February 2000 1 2 CERAMICS MONTHLY February 2000

Volume 48

Number 2

FEATURES Soda-glazed teapots, approximately 5 inches in 36 Finding Oaxaca by Eric Mindling height, by Lisa Hammond, In search of traditional pottery in Mexico Greenwich, England; shown at the “Chelsea Crafts Fair.” 42 20th Chelsea Crafts Fair by Kim Nagorski 42 England’s top wholesale/retail show

46 The “Nice Girl” Sculptures of Jean Cappadonna-Nichols by Jack Barbera Figurative sculpture with active surface design

50 Don Reitz Workshop by Sherman Hall Ceramics pioneer shares techniques and anecdotes

52 Tom Gray “Student,” 34 inches in Selling Pottery Online by Cathy Ray Pierson height, coil-built stoneware, by Akio Takamori, Seattle. 55 Akio Takamori’s Theater of Memory 55 by Kate Bonansinga Combining a cultural and personal history

58 Blair Meerfeld by Marty Mitchell Colorado potter gets back to his roots

64 Working with an Apprentice by Helen Slater A variety of personalities and styles keep studio life interesting

68 Modern Mashiko by Mary Francis Flodin Variations on a Japanese pottery tradition

73 Lifesprings Michael Games’ Kinetic Ceramic Coils by Karen Games Don Reitz builds a large vessel during an American Ceramic Society workshop 76 Awka Oil-Spot Glaze by Emman Okunna in Westerville, Ohio. Developing glazes with local materials in Nigeria 50 “Lifespring III; Fountain of Youth,” 32 inches in The cover: “Tower Jars,” to height, stoneware, by 19 inches in height, stoneware Michael Games, Stone with white slip and black glaze, Mountain, Georgia. salt fired, by Blair Meerfeld; see page 58. 73 February 2000 3 UP FRONT 12 Barbara McKenzie Raku-fired ware at Green Tara Gallery in Carrboro, North Carolina 12 Wustum Museum Receives Crafts Collection Editor Ruth C. Butler Patrons donate 117 craftworks by international contemporary artists Associate EditorKim Nagorski 12 Susannah Israel and Lawrence LaBianca Assistant EditorConnie Belcher Figurative sculpture at the Richmond Art Center in California Assistant EditorSherman Hall Editorial AssistantRenee Fairchild 14 Simon Ho Design Paula John Geometric forms at Nova Scotia College of Art and Design Advertising ManagerSteve Hecker 14 Don Davis Advertising AssistantDebbie Plummer Functional work on view in North Carolina and the Netherlands Customer Service Mary R. Hopkins Circulation AdministratorMary E. May 14 San Diego’s Mudfest ’99 by Karen A. Price PublisherMark Mecklenborg Clay festival designed for fun and to promote public awareness Editorial, Advertising and Circulation Offices 16 Cup National 735 Ceramic Place National juried exhibition at Galeria Mesa in Mesa, Arizona Post Office Box 6102 18 Robert Giordano Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Sculptural vessels at the St. Petersburg Clay Company in St. Petersburg, Florida Fax: (614) 891-8960 18 National Teapot Invitational E-mail: [email protected] Works by 24 potters at KOBO Shop and Gallery in Seattle [email protected] classifieds@ceramicsmonthly. org 18 Doug Reynoldsby Mark Grey [email protected] Sculpture and pots at Jenison-Meacham Memorial Arts Center in Belmond, Iowa Website: www.ceramicsmonthly.org 20 National Ceramics Invitational in Wisconsin Ceramics Monthly (ISSN 0009-0328) is published monthly, except Works by 18 artists shown at Viterbo College in La Crosse July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodicals postage paid at 20 Joy Brown and Shigeyoshi Moriokaby Christine Owen Westerville, Ohio, and additional mailing offices. Figurative sculpture at Bachelier-Chardonsky Gallery in Kent, Connecticut Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic 20 Bryan Hopkins Society. Functional ware at the Olean Library Public Gallery in Olean, New York Subscription Rates: One year $28, two years $53, three years $76. Add $15 per year for subscriptions outside North America. In 22 Millennium Mugs in London Canada, add GST (registration number R123994618). Mugs by approximately 60 potters at Galerie Besson Change of Address: Please give us four weeks advance notice. Send 22 Richard Shaw the magazine address label as well as your new address to: Ceramics Trompe l’oeil sculpture at Perimeter Gallery in Chicago Monthly, Circulation Department, PO Box 6102, Westerville, OH 43086-6102. 22 Ohio Showcase Contributors: Writing and photographic guidelines are available on Sculptural and functional work at the Canton Museum of Art request. Send manuscripts and visual support (slides, transparen­ cies, photographs, drawings, etc.) to Ceramics Monthly, 735 24 National Holiday Invitational Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. We Functional ceramics by 16 potters at Baltimore Clayworks also accept unillustrated texts faxed to (614) 891-8960 or e-mailed to [email protected]. 24 Sheryl Zacharia Indexing: An index of each year s feature articles appears in the Sculptural vessels at Elaine Benson Gallery in Bridgehampton, New York December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of all feature 24 Mary Barringer articles since 1953. Feature articles are also indexed in the Art Sculpture and functional work at Fresh Pond Clay Works in Cambridge, Massachusetts Index and daai (design and applied arts index), available through 26 From the Earth/Dalla Terra by Karen Koblitz public and university libraries. Clay exchange at the Brewery in Los Angeles and Palazzo dei Consoli in Gubbio, Italy Copies: For a small fee, searchable databases and document delivery are available through The American Ceramic Society’s Ceramic 26 Peggy Heer, 1941-2000 Information Center, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; or telephone (614) 794-5810. Also through University Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. Authorization to photocopy items for internal or personal use DEPARTMENTS beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009- 8 Letters 0328, provided that the appropriate fee is paid directly to Copyright 30 New Books Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, 80 Call For Entries USA; (978) 750-8400; www.copyright.com. Prior to photocopying 80 International Exhibitions items for educational classroom use, please contact Copyright 80 United States Exhibitions Clearance Center, Inc. 82 Regional Exhibitions This consent does not extend to copying items for general 84 Fairs, Festivals and Sales distribution, or for advertising or promotional purposes, or to 86 Suggestions republishing items in whole or in part in any work in any format. 88 Calendar Please direct republication or special copying permission requests to 88 Conferences the Director of Publications, 735 Ceramic PL, Westerville, OH 88 Solo Exhibitions 43081, USA. 90 Group Ceramics Exhibitions Back Issues: When available, back issues are $6 each, plus $3 91 Ceramics in Multimedia Exhibitions shipping and handling for first issue and $ 1 each additional issue (for 94 Fairs, Festivals and Sales international orders, shipping/handling is $6 for first issue and $2 94 Workshops each additional issue). 97 International Events Postmaster: Send address changes to Ceramics Monthly, PO Box 98 Questions 6102, Westerville, OH 43086-6102. Form 3579 requested. 103 Classified Advertising Copyright © 2000 106 Comment: The American Ceramic Society The “Unknown Craftsman” Is Dead by John Britt All rights reserved 112 Index to Advertisers

CERAMICS MONTHLY February 2000 5 6 CERAMICS MONTHLY February 2000 7 Express as to how much it costs to send a 5- Letters pound package to Mashiko. Nippon Express was approximately twice as expensive, charg­ ing $75 to the Postal Service’s $37. To get An Attitude for the Times that rate from Nippon Express, I would also My husband and I are both artists, and have to take the package to San Francisco (45 very much aware of the importance of art and miles away). And that only gets the package the artistic attitude in one’s life. With that to Mashiko. thought in mind, we decided to donate our According to the application form, I am copies of art magazines, including Ceramics required to pay $404 in shipping and han­ Monthly, American Craft, American Style, etc., dling to have my work returned (contestants to one of the local libraries in the area. from Europe pay more, those from other Guess what?! jAfter a few months, they Asian countries less). No shipping and han­ called us at our studio, and said that they dling charges were listed for contestants from don’t need these kinds of magazines and that Japan. In other words, the organizers are they wanted us to pick them up. Of course, asking U.S. artists to put up approximately we did. But the question still remains in our $500 simply to enter the contest, without minds: Why did the library not want to make advance knowledge as to whether jurors these magazines available to the public? If (viewing slides) found their works to be nothing else, they could add to one’s life, competitive. Despite the appeal of entering a could open one’s horizon, could open one’s competition dedicated to the international senses to life in general. artist Shoji Hamada, these rules have cer­ By that I don’t mean for the individual tainly dissuaded me. necessarily to pursue art as a profession; Lou Miller, Petaluma, Calif. rather, I mean for the individual to reach for hislher higher potential. One way to be able Another Look at Spodumene to maintain a positive outlook on life is to Some comment must be made to redress find something that one has passion for—art the unfair critical remarks made by Derek J. or otherwise—something that can nourish McCracken toward Richard Eppler [Letters, one deep inside, a creative world aside from October 1999]. Though the facts given about the outside world that is tranquil, private and the lithium ion may be correct, McCracken’s personal. Being an artist is just an attitude. So pronouncements conceal several assump­ be an artist. Have an attitude. tions, which need exposure. His statement If you haven’t thought about it before, qualifying lithium as “the most powerful flux perhaps now is the time. (melting oxide)” deserves examination. Bahereh Khodadoost, Pen Argyl, Pa. In ceramics, “flux” is used to denote the ability to melt easily, usually toward the later Keeping Out Competition? stages of sintering where the substance with I received an application packet from the the lowest melting temperature promotes “Mashiko International Pottery Contest.” liquid phase sintering. In this sense, fluxes The sponsors call it an international competi­ provide a molten environment where more tion, but the last time it was held in 1998 refractory minerals and chemicals can dis­ almost 90% of its contestants were Japanese. solve to create the vitreous mess that congeals It seemed odd that a competition inspired by on cooling to become a glaze. the memory of Shoji Hamada, offering two The melting point of lithium oxide is prizes of over $8000 and having no entry fee given in several books as about 1700°C should attract so few foreign entries. How, I (3092°F). Spodumene itself has a melting wondered, were the Japanese keeping out point on the order of 1400°C (2552°F). foreign competition? When contrasted with potash and soda Unlike most U.S. shows (and a similarly feldspars, both melting at about 1220°C advertised show in Taiwan), there is no (2228°F), lithium hardly qualifies as preliminary selection of works through a candidate to fulfill fluxing tasks. slides. Entrants simply send the actual works. Surely the error in thinking, which is the But they must use Nippon Express to ship source of McCracken’s letter, is an assump­ both to and from the show. I checked with tion that substances we use in our glazes both the U.S. Postal Service and Nippon behave as collections of individual molecular oxides. Many people, including influential In keeping with our commitment to provide authors and teachers, provide instruction an open forum for the exchange of ideas based on the unity formula. This simplifies and opinions, the editors welcome letters the mathematics. But they do not explain to from all readers. All letters must be signed, their students that they are conforming to a but names will be withheld on request. Mail convention that ignores natural, observable to Ceramics Monthly, PO Box 6102, qualities, measurable properties and well- Westerville, OH 43086-6102, e-mail to documented behaviors of basic raw materials. [email protected] or fax to As an editorial consultant, I would have (614) 891-8960. asked Richard Eppler to rephrase his state-

8 CERAMICS MONTHLY February 2000 9 Letters I have been delighted with the stories of those worked at my art—two years that involved a who cling to their work through a variety of series of trials and tribulations. That’s a long circumstances that would deter others whose time for someone who has worked as a clay ment. But I wholeheartedly support his view “addiction” wasn’t as strong. I’ve laughed at sculptor from my own studio for some 25 that compounds of sodium and potassium some letters, become livid at others, and years. After so long a time, during which I provide us with some of the most powerful looked forward to each issue with pleasure kept dragging my tools, kilns, bags of clay melting fluxes. and anticipation. And through the years, I and dry glazes around, I had just about per­ Ivor Lewis, Redhill, South Australia have continued to hang in there: through the suaded myself to donate everything to a outdated art vs. craft, tradition vs. cutting school where they could be utilized and Stoking the Fire edge, potting vs. sculpting, all the one idea appreciated, and then it happened—my latest For over 30 years, Ceramics Monthly has vs. another controversies. Each one was issue of Ceramics Monthly arrived. been an integral part (inspiration, aggrava­ proffered with passion and an absolute cer­ The subscription, which I could never tion, agitation) of my life. I have learned tainty of being “correct.” quite give up, continues to stoke the fires that what others who survive with their hands in Because of a variety of circumstances, it never quite went out. Photographs and clay are doing, thinking, planning and trying. has now been over two years since I have stories about others who share this love of clay combined with an absolute inability to get the clay out of my soul, even when I was able to get it out of my clothes. I have now definitely decided to return to my “weird” pieces, works that certain people love and buy repeatedly, while others wonder if the artist is getting professional help. It seems right that as we welcome the new millennium, I am also planning a new start. I have no idea if the work will be a continua­ tion of what was done before or will take a new direction. Either way, I look forward to a great trip along with CM. Sylvia Caplan Rawley, Pearland, Texas

Miniature Memories Jane Graber’s fine miniature work [Janu­ ary 2000 CM] reminded me of the basement of Hayes Hall at Ohio State University, the ceramic art department during Arthur Baggs’ direction. I was the first from Alfred to go to Ohio State’s graduate school, and did so actually because there was no job available that Depression year of 1938. The first month there, I’d asked for the job and was stacking the high-fire kiln out back; it was a fairly large kiln. The door was partly bricked up and I was priding myself on the considerable number of pots I’d squeezed into the kiln, then Margaret Fetzer came outside telling me to hold it; she had seven pieces to go into the kiln. Well, I was a stu­ dent and she was a professor, so all I could do was start taking out some of the pots that had been stacked in the kiln to make way for her things. (Damn!) Then Professor Fetzer appeared with all seven of her pots in the palm of her hand. Hal Riegger, Gridley, Calif.

Correction Thanks for the Happy New Year gift of printing a photograph of one of my pots from the Baltimore Clayworks show “D.C. Clay” in the January issue. My work is not pit fired as is stated in the caption, however. It was fired to Cone 8—9 in the gas kiln I built ten years ago. Coloration comes from within the clay and from burnable material I use in the firing. Virginia Daughtrey, Alexandria, Va.

10 CERAMICS MONTHLY

Up Front

Barbara McKenzie Raku-glazed and photo-transfer-decorated pottery by Durham, North Carolina, artist Barbara McKenzie was among the works featured in “Maia,” a multimedia exhibition at Green Tara

Gayle Fichtinger’s “Wounded,” 23½ inches in height, handbuilt terra cotta.

Barbara McKenzie vessel, 1 VA inches in height, raku fired; at Green Tara Gallery, Carrboro, North Carolina. Gallery in Carrboro, North Carolina. McKenzie began making pottery in 1986, and has recently combined an interest in photography with her love for clay. Wustum Museum Receives Crafts Collection The Charles A. Wustum Museum of Fine Arts in Racine, Wisconsin, received a gift of 117 contemporary craftworks created by North American, European, Asian and Australian artists. The collection came from Dale and Doug Anderson of Palm Beach, Florida, and New York City. While this is the largest one-time gift the Andersons have presented to the Wustum, they have been contributing artworks since 1989. One of the first pieces donated was a sculpture by Claude Conover’s “Muchab,” 15 inches in height, incised stoneware; at the Charles A. Wustum Museum of Fine Arts, Ohio ceramics artist Jack Earl. Racine, Wisconsin. “What interested us in Wustum was its commitment to the crafts field and the sense of joy with which it approached build­ phy of collecting artists working in different media at the same ing its collection and presenting these works to the general point in time.” public,” commented Doug Anderson. “This museums commit­ The collection was shown, along with other pieces acquired ment to collecting and exhibiting craft alongside painting and during the past year, at the museum in the exhibition “The sculpture in its fine arts program fits within our personal philoso- Collectors Eye: Recent Gifts to the Permanent Collection.”

Submissions are welcome. We would be pleased to consider Susannah Israel and Lawrence LaBianca press releases, artists' statements and photoslslides in con­ Figurative sculpture by Susannah Israel and ceramics/mixed- junction with exhibitions or other events of interest for publi­ media forms by Lawrence LaBianca were featured recently at cation in this column. Mail to Ceramics Monthly, Post Office the Richmond Art Center in Richmond, California. The two Box 6102, Westerville, Ohio 43086-6102. were recipients of the 1999 Ernie Kim Memorial Award, which

12 CERAMICS MONTHLY February 2000 13 Up Front highly textured dry-glaze surface. His work, he says, “describes the two complementary energies of our world and how these energies (or forces) harmonize each other with the environment includes an exhibition of the artist s work, a cash prize and an and the universe.” opportunity to teach a class or workshop at the center. Israel’s To achieve textured surfaces, Ho applies the glaze to bisqued large colorful figures are narrative in nature, ranging from the pieces while they are still hot. The water evaporates immedi­ ately, leaving a glaze texture. After the pieces are fired several times to Cone 6 in an electric kiln, sandpaper is used to refine their surfaces.

