Ceramics Monthly May05 Cei0

www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren§e 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

Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, University of Florida Tom Coleman; Studio Potter, Nevada Dick Lehman; Studio Potter, Indiana Don Pilcher; Illinois Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Tom Turner; Potter and Educator, Ohio

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 American 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 Depart­ ment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. 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 ar­ ticles are also indexed in the Art Index, daai (design and ap­ plied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Soci­ ety, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood 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 purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission re­ quests 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 © 2005 The American Ceramic Society All rights reserved Ceramics Monthly May 2005 2 Ceramics Monthly May 2005 3

MAY 2005 / Volume 53 Number 5

featu res

28 Virginia Scotchie: The Familiar in Act and Object by Glen R. Brown Abstractions of useful forms stir fanciful yet vaguely familiar feelings

33 The Slip-Cast Object An International Juried Exhibition

37 Helen Drutt English, Ceramics' Champion by Jim McClelland A steadfast ceramics supporter devotes a lifetime to promoting artists and their work

41 Hui Ka Kwong by Margaret Carney Ceramist influenced by Pop Art and Asian-American cultural ties helped to narrow the gap between art and craft realms

46 Satori Yamaoka's Kobushigama by Bob McWilliams A penchant for glaze and day-body testing runs in the family, and contributes to the success of a modern yet classic Japanese pottery monthly methods Electric and Propane Combination Firing recipes Cone 9 Oxidation Glazes peacock glaze Recipes and instructions for an intricate layered glaze

50 Emerging Artists 2005 CM showcases works by nine emerging potters and sculptors

cover: "Avocado/Bronze Knob," 25 inches (64 centimeters) in height, with bronze and textured glazes, multifired to Cones 3, 5 and 6, 2003, $2000, by Virginia Scotchie; page 28. Photo: David Ramsey.

Ceramics Monthly May 2005 5 departments

1 0 letters from readers

1 2 Upfront reviews, news and exhibitions

22 answers from the CM technical staff

24 suggestions from readers 26 Tip of the Month: Wax Handles 58 call for entries 58 International Exhibitions 58 United States Exhibitions 60 Regional Exhibitions 60 Fairs and Festivals 62 new books 66 calendar 66 Conferences 66 Solo Exhibitions 68 Group Ceramics Exhibitions 72 Ceramics in Multimedia Exhibitions 72 Fairs, Festivals and Sales 74 Workshops 84 International Events 94 classified advertising 95 index to advertisers 96 comment What is a Second? by Tom Turner

online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds expanded features Hui Ka Kwong by Margaret Carney More images and expanded text special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities Summer Workshops 2005 Workshop offerings in the U.S. and abroad

Ceramics Monthly May 2005 6 Ceramics Monthly May 2005 7

a significant proportion of clay, possibly the meters long. Besides uncontrolled excava­ letters body clay. In addition, a stoneware clay tions in the past, farming pressure in this with coarse refractories added was used to remote area unfortunately continues to put Temmoku produce saggars for the entire kiln, which the site at considerable risk. The article “A Collaboration in Temmoku,” were no doubt wadded, and produced other Peter Holmes, Newmarket, MD in your March issue, was interesting regard­subtle reduction/oxidation atmosphere ing the history and replication of original effects on the maturing glaze. Under 40 Temmoku glaze. However, I noted at least Excavations carried out by the ChineseI have come to the conclusion that the vast two significant omissions in the description government around 1990 uncovered foun­majority of Americans under 40 care little and replication of the Jian Yao glaze. From dation remnants of the first kiln structure, about clay in particular and art in general. the research I conducted at the site, and for which I was able to see when I was there in This sector of society has been anesthetized my M.A. dissertation, wood-fired raw glazes 1992. This structure represents one of the to anything subtle or gentle by years of rap, and saggars were the basic techniques used longest “bamboo” type kilns in China, vulgarity, and little or no exposure to the there. This implies that the glazes contained approximately 2 meters wide and 130 arts in our homes and schools. A crass and boorish popular culture is eroding basic tenets of conduct and taste. Art in general, not just clay, is vital to America and to all people who share this ever-shrinking globe. A life without art and the wonder that art can produce is an exist­ ence that creates diminished hope, light and human progress. A mass-produced celadon vase from Hong Kong is fine with this under-40 crowd. No attention is paid to history, quality or form. This will eventally cause great harm to American potters, as well as serious potters around the world. We must not give in to this wave of cultural retreat. Tom Turnquist, Lakewood, CO

Dustproof, Not Fireproof I’m sorry to be a spoiler but, as a profes­ sional engineer, I must register alarm at the suggestion from a reader to dustproof a stereo system by sealing it in a plastic con­ tainer (April 2005, page 30). Electronic equipment generates heat and, unless specifically designated otherwise, it requires adequate ventilation. Even on a system that has no louvers or slots, the metal case may be acting as a heat sink that depends upon airflow around the case. The heat build-up in an enclosed container could not only shorten the life of the equipment, but also the life of the user if a fire breaks out. Bob Masta, Ann Arbor, MI

Correction On page 68 of the April issue, we listed the publisher Donof Reitz: Clay, Fire, Salt and Wood as the Universtity of Wisconsin Press. The book is actually published by the Elvehjem Museum of Art at the University of Wisconsin-Madison (www. 1 vm.wise.edu).

Readers may submit letters to the editor online at www.ceramicsmonthly.org/lettertoeditor.asp Some edit­ ing tor 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 May 2005 10 Ceramics Monthly May 2005 11 upfront

12 Ceramic Masters: The Art of Vivika and Otto Heino and their Contemporaries by Judy Seckler Craft and Folk Art Museum, Los Angeles 14 Syma Commission Installed in New York Office of Dr. Franck Lipman, New York City 14 Art of the Pot Studio Tour Austin, Texas 16 Deb LeAir Infinity Gallery, Minneapolis, Minnesota 16 Tom Turner North Carolina Pottery Center, Seagrove, North Carolina 16 Wayne Higby Wins Award 18 Ivar Mackay Yufuku Gallery, Tokyo, Japan 18 Gayla Lemke Edge Gallery Denver, Colorado

Top left: bottle, 211 /2 inches (55 centimeters) in height, stoneware with black slip on lip, with blue and white glazes, fired to Cone 10,1960.

Top right: plate, 11¾ inches (30 centimeters) in diameter, stoneware with black slip design, wood fired to Cone 12, $1200.

Middle right: bottle, 6Y2 inches (17 centimeters) in height, stone­ ware with black slip, and iron and white glaze, fired to Cone 12.

Bottom right: bowl,10 1 /4 inches (26 centimeters) in diameter, stoneware with black slip and iron glaze, with sgrafitto design, fired to Cone 12,1989.

Bottom: bowl, 161A inches (41 centimeters) in diameter, with Barnard slip, glaze and sgrafitto design, fired to Cone 10.

All works pictured made by Otto and Vivika Heino. Otto and Vivika Heino’s tile, 11¾ inches (30 centimeters) square, stoneware with blue slip over Queen Anne’s Lace impression, fired to Cone 12; at the Craft and Folk Art Museum, Los Angeles.

Ceramic Masters: The Art of Vivika and Otto Heino and their Contemporaries By Judy Seckler

Upon entering the third floor gallery at the Los Angeles Craft and At the show, some pots like a porcelain vase covered in shiny, Folk Art Museum to view the ceramic art of Vivika and Ottored copper glaze or a shiny, orangey-red, tall stoneware bowl with Heino, it is apparent that a celebration is underway. The show,navy-blue details (both not shown) glow with intensity. The Heinos culled mostly from the extensive 30-year collection of Forrest L.also adeptly created matt finishes while adding shiny, decorative Merrill, is a retrospective of the consistency and technical masterytouches with slip, colored glazes and sand. Visual interest was of a husband and wife partnership that spanned 45 years, ending created in other pieces with added texture drawn into the clay with Vivikas death in 1995. surface or ripples and ridges on the clay’s outer and inner surfaces. Otto, who turned 90 in April, said with a twinkle in his eye A ruddy, speckled stoneware bowl seen in the show with a navy- that he still turns pots every morning from 4 to 8 A.M. at his Ojaiblue lip and base has line drawings of fish etched into its outer studio. The L.A. show and another Ventura show at the Venturasurface (see left). In some pieces, Asian influences can be seen in County Museum of History and Art were both organized aroundthe abstract brushes of glaze that suggest Eastern calligraphy or Heino’s momentous birthday, marking his 57 years as a potter, saidplant forms. Merrill. The Ventura show concentrates on Otto’s productivity The show is dominated by the couple’s prolific body of work. since Vivikas death and can be seen through May 22. However, there is a small area devoted to various contemporaries At the show’s opening, the potter greeted well wishers energeti­of the couple that points to the fact that many creative ideas cally in his tweed jacket and hat, while a camera crew moved aboutabout object shapes, design and texture were shared within their the gallery filming an upcoming documentary on the Heinos’ work.ceramics community. “I never get tired or bored. The clay is calling me,” said Otto. The Heinos’ work was influenced by the Arts and Craft move­ The work on display strongly points out that the couple stayedment in England, the Bauhaus in Weimar, Germany, and the true to the potter’s life, never letting the influences of modern massfunctional ceramics of Europe and Scandinavia, according to guest production and plastic consumerism sway them from their phi­curator Kevin V. Wallace. Another important influence was En­ losophy of one-of-a-kind artistic work that focused on the authen­glish potter Bernard Leach, who had studied ceramics in Japan tic use of materials. with potter Shoji Hamada, and introduced the tradition of folk art Often when they worked together, Vivika would create thepottery to many American ceramics artists. On a military leave overall shape of the pot and give glazing instructions to Otto. Nowduring WWII, Otto crossed paths with Leach on a visit to the that she’s gone, he’s continued his connection with his art. He’s English countryside. Over the course of nine days, he watched the even developed a highly, prized pale lemon-yellow glaze thatEnglishman has throw pots, which inspired him to pursue ceramics on proved to be very lucrative for him in Asia. his return home. Even the pots on which glazes seem randomly applied have aEarly on in her artistic life, Vivika absorbed influences from serenity and point to a design sense that served the couple well overpuppetry, bookbinding and woodcarving before settling on a life the course of their careers. While the couples work isn’t rigidlywith clay. She became a lab assistant to Glen Lukens, a well-known defined by stylistic periods in the way some other visual artists’and respected ceramist who taught at University of Southern work has been categorized, the pieces on display are sensual California. She relocated to New Hampshire to become the assis­ yet deceptively simple. They show a sophisticated commandtant of director of the League of New Hampshire Arts and Crafts. color, and possess a rich combination of texture, design elements Otto, six years younger than his future wife, lived nearby and and glazing. began taking her ceramic classes.

Ceramics Monthly May 2005 13 upfront

The couple was one of the first to dedicate themselves to a career as potters at a time when artists were discouraged from choosing such a creative path. As Wallace wrote in his catalog essay, the couple worked side by side for most of their career, signing all their pots “Vivika + Otto.” Their success has inspired many subsequent generations of artists to make pottery a career. The exhibition can be seen through July 3.

Syma Commission Installed in New York Commissioned tile work by New York City artist Syma was recently installed in the New York City acupuncture office of Doctor Franck Lipman. The bas-re- Syma’s “Water,” “Fire,” Jenny Lind and Allan Walter’s “Saturn Rings,” 5 inches (13 centimeters) and “Wood,” each 6 lief “door tiles” are in height, jiggered white earthenware with hand-painted underglaze, inches (15 centimeters) visual representations $178 (for the setting); in the Art of the Pot Studio Tour, Austin, Texas. square, earthenware, of the five elements fired multiple times with oxides, under-glazes and of Chinese medicine. by the playful and abundant qualities of Mexican earthenware.” Orr glazes; installed in Dr. They were installed invented her own production process after studying clay mold frag­ Frank Lipman’s office, New York City. on the doors of the ments in antiquated factories and museums. treatment rooms in Santa Fe, New Mexico, potters Allan Walter and Jenny Lind started the doctor’s office. Rainbow Gate, a small ceramic production company specializing in Patients are directed custom dinnerware in 1994. Both Walter and Lind work together in all to the various rooms aspects of design of their brightly colored work. that are now each “Almost everything about the studio potter lifestyle appeals to me,” identified by one of said Austin potter Ryan McKerley. “The self-sufficiency, the accessibil­ the five elements: ity and usefulness of the work, and the camaraderie of my peers all drew Wood, Earth, Fire, Metal and Water. Syma researched the five elements in various texts and in the Chinese collections at the Metropolitan Museum of Art for inspiration. Extensive color testing was done to ensure that the finished tiles evoked the essence of each of the five elements. The tiles were slab built, and drawings were taken from paper sketches and carved into the surface. Some details also were applied with slab cut-outs or stamps.

Art of the Pot Studio Tour The second annual “Art of the Pot” studio tourwww.artofthepot.com ( ) will take place May 7-8 in Austin, Texas. The free tour is an opportu-

Lisa Orr’s butter dish, VA inches (8 centimeters) in height, molded and sprigged white earthenware with polychrome slips and alkaline glazes, $80. nity for the public to view works of 16 local and national artists. This Ryan McKerley’s jar, 8 inches (20 centimeters) in height, wheel-thrown year, the five founding artists carefully selected guest artists from Texasporcelain with scrubbed wax pattern, soda fired, $125. or out of state whose pottery is not often viewed in Austin or centralme to this way of life. I have focused on producing vapor-glazed vessels Texas to show work in the tour. for the past ten years. My forms consist of cups, bowls, plates, vases, jars Austin potter Lisa Orr says that her works for the table “often refer to and teapots. I see these objects as blank canvasses. Most of my time in traditional porcelain or diner whitewares, but with softer forms inspired the studio is now spent on decorating the surface.” Continued

Ceramics Monthly May 2005 14 upfront story. LeAir’s botanical motifs are inspired by the years she spent working as a gardener along with her years living in a woodsy area of west central Wisconsin.

Tom Turner “Turner’s Best: Work from the Artist’s Personal Collection,” a 30-year retrospective of works by Tom Turner, will be on view at the North Carolina Pottery Center www.ncpotterycenter.com ( ) May 7-July 2. Turner will present a two-day workshop at the Center May 14 and 15.

Susan Filley’s “Landscape Vase,” 12 inches (30 centimeters) in height, wheel-thrown and altered porcelain with layered glazes, $650. “I’ve been working with porcelain for over 20 years and I am still in love with the material,” said guest artist Susan Filley of South Carolina. “The intrinsic beauty of this dense white clay works well with my affinity toward detail, my enjoyment of color and my passion for elegant forms. I like a pot that tells its own story, that asks to be touched, that wants to be used, or tells me to treasure it.”

Deb LeAir The work of St. Paul, Minnesota, artist Deb LeAir was on display through April 24 at Clay Squared to Infinity’s Infinity Gallery (www.claysquared.comlgallery.htm) in Minneapolis. The exhibition fea-

Tom Turner’s teapot with copper handle, 10 inches (25 centimeters) in height, wheel-thrown porcelain, with celadon glaze and iron oxide; at the North Carolina Pottery Center, Seagrove, North Carolina. “The Turner show is a must see for anyone seeking the roots of contemporary American porcelain,” said friend and longtime colleague Ken Van Dyne. “Turner’s work contains his soul. He has never been one to follow trends or add meaningless psychobabble to reinforce the essence of his pots. If you hold a Turner pot in your hands you will experience the pure passion he pours into every piece.”

Wayne Higby Wins Award Ceramics artist Wayne Higby was among five American craft artists selected to receive the 2005 Masters of the Medium award from the James Ren wick Alliance (www.jra.org), a national independent organi­ zation that supports the Renwick Gallery of the Smithsonian American Art Museum and American craft art. The awards recognize American Deb LeAir’s “Land Fantasy,” 22 inches (56 centimeters) in height, slab-built and artists for their consummate craftsmanship, and their important contri­ hand-carved red earthenware with slips and stains, $1200; at Infinity Gallery, butions and influences on the craft field. Minneapolis, Minnesota. Higby’s ceramic sculptures, tiles and architectural installations use tured her hand-carved tiles and heavily designed, three-dimensionallandscape imagery as a metaphor for memory and meditation. Subtly vessels, as well as large-sized, two-dimensional wall pieces. integrating image, surface and form, his work extends American land­ According to Josh Blanc of Infinity Gallery, leaves, branches, vinesscape traditions and explores spiritual, philosophical and environmental and frond curls, and the impression of those forms moving in the wind references bridging East and West (an example of his work can be seen are repeated in nearly every piece of LeAir’s artwork. Though patternon page 39 of this issue). In 1966 Higby created his first earthenware and repetition are important to her art, much of her imagery is so alivepiece using the Raku technique. After visits to China starting in 1991, in its illustrative quality that it almost suggests the beginning of a he began experimenting with porcelain and celadon glaze.Continued

Ceramics Monthly May 2005 16 upfront sionists used color—led me to look toward Oriental ceramics for inspi­ ration. I have spent the last six years developing new glaze types that have come from my growing understanding of early glaze techniques. I Higby’s contributions have been recognized with appointments asdo not feel shy to acknowledge my influences. The past can inform the Honorary Professor at the Jingdezhen Ceramic Institute and Shanghai University, and as an honorary citizen of Jingdezhen. A professor at present and empower the maker to move forward.” New York State College of Ceramics at Alfred University since 1973, he Gayla Lemke received a James Renwick Alliance Distinguished Educator Award An exhibition of new work by Pine, Colorado, artist Gayla Lemke was in 2002. on view recently at Edge Gallery in Denver, Colorado. The artwork in Ivar Mackay the exhibition revolved around the theme of domestic tranquility. An exhibition of works by Ivar Mackay was on view through March 24 at the Yufiiku Gallerywww.yufuku.netlelyufukul ( ) in Tokyo. The exhi­ bition featured examples of the wheel-thrown, reduction-fired porcelain Mackay has been creating since his switch from earthenware six years ago. “My primary interest is in the thrown form, and I am working with Limoges porcelain and blended bodies to achieve maximum translu- cency,” stated Mackay. “I seek painterly effects in my glazes and prefer the natural characteristics of reduction firing to augment the decorative process. An awareness of the relationship between structure and surface, and my love for painting—in particular, the way in which the Impres­

Gayla Lemke’s “Rapunzel Never Lived Here,” to 39 inches (99 centimeters) in height, handbuilt grogged clay with mason stains, steel; at Edge Gallery, Denver, Colorado. Lemke’s clay sculptures included house forms and a gridded wall piece, which included text, as well as impressions and molds of com­ mon household items. Her series of elongated houses, with both or­ ganic and architectural qualities, showcase her use of carving and black-and-white surface treatment. Handbuilt from a heavily grogged clay, the house forms were carved and bisque fired to Cone 04. They were then finished with black Mason stains and fired again. The roofs were made from red metal roofing scraps left over from Lemke’s recently built studio. Ivar Mackay’s “Summer Wind III,” 22.5 centimeters (9 inches) in height, ------wheel-thrown Limoges porcelain, splashed and spotted with cobalt, with non- Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artis ts' crackle celadon glaze, fired to 1290°C(2354°F), £300(US$560), 2004; at statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events Yufuku Gallery, Tokyo, Japan. of interest for publication. Mail to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081.

Ceramics Monthly May 2005 18

There won’t be any problem, physicallyany or hard-settled glaze after long periods of disuse. answers chemically speaking. At most, the growing ice Simply rock the can around a little to break up the From the CM Technical Staff crystals will push out the glaze particles, causingglaze in thea bottom. little more settling than normal. Once thawed and One caveat: The freezing can’t hurt the glaze, thoroughly stirred up again, it will be as if thebut glazes it can rupture the container when the freezing Q I make pottery in an insulated, gas-heated, had never frozen. It is conceivable that it will glaze expands. This shouldn’t be a problem in most detached garage/studio. I am not making enough actually be better than if it hadn’t frozen, since open-shapedthe containers such as garbage cans. pottery to cover the cost of heating this space events that sometimes lead to the slow, hard sedi­ Also, frozen clay isn’t actually ruined. Pro­ during the coldest winter months. If I leave my mentation of certain glazes will be stopped whilelonged wedging or pugging will restore the clay. In glazes (six garbage cans full) out there to freeze, frozen, and some coarse particles might get brokenfrozen clay, the particles have been pushed apart by will I be able to recover them in the spring? I up. If your garbage cans containing the glazesthe are expanding ice crystals so that they lose the know I cannot let my clay freeze.—K.F. flexible, you can take advantage of this to breakintimate up contact needed for plasticity. Anything that pushes them back together restores the clay. The clay might even be more plastic after repro­ cessing. Repeated freeze-thaw cycles have been used in the processing of shale into plastic clays. David Pier Studio Potter and Ceramics Consultant Palo Alto, CA

Q I have been trying to modify Cone 10 barium matt glazes to Cone 8 without much luck. To

make matters worse, because of health con­

cerns, barium carbonate is forbidden in the stu­ dio in which I work. Consequently, I must

substitute strontium carbonate. I would greatly

appreciate a recipe for a Cone 8 turquoise, satin

matt, alkaline glaze for oxidation (electric) firing.

