e-mail [email protected]. information, contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected]; www.rosesquared.com; Regional Exhibitions telephone (908) 874-5247; or fax (908) 874-7098. March 11 entry deadline September 1 entry deadline Niceville, Florida "13th Southeast Regional Juried Fine Cranford, New Jersey "17th Annual Fall Nomahegan Arts Exhibition" (May 16-June 9), open to artists resid­ Park Fine Art and Crafts Show" (October 1-2), open to ing in the Southeast. Juried from slides. Juror: Mark M. all handcrafted work. Juried from 4 slides. Booth fee: Johnson, Montgomery Museum of Fine Arts. Fee: $30 $295 for 10x12-foot space. Contact Rose Squared for 1 entry; $35 for 2; $40 for 3. Awards: $2500. Best- Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ in-Show offered solo exhibition. For prospectus, send 08844; e-mail [email protected]; see SASE to M Eady, ADSO, 17 First St., SE, Fort Walton www.rosesquared.com; telephone (908) 874-5247; Beach, FL 32548; or see www.artsdesignsociety.com. or fax (908) 874-7098. April 5 entry deadline Montclair, New Jersey "Seventh Annual Fall Erie, Pennsylvania "82nd Annual Spring Show" (April Brookdale Park Fine Art and Crafts Show" 23-June 12), open to artists in a 250-mile radius of Erie. (October 15-16), Juried from 4 slides. Booth fee: $295 Juror: Steven Assael. Contact Erie ArtMuseum, 411 State for 10x12-foot space. Contact Rose Squared Produc­ St., Erie 16501; e-mail [email protected]; see tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail www.erieartmuseum.org; telephone (814) 459-5477. [email protected]; www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. Fairs and Festivals For a free listing, submit information on juried events at least February 5 entry deadline four months before the entry deadline. Add one month for listings Detroit, Michigan "Greektown Arts Festival" (June 3- in July; two months for August. Regional exhibitions must be 5). Juried from 4 slides and 1 of booth. Fee: $15. Booth open to more than one state. Mail to Call for Entries, Ceramics fee: $245-$430. Contact Donna Beaubien, 5261 Or­ Monthly, 735 Ceramic PL, Westerville, OH 43081; submit online chard Crest, Troy, Ml 48085; e-mail [email protected]; at www.ceramjcsmonthly.org/submissions.asp e-mail telephone (248) 689-8734; or fax (248) 689-8720. [email protected] ; or fax (614) 891-8960.

Ceramics Monthly February 2005 62

Author Walter Denny, professor of an his­ the Ottoman Empire, and the chronicle of new books tory at the University of Massachusetts, begins destruction and damage of tiled monuments with a discussion of the particular nature of due to war, earthquake and fire. The book ends Islamic an under the Ottomans and then exam­ with a look at the extraor­ Iznik ines the relationship between the coun style of dinary historical legacy of The Artistry of Ottoman Ceramics Istanbul and the ceramic ateliers in Iznik. Next Iznik ceramics, from early By Walter B. Denny Denny explores the crucial role of two styles, imitations in the Otto­ This beautifully illustrated book is a com­ which he dubs the “enchanted forest” and “heav­ man Empire and Europe prehensive survey of one of the best-known enly garden” (the saz and aux quartre fleurs to the astonishing appear­ Islamic artforms: Iznik ceramics. It integrates styles), as well as their respective creators Shah ance of ceramics in the the entire spectrum of Iznik production, both Kulu and Kara Memi. Finally, he covers Iznik Iznik style created by Eu­ tiles and wares, with the broader artistic tradi­ works with human or animal imagery, the pa­ ropean studio potters in tion in which it originated. tronage of non-Muslim communities within the 19th century. 240 pages including appen­ dixes and index. 206 color photographs. $75. ISBN 0-500-51192-6. Thames and Hudson Inc., 500 Fifth Avenue, New York, NY 10110; e-mail [email protected]; see www.thamesandhudsonusa.com; telephone (212) 354-3763.

Magdalene Odundo Edited by Anthony Slayter-Ralph When Magdalene Odundo was studying at the Royal College of Art with Sir Christopher Frayling in London in 1979, she told him that above all, she was on a quest for “perfect simplic­ ity for natural forms; for more and more refine­ ment in her ceramic vessels.” In the fore­ word to this book, Frayling asserts that Odundo succeeded in that quest. “As for the work it­ self,” Frayling states, “well, Matisse famously dreamed of an ‘art of balance, purity and seren­ ity,’ an art which transformed energy and inspi­ ration into restraint and beauty, an an which made you feel good—look no further.” The book includes essays by Simon Olding and Emmanuel Cooper, and full-page color reproductions of key works. 127 pages including foreword, catalog of works, chronology and selected bibliography. 64 color and 140 black- and-white photographs. $70. ISBN 0-85331 -905-7. Published by Ashgate Publishing Ltd., Gower House, Croft Rd, Aldershot, Hamp­ shire, GUI 1 3HR England. Distributed in the U.S. by Ashgate Publishing, PO Box 2225, Williston, VT05495;[email protected] ; see www.ashgate. com; telephone (800) 535-9544.

Flint Faience Tiles A-Z by Margaret Carney and Ken Galvas “While tile use began in ancient times, at least as early as the 14th century B.C. in Egypt,

Ceramics Monthly February 2005 64 Ceramics Monthly February 2005 65 new books look, but some also subject to the whim or and popular tiles. The book showcases Art Deco- genius of the designer. It is the versatility of and Arts & Crafts-style tiles, murals and more. Flint Faience that will remind the avid tile Many sections feature photo documentation of it was during the 1920s and ’30s that there was collector why they have focused on this com­ the tiles installed in homes, schools, churches, a resurgence of interest in art tile in the United pany and it is this same versatility that will attract restaurants and swim­ States,” state the authors of this colorfully illus­ the novice tile collector to seek out all the gems ming pools. Present trated book. “Many of the estimated 75 tile created in Flint, Michigan.” day values are provided companies operating during this time in the Arranged alphabetically by subject area, this in the captions. 288 United States created tiles that were often book traces the Flint Faience Tile Company’s pages including ap­ recognizable and attributable to specific manu­ production between 1921 and 1933. The his­ pendixes on pricing, facturers without viewing back stamps. Flint tory of the company, its major designers, and the installations and col­ Faience is an exception, producing several tile designs and styles of its products are presented lections, and bibliog­ lines, all either handmade or with a handmade with color photographs illustrating both rare raphy. 808 color and 24 black-and-white photographs. $69.95. ISBN 0-7643-2040-8. Schiffer Publishing, Ltd., 4880 Lower Valley Rd., Atglen, PA 19310;[email protected] ; see www.schifferbooks.com; telephone (610) 593-1777.

Oriental Glazes By Michael Bailey Part of the “Ceramics Handbooks” series, this technical manual provides guidance for formulating popular Asian glazes, from celadons and copper reds, to teadust and hare’s fur Temmokus. It provides an overview on the art of high-fire reduction glazing while bringing a wide variety of Asian glazes to the reader with explanations, notes and direction. Author Michael Bailey examines cur­ rent artists’ use of these unique glazes and dis­ cusses materials, kilns and fuel, and trouble­ shooting glazes. By dis­ cussing and graphically plotting chemical compositions, he aims to help ceramics artists understand glaze behavior and learn how to alter glaze formulae to achieve desired effects. Glazes are separated into three main categories—low iron, high iron and copper—with well-illus­ trated chapters on each. 128 pages including appendixes, bibliography and index. 102 color photographs and 15 black-and-white illustra­ tions. $26.50, Softcover. ISBN 0-8122-1890-6. Published in the U.K. by A dr C Black Publishers Ltd., Alderman House, 37Soho Square, London W1D3QZEngland; see www. acblack. com. Pub­ lished in the U.S. by University of Pennsylvania Press, PO Box 50370, Baltimore, MD 21211; e-mail [email protected]; see www.upenn.edu/pennpress; telephone (800) 537-5487.