Don Davis Functional ware by North Carolina studio potter/educator Don Davis was exhibited recently at Blue Spiral 1 in Asheville, North Carolina, and at Gallery Artterre in Eefde, Netherlands. Davis is currently head of the ceramics department at East Tennessee State University. Through his work, Davis strives “to create visual tension, contrast and, ultimately, a sense of harmony in each piece. I want the surface design to be an integral part of the pot, just as

Susannah Israel’s “Corn and Jester Tea Pot,” 26 inches in height; at the Richmond Art Center, Richmond, California. humorous to the more serious. LaBianca makes tool forms that suggest function while addressing the physical presence of tools in our lives. Simon Ho “01,” an exhibition of geometric sculpture by Canadian artist Simon Ho, was on view recently at Anna Leonowens Gallery at the Nova Scotia College of Art and Design in Halifax, Canada. The oriental philosophy of Daoism is the central theme in Ho’s works, and is expressed through geometric form, space and a

Don Davis’ “Pedestal Jar,” 18 inches in height; at Blue Spiral 1, Asheville, North Carolina. the colorful stripes on a fish are part of the fish. When the pattern, color and form work together, a pot can exude the essence of being.” San Diego’s Mudfest ’99 by Karen A. Price

Simon Ho’s “Untitled,” approximately 30 inches in length, It was just another beautiful day in paradise here in southern stoneware; at Anna Leonowens Gallery, Nova Scotia California. Add to that about 2 tons of clay and a lot of enthusi­ College of Art and Design, Halifax, Canada. astic potters, and we had a “Mudfest.” What a blast! Clay was

14 CERAMICS MONTHLY

Up Front festival, but I was thrilled that we were able to break even while bringing awareness of our medium to the public. flying everywhere, and when the air cleared, several contestants Cup National were covered head to toe. “’99 Cups,” a national juried exhibition exploring the form, Thanks to Greg Marshall, coordinator of the annual concept and image of the cup, was on view recently at Galeria “Clayfest” in Manitou, Colorado, I was able to gather enough Mesa in Mesa, Arizona. Over 40 works by 30 artists were information to start a festival here in San Diego. We were very selected by juror Heather Lineberry (senior curator at the fortunate to be able to stage the event in Balboa Park. Following Clayfest’s lead, we had such contests as no-hands throwing, tandem throwing, largest all-day pot, handbuilding competi­ tions and the smallest pot thrown without tools (I think next year we’ll cut the time limit on that last one from 10 minutes down to 5 minutes). We also had a sales and information booth, lessons tent and a free hands-on clay booth for kids. In the future, we’ll have to enlarge that booth to accommodate the older children. Thanks to the support of sponsors from all over the country, we were able to give out over $5000 in prizes to contestants. There was a tie for the first-place overall points in the profes­ Patricia Sannit’s “Incised White Cups,” to 7 inches in height, handbuilt buff stoneware with slip and stain, $46 each; at sional category: local potters Ed Thompson and Greg Richards Galeria Mesa, Mesa, Arizona. went away with over $ 1000 in prizes between them, one of which was a weeklong workshop at Nottingham Center for the Arizona State University Art Museum), including the stoneware Arts in San Marcos. Our amateur points winner was Gabe cups shown here by Arizona artist Patricia Sannit. Reed; we could barely see him under his clay coating. “It was not until I studied ceramics as an exchange student in Our panel of judges included Kevin Myers, Les Lawrence, Norway that I began to find an identity as a clay artist,” Sannit Richard Burkett and Tonita Waters. Richard Lambert, another commented. “I found myself influenced particularly by Scandi­ judge and owner of Freeform Clay and Supply, provided most navian textiles.” of the clay and won the all-day largest thrown pot contest. After returning to the United States, she studied with Min­ The money from “Mudfest” will go toward funding a few nesota potter Warren MacKenzie. From him, she learned “a scholarships. We had also hoped to save a little for next years respect for the integrity of materials, a pride of craftsmanship

Participants at “Mudfest ’99” in San Diego, California, during the “blind” throwing contest.

16 CERAMICS MONTHLY February 2000 17 Up Front between American and Japanese folk craft aesthetics in U.S. ceramics by bringing together a group of artists influenced to varying degrees by the principles of the folk craft movement. and a solid understanding of the importance of form as it “Artists in this show range in age from their 20s to their 70s, applies to function. and include several who have studied extensively in Japan, as “I also had the opportunity to do archaeological work in the well as those who apply mingei principles to an American Near East,” Sannit continued. “Working on an excavation and vernacular,” Miller remarks. “The variety of aesthetic resolutions handling ancient potsherds changed the way I thought about my work. For me, the making of pots, which has such a deep history, is the most satisfying expression of my connectedness with others and our shared past.”

Robert Giordano Sculptural vessels and platters by Robert Giordano were exhib­ ited recently at the St. Petersburg Clay Company in St. Peters-

Louise Harter teapot, 5 inches in height, rope-patterned stoneware, wood fired; at KOBO Shop and Gallery, Seattle. speaks to the flexibility inherent in this structure of interpreta­ tion. Principles of handmade directness, quiet elegance and functionality mix in infinite ratios with other visual constructs to create the breadth of work represented in this show.”

Doug Reynolds by Mark Grey Doug Reynolds is a potter who finds inspiration from his rural Iowa surroundings. So it is only fitting that his latest exhibition took place in a distinctly rural art gallery. Both his functional

Robert Giordano’s “Untitled,” 31 inches in height, earthenware with underglazes, glazes and slips; at the St. Petersburg (Florida) Art Center. burg, Florida. “The need to create inspires me to spontaneously build in clay and express my impressions,” says Giordano. “Some days, the clay is pounded. Some days, the clay is calmly plied. I don’t approach clay the same way twice. “For me, artistic development is leaving the safety of familiar methods and discovering the elation of new techniques,” he explains. “I try to be flexible, both with the clay and in my vision, and to embrace the unpredictable. What clay is and what it can do are questions that I need to examine. I hope I never find the answers.” National Teapot Invitational “Beyond the Northwest: National Teapot Invitational,” an exhibition of works by 24 potters, was presented recently at Doug Reynolds’ “Green Mask,” approximately 9 inches in KOBO Shop and Gallery in Seattle. Curator Sequoia Miller height, glazed stoneware, reduction fired to Cone 10; at organized the show to highlight “the evolving relationship Jenison-Meacham Memorial Arts Center in Belmond, Iowa.

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Up Front These artists’ works were presented recently at the Bachelier- Cardonsky Gallery in Kent, Connecticut. The exhibition was a reunion of teacher and student after 20 years of producing and nonfunctional works were on view at the Jenison-Meacham pottery and sculpture on two different continents. In 1977, Memorial Arts Center in Belmond, Iowa, through November Brown began working as Morioka’s first apprentice in 14, 1999. Wakayama Prefecture, Japan. Reynolds is a relative latecomer to ceramics, only dabbling in It is obvious when looking at Brown’s figures that the experi­ clay from time to time for 20 years. It wasn’t until the late 1980s ence influenced her deeply. The common origin of the two that he realized it was the appropriate medium for his artistic artists’ work is recognizable in the rich, subdued colors of the expression. “I often wonder why it took me so long to figure clay they choose and the rough surfaces they both appreciate— that out,” he mused. “Perhaps, like so many artists, I had to first realize how much I enjoyed art and how big a part it could play in the quality of my life. “I became a serious potter when I started taking life a little less seriously. Clay allows me to add a third dimension to many images that would otherwise seem stuck on paper.” Working primarily in stoneware, Reynolds produces wheel- thrown functional forms with Cone 10 glazes reduction fired in a gas kiln. He also creates whimsical pieces, such as the “Green Mask” shown on page 18. National Ceramics Invitational in Wisconsin “Uncommon Vision: National Ceramics Invitational” was presented recently at the Viterbo College Fine Arts Center Gallery in La Crosse, Wisconsin. Curator Tom Bartel, associate

Joy Brown’s “Sitter with Feet Together,” 13 inches in height, wood-fired stoneware; at the Bachelier-Cardonsky Gallery, Kent, Connecticut. the results of the wood-firing techniques Morioka taught Brown during her two-year apprenticeship. While there are similarities, the overall presence and form of their worlds are very different. Morioka throws many of his pieces on the wheel. The vessels have powerful, bold profiles, as if inhaling an enormous breath of air and holding it. Browns Bill Hess’ “Listen,” 14 inches in height; at Viterbo College, figures are handbuilt with flat coils that are paddled carefully La Crosse, Wisconsin. into place. There is an unassuming quality in both artists’ work. professor of art at the college, selected works by 18 established, Morioka’s is simple, powerful and physical, whereas Brown’s as well as emerging, artists. captures an emotional state with a childlike innocence. Their “What ties this diverse group of artists together is the themes are universal, referring to what we know, what is before material they choose,” Bartel commented. “Traditional and us and within us. nontraditional examples were exhibited, including aesthetics that ranged from beautiful to horrific.” Bryan Hopkins Vases, platters and bowls by Buffalo potter Bryan Hopkins were Joy Brown and Shigeyoshi Morioka exhibited recently at the Olean Library Public Gallery in Olean, by Christine Owen New York. Working in both stoneware and porcelain, Hopkins There are some forms of artwork that are timeless. They is influenced by a combination of human and industrial forms. belong in the past, in the future and are perfectly comfortable The works are surfaced with, for the most part, a Shino-like in the present. Themes of such pieces are universal, making glaze, then wood fired to Cone 10. them easy to appreciate because they are apolitical and might “My glazes are affected greatly by the kiln atmosphere,” belong to any culture. Such are the ceramic works of Japanese Hopkins explained. “This was at one time a great frustration; I artist Shigeyoshi Morioka and Connecticut artist Joy Brown. have learned to accept that the kiln will have a mind of its own

20 CERAMICS MONTHLY

Up front objects; some are larger forms, often more ritualistic. Not just an A-Z of ceramic form and technique, but an insight into imagi­ nation, invention and personal credo. “How does one work within or develop out of the strictures of commission, to build on a simple idea?” Whiting wondered. “In effect, this collection is a complex, often deeply felt, re­ sponse to a date. On one level, it may reflect a multitude of stylistic values, but more fundamentally it offers us the most revealing of self-portraits—through the medium of clay.”

Richard Shaw New trompe l’oeil work by California sculptor Richard Shaw was exhibited recently at Perimeter Gallery in Chicago. Made

Bryan Hopkins’ “Cooling Tower Vase,” 6½ inches in height, porcelain, with Shino-like glaze; at the Olean Library Public Gallery, Olean, New York. sometimes. There is excitement, anxiety, hope and fear each time I fire my kiln. That is what makes this type of work rewarding to me.”

Millennium Mugs in London “Commemorative Mugs for the Millennium,” an exhibition of mugs by approximately 60 potters, was on view through Janu­ ary 21 at Galerie Besson in London. “Here in this extraordinary show, we have all manner of mugs,” commented reviewer David Richard Shaw’s “The Wild, Wild Women,” 9¾ inches in Whiting. “Not just mugs either, but other vessels and sculptural height, porcelain with decal overglaze, $2500; at Perimeter Gallery, Chicago. from porcelain with decal overglazes, the sculptures ranged in price from $2500 to $20,000. Ohio Showcase The “Ohio Ceramics Showcase” at the Canton Museum of Art featured clayworks by Eve Fleck, Yellow Springs; Michael Gubkin, Ravenna; Tom Huck, Cleveland Heights; Barbara Humpage, Fairview Park; Terri Kern, Marti Mocahbee, Cincin­ nati; Mark Nafciger, Archbold; Mariella Owens, Dayton; Tom Radca, Port Washington; George Roby, Chagrin Falls; and Greg Schatz, Bryan. Members of the Canton Potters’ Guild also exhibited work. The show represented a variety of techniques and styles, including the brightly colored functional and decorative vessels of Terri Kern. Thrown and handbuilt from white earthenware, they are brushed with underglazes. “To achieve the sense of depth and lush color, the underglaze (which is semitransparent) Jimmy Clark’s “Early Morning Coffee Mug for a Right- handed Person,” approximately 5 inches in height, sawdust is applied in many separate layers, with each layer picking up fired with resist slips; at Galerie Besson, London. the color from the layer underneath it,” Kern explains. “The

22 CERAMICS MONTHLY February 2000 23 Up Front 1999, at Baltimore Clayworks in Maryland. Now in its fifth year of celebrating the holiday season, the exhibition highlights one-of-a-kind forms, such as the stoneware vases shown below left by Oregon ceramics artist Patrick Horsley. Sheryl Zacharia “Creatures,” an exhibition featuring vessels by New York City artist Sheryl Zacharia, was presented recently at Elaine Benson Gallery in Bridgehampton, New York. The majority of

Sheryl Zacharia’s “Turtle Teapot,” 10 inches in height, handbuilt stoneware; at Elaine Benson Gallery, Bridgehampton, New York.

Zacharia’s work is handbuilt stoneware reduction fired to Cone 10. For this show, she also produced several saggar-fired minia­ ture forms. The exhibition’s theme was designated by the gallery. “Much of my work is inspired by the beauty of form and color in nature, so doing creatures was a challenging and fun addition,” Zacharia commented. “The playfulness I feel around animals influenced the pieces, which have a whimsical quality. I also found that being given a specific direction inspired me to create Terri Kern’s “Iguana Urn,” 16 inches in height, handbuilt white earthenware with underglazes and clear glaze, fired to pieces I would probably have never done otherwise.” Cone 06 in oxidation; at the Canton (Ohio) Museum of Art. Mary Barringer layers number between 5 and 15 on most pieces and need to be “Drawings and Objects: New Worta in Clay” by Massachusetts thoroughly dried in between each application.” artist Mary Barringer was on view recently at Fresh Pond Clay The pieces are fired in an electric kiln, painted with three Works in Cambridge, Massachusetts. The exhibition was the layers of a clear glaze and fired again. National Holiday Invitational “Winterfest ’99,” a national invitational featuring functional ceramics by 16 potters, was on view through December 24,

Mary Barringer oval platter, 16 inches in width, handbuilt stoneware with slips; at Fresh Pond Clay Works, Cam­ bridge, Massachusetts.

first in which Barringer showed both sculptural and functional forms. It was also the first time she used clay wall tablets, rather than paper, for her drawings. Patrick Horsley’s “Boat Vases,” 10 inches in height, “This show,” she says, “concerns a zone I am always crossing stoneware; at Baltimore Clayworks, Maryland. and recrossing in my work: where pottery, sculpture and draw-

24 CERAMICS MONTHLY February 2000 25 Up Front ing overlap. In my work of the past 15 years, I have honed my appreciation for each form’s particular language and limitations, while allowing for much cross-fertilization in my different ways of working. “I loosened the boundaries a bit—making drawings out of the ceramic palette I generally use for pots and sculpture, and letting the objects wander outside their functional roles— in the hope of setting up a lively sibling conversation.” From the Earth/Dalla Terra by Karen Koblitz In the pouring rain of an Umbrian summer Installation view of the exhibition “From the Earth/Dalla Terra”; at Palazzo night, the exhibition “From the Earth/Dalla dei Consoli, Gubbio, Italy. Terra” opened in the 14th-century Palazzo dei Consoli in Gubbio, Italy, with a sizable crowd of artists, friends Italian artists, Donatella Fogante, and the work of all six of the and dignitaries. This was the fourth exchange exhibition be­ ceramists. The other Italian artists represented were Paolo tween American and Italian artists to take place, the brainchild Biagioli, Mario Boldrini, Andrea de Carvalho, Luca Leandri and of John O’Brien, a colleague at the School of Fine Arts at the Virginia Ryan. We spent three days unpacking work, painting University of Southern California. When he asked if I would pedestals and setting up the show. The Italian Cultural Institute curate the 1999 show, I was thrilled. This was the first time the of Los Angeles covered the printing and mailing costs of the exhibition would feature ceramics. announcements, and provided food and beverages for the I began planning the show in the spring of 1998, selecting a opening reception. group of ceramists from the Los Angeles area: Tetsuji Aono, “The idea of initiating a cultural exchange between Italy and Keiko Fukazawa, Phyllis Green and Gifford Myers. Since the California through the cities of Gubbio and Los Angeles has exhibition was to open in Los Angeles first, and it would require proven to be a valid and good one,” wrote Sannipoli in his each artist to install his or her own work and to monitor the curatorial statement. “Over the last four years, we have involved gallery while the show remained open, I chose local artists who artists from very different realities, totally different with respect were willing to participate at such a level and to travel to Italy in to their histories and traditions, only to discover that they have June for the second exhibition. many of the same desires and aims. Each artist paid toward the production of the catalog for the “This has only proven that the deepest needs of mankind show. Everyone was represented by a color reproduction of his have remained unchanged in time. Our dialogue, beyond or her work, a small portrait photo, a brief biography and an letting each know about the other’s artistic research, has aimed artist s statement. In my curatorial introduction for the catalog, at enriching each single artist’s exchange and opening up new I detailed my expectations of the exhibition as well as the special horizons that free us from the forms of provincialism, which nature of the exchange: takes creativity out of every type of artistic expression.” “The title of this exhibition celebrates the medium from Four of the five American ceramists traveled to Gubbio to set which the participating artists create: the clay of the earth. The up our work. We didn’t quite expect to be painting pedestals on malleable and sensual material seems to seduce the user as well a 14th-century, cobblestoned street, under skies threatening as the viewer. This remarkable medium can replicate most rain, as we spent an afternoon preparing for the installation. anything in shape, texture and color. With the assistance of Jodi Mannis, a graduating senior from “The American clay artists selected for this exhibition reflect the School of Fine Art at the University of Southern California the diversity that is present in the art world of Los Angeles, (who had won a competition and grant to assist in the show’s some whose work represent the tradition of vessel making, preparation), we had the pedestals painted and the show in­ others who examine the sculptural arena. Each artist brings to stalled in one day. We also had the opportunity to meet with the their creations the exploration of his or her own personal Italian artists who had not traveled to Los Angeles in January. identity and vision. The participants were deeply involved in every aspect of the “All participants have an involvement beyond this artistic show and enjoyed the added benefits of new friendships, endeavor. We are looking forward to the cultural elements of culinary delights and travel. After the Italian show was over, the this exchange as the Italians become our guests and we travel to American artists gathered for a potluck dinner and an evening Italy in June to share their history and culture. It is quite an of shared stories and photographs of our time together in Italy. honor to be showing in the Umbrian region, which has a distinctive 500-year history of majolica ceramics, and to share in Peggy Heer, 1941-2000 the ceramic tradition that one finds in the hilltop towns, such as Canadian potter Peggy Heer died from radiation-induced Gubbio and Deruta.” sarcoma at her home on January 4; she was 58. “As Always in The Los Angeles exhibition took place in January 1999, at Clay,” an autobiographical article reflecting her love of the the Brewery, a wonderful downtown industrial gallery space. medium and her love of the clay community as a whole, was The Italian curator, Secondo Sannipoli, arrived with one of the published in the December 1999 issue ofCeramics Monthly.