Thank you in advance.—M.D. I would drop the temperature even further, from Cone 10 to Cone 6. Also, use a strontium frit in the base glaze. We have used the following glaze at this temperature range, with oxides and com­ mercially prepared stains—as well as opacifiers— to arrive at suitable surface effects. The use of engobes, decorative slips, oxide washes, layering sprayed colorants, etc., can provide any enterpris­ ing potter with many wonderful surfaces. CDG F-38 Base Glaze Whiting...... 11% Frit F-38 (Fusion)...... 28 Custer Feldspar...... 30 EPK (Edgar Plastic Kaolin) ...... 25 Silica (Flint) ...... 6 100% Be sure to test this recipe thoroughly in your own kiln, under your typical firing conditions, before mixing a large batch. Jonathan Kaplan Ceramic Design Group Steamboat Springs, CO

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 May 2005 22 suggestions lace-covered fingers helped enhance the clothtrimmed out the entire bottom to equal the markings in the clay. If I had used only my barediameter of my glaze screen (accounting for From Readers hands, my fingerprints might have smudgedshrinkage in bisque firing). The rim of the some of the delicate lace patterns in the soft bottomless bowl fits over glaze buckets that are Delicate Handling clay. I also was able to enhance the texture ontoo large to accomodate the screen by itself. No I was looking in a fabric store for lace to other parts of the dress with the gloves them­more makeshift supports for the screen! It sits press into clay and create a lace dress for a selves.—Stephanie Osser, Needham, MA over the open bottom of the bowl, which acts as ceramic figure. In addition to the lace, the store an extender ring between the screen and the was selling laced formal gloves that one might Smooth as Butter bucket.—PatMacpherson, Toronto, ON, Canada Most potters I know who handbuild use a broken hacksaw blade to smooth out and refine Make a Bigger Splash clay forms. I prefer plastic serrated knives. TheyTo economically increase the working sur­ are much easier to handle. While they wear outface area of your throwing wheel, go to a local quickly, they are cheap, disposable and do the job equally well.—Robert Brown, Miami, FL

Short Transport When transporting pieces in the car for short distances, I throw an old down comforter in the back seat and lay the pieces on it. The loft of the down comforter keeps the pieces from rolling because they sink in and stay put. This saves the wear at a wedding or other formal occasion. Theytime of having to wrap everything individu­ were only $4 on sale! I put on the gloves, usedally.— a Mary Fiock-Saca, San Jose, CA small wooden roller to press the lace into the clay, carefully peeled away the lace, and liftedScreen the Size Solution hardware store and purchase a wide plastic un- textured clay onto the figure. I discovered thatRecently, I trimmed through the bottom ofder-bed storage container. I’ve purchased them handling the delicate lace-imprinted clay witha wide bowl. Rather than discard or recycle it, I for less than $ 10. Just cut the long side to fit your

Ceramics Monthly May 2005 24 suggestions Now I can check all four burners while standingslurry off your hands than if you use a round-rim comfortably. By the time it gets too hot for thebucket .—Diane Heart, Brewster, MA mirrors, the flame is well set and the mirrors can wheel head, or the opening of your splash panbe removed .—Dawn Atkin, Salt Lake City, UT Spray Healthy (see image). This almost doubled the work area When using an extruder, spray the chamber of my wheel.—-Akio Aochi, Fremont, CA No Nuisance Nylon with cooking spray instead of automobile lubri­ I use nylon bat pins instead of steel. They cantdo each time you load clay into it. The cooking Mirror, Mirror, on the Floor not rust or corrode, and they don’t wear out thespray works better, smells better and is better for I have a typical updraft kiln with the burnersholes in the bats.—John Kudlacek, Topeka, KS you.—Robert Minto, Mt. Cory, OH located underneath. To check the flame, I had to be flat on the floor with my neck twisted at an Stay Sharp odd angle. I solved the problem by purchasing Use a bucket with a stiff, sharp-edged rim for inexpensive mirrors at a craft store and proppingthrowing water. The hard-edged rim allows you Tip of the Month them up with a lump of clay to reflect the flame.to more quickly and more completely scrape the Wax Handles Dipping the rim of a bowl in a glaze bucket can be frustrating if the sides of the bowl are steep, and if the foot is difficult to grasp. After I wax the foot, I attach a 3-inch length of red extruded wax that is sold for bronze-casting sprews. The wax is available in ½- and ½-inch diameters, which is very strong. I use a small soldering iron to affix the red wax to the waxed base of the bowl, and

then dip the pot in the glaze as desired. After the glaze is dry, I simply snap off the red wax cylinder and reuse it. For heavier vessels, I bend the ½-inch diameter wax cylinder into a handle shape,so it attaches to the base in two places.

Congratulationsto Peter Sharpe of Rimbey, Alberta, Canada. 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 May 2005 26

VIRGINIA SCOTCHIE: The Familiar in Act and Object by Glen R. Brown

“Object Maker Series,” to 10 inches (25 centimeters) in height, wheel-thrown and handbuilt stoneware, 2004, $375 each. A peculiar ambiguity haunts the ceramic sculptures of Virginia Scotchie. It is an indeter­ minacy involving sight, touch and undefined expectations for those things inhabiting a space that is exclusive neither to art nor to the ordinary. Modeled through a process of abstracting from specific objects in the world, her sculptures nevertheless tend to give the impression of nonobjectivity, a derivation from purely autonomous forms. This ironic effect has less to do with the extreme degree of abstraction in her work than with its aim, which is not the elucidation of the essences of ordinary objects—reductive forms that would implicitly be universally recognizable. Rather it is a distillation of highly personal responses to particular things in her immediate environment. Since these things them­ selves are often unique (handmade tools, for instance) the abstractions that they engender may sometimes seem to the viewer to be entirely fanciful. This impression is augmented by the fact that Scotchie often synthesizes her abstractions from more than one source, rendering even more remote the possibility of the viewer’s tracing the representation back to its specific origins in the world outside the sculpture itself.

“Green Knob Bowl,” 20 inches (51 centimeters) in diameter, wheel-thrown stoneware, with bronze and textured glazes, multifired to Cones 3, 5 and 6, 2003, $2500.

At the same time, certain features of Scotchie’s works tend to elicit from the viewer vaguely familiar feelings. Both forms and surfaces are conducive to touch and, in that respect, they are clearly consonant with an ordinary human environment. The sculptures, in other words, do not give the impression of having fallen from the heavens but, on the contrary, tend to be worldly. In their knobby, handle-like appendages and other eminently graspable features, they relate fundamentally to the human hand, both as the instrument of their creation and as an imperative in their completion as meaningful objects. Parallel­ ing the implications of tools, their explicit address of the viewer’s grasp hints at their contingency, their reference to and dependency upon something outside of themselves. As a result, they might at first glance appear to be nonobjective—like any other rarefied sculptures with meanings deriving entirely from formalist principles of design. But they feel far more tangible, even conceivably utilitarian. This feeling, rather than any exclu­ sively formal effect (especially anything that could be described as stylistic), is the true concern of Scotchie’s abstractions. Since her days as a graduate student at Alfred University in the early 1980s, Scotchie has employed clay to isolate and emphasize certain key aspects of objects in her environ-

Ceramics Monthly May 2005 For example, a recurring fun­ nel form began to appear in Scotchie’s work after her 1995 resi­ dency at the European Ceramic Work Centre in s’Hertogenbosch in the Netherlands. Because it is the hometown of the eccentric 16th-century painter Hieronymus Bosch, s’Hertogenbosch boasts nu­ merous reproductions of the artist’s enigmatic works, which frequently incorporated funnels as part of their mystical and alchemistic content. An object that Scotchie had rou­ tinely encountered in her studio, but to which she had never paid explicit attention, the funnel sud­ “White/Bronze Pair,” 10 inches (25 centimeters) in height, wheel-thrown stoneware, denly acquired a new dimension with bronze and textured glazes, multifired to Cones 3, 5 and 6, 2002, $1200. of interest. Characteristically, she ment. Initially her abstractions were mostly of organic forms such did not sculpt it as an independent form but submerged it within as leaves, fruit or vegetables, and even today she clearly gravitatesabstractions that drew upon other common objects in her familiar toward curved contours rather than precise angular outlines. Someenvironment. As a consequence, the process of abstraction did of the verdant colors that persist in her work, as well as the not isolate the funnel and render it extraordinary but, on the mosslike textures that are built up from layers of glaze in multiplecontrary, made visible its ordinary properties that she had habitu­ firings, suggest that organicity continues to exercise an importantally overlooked in the familiar context of her studio and other influence over the final forms. Scotchie’s reflection on the process spaces that she inhabits so regularly that they have come to by which her sculptures come about, however, has made it impos­epitomize stability and security. In such environments, discoveries sible for her to conceive of her works as purely embodiments ofare infrequent. When they do occur they tend to be of the nature nature. Abstraction originates in the mind and is therefore a of new appreciations of nuances rather than radical reconceptions conceptual device as artificial as an alloy. In Scotchie’s work, theof objects. It is a deepening knowledge of familiar things in an smooth areas of bronze glaze—interjecting geometry into most of ordinary, habitually occupied space. her sculptures, like a metal hinge plate, flange or cowl—can be These feelings of familiarity tend to be subtle, filtering into the interpreted as her acknowledgement that abstraction is a reinven- viewer’s consciousness almost subliminally rather than striking tion of nature in human terms. with the suddenness and brilliancy of an epiphany. The familiar­ This general conception of abstraction originated in the for­ ity of the objects dissuades us from really looking at them, no mative period of modernism and by the early 20th century hadmatter how many times we might have seen them indirectly. already become conventional. The Fauvist painter Raoul Dufy,Familiarity clouds certain aspects of things. As a rule, only when for example, could proclaim as a truism that the role of art wasobjects of our daily view are contemplated outside of the context not to represent the world, but rather the world “as it appears toin which we have been accustomed to seeing them do they seem me.” While some abstract artists have been led by their faith in to acquire intriguing characteristics that we never knew they the universality of structures, thought patterns, or archetypespossessed. They remain familiar, but with added elements of endemic to the brain to conceive of this “me” as humanity in its interest. Unfamiliar contexts, in other words, can reveal unantici­ entirety, others have argued for much more individualistic viewspated novelty in familiar objects. Scotchie’s abstractions have, in of abstraction. The sense of ambiguity in Scotchie’s works no fact, often begun through just such spurs to perception. doubt stems largely from their situation somewhere between these As one might expect, Scotchie’s interest in the objects and poles. The objects from which she abstracts are not selected for actions associated with a particular environment has made her their widespread recognizability but on the contrary are oftenespecially sensitive to the manner in which her sculptures are distinctly singular things. On the other hand, the qualities thatpresented in a gallery. Although they are not always exhibited she abstracts from these objects—despite her attraction to them together in the format of an installation, Scotchie considers her from feelings of personal connection—seem evident enough in sculptures to be connected in the way that the objects in her real her sculptures that viewers unacquainted with their particulardomestic environment, after long association, have come to seem sources might nonetheless feel connections of their own. fundamentally interrelated. Unwilling to release her works en-

Ceramics Monthly May 2005 30 “Bronze/Turquoise Spout,” 11 inches (28 centimeters) in height, wheel-thrown stoneware, with bronze and textured glazes, multifired to Cones 3, 5 and 6, 2003, $800.

Ceramics Monthly May 2005 31 tirely into unknown spaces, she has often fabricated for them This synthetic quality of familiarity—its formation from a unique structures that could be loosely compared to the tablescombination of particular things and the manner in which they and shelves of her studio. Encouraging exploration of the interi­are arranged—has been a latent theme in Scotchie’s work for ors, Scotchie has frequently pierced the pieces, thereby simulta­some time, but recently she has begun to explore it more overtly neously opening them to inspection and distancing them from through the installations of her “Object Maker” series. As the title the functional ceramic vessels that they closely resemble. Thisindicates, these works reveal another important facet of Scotchie’s distance is crucial, confirming the status of Scotchie’s works as project as a sculptor: her consideration of process as well as product. The units of the Object Maker series are essentially miniature versions of earlier works, also simple forms with famil­ iar associations, arranged on shelves. The primary reference of the Object Maker series, however, is not to the domestic objects from which they are abstracted, nor the overall order of domestic space. The scale of the Object Maker works indicates a subtle shift in focus: the individual forms sit comfortably within the hand, the instrument of their creation. They are, in effect, abstractions of the familiarity that has for Scotchie come to be associated with the hands-on act of creating: “It’s not really about the objects,” she explains, “it’s about the making. I’m an object maker. It’s what I know and what I’m passionate about.” For Scotchie, the quality of familiarity could thus be said to emanate from at least three distinct sources in her work: the making of objects (which has been a habitual activity over many years); the objects themselves (which are abstractions from the intimately known things that populate her ordinary environ­ ment); and the arrangement of these objects in space (which parallels the action of imposing personal preferences on the dispo­ “Turquoise Knob,” 8 inches (20 centimeters) in height, wheel-thrown sition of things in her domestic environment). By thus bracketing stoneware, with turquoise and textured glazes, multifired to Cones 3, 5 the physical object between creative processes—the initial act of and 6, 2003, $800, by Virginia Scotchie, Columbia, South Carolina. making and the culminating act of arranging—Scotchie defines a abstractions of useful forms rather than utilitarian objects in their conception of sculpture that provides dual opportunities to assert own right. This point is a necessary one to make, since three- the self. This is significant for the principal theme of her work, dimensional art and ordinary objects can become notoriously since familiarity is a patently relative quality—a consequence, in confused, even interchangeable, with one another. other words, of a certain self recognition. Familiarity, after all, is If certain aspects of Scotchie’s tables and shelves serve to meaningless outside the context of a self perceiving the world in detach her works from the realm of functional objects, they its own subjective terms. Recognizing this, Scotchie has accentu­ simultaneously—and even more interestingly—prevent them fromated her dual subjective roles as object maker and organizer of being matter-of-factly assigned to the domain of art. White ped­ space, imposing her sense of the familiar as fully as possible onto estals are endemic to the gallery and leave no doubt as to the her work. As a consequence, her sculptures partly resist the ten­ status of the objects that they support. dency to “make strange” that is one of art’s most obvious at­ “It’s a natural tendency of mine to group the things that tributes; I on the other hand, they cannot be entirely reconciled collect or the differently shaped tools that I have in my studio,”with the sphere of those ordinary things from which they are Scotchie admits. “I like organizing them and looking at the abstracted. Ultimately, Scotchie’s objects exert their peculiar brand relationships between them rather than just piling them ran­of fascination over the viewer because the space that they inhabit domly. There is always a sense of deliberate placement between is an interstice: a domain halfway between the concrete reality of them.” Like any other element that she abstracts from her domes­ things on their own and that of the meanings objects acquire tic environment, this sense of systematic arrangement is simplywhen perceived in the subjective terms of a self. one aspect of the larger totality that constitutes the familiar. In the familiar environment, the whole is not merely the sum of itsthe authora frequent contributor Ceramics to Monthly,Glen R. parts but also fundamentally a consequence of order, of an accus­Brown is an associate professor of art history at Kansas State Univer­ tomed disposition of objects. sity in Manhattan, Kansas

Ceramics Monthly May 2005 32 The Slip-Cast Object An International Juried Exhibition

“The Slip-Cast Object,” an international juried exhibition of slip- intellectual intentions of the artist to the techniques, materials, scale cast ceramics, took place this past winter at the Eleanor Bliss Center and imagery chosen to actualize that concept into an artwork. for the Arts in Steamboat Springs, Colorado. Organized by the Perhaps the late Pete Voulkos said it best: ‘Technique is nothing if Steamboat Springs Arts Council and Ceramic Design Group, the you have nothing to say with it.’ exhibition featured the work of 38 artists from the United States “My initial expectation regarding the jurying of the Slip-Cast and abroad. Object was that the task of choosing the works for the exhibition “Relegated to a lowly pedestrian status and unfairly criticized bywould be simplified by limiting the scope of the forming techniques many academics and art critics, slip casting has too often been to those which included slip casting. This would, I thought, elimi­ assigned to the bottommost rung of the technical hierarchy in the nate the creation of the many categories and subcategories—such as ceramic arts, an ersatz value scale that reeks of dogma and didactic functional, sculptural, figurative, narrative, abstract, mixed media, nonsense,” stated juror and noted slip-casting artist Richard Notkin. conceptual andlor new genres, etc.— with which the juror is inevi­ “Aesthetic value is not determined by any supposed hierarchytably of confronted in most competitive exhibitions. But even as a techniques, but by the unique relationship of the conceptualcompetition and uniquely focused on one particular ceramics technique,

“Engaged,” 13 inches (33 centimeters) in height, slip-cast porcelain, soda fired to Cone 10, and slump molded stoneware, wood fired, by Steven Schaeffer, Athens, Ohio. “My work is evidence of my experiences in the natural world; from walks in the woods, to river expeditions, these physical encounters have led me to a greater level of personal consciousness,” said Schaeffer. “Understanding my environment is an essential motivation for my creative process. Nature is the didactic arena that I seek. Through my studio work I have realized what these experiences are consciously revealing to me. I’m intent on creating work that offers the notion of hope and the embodiment of strength. This is a direct response to nature itself and the risks that are inherent within it. Nature is a collection of many of the formal qualities that interest me and, in turn, influence my work.”

Ceramics Monthly May 2005 33 “Tofu Soldier Teapot,” 8V2 inches (22 centimeters) in height, slip-cast porcelain, fired to Cone 10 in reduction, by Tricia McGuigan, Long Beach, California. “What I enjoy most about these teapots is the juxtaposition of the formal beauty of the overall teapot with the whimsy of discovering the original use of the components and details that comprise the whole,” stated McGuigan. “Each teapot is constructed by making castings of common items and then subverting them into uses for which they were not originally intended: a sand-toy, a tofu container, a ship’s lantern, etc. I experiment with glazes and firings in order to achieve an interesting interplay of the glaze on the edges and recesses of the forms. The objects I use to create the forms are chosen on the likelihood that their details will catch the glazes in interesting ways.”

“Standing Male Stirrup Vessel with Yellow Caution Symbols,” 32 inches (81 centimeters) in height, slip-cast earthenware with underglaze and terra sigillata, fired to Cone 04, by Ovidio C. Giberga, Yakima, Washington. “Born into a Cuban family [in America], there had always been an inherent sense of displacement or of living in exile,” Giberga explained. “Every culture presents a unique set of challenges and choices. In this way, acculturation has become a personal process, instigating change within myself and my work. This new series incorporates the male form as a freestanding sculptural vessel. I use symbolism and metaphor to convey autobiographical experiences concerning identity and acculturation. The gestures contain implied meaning, referencing specific cultural sources. The images and patterns glazed onto the surface serve as cultural symbols, derived from my immediate environment. Cylindrical stirrup spouts, through which the forms can be “The Lost Dream,” 10 inches (25 centimeters) in height, slip-cast earthenware with filled or their contents emptied, protrude from the upper underglaze and glaze, by Suzanne Wolfe, Honolulu, Hawaii. “Pillows hold the extremity of each figure.” vestiges of our dreams,” said Wolfe. “On them are recorded flickers of images and sounds, remnants of visions and thoughts that stream through us as we sleep, peeling away the hidden layers of our desires and fears. This pillow is a record of some personal ghosts.”

Ceramics Monthly May 2005 34 Cup and saucer, 41 /2 inches (11 centimeters) in height, slip-cast porcelain with glaze, fired to Cone 6, by Michelle Tinner, New Paltz, New York. “In this body of work I have been exploring the human body and industry through tableware,” said Tinner. “There are references to both industry and the body through function, method and form. I am interested in challenging conventional tableware with innovative and playful variations. When designing the pieces I considered how they related to the body in two ways: visually and physically. They are reminiscent of the body through the volume and gravity conveyed in the forms. The pieces are designed to be held and fit the hand comfortably. The soft forms and smooth feel of the glaze surface make the work very tactile. There are no feet to interrupt the flow of the forms, instead they rely on a base. In some cases the base holds more than one cup or bowl, this forces the user to interact more intimately with the tableware and the other users.”

“Cowgirl,” 6 inches (15 centimeters) in height, slip-cast porcelain, by Katy Rush, Gainesville, Florida. “These sculptures are created in reaction to how women are portrayed in popular culture and the politics of gender relationships.” Rush explained. “They relate to how women view themselves and how women are viewed. I present a narrative, using images of women, which explores the expectations of femininity and identity. The works I produce reference a historical figurine tradition. The porcelain figurine is an image of the perfected female acting out expected social and cultural roles. Figurines function as a form of propaganda, representing a belief system that maintains social strata. I intend with my art to create my own propaganda, which redefines and re­ establishes constructs and ideals.”