Ceramics Monthly February 2005 66 Ceramics Monthly February 2005 67 tours and exhibitions by national and international artists. "Life and Times." Mary K. Cloonan, "Small Poems"; at the calendar Fee: $800, includes transportation, lodging and meals. Enoch Pratt Free Library, 400 Cathedral St. through September 1 Nancy Josephson, "Holy H O: Conferences, Exhibitions, Workshops, Fairs Contact Guangzhen Zhou, Chinese Ceramic Art Council 2 USA, PO Box 1733, Cupertino, CA 95015; e-mail Fluid Universe." Andrew Logan, "Cosmic Egg"; at the See calendar online at www.ceramicsmonthly.org [email protected]; see www.yixing2005.org; tele­ American Visionary Art Museum, Inc., 800 Key Hwy. phone (800) 689-2529; fax (408) 777-8321; or Richard February 3-March 20 "Lawson Oyekan and the Spirit of Conferences Notkin, PO Box 698, Helena, MT 59624-0698; e-mail Nature," Decker Gallery, Mt. Royal Station. February 19- [email protected]; telephone (406) 442-4382; or fax (406) March 20 "MICA Clay: Ron Lang 1975 to 2005," Pinkard Alabama, Gadsden February 25-27 "Alabama Clay 457-0058. Gallery, Bunting Center. March 3-20 Kim Simonsson, Conference—20," includes lectures, exhibitions and dem­ England, London May 6-8 "Ceramic Art London "Dislocated Clay and a Transformative Mirror," Cohen onstrations by Margaret Bohls, Sam Chung, Leah Leitson 2005," includes fair, exhibition, lectures, demonstrations Plaza. March 3-April 3 "MICA Clay: Sarah Z. Barnes," and Jeff Oestreich. Fee: $85; student, $30; after February and films/videos. Presenters include Edmund de Waal, MICA College Store window. March 11-27 "MICA Clay: 7, $100. Contact Steve Loucks, Dept, of Art, Jacksonville Walter Keeler, Kate Malone, Grayson Perry and Takeshi Doug Baldwin Retrospective," Brown Center lower lobby. State University, 700 Pelham Rd., Jacksonville, AL 36265; Yasuda. Contact Ceramic Art London 2005, 25 March 11-April3 "MICA Clay: Robert Bilek '05 Counter­ e-mail [email protected]; see www.arts.state.al.us; Foubert's PI., 3rd FI., London W1F 7QF; e-mail parts," Bunting Center, Pinkard Student Space Gallery; at telephone (256) 782-5708. [email protected]; see www.ceramics.org.uk. Maryland Institute College of Art, 1300 Mount Royal Ave. Arizona, Yuma February 24-26 "The 26th Yuma Hungary, Kecskemet March 1-25 "The Sound of Clay February 15-March 79 "Earth Influences," Kevin Turner; Symposium," includes slide presentations, lectures, dem­ IV, Ceramic Musical Instrument Symposium." Contact at WESTNORTH Studio, 106 W. North Ave. onstrations and exhibitions. Ceramics lecture with Gina Steve Mattison, International Ceramics Studio, Kapolna February 16-April 16 Jane Morais; at CVS Pharmacy Freuen. Contact Neely Tomkins, 78 W. Second St., str. 13, Kecskemet H-6000; e-mail [email protected]; see Window, 1000 S. Charles St. Yuma 85364; e-mail [email protected]; see www.icshu.org; or telephone (36) 76 486 867. February 19-March 19 Lorna Taylor, "Home Com­ www.yumasymposium.org; telephone (928) 782-1934; or Wales, Aberystwyth July 1-3" 10th International Ceram­ forts"; at Live Baltimore Home Center, 343 N. Charles St. fax (928) 782-5934. ics Festival," includes demos and lectures by over 14 present­ California, Davis April 29-May 1 "16th Annual Cali­ ers, firings, and exhibitions. Contact Sophie Bennett, fornia Conference for the Advancement of Ceramic Art," International Ceramics Festival, Aberystwyth Arts Centre, Uni­ includes demonstrations, lectures, exhibitions. Fee: $155; versity of Wales, Aberystwyth, Ceredigion SY23 3DE; e-mail student, $105; Friday and Saturday only, $105; student, [email protected]; seewww.internationalceramicsfestival.co.uk; $75; Saturday and Sunday only, $125; student, $90. Fee telephone (44) 1970 622 882; or fax (44) 1970 622 883. after March 31: $185; student, $135; Friday and Saturday Wales, Cardiff June 29-30 "The Fragmented Figure," only, $135; student, $105; Saturday and Sunday only, includes lectures, sessions and an exhibition. Contact $155; students $125. Contact John Natsoulas Gallery, 521 Cardiff School of Art and Design, the Centre for Ceramic First St., Davis 95616; see www.natsoulas.com; or tele­ Studies, Howard Gardens, Cardiff CF24 OSP; e-mail phone (530) 756-3938. [email protected]; or telephone (44) Georgia, Atlanta October5-8 "Growing Creativity... 29 2041 6636. Continuing the Journey," Society of Craft Designers an­ nual conference. Contact SCD Headquarters, PO Box3388, Solo Exhibitions Zanesville, OH 43702-3388; e-mail [email protected]; see www.craftdesigners.org; telephone (740) 452-4541; or Arizona, Phoenix through March 31 Jun Kaneko; at fax (740) 452-2552. Bentley Projects, 215 E. Grant St. Kentucky, Berea June 2-5 "2005 Craft Organization through June 30 "Virgil Ortiz—Le Renaissance Development Association (CODA) Conference," includes Indigene"; at Heard Museum, 2301 N. Central Ave. panels, presentations, tours and peer discussions. Contact Arizona, Tucson through February 26 Tom Kerrigan; Linda Van Trump, CODA managing director, PO Box 51, at Obsidian Gallery, St. Philip's Plaza, 4320 N. Campbell Onia, AR 72663; e-mail [email protected]; or telephone Ave., #130. (870) 746-4396. California, La Quinta through February 28 Kate Maryland, Baltimore March 16-19 "Centering: Com­ Blacklock; at Figurative Gallery, 78-065 Main St., Ste. 102. munity, Clay and Culture," 39th annual conference of the California, San Francisco through February 19 Rich­ Vessel by Curtis Benzie; at Canton Museum of Art, National Council on Education for the Ceramic Arts ard Shaw. Leslie Baker; at Braunstein/Quay Gallery, 430 Canton, Ohio. (NCECA). See www.nceca.net; or telephone (866) 266- Clementina. 2322 or (303) 828-2811. California, Santa Monica through February 19 John February 19-March 20 "Look Alikes: The Decal Plates of Maryland, Ocean City March 11-13 "Clay, Fire and Mason; at Frank Lloyd Gallery, 2525 Michigan Ave., B5b. Howard Kottler"; at Evergreen House, 4545 N. Charles St. Sand: Pit Firing on the Beach," pre-NCECA conference California, Stockton through February 17 "Joe February 19-March 20 Pamela Olson, "Contemplative including workshops, exhibitions, sales and demonstra­ Mariscal: A Retrospective"; at LH Horton Jr Gallery, Delta Landscapes." Adelaide Paul, "(Be)Witch"; at School 33, tions. Presenters include Ron Artman, Nicole Beauchemin, Center for the Arts, San Joaquin Delta College, 5151 1427 Light St. Alan Burslem, Ramon Camarillo, Jim Hill and Ernie Satchell. Pacific Ave. February 19-April2 Aaron Brophy, "Figures"; atTop of Fee: $ 195; Clay Guild of the Eastern Shore members, $ 170; California, West Los Angeles February 5-March 25 the World, 401 E. Pratt St. students, $100. Contact University of Maryland Eastern Biliana Popova"; at Del Mano Gallery, 11981 San Vicente Blvd. February \9-April 3 Brian Kakas, "Ironic Passion"; at Shore, Continuing Education, 13801 Coastal Hwy., Ocean D.C., Washington March 15-19 Chris Campbell; at Gallery G at the Beveled Edge, 5616 Newbury St. City 21842; e-mail [email protected]; or telephone (410) the 340 Space, 340 15th St., SE. February 19-April 3 Richard DeVore; at Baltimore 250-1088. Illinois, Geneva February 1-28 Aurea Collins, "Func­ Clayworks, 5707 Smith Ave. North Carolina, Seagrove June 5-10 "Crossroads: tional Ware." March 1-31 Jay Walsh, "Vases, Vases, Vases"; February 22-March 19 John Brickels, "Architectural Traditions and Change, Seagrove International Ceramics at Down to Earth Pottery, 217 1/2 S. Third St. Sculpture"; at Craig Flinner Contemporary Gallery, 505 N. Conference," includes demonstrations, activities, lectures, Indiana, Upland March 4-April 15 Dick Lehman; at Charles St. presentations, kiln building and firings, exhibitions and Taylor University, Modelle Metcalfe Visual Arts Center, February 22-April 2 Michelle Erickson; at Mount Clare tours. Fee: $375; students, $275; includes 4 lunches and 6 Metcalf Gallery, 236 W. Reade Ave. Museum House, 1500 Washington Blvd. dinners. Contact Randolph Arts Guild, PO Box 1033, Louisiana, New Orleans through March 30 Lynn February23-April3 Richard Cleaver, "Gathering atthe Asheboro NC 27204-1033; e-mail [email protected]; Thompson, "Divergent Pathways"; at Dillard University Art Latrobe Spring House"at Baltimore Museum of Art, 10 Art telephone (336) 629-0399; or fax (336) 629-2892. Gallery, 2601 Gentilly Blvd. Museum Dr. Canada, British Columbia, Kelowna August Maryland, Annapolis February 18-March 25 Heeseung February 23-April 3 Sana Musasama, "Reinterpreta­ 19-23 "Kelowna Clay Festival" will include Lee; at Maryland Hall for the Creative Arts, 801 Chase St. tions of History—Collective Stories." Syd Carpenter, "Pro­ demonstrations by Linda Doherty (also hands-on March 1-28 Elizabeth Levine, "FLOW"; at Garden cessing the Signal"; at Coppin State College, 2500 W. workshop), Trudy Golly (also hands-on workshop), Mike Architects, 115 West St. North Ave. Haley, Hank Murrow, Phil Rogers and Susy March 1-30 Michael Hough, "Large-Scale Ceramic March 1-20 Kristin Grey, "Carnival of Debauchery"; Siegele. Contact Kelowna Clay Festival, RR1 C5 Moser Rd., Sculpture"; at American Craftworks Collection, 189 B John Hopkins University, Mattin Center, 3400 N. Charles St. Falkland, British Columbia VOE 1W0 Canada; Main St. March 1-20 Allan Rosenbaum; at Lombard Street Lobby, e-mail [email protected]; see March 3-31 Lars Westby, "Enigmatic Realities"; at 300 E. Lombard St. www.members.shaw.ca/okpanews/clayfest05.html; or Maryland Federation of Art/Circle Gallery, 18 State Cir. March 1-April 2 David Collins; at Zoe's Garden, 1918 telephone (250) 762-5837. March 15-21 John Jensen, "Mudbug Pottery: Garden Fleet St. China, Yixing May 30-June 4 "International Ceramic Ornamentation"; at Mudbug Pottery, 113 Brewer Ave. March3-April2 Joyce Scott, "Dirtwork"; at C. Grimaldis Art Conference," includes lectures, forums, workshops, Maryland, Baltimore through April 1 David Packer, Gallery, 523 N. Charles St.

Ceramics Monthly February 2005 68

tor"; at Museum of Arts & Design, 40 W. 53rd St. calendar March 17-April 16 Eva Hild; at Nancy Margolis Gallery, 523 W. 25th St. New York, Port Chester February 4-26 Joan Bruneau, March 3-April 10 Aaron Benson, "Above the Arctic "Epicurian Garden"; at Clay Art Center, 40 Beech St. Circle." Jeffrey Dalton; at Center Stage, 700 N. Calvert St. Ohio, Canton through February27Curtis Benzie, "Por­ March 4-May 24 Gilda Oliver, "Karma"; at Carroll celain"; at Canton Museum of Art, 1001 Market Ave., N. Mansion, 800 E. Lombard. Oregon, Portland through March 6 "2004 Halvorsen March 8-May 8 Jane Morais; Light Street Storefront, 28 Resident: Jacey Dunaway"; at Contemporary Crafts Mu­ Light St. seum 8t Gallery, 3934 S.W. Corbett Ave. March 8-May 8 Heather Stauffer; Light Street Store­ Pennsylvania, Philadelphia through March 6 "The front, 10 Light St. Poetry of Clay: Work by Toshiko Takaezu"; at the Philadel­ March 11-May2 Frank Martin; Street Window, 201 N. phia Museum of Art, 26th and Parkway. Charles St. February 4-27 Sandi Pierantozzi. February 18-March March 14-19 Fong Choo; at Potters Guild of Baltimore, 20 Megumi Naitoh. March 4-27 Jeremy Briddell; at the 3600 Clipper Mill Rd. Clay Studio, 139 N. Second St. March 14-20 Brian Baker, "Recess: Scenes from the Washington, Seattle through April 17 "Mountain Playground"; at Baltimore Theater Project, 45 W. Preston St. Dreams: Contemporary Ceramics by Yoon Kwang-Cho"; March 14-April 75 Tim Rowan, "Abstract Vessels and at the Seattle Asian Art Museum, 1400 E. Prospect St. Boxes"; at Community College of Baltimore County- Wyoming, Cheyenne February 7-25 Lynn Duryea, Catonsville Gallery, 800 Rolling Rd. "Material Matters"; at Laramie County Community Col­ March 15-19 Kosmas Ballis, "Sculptural Ceramics"; at lege, Esther and John Clay Fine Arts Gallery. Star Spangled Banner Flag House, 844 E. Pratt St. March 16-19 Paula Winokur, "Porcelain Landscape Group Ceramics Exhibitions VII"; at the Whole Gallery, 405 W. Franklin St. Maryland, Frederick February 23-March 29 Jack Alabama, Birmingham through February 6 "18th- Troy, "Stoneware and Porcelain." March 8-23 Robert Century English Ceramics from the Catherine H. Collins Turner, "Ten Works: 1979-1999"; at Hood College, 401 Collection"; at Birmingham Museum of Art, 2000 Eighth Rosemont Ave. Ave., N. March 1-31 Lisa Lovatch, "Fun, Functional Ware"; at California, Claremont through April 3 "61st Scripps the Frame Rack, 37 N. Market St. Ceramic Annual"; at Mary MacNaughton/Scripps Womens March 5-26 Joyce Michaud, "Precious Porcelain"; at College, Ruth Chandler Williamson Gallery, 1030 Colum­ Zaruba and Company, 35 N. Market St. bia Ave. Maryland, Lutherville February 27-March 30 Carlton California, Los Angeles through February 27 "Ce­ Lavarette, "Influences"; at Galerie Francoise e.s.f., 2360 ramics: Sharon Dabney, Frank Romero and Linda Smith"; W. Joppa Rd. at Craft and Folk Art Museum Shop, 5814 Wilshire Blvd. Maryland, Salisbury March 11-April 15 Ramon Connecticut, New Haven through April 16 "Lightfrom Camarillo, "Clay, Fire and Sand"; at University Galleries at the Age of Augustine, Late Antique Ceramics from North Salisbury State (Atrium Gallery), 1101 Camden Ave. America"; at Knights of Columbus Museum, One State St. Maryland, Severna Park February 26-March 20 An­ D.C., Washington through April 24 "Iraq and China: thony Stellaccio, "Embedded." Sharon Edwards-Russell, Ceramics, Trade and Innovation"; at Arthur M. Sackler "Linear"; at Severn School Student Center Gallery, 201 Gallery, 1050 Independence, Ave., SW. Water St. February 25-April 3 "Existing to Remain," Margaret March 1-31 Robert Winokur, "Ancient City Small Vil­ Boozer and Claire Huschle; at District of Columbia Arts lage." Laura Ross. Mark Rossier; at Benfield Gallery, 485 Center, 2438 18th St., NW. Jumpers Hole Rd. Florida, West Palm Beach February 15-March 5 "Na­ Massachusetts, Concord February 19-March 10 Jane tional Ceramic Invitational 2005," Rudy Autio, Joe Bova, Shellenbarger; at Lacoste Gallery, 25 Main St. Josh Deweese, John and Andrea Gill, Eva Kwong, Kirk Michigan, Berrien Springs through February 11 Rob­ Mangus, Richard Notkin, Patti Warashina, and Kim Wilson; ert "Boomer" Moore, "Whimsical Utility." February 15- at Armory Art Center, 1700 Parker Ave. April 1 Karl Borgeson, "Clay, Wood & Salt"; at ARC Illinois, Chicago February 12-March 13 Yi-Wen Kuo Exhibitions, Div. of Architecture, Andrews University. and Jae Won Lee; at Lillstreet art Center, 4401 N. Minnesota, Minneapolis through February 27 Ravenswood Ave. Farraday Newsome; at Northern Clay Center, 2424 Franklin Kansas, Wichita February 14-25 "It's All About Love"; Ave., E. at Clayton Staples Art Gallery, Wichita State University, Mississippi, Gautier February 11-March 24 Jean 1845 Fairmount Ave. Cappadonna Nichols, "Less Fact/More Fiction"; at Missis­ Louisiana, New Orleans February 12-April 17 "5000 sippi Gulf Coast Community College, 2300 Hwy. 90. Years of Chinese Ceramicsfrom the Robin and R. Randolph Missouri, Kansas City February 5-26 Bede Clarke; at Richmond Collection"; at New Orleans Museum of Art, 1 Red Star Studios, 821 W. 17th St. Collins Diboll Cir. Missouri, St. Louis through February25 Polo Ramirez, Maryland, Annapolis February 18-March 25 "Alter­ "Mother Earth, The ART to Love It"; at Fontbonne Univer­ native Porcelain," Margaret Boozer, Jim Makins, Mary sity Gallery of Art, Fine Arts Bldg., 6800 Wydown Blvd. Roehm, Erin Root, Sandy Simon, Catherine White. "Local Montana, Kalispell through April 26 "David Shaner— Dirt: Ceramics by Anne Arundel Artists," Kimi Nyland A Retrospective"; at Hockaday Museum of Art, 302 Sec­ Balageas, Jonie Friedman, Tina Gebhart, Bobbie Greer, ond Ave., E. Amanda Pellerin; at Maryland Hall for the Creative Arts, New York, Alfred through April 1 "William Parry 801 Chase St. (don't forget to) Wonder"; at the Schein-Joseph Interna­ March 1-30 "ATouch of Elegance," Mark Bell, Conner tional Museum of Ceramic Art, NY State College of Ceram­ Burns, Susan Filley, Leah Leitson, Harvey Sadow, Ellen ics at Alfred University. Shankin, Jeff Oestreich, Tom Turner; at McBride Gallery, New York, Long Island City through February 26 "A 215 Main St. Duckworth Homage"; at Garth Clark Gallery's Project March 1-30 John Jensen and Rick Malmgren; at St. Space, 45-46 21st St. John's College, the Mitchell Gallery, 60 College Ave. New York, New York through February 26 Jean-Pierre March 3-31 "Dialogues: Collaborative Ceramic Art­ Larocque, "Horses." through February 27 "Organic Ab­ work by Teacher and Student"; at Maryland State Teachers straction: Duckworth Homage Part 2"; at Garth Clark Assoc. Bldg., 140 Main St. Gallery, 24 W. 57th St. Maryland, Arnold March 7-79 "CERAMIC CURRENTS: through February 26 Betty Woodman; at Max Protetch, Program in Artisanry 1975-2003." March 1-31 "Norwe­ 511 W. 22nd St. gian Clay," Anita Abtahi, Andrew Barton, Susanne Fagermo, through April 3 "Ruth Duckworth, Modernist Sculp­ Jorgen Moe, Cecilie Mossige, Knut Natvik, Trude Westby