26 CERAMICS MONTHLY February 2000 27

The first in a series, this book revolves New Books around the creation of the cat, which is covered with fiber-optic fur that transmits sunlight to recharge the batteries. The cat is Ceramics even programmed to purr and walk; its whis­ Ways of Creation kers have ceramic sensors on the end that by Richard Zakin warn it of any objects in its path. “I see ceramics as a balance between the The only problem with the cat is that tangible and the intangible and wanted to instead of saying “meow,” it says “boing- reflect this balance in the book,” explains the boing.” While George sees this as a mistake to author of this survey of 36 contemporary be corrected, Daniel ceramics artists and their work. “Because I thinks it’s great and hoped to provide an accurate view of ceram­ thus names the cat af­ ics, I wanted a book that was far more tech­ ter the sound. 48 nical in orientation than any critical text and pages. $17, plus $3 far more aesthetic in orientation than any shipping/handling for technical book.” North American or­ The content is divided into four broad ders, $6 for interna­ categories: artists who focus on expression, tional. The American Ceramic Society, 735 those who are concerned with a sense of Ceramic Place, Westerville, Ohio 43081; or see order, those who deal with ideas, and those website at www.acers.org. whose work centers around process. In a final chapter, such issues as technology and inven­ The Potter’s Professional Handbook tion, work strategies, form and volume, and by Steven Branfman the art environment are addressed. The objective of this book “is to address In selecting the artists to be featured, the needs of those individuals who wish to Zakin looked for those who represented a take the next step in their involvement with wide range of styles and ideologies. Among clay, making the transition from what has these are Linda Huey, been either a limited, incomplete, part-time John Neely, Richard (either emotionally or actually) or student Notkin, Neil Patter­ affair with clay, to one that is more engross­ son, Sandi Pieran- ing, more serious, more time consuming, tozzi, Ron Roy and independent and more professional.” JoAnn Schnabel. While this is “a practical guide, make no “It is not easy to mistake—it is not a blueprint,” the author say whether John cautions. “More importantly, it is about think­ Neely is essentially a ing and learning. It is about confidence and utilitarian potter, a potter whose work attests courage. It is about figuring out where you are to his immersion in Japanese culture and right now, where you might want to be, and ceramics, a technical ceramist or an inventive how to begin the journey.” ceramist,” Zakin observes. “He balances all of Branfman begins with a discussion about those characteristics in his work. One of the establishing a career in crafts and the transi­ most difficult tasks contemporary ceramists tion to professional, can take on is that of the utilitarian pot. It is then explains the not easy to do this work in such a way that the needs, selection, de­ pot looks vital and contemporary, yet carries sign and construction out its function.” 288 pages, including glos­ of a studio. Next, he sary and index. 250 color photographs. provides insight into Softcover, $39.95, plus $3.25 shipping.Krause working with suppli­ Publications, Book Department PR99, 700 ers, vendors and con­ East State Street, Iola, Wisconsin54990-0001; tractors, as well as telephone (800)258-0929, Department PR99; selecting and repairing equipment and main­ or see website at www.krause.com. taining your studio. “I can feel the fear, the withdrawal, the Boing-Boing the Bionic Cat intimidation,” he comments in the section by Larry L. Hench on business practices. “I can also anticipate Written by a scientist to educate as well as the reasons you think this chapter might not amuse his grandchildren, this is the story of a apply to you. You’re not planning to sell your lifelike cat made of ceramic materials (a tech­ work. You’re just doing this as a serious nical possibility). Professor George invents a hobby....Get it all out of your system because bionic cat to cheer up his young neighbor, if there is one chapter that applies to everyone Daniel, who cannot play with a real cat regardless of your ‘business’ intentions, this is because of allergies. it.” He goes on to talk about types of busi-

30 CERAMICS MONTHLY

New Books relation to the goals and objectives you set 4 sketches. Softcover, $29.95, plus $3.25 for yourself. As these goals are met and objec­ shipping. Krause Publications, Book Depart­ tives conquered, new visions are formed and ment PR99, 700 East State Street, Iola, Wis­ nesses, professional assistance, rental con­ more challenging ambitions set out. As you consin 54990-0001; telephone (800) tracts, insurance, etc. proceed along this evolution of personal 258-0929, Department PR99; or see website at Sales, marketing and self-promotion are growth, maturity and professional expecta­ www. krause. com. covered, as is teaching. Finally, Branfman tions, your ideals, concepts, judgments and shares his thoughts on measuring success, measurements of success must evolve as well. ” Mould Making keeping your interest in clay alive and balanc­ 236 pages, including bibliography and sug­ by John Colclough ing your work and life. “One of the nagging gested reading; list of relevant magazines and “Nowadays, methods and equipment are questions you will continually face during journals; computer and Internet resources; changing very rapidly and things are very your career as a craftsperson is that of success sources of equipment, supplies and materials; different from when I first started out in mold and how to gauge and measure it. To be fair pottery workshops and schools; and index. making,” states the author of this illustrated to yourself, you must first measure success in 35 color and 57 black-and-white photographs; how-to guide. “Today there are blending machines, plastic cases and even plastic molds used for casting. Still, the fact remains that the original model and mold must be de­ signed and made by hand.” Colclough begins by explaining how to make plaster molds, simple drop-out molds, hollow-ware molds and flatware molds. “Plas­ ter is an ideal material for mold making,” he observes. “Its porosity absorbs the water from the clay slip that is poured into it, and an even layer of clay is depos­ ited on the surface of the mold, thus form­ ing the clay vessel.” Making a four-part block mold of a teapot body, and two-part molds for the handle, spout and lid are cov­ ered next. The author then looks at variations on the teapot body, and at making a two-part drop-out mold of a lid. Irregular double-cast shapes, multicast molds (12 handles in a mold), scrapper molds and sledging are described in the following chapters. Sledging, explains the author, is a “method of making a form, by the produc­ tion of positive and negative profiles. It is a relatively simple technique that is useful when you want to make a form that is straight-sided with complex flutes within.” Succeeding chapters detail the basic prin­ ciples of figure mold making, creating a multi­ part horse mold, damage to molds by overheating, clay molds and spares. “Making molds of figurines is a very specialized form of mold making, especially if you intend to case the mold or block so that you can make many more molds,” Colclough cautions. “I am afraid it is possible to make a mold or block that it is impossible to case, or at least to case successfully. Few figure mold makers have made a block of this kind which hasn’t needed modifiying because of casing problems.” 128 pages, including glossary of terms and index. 15 color and 326 black-and-white photo­ graphs; 7 sketches. £10.99/US$21.95. ^4&C Black, Howard Road, Eaton Socon, Hunting-

52 CERAMICS MONTHLY

New Books the introduction to this collection of letters shared their concerns about their daywork written between American potter Richard and their teaching careers. Fairbanks (1929-1989) and Finnish artist In one letter, Salmenhaara talked about don, CambsPE19 3EZ. Published in the United Kyllikki Salmenhaara (1915—1981), many the difficulty of accepting just six students States by Gentle Breeze Publishing, Post Office “intimate, long-term people connections into the ceramics department at Ateneumi in [have been] formed by the sharing of a pas­ Helsinki. “It is really hard to select and be Box 1484, Oviedo, Florida 32765. sionate love of clay.” Through their corre­ quite equal to everybody,” she said. “I do Essential Passions spondence, Fairbanks and Salmenhaara remember when I was as an applicant in the maintained a strong friendship spanning very same ATENEUMI and I was very shy, Fairbanks/Salmenhaara Letters 1959—1986 nearly three decades, “despite the oceans, very small and I didn’t edited by Dixie Parker-Fairbanks miles, years and cultures separating them.” know exactly what I and Helen Abbott The two artists/teachers became friends want, but clay is a won­ As Margaret Carney, director of the Inter­ during Fairbanks’ year in Finland as a derful material, it re­ national Museum of Ceramic Art, notes in Fulbright recipient. Over the years, they ally forms you, though you believe—as selfish as we all are—that we MASTER the clay as we do, but yet in clay is something more stub­ born and if you don’t understand and see it you will be OUTSIDER.” In a 1976 letter, Fairbanks wrote of his experiences as a professor at Central Wash­ ington University: “My students here want to make more functional forms (too many mugs and planters!), and I try to teach clay and glaze testing, earthenware, stoneware, porcelain. We have no real ceramics majors here. There are a few who are serious and learning. They are very responsible, fire the kilns, etc.” Along with their letters, the book includes excerpts from Fairbanks’ journals, and infor­ mation on the careers of Salmenhaara and Fairbanks’ wife, Dixie Parker-Fairbanks, a painter. 208 pages, including biographies. 128 color and 44 black-and-white photo­ graphs; 5 sketches. $29.95, softcover.The University ofWashington Press, Post Office Box 50096, Seattle, Washington 98145-5096; e-mail uwpord@u. washington.edu; telephone (800) 441-4115; or fax (800) 669-7993. For international orders, telephone (206)543-8870 or fax (206) 685-3460.

The Crafter’s Pattern Sourcebook 1,001 Classic Motifs from Around the World and Through the Ages by Mary MacCarthy Of interest to students and teachers, this book provides patterns for decorative motifs. The patterns are grouped according to geo­ graphical origin; for example, North and South America, Egypt and Africa, the Ori­ ent, and Scandinavia. 192 pages, including motif sources. 50 color photographs; 32 color sketches; 1001 pat­ terns. $27.50. Trafal- gar Square Publishing Post Office Box257, Howe Hill Road, North Pomfret, Vermont 05053.

34 CERAMICS MONTHLY February 2000 35 Finding Oaxaca by Eric Mindling

East Valley Zapotec potters tumblestack pots for a bonfiring; already fired pots and shards are used to insulate the stack.

went far into the south of Mexico to learn some Spanish and see if I there was any truth to a couple of black-and-white photos I’d seen in an old book on Mexican pottery. One showed a potter sitting out in the open, making a fine round pot, apparently without a wheel. The other showed a stack of pots enveloped by the leaping flames of a brush and branch bonfire. Through the flames could be seen the sweaty face of the potter as she threw more fuel to the fire. The caption claimed the place to be Oaxaca (pro­ nounced wha ha' ka). I’d gazed at these photos long and As the wood settles during the firing, it is repositioned with a long agave stalk to prevent cold spots. hard through a rainy north coast win­ ter, imagining a place far beyond the overflowing slop buckets and premixed

36 CERAMICS MONTHLY glazes of the university ceramics studio. hills. It was those potters and that place low green jungle, with but a few decay­ I envisioned a hard-edged and wide­ that I’d come here to find. ing roads. The land was lined with ar- awake existence in the world of that Ask as I might, no one in the city royos and donkey trails, and generously potter. Was there a place like this, where could tell me anything more about pot­ peppered with pueblos and tiny ranchos, simple pottery was still being made, tery than what I’d already been told. gatherings of adobe houses surrounded where branches and brush were all that Back home, I’d searched libraries for by cornfields, and marked in the center were needed to fire a pot? And what information on Oaxacan pottery, but by a white-washed stone church. These kind of potter could make a symmetri­ there was nothing. So I decided to see were backcountry villages, born along cal pot without a wheel? for myself what was in those pyramid- arroyos amid the scant flats, where the Traveling 70 bus hours south of the capped mountains, heading out past the soil would hold a crop. And there were small town where I was living put me last stoplight to where the pavement potters. Hundreds upon hundreds of deep into this other world, and arriving ends and beyond. Before me was the potters, living in villages throughout the in the city of Oaxaca was like awaken­ state of Oaxaca, an immense area so land, with each village keeping a large ing to a dream. All the colors were varied and remote as to seem to be an region well supplied. strong, bright and clear. My eyes, so entire country in itself. Since that first trip into the dirt-road accustomed to gray Pacific drizzle, I found a jumbled terrain with country of Oaxaca, I’ve spent years on burned with the brilliance. I walked mountains and valleys, ridges and riv­ dusty track, and have come across doz­ down stone streets closed in by yard- ers, varying from high thorny deserts to ens of other pottery villages. To me, it is thick walls of 500-year-old adobe houses, their cool interior courtyards filled with banana and jasmine. (In the Pacific Northwest, the historic build­ ings dated to the late 1800s, their walls made of termite-infested wood.) Beyond those heavy low buildings I could see a mountain whose top had been leveled 2000 years ago to build the greatest of the Zapotec cities. The stepped pyra­ mids defined the horizon. I was told that pottery was being made in two nearby villages, Atzompa and Coyotepec. The potters of Atzompa produced so much functional ware that the work could be found in just about every kitchen in the state. Coyotepec was known for its beautifully burnished, jet black reduction ware. Visiting both of these villages in my first weeks in Oaxaca deeply moved me. I felt as though I could spend the rest of my life learning pottery in either. But when I looked again at photocopies of those old photos, I could see that they had been taken elsewhere. Atzompa and Coyotepec were filled with stone and adobe kilns, the houses close together, the comfortable civiliza­ tion of the city was just minutes away. In the photo, the potter was firing right on the ground; beyond, there was noth­ ing but open, mountainous country. It looked to be a place far removed from city life; it looked like a place where ones comfort came from the light of Strainer pot, 10 inches in height, handbiiilt, the sun and where the only avenues slipped and roughly burnished, tumblestacked were those defined by the walls of the and bonfired, Nahuatl, Guerrero.

February 2000 37 like finding El Dorado or Shangri-La. Each of these villages will have its own way of forming, of firing, of giving shape to a pot or jug, but all have one thing in common—they are all dedicated to the production of functional pottery. They make the bean and tamale pots, water jugs, cisterns, strainers, spoons, canteens, barrels, bowls and mugs—all the simple, straightforward vessels that keep civili­ zations watered and fed. Their work has been an essential part of the Oaxacan backcountry for 4000 years. This is the pottery learned from their mothers, who in turn were taught by their mothers, and so on for 200 generations. They continue to dig their clay from the same old spots, sift sand down by the creek, form round pots on a stone, slipping, burnishing and firing on the ground under a bright blue sky. To my amazement, I found that the great variety in types of pottery from village to village and region to region was also reflected in the people, or vice versa. Mexico, when it was christened with that name some 500 years ago by the conquering Spanish, was a vast mo­ saic of nations, peoples and ethnicities. Uniting the land under one name did not cause those nations and peoples to evaporate into history; beyond the cit­ ies and the fanfare of the 20th century, they still live on. The potters of Oaxaca are Zapotec, Mixtec, Ayu’uk, Nahuatl. In all, there are 15 languages spoken in Oaxaca and 5 times as many dialects. Indeed, I’ve often found my hard- learned Spanish of little use. On the other hand, I’m proud to say that I can say “pot” in 7 languages. And what of the pottery itself? How does one make a symmetrical, round pot without a wheel? After many good hours spent with potters in the shade of a porch or under a tree in the courtyard, I’ve found the secret. Technically, it goes like this. A lump of clay, perhaps 2 pounds, perhaps 10, is formed into a cone. The point of this cone is then set onto a small piece of leather, a thin flat stone or a scrap of old soccer ball. This is then placed on the floor or a thick slab Water jug, 16 inches in height, slipped and roughly burnished, tumblestacked and of stone with a handful of sand tossed bonfired with wood for about an hour, Nuhuatl Highland, Guerrero. beneath. This bit of sand acts as ball bearings upon which the piece of

38 CERAMICS MONTHLY A scrap from a soccer ball nested in a depression in Cooking pot, 15 inches in height, slipped three a large stone allows the pot to turn as Zapotec potter times, burnished twice, tumblestacked and Alberta Mateo Cruz completes its shaping. bonfired with wood, San Marcos, Oaxaca.

scrap material, together with the cone simple and pleasing. And it is. But from tery cores, discarded felt hats, metal of clay, will rotate. muddy experience, I can attest that mak­ banding, sardine cans, cactus spines, bro­ Working seated on the ground, the ing the point of that cone rotate nicely ken buckets and just about anything potter will rotate the cone as she uses and have anything resembling symme­ else that works. For firing, she gathers her fist and forefinger, then corncobs try happen between your hands and the wood in the hills with burro and ma­ and a gourd piece to open, push, pull, clay is anything but simple. So, while a chete, dries cow manure in the sun, compress and stretch the clay into a clay cone, corncob roller and coiling collects waste from the agave fields, trav­ cylinder. If she needs to build the pot might provide the technical explana­ els to the lumber mills for scrap, even up more, she will form coils, and quickly tion of how these wonderfully round chops up bug-eaten roof beams. She smear and squeeze them onto the rim, pots (so light they almost seem to float knows personally and perfectly every­ using the gourd and corncob to thin when one lifts them) are made, they tell thing that will go into a pot and how it and lift the clay. When the pot is well an empty story. There is much more to will behave from forming to firing. defined, the point of the cone upon the tale. This thorough knowledge of materi­ which it is formed is trimmed off with a Perhaps the most important element als is backed by practice. A potter is quick slice of a blade, and the base is in the whole process is the potters un­ born into her trade, born into a family scraped round. derstanding of her materials. She digs that has been making pots for perhaps a One can watch a potter peacefully her own clay, soaks and sieves it. She dozen generations, perhaps a hundred. build a 3-foot-tall cylinder, shape, sifts in grog, mixing clay bodies by feel Shell start seriously making pots in her smooth and remove the pot, then go on and taste, with adjustments for bowls, adolescence; from then on, clay will be to the next, all the while chatting away. pots or platters. She makes her tools central to her life, until her hands are The whole process looks wonderfully from gourds, leather, corncobs, old bat­ no longer capable of working. She may

February 2000 39 harvest, etc. Throughout all this, the pottery work remains constant and sure. Her clay is beneath her feet, her tools are whatever s at hand, and her teacher lives under the same roof. The pottery of Oaxaca has survived four millennia because it fulfills certain basic needs, such as carrying water and cooking food. Time has taught the pot­ ters to fit their forms to these needs. Water jugs are built with small mouths to contain splashing, but with wide bod­ ies to hold volume. In regions where water must be drawn from deep wells, the jugs are ingeniously made with long, bluntly pointed bases and broad shoul­ ders, which cause them to lean over and fill when hitting the water, righting again when full. Cooking pots are made with a rounded bottom, which helps the pot settle in among the coals and uniformly conduct the heat up the sides of the pot. This same roundness serves an­ other important structural role. As this is very low-fired pottery, it is quite frag­ ile. Most Oaxacan pots follow the lines of a sphere, the strongest form in na­ ture. Also in the name of strength, a great deal of compressing and burnish­ ing of the clay goes into the forming of the pot. To these potters, the shape is pri­ mary. Decoration and finishes are more an afterthought. But what a wonderful afterthought they are! The Zapotec pot­ ters of the Southern Sierra paint their pots with a tannin dye made by boiling oak bark. This is splashed onto the pot, using a heavily twigged branch just as the pot is pulled from the hot coals of the firing. It gives the pot the look of ancient, tarnished bronze. These pot­ Librada Jose Bautista forms a pot on a large stone; a smaller stone disk at the base ters claim they dye their pots because of the pot allows it to turn as she works. the belief in the territory holds that the darker the pot, the better fired it is. Many hours distant, in the barren Upper Mixteca, the potters of Tonal- make 50,000 pots in her lifetime. When I don’t mean to imply that the pot­ tepec use the same technique, but their she is in her mid-twenties, she will be ters here are production machines. They pots are splattered, using oak-dye-soaked extremely adept at making those pots. aren’t; their work is slow and even paced, rags. The look is wild and modern, yet By her mid-thirties, she will be able to and their days and weeks are spent not the best reason that I’ve heard for this make pots with her eyes closed. Com­ only making pottery, but also raising bold finish is “that’s how my grand­ ing into her fifties, it will seem as though children, cooking meals, going to the mother did it.” she will simply have to look at the clay market, celebrating Easter and Day of The East Valley Zapotec potters of for the pots to be made. the Dead, spending a month with the San Marcos slip their pots up to three