Ceramics Monthly May 2005 35 “Half Gallon Milk Cartons,” 91 /2 inches (24 centimeters) in height, slip-cast earthenware, soda fired, by Joe Pintz, Lincoln, Nebraska. “Milk serves as a particularly loaded symbol with a history and context that is difficult to ignore,” explained Pintz. “For several reasons, milk relates to deep feelings of love and security. It is the initial food ingested by infants, intimately associated with a warm breast or a nippled bottle. It is symbolic of life itself, of comfort, of love, of the warmth and security of childhood. For years, milk has been championed as the perfect food, as a symbol of wholesome goodness and purity. However, as controversy rises over genetically engineered cows and antibiotic residue, milk stands at the forefront of an intense debate about the American diet. The presumed indispensability of milk has been brought into question. This paradigm shift from a perfect food to a symbol of modern society’s degradation contextualizes my work. The unrefined, handmade milk bottles I create out of clay stand in contrast to milk’s symbolic purity and refinement.”

the Slip-Cast Object defied my early assumptions, and encompassed all of the above classifications; a sign that slip casting has indeed transcended its past associations with commercial mass production, hobby and kitsch ceramics. The works I chose will hopefully provide a strong argument that slip casting is simply another viable technique, no better or worse than any other available to the ceramics artist. . . . The rules are being stretched—as they should be—as the ceramic arts continue to evolve and expand.” For further information on this and future “Slip-Cast Ob­ ject” exhibitions, seewww.ceramicdesigngroup.net .

“#2 Spread,” 9½ inches (24 centimeters) in height, slip-cast porcelain, by Sewon Minn, Seoul, Korea. “My work has always been about the manifestation of aesthetic line,” explained Minn. “I use the technique of slip casting because the line which the plaster mold employs is freer, more delicate and sophisticated than other techniques in ceramics. I am inspired by the action of my hands and physical force. My idea of form comes from the line that is made by a balloon. After I blow up the balloon, I pour the plaster through a funnel into the inflated balloon as fast as I can. Before the plaster hardens, I make a specific form by pressing an object like a block spontaneously into the balloon. Sometimes I twist, stretch and tie the balloon with the string, as I basically play with the form I originally imagined.”

Ceramics Monthly May 2005 36 Helen W. Drutt English CERAMICS’ CHAMPION by Jim McClelland

It isn’t easy trying to catch up with the peripatetic Helen W. Drutt English. The internationally renowned Drutt has been the ultimate influence in creating recognition for crafts as works of art, as well as bringing crafts to Philadelphia and giving them dignity-that is the conclusive agreement of the many craft artists with whom she has worked with over the years. “I did not have a specific goal in the beginning - the inaugural exhibition of the Helen Drutt Gallery occurred on February 22, 1974,” she explains. “My interest was to provide a public forum in which people could be further educated in the field of contemporary crafts. My interest has always been in works made by hand - made by an individual who maintained an independent studio - a place where you could smell the resin, and sense the moisture of the clay. I was interested in preserving works that were a record of our time in history.” She continues, “I had to vacate my gallery space in the summer of 2002, with other tenants because a developer bought the building. I told myself, a gallery is not a location, it’s a state of mind.” Her double townhouse near Rittenhouse Square seems an organic offshoot of her long devotion to artists who work with their hands. Her home is warm and welcoming, radiating soft earth tones from her collection of pots, plates, textiles, Oriental rugs and wooden furniture from American artists as well as from the exotic corners of the world. “I can bring clients here, or take them to an artist’s studio. But I can’t support the artists as I did previously, because I can’t provide them with visibility and a public forum. However, I collaborate with other galleries, and my former assistant Hurong Lou has now opened the Hurong Lou Gallery, in Olde City, Philadelphia. He will continue the work

“The Italian Hill Town,” 40 inches (102 centimeters) in length, brick clay, with slips and engobes, salt fired, 1993, by Robert Winokur, Horsham, Pennsylvania; Collection of the Los Angeles County Museum of Art, California.

Ceramics Monthly May 2005 37 initiated by Helen Drutt: Philadelphia, as well as expand his own The Council existed from 1967 until 1973, with Drutt as the oeuvre. I will serve as a consultant.” unpaid executive director. “I gave my time and energy as a volun­ Drutt’s enthusiasm for the artists and her frantic schedule beliesteer,” she said. “I was fanatic and very passionate about the field.” In her 74 years of age. She was born in Winthrop, Massachusetts, inher seven years at PCPC, she engineered over 20 major craft exhibi­ 1930 but her parents moved to Philadelphia when she was a child.tions at various venues, especially at the Museum of the Philadelphia Going back to her professional beginnings, she says, “It was fairly Civic Center and at the Philadelphia Art Alliance (PAA). She brought obvious to me in the 1950s that a resurgence was occurring in theto the city the cream of the crop in craftwork from all over the country. crafts. In addition, I was interested in learning about the artists “We created an atmosphere in the city that made people aware of throughout the country who were making work by hand. I the had craftsmen and the resurgence of the craft movement. In addi­ grown up in a world where the machine dominated the objects and tion, the Philadelphia Museum of Art became increasingly aware industrial design dictated the work. that contemporary craft movement existed and the decorative arts “After World War II, artists began to accelerate establishing their didn’t stop in 1930!” independent studios and workshops. For example, in Bucks County,When PCPC ended its mission, Drutt acquired her first gallery PA, furniture craftsmen George Nakashima, Wharton Esherick, space in 1973. “When Helen opened her gallery, people who worked Philip Lloyd Powell and Paul Evans were in residence. Byron Templein these media felt they did all the work and got none of the glory,” opened his pottery workshop in Lambertville, New Jersey. At thesays Robert Winokur, head of the clay/glass department at the Tyler same time, artists were moving into the city, assuming positions on School of Art at Temple University. He continues, “Also, we did not the faculties at Moore College of Art, Tyler School of Art and make the money artists’ got. The fact is, Helen was one of the first Philadelphia College of Art - teaching ceramics, metalsmithing, gallery owners in the country to take ceramics seriously.” textiles, woodworking and glass.” Paula Winokur adds, “Helen has always been interested in things Drutt, of course, made a point of meeting all of these artists. “I with a serious artistic base, in what comes from deep within the had met Richard Jones, a Baptist minister, on staff at the Metropoli­ spirit of the artist. And she has nurtured that spirit in her artists. For tan Associates of Philadelphia, at a Marshall McLuhan lecture. MAPexample, she not only exhibited my work in her gallery since I was a church organization composed of seven denominations, dedi­ graduated from Tyler, but she’s stayed with me when I’ve been off­ cated to understanding the urban culture in order to revitalize theirtrack, not really focused on what’s happening.” churches. I discussed a concept I had to bring the Philadelphia’s There were certainly challenges that faced Drutt when she opened craftsmen together. We contacted approximately thirty individualsher first gallery. She says, “One of the central challenges was to and after a few months formed the Philadelphia Council of Profes­ remain critical and not be seduced by lowering my standards in sional Craftsmen (PCPC). To become a member, your primary order to pay the bills, and to remain committed to the concept that I pursuit in your work was either through teaching or maintainingwanted a to be a gallery and not a shop-a gallery committed to a independent studio. Therefore, if you were a dentist who made rings group of artists and to supporting their careers and maintaining you could not become a member.” their histories.”

“Chaco Memory,” 165 inches (419 centimeters) in length, handbuilt porcelain, 1990, by Paula Winokur, Horsham, Pennsylvania.

Ceramics Monthly May 2005 38 P{HOTOS: COURTESY OF HELEN DRUTT, WILL BROWN, THOMAS DUBROCK, BRIAN OGLESBEE

“Cloud Rock,” 10 inches (25 centimeters) in height, earthenware, with glazes, raku fired, 2000, by Wayne Higby, Alfred Station. New York; Collection of John Deardourff.

“Niger,” 51 /2 inches (14 centimeters) in height, stoneware, with glazes, sand-blasted surface, 1975, by Robert Turner, Sandy Spring, Maryland; Collection of Robert L. Pfannebecker.

Ceramics Monthly May 2005 39 “Conic Loop,” 16 inches (41 centimeters) in height, handbuilt, unglazed stoneware, fired to Cone 6 in oxidation, 1989, by William Daley, Elkins Park, Pennsylvania; Collection of Arkansas Arts Center, Little Rock.

“I lectured and developed the first curriculum in the historyimpact of on the success of the Art Alliance; she always finds time to modern and contemporary crafts at the Philadelphia College of Art. listen and advise.” I was interested in finding alternative ways of survival that in no way Drutt has two employees who help make her life easier. “Martha diminished the critical attention necessary to support the works. I Flood has been with me for 20 years, and she’s my archivist; she wanted the crafts to be regarded as major works of art. This was a maintains the files, slides, the artists’ books.” Drutt’s catalogs and real challenge for me.” exhibitions are of such high professional caliber that her library is a Drutt is still championing to this day the works of Nicholas primary source and archival center for scholars seeking information Arroyave-Portela, Jill Bonovitz, Nancy Carman, Anne Currier, Will­about ceramics, textile, and 20th-century jewelry. “Hurong Lou (former iam Daley, Wayne Higby, Rudolf Staffel, Lizbeth Stewart, Robertassistant to the director) had been with me for six years and he was Turner, Paula Winokur, Robert Winokur and Sun Koo Yuh, amongextremely dedicated. I have high hopes for him as he opens his own many others who wonder if she will open another gallery. “I’m too gallery. Natalija Mijatovic is currently my research assistant.” old,” she responds candidly. “As energetic as I am—and I seem And her future? “I want to provide more scholarly support for always to be on the go—my focus is now as a curatorial consultant,the artists with whom I have worked—especially academically— private dealer and author. I have been exploring with Carole Shanis,with articles in publications, and books, and greater recognition of President of the Philadelphia Art Alliance, the possibility that thetheir work,” she answers, with an amazing lack of self-centeredness. Alliance could be a center for major exhibitions in the craft field. In “That is so important.” 2001, I organized for the Philadelphia Art Alliance “Poetics of And so is she. Self-taught scholar, lifetime art student, educator, Clay—an International Perspective.” This exhibition traveled gallery to director, the writer, exhibition producer, proud mother to her DesignMuseo in Helsinki, Finland, and to the Houston Center for adult children. Helen W. Drutt English is one of Philadelphia’s— Contemporary Crafts, Texas. It was a major ceramics exhibition,and the country’s—living treasures. which explored the artistic energy from 1950 to 2000; works were In celebration of Philadelphia Art Alliance’s 90th Anniversary in drawn from public and private collections.” 2005, three exhibitions that include ceramics will be held at the 2005 marks the Art Alliance’s 90th anniversary, and Drutt will PAA, 251 S. 18th St. “Memorabilia” will be on view through May 6; be advising on several exhibitions there. Says Shanis, “Helen is the“Suburban Rittenhouse” (PAA is on Rittenhouse Square), June 2- consummate professional! She is recognized internationally as the August 22; and “Collecting,” September 16, 2005-January 9, 2006. guru of the artistic craft community. Helen has had a wonderfulFor information on current exhibitions, seewww.philartalliance.org .

Ceramics Monthly May 2005 40 Hui Ka Kwong by Margaret Carney

Hui Ka Kwong (1922-2003) was a designer and maker whose bountiful creativity placed him in an art world surrounded by individuals of the caliber of Bernard Leach (with whom he had conversed as a student at Alfred), Stephen DeStaebler (Hui’s stu­ dent at the Brooklyn Museum School in New York in 1957), and Pop artist Roy Lichtenstein (with whom he collaborated in 1964-65). He is one of a handful of ceramics artists whose name is known to a large enlightened audience. In a world of Bernard Leach-inspired “little brown pots,” Hui became forever linked with the creation of a unique genre of ceramics—a radical departure from little brown pots: abstract sculpture with glossy glazes in primary reds, blues, greens and yellows, along with a generous application of gold and silver lustre. If there ever was a ceramics artist who was successful in shortening the gap between the art realm and the craft realm, it was Hui. For those interested in the rise of ceramics to a fine art form in the United States, Hui embodies that phenomenon. Hui Ka Kwong (1922-2003) working in China in the mid-1980s. Hui was born in Hong Kong in 1922, and was educated at the Shanghai School of Fine Arts and the Kwong spired me with the strength of their forms.” These included many Tung School of Art in Guangzhou, People’s Republic of China.bird and animal forms. While some were reality based, others From 1945 to 1947, he was apprenticed to the sculptor Chengwere fanciful and imaginative, such as the large1/i-inch-long 18 Ho. In 1948, he moved to California and in 1948-49 he became ceremonial bird-shaped vessel he created in 1993. The three- the first to study with Frans and Marguerite Wildenhain at theircompartment vessel has a glaze that mimics bronze patina. Pond Farm Workshop in Guerneville. He received his B.F.A. in The balance he sought between East and West—subdued 1951 and his M.F.A. in 1952, both from the New York State earthy and exuberant polychrome surfaces, functional pottery College of Ceramics at Alfred University. and abstract sculpture, intimate and monumental works, lives on One of Hui’s former students, Ann Tsubota, noted in the in the mathematically symmetrical creations that were his lifelong catalog for Raritan Community College’s “The Faculty Invites”trademark. Sometimes the viewer might be so distracted by the exhibition that “His work always involved the use of the wheelpainterly in facade and light bulbs that they won’t notice the symme­ making basic shapes that he put together into sculptural try, and the earthy Chinese forms, the polychrome abstraction, or the quasi-functional objects. . . . His impact on ceramic art was first reference to shrinelike temples or immortal Taoist mountains. felt with his sculptural work in the 1960s. After working withHis was a journey of a Chinese scholar traveling through the hills Lichtenstein in 1964 and ’65 on a series of ceramic sculptures that and streams, across oceans and back, memories and traditions involved hard-edged painting of low-fire glazes, Hui went on to juxtaposed against new discoveries. In the end, his work tran­ use this technique in his own work. Using bright, primary colorsscended stereotypical categorization and is recognizable as the and exact forms that seemed almost like clay cartoons, he ex­ work of a master. tended the breadth of ceramic sculpture from the Abstract Ex­ While he explored and mastered wax-resist designs in the pressionist forms of Peter Voulkos into the sensibility of Pop Art.” 1950s, he never ceased exploring until he had conquered less Hui frequently mentioned that his later sculptural work ex­common methodology such as multiple mirrors embedded in the plored cultural artifacts from Asia. He noted in a Pewabic Pottery clay surfaces, the use of photo transfers on ceramics and the exhibition brochure that “Artifacts from China have always in­painting of brilliant low-fire glazes on functionallooking pieces.

Ceramics Monthly May 2005 41 Hui had a rather memorable encounter with the legendary Bernard Leach during his visit to Alfred in 1951. His recollection includes the fact that Leach was ill during his visit and bedridden in the school infir­ mary. Hui recalls, “When I went to visit with him, he held my hand and told me not to forget my own heritage. My answer was ‘Mr. Leach, I came here to learn Western ideas and try to forget my Eastern ideas.’” Not long afterward, while teaching at the Brooklyn Museum’s School of Art, he became acquainted with their magnificent collection of Asian ceramics and he realized that “the Chinese had been making ceramics to use and to enhance their sense of beauty for hun­ dreds of years.” He concluded, “From then on, I gave upproduction and changed to creation Constant experimentation kept Hui’s work fresh. His exploration of photo transfer processes on ceram­ ics occurred in the 1960s, partially overlapping the time period when he successfully collaborated with Lichtenstein. Most of the pieces with photo-emulsion- transfer designs also utilize the brilliant overglaze deco­ rations in reds, blues and gold luster. Lichtenstein and Hui met when they were both teaching at Douglass College at Rutgers University Wall piece with yellow bulbs, 25 inches (64 centimeters) circa 1960-63. Lichtenstein created his ceramic man­ in height, thrown and cut whiteware, 1969. nequin head sculptures (1965) and sculptures of crock­ ery (1965-66) with technical assistance from Hui. Hui When Hui first came to Alfred, he wanted to study Western created the molds for these pieces, as well as developed the glazes ideas related to industrial production of ceramic tableware. The and overglazes. When they were exhibited at Leo Castelli Gallery work he created during his days at Alfred was a blend of East and in New York in 1965, Jeff Schlanger described the year-long West, resulting in functional double-gourd vase forms with sub­collaboration between Lichtenstein and Hui as crockery castings dued earthy monochrome glazes reminiscent of the northern from a series of cafeteria-style commercial molds, reassembled in celadons from China’s Sung dynasty (960-1279). There is littleprecarious stacked and tipped positions, fired at Cone 06 and surface decoration on these pieces dating to the early 1950s, and sprayed overall with a white majolica glaze. In retrospect, the what decoration there is remains in harmony with the form and pieces labeled as “quintessentially pop” were described by Rose glaze. The Chinese were interested in organic forms such as the Slivka in 1992 as being made with “as much skill as wit.” gourd from Neolithic times onward, and the shape took on a Hui incorporated colored incandescent bulbs in his brilliantly layer of symbolism over the centuries, implying fertility, longevityglazed ceramic sculptures in the late ’60s and early ’70s. While and good luck. Hui wrote, “My work has always been a strugglemost of the forms adhere to his trademark organic shapes with between traditional and contemporary ideas. I have found that symmetrical angles and curves, and hard-edged patterns, no two my life has always walked the line between different cultures thatare alike. The glazes, in primary colors, drawn in precise line and affect my thinking.” circle motifs, often match the colored bulbs. One of his most Hui’s M.F.A thesis topic in May 1952 was “Making New Ware magical lit wall pieces, which can be dated circa 1969, has yellow for Old China.” There he blended the history of ancient Chinese bulbs, Cone 4 white glaze, and Cone 018 red and blue overglazes. A ceramics at Ching-te-chen [Jingdezhen] with technical informa­ sketch for this piece, and several others, was discovered in one of his tion and design issues, including body and glaze recipes, and notebooks. Although Hui referred to these pieces as “lamps,” he did forming and firing practices for vitreous whiteware to be pro­ not create them to have a functional use. duced in a factory. Neither the studio nor whitewares factories Throughout his life, Hui acknowledged using glaze recipes were unknowns to him by this time. He had worked at Andover from many sources. Some were from his Alfred days, some he China, located near Alfred in the small village of Andover, New created, and he even borrowed from his students. He believed in York, while he was a student at Alfred. He designed several sharing glazes and having no secrets in this regard. But Studioin imaginative forms for Andover China. It is unknown whether or Potter in 1977, he revealed even more about his glaze philosophy not these pieces ever went into production. in an article titled, “Thoughts on Oxidation.” He described his

Ceramics Monthly May 2005 42 Ceramic form (screen), 20¾ inches (53 centimeters) in height, earthenware, with barium glaze, 1989. recent experiences with multiple firings using commercial over- glaze and a white glaze firing to Cone 3 in oxidation. He con­ cluded that there are “two different ways of looking at glazing and firing. One is reduction firing, giving a close relationship between the body and glazing. The other is oxidation and multiple firing, which can be viewed as a beautiful garment worn on top of the piece. If we look back at Islamic pottery and the later pottery of the Ching dynasty, the polychrome porcelain enamel ware all had beautiful garments on their pieces.” Another piece from the mid-1980s, which still reflected his earlier focus on brilliantly glazed geometric forms, was a tray, or perhaps wall piece, composed of four severed hemispheres glazed Ceramic bird with three compartments, 10½ inches (27 centimeters) in rainbows of pink, yellow and blue. in height, with bronze patina glaze, 1993. In the 1980s Hui created strong sculptural works inspired by Chinese jade carvings and architectural features. Hui wrote in his diary about these “screens,” which were inspired by the traditional table screens that provided a bit of privacy for the Chinese scholar or protected a candle from drafts. On December 3, 1986, he wrote, “For many years, my work seemed to lack direction, did not have much to say—or commitment. Lately, I find clay screens seem to sum up all my past ideals. Also there are not many potters getting into it now. I had to work on it, do some new work .... Is this my life mission!” On September 12, 1987, he wrote of screens as three-dimensional objects with two distinct surfaces, but with hollow space so the surfaces were not completely cut off. These pieces, celebrating a new creative direction, were produced after Hui had visited China in the 1980s—his first journey to his homeland since departing in 1948. They remain haunting reflections of memories of his past. “Ceramic Form,” (pictured at www.ceramicsmonthly.org), with its bronze patina glaze and strong, almost armored appearance, recalls Chinese cultural artifacts along with a strildng monumentality for a piece only 16½ inches tall. Wall piece, 10 inches (25 centimeters) in diameter, earthenware, with painted photo emulsion and red overglaze, 1968.

Platter and creamer, 14¾ inches (37 centi­ meters) in length, hotel china, 1965-1970, by Hui Ka Kwong and Roy Lichtenstein.

Ceramics Monthly May 2005 44 Tray, 14¾ inches (37 centimeters) in width, low-fire clay, 1985, by Hui Ka Kwong. Each piece shown is in the Collection of Eva Bouzard Hui.

He continued this exploration of screens well into the 1990s, above all others during his more than three decades in the class­ evocatively blending his Chinese heritage with his life at the time.room. Hui’s work, whether strictly functional, ceremonial, or just At the same time, he was creating functional bowls and covered haunting, was imbued with an honesty that reflected his inner jars with striking glaze palettes and calligraphic designs. soul. He was honest about the struggles of an artist, the connec­ During a 1999 interview with Joan Gordon, Hui insisted thattion with human turmoil and how moods can affect creativity. In he did not wish to be categorized as a Pop artist or have various1957 he was quoted inCraft Horizons (April issue) saying, “Your segments of his work classified as belonging to any one particular work, your art, is just like your life. Sometimes when you’re a little school or movement, because each piece that he created was made depressed, you don’t do much. But if you feel good and make a “one at a time” and was “singular.” After all, his work evokes good pot, you live again.” And through his inspirational work, memories of Chinese Chou dynasty bronzes and Matisse cutouts.Hui lives on. Probably if one were to give Hui any label at all, he would haveAn expanded version of this article,along with more images of preferred that of “teacher,” because he valued that experienceHuts work,can be seen online www.ceramicsmonthly.orgat .