Ceramics Monthly February 2005 70 Ceramics Monthly February 2005 71 calendar

Nordmark, Tove Lise Rokke Olsen, Ruta Pakarklyte, 0yvind Suul; at Anne Arundel Community College—Cade Gallery, 101 College Pkwy. Maryland, Baltimore through February 13 "The Ani­ mal Instinct." February 19-April 3 "Endless Variations: Shino Review 2005." "2004 International Orton Cone Box Exhibition." March 12-20 "Resident Show." "Student Show"; at Baltimore Clayworks, 5707 Smith Ave. through March 27 "New Ceramics by the Staff of the Glasgow School of Art," Rosenberg Gallery, Brown Cen­ ter. February 3-March 20 "Contemporary Swedish Ce­ ramics," Meyerhoff Gallery, Fox Bldg. February 19-March 27 "MICA Clay: Juried Alumni Exhibition," Leidy Atrium, Brown Center. February 28-March 20 "MICA Clay: Cur­ rent Faculty," Brian Baker, Lois Hennessey and Adelaide Paul, 4th Floor Gallery, Brown Center. March 17-27 "MICA Clay: Stories at Hand: When Children's Clay Grows Up," Fox Bldg., Art Education Corridor. March 14-19 "NCECA 2005 Regional Student Juried Exhibition," Fox Bldg., 2nd & 3rd floor. March 15-19" Installations at Corpus Christi," Nicholas Kripal and Jeffrey Mongrain, Corpus Christi Church. March 15-27 "Current MICA Student Exhibi­ tion," Main Building Basement Gallery; at Maryland Insti­ tute College of Art, 1300 Mount Royal Ave. through April 1 "Sugar and Spice: Bits and Pieces from Childhood"; at Enoch Pratt Free Library, 400 Cathedral St. February 1-March 31 "Maryland Clay"; at the George Peabody Library Exhibition Gallery, 17 E. Monument St. February 2-March 79 "Pygmalion's Gaze Reimagined: The Figure in Contemporary Ceramics"; at Creative Alli­ ance, 3134 Eastern Ave. February 2-March 25 "Swiss Contemporary Ceram­ ics"; at Contemporary Museum, 100 W. Centre St. February 6-March 20 "Human Nature," Susan Beiner, Christine Federighi, Helen Otterson, Bonnie Seeman, Kristin Sherlaw, Jason Walker; at College of Notre Dame Gormley Gallery, 4701 N. Charles St. February 14-March 24 "Transformation: Contempo­ rary Work in Ceramics"; at Alcazar Gallery at the Baltimore School for the Arts, 712 Cathedral St. February 15-March 19 "Centered by Land and Sky," Matt Kelleher and Amy Smith; at WESTNORTH Studio, 106 W. North Ave. February 15-March26 "Tradition and Innovation: South­ ern Illinois University Carbondale Alumni Exhibition," Gre­ gory Cochenet, Harris Deller, Steve Grimmer, Elaine O. Henry, Amy Kephart, Yih-Wen Kuo, Lou Pierozzi, Brenda Quinn, Keith Renner, Brett Thomas; at Paper-Rock-Scis- sors, 1111 W. 36th St. February 15-March 26 "At That Moment I was an Artist." "9 Artists, 9 Residencies"; Maryland Art Place, 8 Market PI., Ste. 100. February 18-March 19 "Reflections of Environment and Form," Sally Brogden, Vince Burke, Jae Won Lee, Sarah Lindley; at James Backas Gallery/MD State Arts Council, 175 W. Ostend St. February 18-March 19 "Porcelain in the Anagama"; at Meredith Gallery, 805 N. Charles St. February 19-March 20 "The Clay Studio: Thirty Years"; at School 33, 1427 Light St. February 19-March 20 "A Glimpse into Echizen Ceram­ ics." "The Soul of a Bowl," Frank Boyden, Tom Coleman, Elaine Coleman, Jenny Lind, Don Reitz; at Evergreen House, 4545 N. Charles St. February 19-March 20 "Culturing Surfaces." "Seven Earthenware Potters"; at Homewood House Museum, 3400 N. Charles St. February 20-March 31 "Natural Surrealism," Lois Hennessey and Nicole Fall; at Bond Street Wharf Lobby, 901 S. Bond St. February 21-March 18 "Centering: Cultural Congru- ity," Bede Clark and Ching-Yuan Chang; at G-spot:Audio/ Visual Playground, 2980 Falls Rd. February 22-March 19 "Gender and the Vessel: Per­ ceptions of Masculinity and Femininity"; at Craig Flinner Contemporary Gallery, 505 N. Charles St. Continued

Ceramics Monthly February 2005 72 Ceramics Monthly February 2005 73 Eilen Ryazantseva, JinsooSong." "A Natural Touch," James calendar Brashear, Joan Bruneau, Sally Campbell, Silvie Granatelli, David Hiltner, Ron Meyers, Missy McCormick, Matt Long, Sarah Panzarella, Jeremy Randall; at American Style Maga­ February 25-March 19 "Terra Sutra II: Erotic Ceramics zine/Rosen Agency, 3000 Chestnut Ave., Ste. 300. 2005"; at Montage Gallery, 925 S. Charles St. March 15-26 "Minnesota State University, Mankato February 26-April 2 "The Tangible Transcendent: Cen­ Faculty Exhibition," Todd Shanafelt and Mika Negishi Laidlaw; tering from a Source," Patrick Michael Birge, Mary Bowron, at Baltimore Public Works Museum, 751 Eastern Ave. George Kokis, Terry Whye, Jewell Gross Brenneman, Patrick March 15-April 8 "Rhythm and Breath: Revealing the Timothy Caughy; at Schiavone Edward Contemporary Art Invisible," Chris Gustin, Brad Miller, Jill Oberman, Leigh Gallery, 244 S. Highland Ave. Taylor Mickelson; at Loyola College, DeChiaro College February 28-April 10 "Big and Small," Doug Baldwin Ctr., Julio Fine Arts Gallery, 4501 N. Charles St. and Viola Frey; at Goya Contemporary, 3000 Chestnut March 16-19 "Tension-Compression," outdoor sculp­ Ave., Ste. 210, Mill Center. ture by Caroline Court and Fred Spaulding; at Baltimore March 1-20 "Body Language: The Figure Fired in Clay," Museum of Industry, 1415 Key Hwy. Lisa Clague, Melody Ellis, Kathy King, Jenny Mendes, March 16-19 "White on White"; at Sub-Basement Art Michaelene Walsh and Janis Mars Wunderlich; at Lucinda Studios, Atrium/Market Center, 118 N. Howard St. Gallery, 929 S. Charles St. March 16-19 "Uncommon Denominator"; at the Whole March 1-20 "Two Voices," Jimmy Clark and Angela Gallery, 405 W. Franklin St. Klaerner; at John Hopkins University, Mattin Center, 3400 March 16-19 "Passionate Fire: Wood-Fired Ceramics," N. Charles St. Roger Baumann, Joy Brown, Chrissy Callas, Peter Callas, March 1-20 "Watershed Kiln Gods: Looking Back 1997- Paul Chaleff, Pascal Chmellar, Tony Moore, Tim Rowan; at 2003"; at Gallery 1448, 1448 E. Baltimore St. 5th Story, 405 W. Franklin St. March 1-April3 "Creativity and Clay: Kuumba," Sharif Maryland, Columbia February 16-March 19 "NEW Bey, Stephen Carter, Ellen Day, Keith Smith, Malcolm MARKS: Contemporary Low-Fire Ceramics, Tom Bartel, Smith, Kevin Snipes, Paul Wandless. "Unity and Legacy: Charlie Cummings, Gerard Ferrari, Andrea Freel, Melissa Umoja," 11 established African American artists; at James Parrott, Paul Wandless"; at Howard Community College E. Lewis Museum of Art, Morgan State University, 1700 E. Art Gallery, 10901 Little Patuxent Pkwy. Coldspring Ln. February 17-March 27 "Western Maryland Potters." March 3-28 "Geologic Personality," Margaret Boozer "Columbia Art Center's Students and Teachers Juried & Catherine White; at Resurgam Gallery, 910 S. Charles St. Exhibition"; at Columbia Art Center, 6100 Forelan Garth. March 3-31 "The Poetry of Pottery: Women & Clay"; at Maryland, Easton February 18-April 10 "Particles Maryland Federation of Art/City Gallery, 330 N. Charles St. and Passion: The Art of Clay"; at Academy Art Museum, March 3-April 10 "Export China: Jingdezhen Sanbao 106 South St. Ceramic Art Institute," 2004 residents Barbara Diduk, Kate Maryland, Ellicott City March 16-April 22 "Stories, Fisher, Ann Hazels, Barbara Kaiser, Jim Leedy, Jiansheng Li, Emotions and Science," Nathalie Ann MacDonald, Kate Maury, Paul Mathieu, Heather Ossandon, Neil Read; at Jacqueline S. Johnson, Yelena Sheynin; at Howard County Center Stage, 700 N. Calvert St. Center for the Arts, 8510 High Ridge Rd. March 3-April 13 "Stages of Life," Carolyn Eddins, Tina Maryland, Frederick March 1-March 31 "Current Gebhart, Ebby Malmgren, Jane Miller, Dina Weston, John Work of Frederick Area Potters," Eric Hendrick, Eric Madsen, C. Wilson; at Baltimore Theater Project, 45 W. Preston St. John Taylor, John Theis, Bill van Gilder, Heather Van Horn, March 4-31 "New Coloratura," George Bowes and Rob Van Rens; at Frederick Clay Arts Center, 5400 Yukon Deirdra Daw; at Saints and Sinners—Tattooing and Pierc­ Ct„ Unit 500. ing, 1610 Thames St. March2-April3 "In Flux: Graduate Students and Alumni March 4-April 3 "Gas it Up: Salt, Soda and Slip"; at of Hood College Ceramics Program." "Vectors: Ceramics Potters Guild of Baltimore, 3600 Clipper Mill Rd. Faculty Exhibition"; at Hood College, 401 Rosemont Ave. March 4-April 24 "Approach SI," members of Sculp­ March4-20 "Contemporary American Ceramics," Rob­ tors Incorporated; at Gallery ID8, 2007 Fleet St. ert Carlson, Michael Lambert, David Porter; at McGuire