40 CERAMICS MONTHLY times with a fine red clay. They are then out the porous clay. Or when filled with thoroughly burnished until the pots water and left to sit, the pot “sweats” as shine like river-washed stones. the water soaks through the open clay. In the Sierra Madre, the potters of Evaporation of the moisture on the sur­ Tamazulapan scrape their pots with a face cools the water inside, making for a corncob. This isn’t done for decoration, fine way to store drinking water where but simply because corncobs are handy there is no refrigeration. Sweating pot­ tools there. As a result, their pots have tery and resilience through extreme tem­ wonderfully rough, textured and fur­ perature variation are results of clay rowed surfaces. bodies that are more than 50% In many villages, aside from the grog and the quick-firing pro­ gracefulness of the pot form itself, no cess, which leaves the clay decorating is done, except for that which more like sand than glass. happens in the path of the flames. There is a polished coarse­ Which brings me to that all-power­ ness in this quick-fired ful moment in a potters life—firing. pottery that I find ex­ This is the way its done in Oaxaca: A hilarating. The roar­ week or two of slow, careful, patient ing flames, smoke, work is set in the sun to warm one pitch and ash have morning. By the afternoon, the pots are their way with the made firm or made shard by bonfires surfaces. There is similar to the one I’d seen in that photo. litde control to be It is low-fired, single-fired, quick-fired had, and no pot pottery—fired just enough for the life it escapes the brand­ will lead. ing of the fire. The pots are tumblestacked into a This wild fir­ low mound over a bed of wood. This ing, along with the mound is covered over with more wood, evolved functional­ then coals from the kitchen are added ity of the pottery, to start the fire. A bonfiring usually lasts has redefined what under an hour, with wood or brush beauty in clay is for added here and there as the potter sees me. And the pottery fit. Somewhere in that sweaty hour the offers a fine reflection smoke changes color, the soot lifts, the of the people who cre­ pots glow a dull red. The potter knows ate it. They too are her work is done. A pyrometer would finely coarse and won­ tell us that this happens at about 1300°F. derfully rough. They too At most, such firings consume five are pleasingly straightfor­ or six armloads of fuel. This is an im­ ward, frank in their ways portant detail in an arid land where and not distracted by ruffle wood must be used not only for firing and finery. pots, but for cooking every meal. Its Since that first bright-eyed conservation is a must. Had it been day in Oaxaca, I have spent necessary to fire this pottery with more years exploring the backcountry, wood for all these centuries, it is quite and continue to do so. I have yet possible that neither the pottery nor to find the potter in that old photo. these cultures would have survived. No Truth be told, though, I stopped wood, no pots, no cooking fires, no looking long ago. It wasn’t a certain dinner, no people. potter that I’d come to find; rather, it The pottery that emerges from such was a way of being and doing that I’d a firing is light and resilient, ideally suited longed to find. And that I achieved, not Ceremonial pot, 40 inches in height, to its purpose. On a cold mountain after years of searching, but from the corncob scraped, tumblestacked and morning, a pot can be set straight into moment I ventured beyond the fast hum bonfired, Sierra Mixe, Oaxaca. the flames of the cooking fire with noth­ of the city and stumbled across a small ing more than a sigh. The sudden heat hidden town filled with potters work­ is simply absorbed and spread through­ ing hard for a pot of beans. ▲

February 2000 41 by Kim Nagorski

“Dangerous Designs,” approximately xhibitors at the 20th annual “Chelsea 12 inches in diameter, wall dish formed ECrafts Fair,” a juried wholesale/retail on plaster mold, monoprinted with sale organized by Britain’s Crafts Coun­ colored slips and clear glaze, £250 cil, realized approximately £1.5 million (approximately US$400), by Sara Robertson, London. A first-time (about US$2.5 million) in sales. Held exhibitor, Robertson was, initially, for two weeks in October at the Chelsea “unsure whether to apply, as my Old Town Hall in London, the show work is at the fine art end of the featured works by 231 craftspeople (in­ craft market, but Chelsea is different; cluding 42 ceramists). its location and reputation attract discerning customers with money A national institution since it was to spend. It can give access to established in 1979 by Lady Powell, the galleries, buyers and customers fair is now simply and affectionately from abroad, and is a good showcase. referred to as “Chelsea” by exhibitors It was also a useful opportunity to reflect and patrons alike. Those who have at­ on my pricing. I realized that some of tended the show over the years (27,500 my prices are too low, especially on the larger pieces; but also that it is good to in 1999) say they enjoy following the keep a relatively broad range of prices. development of each makers work, as I was very pleased to see that the pieces well as spotting whats new. that sold best were the ones that I most Nearly a third of all exhibitors are enjoyed making.” newcomers to the fair. Part of the council’s mission is “to develop the economy for British crafts both in the U.K. and overseas,” explained Karen Turner, head of sales development at the Crafts Council. “Essentially, our work helps develop sales opportunities for craftspeople and the promotion of these opportunities to the end audi­ ence. ‘Chelsea is our flagship event.” In addition, several cash awards are given out to reward skill and innova­ tion, and encourage new talent. Clay artist Sara Robertson, a first-time ex­ hibitor in 1999, won the second annual George Little Management Interna­ tional Marketing Award, which is lim­ ited to newcomers or those who have introduced a new line of work. Robertson received £1000 (approxi­ “Shore,” approximately 20 inches in height, slab built, brushed mately US$1600) and the opportunity with dry lithium glaze, oxides, stains and slips, fired to 1035°C to exhibit her work at the New York (1895°F), £800 (approximately US$1300), by Regina Heinz, International Gift Fair in January. A London. A first-time exhibitor, Heinz had several goals for the show, including exposing her work to a larger audience, building up a customer list, generating gallery contacts and establishing international contacts. As the fair “is such an important event in British crafts, I was able to fulfill most of my aims,” she commented. “I got very good feedback from the public and from colleagues. I sold a number of pieces, and the fair will provide about 50% of my annual income, but most of all, I got contacts to galleries and museums, both national and international.”

42 CERAMICS MONTHLY “Black Stripe Bowl,” approximately 10 inches in diameter, porcelain casting slip, spun in a mold, fired to 1280°C (2336°F), £60 (approximately US$95), by Alison Gautrey, Cambridge, England. For Gautrey, “the mixture of both trade and public creates an air of dynamism and excitement, as you are selling plus making important contacts for future trade. Chelsea allows me to launch new work and test market on both customers and galleries, plus peers.” Because she works alone, “contact with fellow makers is one of the most important features of this show, as it allows me to build friendships, glean ‘criticism,’ and provides a fantastic networking opportunity.”

Jugs, 13 inches in height, wheel-thrown white grogged stoneware, with matt dolomite glaze and cobalt brushwork, fired to 1240°C (2264°F) in an electric kiln, £125 (approximately US$200), by Sue Binns, London. Exhibiting at Chelsea for the third time, Binns has tried to introduce a new design each year “to extend the range and attract new customers....At the fair, I take approximately two-thirds of my annual income, so it is very important for me to maximize the opportunity. This means producing enough stock, and compared to other fairs of the same duration, I have to make approximately double the amount.” This time, she also “decided to Earthenware tray, 12 inches in length, thrown and altered wall attached splash out and get a new set of shelves built. to slab base, extruded handles and feet, with clear glaze, £125 Because space is at such a premium, I found this (approximately US$200), by Richard Phethean, Deddington, England. made an enormous difference to the visual “There is no question that Chelsea is the best show of its kind in the impact of the pots and consequently to the U.K.,” remarked Phethean, a ten-year veteran. First selected in 1990, sales.” as a newcomer, he remembers “a feeling of having been ‘discovered,’ During that first week, I received more exposure to the informed and discerning buying public, and to trade buyers from top shops and galleries, than in the previous ten years of knocking on doors and hawking my wares around. In financial terms, Chelsea represents nearly a third of my annual direct sales, always results in a booking or two for shows the following year and numerous wholesale orders. This year, interestingly, my work seemed to hit the spot with numerous American buyers.”

February 2000 43 Wheel-thrown porcelain cup and saucer, to approximately 6 inches in diameter, fired to Cone 8 in an electric kiln, £45 (approximately US$73), by Karen Downing, London. The only craft fair to which she regularly applies, Chelsea allows Downing the “rare opportunity to meet the people who buy my work: my pots are functional and the thoughts of those who use them are invaluable. It also allows me to spend time with other makers, to make new gallery contacts and consolidate existing ones, to see and consider my work in a context other than the workshop and, of course, to make retail sales.”

“Hot Dog Blues,” buff earthenware, pinched and coil built, decorated with brushed colored slips, underglazes, stains and oxides, and incised designs, approximately 16 inches in height, US$380, by Jitka Palmer, Bristol, England. One of the characteristics of the fair, according to Palmer, is “to fit a lot of stalls, shelves, work of craft, makers and public into a small but atmospheric space.” To attract customers to her booth, this first-time exhibitor put on a “little performance. Some of my vessels were painted on the outer surface in a sequence almost resembling a film. When I put the vessel on a banding wheel and gave it a nice spin, people stopped and really got interested, especially when the end of the story was depicted on the inside of the piece. People were amused and they smiled, and then they looked properly at the other pieces of my work. To my delight, I sold almost all my large vessels, together with the story they told, to people who were really involved and treated themselves to a very special piece of art/craft.”

44 CERAMICS MONTHLY Thin-necked vases, to approximately 13 inches in height, slip-cast porcelaneous stoneware with black inlay detail, fired to 1260°C (2300°F), to £75 (approximately US$120), by Jessie Higginson, Hove, England. “A major event in any maker’s calendar,” the Chelsea fair “is great for meeting trade buyers as well as the public,” Higginson said. “From this year’s show, I have an order from Harrods as well as Pitchers, approximately 13 inches in height, with tan slip design work for an American ceramics company, and and soda glaze, fired to 1310°C (2390°F), £42 contacts with various smaller galleries around the country. (approximately US$68) each, by Lisa Hammond, The hardest thing about the show is that selection is Greenwich, England. Exhibiting for the first time at the fair, difficult, and it is not guaranteed that you will get in every Hammond found it to be “an exciting experience. The year, so you should not rely on a good year’s sales as atmosphere positively buzzes.” She believes that it is regular income, but make the most of contacts you make important for anyone to be able to buy a piece if they like throughout the year.” the work, and makes items that sell “within a wide price range. I actively encourage people to be selective in the piece they choose, and will spend time with them, looking through a large selection, making sure that they are really happy with the pots they have chosen. As a result, they often return to add to their collection. It seemed that at this Face pots, to approximately 6 inches in height, show, my work appealed to a wide range of clientele, not slab-built red earthenware, with white and just those well acquainted with hand-crafted ceramics.” colored slips, fired to 1130°C (2066°F), clear glazed, then fired to 1040°C (1904°F), £120 (approximately US$195) and £140 (approximately US$225), by Edla Griffiths, Llanvetherine, Wales. Exhibiting for the second time, Griffiths tried to “make pieces with a great variety of sizes and prices so that there was something for everyone, and I sold a broad range of items. I have to evaluate my prices to ensure that I am not undercutting my retail customers, but the targeted purchasers in Chelsea are usually very interested in crafts and, therefore, familiar with the prices, so this is not really a problem. I find it a lot of fun to actually meet the people who were buying my work, and to hear their comments. One man even ran into the hall at five minutes before closing time to buy a tall conical jug for his wife, having flown from Australia on business to New York and had arranged to fly the long way round via Heathrow so that he could buy her birthday present!”

February 2000 45 The “Nice Girl” Sculptures of Jean Cappadonna-Nichols by Jack Barbera

o enter a roomtul ot Jean Cappadonna-Nichols’ ceramic T work is to know the joy of surfaces run riot. That, at least, was my experience at an exhibition of the series “What’s a nice girl like you....” The artist herself jokingly refers to horror vacui (fear of Jean Cappadonna-Nichols empty space) in explanation of her penchant for enveloping interviewed in her Mississippi studio, sculptures in colorful illustration. “and, once they are snared, the sculp­ Certain tribal textile artists, she tures invite them to form an opinion.” notes, fear that the undecorated The comic spirit often is reflected in space leaves room for evil spirits playful titles; note the double entendre to inhabit their work. But her of “Crazed Weekend Warrior.” A week­ own enthusiasm for pictorial end warrior is, of course, one so busy richness seems to originate during the work week that she must use not in fear so much as in a weekends to attack domestic chores. love of movement and color, Such unrelenting toil could drive one and in an abundance of ideas crazy, and Cappadonna-Nichols aptly to communicate. employs a crackle glaze to give her week­ An important influence has been end warrior a “crazed” visage. The the art of Japanese tattoo, in which womans strain is also conveyed by a the goal is to decorate every inch of vertical line that splits her face from the skin that is usually covered by cloth­ forehead to chin. ing with patterns of clouds and waves, One of the most vivid details of this and pictures of samurai and kimono- sculpture is the sneaker-wearing samu­ clad women. For example, a samurai rai depicted on the back of the womans “Self-Serving and a profusion of bamboo imagery dress. Where his garments ride up, be­ Eve with appear on “Crazed Weekend Warrior,” cause of strenuous activity, one sees tat­ Yixing Teapot 1 of the 16 pieces in the “nice girl” toos. The samurai, assailing the earth and White series. Typical of Cappadonna-Nichols’ with a pitchfork and a fierce expression, Kid Glove,” 40½ inches work is the sculpture’s dynamic form— evokes the weekend warrior as gardener in height, a bust of a woman with one shoulder (gardening being one of the artist’s fa­ $3500. highly arched, her neck and head twist­ vorite pastimes). And what of the ing to the right, and capped by elabo­ sculpture s enormous headgear? In front, rate headgear. The humorous mood of the womans hair is topped by a profu­ the piece, again typical, is conveyed sion of lush flowers (perhaps the result even from a distance, by the prepos­ of her gardening) below a white picket terous size and content of the woman’s fence. Rising behind the fence is a tea­ headgear, and by the incongruity of the pot form, the spout of which becomes two frogs that stare out from the the neck and head of a buzzard, the woman’s dress and from atop her head. handle a roofed bamboo archway, and “I use humor to tantalize viewers,” the body a steam iron on one side and a Cappadonna-Nichols explained, when frog head on the other.

46 CERAMICS MONTHLY “Crazed Weekend Warrior” (front and back), 43 inches in height, handbuilt and wheel-thrown white earthenware, with glazes and stains, $5000.

The teapot form, picket fence, steam theme—the effects of human activity interior out of wildly disparate objects, iron and roof can all be associated with on the rest of the natural world. The has a wood-grained arm and hand, char­ Cappadonna-Nichols’ recurring theme artist’s sympathies seem to be as much acterizing an inability to take action. of domesticity. In fact, the series title with those embattled frogs, who must Cappadonna-Nichols was born in “Whats a nice girl like you...” comes fend off the metaphorical samurai with Texas in 1941, began studying art at from the image of domesticity presented a pitchfork, as they are with the over­ Texas Tech in 1959, and married in by an old television commercial for oven burdened woman, but the sympathies 1962, after her fiance graduated from cleaner, which showed a housewife are expressed playfully. Such an “alli­ the Air Force Academy, then moved to scrubbing away inside a dirty oven. ance of levity and seriousness,” to bor­ Florida. “Visions and Practicalities” cap­ But what of those frogs? The one on row a phrase from T. S. Eliot, is, as the tures her predicament during her early the front of the woman’s dress has a poet noted, a mark of sophistication. married years—trying to be a good wife hapless expression, while the one on her Cappadonna-Nichols’ art, while and mother, while dreaming of artistic head has a more concentrated look, per­ somewhat autobiographical, reflects the flights. Above the female figure’s head is haps because of the fly on its nose. Their human condition. The woman of a hot-air balloon from which hands green red-eyed faces are specifically those “Stumped by Queen Anne Table with emerge, orchestrating (one of them of an endangered species of tree frog, Dead Fish,” who, the artist notes, is holds a baton); the basket below the and they represent another recurring pondering how to make a harmonious balloon is filled with laundry.

February 2000 47 On returning to Texas in 1968, after Her sculptures are handbuilt from her husband resigned from the Air Force, low-fire clays by combining coils, Cappadonna-Nichols sold some paint­ pinch pots, slabs and occasionally forms ings, tended house, reared three daugh­ thrown on the potter’s wheel. For ex­ ters and, for five years, ran an advertising ample, the teapot form crowning agency. But her desire for a creative out­ “Crazed Weekend Warrior” was thrown; let ran more toward the fine arts than however, Cappadonna-Nichols did not advertising, so in 1988, when her young­ throw it herself, as scoliosis prevents her est daughter was in her last year of high from sitting at the wheel. Instead, her school, she returned to Texas Tech for a son-in-law, Everett Henderson, himself bachelor s degree in drawing. A few years an accomplished potter, throws some later, when her husband enrolled in the forms for her. University of Mississippi Law School, Subtle effects are achieved by layer­ she enrolled in that university’s art de­ ing colors (commercial underglazes and partment, earning a master of fine arts glazes) and multifiring. After a final clear in ceramics in 1996. glaze firing, she may apply lusters or

“Visions and Practicalities,” 59 inches in height, white earthenware, with glazes and stains, $4000.

“El Nino with Chaos and the Devil in the Deep Blue Sea,” 24 inches in height, red earthenware, with underglazes, glazes and stains, on a wooden base, $3500.