Ceramics Monthly May 2005 45 Satori Yamaokas Kobusn i^ama by Bob McWilliams

I arrived in Tokyo, along with 200 other K-12 teachers in all disciplines from across the United States, for a three-week teach­ ing fellowship program. For one of the three weeks, a small group of us went to Iwamizawa, Hokkaido, (the second largest and northernmost of Japan’s four main islands) to learn about schools and people in the area. Naturally, being a studio potter/teacher, I was interested in the potters of Hokkaido. Before leaving Hawai‘i, where I teach high-school ceramics, I heard about a potter in Iwamizawa named Satori Yamaoka. Yamaoka’s studio is one of the most organized and clean shops I have ever seen. As he came out to greet us, he motioned for us to come upstairs from the showroom to a much more exhibition- oriented gallery where, behind glass cases, were some of the most treasured pieces of Yamaoka, his father and his son. There were beautiful reds and purples on bowls and platters, oil-spot Temmokus, vases with excellent stain or enamel brushwork, marbled incense pieces, teabowls, and other chanoyu (Japanese tea ceremony) objects. “Iraho Vase,” 28 centimeters (11 inches) in height, wheel-thrown local clay, with Iraho Glaze, fired to Cone 9 in reduction, ¥40,000 (US$388), 2003. Originally a glaze technician with Noritake in Nagoya, Yamaoka’s father Miaki Yamaoka followed his mentor to Hokkaido in 1926 and set up his own pottery shop called Kobushigama (,kobushi means tree; andgtfnz^ means kiln) in Iwamizawa in 1946. Satori Yamaoka was born in 1938 in Sapporo and studied pottery in Kyoto at the Kyomizuyaki art school. He started work­ ing with his father and two other potters in the Iwamizawa studio in 1959. Miaki was a big influence on his son in many ways. Satori, like his father, has a passion for testing glazes and clay bodies. His clay bodies are always changing. There are not many raw materials in Hokkaido (although there is an abundance of clay) so he brings in a lot of raw materials from Nagoya and Mie. In a large attic area, piles of raw materials dry on tarps. The Kobushigama studio uses almost 20 tons of clay each year. Glazes also are a joy and technical challenge for Yamaoka. He is always testing formulations on small bisqued buttons. His upstairs glaze-calculation area holds sets upon sets of small pow­ ders on papers with recipes written on them. Large and small ball mills were grinding away. Finished glaze tests were everywhere. Yamaoka also makes a lot of his own ash glazes, burning and cleaning and adding other materials. He especially likes apple and “Ryokusai Kujaku Bowl,” 29 centimeters (11 inches) in diameter, wheel-thrown local clay, with Peacock Glaze (see page 49), straw ash. He keeps many boxes of different ash, all waiting their fired to Cone 9 in reduction, ¥23,000 (US$223), 2003. turn for testing. This penchant for continual glaze and clay body

Ceramics Monthly May 2005 testing also has caught the interest of Yamaoka’s son, who has An incredible amount of ware runs through this shop. I was been working at Kobushigama since 1993. impressed by the fact that there were only three wheels in the Satori and his father had many kilns over the years. His fatherthrowing area, and ware was everywhere! Kobushigama forms are started firing with coal and then switched to electric. For a while not radical, but they are exquisitely thrown, trimmed and glazed. in 1966, they fired in a big, oil-fired kiln. Satori now uses four Approximately 80% of production is ordered directly from kilns. One is a 30-cubic-foot softbrick downdraft car kiln fired Yamaoka or sells through the showroom. Most of his sales outside with propane, which he fires about once a month. Mostly firingof the showroom are through shops in Sapporo. Total sales of for copper reds in this kiln, he spreads the firing out over about Kobushigama17 amount to about $330,000 each year—an amazing hours and gets some beautiful results. Since the cost of propaneamount is of production! Yamaoka’s is truly a story of a modern and so high in Japan, he has fired with electricity for quite some time. successful, yet classic, approach to pottery in Japan today.

MONTHLY methods Electric and Propane Combination Firing One of the more interesting aspects of Yamaoka s firing method involves combining electric and propane, a method he has used for about 40 years. He has three electric kilns that go to Cone 9, all of which are designed to allow a small amount of propane to be used at a certain point during the firing cycle. Using a computer that he has programmed to increase the rate of heat evenly with straight oxidation, electricity is used as the only heat source in the beginning of the firing. Top cutaway view of rectangular electric/propane kiln. At around Cone 08, he introduces a small amount of The manifold that delivers propane to the kiln extends propane to slightly reduce the atmosphere. This continuesacross the length of the center of the kiln floor, with ports to Cone 9, which usually takes 24 hours. every 20 centimeters (8 inches). This type of firing has evolved from considerations of cost and the colors Yamaoka wants in the finished ware. The kilns are large, custom-made, rectangular, top-loading electric kilns. The interior dimensions are 159x57x80 centimeters (63x22x32 inches), with about23 centime­ ters (9 inches) of brick and fiber insulation. Electric ele­ ments are anchored to the fiber hot-face. There are eight exit ports about 3 centimeters (1 ½ inches) in diameter on the sides, front and back (two on each side). A ratchet- and-cable system lifts and holds the lid open. Yamaoka fires about 10 electric/propane firings per month. The exact firing schedule varies a lot, but the first part is always electric guided by computer. There are al­ ways variables that affect the latter part of the schedule:

stacking, which glazes are included, whether saggars are Front cutaway view of rectangular electric/propane kiln. used, etc. So when the propane is introduced, things mayFour lid vents draw the propane through the kiln, ensuring change from firing to firing. even reduction throughout the stack of ware.

Ceramics Monthly May 2005 47 Namako Glaze, 1st Layer Iraho Oxidation Glaze Oil-Spot Temmoku 2 (Cone 9) (Cone 9) (Cone 9) Magnesium Carbonate...... 4 % Ofuyu Stone*...... 60 % Ofuyu Stone*...... 50.0% Strontium Carbonate...... 3 Azuma Ash Clay**...... 32 Potash Feldspar...... 8.3 Whiting...... 10 Silica (Flint)...... 8 Kaolin...... 33.4 Potash Feldspar...... 50 100% Silica (Flint)...... 8.3 Kaolin...... 11 100.%0 Silica (Flint)...... 22 Iraho Reduction Glaze 100% (Cone 9, reduction) Oxidation Ash Glaze 1 Add: Cobalt Carbonate...... 1 % Ofuyu Stone*...... 65 % (Cone 9) Red Iron Oxide...... 8 % Whiting ...... 30 Synthetic Ash...... 45 % Potash Feldspar...... 5 Kamado Feldspar (Potash)...... 45 Namako Glaze, 2nd Layer 100% Bankei Kaolin...... 10 (Cone 9) 100% Barium Carbonate...... 4.5 % Oil-Spot Temmoku 1 (Cone 9) Bone Ash...... 4.5 Oxidation Ash Glaze 2 Ofuyu Stone*...... 40.9 % Magnesium Carbonate...... 13.0 (Cone 9) Potash Feldspar...... 31.8 Talc (Mitsuishi Soapstone)...... 13.0 Synthetic Ash...... 40 % Kaolin...... 18.2 Whiting...... 7.0 Kamado Feldspar (Potash)...... 50 Silica (Flint)...... 9.1 Potash Feldspar...... 40.0 Bankei Kaolin...... 10 Silica (Flint)...... 18.0 100.0% 100% 100.0% *Feldspathic stone containing 5% iron oxide Add: Zinc Oxide...... 2.5% **Natural ash clay from burnt woods of Namako Glaze, 3rd Layer Hokkaido (Cone 9) Synthetic Ash...... 45 % Potash feldspar...... 45 Kaolin...... 10 100%

Mixed Clay Ash (Synthetic Ash) Magnesium Carbonate...... 6 % Phosphorus Pentoxide...... 6 Whiting ...... 63 Potash Feldspar...... 12 Kaolin...... 10 Silica (Flint)...... 3 100%

Satori Yamaoka has been producing pottery and testing glazes at his shop, Kobushigama, in Iwamizawa City, Hokkaido, Japan, for almost 60 years.

Ceramics Monthly May 2005 48 Peacock Glaze Because this glaze involves several layers, thick­Kujaku (Peacock) Glaze, Type 1 Ash Glaze #1, Type 3 ness will affect the result. First, apply all three (Cone 9, reduction) (Cone 9, reduction) Shinsha Glazes and fire in reduction to Cone 9. Barium Carbonate...... 11 % Taihei Straw Ash...... 40 % Then, pour any one of the Kujaku (Peacock)Bone Ash...... 2 Whiting ...... 2 Magnesium Carbonate...... 3 Wood Ash ...... 18 Glazes, then any type of Ash Glaze # 1 and AshStrontium Carbonate...... 6 Potash Feldspar...... 32 Glaze #2. Fire again in reduction to Cone 9. Whiting...... 8 Bankei Kaolin...... 8 Shinsha Glaze, Layer 1 Potash Feldspar...... 42 100% (Cone 9, reduction) Kaolin...... 8 Silica (Flint)...... 20 Ash Glaze #1, Type 4 Barium Carbonate...... 18% (Cone 9, reduction) Whiting...... 7 100% Taihei Burnt Straw Ash...... 16% Potash Feldspar...... 38 Add: Copper Oxide...... 4% Whiting...... 6 Kaolin...... 12 Tin Oxide...... 3 % Wood Ash...... 14 Silica (Flint)...... 25 Silicon Carbide...... 4% Potash Feldspar...... 42 100% Kujaku (Peacock) Glaze, Type 2 Bankei Kaolin...... 18 Add: Red Iron Oxide...... 1 % (Cone 9, reduction) Silica (Flint)...... 4 Barium Carbonate...... 8.0 % 100% Bone Ash...... 2.0 Ash Glaze #1, Type 5 Magnesium Carbonate...... 3.0 (Cone 9, reduction) Strontium Carbonate...... 4.5 Taihei Burnt Straw Ash...... 16 % Whiting...... 9.0 Whiting...... 9 Potash Feldspar...... 46.0 Wood Ash ...... 21 Kaolin...... 4.5 Potash Feldspar...... 35 Silica (Flint)...... 23.0 Bankei Kaolin...... 15 100.0% Silica (Flint)...... 4 Add: Copper Oxide...... 1.5% 100% Tin Oxide...... 3.0% Silicon Carbide...... 1.0% Ash Glaze #1, Type 6 (Cone 9, reduction) Kujaku (Peacock) Glaze, Type 3 Taihei Burnt Straw Ash...... 20.0% (Cone 9, reduction) Whiting...... 12.0 Barium Carbonate...... 10.0% Wood Ash ...... 28.0 Bone Ash...... 2.0 Potash Feldspar...... 24.5 Magnesium Carbonate...... 2.0 Bankei Kaolin...... 10.5 “Kujaku Round Plate,” 23 centimeters (9 inches) Whiting...... 9.0 Silica (Flint)...... 5.0 in diameter, wheel-thrown local clay, with Potash feldspar...... 40.0 100.0% Bankei Kaolin...... 10.0 Peacock Glaze, fired to Cone 9 in reduction, Ash Glaze #1, Type 7 Kaolin...... 7.0 ¥15,000 (US$146), 2003. (Cone 9, reduction) Silica (Flint)...... 20.0 Taihei Burnt Straw Ash...... 24% Shinsha Glaze, Layer 2 100.0% Whiting...... 9 (Cone 9, reduction) Add: Copper Oxide...... 1.5% Wood Ash ...... 21 Barium Carbonate...... 8 % Tin Oxide...... 3.0% Potash Feldspar...... 28 Bone Ash...... 2 Silicon Carbide...... 2.5% Bankei Kaolin...... 12 Magnesium Carbonate...... 4 Silica (Flint)...... 6 Strontium Carbonate...... 7 Ash Glaze #1, Type 1 Whiting...... 7 100% (Cone 9, reduction) Potash Feldspar...... 58 Taihei Burnt Straw Ash...... 20 % Ash Glaze #2, Type 1 Kaolin...... 3 Whiting...... 2 (Cone 9, reduction) Silica (Flint)...... 11 Wood Ash ...... 18 Taihei Straw Ash...... 9 % 100% Potash Feldspar...... 48 Whiting...... 18 Add: Copper Oxide...... 1 % Bankei Kaolin...... 12 Potash Feldspar...... 45 Tin Oxide...... 3 % 100% Shibun Soft Stone* ...... 28 110% Shinsha Glaze, Layer 3 (Cone 9, reduction) Ash Glaze #1, Type 2 Ash Glaze #2, Type 2 Barium Carbonate...... 8 % (Cone 9, reduction) (Cone 9, reduction) Whiting...... 25 Taihei Burnt Straw Ash...... 30 % Taihei Straw Ash...... 9% Potash Feldspar...... 61 Whiting...... 2 Whiting ...... 37 Kaolin...... 2 Wood Ash ...... 18 Potash Feldspar...... 27 Silica (Flint)...... 4 Potash Feldspar...... 40 *Shibun Soft Stone...... 27 100% Bankei Kaolin...... 10 110% Add: Tin Oxide...... 5 % 100% *Feldspathic rock from Iwamizawa, Hokkaido

Ceramics Monthly May 2005 49 EMERGING ARTISTS2005

The number of focused and talented people beginning a career in studio ceramics, and the volume and variety of works they are produc ing, is both heartening and impressive. To lind oneself simultaneously at the end of being a student and the beginning of becoming a profes­ sional is a daunting and exciting predicament. There is the inevitable separation from the familiar, and the unknowable quality of what is yet to be. The individuals whose works are presented here find themselves in this place. The works are likely to be representative of the familiar territory of each artist—those things they have practiced and honed over time. These artists, however, are looking beyond themselves, reaching to connect with their larger surroundings. This is where their efforts hint at what might be, the unknown—yet hopeful—next step in their growth and development as artists. It is our intent in presenting these works to illustrate that the younger generation of studio ceramics artists is full of dedi­ cated, passionate people looking to make meaningful, relevant contributions to the field. Beginners may see these works as something to which they aspire. Those with more experience may recognize some connection to their own earlier efforts. Everyone, we hope, will see not only the potential of the individu­ als presented here, but the collective strength and breadth of the activity around which we all congre­ gate: exploring (and perhaps defining) ourselves through clay.

“Entrances,” 10 inches (25 centimeters) in height, coil and slab- built low-fire clay with underglazes, slips, stains and transparent glaze, and old door parts, by Cheri Wranosky, Bogart, Georgia. “My sculpture and mixed-media pieces reflect a dark, yet whimsical view of the human condition,” remarked Wranosky. “Coil and slab-built pieces, roughly textured, with hues of nature’s earthen pallet, in combination with seemingly discordant salvaged objects, provide a glimpse of man’s common experiences in the world. Growing up in Kansas’ black-soil farming country; living in North Georgia’s lush green, red-clay country; birthing calves and raising children on 30 acres; studying in a uniquely creative, nurturing college town; the kindness and unkindness of man and nature— these things have influenced who I am as an individual and contribute to the emotion and inspiration behind my work.” Vessel, 12 1 /2 inches (32 centimeters) in height, slab-built and carved stoneware with slips and glazes, by Susan Bleckner Heller, Brooklyn, New York. “My pieces are explorations of texture, color and form in which decorative pattern adds to the voice,” said Bleckner Heller. “The sculptural forms give that voice a rhythm all its own. In my work I capture my thoughts and feelings; I can bring my inner life to the surface and make it visible. It is my way to communicate what is inside me to the outside world. I am influenced most by my love of the natural world; by the wonderful surfaces, patterns and textures found in nature.”

“Cradled Cup,” 5 inches (13 centimeters) in height, earthenware with slips and lichen glaze, fired to Cone 06, by George Morrison, Fort Wayne, Indiana. “My background in architecture stresses functional problem solving,” stated Morrison. “The creation of nonfunctional objects is somewhat foreign and has required a search for a basis on which to proceed. Currently this includes the study of intersecting forms such as curves against curves, and curves against planes .... I treat clay as an architectural design medium by drafting on the surface and assembling extruded, wheel-thrown and slab-formed elements as building blocks. I have frequently expressed the terra-cotta color of the bare clay as the primary surface, much as late modern architects, such as Louis Kahn, expressed bare concrete structure in their work.”

Ceramics Monthly May 2005 51 “Group of Tea, Coffee and Decanter,” to 17 inches (43 centimeters) in height, stoneware with glaze, soda fired to Cone 6, by Derek Moore, Calgary, Alberta, Canada. “I have been fascinated by the pursuit to bring together modern architectural designs within a natural environment; finding the one aspect that successfully brings together the modern and the natural into a harmonious relationship,” explained Moore. “In my work, I want the joining component to be clay. By exposing the deep, red clay, I am showing the natural earthlike elements that have been constructed in a very architecturally designed fashion. Glaze is applied to highlight the architectural elements, but the clay is left exposed to emphasize the multidimensionality of the material.”

Ceramics Monthly May 2005 52 “Blast,” 17 inches (43 centimeters) in diameter, handbuilt stoneware and earthenware, with glaze, by Cristina Pellechio, Waterbury, Vermont. “I have been exploring the relationship between the simple silhouette of a circle and the relationship to its interior,” said Pellechio. “I find the outline of this shape so enticing, excited to adorn its center with recurring patterns. I love repetition within a piece.... I emphasize surface design through the use of multiple layers and color. For me the circle lends itself to this type of embellishment; its graceful form is so accommodating and versatile. I can decide whether to fill the space with saturated detail or leave the piece with a bit more room to breathe. Opportunities to conjoin an outer boundary perimeter with its interior are limitless, framing the nuances of this exploration.”

“Drinks for Two,” to 6½ inches (16.5 centimeters) in height, wheel- thrown and handbuilt porcelain with applied texture and slip inlay, interior surfaces glazed, unglazed surfaces polished with silicon carbide paper, fired to Cone 10 in reduction, by Suzanne Stumpf, South Natick, Massachusetts. “My life as a professional musician has happily allowed for much creative work,” said Stumpf. “Yet most of this creativity has taken place within the inherently intangible realm of the temporal. Thus, the terrifically tangible process of creating in clay has been an exhilarating contrast. Since the outset of my work in clay, I have focused on making unique expressive objects. Only recently have I begun to see parallels in my creative work in aural and visual disciplines. As with how I spin out and structure a musical phrase or movement, I consciously and subconsciously seek a continuity of gesture and/or cohesiveness of intention in each of my clay objects.”

Ceramics Monthly May 2005 53 “Striped Tombstone on Pedestal,” 9 inches (23 centimeters) in width, low-fire clay with glaze, fired multiple times, with screws, by Aaron Calvert, Cambridge, Ohio. “I attempt to proselytize values and thoughts which I have formed, re-examined, edited and deleted throughout my life,” explained Calvert. “Often my work alludes to the consumptive nature of humans. My goal is to raise the viewers’ awareness. Each piece offers my respect and condolences for those affected by our ravenous appetites. We are imperfect by nature but making informed decisions is a step in the right direction. Our environment is changing around us. My ceramic work questions whether this change is for the better.”

Ceramics Monthly May 2005 54 “Cock’s Comb Vase,” 10 inches (25 centimeters) in height, wheel-thrown and altered earthenware with sgraffito and impressed decoration, with underglazes, glaze wash and China paints, by Vanessa Grubbs, Atlanta, Georgia. “[This piece is from] a series called Media Mediocrity’ and was inspired by my disillusionment with current television programming,” stated Grubbs. “This series focuses on both TV commercials and reality television shows. Whether sculptural or referencing the vessel, I illustrate my ideas using form, image and text to create a dialog for the viewer to become engaged in for just a moment. I invite the viewer into my work by using familiar images and provocative notions about the state of the world, and about universal themes such as the power of love, money and guns. In doing so, I hope that my work challenges and inspires viewers to look at the world in new ways.”

“Sake Pourers with Rice Scoop,” 6 inches (15 centimeters) in height, wheel-thrown porcelain, wood fired in an anagama, by Jayson Lawfer, Missoula, Montana. “Beginning with a centered mound of clay, I evolve it into a conclusion of its own—a form that functions and draws interest,” explained Lawfer. “I am physically and mentally intrigued by the process it takes to create a pleasurable pot. What capabilities do I have with my clay bodies? To what extent can I alter my wheel-thrown shapes? The atmosphere of wood firings engulfs my senses as well. It plays a major role in the variations of surface. I wonder and study how flashing patterns, wood-ash deposits and glaze colors are formed, and challenge myself to find answers. I do so knowing that some of these answers are left unknown to the special life that lives and breathes inside each kiln.”