March 6-April3 "American AI2O2 SiO2 2H20: Contem­ Fine Arts Gallery, 29 E. Patrick St. porary Sculpture"; at Area 405, 405 E. Oliver St. March 4-31 "Functional, Durable . . . Beautiful," Liz March 10-April 2 "Contemporary Codex: Ceramics Kinder and Gary Schlappal; at Muse, 19 N. Market St. and the Book," Barbara Hashimoto, Holly Hanessian, Nancy March 5-30 "Salt and Soda: A Collection of Regional Selvin, Richard Shaw, Forest Snyder, Janet Williams. Wood-Fire Work," Jackie Brown, Joe Campbell, Shane "NCECA 2005 Clay National Exhibition." "Series of Ech­ Sellers, Allison C. Severance, Jude Swafford, John Theis, oes: Anderson Ranch"; at the University of Maryland, Bill van Gilder; at Frederick Community College, Mary Baltimore County, 1000 Hilltop Cr. Condon Hodgson Gallery, 7932 Opossumtown Pike. March 11-20 "MICA Clay: Continuing Studies Invita­ Maryland, Gaithersburg February 20-March 26 tional"; at Saratoga Trunk, 1740 Aliceanna St. "Metro Clay: An Invitational Exhibition"; at Rockville Arts March 13-26 "Mindful Perspectives," Ann Hazels and Place, 9300 Gaither Rd. Amanda Pellerin; at Ahimsa Yoga Center and Gallery, Maryland, Laurel March 3-26 "Centering on Earth 3000 Chestnut Ave., Ste. 15, Mill Center. and Fire," Gary Irby and associates; at Montpelier Cultural March 14-April 15 "SCHOOL'S OUT!, Young Ceramics Arts Center, 12826 Laurel-Bowie Rd. Artists Up to 6 Years Out of School"; at Community College Maryland, Owings Mills February 15-April 1 "Worlds of Baltimore County-Catonsville Gallery, 800 Rolling Rd. Apart," Ampofo Anti and Marina Kuchinski; at Tuttle Gal­ March 14-April27 "4 the Wall," Vincent Burke, Anna- lery (McDonogh School), 8600 Mcdonogh Rd. beth Rosen, Virginia Scotchie, Deborah Sigel; at Goucher Maryland, Perryville March 16-19 "Coming Home: College/Rosenberg Gallery, 1021 Dulaney Valley Rd. A Journey in Clay"; at Stancill's INC (clay mine), 499 March 15-19 "La Mesa"; at Wyndham Hotel-Inner Mountain Hill Rd. Harbor, 101 W. Fayette St. Maryland, Silver Spring February 19-April 1 "The March 15-19 "A Good Ex-Cuse," Syracuse University Animal Instinct"; at School of Art & Design at Montgomery faculty and alumni. "Edinboro University of Pennsylvania College, Gudelsky Gallery, 10500 Georgia Ave. Graduate Ceramics Program." "New Kids on the Block," Maryland, Stevenson February 7-March 19 "4 faculty and alumni from University of Missouri: Brian Baker, Women in Clay," Jen Bireline, Clara Couch, Virginia Bede Clarke, Jenny Dowd, David East, Yukari Kashihara, Scotchie, Lydia Thompson; at Villa Julie College Gallery, Fergus Moore, Jon Trigg, Kristian Zuppa. "Recent MFA 1525 Greenspring Valley Rd. Ceramics: SUNY New Paltz," Mying Jin Choi, Chris Donier, Maryland, Towson February 19-April 2 "Function Jessica Dubin, Justin Novak, Noh Kyoung Park, Scott Zimmer; and Fantasy," Christine Kenney and Allison Severance; at at Star Spangled Banner Flag House, 844 E. Pratt St. Fleckenstein Gallery & Archival Framing, 29 Allegheny Ave. March 15-19 "ASU Suitcase Show, David Crenshaw, March 14-25 'Towson University Alumni Exhibition"; at Holly Curcio, Joe Gower, Steve Hilton, Adil Rahee, Jon Read, Towson Commons Gallery, 435 York Rd. Continued

Ceramics Monthly February 2005 74 Ceramics Monthly February 2005 75 calendar

Maryland, Westminster February 12-March 19 "Free at the Center," ceramic sculpture; at Carroll Community College, Gallery at the Scott Center, 1601 Washington Rd. February 22-April 1 "Free Form," Paul Berger, John Glumpler, Brian Hively. Jill Lawley, Jami L. McKinnon, Bonnie Seeman, Roseanne Sniderman, Mark Urbanik, Tara Wilson; at Carroll Arts Center/Tevis Gallery, 91 W Main St. Massachusetts, Concord through February 9 "Plane Geometries," works by Ruth Borgenicht and Josephine Burr; at Lacoste Gallery, 25 Main St. Minnesota, Minneapolis through February27 "Three Jerome Artists," Kate Bauman, Heather Rae Nameth and Todd Severson. February 3-27 Martye Allen, Lou Ann Lewis and Steven Roberts. March 11-May 8 "The Social Life of Pouring Pots."" Exchanging Views: The Clay Studio's Resident Artists"; at Northern Clay Center, 2424 Franklin Ave., E. Nebraska, Lincoln through February 6 "Ceramic Con­ tinuum: Fifty Years of the Archie Bray Influence"; at Sheldon Memorial Art Gallery, University of Nebraska-Lincoln. New Jersey, Newark through August 14 "Earthen Elegance: African Vessels from the Newark Museum Col­ lection"; at Newark Museum, 49 Washington St. New Mexico, Santa Fe through February 5 "Man's Best Friend." February 11-March 19 "XXX." March 25- April 23 Linda Arbuckle, Kathryn Finnerty and Triesch Voelker; at Santa Fe Clay, 1615 Paseo de Peralta. New York, New York through February 26 "IZNIK, Legendary Ceramics from Turkey: An Art Reborn"; School of Visual Arts' Gallery, 209 E. 23rd St. New York, Port Chester March 5-26 "Watershed Winter Residents 2005," Meredith Host, Jiri Lonsky, Matt Price and Michiyo Oishi; at Clay Art Center, 40 Beech St. North Carolina, Charlotte through February27 "North Carolina Pottery: A Restless Tradition." through June 26 "Porcelain American Style." through July 17 "Pottery Ameri­ can Style"; at Mint Museum of Art, 2730 Randolph Rd. Ohio, Toledo through February 13 "18th- and 19th- Century English Transferware"; at the Toledo Museum of Art, 2445 Monroe St. Oklahoma, Tulsa February3-23 "Red Heat: Contem­ porary Work in Clay"; at the University of Tulsa, 600 S. College Ave. Oregon, Portland through March 6 "Portland Collects Contemporary Ceramics." "Everyday Wonders: Ceramics from the Collection of Dr. Francis J. Newton"; at Contem­ porary Crafts Museum & Gallery, 3934 S.W. Corbett Ave. Pennsylvania, Huntingdon Valley February 4-28 "Dynamic Duos," Winthrop and Sandy Byers, Sandi Pierantozzi and Neil Patterson, and Cathra-Ann Barker and Richard Meyer; at Vessel Gallery, 2465 Huntingdon Pike. Pennsylvania, Philadelphia through February 13 "Ex­ cess." February4-27 "Claymobile Creations." February4- March 20 "Bowled Over"; at the Clay Studio, 139 N. Second St. February 19-March 20 "The Clay Studio: Thirty Years"; at School 33, 1427 Light St. Pennsylvania, Pittsburgh through April 3 "Marvels of Maiolica: Italian Renaissance Ceramics from the Corcoran Gallery of Art Collection"; at the Frick Art & Historical Center, 7227 Reynolds St. Texas, Columbus March 19-May 15 "White Bread: The Second Slice," Angela Gallia and Linda Gossett; at Live Oak Arts Center, 1014 Milam. Texas, Houston February 12-March 12 Dan Anderson and Matt Wilt; at Goldesberry Gallery, 2625 Colquitt St. Texas, McAllen February 19-April 3 "2005 Earth, Wheel and Fire"; at the International Museum of Art & Science, 1900 Nolana. Virginia, Alexandria March 12-27 "Maximum/Mini­ mum." March 16-April 27 "Fertile Earth—Islamic Influ­ ences in Contemporary Ceramics," Alan Caiger-Smith, Sanam Emami, Neil Forrest, Amanda Jaffe, Andrea Gill, Karen Koblitz, Nermin Kura, Liz Quakenbush, Carolinda Tolstoy; atTarget Gallery, Torpedo Factory, 105 N. Union St. Virginia, Arlington March 17-June4 "Mosaics Exhi-