48 CERAMICS MONTHLY “Stumped by Queen Anne Table with Dead Fish,” 37 inches in height, white earthenware, with glazes and stains, $3000, by Jean Cappadonna-Nichols, Ft. Myers, Florida.

china paints; occasionally, India ink is a lifetime of experience and ideas to created during eight months in 1997. used as well. draw upon.” Her latest work has involved an El Nino Ceramics artist Ron Dale, who di­ In the few years she has had the series and a series that explores her Sicil­ rected Cappadonna-Nichols studies at technical knowledge of ceramics and ian heritage. the University of Mississippi, admires the freedom to create full time, Ralph Waldo Emerson once char­ not only her artistry, but also her drive. Cappadonna-Nichols has produced a acterized a true poet as one “teeming “It seems to me she worlcs all the time,” considerable body of work, exhibited with images to express his enlarging he says. “She doesn’t let anything stop widely, won a number of awards, and thought.” Jean Cappadonna-Nichols, her. Her work is very personal, but it is has seen her sculptures appear in several by her growing number of ceramic also universal.” He notes that, in con­ catalogs, magazines and books. Two se­ meditations, is proving to be just such trast with most of his students, “she has ries preceded the “nice girl” sculptures a true poet. ▲

February 2000 49 Don Reitz Workshop by Sherman Hall

s the 71 attendees at The Ameri­ several pieces were thrown for assembly can Ceramic Society workshop the following day. A in Westerville, Ohio, quickly Throughout the demonstration, discovered, time spent with Arizona pot­ Reitz explained the relationships be­ ter Don Reitz is filled with storytelling tween the steps in the making process, and laughter. These, along with his in­ and how they rely upon and affect one spiring work, are the vehicles by which another as integral parts of the work. he shares his joy of working in clay. When he was throwing, he talked about The two-day workshop began with how the piece would be fired. When he a panel discussion on glazing and firing was working the surface, he discussed with Derek R. Gordon, chair of The structure and form. American Ceramic Society Design Di­ While this enlightening discourse vision; Earl F. Breese of General Color provided solid aesthetic and technical and Chemical Company; and Colum­ information, possibly the most compel­ bus artist Lisa Bare. This was followed ling aspect of the workshop was Don by a slide presentation of Bare s work. Reitz himself. His enthusiasm for work­ Starting early that afternoon and end­ ing with clay was contagious and spread ing late, Reitz and his captivated audi­ quickly, because he is equally enthusias­ ence went on to explore many topics, tic about people. It became obvious that including various methods of construc­ one of the main reasons he is such an tion, form, function, scale and surface effective educator is that he remains ex­ Don Reitz at The American Ceramic embellishment. Meanwhile, sections for cited about his medium. ▲ Society in Westerville, Ohio.

When the midsection of one form was Prior to assembly, the base was Massachusetts potter Keith Kreeger leather hard, the wall was worked from secured to a bat on the wheel head helped Reitz place the midsection on the inside as well as the outside in with thick wads of moist clay; the rim the prepared base. The bottom edge order to create a dialogue between the was then deeply scored and soaked was left thick for strength during surface of the piece and the structure with slip several minutes before transport. After the section was leveled, of the form. attaching the midsection. attachment was completed.

50 CERAMICS MONTHLY All aspects of surface and shape were For the final section, a solid cylinder addressed throughout the building was rolled out on a piece of wood, then process. Further alterations were made hollowed by inserting a dowel through to enhance the developing form. the center and rolling to thin the wall.

Extra clay and slip were added along the inside seam for more working and fired strength.

Attaching the cylinder to the top of the midsection Holes were carved through the wall near the join of was a total body experience. To complete the teapot the top cylinder and the midsection, and the handle form, a “spout” and handle were made from pieces and spout were inserted with slip. The spout was torn earlier from the bottom of the midsection. supported by a thin dowel rod while the form dried.

February 2000 51 Tom Gray Selling Pottery Online by Cathy Ray Pierson

still in Seagrove. In June 1996, one lo­ Two of his neighbors have already cal potter, Tom Gray, changed all that had positive results from their associa­ when he went online with his personal tion with Carolina Clay. Just like Gray, website (http: //www. cclay. com/tgp/). Ben Owen III had new customers walk Although Gray was adamantly opposed into his gallery door one week after his to the purchase of a computer at first, first pages were uploaded. In turn, his wife Debra reasoned that it would Charlie Riggs has had galleries contact help with the bookkeeping and facili­ him from as far away as Chicago. tate building a client database. Gray Tom and Debra Gray came to agreed and soon began exploring Seagrove in 1990. Together they man­ its potential as a marketing tool. age their pottery, along with the help of A month after launching the Doug Brim, who does everything Tom website, he had new customers does except throw and fire the kilns. walking through the door of Debra does all the ordering from other his gallery, after having found craftspeople for their shop, although, the site using a search engine. prior to the birth of their son Slate, she “They came in the front door threw some of the smaller items and waving a computer printout at did some glazing. They will also hire us, saying how they found us on other “turners” from time to time, de­ the web. To top it all off, they pending on who is available, to produce bought pots too.” the more popular items. “We use e-mail It makes sense. Computer owners almost every month to notify our elec­ typically have the same profile as pot­ tronic database of the new stuff we are tery buyers—well-educated with ex­ doing, as well as when new works come pendable income. in from the other potters whose work To make visiting the site more entic­ we sell.” ing, Gray included a feedback form on Wheel-thrown vase, approximately 8 inches in height, with finger wipe the homepage that customers could fill through Shino glaze, fired to Cone out to enter a monthly drawing for a 10 in reduction. free pot. This same form gave them the opportunity to indicate whether they wanted to receive e-mail notifications of kiln openings, open houses or other ocated in the geographic center special events. In essence, the feedback of the state, Seagrove, North form is a way to build a database of LCarolina, has long been home to interested buyers. traditional folk pottery and is now As a result of the responses he has known also for the contemporary wares received from his website, Gray started being “turned” daily. That term, “turn­ work on a separate site for all North ing,” seems to be indigenous to North Carolina pottery called Carolina Clay, and South Carolina potters and is used the Ultimate Websource for North in place of the more common “throw­ Carolina Pottery (www.cclay.com). He ing.” In the small community of has registered each new participants Seagrove, generations of potters have pages with search engines, thus increas­ “come up” knowing how to turn pots ing the likelihood that the entire site simply because their grandmothers or will be visited, as there would be a dif­ grandfathers chose pottery making as ferent listing for each potter, gallery or Tom Gray throws while standing, their trade. Many are eighth- or ninth- other clay resource. “I uploaded the first controlling the wheel speed with the generation potters. pages in September 1996, and we have pedal placed on a nearby shelf. Although the areas history remains a been averaging about 1000 visitors a strong influence, time has not stood month,” reports Gray.

CERAMICS MONTHLY Other tools of his trade keeping a mild reduction atmosphere include a small throughout the firing. Our work is warm de-airing pug and somewhat toasty. I have always liked mill, a slab orange pots, hence my interest in soda roller, about and Shino glazes.” 25 ware carts Gray began soda firing in March of and tables 1997, after attending the “North Caro­ on wheels, lina Potters Conference,” where he heard a 65-cubic- Jeff Oestreich’s thoughts on salt/soda. foot car kiln Up until that point he wasn’t willing to (based on devote a kiln to it. After that weekend, the Minne­ Gray and Brim tore the fiber out of an sota Flat Top old castable catenary arch kiln and be­ design), and a gan making plans for soda firing. Gray 25-cubic-foot then e-mailed Richard Burkett at San catenary arch kiln Diego State University for some fine- for soda glazing. tuning, and the whole concept began to Vases, to approximately 11 inches Glazes are mixed in 20-gallon buckets. come together. He then begged and in height, wheel-thrown and “With 90+ potteries in such close borrowed enough pots to be used as altered stoneware, fired to Cone proximity, there is usually someone just what Gray terms “cannon fodder.” By 10 in reduction. a phone call away to loan much-needed the third firing, he was getting the re­ chemicals in a pinch, or to help with sults he wanted, and by firings four and technical problems. Placing a few pots five, a pretty good return. in a friend’s kiln to test a glaze before For Gray, “the attraction of soda glaz­ Gray divides his time between his you fire again is commonplace, as is ing is just an opportunity to make some­ studio/workshop space and a recently putting a pot in someone’s wood thing totally different, just for fun. purchased 2700-square-foot Victorian burner. Of course, wood-firing Wood, salt and soda kilns require a named the Blue House Gallery in the potters are always ready to different type of pot than those heart of Seagrove. He sometimes turns share space, especially if you made in an electric kiln or a high- pots in the glass-enclosed sun porch of help stoke the kiln. fired reduction kiln. We are very the Blue House, then transports them “My friends call my work fortunate that our stoneware (used to the studio for glazing and firing. ‘hippie pottery,’ I guess be­ for dinnerware) also looks good Just a mile or so from the Blue House cause I use so many ’60s in the soda kiln. It flashes a Gallery, Grays studio is a 30x70-foot glazes, primarily nice orange where the steel building. It sits at the end of a long matts. Our din- vapors are more in­ and winding road amidst the rolling nerware uses tense, with some pots hills. Inside is a sea of ware carts filled three different having both quali­ with plates and pitchers, platters and glazes, and we ties. Those are the bowls, along with three wheels that each also leave a ones I like most.” sit inside a 100-gallon Rubbermaid ag­ little raw clay Although his ricultural trough. The pedal for each exposed. The initial goal was to wheel is up on a shelf beside him and he plates usually utilize glazes for stands to turn pots. “John Mellage of have a slip- decoration, Gray Cady Clayworks came up with this trailed design now relies on sifted idea,” says Gray. “Now, almost every reminiscent of a wood ash or colored potter in Seagrove has adopted it. It looping fly line or keeps the mess in the trough.” a dragonfly. The potters of Seagrove traditionally “We fire to Cone have stood while worldng at the wheel, 10. I start reduction at Soda-glazed stoneware so this is only an improvement on an Cone 07, reducing fairly bottle, approximately already good thing. heavily at that point, and 7 inches in height.

February 2000 53 “I have used Shino glazes for some time, but, like the soda-fired pots, they are made more for fun and Glaze Recipes nourishment. Recently, we have been making more one-of-a-kind Leach White Glaze pots with Shino glazes and sifting (Cone 9-10, oxidation or reduction) raw wood ash onto them before the Whiting...... 20% glaze dries. Our customers response G-200 Feldspar...... 40 to these pieces has been very encour­ Edgar Plastic Kaolin...... 10 aging. We initially made a few just to Flint...... 30 see what would happen, and have cho­ 100% sen to continue making them, especially Add: Superpax...... 8% since the response has been so favorable. Tin Oxide...... 2% Shino-glazed teapot, I have been very surprised at this, since approximately 8 inches wide, fired to Cone 10 in reduction. Shinos are usually potters’ glazes, much Eustus White Glaze like temmokus. Ordinarily, they don’t (Cone 9-10, oxidation or reduction) sell very well, except to other potters.” Dolomite...... 20% Gray’s belief is that the more ad­ Whiting...... 5 slips, as well as feldspar mixed with a vanced (technologically) we become, the G-200 Feldspar...... 35 little colorant, such as cobalt carbonate greater the interest in handmade ware. Edgar Plastic Kaolin...... 25 or chrome oxide, to produce the colors. “After sitting in front of a monitor all Flint...... 15 Gray begins the soda-glazing process day, most folks like to get out on week­ with a slow firing, then reduces for half ends and experience a different reality. 100% an hour at Cone 07. Firing continues in Location is the key. Seagrove’s proxim­ Temmoku Glaze 1 oxidation “until we start blowing in the ity to Raleigh, Durham and Chapel Hill (Cone 9-10, reduction) soda,” he explains. “At that point, the is an asset, as these cities are home to the Whiting...... 17% damper is pushed in, more to keep the highest percentage of computer literates G-200 Feldspar...... 46 soda swirling than to ‘reduce,’ in the country. While most of Edgar Plastic Kaolin...... 11 which happens automatically our clients live in that area, Flint...... 26 when soda is introduced. the Internet has brought us “The soda-fired pots are customers from all over 100% not made for profit so the world. This is a very Add: Red Iron Oxide...... 10% much as they are for cost-effective means of fun,” admits Gray, yet getting new customers Temmoku Glaze 2 they do sell very well. to your shop, to your (Cone 9-10, reduction) “We have yet to reach craft shows, or to fre­ Alberta Slip...... 90 % the stage where we are quent the galleries that Whiting...... 5 even ready to start think­ represent you.” A Nepheline Syenite...... 5 ing about making noth­ 100% ing but soda-fired stuff or one-of-a-kind pieces. Shino Glaze I don t think we ever will (Cone 9-10, reduction) do that, since we have to Soda Ash...... 3 % do something for fun. Spodumene...... 12 The burnout rate among Kona F-4 Feldspar...... 15 potters is fairly high, but Slab-built and wheel- Nepheline Syenite...... 50 if you keep challenging thrown triangular bottle, Edgar Plastic Kaolin...... 3 yourself, you can have a fired to Cone 10 in a Kentucky Ball Clay (OM 4) ...17 soda kiln, approximately long career. That is what 12 inches in height, 100% the soda-fired stuff is all by Tom Gray, Seagrove, Add: Bentonite...... 2% about for me. North Carolina.

54 CERAMICS MONTHLY Four of Takamori's figures, to 34½ inches in height, coil-built stoneware, on display at Grover/Thurston Gallery in Seattle.

Akio Takamori’s THEATER Of MEMORY by Kate Bonansinga

3St of Akio Takamori’s coil-built Japanese people eat their meals while Koishiwara, where Takamori appren­ stoneware depictions of Japanese kneeling on the floor. Thus, they both ticed with a traditional production folk Mpeople stand at about 3 feet in act as stages for the sculptures and con­ potter in 1974, following two years of height, too large to be doll-like and too nect them to the place that inspired study at the Musashino Art College in small to be life-size. Created as indi­ them. In turn, the figures’ scale and Tokyo. While at Koishiwara, Takamori vidual works, then grouped on raw style recall historical Asian tomb sculp­ met Ken Ferguson, and eventually ac­ wooden platforms, the sculptures are ture, further strengthening their rela­ cepted his invitation to study at Kansas physical remembrances of the people tionship to recent and ancient history. City Art Institute. He went on to re­ who populated the artist’s childhood in Born in 1950, Takamori was raised ceive his B.F.A. there in 1976 and earned post-World War II Japan. The plat­ in Nabeoka, a small, industrial town on his M.F.A. from Alfred University in forms hover at just above the height of a the island of Kyushu. This area is 1978. After a residency at the Archie traditional kotatsu, the table at which crowded with kiln sites, including Bray Foundation in Helena, Montana,

February 2000 55 in 1978, he spent several years working at Jun Kaneko’s studio in Nagano, Ja­ pan. Since 1993, Takamori has been a faculty artist at the University of Wash­ ington in Seattle. With these sculpted figures, he draws upon his broad-based education to make tangible the evanes­ cent memories of his childhood. Takamoris previous sculpture was slab built, vessel oriented and decorated with outlines of nude figures. He began to contemplate modifying his work in the early 1990s, due in part, he says, to “approaching middle age, when a per­ son thinks about how to make things count.” His teaching position at the University of Washington gave him financial security, allowing him more room to experiment. (Prior to that time he had supported his family with in­ come from his artwork.) By 1997, he had had his first exhibition of coil-built sculptures, which are structured like pots, as they have no inner armature for support. This current work builds upon the past, as Takamori continues to rep­ resent the human figure with expressive line. It also brings the artist full circle, in that the final piece he created as an undergraduate was a slab-built house that included an image of Nabeoka. The figures’ scale and near cylindri­ cal legs recall Japanese Haniwa tomb figures, which date to around A.D. 400. Some represent animals, others are ar­ chitectural, and many portray the hu­ man form. Both Takamoris and the Haniwa figures are less than life-sized “Woman with Handbag” (left), 30 inches in height, and “Farmer with Child” and illustrate certain types or profes­ (right), 31 inches in height, coil-built stoneware. sions of people, rather than specific hu­ man beings. For example, there are Haniwa warriors and jesters, farmers and aristocrats. Likewise, Takamori titles Qin-dynasty tomb figures, then the as a surface on which to paint. “When each work after the genre of people who painted details are parallel to the expert I’m building, I’m aware of how much inspired it: a school girl, a farmer, a and flowing lines in the 18 th- and 19 th- to articulate. If there’s too much articu­ middle-aged man. Placed on the exte­ century Japanese ukiyo-e wood block lation, there’s not enough space to ren­ rior of burial mounds, the Haniwa are prints. This interplay between three-di­ der illusion.” thought to have been connectors to the mensional sculpted form and two-di­ The intricate patterns in the cloth­ heavens, created to serve the deceased mensional line has no well-known ing on his figures offer Takamori ample as intermediaries between life on earth precedent in the history of figurative opportunity to exercise his proficient and life after death. Takamoris figures, sculpture. For the most part, sculpture drawing skills. They also offer the viewer too, serve as links between his past and is a consideration of form. Surfaces are another source of information about his present, resurrecting, then represent­ often textured and pigmented, if at all, the depicted subject. In one pairing, for ing, aspects of his personal history. in areas, rather than lines, of color. example, two middle-aged women lean If the form of these works draws Takamori, on the other hand, avoids toward one another, exchanging a se­ from Japanese Haniwa and Chinese three-dimensional texture and sees clay cret. One wears striped trousers with a