Ceramics Monthly May 2005 55 Ceramics Monthly May 2005 56 Ceramics Monthly May 2005 57 United States Exhibitions May 27 entry deadline call for entries Carbondale, Colorado "Carbondale Clay National II" (July 7-August 15). Juried from up to 3 slides. Deadlines for Exhibitions, Fairs and Festivals May 6 entry deadline Baltimore, Maryland "Family Matters" (September Juror: Gail Kendall, professor of art, University See call for entries online at www.cerannicsmonthly.org 1 -October 9). Juried from slides. Jurors: Eva Kwong of Nebraska-Lincoln. Fee: $20. For prospectus, and Kirk Mangus. Contact Baltimore Clayworks: send SASE to Carbondale Clay Center, 135 Main e-mail [email protected]; St., Carbondale 81623; telephone (970) 963-2529; International Exhibitions see www.baltimoreclayworks.org; or telephone or e-mail [email protected]. (410) 578-1919 x18. June 3 entry deadline May 6 entry deadline May 16 entry deadline Wichita, Kansas "The Wichita National All Media Aveiro, Portugal "VII Biennial International Artistic Mableton, Georgia "18th Annual National Juried Craft Exhibition 2005" (September 9-October 23). Ceramics Exhibition—Aveiro 2005" (September 17- Art Exhibition" (July 11-August 14), open to all Fee: $25 for up to 3 entries. Juror: Harold B. Nelson, October 30). Juried from slides. Awards: 1st prize, media. Juried from up to 3 slides. Fee: $25. Cash and director of the Long Beach Museum of Art. Awards: €20,000 (US$26,000); 2nd, €12,500 (US$ 16,000); purchase awards. Contact South Cobb Arts Alli­ $2500. For prospectus, send SASE to the Wichita 3rd, €7500 (US$10,000). Contact Secretariat, do ance, 5239 Floyd Rd., Mableton 30126; or see Center for the Arts, Wichita National 2005, 9112 Divisao de Acgao Cultural, Museu sa Republica www.artshow.com/mablehouse. East Central, Wichita 67206; see www.wcfta.com; Arlindo Vicente, Rua Joao Mendonga n°9, 3800- Windham, New York "Journeys in Clay V" (June telephone (316) 634-2787 x18. 200, Aveiro; or e-mail [email protected]. 18—July 31). Juried from 5-10 slides or photos. June 18 entry deadline June 15 entry deadline Jurors: Ruth Sachs and Joan Snyder. Commission: Berrien Springs, Michigan "Made by Hand, Meant for Damascus, Maryland "Kaleidoscope Reflections" 30%. For prospectus, contact Donna Barrett, Greene Use—2005" (July 25-August 29), open to all hand­ (September 8-October 15), open to all media relat­ County Council on the Arts, 398 Main St., made, useful ceramics. Juried from slides. Juror: Dick ing to kaleidoscopes. For prospectus, send SASE to PO Box 463, Catskill, NY 12414; e-mail Lehman. Fee: $25 for 2 entries. For prospectus, send Brewster Kaleidoscope Society, PO Box 95, Dam­ [email protected]; see www.greenearts.org; SASE to ARC Exhibitions, "MBHMFU- 2005" Div. of ascus 20872; see www.brewstersociety.com. or telephone (518) 943-3400. Architecture, Andrews University, Berrien Springs July 1 entry deadline May 20 entry deadline 49104; e-mail [email protected]; see Cheongju City, Korea "4th Cheongju International Costa Mesa, California "Art on a Stick Toy Compe­ www.andrews.edu/arch/arcex; or telephone (269) Craft Competition" (September 30-0ctober 23), tition" (July 8-31), open to artist-made toys 3x3 471-0429. open to craftworks reflecting the theme "Hide and inches. Juried from up to 3 works. Juror: Jim Jenkins. June 24 entry deadline Reveal." Juried from 3 slides and 1 photo. Awards: For prospectus, contact Orange County Fair, 88 Fair New Canaan, Connecticut "Craft USA 2005" (Octo­ grand prize, US$20,000 (includes purchase of art­ Dr., Costa Mesa 92626; telephone (714) 708-1624 ber 16-November 18), open to all craft media. work); 4 gold prizes, US$10,000 each (includes e-mail [email protected]; see www.ocfair.com. Juried from slides. Juror: Gail M. Brown, indepen­ purchase of artwork); 1 silver prize per category, May 23 entry deadline dent curator. Fee: $35. Cash awards. For prospec­ US$2500each; 1 bronze prize per category, US$1000 Shelburne, Vermont "Envisioned in a Pastoral Set­ tus, send #10 SASE to Craft USA, Silvermine Guild each. For prospectus, contact Competition Dept., ting—Shelburne Farms Art Exhibition" (September Arts Center, 1037 Silvermine Rd., New Canaan Organizing Committee of the Cheongju Interna­ 23-October 16), open to all media relating to land­ 06840; see www.silvermine.org; or telephone (203) tional Craft Biennale, 755 Sajik 1 -dong, Heungdeok- scapes. Juried from slides. Fee: $10. Commission: 966-9700, x26. gu, Cheongju City, Chungcheongbuk-do, 361-828 35%. Contact Holly Brough, Shelburne Farms, 1611 June 30 entry deadline Korea; e-mail [email protected]; Harbor Rd., Shelburne 05482; telephone (802) Stockton, California 'Visions in Clay" (August 30- see www.okcj.org; telephone (82) 43 277 2603; or 985-8686; e-mail [email protected]; see September 24), open to functional and nonfunc­ fax (82) 43 277 2610. www.shelburnefarms.org. tional. Juried from up to 3 entries. Juror: Adrian

Ceramics Monthly May 2005 58

call for entries Fairs and Festivals May 20 entry deadline Gainesville, Florida "24th Annual Downtown Festi­ Saxe, professor of ceramics, University of California val & Art Show" (November 12-13), open to all Los Angeles. Fee: $ 12/entry. Commissions: 25%. media. Awards: cash, $14,000; purchase awards, For prospectus, send SASE to Visions in Clay, 2437 $4000. For prospectus, contact Linda Piper, Station Pheasant Run Cir., Stockton 95207; telephone (209) 30, PO Box490, Gainesville 32602; telephone (352) 933-9373; e-mail [email protected]; orsee 334-5064; or see www.gvlculturalaffairs.org. www.pacific.edu/reynoldsgallery. June 3 entry deadline July 1 entry deadline St. Louis, Missouri "13th Annual Historic Shaw Art La Crosse, Wisconsin Juried one-person three-di­ Fair" (October 1-2). Juried from 3 slides. Fee: $20. mensional Show and demonstration: Viterbo Uni­ Booth fee: $220 for 10x10-foot space. Contact His­ versity" (September 7-October4). Juried from 10-20 toric Shaw Art Fair, c/o Gobberdiel Graphic Design, slides. Jurors: Gerard Justin Ferrari and Viterbo 2004 S. 39th St., St. Louis 63110; e-mail University Faculty. Fee $20. Responsibilities include [email protected]; telephone (314) 773-3935. installation, attendance at opening, removal of June 6 entry deadline show and a one-day workshop. Award: $1000 Indianapolis, Indiana "Winterfair" (November 19- honorarium. E-mail Gerard Justin Ferrari: 20), open to fine crafts. Juried from 4 slides of work, [email protected]; telephone (608) 796-3757. 1 of booth. Contact Ohio Designer Craftsmen, 1665 July 8 entry deadline W. Fifth Ave., Columbus, OH 43212; e-mail Geneseo, New York "In Our Cups" (August 27- [email protected]; see www.ohiocraft.org; tele­ September 17), open to ceramic drinking vessels. phone (614) 486-7119; or fax (614) 486-7110. Juried from slides. Juror: Ron Meyers. Fee: $25 Cincinnati, Ohio "Winterfair" (November 25- for up to 3 works. Awards. For prospectus, send 27), open to fine crafts. Juried from 4 slides of work, SASE to "In Our Cups" Art Dept., SUNY Geneseo, 1 of booth. Contact Ohio Designer Craftsmen, 1665 1 College Cir., Geneseo 14454; or e-mail W. Fifth Ave., Columbus, OH 43212; e-mail [email protected]. [email protected]; see www.ohiocraft.org; tele­ July 23 entry deadline phone (614) 486-7119; or fax (614) 486-7110. Missoula, Montana "Fourth Annual Soda/Salt Na­ Columbus, Ohio "Winterfair" (December 1-4), tional" (September 2-30). Juried from slides. Juror: open to fine crafts. Juried from 4 slides of work, 1 of Gail Nichols. Fee: $25 for 2 slides; $30 for 3. Cash booth. Contact the Ohio Designer Craftsmen, awards. For prospectus, send a business-size SASE 1665 W. Fifth Ave., Columbus 43212; e-mail to Clay Studio of Missoula, 910 Dickens, Missoula [email protected]; see www.ohiocraft.org; tele­ 59802; e-mail [email protected]; see phone (614) 486-7119; or fax (614) 486-7110. www.theclaystudioofmissoula.org; or telephone July 20 entry deadline (406) 543-0509. Worcester, Massachusetts "Platitudes, Functional September 21 entry deadline Dinner Plates with Attitude" (October 22-Novem- New York, New York "Celebrating Women Artists" ber 19). Juried from up to 4 slides. Fee: $20. Com­ (November 18-December 6), open to women mission: 50%. Contact Melissa Figuerido, Worcester working in all craft media. Juried from slides or Center for Crafts, 25 Sagamore Rd., Worcester actual work. For prospectus, send #10 SASE to the 01605; or telephone (508) 753-8183, x3006. Pen & Brush, Inc., 16 E. Tenth St., New York 10003; August 1 entry deadline see www.penandbrush.org; or telephone (212) Upper Montclair, New Jersey "22nd Annual Fine Art 475-3669. and Crafts at Anderson Park" (September 17-18), September 26 entry deadline open to all handcrafted work. Juried from 4 slides. Wayne, Pennsylvania "Craft Forms 2005" (Decem­ Booth fee: $295 for 10x12-foot space. For further ber 2, 2005-January 27, 2006), open to all craft information, contact Rose Squared Productions, Inc., media. Fee: $25. Awards: $3000, plus exhibition 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail opportunities. For prospectus, send SASE to Wayne [email protected];www. rosesquared.com; Art Center, 413 Maplewood Ave., Wayne 19087; or telephone (908) 874-5247; or fax (908) 874-7098. see www.wayneart.org. September 1 entry deadline October 12 entry deadline Cranford, New Jersey" 17th Annual Fall Noma-hegan Coburg, Oregon " La Petite 13—Small Format Com­ Park Fine Art and Crafts Show" (October 1-2), open petition" (November 22, 2005-January 21, 2006). to all handcrafted work. Juried from 4 slides. Booth Juried from slides. Fee: $ 12/each or 3 for $30. fee: $295 for 10x12-foot space. Contact Rose Squared Awards: $2200. For prospectus, send SASE to Alder Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ Gallery, PO Box 8517, Coburg 97408; see 08844; e-mail [email protected]; see www.alderart.com; or telephone (541) 342-6411. www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. Montclair, New Jersey "Seventh Annual Fall Regional Exhibitions Brookdale Park Fine Art and Crafts Show" June 6 entry deadline (October 15-16), Juried from 4 slides. Booth fee: $295 New Mexico, Roswell "Roswell Fine Arts League/ for 10x12-foot space. Contact Rose Squared Produc­ New Mexico Miniature Arts Society Juried Art Show tions, 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail and Exhibition" (August 4-14), open to artists resid­ [email protected]; www.rosesquared.com; ing in Arizona, California, Colorado, New Mexico, telephone (908) 874-5247; or fax (908) 874-7098. Nevada, Oklahoma, Texas or Utah. For prospectus, November 21 entry deadline send SASE to RFAL/NMMAS, Box 2928, Roswell Gainesville, Florida "20th Annual Hoggetowne Medi­ 88202; e-mail [email protected]; or telephone (505) eval Faire" (January 28-29 and February 4-5, 2006). 622-4985. Juried from up to 5 slides. Booth fees: $175-$400. June 15 entry deadline Contact Linda Piper, Station 30, PO Box 490, Gainesville Pittsburgh, Pennsylvania "WAD Clay Institute Juried 32602; e-mail [email protected]; see Annual" (August 26-September 26), open to ce­ www.gvlculturalaffairs.org; telephone (352) 334-5064. ramics artists residing in Washington D.C., Mary­ land, Pennsylvania, Ohio, New York, New Jersey, For a free listing, submit information on juried events at least Virginia and West Virginia. Juried from slides of up four months before the entry deadline. Add one month for listings to 3 works. Juror: Dale Huffman, art dept, head of in July; two months for August. Regional exhibitions must be Carlow College. For prospectus, send SASE to Gerry open to more than one state. Mail to Call for Entries, Ceramics Dinnen, WAD Clay Institute, 2100 Mary St., Pitts­ Monthly, 735 Ceramic PI., Westerville, OH 43081; submit online burgh 15203; or telephone (412) 279-9956. at www.ceramicsmonthly.org/submissions.asp e-mail [email protected]; or fax (614) 891-8960.

Ceramics Monthly May 2005 60

“This book is about ceramic surface enrich­wet, malleable clay to heat-hardened, imperme­ new books ment, the processes used for achieving it, and theable ceramic.” thought concepts, idea development and per­ Divided into five parts, Hopper begins with Making Marks sonal research behind it,” explains Hopper.the fundamentals of art and design, covering Discovering the Ceramic Surface “Making marks is a generalized term used such topics as drawing in two and three dimen­ by Robin Hopper throughout the visual arts when referring tosions, the color theory, signs and symbols, and In his latest book, Robin Hopper draws from alteration of any surface by any of the tools that pattern and space. his nearly 50 years of experience as a studio artistspotter employ. In using this term for the title of Subsequent sections to present a wealth of ceramic surface decorationthis book, I am referring to the huge variety of cover processes related possibilities. Hopper covers an expansive rangemarks that may be achieved through ceramic to clay specifically in­ of techniques including plastic and liquid claydecoration processes, at any or all of the varied cluding making marks processes, glazing, pigments, firing and post­ and various stages that the clay object of addition and re­ firing processes. goes through in its transformation from soft, moval, marks of im­ pression and marks of heat, flame and smoke. This beautifully illus­ trated book features more than 300 color im­ ages, including process shots and finished shots of both contemporary and historical work. 304 pages including acknowledgments, bibliogra­ phy, list of resources for supplies, tools and equipment, and index. 250 color photographs and 50 illustrations. Softcover, US$44.99 (CAN$67.99). ISBN 0-87349-504-7. Published by kp books, 700 E. State St., Iola, WI54990- 0001; or telephone (800) 258-0929.

Paper Clay By Rosette Gault In this revised and expanded edition, Rosette Gault clearly explains how to make, use and fire paper clay successfully. She also brings the reader up to date on new developments in the field, including methods for the ecologically sound use of paper clay. “This is a book about clay and it’s a book about freedom,” states Gault. “It’s also about a discovery. It’s about imagination unbounded and a practical means to bring about a fresh vision to the ceramic form. It’s about a ceramic material more versatile than previ­ ously believed. . . . This book will enable you the maker, the creator, to un­ derstand how this is so, from the ground up, so to speak.” The handbook incorporates several charts and illustrations, featuring firing schedules and proportion guidelines, as well as cross sections and templates for common forms. The book illustrates the flexibility of paper clay through abundant illustrations of the work of an interna­ tional group of artists. 144 pages including a history and overview of paper clay, appendix,

Ceramics Monthly May 2005 62 new books This beautifully illustrated book covers 4011;both see www. upenn. edu/pennpress; or telephone the practical and the aesthetic aspects involved(800) in 537-5487. making teapots. The first half addresses in depth list of suppliers, bibliography, and index. theoretical137 and practical considerations, and uses Mimbres Painted Pottery color and 29 black-and-white photographs. a step-by-step approach to present essentialbyJ.J. mak­ Brody Softcover, $26.50. (£17.50). ISBN (U.S.) ing methods such as throwing, slab building, In this revised edition, with over 100 new 0-8122-1895-7. ISBN (U.K.) 07136-6827-X. press molding and slip casting. A large part of theillustrations, Dr. J.J. Brody, a scholar on South­ Published in the U.K. by A&C Black, Alderman book is devoted to 26 contemporary artists and western native arts, incorporates extensive House, 37 Soho Sq., London W1D 3QZ En­ their work—both fieldwork done since the original publication in gland; see www.acblack.com. Published in the functional and non­ 1977. Brody updates his discussion on village U.S. by University of Pennsylvania Press, 4200 functional. The fea­ life, the larger world in which the Mimbres lived, Pine St., Philadelphia, PA 19104-4011; see tured potters discussand how their art illuminates these wider issues. www.upenn.edu/pennpress; or telephone (800) their approaches to He addresses iconography, the importance of 537-5487. design development perspective and motion and their making in Mimbres artistry, and The Teapot Book methods. The final the technology used to by Steve Woodhead chapter is a full-color produce the wares. 235 “Most potters agree that the teapot is one of gallery of teapots. 224 pages including preface, the most challenging objects to make, both from pages including list of suppliers, glaze recipes introduction, credits, a technical and aesthetic point of view,” states and index. 519 color photographs and 92 bibliography, index and author Steve Woodhead. “Creating a teapot thatblack-and-white illustrations. $49.95 (£32.50). appendixes. 20 color functions correctly requires a great deal of skillISBN (US.) 0-8122-3884-2. ISBN (UK.) and 230 black-and- and an intimate knowledge of the form.... My 0-7136-6016-3. Published in the U.K. by A&C white photographs. Softcover, $27.95. ISBN passion for teapots has grown over the years andBlack, Alderman House, 37 Soho Sq., London 1 -930618-27-1.Published by School of American the incentive to write this book was to produceW1D3QZEngland; seewww.acblack.com . Pub­ Research Press, PO Box 2188, Santa Fe, NM a text that I would have found useful all lishedthose in the U.S. by University of Pennsylvania 87504-2188; seewww.sarweb.org ; or telephone years ago.” Press, 4200 Pine St., Philadelphia, PA 19104- (505) 954-7206or (888) 390-6070.

Ceramics Monthly May 2005 64 Ceramics Monthly May 2005 65 shopsand excursions with Philip Eglin, Louise Hindsgavl, Museum Ceramics Research Center, Arizona State calendar Steve Mattison, Richard Notkin, Justin Novak, Hana University, Mill Ave. and Tenth St. Conferences, Exhibitions, Workshops, Fairs Pubkrabkova, Ilona Romule and Katy Rush. Contact California, Lincoln through May 22 Rodney Mott, Guldagerg^rd, International Ceramic Center, "Ceramic Show"; at Lincoln Arts, 580 Sixth St. See calendar online at www.ceramicsmonthly.org Heilmannsvej 31 A, 4230 Skaelskor; e-mail California, Pomona through May 7 Chun Wen [email protected]; see www.ceramic.dk; telephone Wang, "The Iron Saga Part 1: The Secret of the Song (45) 5819 0016; or fax (45) 5819 0037. Dynasty"; at the American Museum of Ceramic Art, Conferences England, London May 6-8 "Ceramic Art London 340 S. Garey Ave. 2005," includes fair, exhibition, lectures, demonstra­ California, San Francisco May 4-28 Susan York. Georgia, Atlanta October 5-8 "Growing Creativ­ tions and films/videos. Presenters include Edmund de June 2-July 2 Robert Brady; at Braunstein/Quay Gal­ ity .. . Continuing the Journey," Society of Craft Waal, Walter Keeler, Kate Malone, Grayson Perry and lery, 430 Clementina St. Designers annual conference. Contact SCD Headquar­ Takeshi Yasuda. For further information, contact Ce­ California, Ventura through May22 "Otto Heino: ters, PO Box 3388, Zanesville, OH 43702-3388; e-mail ramic Art London 2005, 25 Foubert's PL, 3rd FI., Celebrating 90 Years"; at Ventura County Museum of [email protected]; see www.craftdesigners.org; tele­ London W1F 7QF; e-mail [email protected]; History and Art, 100 E. Main St. phone (740) 452-4541; or fax (740) 452-2552. see www.ceramics.org.uk. Colorado, Denver through May 22 Alicia Bailey, Kentucky, Berea June 2-5 "2005 Craft Organiza­ Wales, Aberystwyth July 1-3 "Tenth International "Secrenere"; at Edge Gallery, 3658 Navajo St. tion Development Association (CODA) Conference," Ceramics Festival," includes demonstrations and lec­ Illinois, Chicago through May 11 Dennis Lee includes panels, presentations, tours and peer discus­ tures by over 14 presenters, firings, trade show and Mitchell, "Manifest"; at Dubhe Carreno Gallery, 1841 sions. Contact Linda Van Trump, CODA managing exhibitions. For further information, contact Sophie S. Halsted St. director, PO Box 51, Onia, AR 72663; e-mail Bennett, International Ceramics Festival, Aberystwyth through June 4 Cristina Cordova; at Ann Nathan [email protected]; or telephone (870) 746-4396. Arts Centre, University of Wales, Aberystwyth, Gallery, 212 W. Superior St. New York, Nassau June 24-26 "Made in Ceredigion SY23 3DE; e-mail [email protected]; see May21 -June26 Maren Kloppmann; at Lillstreet Art America—The Production and Distribution of British www.internationalceramicsfestival.co.uk; telephone (44) Center, 4401 N. Ravenswood Ave. Ceramics in America, 1750-1850," includes lectures 1970 622 882; or fax (44) 1970 622 883. Illinois, Geneva May 1-31 Jim Kearns. June 1-30 and demonstrations. Fee: $445. Contact Eastfield Vil­ Wales, Cardiff June 29-30 "The Fragmented Fig­ Mike Gesiakowski, "Shino Work"; at Down to Earth lage, PO Box 539, Nassau 12123; or telephone (518) ure," includes lectures, sessions and an exhibition. Pottery, 217½ S. Third St. 766-2422. Contact Cardiff School of Art and Design, the Centre Illinois, Oak Park through May 18 Tony Winches­ North Carolina, Seagrove June 5-10 "Cross­ for Ceramic Studies, Howard Gardens, Cardiff CF24 ter. May 21-June 22 Chuck Hindes; at Terra Incognito roads: Traditions and Change, Seagrove International OSP; e-mail [email protected]; or tele­ Studios & Gallery, 246 Chicago Ave. Ceramics Conference," includes demonstrations, ac­ phone (44) 29 2041 6636. Iowa, Iowa City May 20-June 2 Triesch Volker; at tivities, lectures, presentations, kilnbuilding and fir­ AKAR, 4 S. Linn St. ings, exhibitions and tours. Fee: $375; students, $275; Solo Exhibitions Maryland, Baltimore through May 8 Jane Morais; includes 4 lunches and 6 dinners. Contact Randolph Light Street Storefront, 28 Light St. Arts Guild, PO Box 1033, Asheboro, NC 27204-1033; Arizona, Phoenix through June 30 "Virgil Ortiz— through May 8 Heather Stauffer; Light Street Store­ e-mail [email protected]; telephone (336) 629-0399; Le Renaissance Indigene"; at Heard Museum, 2301 N. front, 10 Light St. or fax (336) 629-2892. Central Ave. through May 24 Gilda Oliver, "Kharma—Angelic Denmark, SkaeIskor August 12-14 "Storytelling Arizona, Tempe through August27 "Look Alikes: Creatures"; at Carroll Mansion, 800 E. Lombard.