Ceramics Monthly February 2005 76

Unveiling the Mystery of the Incas"; at the Field Museum, calendar 1400 S. Lake Shore Dr. through February 13 "Eternal Light: The 2004 Philip and Sylvia Spertus Judaica Prize"; at the Spertus Museum, bition"; at Ellipse Art Center, 4350 N. Fairfax Dr. 618 S. Michigan Ave. Virginia, Richmond through February 27 "Fancy Illinois, Peoria through February 5 "Organic Connec­ Rockingham Pottery: The Modeller and Ceramics in 19th- tions, " including ceramic sculpture by Tyler Lotz; at Peoria Century America"; at the University of Richmond, Lora Art Guild, 203 Harrison. Robins Gallery of Design from Nature, Boatwright Memo­ Indiana, Indianapolis February 14-March 16 "Inter­ rial Library, Richmond Way. pretations of the Figure 2005"; at University of Indianapo­ Virginia, Vienna March 12-April2 "Mingeiand More," lis, Deptartment of Art and Design, 1400 E. Hanna Ave. Lisa Buck, Linda Christiansen, Malcolm Davis, Annemette Kansas, Topeka March 4-April 8 "Topeka Competi­ Hjortshoj, Matt Hyleck, Jeff Oestreich, Adam Posnak, Phil tion XXVII"; at Alice C. Sabatini Gallery, Topeka and Rogers, Allison Severance, Bill van Gilder.; at Earth and Fire Shawnee County Public Library, 1515 S.W. Tenth Ave. Pottery, 144 Church St. NW. Kansas, Wichita February 22-March 31 "Art Show at Washington, Cheney February 17-April 1 "Two by the Dog Show"; at CityArts Gallery, 334 N. Mead. Two, Small-Scale Ceramic Sculpture Biennial"; at Eastern February 23-April 26 "Art Show at the Dog Show"; at Washington University, Gallery of Art. the Century II Convention Center, Foyer Gallery, 225 W. Washington, Seattle through February 13 "Glaze, Douglas. Pattern and Image: Decoration in Chinese Ceramics"; at Kentucky, Lexington through February 18 "Thresh­ the Seattle Asian Art Museum, 1400 E. Prospect St. olds, Expressions of Art and Spiritual Life"; at Transylvania University, Morlan Gallery, Mitchell Fine Arts Center. Ceramics in Multimedia Kentucky, Louisville March 5-April23 "For the Love Exhibitions of Flowers"; at the Kentucky Museum of Arts + Design, 715 W. Main St. California, Los Angeles through April3 "The Arts and Maryland, Baltimore through March 20 "American Crafts Movement in Europe and America, 1880-1920: Fancy: Exuberance in the Arts, 1790-1840"; at the Mary­ Design for the Modern World"; at the Los Angeles County land Historical Society, 201 W. Monument St. Museum of Art, 5905 Wilshire Blvd. March 16-19 "Parallel Placements," including ceram­ California, Pasadena through February 19 "Hearts ics by Walter and Matt Hyleck; at the Whole Gallery, 405 and Flowers XVI: The Valentine's Show"; at the Folk Tree W. Franklin St. Collection, 199 S. Fair Oaks Ave. Maryland, Brookland February 14-April 22 "Social California, Pomona through February 18 "Ink and Realisms," including ceramics by Cynthia Consentino and Clay 31"; at California State Polytechnic University, Pomona, Hirotsune Tashima; at Park School, 2425 Old Court Rd. W. Keith and Janet Kellogg University Art Gallery, 3801 Maryland, Princess Anne March 11-April 1 "UMES W. Temple. Regional Juried Student Exhibition"; at the Mosley Art California, San Diego March 28-April25 "Borders of Gallery at UMD Eastern Shore, 11931 Art Shell Plaza. Intimacy," including ceramics by Cheryl Tall; at Mesa Massachusetts, Cambridge through June 30 College Art Gallery, 7250 Mesa College Dr. "Imazighen: Beauty and Artisanship in Berber Life"; at California, San Francisco through February 19 "The Peabody Museum, Harvard University, 11 Divinity Ave. Anniversary Show"; at Rena Bransten Gallery, 77 Geary St. Missouri, Warrensburg through February25 "Greater March 3-April 14 "Joint Exhibition of the Association of Midwest International XX"; at Central Missouri State Uni­ Clay & Glass Artists of California and Baulines Craft Guild"; versity, Art Center Gallery. at the Atrium, 600 Townsend St. Montana, Helena February 18-March 17 "Over the California, Stanford March 2-June 12 "Guardian of Divide: Recent Work by Missoula's New Garde"; Hotter the Flame: The Art of Sri Lanka"; at the Iris B. Gerald Cantor Museum of Art, 12 E. Lawrence. Center for Visual Arts, Stanford University. New Jersey, Pennington March 29-April27 "Meta­ Colorado, Denver through December 31 "Heaven morphosis, " including ceramics by Connie Bracci-Mclndoe; and Home: Chinese Art of the Han Dynasty from the Sze at the Silva Art Gallery, Pennington School, 112 W. Dela­ Hong Collection." "New Classics"; at Denver Art Museum, ware Ave. 100 W. 14 Ave. Pkwy. New York, Corning through February 9 "Clay and Colorado, Englewood February 19-March30 "Engle­ Glass," including ceramics by Rich Conti, Ben Krupka, Kate wood Cultural Arts National Juried Art Show"; at Museum Maury, Lori Mill, J. Daniel Murphy, John Neely, Pete Pinnell, of Outdoor Arts, 1000 Englewood Pkwy., Ste. 2-230. Kari Radasch, Stacy Snyder and Matt Wilt; at Corning D.C., Washington through February 6 "Palace and Community College, Atrium Gallery, 1 Academic Dr. Mosque: Islamic Art from the Victoria and Albert Mu­ New York, New York through February 25 seum"; at the National Gallery of Art, Sixth St. and Consti­ "DesignMrt: Functional Objects from Donald Judd to tution Ave., NW. Rachel Whiteread"; at the Smithsonian's Cooper Hewitt, through February 20 "The Tea Ceremony as Melting National Design Museum, 2 E. 91st St. Pot." through June 26 "Luxury and Luminosity: Visual March 2-June 5 "Cherished Posessions, A New En­ Culture and the Ming Court"; at the Freer Gallery of Art, gland Legacy"; at the Bard Graduate Center, Studies in the Smithsonian Institution, 12th St. and Independence Decorative Arts, Design and Culture, 18 W. 86th St. Ave., SW. North Carolina, Asheville through February26 "New through March 20 "Asia in America: Views of Chinese Artists, New Works, New Year," including ceramics by Art from the Indianapolis Museum of Art." through April Robert Hasselle, Richard Hensley, Peg Morar and Stacy 24 Cai Guo-Qiang, "Traveler: Reflection." February 26- Snyder; at Blue Spiral 1, 38 Biltmore Ave. May 15 "Asian Games: The Art of Contest"; at the Arthur North Carolina, Charlotte through March 20 "The M. Sackler Gallery, 1050 Independence, Ave., SW. Harry and Mary Dalton Collection: An Anniversary Celebra­ Florida, Fort Myers March 13-April 16 "In Bloom, 1st tion"; at Mint Museum, 2730 Randolph Rd. Annual Florida Teapot Show"; at Bloom Flower 8i Gift through April 17 "Speaking Volumes: Vessels from the Shop, 6900 Daniels Pkwy. #28. Collection of the Mint Museums"; at Mint Museum of Florida, Stuart March 3-26 "On the Edge"; at Fish Craft + Design, 22 N. Tryon St. House Art Center, 4745 S.E. DeSoto Ave. North Carolina, Seagrove February 4-March 26 "A Georgia, Athens through March 20 "Shaping A Collec­ Place to Take Root: The History of Flowerpots & Garden tion: Recent Acquisitions in the Decorative Arts"; at Georgia Containers in America"; at North Carolina Pottery Center, Museum of Art, University of Georgia, 90 Carlton St. 250 East Ave. Hawai'i, Honolulu February 17-April 24 "The Art of Ohio, Canton through February 27 "Defining Craft I: Rice: Spirit and Sustenance in Asia"; at the Honolulu Collecting for the New Millennium," Museum of Arts and Academy of Arts, 900 S. Beretania St. Design traveling exhibition; at the Canton Museum of Art, Illinois, Chicago through February 13 "Machu Picchu: 1001 Market Ave., N. Continued

Ceramics Monthly February 2005 78 Ceramics Monthly February 2005 79 calendar

Ohio, Columbus through April 17 "Bringing Modern­ ism Home: Ohio Decorative Arts 1890-1960"; at Colum­ bus Museum of Art, 480 E. Broad St. Texas, Beaumont February 12-March 12 "Tri-State National"; at Beaumont Art League, 2675 Gulf St. Texas, Columbus March 19-May 75 "The White Bread Family Side Show"; at Live Oak Art Center, 1014 Milam St. Texas, Dallas through May 29 "Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong"; at the Dallas Museum of Art, 1717 N. Harwood St. Texas, Denton through March 20 "Materials Hard & Soft"; at Greater Denton Arts Council, 207 S. Bell Ave. Virginia, Richmond February 5-May 7 "Bonnie Prince Charlie and the Royal House of Stuart, 1688-1788: Works of Art from the Drambuie Collection"; at the University of Richmond Museums, George M. Modlin Center for the Arts, Marsh Art Gallery Wisconsin, Racine through March 6 "The Artist Re­ sponds: Albert Paley and Art Nouveau"; at the Racine Art Museum, 441 Main St.

Fairs, Festivals and Sales

Arizona, Carefree March 4-6 "10th Annual Carefree Fine Art & Wine Festival"; downtown, Easy and HoHumsts. Arizona, Phoenix March 5-6 "47th Annual Heard Museum Guild Indian Fair & Market"; at the Heard Mu­ seum 2301 N. Central Ave. Arizona, Scottsdale February 11-13 "14th Annual Scottsdale Fine Art and Chocolate Festival"; at Scottsdale Pavilions, E. Indian Bend Rd. February 12-13 "Navajo Folk Art Festival" at the Heard Museum North, 34505 N. Scottsdale Rd. Arizona, Surprise February 18-20 "First Annual Sur­ prise Fine Art and Wine Festival"; Grass pad, 15850 N. Bullard Ave. California, San Rafael February 26-27 "21st Annual Marin Indian Art Show"; at Marin Center Exhibition Hall and Embassy Suites, Ave. of the Flags, Marin County Civic Center. Florida, Gainesville February 4-6 "19th Annual Hoggetowne Medieval Faire"; at the Alachua County Fairgrounds, State Rte. 222. Maryland, Baltimore February 25-27 "29th Annual Craft Show"; at Baltimore Convention Center, 1 W. Pratt St. Michigan, Rochester February 19-20 "Second An­ nual Best of Arts & Crafts"; atShotwell Gustafson Pavilion, Oakland University. New Jersey, Somerset March 11-13 "Sugarloaf Crafts Festival"; at Garden State Exhibit Center, 50 Atrium Dr. New York, New York March 31-April 3 "Arts of Pacific Asia"; at the Armory at Grammercy Park. Ohio, Columbus February 4-6 "Sugarloaf Crafts Fes­ tival"; at Ohio Expo Center, 717 East 17th Ave. Pennsylvania, Ft. Washington Mar 18-20 "Sugarloaf Crafts Festival"; at Ft. Washington Expo Center, 1100 Virginia Dr.

Workshops

Arkansas, Mountain View March 20-25 "Beginning Handbuilt Pottery and Sculpture" with Judi Munn or "Be­ ginning Wheel-Thrown Pottery" with John Perry. Fee/ session: $240, includes materials. April 22-26 "Firing a Wood-Burning Kiln" with Judi Munn and John Perry. Fee: $265, includes materials; participants may bring bisqueware. Contact Terri Bruhin, Ozark Folk Center, PO Box 500, Mountain View 72560; e-mail [email protected]; seewww.ozarkfolkcenter.com; telephone (870) 269-3851; or fax (870) 269-2909. Arizona, Phoenix February 4 (lecture)-6 "Glaze Application" with Joyce Michaud. Fee: $190; lecture, free. Contact Desert Dragon Pottery, PO Box 41008, Phoenix 85080; e-mail [email protected]; see www.desertdragonpottery.com; telephone (602) 690-6956.