56 CERAMICS MONTHLY rative is a dramatic, as well as an artistic, device. Takamori acknowledges this by presenting each of his pairs on a table that alludes to a theater stage. Like ac­ tors and actresses, the sculptures tap the viewers’ imagination and transport them to Japan of times past. The slow-moving and highly sym­ bolic Japanese Noh theater, which reached its height of achievement in the early 15th century, tends to enact and abstract highly charged political and so­ cial situations, asking the audience to consider how such situations reveal im­ portant aspects of human behavior and character. In “Works,” a famous 14th- century treatise on drama by Seami, the term yugen is repeatedly used (accord­ ing to Arthur Waley in “The Noh Plays of Japan”). Loosely translating to “what lies beneath the surface,” yugen is in­ herent to worlcs of visual art that have multiple meanings, and Takamori’s are no exception. Beneath the surface of this endearing community of figures is not only the artist’s need to establish his identity, but his attempt to grapple with the Western perception of Japan and how his own understanding of his people has changed since he came to the U.S. over two decades ago. He also prompts the viewer to examine his or her own personal history. By observing the in­ teractions and postures of these smaller- than-life figures, we observe our own. With this work, Akio Takamori pos­ its important questions about individual “Greeter,” 35 inches in height, coil-built stoneware, history and cultural perceptions. While by Akio Takamori, Seattle. he draws upon his understanding of aspects of the real world, such as en­ trenched Japanese custom and the move­ ment of the human figure, he creates a patterned shirt, and carries on her back hands clasped in front of her. The farmer, new and idyllic world that refers to a a satchel created from fabric decorated younger and sprier, glances over her right world of the past. with a customary “octopus” pattern of shoulder while holding a teapot in her Charles Baudelaire once said {Art in abstracted swirls. The other wears tabi, right hand and a small child on her Theory 1815—1900: An Anthology of or white socks, with thongs, another back. The painted details bring the raw Changing Ideas, Oxford, 1998): “I con­ traditional Japanese fashion. stoneware surface to life and make the sider it useless and tedious to represent Another grouping is composed of gestures and interactions believable. what exists, because nothing that exists “Woman with Handbag” and “Farmer Takamori s intention is to create a three- satisfies me....I prefer the monsters of with Child.” All three characters seem dimensional Japanese hand scroll, a tra­ my fancy to what is positively trivial.” to be looking at a common point of versable painting. His figures are Takamori presents not monsters, but interest off in the distance. The singular intentionally just shy of realistic, due in memories. In doing so, he taps his roots woman, wise and somewhat weary, faces part to their scale. and our imaginations, creating a place, forward, her feet firmly planted side by The use of actual events and charac­ remote in time and locale, for us to side, her shoulders slightly slouched, her ters as the baseline for a believable nar­ momentarily inhabit and enjoy. A

February 2000 57 PHOTOS: BLAIR MEERFELD, MARTY MITCHELL

Three bowls, to 6 inches in diameter, salt-glazed stoneware with Blair’s Red Slip, fired to Cone 1

Blair Meerfeld by Marty Mitchell

ife in rural, southern Colorado is as cess of making pots. He soon began “At the time, I felt the need to own a Lquiet and spare as the surrounding studying with Cloyde Snook, the col­ place where I could establish a full-time landscape. In the late 1960s, Sunday lege professor who had demonstrated pottery, and it was the most reasonable dinner in Taos, New Mexico, was an that fateful day. pricewise. The property offered the space event to look forward to for the Meerfeld Seven years after completing his col­ needed for setting up my studio and family of San Luis, Colorado. For Blair lege studies, Meerfeld was able to realize kilns. The historic farmhouse had suf­ Meerfeld, a fascinating part of the his dream of earning a living from fered from years of being rented to itin­ monthly trip was observing the artisan daywork. “I had spent the bulk of the erant ranch hands and loggers. The activities centered in the town plaza. ’80s in the Washington, D.C., area, windows were duct taped to keep out “At that time, hippies would gather to working in industrial application of clay drafts, and there was no insulation. It sell their wares, including beadwork and and compressed gasses. I was making a was a mess! pottery. I’ll never forget the vividness of respectable living and achieving within “Originally, I used the space that is the turquoise Egyptian-paste beads—a that career, but I missed Colorado and, now our gallery showroom (a converted color thats burned into my conscious­ although I had potted sporadically while summer kitchen) for my studio. Then ness. Of course, the notion of the hip­ out East, I knew I wanted to do that as one day when I was sitting at the wheel, pie lifestyle held an irresistible appeal my life’s work.” I noticed campers pulling up to the for me as well, although I understood So it was back to the spare, high park across the road. I realized I could even then that it was an unrealistic ideal.” mountain valley of his youth. After sell my work here, and quickly built a A wheel-throwing demonstration, ranching and potting for a few years in separate studio space behind the kiln witnessed while on a high-school tour rented space, he finally landed in barn to free up space for the gallery.” of the local college art department, in­ Saguache (Sa watch'), Colorado, at the Business steadily grew “by the side tensified Meerfeld s interest in the pro­ northern end of the San Luis Valley. of the road.” Although Meerfeld exhib-

58 CERAMICS MONTHLY

its his work through galleries along the front range of Colorado and in Santa Fe, New Mexico, the lions share of in­ come is derived from his gallery space in Saguache. Other venues for his work include regional and national shows. He has “managed to avoid doing art fairs, which are exhausting ways to show your ware; they’re hard on the potter and the work.” While remaining within the vessel tradition, Meerfeld thinks in formal terms. “My pots are mostly variations or abstractions of shapes I see—me­ chanical, human or landscape. They’re often very much about horizontal plane. The vertical profile between these edges can be almost human—the small of the Casseroles, to 8 inches in height, salt-glazed stoneware, with wire handles. 9HH

Teapot, 7 inches in height, salt-glazed stoneware with native clay slip, fired to Cone 8.

60 CERAMICS MONTHLY Pitcher, 12 inches in height, salt-glazed stoneware with red slip and copper glaze, fired to Gone 8.

February 2000 61 Ewer, 6 inches in height, salt-glazed stoneware with Blair’s Green Ash Glaze, fired to Cone 8.

back or the inside of the knee, some­ make a pot, I’ll find it,” he jokes. Yet, he collaborating to try to reproduce or ex­ times fleshy, other times hard.” is often rewarded with the seed of an pand on what we liked best or what Although he works in groups of idea for a new form. seems most curious. Each firing offers forms (teapots, pitchers, bowls), each Meerfeld prefers to salt glaze his work, something new—a frosty surface or vis­ piece retains its individuality and char­ explaining that perhaps his affinity for cous glass. acter. For Meerfeld, repetition is not the salt process is rooted partly in his “Salt, with its blushing and flashing, about production or multiplicity, but German ancestry. “I have an affection gives pots many faces and personalities. about sorting out a form. Each piece for the early Siegburg, Frechen and Co­ They tend to offer different statements has its own gesture, again human in logne Bellarmines and the piecrust­ and information every time I look at origin, active and at rest. footed drinking vessels seen in Bruegel them. Sometimes, while walking The process is time-consuming, and paintings. As a result, I’ve always been a through the kiln barn or somewhere on timing is an important issue. He admits salt glazer. the property, I’ll run across a forgotten to struggling with timing problems “Salt has a way of pulling the secrets pot or test tile. It says something about when he is working on several different out of the clay and slips, leaving them another personality, and off we go again forms at once. Each form dries at its on the surface, offering them for your on a fresh journey.” own pace, and some inevitably get ahead engagement. Why did that happen Meerfeld’s salted surfaces vary from of him. “If there is a complicated way to there, and how? The kiln and I are the traditional orange peel to a soft matt.

62 CERAMICS MONTHLY They are very compatible with the warm get on the pots and everything else. I blushes and deep, multilayered, almost prefer a candle to a light bulb.” hazy glow of the slipped exteriors. “Af­ The lifestyle he admired in his youth ter many years of salt glazing, my work is now his. He routinely goes to Taos now focuses on drier surfaces with more for lunch. Occasionally, he finds him­ blushing, much like the early Siegburg self near that spot in the plaza, and vessels. I use a lot of ball clay and kaolin wonders where all those beads and pots slips, as they seem much more sensitive ended up. “If my work, in some way, to light salt. This is a much different can stick in someone’s consciousness in approach to salt from the days when we the same way that the blue of those qualified a firing by how much orange beads has remained with me, then I peel and dripping goo we managed to have been successful.” A

Recipes

Stoneware Clay Titanium Yellow Slip (Cone 6-10) (Cone 8) G-200 Feldspar...... 10 lb Nepheline Syenite...... 31.58% C-l Marblemix...... 20 Tennessee Ball Clay #10...... 63.16 Blair Meerfeld assembling teapots A. P. Green Missouri Fireclay .... 25 Flint...... 5.26 in his Saguache, Colorado, studio. H. C. Spinks #5...... 45 100.00% lone Grog (35 mesh)...... 3 Add: Superpax...... 5.26% 103 lb Titanium...... 1053. % Blair s Red Slip Apply to greenware (toward dry). (Cone 8) Nepheline Syenite...... 15 % Charcoal Blue Slip Grolleg Kaolin...... 20 (Cone 8) Helmer Kaolin...... 65 Albany (or Blackbird) Slip...... 10% 100% Kentucky Stone...... 90 Apply to greenware. 100% Add: Cobalt Carbonate ...... 3 % Stoney White Slip For brushwork on greenware. (Cone 8) Frit 3124 (Ferro)...... 5.26 Blair s Green Ash Glaze Nepheline Syenite...... 21.05 (Cone 810- ) 6 Tile Clay...... 36.85 Whiting...... 20% Kentucky Special Clay...... 15.79 Wood Ash...... 20 Flint...... 21.05 Kona F-4 Feldspar...... 20 100.00%SGP Ball Clay...... 20 Add: Superpax ...... 10.53% Flint...... 20 Apply to greenware. 100% Add: Black Copper Oxide...... 4% Copper Carbonate...... 2 %

February 2000 63 Working with an Apprentice by Helen Slater

t all began with a Having some of Isurprise phone call the apprentice’s work from Antioch College in every kiln load in Yellow Springs, helps maintain the Ohio. Students from momentum and the work-study pro­ keeps excitement gram were looking for high; however, every­ studio apprentice situ­ thing coming from ations, and would I be my studio with my interested in participat­ name on it is, in fact, ing? After much delib­ my work, unlike ap­ eration and several Mary Burke and Helen Slater decorating wares in Helen's California studio. prenticeships else­ phone consultations where, which often with school administrators, I decided to from 19 to 70. About one-third have involve making ceramics under the pot- chance taking on an apprentice. been men. ter-in-charge’s name. That was in the early seventies. I had Orientation for a new apprentice be­ A number of galleries and shops show a home studio with a large gas kiln, a gins with what I have to offer in the my one-of-a-kind work, and place cus­ few wobbly worktables, a potter’s wheel, studio—in the ’70s, equipped with sev­ tom orders. I have developed systems to a slab roller—all the usual accoutre­ eral kinds of high-fire clay and porce­ keep track of and organize a diversity of ments. I had never worked with anyone lain; and now, concentrating on low-fire orders. Apprentices are shown how I else in the studio, and the first few ap­ ware. I provide instruction, tests of all run my business, and many have prentices were my test cases, some more kinds, work space and equipment. I set adopted and adapted my ways of orga­ successful than others. up rules and assign responsibilities, nizing the production and keeping At the same time I began offering an which include wedging, cleaning bats records in their own studios. apprenticeship, I was also a contract and tools, preparing spray equipment, During their stay, they learn about: designer for a California dinnerware and stacking and unstacldng the kiln, and 1. Ordering materials. giftware manufacturer. One day a week, keeping the studio clean and orderly. 2. Bookkeeping methods for pur­ I worked at the factory, though most Arrangements for time and work vary chases, expenses and income. designing was done in the studio. Dur­ with each apprentice. Many tasks re­ 3. Rostering for fair or show dead­ ing this period, I was pressured to ac­ quire simple instruction, and all my lines. commodate deadlines, and my apprentices have been quick to learn, 4. Packing and shipping finished apprentices quickly learned to deal with always happy to please and grow. Each work. many problems on their own. new person goes through a one-month 5. Displaying finished work. At the same time, I ended my rela­ trial period. Every Monday, we discuss 6. Using reference materials for in­ tionship with Antioch. By that time, I the problems or successes of the week spiration and methodology. had acquired a list of local people who before. I offer criticism and advice, praise 7. Production throwing techniques. were interested in apprenticing. Only and support. 8. Working with slabs and extrusions. twice have I had two people working In the morning, the apprentice per­ 9. Slip casting and designing for re­ with me in the studio at the same time. forms assigned tasks. After lunch (which production in plaster molds. It was a squeeze, but we made it work. we usually share, often entertaining vis­ 10. The making of a variety of forms, In the past 27 years, I have worked iting potters), the apprentice has a half from tiny beads to tiled walls. with 25 apprentices, each one more in­ day to do her/his work. Some have 11. Decorating and glazing. teresting and wonderful than her or his stayed for eight hours after lunch, throw­ 12. Firing methods (including reduc­ predecessor. I number some among my ing, handbuilding and generally using tion, saggar, salt and raku) and most treasured friends. One stayed with the studio as they please. Should there scheduling. me for 4 years, but most average 6 be any technical or creative difficulties, I provide little or no money in ex­ months to a year. Their ages have ranged I am usually on hand to help. change for the apprentice’s work, only

64 CERAMICS MONTHLY Earthenware platter, 20 inches in diameter, with underglaze decoration, by Mary Burke, Santa Cruz, California.

“Wrapped in Bamboo,” 13 inches in diameter, by Theresa Williams, Los Angeles.

Ginger jar, 10 inches in height, earthenware with brushed underglaze decoration, fired to Cone 06, by Helen Slater, Corralitos, California.

February 2000 65 occasionally helping with rent or travel expenses. Since this is not an employer/ employee situation, I am not burdened with taxes and so forth. Some appren­ tices have also had part-time jobs in the evenings or on weekends. No two situations or people are alike. One young man was with me six months. He was too neat. He made one box, 6x6 inches, which he then carved for five months. Another would only make poor copies of pieces I had worked on the day before. He went so far as to go to the library to find references as­ serting that the best way to learn was to imitate work you admired. He would arrive at the studio in the wee hours of the morning, and by the time I arrived, the shelves would be filled with his cop­ ies of my work. That situation was maddening; how­ Porcelain and graphite floor pieces, each 5 feet square, part of an installation ever, I have enjoyed the majority, and at the European Ceramics Work Center in s’Hertogenbosch, Netherlands, learned at least as much from my ap­ by Susan York, Santa Fe, New Mexico. prentices as they from me. Most speak of the apprenticeship as an important professional learning experience. My current apprentice, Mary Burke, sees apprenticing as “much more than a job. Helens years of experience are avail­ able to me every day in an environment that feels more like home than a school­ room or job. I share in every aspect of the business, from mopping the floors to packaging finished pieces for ship­ ment. The profits I reap, outside any sales of my ceramics, come from the everyday lessons in self-discipline that are the result of being required to be my own boss, work eight-hour days and take care of problems as they arise. Working independently gives me cre­ ative freedom. Once I’ve completed the chores that enable the studio to run smoothly, the working space becomes my own to produce in as I wish.” Teapot with bamboo handle, 10 inches in height, and cup, fired to Susan York began her apprenticeship Cone 10 in reduction, by Ann Schwartz, Santa Cruz, California. in 1974 after completing a B.F.A. in ceramics. “During the two days each week that were set aside for jobs, I did whatever was needed,” she recalls. “I made and tested glazes, fired the kiln, cleaned the studio and helped set up displays in the showroom. Because she worked as a designer for Metlox Pot­ tery, Helen was sometimes away from the studio. In this way, her apprentice-

66 CERAMICS MONTHLY ship program differed from more tradi­ sync. Because this was not an academic An apprenticeship situation can be tional ones, in that I was given a great setting, my responsibility was to watch equally rewarding for the professional deal of independence. I made my own and help. We spent a good portion of potter, in many ways helping maintain work during these days alone and it was the day exchanging ideas. I took home a creative, energetic atmosphere in the not dictated by anyone but myself.” stacks of books every week. We went on studio. Versatility is a necessity in studio Robin Spear remembers her “entire field trips: local museums, the beach to ceramics. As most of us know, the thrill world changed” the minute she walked gather seaweed for saggar firings, alleys of opening the kiln door after a firing is into the studio in 1985. “I had been behind stores for boxes to ship pots. I even greater when shared. ▲ searching for something; now I knew really believe that I learned more in that what it was. The only thing I knew first year than I could have in a four- about clay was that it enthralled me. year university program.” When I came across the ad for an ap­ If you are beginning your career in prentice, I went with the expectation ceramics, and are unsure about what that I could at least see a real potters direction to take, try an apprenticeship. studio. We met and spent about an Although not every professional potter hour together. When I got the call back is willing to take on an apprentice, there (‘the apprenticeship is yours if you want are many who will. After you have made it), I knew this was monumental. Helen contact about a possible situation, pre­ had never had an apprentice without a pare yourself as you would for any job degree in ceramics, let alone one with interview. Bring your resume, if you no experience at all. I did have a pretty have one; if not, make a list of the strong design background, however, and schools you attended, your experience was so eager to learn, that within a and accomplishments in the field, and Earthenware mosaic, 12 inches square, matter of weeks we were perfectly in general areas of interest. by Sandy Lo Bue, Santa Cruz, California.

“Santa Monica,” slip-cast earthenware serving set, by Robin Spear, Los Angeles.