& Poetry Seminar," includes ceramic lectures, work- The Decal Plates of Howard Kottler"; at ASU Art through September 1 Nancy Josephson, "Holy H2O:

Ceramics Monthly May 2005 66

"Various Architectural Clay Miracles"; at Xen Gallery, 4 Viola Frey; at Louise Wells Cameron Art Museum, calendar 401 N. Euclid. 3201 S. 17th St. solo exhibitions Montana, Helena May 19-29 Tim Roda. Kowkie Ohio, Canton through July 29 Tom Radca, "Paint­ Durst; at the Archie Bray Foundation, 2915 Country ing with Fire." Bill Hunt, "A40-Year Retrospective"; at Fluid Universe." Andrew Logan, "Cosmic Egg"; at the Club Ave. Canton Museum of Art, 1001 Market Ave., N. American Visionary Art Museum, Inc., 800 Key Hwy. New York, Beacon through May 7 Edith A. Ehrlich; Ohio, Columbus May 7-31 Tom Bartel. June 4-July Massachusetts, Concord May 12-28Tim Rowan; at Finders Keepers Art Gallery, 171 Main St. 31 Scott Dooley; at Sherrie Gallerie, 937 N. High St. at Lacoste Gallery, 25 Main St. New York, New York through May 21 Karen Ohio, Dublin through May 25 "Marty Shuter: Michigan, Detroit through May 14 Thomas Bennicke. May 26-June 25 Tip Toland; at Nancy Familiar Faces"; at the Dublin Arts Council Gallery, Hoadley. May 20-July 15 Adam Posnak; at Pewabic Margolis Gallery, 523 W. 25th St. 7125 Riverside Dr. Pottery, 10125 E. Jefferson. New York, Peekskill June 3-July 17 Tony Parillo, Oregon, Salem through May 14 Heidi Preuss Grew, Minnesota, Minneapolis May 20-July 10 Jami "Theatrics"; at Flat Iron Gallery, 105 S. Division St. "Porcelain and Other Stories"; at Hallie Ford Museum McKinnon, "Social Isolation"; at Northern Clay Cen­ New York, Port Chester May 1-28 Ruth of Art, 900 State St. ter, 2424 Franklin Ave., E. Borgenicht, "Invisible Volumes." June 3-25 Josh Pennsylvania, Huntingdon Valley May 6-June 5 Missouri, Kansas City through May 14 Judy DeWeese; at the Clay Art Center, 40 Beech St. Shane Keena, "Infestus Tutamen"; at Vessel Gallery, Onofrio; at Sherry Leedy Contemporary Art, 2004 North Carolina, Asheville through June 25 Jamie 2465 Huntingdon Pike. Baltimore Ave. Davis; at Blue Spiral 1, 38 Biltmore Ave. Pennsylvania, Philadelphia May 6-29 Kari Missouri, St. Louis May 20-July 3 Dan Anderson, North Carolina, Wilmington June 2-September Radasch. May 6-June 17 Julia Galloway. June 3-26 Matt Kelleher, "In the Niche"; at the Clay Studio, 139 N. Second St. Tennessee, Nashville through May 25V\o\a Frey; at Frist Center for the Visual Arts, 919 Broadway. Texas, El Paso through June 16 Neil Forrest "Fila­ ments"; at Stanlee & Gerald Rubin Center for the Visual Arts, University of Texas at El Paso, 500 W. University Ave. Texas, San Anton\oJune9-August 13 Hank Drennon; at Southwest School of Art & Craft, 300 Augusta. Wisconsin, Madison through June 5 Don Reitz, "Clay, Fire, Salt and Wood"; at the Elvehjem Museum of Art, University of Wisconsin-Madison, 800 Univer­ sity Ave. Wyoming, Buffalo May27-August 13 Peg Malloy; at Margo's Pottery and Fine Crafts, 1 N. Main.

Group Ceramics Exhibitions

California, Davis through May28 "California Clay Competition"; at the Artery, 207 G St. California, Kenwood May 1-June 6 "Teapots"; at Wildwood Farm, 10300 Sonoma Hwy. California, Lincoln through May22 "Featsof Clay XVIII"; at Gladding, McBean, 601 Seventh St. California, Los Angeles through May 20 "Hot Tea"; at Del Mano Gallery, 11981 San Vicente Blvd. through July 3 "Ceramic Masters: The Art of Vivika & Otto Heino and Their Contemporaries"; at Craft & Folk Art Museum, 5800 Wilshire Blvd. California, Pomona May 14-July2 "The Iron Saga Part II: Elusive Glazes," Mel Jacobson and Joe Koons; at American Museum of Ceramic Art, 340 S. Garey Ave. California, Walnut Creek. June 1-August28 "Pots: Objects of Virtue"; at Bedford Gallery, 1601 Civic Dr. Colorado, Carbondale through May 5 "For Two"; at Carbondale Clay Center, 135 Main St. Connecticut, Guilford June 12-July23 "Ceramics 2005"; at Guilford Handcraft Center, 411 Church St. D.C., Washington through June 4 "Mosaics: Two Shows"; at Eleven Eleven Sculpture Space, 1111 Penn­ sylvania Ave. through September 18 "Rusticity Refined: Kyoto Ceramics by Ninsei"; at the Freer Gallery of Art, Jefferson Dr. at 12th St., SW. Florida, St. Petersburg May 20-July 9 "Spheres of Influence," Ron Meyers, Andy Nasisse and Ted Saupe; at Florida Craftsmen, 501 Central Ave. Illinois, Chicago through May8 "Setting theTable"; at Lillstreet Art Center, 4401 N. Ravenswood. June 2-September 18 "Centers and Edges: Modern Ceramic Design and Sculpture, 1880-1980"; at Smart Museum of Art, University of Chicago, 5550 S. Green­ wood Ave. Indiana, Indianapolis May 6, 2005-January 8, 2006 "Overbeck Pottery of the Arts and Crafts Move­ ment"; at the Indianapolis Museum of Art, 4000 Michigan Rd. May 7-31 "Clay & the Printed Image." June 4-30 "Reverberant," Erin Furimsky and Tyler Lotz; atCharlie Cummings Clay Studio, 4130 S. Clinton St. Continued

Ceramics Monthly May 2005 68 calendar group exhibitions

Iowa, Iowa City May20-June 2 " Forms and Shapes: Narrative Vessel"; at AKAR, 4 S. Linn St. Louisiana, New Orleans through September 4 "Seldom Seen: Aspects of English and Continental Ceramics from the Permanent Collection"; at New Orleans Museum of Art, 1 Collins Diboll Cir. Maryland, Baltimore through May 15 "Evocative Implements"; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Pittsfield May 14-October 30 "Wit and Wine:A New Look at Ancient Iranian Ceram­ ics from the Arthur M. Sackler Foundation"; at the Berkshire Museum, 39 South St. ^ Michigan, Berrien Springs through May20 "Dif­ ferences with Functionality," Robert Briscoe, Sam Chung, Charity Davis-Woodard, Julia Galloway, Dick Lehman, Warren MacKenzie and Ellen Shankin; at Andrews University, Division of Architecture. Michigan, Detroit May 20-July 15 "Chris Gustin and Friends," Bruce Dehnert, Chris Gustin, Jim Lawton, Aysha Peltz and Todd Wahlstrom; at Pewabic Pottery, 10125 E. Jefferson. Minnesota, Minneapolis through May 8 "The Social Life of Pouring Pots." "Exchanging Views: The Clay Studio's Resident Artists." May 5-29 Paul Dresang, Maren Kloppmann and Laura McCaul. May 20-July 10 "Perforation," Tony Marsh, Jeffrey Mongrain, Mary Roehm, Marit Tingleff and Xavier Toubes. June 2-30 Jeff Noska, Patricia Sannit and Laurie Shaman; at Northern Clay Center, 2424 Franklin Ave., E. Missouri, Kansas City May 5-28 Mike Jabbur & Nathan Lekan. June 2-July 2 "Potters of the Southern Mountains"; at Red Star Studios, 821 W. 17th St. Nevada, Las Vegas May 28-June 25 "Jackpot! Ceramic Competition"; at the Contemporary Arts Col­ lective, 101 E. Charleston Blvd., Ste. 101. New Jersey, Newark through August 14 "Earthen Elegance: African Vessels from the Newark Museum Collection"; at Newark Museum, 49 Washington St. New Jersey, Surf City May 28-June 29 "Jersey Shore Clay National"; at m.t. burton gallery, 1819 Long Beach Blvd. New Mexico, Santa Fe through May 28 "The Flowers that Bloom in the Spring." June 3-July 1 "Boxes"; at Santa Fe Clay, 1615 Paseo de Peralta. North Carolina, Asheville June 30-August 27 "Hot/Ice IV"; at Blue Spiral 1, 38 Biltmore Ave. North Carolina, Charlotte through June 26 "Por­ celain American Style." through July 17 " Pottery Ameri­ can Style"; at Mint Museum of Art, 2730 Randolph Rd. Ohio, Kent through June 11 "Fifth Annual Na­ tional Juried Cup Show"; at Kent State University Museum, Rockwell Hall. Ohio, Toledo through June 12 "Vive La France: Sevres Porcelain in the 1800s"; at the Toledo Musuem of Art, 2445 Monroe St. Pennsylvania, Lancaster through May 22 "13th Annual Strictly Functional Pottery National"; at Lancaster Museum of Art, in the Atrium at the South­ ern Market. Pennsylvania, Philadelphia May20-June26 "Sec­ ond Annual Marge Brown Kalodner Graduate Student Exhibition." June 24-July 31 "The Associate Artists' Group Exhibition"; at the Clay Studio, 139 N. Second St. Texas, Columbus through May 15 "White Bread: The Second Slice," Angela Gallia and Linda Gossett; at Live Oak Arts Center, 1014 Milam. Texas, Houston May 6-31 "Silver Anniversary Show"; at Houston Potters Guild Shop, 2433 Rice Blvd. Texas, Lubbock through June 24 "Clay on the Wall: 2005 Clay National"; at Texas Tech University School of Art. Virginia, Arlington through June 4 "Mosaics Ex­ hibition"; at Ellipse Art Center, 4350 N. Fairfax Dr. Washington, Anacortes June 3-26 "Clay, Fire & Form"; at Depot Art Gallery, 611 R St. Continued

Ceramics Monthly May 2005 70 Ceramics Monthly May 2005 71 Again 16th Annual Teapot Show"; at Chiaroscuro Ohio, Columbus May 1-June 19 "Best of 2005"; calendar Galleries, 700 N. Michigan Ave. at the Ohio Craft Museum, 1665 W. Fifth Ave. ceramics in multimedia exhibitions Massachusetts, Cambridge through May 7 "Pre- Ohio, Westerville through June 12 "Nigerian Im­ Hispanic Masterpieces"; at Hurst Gallery, 53 Mt. Au­ ages, Selections from the Germanson Collection"; at Ceramics in Multimedia burn St. Otterbein College, Frank Museum of Art, 39 S. Vine St. Exhibitions through June 30 "Imazighen: Beauty and Ohio, Zanesville May 1-June 5 "59th Annual May Artisanship in Berber Life"; at Peabody Museum, Art Show and Craft Exhibition"; at Zanesville Art Alabama, Birmingham May 14-July 16 "Many Harvard University, 11 Divinity Ave. Center, 620 Military Rd. Splendored Things," including ceramics by Scott May 6-June 23 "8th Annual National Prize Show"; Oregon, Portland through May 29 "Waking Bennett; at Red Dot Gallery, 2810 B Third Ave., S. at Kathryn Schultz Gallery, 25 Lowell St. and University Dreams: The Art of the Pre-Raphaelites from the Dela­ California, Lincoln June 7-July30 "Mixed Show"; Place Gallery, 124 Mt. Auburn St. ware Art Museum"; at the Portland Art Musuem, 1219 at Lincoln Arts Center, 580 Sixth St. Massachusetts, Duxbury May 15-September 11 S.W. Park Ave. California, Oakland May 16-July 1"ACGA Comes "Shapeof Tea"; at ArtComplex Museum, 189 Alden St. South Carolina, Greenville through June 26 to Oakland"; at the Craft & Cultural Arts Gallery, State Massachusetts, Lenox May6-July3 "Navigators: "RiverRun: Art of the Reedy"; at Greenville County of California Office Bldg., 1515 Clay St. Art—Science—History—Travel," including ceramics by Museum of Art, 420 College St. California, Pasadena June4-July2 "Figuratively Speak­ Mara Superior; at Ferrin Gallery, 69 Church St. Texas, Columbus through May 15 "The White Bread ing"; at the Folk Tree Collection, 199 S. Fair Oaks Ave. New York, New York through June 5 "Cherished Family Side Show"; at Live Oak Art Center, 1014 Milam St. California, Stanford through June 12 "Guardian Possessions, A New England Legacy"; at the Bard Texas, Dallas through May 29 "Splendors of of the Flame: The Art of Sri Lanka." May 25-August Graduate Center, Studies in the Decorative Arts, De­ China's Forbidden City: The Glorious Reign of Emperor 21 "Vanishing Worlds: Art & Ritual in Amazonia"; at sign and Culture, 18 W. 86th St. Qianlong"; at the Dallas Museum of Art, 1717 N. the Iris B. Gerald Cantor Center for Visual Arts, May26-September 11 "Dual Vision, The Collection Harwood St. Stanford University. of Jerome A. and Simona Chazen"; at the Museum of Virginia, Richmond through May 7 "Bonnie Prince Colorado, Denver through December31 "Heaven Arts & Design, 40 W. 53rd St Charlie and the Royal House of Stuart, 1688-1788: and Home: Chinese Art of the Han Dynasty from the North Carolina, Asheville through June 25 "Exhi­ Works of Art from the Drambuie Collection"; at the Sze Hong Collection." "New Classics"; at Denver Art bition including ceramics by Kenneth Baskin"; at Blue University of Richmond Museums, George M. Modlin Museum, 100 W. 14 Ave. Pkwy. Spiral 1, 38 Biltmore Ave. Center for the Arts, Marsh Art Gallery Colorado, Evergreen May27-June25 "Textiles & North Carolina, Charlotte May 7-October9 "Point Wisconsin, Racine through September 11 "Glitz, Textures x 2," ceramics by Gail Frasier; atFirehouse Art of View III," including ceramics by Mark Hewitt; at Lusterand Luxe in RAM'sCollection";atthe Racine Art Center, 667 Fourth Ave. Mint Museum of Craft + Design, 22 N. Tryon St. Museum, 441 Main St. D.C., Washington through May 75 "Asian Games: June 15-December 4 "Ancient Egyptian Art for June 14-November26 "Magnificent Extravagance: The Art of the Contest"; at Arthur M. Sackler Gallery, the Afterlife"; at the Mint Museum of Art, 2730 Artists and Opulence"; at the Charles A. Wustum Smithsonian Institution, 1050 Independence Ave. Randolph Rd. Museum of Fine Arts, 2519 Northwestern Ave. through June 26 "Luxury and Luminosity: Visual June 24-August 14 "Thresholds, Expressions of Art Culture and the Ming Court." through September 18 & Spiritual Life"; at McColl Center for Visual Art, 721 Fairs, Festivals and Sales "Games, Contests and Artful Play in Japan"; at the N. Tryon St. Freer Gallery of Art, Smithsonian Institution, 12th St. North Carolina, Creedmoor June 11-September Connecticut, Westport May28-29 "39th Annual and Independence Ave., SW. 4 "National Teapot Show VI"; at Cedar Creek Gallery, Westport Craft Show"; at Staples High School, 70 Illinois, Chicago through May 15 "On the Road 1150 Fleming Rd. North Ave. Continued

Ceramics Monthly May 2005 72 calendar fairs, festivals and sales

Illinois, Oak Park May 15 "20th-Century Art & Design Auction"; at the John Toomey Gallery, 818 North Blvd. Maryland, Columbia May 6-7 "Just Clay"; at Columbia Art Center, 610 Foreland Garth. Massachusetts, Northampton May28-30 "Paradise City Arts Festival"; at Three-County Fairgrounds, Rte. 9. Michigan, Detroit June 3-5 "Greektown Arts Festival"; in Greektown, Monroe and Brush sts. Missouri, Hanibal May 28-29 "River Arts Festi­ val"; downtown, N. Main St. New Jersey, Cranford June 4-5 "17th Annual Spring Nomahegan Park Fine Art and Crafts Show"; at Nomahegan Park, Springfield Ave. New Jersey, Montclair June 18-19 "17th Annual Spring Brookdale Park Fine Art and Crafts Show"; at Brookdale Park, Watchung Ave. New Jersey, Verona May 14-15 "19th Annual Fine Art and Crafts at Verona Park"; at Verona Park, 475 Bloomfield Ave. New York, Croton-on-Hudson June 18-19 "Clearwater's Great Hudson River Revival"; at Croton Point Park. New York, New Paltz May28-30 "Woodstock— New Paltz Art & Crafts Fair"; at Ulster City Fairgrounds. New York, New York May 28-30 and June 4-5 "Washington Square Outdoor Art Exhibition"; on Uni­ versity Place and Washington Place. June 2-5 "SOFA New York 2005"; at the Seventh Regiment Armory, Park Ave. and 67th. June4-5and 11-12 "29th Annual American Crafts Festival"; at Lincoln Center for the Performing Arts, 140 W. 65th St. North Carolina, Mitchell and Yancey Counties June 11-12 "Toe River Studio Tour." For maps, see www.toeriverarts.org. Ohio, Cincinnati June 4-5 "Decorative Arts Auc­ tion Featuring Rookwood"; at Treadway Gallery, Inc., 2029 Madison Rd. Ohio, Shaker Heights June 17-19 "Craftfair at Hathaway Brown"; at Hathaway Brown School, 19600 N. Park Blvd. Pennsylvania, Manayunk June 25-26 " 16th An­ nual Manayunk Arts Festival"; Main St. Texas, Austin May 7-8 "Art of the Pot, An Austin Pottery Tour." For maps, see www.artofthepot.com; or telephone (512) 329-9113. Texas, San Antonio June 9-12 "34th Annual Texas Folklife Festival"; at the Institute of Texan Cul­ tures, 801 S. Bowie. Virginia, Blacksburg May 7-8 "16 Hands Studio Tour," David Crane, Jamie Davis, Sylvie Granatelli, Richard Hensley, Linda McFarling, Neil Patterson, Donna Polseno, Kari Radasch, Stacy Snyder and Brad Warstler. For map, see www.16hands.com. Virginia, Chantilly May 13-15 "Sugarloaf Crafts Festival"; at the Dulles Expo Center, 4320 Chantilly Place Center. Wisconsin, Cambridge June 11-12 "Cambridge Pottery Festival & U.S. Pottery Games"; at the West Side Park.