Ceramics Monthly February 2005 80 Ceramics Monthly February 2005 81 tion" with Don Bendel and Don Reitz. Fee: $200; after, calendar February 15, $225; students, $150. Contact St. Petersburg Clay Company, 420 22nd St. S, St Petersburg 33712; or telephone (727) 896-2529. California, Costa Mesa April 9-10 "Gesture and Florida, Stuart March 4-5 Workshop with Paul Soldner. Rhythm" with Steven Hill and Matt Long at Orange Coast Fee: $195; students discounted. Contact Fish House Art College. Contact Rosemarie Copado, Laguna Clay, 14400 Center, 4745 S.E. DeSota Ave, Stuart 34997; or see Lomitas Ave., City of Industry, CA 91746; see www.fishhouseartcenter.com. www.lagunaclay.com;ortelephone(626)330-0631,x231. Florida, West Palm Beach February 5-6 "High En­ California, Menifee March 19 "A Day with John ergy Clay" with Don Reitz. February 28-March 4 "Site- Hopkins." Fee: $35, includes lunch. Contact Myrna James, Specific Architectural Sculpture in Ceramics" with Robert Mt. San Jacinto College-Menifee, Ceramics Club, Rm. 607, Harrison. March 12-13 "Assemblage in Clay: Playing 28237 La Piedra Rd., Menifee 92584; e-mail with the Parts" with Jim Koudelka. Contact the Armory [email protected]; or telephone (951) 672-6752. Art Center, 1700 Parker Ave., West Palm Beach 33401; California, Ojai March 5-6 Workshop with Tom Turner. see www.armoryart.org; or telephone (561) 832-1776. Fee: $175; includes breakfast. Contact Dusti Pelow, Georgia, Atlanta February 26-27 Demonstration Massarella's Firehouse Pottery & Gallery, 109 N. Montgom­ workshop with Mel Jacobson. March 12-13 "Clay + Spirit," ery St., Ojai 93023; e-mail [email protected]; hands-on workshop with Tom Kerrigan. Fee: $185. April or telephone (805) 646-9453. 16-17 "Ash Glaze," hands-on workshop with Mark California, Richmond February 12 "The Artful Platter Issenberg. May 14-15 Demonstration workshop with Gay and Majolica" with Francis Mcllveen. Fee: $40; members, Smith. Fee (unless noted above): $110. Discount: 15% $32. February 26-27 "Ceramics and Print: Screen Printing with 60-day advance registration. Contact MudFire Clay and Decal Applications" with Shalene Valenzuela. Fee: Studio and Gallery, 175 Laredo Dr., Atlanta 30030; e-mail $80; members, $75; includes materials. Contact Richmond [email protected]; see www.mudfire.com; or telephone Art Center, 2540 Barrett Ave., Richmond 94804; see (404) 377-8033. www.therichmondartcenter.org; telephone (510) 620- Georgia, Rabun Gap February 21-25 Workshop with 6772; or fax (510) 620-6771. Silvie Granatelli. March 12-13 Workshop with Tom and California, San Luis Obispo February 27 Work­ Elaine Coleman. April 23-24 Workshop with Wally shop with Lana Wilson at Cuesta College. Fee: $35. Asselberghs. May 14-15 Workshop with Keith Smith. E-mail Teri Brown [email protected] ; telephone September 19-23 Workshop with Chris Gustin. October (805) 772-8987. 22-23 Workshop with Ron Meyers. Contact the Hambidge California, Santa Maria April 5 "Gesture and Center, PO Box 339, Rabun Gap 30568; see Rhythm," slide presentation with Steven Hill and Matt www.hambidge.org; or telephone (706) 746-5718. Long at Hancock College. Contact Rosemarie Copado, Georgia, Watkinsville February 19 Demonstration Laguna Clay, 14400 Lomitas Ave., City of Industry, CA workshop with Robert Brady and Sandy Simon. Fee: $50, 91746; see www.lagunaclay.com; or telephone (626) includes lunch. Contact Nancy Green, 1500 Tappan Spur 330-0631, x231. Rd., Watkinsville 30677; e-mail [email protected]; or California, Sunnyvale March 5 "Paper Clay" hands- telephone (707) 769-5659. on workshop with Linda Mau. Fee: $65. Contact Mother Hawai'i, Maui February 18-20 "Clay + Spirit," Earth Clay Art Center, 790 Lucerne Dr., Sunnyvale 94085; handbuilding workshop with Thomas Kerrigan. Fee: $386; see www.mamasclay.com; or telephone (866) 311-0244. members, $326; includes materials and lab fee. Contact California, Torrance April 7 "Gesture and Rhythm," Hui No'eau Visual Arts Center, 2841 Baldwin Ave., slide presentation with Steven Hill and Matt Long at Makawao, Maui 96768; e-mail [email protected]; El Camino College. Contact Rosemarie Copado, Laguna or telephone (808) 572-6560. Clay, 14400 Lomitas Ave., City of Industry, CA 91746; Illinois, Chicago March 12 "Introduction to see www.lagunaclay.com; or telephone (626) Installation." Fee: $50; members, $40. For further infor­ 330-0631, x231. mation, contact Margaret Park Smith, Lillstreet Art Center, California, Walnut Creek April 2-3 "Gesture and 4401 N. Ravenswood, Chicago 60640; e-mail Rhythm" with Steven Hill and Matt Long at Walnut Creek [email protected]; see www.lillstreet.com; or tele­ Civic Arts Education. Fee: $ 125. Contact Rosemarie Copado, phone (773) 769-4226. Laguna Clay, 14400 Lomitas Ave., City of Industry, CA Ilinois, St. Charles February 11-12 "Fine and Func­ 91746; see www.lagunaclay.com; or telephone (626) 330- tional: Thrown and Patterned Porcelain" with Elizabeth 0631,x231. Lurie. Contact the Fine Line Creative Arts Center, 6N158 Colorado, Carbondale April 30-May 1 "Altered Crane Rd., St. Charles 60175; e-mail [email protected]; Forms," demonstration workshop with Sequoia Miller. see www.finelineca.org; or telephone (630) 584-9443. October 15-16 Workshop with Mary Barringer. Contact Indiana, Bloomington April 9-10 "A Touch of Carbondale Clay Center, 135 Main St. Carbondale Porcelain—The Elegance of Form" with Susan Filley. Con­ 81623; e-mail [email protected]; see tact Cheri Glaser, Local Clay Potters' Guild, 830 www.carbondaleclay.org; telephone (970) 963-2529; or N. Sewell Rd., Bloomington 47408; e-mail fax (970) 963-4492. [email protected]; or telephone (812) 336-3463. Connecticut, Brookfield February 19-20 "Production Indiana, Upland March 9 Demonstration with Dick Pottery" with Dan Finch. February26-27 "American Ceramic Lehman. Contact Mary Mahan, Taylor University, Modelle Redware" with Eric Kubinyak. March 19-20 "Ceramic Ex- Metcalfe Visual Arts Center, Metcalf Gallery, 236 W. truderTechniques" with Roger Baumann. Contact Brookfield Reade Ave., Upland 46989; e-mail [email protected]; Craft Center, PO Box 122, 286 Whisconier Rd., Brookfield or telephone (765) 998-5322. 06804-0122; e-mail [email protected]; see Kansas, Wichita February 26-27 Workshop with www.brookfieldcraftcenter.org; telephone (203) 775-4526; Jeanne Quinn. Contact Stephanie Lanter, Wichita State or fax (203) 740-7815. University, School of Art and Deisgn, 1845 Fairmount Connecticut, Guilford February 5-6 Workshop Ave., Box 67, Wichita 67260-0067; e-mail with Chris Gustin. Contact Guilford Handcraft [email protected]; telephone (316) 978-3518. Center, 411 Church St., Guilford 06437; see Maryland, Arnold March 15 "Norwegian Ceramics," www.handcraftcenter.org; telephone (203) 453-5947. lecture by Ole Lislerud. Contact Anne Arundel Community Florida, St. Petersburg February 11-13 "Successful College—Cade Gallery, 101 College Pkwy., Arnold 21012; Excess: Plates, Platters and Everything in Between," or telephone (410) 777-7023 hands-on workshop with Eddie Dominguez. Fee: $350; Maryland, Baltimore February 19 Clay workshop, members, $300; includes lab fee. Contact the Arts includes tour of "American Fancy: Exuberance in the Arts, Center, 719 Central Ave., St. Petersburg 33701; e-mail 1790-1840." Fee: $40; members, $35; includes breakfast. [email protected]; see www.theartscenter.org; Beginning/intermediate. March 6 "American Radiance, a telephone (727) 822-7872; or fax (727) 821-0516. Story of American Folk Arts," lecture with Ralph Esmerian. February 19-20 "Throwing and Altering Demonstra­ Fee: $15; members, $10. Contact the Maryland Historical

Ceramics Monthly February 2005 82 Ceramics Monthly February 2005 83 calendar

Society, 201 W. Monument St., Baltimore 21201; see www.mdhs.org; telephone (410) 685-3750, ext. 321. March 13-14 "NCECA Pre-Conference Workshop, End­ less Variations; Functional Four on the Floor" with Malcolm Davis, Steven Hill, Jeff Oestreich and Lynn Smiser Bowers. Fee: $180, includes breakfast and lunch. April2-3 "Wheel Exploration and Design" with Andy Shaw. April 30-May 8 "Wood Kilnbuilding Workshop" with Kevin Crowe. Fee: $270; members, $250. May 14-15 "Combined Tech­ niques—Process and Meaning" with Matt Wilt. Fee (unless noted above): $180; members, $160. Contact Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail [email protected]; see www.baltimoreclayworks.org; or telephone (410) 578-1919. March 15 Lecture with Lawson Oyekan. Lecture with Doug Baldwin and Rudy Autio. Contact Maryland Institute College of Art, 1300 Mount Royal Ave., Baltimore 21207; e-mail [email protected]; see www.mica.edu; or tele­ phone (410) 626-1277. March 15-16 "The Teapot Form" with Fong Choo. Free. Contact the Potters Guild of Baltimore, 3600 Clipper Mill Rd., Baltimore 21211; see www.pottersguild.org; or telephone (410) 235-4884. Maryland, Frederick February 12 "Electric Kiln" with Phil Berneburg. Fee: $85. February26-27 "Brushmaking" with Susan Nayfield Kahn. Fee: $165, includes materials to make 4 brushes. March 11 (lecture)-13 "On the Wheel and Almost Round" with Jack Troy. Fee: $185. Lecture: free. March 20 "Master's Concepts" with Joyce Michaud. Fee: $85. Contact Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; see www.hood.edu/academic/art; ortelephone (301) 696-3456. Maryland, Laurel March 13 and/or March 20 Raku Workshop." Fee: $115; Prince George's Country resi­ dents, $100; includes clay. Contact Montpelier Cultural Arts Center, 12826 Laurel-Bowie Rd. Laurel 20708; e-mail [email protected]. Massachusetts, Somerville February 18-19 " Handbuilding with Extruded Pots" with Gabrielle Fougere. Fee: $200; members, $100.March 5-6 "Pots and Possibili­ ties" with Nick Joerling. Fee: $250; members, $125.March 13 "Parent and Child Wheel-Throwing Workshop" with Elizabeth Flannery. Fee: $40. March 20 "Clay on the Wheel for Adults" with Lisa Knebel. Fee: $35 .April 3 "Parent and Child Picture Frames Workshop" with Hoay Cheah. Fee: $40. Contact Mudflat, 149 Broadway, Somerville 02145; see www.mudflat.org; telephone (617) 628-0589; or fax (617) 628-2082. Massachusetts, Worcester February 19-20 "Thrown and Wet Altered" with Aysha Peltz. Contact Worcester Center Center for Crafts, 25 Sagamore Rd. Worcester 01605; see www.worcestercraftcenter.org; or telephone (508) 753-8183. Minnesota, Bemidji April 13-14 Workshop with Bob and Cheryl Husby at Bemidji State University. Fee: $35. Contact Bemidji Community Arts Council, 426 Bemidji Ave., N, Bemidji 56601; see www.bcac-mn.org; or tele­ phone (218) 444-7570 or (218) 755-3736. Minnesota, Minneapolis February 12 Workshop with Farraday Newsome. Free. Contact Northern Clay Center, 2424 Franklin Ave., E, Minneapolis 55406; see www.northerndaycenter.org; telephone (612) 339-8007. Missouri, Kansas City February 5-6 Workshop with Bede Clarke. Contact Red Star Studios, 821 W. 17th St., Kansas City 64108; e-mail [email protected]; see www.redstarstudios.org; or telephone (816) 474-7316. Montana, Helena May 27-29 "Get Your Downdraft On" kilnbuilding with Ben Krupka and Curtis Stewardson. Contact Archie Bray Foundation, 291 5 Country Club Ave., Helena 59602; www.archiebray.org; or telephone (406) 443-3502. New York, Dix Hills February 11-March 4 (4 Friday eves.) "The Art of Extruding" with Gina Mars. March 1-15 (3 Tuesday Eves.) "Clay Containers and Tiles" with Ruth Sachs. Fee: $129. Contact Gina Mars, Art League of Long