February 2000 67 Modern Mashiko by Mary Francis Flodin

e had to bow our Tsuneo was joking with heads slightly to fit us. He was grinning impishly, w in through the old his eyes sparkling in the sun­ wood-framed doorway. My light that spiraled through his eyes adjusting to the interior open window. darkness, in sharp contrast to “‘Tsu Yang (Tsuneo) is a the brilliant June day out­ very funny guy,” said the doors, I blinked and realized young American apprentice. that the master potter here “He is great to work with. preferred to work without He’s really kind and gen­ electricity. Providing the room erous... and always joking. with a dim orange glow was That’s why I’ve stayed here an open wood fire in a tradi­ with him for so long—about tional Japanese brazier; an iron three years now.” tea kettle hung above the Working easily in the hu­ crackling flames. The studio Mashiko master Narui Tsuneo at his wheel. mid monsoon heat, Charlie was permeated with the sooth­ was wedging about 50 ing smell of sweet wood pounds of Mashiko stone­ smoke. Overall, the workshop ware. “This style of wedging emanated a deep calm. river toward the ocean. He appeared is called aramoni (rough wedging) and With my eyes still not completely relaxed, yet the focus of his entire being this is called omomi (big wedging).” adjusted to the dark interior, I picked was clearly engaged at the deepest cen­ Effortlessly transforming the heavy, my way carefully over the uneven clay ter with the spinning clay. wedged cone of clay into a thick, long floor toward the potters wheel in front Watching Tsuneo throw, it seemed coil, he carried it draped between his of the open window where the sensei to me he looked ageless. We had been forearms to the wheel where he was (teacher/master potter), Narui Tsuneo, told, however, that he was born in 1939, working. “I threw this base a couple of was working. He sat at a very old and so was almost 60. A third-genera­ days ago.” He explained that he and the wooden kick wheel, with more than tion Mashiko potter, he had been an other apprentices were learning to make 500 years of clay under his nearly bare independent, full-time craftsman since enormous water jars—one of the tradi­ feet. His face, hands and the wet spin­ the age of 14. tional forms for which Mashiko is ning clay were dramatically highlighted “Your bowls are perfect. They are all known. Several very old jars—over 4 by the daylight pouring through the the same,” one of the visiting potters feet tall—stood just outside the win­ window. He had not stopped working complimented Tsuneo. His apprentice, dow in front of Charlie’s wheel. since we—a group of eight potters from Charlie Odum, translated this com­ The pot taking shape on his wheel California—had arrived. ment. The master did not respond right looked very much like the bottom third The wareboard was full of large, gen­ away, but instead seemed to listen to of one of these old jars. It had an hour­ erous teabowls thrown off the hump. the clay for an answer. glass shape, with the top flared out wider He measured each unomi (a thick, With one fluid motion, he cut the than the base. The lip was flat and very slightly irregular, traditional Mashiko- foot of the new teabowl from the groggy thick. After two days of air drying, it style teabowl) with a tambo (literally, gray hump and placed it in a perfect had set up pretty well. Charlie let me “dragonfly,” a graceful handmade row next to the other, identical-looking feel it. It felt strong enough to take the wooden tool). The teabowls material­ bowls, then answered. Charlie translated: weight of the new coil, yet still soft ized in a smooth, unhurried flow that “You must not see very well if you think enough to join with the fresh clay. seemed as natural—and as inexorably these bowls all look the same! Better Charlie slipped, but did not score powerful—as the flow of a mountain look again! Each one is different.” the lip. Then, while we watched, he

68 CERAMICS MONTHLY began adding the coil, starting inside from each piece—to push and stretch it He says we are so bad and annoying the lip. Push, twist, push with outside all the way—until it falls apart, then that it makes his tea taste better.” Charlie thumb to flatten, turn, push, twist, push make another one. We smash up all the was grinning from ear to ear, clearly with outside thumb to flatten, turn— pots we’ve made at the end of each day very pleased with his sensei’s explana­ in a traditional basket-weave pattern, and recycle the clay to use the next tion of his role. the coil became part of the pot. morning.” “I worked for several other potters in Although some Mashiko potters “What jobs are you expected to do Mashiko before I came here,” said blend their clays, Tsuneo uses only a around the studio as apprentices?” some­ Charlie. “I’ve been studying with Sensei pure, local stoneware. Mashiko clay is one asked. Tsuneo for years now. He is great to very forgiving. It is heavy and groggy, Charlie smiled as if at some private work with. He never gets mad or frus­ yet has a light, almost whipped-cream joke, and then spoke in fluent Japanese trated with us. He is very kind and feel to throw with. Charlie began pull­ to Tsuneo. Teabowls still flowing off the patient. We are not his apprentices in a ing up the newly coiled section of the hump of clay on the wheel, he replied. traditional or formal sense. No money jar, using a large wooden rib at times. Charlie grinned, and translated. is exchanged, either way. We don’t help In the back of the studio, a young “Tsu Yang-san says we aren’t really him with his work. He prefers to do all Japanese woman apprentice practiced apprentices. He says we are more like his own work himself. We just hang omomi with apparent wu wei (ease) on stray dogs and cats. He took us in like around, making his tea taste better.” a hunk of rough clay almost as big as strays and, even though we get in the Since arriving to study clay in Japan, she was. way, he says he likes to keep us around. my group had been repeatedly admon­ On another wheel, Craig, a student from North Carolina, started the base of a water jar. Charlie explained the process while we watched Craig prac­ tice: First, you make a huge, thick, flat pancake that covers your wheel. Then, as you slowly turn the wheel, you begin patting the clay with your fist from the center until it is open and you have a rim of clay to pull. Begin pulling, using the broadest, longest, flattest place on your hand. Don’t clip the clay off by squeezing it between two hands. As Tsu Yang-san says, “When you push with one hand, the other hand runs away.” Now, make Fuji-san—a shape like Mt. Fuji—broad at the base and small at the top. Now, pull your cylinder up and shape it like an hourglass. Open it wide at the top. Flatten the lip. Now just let it dry for a couple of days. “Will you fire your water jars in the wood kiln out there?” asked one of the visiting potters, looking through the window at the chambered kiln in the yard, a bamboo and cedar forest just beyond. “Oh, no. Tsuneo-san fires his kiln about six times a year, but almost all of it is his own work. He glazes in a tradi­ tional Mashiko style called momibai. The glaze is a wash made from Mashiko clay, wood and rice-hull ash, copper, cobalt and iron. He might let each of us choose one or two small pots to fire, if we are very lucky. This work we’re do­ ing now is just practice.” Starting another pull as he stood over Apprentice Charlie Odum forming a coil for a big water jar. the wheel, Charlie explained, “Sensei wants us to learn as much as we can

February 2000 69 ished that one cannot make a teabowl until one understands the tea ceremony. And, furthermore, a westerner prob­ ably cannot hope to understand the tea ceremony even after a lifetime of study. It is a spiritual practice, a philosophy, a history, an aesthetic too complex, too unfathomably Asian to be translated in a way the Western mind could possibly comprehend. Feeling as if I were walking on egg­ shells, I framed a question about the way of tea as carefully and respectfully as I could. I hoped, through my ques­ tion, to demonstrate that I already had some understanding of how complex, difficult and rigidly ceremonial the sub­ ject was. Charlie presented my question to the sensei. Sensei Tsuneo leaned closer to the clay, seeming again to listen for Raw Mashiko clay stockpiled at the potters’ co-op. the answer. “There are too many rules in Japan. Everyone is sick of the rules. If you like I still have plenty of time for my fam­ noborigama, a climbing multicham­ rules, fine. Enjoy them. But if you don’t ily—my wife, my six children, my stray bered kiln. Constructed on a hillside, a like rules, don’t bind yourself to them. dogs and cats, my pigeons, my garden noborigama could have as many as 20 It’s not healthy. Relax. Don’t worry about and my singing. I love to sing. I never chambers and could reach temperatures it. There are no rules for tea. Let what­ worry about whether or not people are as high as 1400°C (2552°F). The excel­ ever comes out come out. If you think interested in buying my work. I just do lent Mashiko clay deposits and the sur­ about it too much, it will come out it because it’s fun. If I ever got to a point rounding forests, along with fertile land bad. Just do it. We drink green tea here where I didn’t like making pots any­ for growing rice and other kitchen crops, every day. It’s no big deal. My wife will more, I’d just quit. Do what you want offered a perfect environment for a pot­ come down from the house in a little to do. Make what you like, every day. If tery community. while to drink tea with me. Drinking you do, whatever you make will turn At this time, Korean porcelain and tea is hard work. We sit sipping our tea out fine. the aesthetic of simple folk pottery were and watching the fire burn. The wood “Look,” Tsuneo exclaimed with de­ influencing Japanese artists. During the turns to ash, and we have made our light. “See how many bowls I made 300 years of the Edo Period (1603 to glaze. Stay and join us. We will all enjoy today, without even trying, while I was 1867), the Daimyo (Japanese feudal it. It’s that simple.” talking with you.” We looked with sin­ lords) stimulated the growth of pottery All those eggshells I’d been tensely cere admiration at the 96 beautiful bowls making in Japan by commissioning walking on for days, afraid to offend on the ware shelves. many fine works. In 1853, Mashiko the complex and formal Japanese social pottery experienced a renaissance under code, finally shattered, and I threw them Historical Perspective the influence of craftsman Ohtsuka in the compost pile. I felt liberated, Mashiko is in the rural Tochigi Pre­ Keizaburo. With the Meiji Restoration enlightened, accepted, affirmed and just fecture of the Kanto Region of Honshu, Period has come a great revival in inter­ okay to be me. I began to understand Japan, about three hours north of To- est in the folk arts. why Charlie was so happy here. kyo by train. Located in a lush river One young potter attracted to the “How many hours a day do you valley surrounded by mountain forests growing arts community of Mashiko work?” one of our group was asking. I of cedar, pine and bamboo, it has been was Shoji Hamada. He settled in the expected to hear about tireless hours of a pottery center since the Nara Era— town in 1924, building a home and exhausting work, sunrise to sunset. A.D. 710 to 784, during which time studio, then, in 1930, constructing his Again, I was shocked out of my com­ Buddhism became deeply rooted in the own kiln. Ultimately, Hamada was des­ placency by the master potter’s reply. culture. In the 13th century, Chinese ignated a Living National Treasure by “Oh, I probably work three or four ceramic techniques were introduced to the Japanese government and became a hours on the wheel, most days. I usually Japan. During the 16th century, be­ world leader in the crafts movement of take a nap at noon. And I’m usually cause of the emerging popularity of the this century, along with such potters as finished throwing by teatime. It’s not tea ceremony, new kilns were opened Bernard Leach, Kanjiro Kawai and Mar­ that hard. Of course, I work at my craft all over the countryside, wherever pot­ guerite Wildenhain; designer and social 24 hours a day, really. I even dream ters found deposits of good clay, and critic William Morris; and art glass about my work when I’m sleeping. But cedar and pine forests to fuel their maker Louis Comfort Tiffany.

70 CERAMICS MONTHLY Hamadas home, his vast interna­ clockwise or counterclockwise. During George introduced us to a number tional art and folk art collection, many our stay at the Furuki pottery com­ of other Mashiko potters, including of his own master works, and his pot­ pound, a wood firing was undertaken. Euan Craig, an Australian expatriate. tery compound are now part of the We were able to watch the loading, The son of a sailor, Euan often makes Mashiko Reference Collection Museum blessing by a Shinto priest, week-long one feel out at sea, looking at life in a (Mashiko Sankokan). The Hamada col­ firing and opening. We were told, how­ fresh new way. Born in Melbourne in lection, along with the Mashiko Messe, ever, that as students, we should not 1964, he began studying clay in Bendigo which houses an astounding collection expect to fire any of the pots we made in 1978, among a cadre of traditional of both historical and contemporary while in Mashiko. Diligently practicing Scottish potters. In 1991, he was in­ Mashiko ceramic art, comprise a formi­ our throwing nonetheless (and made vited to study with Tatsuzo Shimaoka dable resource for inspiration and study. freer to take risks by the thought that in Mashiko. When his formal study Approximately 400 potters currently nothing was made to keep), we were was completed, he was expected to re­ live and work in Mashiko, including rewarded for our hard work at the end turn to Australia to practice his craft. Tatsuzo Shimaoka who, in 1996, was of our stay by Furuki-san when he told Instead, Euan opted to stay in Mashiko. appointed a Living National Treasure George we could keep a few small pieces It was then expected that, as long as and Holder of an Intangible Cultural for firing after all. Euan was in Mashiko, his work would Asset by the government. Today, the areas forest is protected as regional parkland, and cedar and pine for firing are grown on farms. The ex­ cellent clay deposits—varying in color and composition from a fairly pure lo­ cal porcelain to red earthenware and blue, gray and brown stoneware—are mined by a community potters’ co-op. Many contemporary Mashiko potters have developed their own blends of lo­ cal clays and clay from other regions. Every spring and fall, pottery fairs in Mashiko attract about 400,000 tour­ ists. Here, where functional pottery is considered a fine art and is revered as an integral part of the spiritual tex­ ture of the culture, a small teabowl will sell for upwards of ¥1500 (US$150). Some teabowls command as much as US$30,000.

Studying in Mashiko Santa Cruz, California, potter and teacher, George Dymesich, has been leading small groups of potters to Japan to study ceramic art for over 20 years. The summer that six other potters and I accompanied George on a trip to Ja­ pan, we lived and worked for ten days in the Mashiko compound of Rio Furuki. We were housed in a 500-year- old farmhouse dating from the Edo Pe­ riod, where we cooked our own meals, partied with the local potters, slept on futons in tatami mat rooms with slid­ ing rice-paper doors, experienced a couple of earthquakes and relaxed in traditional Japanese tubs. We worked daily alongside Japanese students in a modern studio equipped Euan Craig attaching wadding and shells to the feet of his pots. with electric wheels, which, with the flick of a switch, would rotate either

February 2000 71 remain faithful to the style of his mas­ shin tori. But they have another phrase Mashiko stoneware. With this mixture, ter, Shimaoka-san. Instead, Euan ex­ for centering which, literally translated, some of his wheel-thrown pieces achieve perimented wildly. means ‘killing the clay.’ The concept translucency. “I have had many teachers, many here is similar to the way in which a Much of his ware is treated with a influences,” he remarked, “including Native American kills a deer—prayer­ slip glaze and once fired in a kiln packed Shimaoka-san, Hamada and the Scot­ fully, respectfully, so that he and his with rice straw, which yields beautiful, tish potters of Bendigo. Nature, espe­ tribe may live. In this spirit, the potter random, iridescent flashing marks. cially the natural landscapes of the asks the clay to stop being a dirty old Euan’s Slip Glaze Australian coast, has surely been one of mess, as is its nature, and instead to let (Cone 9-11) my greatest influences. But what I the potter help it stand up and be some­ Bone Ash...... 8.25% have learned from all my teachers, thing beautiful and noble. When we Talc...... 15.46 including the natural world, is not as ‘kill the clay,’ we change ourselves at Whiting...... 11.34 much a specific style or technique as a least as much as we change the clay. Potash Feldspar...... 23.71 philosophy, an approach to my medium, “To be a good potter,” said Euan, Ball Clay...... 27.84 to the clay. “one must love to cook. Don’t try to Flint...... 13.40 “I love the amorphousness of clay— make a coffee cup if you don’t like cof­ its absolutely limitless potential for ex­ fee. To make a good form, you must 100.00% pression. Clay is the basic quality. Its as first understand its function.” Add: Iron Oxide...... 1.24 % earthy as you can get, and so keeps us in Euan fires a kiln of his own design For a bluish tint, Euan will add 2% touch—literally in touch with the world fueled by both propane and wood. This cobalt carbonate. He also uses a straight and with each other. combination allows him to complete a copper sulfate, applied like watercolors “It improves your life to make or firing in 9 to 14 hours, instead of 9 to over the slip, to create feather designs. buy a handmade bowl or cup. When 14 days, and still get the dramatic wood After glazing, the rims of his tea­ you bring it into your home, you bring ash flashing and glazing he is after. He bowls are dipped in salt, like margarita in nature. You touch the source, the often throws as many as 350 coffee mugs glasses. He stacks his ware on seashells, center. When someone pours good, fresh or teabowls a day—60 an hour when which, when they burn, flash the feet. coffee into a well-made, hand-thrown he’s “cooking.” His functional work On every pot there is great attention to clay mug, then drinks, you watch ranges freely from the traditional detail, yet with an overall effect of abso­ them. ‘Ahhh,’ they’ll say. ‘Now that’s Mashiko teabowl and katakuchi, a ped­ lute freedom and spontaneity. a cup of coffee.’ estaled form with a pour spout, to typi­ Euan and his unique work are now “Clay grounds us, it centers us. The cal European forms. truly accepted in Mashiko, and are sold Japanese have a phrase for getting the Euan’s clay is a mixture of about internationally as well. His coffee cups center or finding the center, which is to 75% Australian porcelain and 25% sell in a Tokyo gallery for Aus$85 (US$65) each. At the last Mashiko pot­ tery fair, Shimaoka himself came to Euan’s booth and bought a bowl. When we visited his studio, Euan served us fresh fruit on a platter of his making, as he explained his current sculptural project. “It will be a large tiled wall piece, conceived in the spirit of Stonehenge. Oriented perfectly to­ ward the sun, faces on the tiles will cast interesting shadow play most of the year. However, exactly on the solstices, none of the faces will be in shadow. I wanted to illustrate with this piece how deeply we are connected with one another, with our planet orbiting the sun, and with the whole universe.”

The author A potter residing in Santa Cruz, California, Mary Francis Flodin has previously contributed to Ceramics Monthly with a Comment article on Euan Craig’s kiln, packed with rice straw for random flashing marks. “Kirlian Images of Clay” in the February 1983 issue and a profile article on uEleptharios, Potter of Crete” in the Octo­ ber 1980 issue.

72 CERAMICS MONTHLY “Lifespring,” 29 inches in height, stoneware, fired to Cone 6. Lifesprings Michael Games' Kinetic Ceramic Coils by Karen Garnes

irst, you see the shape: a coil of clay into the coiled holder, I wanted to repli­ the lain. Then, when I successfully fired >piralingF up from the surface, sup­ cate that concept in clay,” said Garnes. a coil to bisque temperature, it would porting a vessel or sculpture. Then you After several months and many disap­ hold its shape, but when I fired to Cone notice the movement: the gentle bob­ pointments, he found the solution. 6, it would collapse back on itself.” bing and swaying of the coiled founda­ “The biggest challenge was getting a Deciding to take advantage of the tion. With his series of “Lifesprings,” greenware coil into the kiln. After I clays ability to move when fired above Georgia potter Michael Garnes has mastered that step, everything else just bisque temperatures, Garnes began ex­ proven that the properties of fired clay ‘sprang into place. perimenting with a different firing tech­ go beyond the static, encompassing the “Initially, I used a road cone as the nique, stacking the loops of the coil ability to bend and bob. form for the coils, and was trying to upon themselves for the bisque firing, The inspiration for these coiled forms force the coil to dry in separated loops then turning the coil upside down, sup­ came from a coiled metal eggcup. “Ap­ around the cone, but the clay would be porting the top loop with kiln posts preciating how the egg was gently nesded so brittle it would crumble en route to and refiring to Cone 6. The coil would

February 2000 73 To build a “spring” base for his sculptures and pots, The coil is wrapped around a Games usually starts with at least 60 inches of extruded road cone, leaving at least an stoneware smoothed with a sponge. inch between each loop.

A heat gun is used to dry the clay enough The cone is carefully inverted, and The collapsed coil forms an to prevent the loops from sticking to one another the coil supported as it is allowed even V shape and is bisqued when the coil is collapsed. to gently drop to the table. in this position.

Far left: The bisqued coil is inverted and positioned on a grouping of kiln posts so that the smaller end rests on the top of the posts. The length of the posts will determine the height of the coil.

Left: Close to the end of a Cone 6 firing, the coil drops to the kiln shelf.