Workshops

California, Apple Valley May 21 Workshop with Peter Callas. Fee: $75. Contact Diana Ware Clay Stu­ dio, 21887 Hwy. 18, Apple Valley 92307; e-mail [email protected]; see www.diana-ware.com; or telephone (760) 242-0360. California, Cloverdale July 9-10 "Sculpting 3D Relief Tiles and Murals" with Kenyon Lewis. Fee: $210. E-mail Sheila Menzies, Tile Heritage Foundation [email protected]; telephone(707)433-8022. California, Davis July 16-17 "Tiles, Molds and Mosaic" with Donna Billick. Fee: $195. Telephone

Ceramics Monthly May 2005 74

Firing" with Steven Branfman. Fee: demo only, $110; Florida, Winter Park May 21-22 Workshop with calendar hands-on, $135. Contact Mother Earth Clay Art Cen­ Timothy Weber. Fee: $170; members, $150; includes workshops ter, 790 Lucerne Dr., Sunnyvale 94085; see firings. Contact Niki Pierson, Crealde School of Art, www.mamasclay.com; or telephone (866) 311-0244. 600 St. Andrews Blvd., Winter Park 32792; see Sheila Menzies, Tile Heritage Foundation (707) 433- California, Torrance May 74 Workshop with Lana www.crealde.org; or telephone (407) 671-1886. 8022; or e-mail [email protected]. Wilson. Fee: $45; residents, $40. Contact Janene Georgia, Atlanta May 14-15 Demonstration work­ California, Encinitas July 30-31 "Latex Mold Mak­ Ferguson, 3031 Torrance Blvd., Torrance 90509; or shop with Gay Smith. Fee: $110. Contact MudFire Clay ing and Tile Production" with Dianne Stacy & Richard telephone (310) 618-2326. Studio and Gallery, 175 Laredo Dr., Atlanta 30030; Grudin. Fee: $210. E-mail Sheila Menzies, Tile Heritage Colorado, Carbondale October 15-16 Work­ e-mail [email protected]; see www.mudfire.com; or Foundation [email protected]; ortelephone shop with Mary Barringer. Contact Carbondale Clay telephone (404) 377-8033. (707) 433-8022. Center, 135 Main St. Carbondale 81623; e-mail Georgia, Rabun Gap May 14-15 "Sculpting the California, Ojai May 20 (lecture)-22 "The Any­ [email protected]; www.carbondaleclay.org; Figure: Making and Using Visual References" with thing But Round Workshop" with Tom Coleman and telephone (970) 963-2529; or fax (970) 963-4492. Keith Smith. Fee: $160, includes lunch. September Patrick Horsley. Fee: $250. Contact Frank Massarella's Colorado, Denver October 21-22 "Mayco Ce­ 19-23 Workshop with Chris Gustin. October 22-23 Firehouse Pottery & Gallery, 109 S. Montgomery St., ramics Camp." Fee: $150, includes materials and Workshop with Ron Meyers. Contact the Hambidge Ojai 93023; or telephone (805) 646-9453. lunch. All skill Levels. Contact Mayco Colors/Coloramics, Center, PO Box 339, Rabun Gap 30568; see California, Pomona October 14-15 "Mayco Ce­ LLC: Karen Shelton [email protected]; see www.hambidge.org; or telephone (706) 746-5718. ramics Camp." Fee: $150, includes materials and www.maycocolors.com; ortelephone(614) 675-2025. Ilinois, Oak Park May 21-22 Workshop with Chuck lunch. All skill Levels. Contact Mayco Colors/Coloramics, Colorado, Snowmass Village September 12-30 Hindes. Fee: $140; advance, $125. Contact Terra LLC: Karen Shelton [email protected]; see "Developing Vessel Form: Studio Intensive" with Christa Incognito Studios and Gallery, 246 Chicago Ave., Oak www.maycocolors.com; ortelephone (614) 675-2025. Assad, Doug Casebeer, Daphne Hatcher and James Park 60302; see www.terraincognitostudios.com; or California, Santa Rosa September 24-25 Work­ Lawton. Fee: $1290, includes studio fee. All skill levels. telephone (708) 383-6228. shop with Xiaoping Luo and Junya Shao at Santa Rosa For further information, contact Anderson Ranch Arts Indiana, Indianapolis October22-23 " Mayco Ce­ Junior College. Fee: $1000. Telephone (707) 527- Center, 5263 Owl Creek Rd., PO Box 5598, Snowmass ramics Camp." Fee: $150, includes materials and 4397; or see www.xiaopingstudio.com. Village 81615; e-mail [email protected]; lunch. All skill Levels. Contact Mayco Colors/Coloramics, California, Solana Beach August 13-14 "Ma­ see www.andersonranch.org; telephone (970) 923- LLC: Karen Shelton [email protected]; see jolica Tile Painting" with Irene De Watteville & Ivette 3181; or fax (970) 923-3871. www.maycocolors.com; ortelephone (614) 675-2025. Villiard. Fee: $175. E-mail Sheila Menzies, Tile Heritage Connecticut, Brookfield May 14-15 "Forms in Maryland, Allston May 7-8 "Collaborative Tile Foundation [email protected]; or telephone Porcelain" with Angela Fina. Fee: $150; members, Design and Fabrication" with Wasma'a Chorbachi. (707) 433-8022. $125. Contact Brookfield Craft Center, PO Box 122, Fee: $150; undergraduates, $35. Contact Nancy Sel­ California, Sunnyvale May 7 "Monoprints in Clay" Brookfield 06804; e-mail [email protected]; see vage, Office for the Arts at Harvard, Ceramics Pro­ with Eduardo Lazo. Fee: $65; OVCAG, ACGA or Mother www.brookfieldcraftcenter.org; or telephone (203) gram, 219 Western Ave., Allston 02134; see Earth members, $60. May 28-29 "Stories To Throw By 775-4526. www.fas.harvard.edu/~ofa/programs/ceramics; tele­ . . ." with Mel Jacobson. Fee: demo only, $65; 2-day Connecticut, Stamford October 28 (lecture)-30 phone (617) 495-8680; or fax (617) 496-9787. hands-on, $125. June 25-26 "Alternative Raku," "Functional Stoneware/Single Firing" with Steven Hill. Maryland, Baltimore May 14-15 "Combined hands-on with Eduardo Lazo. Fee: $65; OVCAG, ACGA Fee: $315. Contact Lakeside Pottery, 543 Newfield Techniques—Process and Meaning" with Matt Wilt. or Mother Earth members, $60. September 10-11 Ave., Stamford 06905; see www.lakesidepottery.com; Fee: $180; members, $160. Contact Baltimore "The Raku Process: Forming, Surface, Glazing and ortelephone (203) 323-2222. Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail

Ceramics Monthly May 2005 76 calendar workshops [email protected]; see www.baltimoreclayworks.org; or telephone (410) 578-1919. Maryland, Frederick May 14-15 "Glaze Applica­ tion" with Joyce Michaud. Fee: $150. Contact Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; seewww.hood.edu/academic/art; or telephone (301) 696-3456. Massachusetts, Beverly July 16 "Slip Painting" with Maureen Mills. July 30-31 "Majolica" with Liz Quackenbush. Contact Redbrick Art Center, 95 Rantoul St., Beverly01905; see www.redbrickarts.com; ortele- phone (978) 927-5615. Massachusetts, Ipswich August 20-21 "Thrown & Altered" with Jeff Brown. August 27-28 "Raku Firing." Contact Redbrick Ocmulgee Pottery, 317 High St., 01938; see www.redbrickarts.com; or telephone (978) 927-5615. Massachusetts, Stockbridge May 14 "Electric Kilns, and Cone 6 Clay and Glaze" with Jeff Zamek. Fee: $100. May 21-22 "Pull it Up—Push it Out: The Thrills, Problems and Discipline of Throwing" with Scott Goldberg. Fee: $200, includes materials. Contact Karin Watkins, IS 183, Art School of the Berkshires, PO Box 1400, Stockbridge 01262; e-mail [email protected] ; see [email protected] ; or telephone (413) 298-5252. Massachusetts, Sturbridge May 6-7 "Mayco Ce­ ramics Camp." Fee: $150, includes materials and lunch. All skill Levels. Contact Mayco Colors/Coloramics, LLC: Karen Shelton [email protected]; see www.maycocolors.com; ortelephone (614) 675-2025. Massachusetts, Truro May 22-23 "Kilnbuilding Workshop" with Jim Brunelle and Diane Heart. Fee: $150. May28-29 "Raku Firing" with Kristin Dennison, Diane Heart, Tim Scull, Judy Shaffer and Mikhail Zakin. Fee: $200, includes materials and firing. September 5- 9 "Poetics of Clay" with Paul Soldner. Fee: $500, includes firing. September 12-16 "Alternative Firing" with Tim Scull. Fee: $450. All skill levels. Contact Cherie Mittenthal, Truro Center for the Arts at Castle Hill, PO Box 756, Truro 02666; e-mail [email protected]; see www.castlehill.org; telephone (508) 349-7511; or fax (508) 349-7513. Massachusetts, Williamsburg May 7-8" Fun With Clay." May 15-21 "Earthenware & Majolica: Terra Cotta Pottery." May28-30" Earthenware & Majolica." September3-5 "Throwing Large Ceramic Forms" with Bob Green. Instructor (unless noted above): Sharon Pollock. Contact Snow Farm: New England Craft Pro­ gram, 5 Clary Rd., Williamsburg 01096; e-mail [email protected]; seewww.snowfarm.org; tele­ phone (413) 268-3101; or fax (413) 268-3163. Minnesota, Duluth July 16-17 "Tile Making and Maiolica Painting" with Karin Kraemer. Fee: $210. Telephone Sheila Menzies, Tile Heritage Foundation (707) 433-8022; or [email protected]. Minnesota, Minneapolis September 11 Work­ shop with Val Cushing. Contact the Northern Clay Center, 2424 Franklin Ave., E, Minneapolis 55406; e-mail [email protected]; see www.northerndaycenter.org; telephone (612) 339- 8007; or fax (612) 339-0592. Montana, Helena May 27-29 "Get Your Down­ draft On," kilnbuilding with Ben Krupka and Curtis Stewardson. Contact the Archie Bray Foundation, 2915 Country Club Ave., Helena 59602; see www.archiebray.org; or telephone (406) 443-3502. New Hampshire, Northwood May 14-15 "Be­ fore the Alter & Beyond," throwing, altering and texturing. May 21-22 "Burnin' Pots, A Raku Work­ shop." Fee/session: $120. For further information, contact Jeff Brown Pottery, 950 First NH Tpk., Northwood 03261; e-mail jeff@jeffbrownpottery. com; see www.jeffbrownpottery.com; telephone (603) 942- 8829; or fax (603) 942-8845. Continued

Ceramics Monthly May 2005 78 Ceramics Monthly May 2005 79 calendar workshops

New Jersey, Layton May 20-22 "Starting Out and Moving On: Learning from Mistakes," throwing with Matt Burton. Fee: $310, includes lab fee. May 27-29 "Printing with Colored Clays" with Mitch Lyons. Fee: $325, includes lab fee. May 27-31 "Yixing Traditional Slab-Built Teapots and Contemporary Sculpture," hands-on workshop with Xiaoping Luo and Junya Shao. Fee: $470, includes lab fee. September 2-4 "Paper Clay" with Jerry Bennett. Fee: $315, includes lab fee. September 9-11 "Letting Go" pit firing, paint­ ing and gilding with Bennett Bean. Fee: $325, includes lab fee. Skill requirements vary. Contact Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; e-mail [email protected]; see www.pvcrafts.org; or telephone (973) 948-5200. New Mexico, Abiquiu May 12-13 "Brush Mak­ ing" with Kathryn Holt. Fee: $65; members, $50.May 13-15 "Embellishing the Surface" with Susan Harris. Fee: $165; members, $145; includes materials and firing. All skill levels. Contact Maxine Chelini, New Mexico Potters & Clay Artists, 1564 Cerro Gordo, Santa Fe, NM 87501; e-mail [email protected]; see www.nmpotters.org; or telephone (505) 986-1865. New York, Hammondsport August 1-5 "Work­ ing with Porcelain and Glaze Formulation" with Alan Bennett. Fee: $100. June 27-July 1 "Introduction to Pottery." Fee: $150. Contact ArtHaven, 8888 County Rte. 87, Hammondsport 14840; telephone (607) 569- 3322; or e-mail [email protected]. New York, New York May 14-15 "Dichroic Glass and Precious Metal Clay." Fee: $270, includes materi­ als and firing. Instructor: Vera Lightstone. Contact Vera Lightstone, 347 W. 39th St., New York 10018; e-mail [email protected]; see www.silverclay.com; or telephone (212) 947-6879. May 15-June 12, Sun. "Indoor Paradise: Tabletop Fountain" with Jungwon Lee. May 16 and 23 "Intro­ duction to Precious Metal Clay" with Vera Lightstone. Fee: $222; members, $180. May 19-June23, Thurs. "Envisioning Pots + Sculpture" with Vera Lightstone. Contact JCC Manhattan, 334 Amsterdam Ave, New York 10023; ortelephone (646) 505-5708. New York, Port Chester May 8or22 "Raku" with Denis Licul. Fee/session: $75. May 14-15 "Hand-build- ing: Extruding and SlabTechniques" with Hayne Bayless. Fee: $175. Skill requirements vary. Contact Kelli Damron, the Clay Art Center, 40 Beech St., Port Chester 10573; e-mail [email protected]; see www.clayartcenter.org; telephone (914) 937-2047; or fax (914) 935-1205. New York, Rosendale September 10 "Figurative Porcelain Sculpture" with Linda Cordell. Fee: $120. Intermediate through professional. Contact Joanna Joslyn, Women's Studio Workshop, 722 Binnewater Ln., Rosendale 12472; [email protected]; see www.wsworkshop.org; telephone (845) 658-9133; or fax (845) 658-9031. New York, Water Mill May 21-22 "Glazes" with Pete Pinnell at Celadon Gallery. Fee: $325; members, $250; includes materials and firing. Intermediate/ad­ vanced. Contact Clay Art Guild of the Hamptons, 51 Round Pond Ln., Sag Harbor, NY 1 1963; e-mail [email protected]; telephone/fax (631) 725-4605 New York, Windham September 8-12 "Soda- Firing Workshop" with Sara Patterson. For further information, contact Catskill Mountain Foundation Inc., Sugar Maples, PO Box 924, Rte. 23A, Hunter, NY 12442; seewww.catskillmtn.org/sugarmaples; ortele­ phone (518) 263-4104 x259. North Carolina, Asheville May 14-15 "Casually Made" with Ron Meyers. Fee: $120. Contact Odyssey Center for Ceramic Arts, 236 Clingman Ave., Asheville 28801; e-mail [email protected]; see www.highwaterclays.com; telephone (828) 285-0210. North Carolina, Brasstown May 1-7 "Nature as

Ceramics Monthly May 2005 80 Ceramics Monthly May 2005 81 calendar workshops

Art" with Kaaren Stoner. May 8-14 "Throwing on the Wheel" with Ray Del Conte. May22-28 "Earth, Wheel & Fire—Wheel Basics" with Jan Morris. September 14- 20 "Raku: Smoke, Fire & Glowing Pots" with Obie Clark. Fee/session: $388. Contact John C. Campbell Folk School, 1 Folk School Rd., Brasstown 28902; see www.folkschool.org; telephone (800) 365-5724; or fax (828) 837-8637. North Carolina, Creedmoor July 9-15 "Wood- Fired Kilnbuilding Workshop" with Mark Peters. Fee: $400, includes firing. Contact Jennifer Dolan, Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor 27522; see www.cedarcreekgallery.com; or telephone (919) 528-1041. North Carolina, Durham May 21-22 "The Plea­ sure of Making Pottery" with Terry Gess. Fee $125. Contact Julie Olson, White Oak Pottery, 3915 Rivermont Rd., Durham 27712; seewww.whiteoakartworks.com; or telephone (919) 309-4747. North Carolina, Little Switzerland October 24- 30 "Wildacres Retreat" with Lynn Merhige. Fee: $495- $595, includes some materials, firing, lodging and meals. All skill levels. Contact Diane Zorn, Ringling School of Art and Design, 2700 N. Tamiami Trail, Sarasota, FL 34234; e-mail [email protected]; see www.ringling.edulcontinuing studies; telephone (941) 955-8866; or fax (941) 955-8801. North Carolina, Seagrove May 74-75 Workshop withTomTurner. Fee: $125, includes lunch. Limit of 30 participants. Contact North Carolina Pottery Center, 250 East Ave., Seagrove 27341; or telephone (336) 873-8430. North Carolina, Wilmington June 10-12 "Crys­ talline Workshop," hands-on with Xavier Gonzalez. Limit of 18 participants. Contact Fat Cat Pottery, 419 A Raleigh St., Wilmington 28412; see www.fatcatpottery.com; ortelephone(910)395-2529. Ohio, Columbus September 24-25 "Mayco Ce­ ramics Camp." Fee: $150, includes materials and lunch. All skill Levels. Contact Mayco ColorslColoramics, LLC: Karen Shelton [email protected]; see www.maycocolors.com; or telephone (614) 675-2025. Pennsylvania, Philadelphia May 13 (lecture), 14- 75 "Functional Excess" with Julia Galloway. Fee: $205; members, $195; lecture, $5. Contact the Clay Studio, 139 N. Second St., Philadelphia 19106; see www.theclaystudio.org; telephone (215) 925-3453; or fax (215) 925-7774. Pennsylvania, Pittsburgh May 6 (lecture) 7-8 "WAD Clay Institute's Third Annual Spring Spectacu­ lar," raku workshop with Paul Jay. Fee: lecture, free; $20!day; $301both days. Contact Gerry Dinnen, 2100 Mary St., Pittsburgh 15203; telephone (412) 279-9956. Texas, Dallas May 16-31 "Imaginative Forms," hands-on with Gina Bobrowski and Lisa Ehrich. Fee: $240; out-of-county, $150; in-county, $90. Interme­ diate through professional. Contact Lisa Ehrich, Brookhaven College, 3939 Valley View, Farmers Branch, TX 75234; e-mail [email protected]; telephone (972) 860-4733; or fax (972) 860-4385. Vermont, BridgewaterA/ly 7 7-75 "Luscious Raku Tile Making" with Christine Merriman. Fee: $350. Telephone Sheila Menzies, Tile Heritage Foundation (707) 433-8022; or e-mail [email protected]. Virginia, Middleburg June 11-12 "Delft Tile Re­ production" with Joan Gardiner. Fee: $210. Tele­ phone Sheila Menzies, Tile Heritage Foundation (707) 433-8022; or e-mail [email protected]. West Virginia, Huntington May 13-15 "The Deco­ rated Form" with Liz Quackenbush. Fee: $225; mem­ bers, $195; teachers, $165; students, $120; includes materials, breakfast and lunch. Contact Matt Carter, Huntington Museum of Art, 2033 McCoy Rd., Hun­ tington 25701; e-mail [email protected]; see www.hmoa.org; telephone (304) 529-2701 x21.