Ceramics Monthly February 2005 84 Ceramics Monthly February 2005 85 Pennsylvania, Philadelphia February 11 (lecture), 12- calendar 13 "Handbuilding Functional Pots" with Sandi Pierantozzi. March 11 (lecture), 12-13 "Porcelain: The Plasticity of a Line" with Alleghany Meadows. April9 "Fun Glazing Tech­ Island, 107 E. Deer Park Rd., Dix Hills 11746; see niques" with Doug Herren. Fee: $65; members, $60.April www.artleagueli.org; or telephone (631) 462-5400. 17 "Explore Paper Clay" with Jerry Bennett. Fee: $130; New York, Long Island City February 26 Workshop members, $120. April23 "Coloring Outside the Lines" with with Sara Patterson. April 2 Workshop with Mikhail Rain Harris. Fee: $80; members, $75; includes materials. Zakin. Fee/session: $65. Contact Sara Patterson, May 13 (lecture), 14-15 "Functional Excess" with Julia Queensboro Potters, 42-26 28th St., 2E, Long Island City Galloway. Fee (unless noted above): $205; members, $195; 11101; e-mail [email protected]; ortelephone (718) lectures, $5. Contact the Clay Studio, 139 N. Second St., 729-4882. Philadelphia 19106; see www.theclaystudio.org; telephone New York, New York February 11-13 and March 11- (215) 925-3453; or fax (215) 925-7774. 13 "Precious Metal Clay Artisan Certification." Fee: $465, Tennessee, Sewanee February 19-20 Hands-on work­ includes tools, firing, material to complete eight projects, shop with Pete Pinnell. Fee: $ 150, includes lunch. Limit of instruction book and PMC Guild membership. February 18 participants. Contact Claire Reishman, St. Andrew's- 12-13 and March 12-13 "Techniques in Precious Metal Sewanee School, 290 Quintard Rd., Sewanee 37375; Clay." Fee: $265, includes materials, tools and firing. e-mail [email protected]; or telephone (931) 968- Instructor/session: Vera Lightstone. Contact Vera 0210, ext. 3165. Lightstone, 347 W. 39th Street, New York 10018; e-mail Texas, Bryan February4-5WorkshopwithTomTurner. [email protected]; or telephone (212) 947-6879. Contact Joy Pottery, 4544 Old Reliance Rd., Bryan 77808; February 12-13 "Porcelain Sculptural Vessels" with or telephone (979) 778-1323. Ellen Day. Fee: $235; members, $220; includes tour of Texas, Mesquite February 18-19 "Advanced Electric Ruth Duckworth exhibition. Contact Museum of Arts Kiln Seminar." Fee: $95. Contact Paragon Industries, 2011 & Design, 40 W. 53rd St., New York 10019; S. Town East Blvd., Mesquite 75149-1 122; e-mail www.madmuseum.org; telephone (212) 956-3535. [email protected]; seewww.paragonweb.com; ortele­ February 24-25 "Tableware" with Paul Donnelly. phone (800) 876-4328. March 10 "Useful Pots" with Frank Martin. March 24-25 Texas, San Antonio March 18-20 "Making Tsuchi- "Large-Scale Throwing and Handbuilding" with Paul kago: Handbuilt Woven Ceramic Baskets." Fee: $260. Chaleff. Contact 92nd Street Y Art Center, 1395 Lexing­ Limit of 15 participants. March 19 "A New Perspective on ton Ave., New York 10128; see www.92y.org; telephone Throwing," slide lecture. Free. March 22 "Ikebana: The (212)415-5500. Flower Arrangement of Japan." Fee: $5. Instructor/ses­ New York, Port Chester February 5-6 "Cut & Paste: sion: Shuji Ikeda. Contact Southwest School of Art & Craft, Exploring Form and Function with Earthenware" with Joan 300 Augusta, San Antonio 78205; see www.swschool.org; Bruneau. March 12-13 "Clay Monoprinting" with Mitch or telephone (210) 224-1848. Lyons. March 13 "Raku" with Denis Licul. Fee: $75. March Amherst, Virginia April 2 (loading), 9 (firing), 16 21-22 "To Have and to Hold: Pots for Flowers" with Tracy (unloading) "Hikarigama Wood Firing" with Kevin Crowe Shell. Fee: $150. March 23-24 "Mold Making Made at Tye River Pottery. Fee: $210. Contact Hood College, Simple" with John Chewkun. Fee: $150, plus materials. Ceramics Program, 401 Rosemont Ave., Frederick 21701; April 2-3 "Thrown and Altered Stoneware" with Linda see www.hood.edu/academic/art; or telephone (301) McFarling. Fee (unless noted above): $175. Contact the 696-3456. Clay Art Center, 40 Beech St., Port Chester 10573; or telephone (914) 937-2047. International Events New York, White Plains February 22-24 "The Sculp­ ture and Surface of the Bowl" with Todd Wahlstrom. Fee: Belize, Rio Bravo April 21-May 1 "Maya Pottery $123. May 4 "Cups—Hope You Can Handle It" with Workshop" with Clint Swink. Fee: $1500, includes lodg­ Alison McGowan. Contact Westchester County Center, ing, meals, transportation, research and tours. Contact 196 Central Ave. White Plains 10604; ortelephone (914) Swink Art, 688 Raven Ridge, Bayfield, CO 81122; e-mail 684-0094. [email protected]; or telephone (970) 563-4624. North Carolina, Asheville February 18-19 "K-12 Canada, British Columbia, Burnaby February 12- Educators Workshop." Fee: $75. Limit of 40 participants. 13 Lecture and demonstration with Paul Davis. Fee: Contact Odyssey Center for Ceramic Arts, PO Box 18284, CAN$107 (US$90). February 16-20, unload 23 "Wood/ Asheville 28814; e-mail [email protected]; see Soda Firing workshop" with Paul Davis. Fee: CAN$395.90 www.highwaterclays.com; telephone (828) 285-0210. (US$328). Participants should bring 10 bisqued pieces. North Carolina, Columbia February 17-20 "Cabin Contact Jay Maclennan, Shadbolt Centre for the Arts, Fever Reliever V," includes "Handbuilding with Clay" with 6450 Deer Lake Ave., Burnaby V5G 2J3; e-mail Sandi Pierantozzi and "Wheel-Thrown Vessels" with Neil [email protected]; see Patterson. Fee: $430, includes registration, lodging and www.bcpotters.com; telephone (604) 291-6864; or fax meals. Contact Pocosin Arts, PO Box 690, Columbia 27925; (604) 205-3001. e-mail [email protected]; see www.pocosinarts.org; Canada, British Columbia, Salt Spring Island or telephone (252) 796-2787. February26-27 "Handbuilding and Glazing," demonstra­ North Carolina, Seagrove May 13-15 Workshop with tion with Friederike Rahn. Fee: CAN$70 (US$57). Contact Tom Turner. Contact North Carolina Pottery Center, 250 Beth Feller, 695 Mansell Rd., Salt Spring Island V8K 1R5; or East Ave., Seagrove 27341; telephone (336) 873-8430. telephone (250) 537-2184. Ohio, Wooster April 13-16 "Functional Ceramics Canada, Ontario, Burlington through February 6 2005" with Mark Hewitt, Sandi Pierantozzi and Neil "Flora: Fragile Habitats Declining Ecosystems," ceramic Patterson. Fee: $175; full-time students, $90. Contact installation by Julie Aubin and Darlene Benner, through Phyllis Blair Clark, 2555 Graustark Path, Wooster44691; or February 13 "Quietly Convincing" through December 19 telephone (330) 345-7576. "Recent Acquisitions 2004."; at Burlington Art Centre, Oregon, Astoria April 12-17, unload 23 "Six-Day 1333 Lakeshore Rd. Wood-Fire Workshop" with Owen Rye. Fee: $200. For Canada, Ontario, Toronto through March 20 "Craft/ further information, contact Teri Sund, Clatsop Commu­ Design Exhibition"; at the Harbourfront Centre, York Quay nity College, Art Center Gallery, 1653 Jerome Ave., Astoria Gallery, 235 Queen's Quay W. 97103; e-mail [email protected]; telephone (503) 338- February 27-March 11 Judy Morsink; at CedarRidge 2478; or e-mail Richard Rowland, [email protected]; Studio Gallery, 225 Confederation Dr. or telephone (503) 325-0184 or (503) 338-2449. Canada, Ontario, Waterloo through March 11 "Sym­ Oregon, Gresham April 8-10 Workshop with Owen bol and Story," Kasia Piech and Wendy Walgate; at Cana­ Rye. Fee: $100. Contact Stephen Mickey, Mt. Hood Com­ dian Clay & Glass Gallery, 25 Caroline St., N. munity College, 26000 S.E. Stark St., Gresham 97030; or Canada, Quebec, Montreal through May 15 "Eternal e-mail [email protected]. Egypt: Masterworks of Ancient Art from the British Mu-

