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www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Renee Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA 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.
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