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International Events Belgium, Brasschaat September 15-16 "Funcky Theepots," handbuilding with Richard Godfrey. Fee: €70 (US$92). September24-25 "Throwing & Altering Large Forms" with RandyCarlson. Fee:€100(US$131). October 1-2 "Slip Casting with Bone China" with Sasha Wardell. Fee: €110 (US$144). Advanced. Con­ tact Patty Wouters, Atelier Cirkel, Miksebaan 272, 2930 Brasschaat; e-mail [email protected]; see www.atelier.cirkel.be; or telephone/fax (32) 36 33 05 89. Belgium, Brussels June 11-July 23 Esther Stasse; at Gallery Puls Contemporary Ceramics, 4, place du Chatelain. Canada, Alberta, Calgary July 3-9 "UpCountry Wood Kilns" with John Chalke. Fee: Can$749 (US$620), includes materials, firing, lodging, break­ fast and lunch. Limit of 9-10 participants. Intermedi­ ate through professional. Contact John Chalke, 429 12th St., NW, Calgary, Alberta T2N 1Y9; e-mail [email protected]; seewww.upcountrykilns.com; or telephone (403) 283-3186. Canada, British Columbia, Coquitlam May 18- June 3 "Fraser Valley Potters Guild Show"; at Ever­ green Cultural Centre, 1205 Pinetree Way. Canada, British Columbia, Port Moody May 5-29 "BC in a Box"; at Blackberry Gallery, 2425 St. Johns St. Canada, British Columbia, Vancouver through June8 "50 Bowls." May5-30 Linda Doherty, "ATiskit, A Tasket." June 2-28 Jim Stamper, "Ceramicycle." June30-August2 " Kootenay Collective," Julia Gilmore, Katherine Hofmann and Neil McBriar; at Gallery of BC Ceramics, 1359 Cartwright St., Granville Island. May 2-29 "Fire Women"; at Seymour Art Gallery. 4360 Gallant Ave. May 3-15 "Masked Flame," Capilano College ce­ ramics students. May31-June 12 "Torch Light," high- school show of masks; at Silk Purse Arts Centre, 1570 Argyle Ave. May 10-29 "Fired," Mas Funo, Tam Irving, Vincent Massey, Sally Michener and Wayne Ngan; at Ferry Building Gallery, 1414 Argyle Ave. May 12-June 12 "Island Fire," Sandra Dolph, Jan Grove, Gordon Hutchens, Denys James, Lynne Johnson, Glenys Marshall-lnman, Judy Weeden, Jeanette Wrenshell, Masoud Zadeh; at CityScape Community Arts Space, 335 Lonsdale Ave. Canada, Nova Scotia, Lunenburg July 11-15 "Creating Ceramic Tile" with Carol Morrow. Fee: Can$510 (US$420), includes materials and firing. July 18-22 "Claywork: Impressions of the Sea" with Carol Smeraldo. Fee: Can$495 (US$405). August 1-5 "Handbuilding 8< Extrusion Techniques with Earthen­ ware Pottery" with Darren Emenau. Fee: Can$435 (US$400). August 15-19 "Tile Painting in the Ma­ jolica Tradition" with Janet Doble. Fee: Can$479 (US$395). Contact the Lunenburg Seaside Craft School, PO Box 1163, Binghampton, NY 13902; see www.lunenburgcraftschool.com; or telephone (902) 634-3242. Canada, Ontario, Burlington through May 15 "Makers' Choice III." through December 19 "Recent Acquisitions 2004." May 29-August 21 "Mentor Project." June 5-September 18 Clive Tucker, "Sipping Only What is Sweet"; at Burlington Art Centre, 1333 Lakeshore Rd. Canada, Ontario, Haliburton May 7 "Fusion Raku in Haliburton," with Wayne and Sylvia Rose. Fee: Can$35 (US$29), includes materials. Bring bisqueware. Contact Fusion, the Gardener's Cottage, Cedar Ridge Creative Centre, 225 Confederation Dr., Toronto, Ontario M1G 1B2; e-mail [email protected]; see www.dayandglass.on.ca; telephone (416) 438-8946; or fax (416) 438-0192. Continued

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Canada, Ontario, Owen Sound through May 9 "Steve Irvine, "Collaborations with Chaos"; at Tom Thomson Memorial Art Gallery, 840 First Ave., W. Canada, Ontario,Toronto May 7 "Building Flanged Boxes" with Shu-Chen Chang. Contact Fusion, Gardener's Cottage, Cedar Ridge Creative Centre, 225 Confederation Dr., Toronto, Ontario M1G 1B2; e-mail [email protected]; see www.clayandglass.on.ca; telephone (416) 438-8946; or fax (416) 438-0192. June 4-25 "Richard Milette, "20-Year Retrospec­ tive." Eden Bender; at Prime Gallery, 52 McCaul St. June 16-26 "The Distill Cup"; at Distill, 55 Mill St., Bldg 56. Canada, Quebec, Montreal through May 75 "Eter­ nal Egypt: Masterworks of Ancient Art from the British Museum"; at the Montreal Museum of Fine Arts, 1380 rue Sherbrooke W. September 10 "Raku Workshop" with Patrick Bu­ reau. Fee: Can$125 (US$102), includes materials and firing. Advanced. Instruction in English and French. Contact Patrick Bureau, Visual Arts Centre, 350 Victoria Ave., Montreal, Quebec H3Z 2N4; e-mail [email protected]; see www.visualartscentre.ca; telephone (514) 488-9558; or fax (514) 488-7075. China, Hong Kong through May 5 "Joy in Clay"; at the Pottery Workshop, 2 Lower Albert Rd. Denmark, Copenhagen May 20-June 25 Barbro Aberg; at Galleri N0rby, Vestergade 8. Denmark, SkaeIskor May23-24 "Between Image & Form" with Brian Bolden. Fee: Dkr 1200 (US$209); members, Dkr 1000 (US$262); students, Dkr 700 (US$122). 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. September26-30"Design" with Sam Chung, Pekka Paikkari and Michael Geertsen. Fee: Dkr 1900; members, Dkr 1700; students, Dkr 1200. October 1- 10 "Cross Draught Kiln Wood Firing." Fee: Dkr 700; must bring bisqueware. October24-28 "Experimental Glass & Clay" with Nina Hole. Fee: Dkr 1900; mem­ bers, Dkr 1700; students, Dkr 1200. Contact GuldagergSrd, International Ceramic Center, Heilmannsvej 31 A, 4230 Skaelskor; e-mail [email protected]; see www.ceramic.dk; telephone (45) 5819 0016; or fax (45) 5819 0037. England, Bideford, North Devon through June 5 "Elemental Insight"; at Burton Art Gallery, Kingsley Rd. England, Bovey Tracey, Devon May 7-June 19 "Celebrating 50 Years of the Devon Guild of Crafts­ men." May 14-June 75 Fran Benatt. June3-5 "Crafts at Bovey Tracey"; at the Devon Guild of Craftsmen, Riverside Mill. England, Canterbury June 18-August 13 "El­ emental Insight"; at Canterbury Royal Museum and Art Gallery, 18 High St. England, Frome, Somerset June 1-30 Everton Byfield; at Enigma Contemporary Art and Crafts, 15 Vicarage St. England, Hundon, Suffolk May 28-29 "Firing Workshop" with Jane Perryman. Fee: £170 (US$322), includes materials, firing and meals. Contact Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk C010 8DH; e-mail [email protected]; see www.janeperryman.com; or telephone/fax (44) 1440 786 228. England, Ipswich, Suffolk May 27-30 and/or September 16-18Throwing and Related Techniques." Fee: 3 days, £310 (US$587); 2 days, £220 (US$417); includes materials, firing, lodging and meals. October 23-29 Workshop with emphasis on throwing, handbuilding, glazing and wood-fired raku. Instruc­ tor/session: Deborah Baynes. Fee: £425 (US$805), includes materials, firing, lodging and meals. All skill levels. Forfurther information, contact Deborah Baynes Pottery Studio, Nether Hall, Shotley, Ipswich, Suffolk

Ceramics Monthly May 2005 86 Ceramics Monthly May 2005 87 calendar international events

1P9 1PW; e-mail [email protected]; see www.potterycourses.net; telephone (44) 1473 788 300; or fax (44) 1473 787 055. England, London through June 11 Ken Eastman. June 17-July 30 Alison Britton; at Barrett Marsden Gallery, 17-18 Great Sutton St. through July 4 Richard Slee; at the Crafts Council Gallery, 44a Pentonville Rd. through July 10 "International Arts and Crafts Exhi­ bition"; at Victoria and Albert Museum, Cromwell Rd. through July 31 "Circling the Square: Avant-Garde Porcelain from Revolutionary Russia"; at Hermitage Rooms, South Bldg., Somerset House, Strand. through July 31 "Trustee's Choice"; at the Anthony Shaw Collection, 11 Billing PI. May4-26Tatsuzo Shimaoka; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. May 6-8 "Ceramic Art London 2005"; at the Royal College of Art, Kensington Gore. May 14-31 "London and Paris: A Visual Arts Study Abroad Program" with Gail Kendall. Fee: $3000, includes airfare, lodging and tours. Undergraduate credit, scholarships and financial aid available. E-mail Gail Kendall, University of Nebraska-Lincoln: [email protected]; or see www.unl.edu/iaffairs. June 16-July29 "Eternal Woman: The Female Form in Antiquity"; at Rupert Wace Ancient Art Ltd., 14 Old Bond St. England, Tenbury Wells May 20-22, May27-30 or September 9-72 Weekend sessions on all aspects of pottery production, emphasis on throwing, plus pulling handles and spouts, trimming, modeling, and handbuilding with Martin Homer. Fee: £243/£362 (US$461/US$686), includes materials, firing, lodg­ ing and meals. Instruction in English, some French and Italian. All skill levels. Contact Tina Homer, Martin Homer Pottery, Lower Aston House, Aston Bank, Tenbury Wells, Worcestershire WR15 8LW; e-mail [email protected]; see www.homerpottery.co.uk; or telephone (44) 1584 781 404. France, Allegre-Les Fumades May 9-14, Septem­ ber 19-24 or October 3-8 (throwing only), 24-29 One- week throwing or raku workshops. Fee: €500-€570 (US$653-$744), includes materials, firing, lodging and meals. Instructors: Michel and Julia Simonot. Beginning through advanced. Instruction in English and French. Contact Michel Simonot, Mas Cassac, 30500 Allegre- Les Fumades; e-mail [email protected]; see www.ceramique.conn/Mas-Cassac; telephone (33) 4 66 24 85 65; or fax (33) 4 66 24 80 55. France, Antibes through May 28 "Picasso and Ceramics"; at Musee Picasso d'Antibes, Chateau Grimaldi, Juan-les-Pins. France, Cordes sur Ciel May 1-7 "Throwing and Fire." May 15-21 "Throwing." May24-June2 "PitFire, Paper Clay and Raku" with Ottokar Sliva. Fee: €755 (US$1012), includes materials and meals. September 4- 10 "Throwing Course." September28-October9 "Pot­ tery with a Big Smile" with Dan and Laurie Hennig. Fee: €755 (US$1012), includes materials and meals. Fee/ session (unless noted above): €395 (US$530); includes materials and meals. Contact LaCeramique, La Plaine, Cordes sur Ciel 81170; or see www.laceramique.com. France, Manosque May 2-29 Pierre and Florence Scheyvaerts. June 1-30 Judith Regnault; at Galerie Voghera, 4 rue Tribunal. France, Nanqay through July 3 "Nos Amours, Nos Passions, 30th Anniversary"; at Galerie Capazza, Grenier de Viliatre. France, Saint-Quentin-la-Poterie through June 2 Teresa Girones. Marie-Laure Levitan, through Novem­ ber 13 "I'Artdu Falcon." June5-July28 Thierry Basile; at Terra Viva Galerie, 14, rue de la Fontaine. France, SarregueminesAvne26-August28 "Fifth

Ceramics Monthly May 2005 88 Ceramics Monthly May 2005 89 calendar international events

International Ceramics Competition: A Set of Three Plates"; at Musee de la Faience, 17 rue Foincare. Germany, Berlin through May 5Two-person exhi­ bition including ceramics by Gudrun Petzold; at KunstRaum Berlin, Lindower Str. 18. through August 1 "Made in Berlin: Ceramics Before 1945"; at Keramik-Museum Berlin, Schustehrusstr. 13. May 1-30 George and Dedda Hohlt; at Galerie Theis, Neuferstr. 6. Germany, Frankfurt am Main through August 28 "Fascination of Ceramics, Masterpieces of Modern Japanese Pottery from the Gisea Freudenberg Collec­ tion"; at Museum fur Angewandte Kunst Frankfurt, Schaumainkai 17. India, New Delhi and Rajashan November 6-22 "India Arts and Culture in Rajasthan and Delhi," in­ cludes hands-on workshops, studio visits and tours. E-mail Oma Chase, [email protected]; see www.jandjtrips.com; or telephone (707) 629-3335. Italy, Certaldo (Florence)September4-10 "Raku Dolce" with Giovanni Cimatti. September 18-October 1 "Clay and Chianti" with Josh DeWeese. Fee: $2500, includes materials, firing, lodging and meals. October 16-29 Soda Firing and Raku Dolce" with Terry Davies and Giovanni Cimatti. Contact La Meridiana, Loc. Bagnano 135, 50052 Certaldo; see www.pietro.net; or telephonelfax (39) 0571 660084. Italy, Faenza June 10-December31 "54th Interna­ tional Competition of Contemporary Ceramic Art"; at Museo Internazional delle Ceramiche, Via Campidori 2. Italy, Marsciano May 13-15, September 1-4, 17- 18, 30-0ctober 2 or 15-16 "Stages of Raku Ceram­ ics—Arts and Holidays," handbuilding and firing with Luca Leandri. Fee: 4 days €280 (US$365); 3 days €230 (US$304); 2 days €180 (US$238); includes materials and firing. Lodging: €35 (US$46/day). Meals: €15 (US$20)lmeal. Instruction in English and Italian. Skill requirements vary. Contact Elisabetta Corrao and Luca Leandri, la Fratta Art-House, Vocabolo Fratta 157, Marsciano 06055; e-mail [email protected] or [email protected]; see www.lafratta.it or www.lucaleandri.it; telephonelfax (39) 758 785 11 1. Italy, Tuscany May 1-14 "Pots/Possibilities" with Nick Joerling. October 2-15 "Responding to Touch: Porcelain Pots Thrown and Altered" with Leah Leitson. Feelsession: $2500, includes lodging and materials. Contact Lynne Burke, Pottery Abroad, 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. Japan, Gifu through October 16, 2006 "European Noble Wares"; at the Museum of Modern Ceramic Art, Gifu, 4-2-5 Higashi-machi, Tajimi-shi. Japan, Mashiko May 5-13 "Japanese Pottery Work­ shop," throwing with George Dymesich and guests. Fee: $1200, includes materials and lodging. Instruction in English and Japanese. Contact George Dymesich, 7475 Oak Ridge Rd., Aptos, CA 95003; e-mail [email protected]; telephone (831 )475-5614. Laos, Luang Prang, Ban Chan and Cambodia, Angkor \Nat January 27-February 14, 2006 Hands-on workshop, including throwinglforming methods, wood firing an underground, scorpion-shaped earthenware kiln with Denys James and local potters from Ban Chan village, and excursions. Fee: CAN$4450 (US$3700), includes airfare, materials, lodging, breakfasts, tours and excursions; withoutairfare, CAN$3050 (US$2530). Deposit due: November 1. Contact Denys James, Dis-

Ceramics Monthly May 2005 90 Ceramics Monthly May 2005 91 calendar international events covery 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. Mexico, Mexico City through May 22 "Second Utilitarian Ceramics Biennial"; at Museo Franz Mayer, Hidalgo 45. Nepal, Kathmandu October7-22 "Pottery, Arts and Culture of Nepal," includes tours, demos and hands-on workshop. E-mail Oma Chase, [email protected]; see www.jandjtrips.com; or telephone (707) 629-3335. Netherlands, Amsterdam May 7-June 11 "Persbericht," Emmanuel Boos and Henk Wolvers; at Gallery Carla Koch, Prinsengracht 510 sous. Netherlands, Deventer through May 14 Vincent Potier. May29-July2 Christine Fabre; at Loes & Reinier International Ceramics, Korte Assenstraat 15. Netherlands, Gouda May 5-6 "International Gouds Pottenbakkers Festival"; at Goudse Keramiek Dagen, van Persijnstraat 8. Netherlands, Leeuwarden through August 14 Adriaan Rees, "Singers and Heroes"; at Princessehof Leeuwarden, Grote Kerkstraat 11. Netherlands, Swalmen September 5-9 "Throw­ ing Techniques" with Joop Crompvoets. Fee: €270 (US$352), includes materials and firing. Intermediate through professional. Instruction in Dutch, English and German. Contact Joop Crompvoets, de Walsberg, Heide 57, Swalmen, Limburg, 6071 LG; e-mail [email protected]; telephone (31) 47 550 27 39; or fax (31)47 550 54 90. Scotland, Fife through May 8 Three-person exhibi­ tion including ceramics by Len Whately; at Crawford Arts Centre, 93 North St., St. Andrews. South Korea, Icheon through June 19 "The Third World Ceramic Biennale 2005 Korea"; at Icheon World Ceramic Center, Gwango-dong San 69-1, Icheon. Switzerland, Geneva May 26-September 26 "French Faience at the Time of the Sun King: Collec­ tions of the Sevres Museum"; at Mus£e Suisse de la Ceramique et du Verre, 10 Ave. de la Paix. Thailand, Bankok December 15, 2005-January 3, 2006 "Wood-Fired Pottery," with Denys James, Louis Katz and Suwanee Natewong, includes excur­ sions. Fee: CAN$4395 (US$3650), includes airfare, transportation, lodging, breakfasts and tours; with­ out airfare, CAN$2900 (US$2350). 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, Istanbul, Ankara and Cappadocia Sep­ tember 15-October 6 "Turkey Ceramics Excursion." First week: hands-on workshop including handbuild- ing, colored porcelain and decals with Mehmet Kutlu. Second week: hands-on workshop with Erdogan Gulec and Denys James. Fee: CAN$4450 (US$3650), in­ cludes airfare, transportation, lodging, breakfasts, tours and studio visits; without airfare, CAN$3000 (US$2250). Depositdue: 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. Wales, Swansea through June 19 Janet Mason, "Blotted Landscape." June30-0ctober2 "Ceramics," Phil Rogers, Micki Schloessingk and Yo Thom; at Glynn Vivian Art Gallery, Alexandra Rd.

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Ceramics Monthly May 2005 92 Ceramics Monthly May 2005 93 Ceramics Monthly May 2005 94 index to advertisers

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Ceramics Monthly May 2005 95 CofYUYlCVlt I what is a second? by Tom Turner

At a recent workshop, I was asked, “Do youthe dogs out, because they will bark forever.”stract, in that we have to visualize the finished sell seconds?” My answer was, “First of all, I see seconds falling into three categories: product because the color of the raw glaze what is a second?” I have had discussions technical, aesthetic and personal. has nothing to do with the finished color and throughout the years with potters and buyersTechnical seconds may have a fissure, surface. a We thought it would look good glossy as to what is and is not a second. I have seen crack, a crack sealed with glaze or a crack red, but really it should have been matt many different references to seconds. I have that daylight shines through. A technical sec­brown. We also have to deal with the differ­ seen pots with cracks you could see daylightond may be warped, but how much is ences it in proportion as the pot shrinks in through sold as seconds. I have seen minutewarped? And does the warpage have adrying and firing. flaws in others that got the hammer because purpose? Some technical seconds may haveWhat about the issue that some people’s they where considered seconds. The more I been glazed or fired improperly, according to seconds are better than another person’s first? thought about it, I realized there doesn’t seemour expectations. Was the reduction glaze That one is sticky. There are far more possi­ to be a definition “written in bilities than can be written here, stone.” Instead, each of us has had "I have seen pots with cracks but the pointyou is to try to think to come up with our own about all of them and come to a definition, probably based on the could see daylight through decision sold that isas comfortable for way and the place we were taught. seconds. I have seen minuteyou now, flaws as well as in in your future. I also realize that flaws that We cannot back up. might define a second change with others that got the hammer So,because the original question: “Do material. What might pass as okay they where considered seconds.you sell seconds?” Each of us has for redware may not be okay for to establish those rules for our­ stoneware. What might pass for What do you intend to be andselves in whatour own particular do situa­ stoneware may not pass for por­you intend your work to be? tions.There There was a is time no when I celain. Cracks in raku raise no was a university professor, and I eyebrows, but let there be a tiny one answer to this question—just threw away 90% of my pots if the fissure in porcelain and it’s a something we all need to colorponder." wasn’t just right. But I have throw-away. How about the been a full-time studio potter since warpage and glaze flaws from a wood kiln not reduced or the oxidation glaze reduced? 1976, and I fully understand the position compared to the expected flawless surface Wasof the glaze fired too hot or too cold? Was one would take when their livelihood de­ glazed porcelain? If two of my pots kissed in it applied too thin or too thick? Was the potpends upon selling what they make. Is it the kiln, I would loose both, but wood-fire trimmed too thin so it warped or even sat alright to take a piece with a minor flaw and potters may actually put two together fordown the in the firing? We could go on and on mark the price down a little so that someone exact reason I would keep them apart. Isabout technical flaws. gets a deal and you get a few bucks? I am a stoneware somewhere in the middle? Let’s discuss personal and aesthetic flaws, firm believer in everything being based in If you go to museums and look closelyacknowledging at that they are far less tangible intent. What do you intend to be and what the pots we have seen in pictures all thesethan technical flaws. Expectations and real­ do you intend your work to be? There is no years, you will see warpage, glaze crawls,izations are my main cause of frustrationone answer to this question, just something cracks, under-fired and over-fired pieces, craz­ when I unload a kiln. Is the pot acceptable,we all need to ponder. My answer is that I ing, and every other flaw imaginable. When but just not all that we wanted it to be from sell pots that have aesthetic flaws and do not does a craze become a crackle? When you putthe kiln? When I was an undergraduate, Don meet my criteria for a perfect pot, but I do ink in it? If these revered pots have all ofReitz told us at a workshop that if we were not sell pots that have serious technical flaws. these so-called flaws, where did our current dissatisfied with a pot from the kiln, we Since I try to do my absolute best on each standards come from? Are our standards based should put it in a closet for a week or twopot at every stage of production, I try to on ceramics history, our training institution,and then confront it again “as it really is.” accept them as they come from the kiln. But societal expectations, our personality or allThat’s of a very hard lesson to learn, and I am I must admit that it is a very difficult lesson the above? Naturally, we have to considerstill working on it 40 years later. Always after for me to learn. We can only be who we are personality in all of this, as we certainly can’tunloading, I wish I could reglaze everything,at any given point in time, so be careful. just rely on material and process. Each of usget each glaze just the right thickness, then has to address this issue; first, what is a sec­ put it in the perfect place in the kiln and firethe authorTom Turner is a potter, educator, ond; and secondly, do you sell them? Thereit a little hotter or a little cooler. Perhaps we and collector of great pots from known and are many parameters to consider. At my work­ are disappointed with our choices and per­unknown craftsmen. You can see his work online shops, I have always said, “Be careful lettingformance because applying glaze is so ab­at www.tomturnerporclain.com.

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