Ceramics Monthly February 2005 86 Ceramics Monthly February 2005 87 calendar

seum"; at the Montreal Museum of Fine Arts, 1380 rue Sherbrooke W. Denmark, Skaelskor February 16-18 "Sculpture and Form" with Felicity Aylieff. Fee: Dkr 1500 (US$262); mem­ bers, Dkr 1300 (US$227); students, Dkr 1000 (US$174). April 2-11 "Cross Draught Kiln Wood Firing." Fee: Dkr 700 (US$122); must bring bisqueware. April 18-24 "Wood Kilns—Fast Fire and Soda" with Ann-Charlotte Ohlsson. Fee: Dkr 1600 (US$281); students, Dkr 1100 (US$198). April 29-30 "Photography—Ceramic Work" with Ole Akhoj. Fee: Dkr 1100; members, Dkr 900 (US$162); stu­ dents, Dkr 700. May 23-24 "Between Image and Form" with Brian Bolden. Fee: Dkr 1200 (US$209); members, Dkr 1000; students, Dkr 700. September 5-9 "Experimental Studio II" with Barbro Aberg and Karen Harsbro. Fee: Dkr 1900 (US$331); members, Dkr 1700 (US$297); students, Dkr 1200. Contact GuldagergSrd, International Ceramic Center, Heilmannsvej 31 A, 4230 Skaelskor; e-mail [email protected]; seewww.ceramic.dk; telephone (45) 5819 0016; or fax (45) 5819 0037 England, Bovey Tracey, Devon through February 27 "Get Fresh2"; at Devon Guild of Craftsmen, Riverside Mill. England, Frome, March 4-26 Sally Stephens, "Coral"; at Enigma Contemporary Art & Crafts, 15 Vicarage St., Somerset. England, London through February 5 "Making It Yours: Ceramics." through February 6 "Beauty and the Beast: NewSwedish Design"; at the Crafts Council Gallery, 44a Pentonville Rd. through July 31 "Circling the Square: Avant-Garde Porcelain from Revolutionary Russia"; at Hermitage Rooms, South Bldg., Somerset House, Strand. February 2-April 24 "Modern Pots: Lucie Rie, Hans Coper and Their Contemporaries"; at Dulwich Picture Gallery, Gallery Rd. February 4-March 5 Bryan lllsley. March 11-23 Martin Smith; at Barrett Marsden Gallery, 17-18 Great Sutton St. March 17-July 10 "International Arts and Crafts Exhi­ bition"; at the Victoria and Albert Museum, Cromwell Rd. May 14-31 "London and Paris: A Visual Arts Study Abroad Program" with Gail Kendall. Fee: $3000, includes airfare, lodging and tours. Undergraduate credit, scholar­ ships and financial aid available. E-mail Gail Kendall, Uni­ versity of Nebraska-Lincoln: [email protected]; or see www.unl.edu/iaffairs. England, Stoke-on-Trent through February 27 Grayson Perry, "Out and About"; at the Potteries Museum & Art Gallery, Bethesda St., Hanley. France, Antibes February 12-May 28 "Picasso and Ceramics"; at Mus£e Picasso d'Antibes, Chateau Grimaldi, Juan-les-Pins. France, Cordes sur Ciel April 24-30 "Throwing and Raku." May 1-7 "Throwing and Fire." May 15-21 "Throw­ ing." May 24-June 2 "Pit Fire, Paper Clay and Raku" with Ottokar Sliva. Fee: €755 (US$1012), includes materials and meals. September 4-10 "Throwing Course." September 28-October 9 "Pottery with a Big Smile" with Dan and Laurie Hennig. Fee: €755 (US$1012), includes materialsand meals. Fee/session (unless noted above): €395 (US$530); includes materials and meals. Contact LaCeramique, La Plaine, Cordes surCiel 81170; orsee www.laceramique.com. France, Manosque February 1-26 Two-person exhibi­ tion including ceramics by Matine Kistner. March 1-31 Two- person exhibition including ceramics by Nanouk Anne Pham; at Galerie Voghera, 4 rue Tribunal Germany, Berlin through August 1 "Made in Berlin: Ceramics Before 1945"; at Keramik-Museum Berlin, Schustehrusstr. 13. Hungary, Kecskemet March 13-April3 "First Interna­ tional Triennial of Silicate Arts"; at International Ceramics Studio, Kecskemet, Kapolna u. 11. Italy, Certaldo (Florence) April 3-10 "Sculpture and Raku" with Joyce Kilbrew. April 17-30 "Earth & Fire" with John Jessiman. September 4-10 "Raku Dolce" with Giovanni Cimatti. Septemberl8-October 1 "Clay and Chi­ anti" with Josh DeWeese. October 16-29 Soda Firing and

Ceramics Monthly February 2005 88 calendar

Raku Dolce" with Terry Davies and Giovanni Cimatti. Contact La Meridiana, Loc. Bagnano 135, 50052 Certaldo; see www.pietro.net; or telephone/fax (39) 0571 660084. Italy, Tuscany May 1-14 "Pots/Possibilities" with Nick Joerling. October 2-15 "Responding to Touch: Porcelain Pots Thrown and Altered" with Leah Leitson. Fee/session: $2500, includes lodging and materials. Contact Lynne Burke, Pottery Abrood, LLC: e-mail [email protected]; see www.potteryabroad.com; telephone (404) 261-0431. May 13-30 One-week hands-on handbuilding work­ shop with Denys James; one-week hands-on terra sigillata workshop with Giovanni Cimatti. Fee: US$3625, includes airfare, lodging, lunch, materials and tours. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906. Jamaica, Trelawny April 22-30 "Jamaica: Making Pottery" with Doug Casebeer, Randy Johnston, Jan McKeachie Johnston and David Pinto. Contact Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; see www.andersonranch.org; or telephone (970) 923-3181. Japan, Gifu through March 4 "Modern Ceramics of Italy," and "Modern Ceramic Design—Forms of White Vessels." and "An Exhibition of Students Work." through March 27 "Utsuwa, Utsuwa and Utsuwa." March 19, 2005-0ctober 16, 2006 "European Noble Wares"; at the Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi- machi, Tajimi-shi. Japan, Osaka through April 12 "Persian Ceramics and Bronze from Takada Collection"; at the Museum of Orien­ tal Ceramics, Osaka, 1-1-26 Nakanoshima, Kita-ku. Japan, Tokyo March 10-24 Ivar Mackay; at Yufuku Gallery, Annecy Aoyama 1F, 2-6-12 Minami-Aoyama. Mexico, Oaxaca March 6-16 "Indigenous Clay," in­ cludes forming and firing techniques, and tours. Fee: $1215—$ 1500; includes materials, some lodging and meals, and local transportation. For further information, contact Eric Mindling: e-mail [email protected]; or see www.manos-de-oaxaca.com. Netherlands, Amsterdam through February 19 "50 Years at Galerie De Witte Voet"; at Galerie De Witte Voet, Kerkstraat 135. February 19-March 26 Esther Stasse; at Galerie Carla Koch, Prinsengracht 510 sous. Netherlands, Deventer through February 12 Judith Rigter; at Loes & Reinier International Ceramics, Korte Assenstraat 15. Netherlands, Leeuwarden through February21 Ingrid Mol, "Dreaming of Carlo Montana"; at Princessehof Leeuwarden, Grote Kerkstraat 11. Switzerland, Geneva through March 28 "Portugese Ceramics from the 17th and 20th Centuries"; at Musee Ariana, 10, Ave. de la Paix. Turkey, Istanbul, Ankara and Cappadocia Septem­ ber 15-October 6"Tu rkey Cera mics Excu rsion." Fi rst week: hands-on workshop including handbuilding, colored por­ celain and decals with Mehmet Kutlu. Second week: hands-on workshop with Erdogan Gulec and Denys James. Fee: CAN$3985 (US$2975), includes airfare, transporta­ tion, lodging, breakfasts, tours and studio visits. Deposit due: June 15. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; e-mail [email protected]; see www.denysjames.com; or telephone (250) 537-4906. Turkey, Izmir through February 5Zerrin Atak, "Music in My Mind"; at the Izmir Turkish American Association, 1379 Sokak 39.

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Ceramics Monthly February 2005 90 Ceramics Monthly February 2005 91 Ceramics Monthly February 2005 92 Ceramics Monthly February 2005 93 COTTUTlCTlt I the butter dish saga by Dannon Rhudy

One has occasion, from time to time, to Lesson One relearn old lessons. It has been my lot to find Make things in series. That is how I pre­ those occasions with some frequency. I don’t fer to work, and how I have worked for lo mind relearning, but I do wonder why it these many years. It is how I solve problems, should be so tiresomely difficult at times to find solutions I didn’t even know I was look­ see one’s own behavior for what it is. Why is ing for, improve design, think about glaze it that all the lessons that I’ve already learned, possibilities, and produce enough test pieces and taught to my own students in story, song to find a concept that works. I promptly and demonstration, should be the very les­ forgot all about that and simply made one sons that I misplace just when I need them, piece that might work as a tray, and a top when I have a problem to solve or a difficulty that fit it. It didn’t look bad, and I set it aside to overcome? to dry while I worked on another project That is, of course, not always the case, that required my attention. I put the butter but it is the case often enough to be truly dish into the next bisque load. When it came perplexing and certainly annoying. My re­ out, it seemed to have lost something in the cent experience with the Dreadful Butter Dish firing, and I did not like it much. I thought I comes to mind as a case in point. Perhaps it might glaze it and see what happened. was an object lesson. Perhaps it was simply another case of knowing and doing being two Lesson Two different things. Don’t expect glazing a mediocre piece to improve it. It almost always looks worse, not The Saga Begins better. I’ve known that since my second se­ A customer came to the studio in my mester of ceramics. So of course I glazed the absence and left me a message saying that he piece, fired it and looked again. It was me­ wanted a butter dish. He left the shipping dium ugly, the glaze was not a success, and it address and said that there was no hurry. I’d was apparent that my mind was not on what dealt with this customer before without I was doing. Further, I noted that the piece difficulty and was pleased to find that he was not even the right size. In my haste to wanted some additional work. I went into begin, I’d failed to consider even such the studio, found a butter bell that I particu­ practicalities as fit. My butter dish was ugly. larly liked and shipped it off the next day. My butter dish was too short. I saw all these A few days later I received a call from my problems, and I should have felt challenged customer. He did not want a round butter to correct the shortcomings of both design bell. He wanted a rectangular butter dish. I and process. Instead, I felt irritated and an­ prefer the more potterly butter bell, and tried noyed with my potential buyer. My irritation to convince my customer. He was not inter­ interfered with my judgment. ested in what I preferred. He knew what he The fact that butter has been sold in rect­ wanted. He wanted these as gifts for clients, angular sticks for about the last zillion years, and if he liked what I sent him then he and that practically no one actually makes wanted to buy a goodly number of them. I their own butter in little round cakes any­ thought about this briefly and decided I more, didn’t seem to make a dent in my would not say no to his request. I’m just obtuse stubbornness. But I did at least realize getting my studio up and running after a that I needed to redesign the base, because it move from Texas to southern Indiana, so was boring, had no richness of form, was business is not to be snubbed. And after all, I time consuming to make and in fact was not do a significant amount of handbuilding, a in any way an interesting or useful object. rectangular butter dish could not be that difficult. I’d just make one and glaze it and Lesson Three send it. No trouble. It was at this point that I When something does not work, don’t seemed to lose track of many of the lessons keep doing the same thing and expect a dif­ I’d learned heretofore. ferent result. I know that. I’ve taught stu-

Ceramics Monthly February 2005 94 Ceramics Monthly February 2005 95 comment

dents that again and again. So I promptly lated, in whatever stage of production, and The cover was a little more problematic: I designed an only slightly modified base, made pitched the lot into the trash. needed to be able to consistently produce a the top I already did not like a little longer, I gave myself a break from the butter dish repeatable form, while not taking too much and bisqued, glazed and fired again. I did not and spent the next several hours making a time to do it. It occurred to me that I could like the result. No one would: the tray looked series of bowls that I needed. I gave the bowls carve the form I wanted, cast it in plaster and flimsy, the clay was too thin, the lid was my whole conscious attention. I set them in slip cast the tops of my pieces. It took me a boring, the handle was ineffective visually— orderly rows to dry for trimming and took a bit to get there, because I don’t use slip cast­ a disaster. I finally admitted that I was merely brief break. ing in my studio, generally speaking. But rearranging a mess. Time to start anew. Then, I gathered a sketch book and pen­ don’t doesn’t mean cant. Slip casting turned cil and sat down to think about butter dishes. out to be the perfect solution. I was able to Lesson Four The project turned out to be fairly simple, start producing both tray and cover within a Starting a project or design begins with once I’d cast out preconceptions and opened couple of days. I like them. Anyone might. the idea. Technique and idea are mutually my mind to alternative production possibili­ The form is strong, there are no weak edges, supportive in any work; I’ve been trying to ties. The trays were easy enough. I make and the butter fits tidily inside. My customer teach that to students since day one. But I’d trays all the time, and I enjoy it. I have a is very pleased. Most importantly, though, I shoved that precept aside and dashed pell number of wooden forms that I use for that have relearned a number of useful lessons. It mell into something to which I’d hardly given purpose. There was no reason I could not may even be that I’ll remember to use these a thought. I needed to set aside my prefer­ make a very small form specifically for the lessons next time I need them. One can hope. ences and prejudices, and look at my project butter dish base. I made some sketches, with a fresh eye and an open mind. I gath­ thought about size and use, and made my the author Dannon Rhudy is a potter and ered up all the parts and pieces I’d accumu­ form using wood scraps already on hand. instructor living in Monrovia, Indiana.

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