74 CERAMICS MONTHLY “Lamp: Alien Eyes,” 21 inches in height, slab built and “Lidded Bowl on Coil,” 11 inches in height, stoneware, fired extruded, glazed and raku fired. to Cone 6, by Michael Garnes, Stone Mountain, Georgia. stretch back to the height of whatever After graduating in 1980 from Con­ As the pottery studio manager at the posts he used. cord College in Athens, West Virginia, Gwinnett Council for the Arts and the “My tallest coil to date is 16 inches with a degree in commercial art, he Children’s Art Museum in Duluth, and I’ve successfully crafted coils up to went to work for a printing company; Georgia, Garnes shares his experiences 1½ inches in diameter. I generally ex­ six years later, he bought the business. with students of all ages. “Mike’s gen­ trude solid lengths of clay for coils Over the course of 13 years, he built a erosity as a person definitely spills over smaller than ½ inch in finished diam­ business, moved to Virginia for his wife’s into his work in the studio,” says eter, since smaller hollow coils didn’t career, then built a second business. Nancy Gullickson, executive director drop evenly. For finished coils with a Along the way, he dreamed of turning of the suburban Atlanta arts center. diameter over 1 inch, I found solid clay to clay. When the family relocated to “He has found such personal and pro­ tended to form hairline cracks during Atlanta in 1996, he decided to leave fessional satisfaction in pottery that the higher-temperature firing, so I be­ printing forever and become a profes­ he’s eager to share that with our stu­ gan extruding hollow coils to ensure a sional potter. dents. No matter the experience or age higher success rate in the second firing. “My family’s relocation to Gwinnett level, he wants everyone to find a satis­ Interestingly, the hollow coils are actu­ County in Georgia afforded me a tre­ fying creative outlet.” ally stronger than the solid coils.” mendous opportunity to reconnect with From printer to potter to ceramics Born in Charleston, West Virginia, pottery. I began taking classes at the innovator, Games’ career continues to Garnes was raised in California and West Gwinnett Council for the Arts, then unfold. As his “Lifesprings” series con­ Virginia. His artistic odyssey was pre­ volunteering. Ultimately, my volunteer­ tinues to develop, so does his vision for ceded by a career built, then rejected. ing became a job; my job, a passion.” what clay can do. ▲

February 2000 75 Awka Oil-Spot Glaze by Emman Okunna

Wheel-thrown pitcher and mugs, 8 inches in height, with Awka Oil-Spot Glaze, fired to Cone 10 in oxidation.

t Azikiwe University in Awka, AR BB came possible to have some free iron, Nigeria, we had been fascinated Sawdust Ash (washed) 15 % 10 % which produced the spots. Our lime A by the rich black glazes of Talc 5 5 glazes would not produce any blacks Chinas Song dynasty, classified by the Emene Clay (sieved) 25 25 spotted with rust despite increased quan­ Japanese as temmokus, which have the Granite 55 60 tities of iron oxide. remarkable property of breaking to rust. 100% 100 % Of immense interest to us was Nigel We had therefore been running several Add: Red Iron Oxide 4 % 4 % Woods emphasis, in his book Oriental tests, trying to recreate this glaze with Glazes, on those materials (dolomite and local materials, when a propitious acci­ All tests were fired to 1280°C (2336°F) whiting) that he said would aid the oil- dent occurred. in both oxidation and reduction. spot effect, as his recipe was quite dif­ In the course of conducting these The result was most unexpected. ferent than the one we had evolved: tests, a blending of two recipes, one While we were looking forward to a lime (AL) and the other alkaline (AR), rich plain black glaze, without a ten­ Nigel Wood Oil-Spot Glaze produced some good plain black glazes, dency to run, the blends that were higher (Cone 9) but these blends showed a strong ten­ in BB produced a rich black glaze with Dolomite...... 15.60% dency to run, indicating that AR was rust spots. The blends that were higher Wollastonite...... 1.83 not sufficiently alkaline. We, therefore, in AR came out plain black, evidently Potash Feldspar...... 18.35 decided to blend AR with another recipe the result of the lime taking the iron BB Ball Clay...... 64.22 (BB) with slightly increased alkalinity oxide completely into solution. When 100.00% and reduced ash (lime) content: the lime content was reduced, it be­ Add: Red Iron Oxide...... 4.59%

76 CERAMICS MONTHLY Awka Oil-Spot (BB) Glaze (Cone 9) Sawdust Ash (washed)...... 10 % Talc...... 5 Emene Clay (sieved)...... 25 Granite...... 60 100% Add: Red Iron Oxide ...... 4% Perhaps significant, too, are the re­ sults we obtained using iron spangles (Fe3O4) in some batches. These pro­ duced rather metallic-looking glazes, spotted with rust on a brown back­ ground. The spots were more frequent, but smaller in size. The batches that were mixed with red iron oxide (Fe2O3) produced really black glazes with large reddish brown spots. These results were the same in both oxidation and reduc­ tion firings. The effect produced by the iron spangles is perhaps the result of the hard and dense nature of the material, which makes it resistant to chemical break­ down, as noted by Frank and Janet Hamer in The Potters Dictionary of Ma­ terials and Techniques. When the recipe with iron spangles was applied on a body dipped in white slip, the metallic luster was completely removed, producing a soft oil-spot glaze on a brown background. The white slip may have “starved” the glaze of the ex­ tra iron it had hitherto taken on from the clay body. The thickness of application was also of great importance. There were usually more spots where the glaze was thick. While all the details of our tests have not been included, it is apparent that the oil-spot effect can be obtained from a variety of materials, and is not depen­ dent on the availability of particular commercial ingredients. What is im­ portant is to introduce a good balance of appropriate materials (flux, alumina and silica) to make the glaze sufficiently Tiles with oil-spot glaze in which different types of iron oxide were used, alkaline. Whatever the final combina­ fired to Cone 10 in oxidation, by Emman Okunna, Awka, Nigeria. tion, the addition of iron oxide plays the strongest part; it brings about vari­ ous spotting effects, depending on the type of iron oxide used. ▲

February 2000 77

lery, 5174 Leavenworth, Omaha 68106; e-mail Call for Entries [email protected]; or telephone (402) 556-3218. Application Deadlines for Exhibitions., June 2 entry deadline Fairs, Festivals and Sales Sandton, Gauteng, South Africa “Altech Ce­ ramics Biennale 2000” (September 22—October 14). J uried from slides. Entry fee: in South Africa, R150; APSA members, R50; international artists, International Exhibitions US$30. Jurors: Ian Calder, Hennie Meyer and February 5 entry deadline Kim Sacks. Award judge: Jeroen Bechtold. Awards: Sacramento, California*^/omen Consuming, premier, SARI5,000 (approximately US$2445); Women Consumed” (April 5-29), open to works sculpture award, SA R10,000 (approximately in all media except video, installation or perfor­ US$1630); 3 merit awards, SA R5000 (approxi­ mance art. Juried from up to 5 slides. Fee: $ 10 per mately US$815) each. Contact the Association of entry; up to 5 entries. Awards: over $1500. For Potters of Southern Africa, PO Box 2900, North prospectus, send SASE to MatrixArts, 1518 Del Riding, 2162 Gauteng, RSA. Or contact APSA Paso Blvd., Sacramento 95815; see website at Secretary Cynthia McAlpine: e-mail [email protected]; www.matrixarts.org or telephone (916) 923-9118. telephone (27) 11 673 7893; fax (27) 11 673 6102. San Angelo, Texas “The Thirteenth San Angelo June 8 entry deadline National Ceramic Competition” (April 13-June Omaha, Nebraska “Realism II 2000” (July 3- 18), open to residents of the United States, Canada 24). Juried from slides. Entry fee: $30 for up to 3 and Mexico. Juried from slides. Juror: Matthew slides; $5 for each additional slide. Cash awards. Kangas, critic/curator. Awards: first place, $2000; For prospectus, send SASE to Period Gallery, second, $1500; third, $1000; Tile Prix Primo, 5174 Leavenworth, Omaha 68106; e-mail $750. Illustrated catalog. For further informa­ [email protected]; or telephone (402) tion, contact San Angelo Museum of Fine Arts, 1 556-3218. Love St., San Angelo 76903; or telephone (915) June 15 entry deadline 653-3333. Mashiko, Japan “The Mashiko International February 8 entry deadline Ceramics Contest 2000” (October 8—December Omaha, Nebraska “Contemporary II 2000” 3). Juried from actual works. Jurors: potters (March 6-27). Juried from slides. Entry fee: $30 Shinsaku Hamada, Hideyuki Hayashi, Ryusaku for up to 3 slides; $5 for each additional slide. For Miwa, Tatsuzo Shimaoka; and art critics Hiroshi prospectus, send SASE to Period Gallery, 5174 Aoki, Rupert Faulkner, Mitsuhiko Hasebe and Leavenworth, Omaha 68106; telephone (402) Kenji Kaneko. No entry fee; all shipping and 556-3218; or e-mail [email protected]. handling expenses are responsibility of artist. For February 14 entry deadline entry form, contact the Secretariat, Mashiko In­ Baldwin City, Kansas*The 2000 International ternational Pottery Contest Executive Commit­ Cone Box Show” (Spring 2000), open to works tee, 2030 Mashiko, Mashiko-Machi, Haga-Gun, that fit into a large Orton cone box (3x3x6 Tochigi-Ken, Japan 321-4293; or fax (81) 285 inches). Juried from actual works. Jurors: Nina 726 430. Hole, Denmark; Richard Notkin, Montana; Jeff Oestreich, Minnesota. For prospectus, send SASE United States Exhibitions to Cone Box Show, Inge G. Balch, Baker Univer­ sity, Art Dept., PO Box 65, Baldwin City 66006. February 11 entry deadline April 20 entry deadline Elmhurst, /l/inois“Elmhurst Art Museum Third Taipei, Taiwan “The Sixth Taiwan Golden Annual Competition” (April 4—May 28), open to Ceramics Awards” (October 28-January 28, clayworks no less than 4 inches and no more than 2001). J uried from up to 3 slides of different views 60 inches in any dimension. Juried from up to 3 per entry; up to 2 entries. Awards: Golden Ceram­ slides (with SASE). Juror: Wayne Higby. Entry fee: ics Grand Purchase Award, NT$600,000 (ap­ $25. Awards: first place, $500; second, $300; proximately US$19,000) plus travel grant of third, $200; curator’s award, $100; and three NT$ 100,000 (approximately US$3000); Museum honorable mentions, $50 each. For entry form, Gold Purchase Award, NT$350,000 (approxi­ contact the Elmhurst Art Museum, 150 Cottage mately US$11,000); 2 silver purchase awards, Hill Ave., Elmhurst 60126. NT$250,000 (approximately US$7800) each; 3 February 14 entry deadline bronze purchase awards, NT$ 150,000 (approxi­ Tallahassee, Florida “15th Annual Combined mately US$4700) each; and 5 merit purchase Talents: The Florida National Competition” (Au­ awards, NT$ 100,000 each. For brochure/further gust 28-October 1), open to works in all media. information, contact the Sixth Taiwan Golden Juried from 2 slides per entry. Fee: $15 for up to Ceramics Awards Committee, 10 FI., 26 Nanking 2 entries. Awards: first place, $1000; second, East Rd., Section 3, Taipei 104; e-mail $500. For further information, contact FSU Mu­ [email protected]; see website at seum of Fine Arts, 250 FAB, Tallahassee 32306- www.hcgtp.com.tw; telephone (886-2) 2506- 1140; e-mail [email protected] ; or see 8101, ext. 297; or fax (886-2) 2504-2208. website at www.fsu.edu/^svad/FSUMuseum/ May 8 entry deadline combinedtalents.htm. Omaha, Nebraska “Mixed Media II 2000” February 15 entry deadline (June 5-26). Juried from slides. Entry fee: $30 for Boulder, Colorado “Celestial Seasonings: A up to 3 slides; $5 for each additional slide. Cash Loose Interpretation V” (June 22-September 9), awards. For prospectus, send SASE to Period Gal- open to teacups inspired by the spirit of Celestial Seasonings company, which can include refer­ For a free listing, submit announcements of ences to philosophy, imagery, products, packag­ conferences, exhibitions, workshops and ju­ ing or history. Juried from written or drawn ried fairs at least two months before the proposals, plus slides of current work, from artists month of opening. Add one month for list­ over age 18. Awards: $10,000 in purchase awards. ings in July: two months for those in August. For prospectus, send SASE to Leslie Ferrin, 163 Mail to Calendar, Ceramics Monthly, PO Box Teatown Rd., Croton on Hudson, NY 10520. 6102, Westerville, OH 43086-6102, e-mail to Philadelphia, Pennsylvania “Seventh J uried Art [email protected] or fax to Show” (April 28—May 5). Juried from slides. Jurors: (614) 891-8960. Jimmy Clark, executive director, the Clay Studio;

80 CERAMICS MONTHLY February 2000 81 6-28). Juried from slides. Juror: Catharine Hiersoux. 210 Patterson Bldg., Penn State University, Uni­ Call for Entries Over $9000 in place, purchase and merit awards. For versity Park 16802; or e-mail [email protected]. prospectus, send legal-sized SASE to Lincoln Arts, PO March 24 entry deadline Box 1166, Lincoln 95468. Greensburg and Youngwood, Pennsylvania Ben Kamihira, painter; and Ben Mangel, owner, March 9 entry deadline “Westmoreland Art Nationals—26th” (June 3- Mangel Gallery. Location: William Penn Charter Tampa, Florida “Fine Crafts 2000 Exhibi­ 18 and July 1-4), open to works in all media. School. For further information, telephone (215) tion” (April 8-May 30), open to all 2- and 3- Juried from slides. Send legal-size SASE to West­ 844-3460, ext. 202. dimensional media in color. Juried from slides moreland Art Nationals—26th, RD 2 Box 355 A, February 18 entry deadline (with #10 SASE). Entry fee: $25; members, $18. Latrobe, PA 15650; e-mail [email protected] ; or Chicago, Illinois “Teapots for the 21st Cen­ Contact Artists Unlimited, Inc., 223 N. 12th St., telephone (724) 834-7474. tury” (April 2-May 15), open to functional, fun Tampa 33602; telephone (813) 229-5958; or fax April 5 entry deadline and funky teapots in all dimensions and media for (813) 228-0291. Lexington, Kentucky “Summer Open: Un- the 21st century. Juried from slides; up to 2 March 10 entry deadline Earthed Treasures: Ceremonial Vessels in Clay” entries. For prospectus, contact A. Houberbocken, University Park, Pennsylania “Crafts National (June 23-July 30), open to tripod-form ceremo­ Inc., PO Box 196, Cudahy, WI 53110; tele­ 34” (June 2-July 21). Juried from slides. Fee: $20 nial vessels by ceramists 18 years and older. Juried phone/fax (414) 481-4000. for 3 entries. Juror: Gearhart Knoedel, director, from slides. Juror: Deborah Bedwell, ceramist/ February 28 entry deadline Cranbrook Academy of Art. Awards: at least $3000. founder and executive director of Baltimore Lincoln, California “Feats of Clay XIII” (May Send SASE to Crafts National 34, Zoller Gallery, Clayworks. Fee: $25 for up to 3 entries; $35 for 4- 6 entries. Awards: $1350. Send SASE to LAL Summer Open, 209 Castlewood Dr., Lexington 40505; or, for further information, telephone (606) 254-7024. April 7 entry deadline Southport, North Carolina “National Juried Show” (June 19-July 29), open to 2- and 3- dimensional works. Juried from slides. For pro­ spectus, send SASE to Associated Artists of Southport, PO Box 10035, Southport 28461. April 15 entry deadline Chester Springs, Pennsylvania “Studio Days 2000” (September 15—October 7), open to func­ tional ceramics. Juried from 5 slides (with SASE). Entry fee: $20. Contact Studio Days 2000, Juried, Chester Springs Studio, PO Box 329, Chester Springs 19425; e-mail [email protected]; tele­ phone (610) 827-7277. April 21 entry deadline Athens, Ohio “The Vietnam War: Art Expres­ sions, Then and Now” (September 30-Novem- ber 19), open to work that is directly or indirectly influenced by the Vietnam War. Juried from slides (with SASE). Entry fee: $15. Contact Julie Clark, the Dairy Barn, PO Box 747, Athens 45701; e-mail [email protected]; see website at www.dairybarn.org; or telephone (740) 592-4981. May 15 entry deadline Waterbury Center, Vermont “I Scream, You Scream...” (August 2—31), an exhibition of ice­ cream dishes. Juried from up to 3 slides. Jurors: Ben Cohen, of Ben and Jerry’s, and Charlotte Potok. Entry fee: $10. Awards: first place, 1-year- supply of ice cream. For prospectus, send SASE to Maura Hempstead, Vermont Clay Studio, Rte. 100, Waterbury Center 05677; see website at www.vermontclaystudio.com; or telephone (802) 244-1126, ext. 42. June 9 entry deadline Denton, Texas “Ceramics USA 2000” (Octo­ ber 9—November 11). Juried from slides. Jurors: Ellen Shankin and Sandy Simon. Entry fee: $20. Cash and purchase awards. For prospectus, send SASE to Ceramics USA—Gallery Office, Univer­ sity of North Texas, PO Box 5098, Denton 76203-0098; e-mail [email protected] or [email protected]; or telephone (903) 784-2354. July 15 entry deadline Waterbury Center, Vermont “Emerging Artists of the US” (October 1-November 15). Juried from slides. Entry fee: $10. For prospectus, send SASE to Maura Hempstead, Vermont Clay Studio, Rte. 100, Waterbury Center 05677; see website at www.vermontclaystudio.com; or telephone (802) 244-1126, ext. 42.

Regional Exhibitions April 7 entry deadline Kingston, Rhode Island “Earthworks: Open Juried Clay Annual” (April 13-May 7), open to

82 CERAMICS MONTHLY February 2000 83 tact EXPO Coordinator, 43rd Guilford a 10x10-foot space or 10%, whichever is greater. Call for Entries Handcraft Festival, PO Box 589, 411 Church Awards: $ 1300 in merit awards. For further infor­ St., Guilford 06437; or, for further information, mation, contact Karla Prickett, Festival Coordi- telephone (203) 453-5947. nator/Visual Arts, PO Box 2181, Salina 67402- current and former Rhode Island residents or March 1 entry deadline 2181; e-mail [email protected]; see website at students working in clay. Juried from actual work. Salina, Kansas “Smoky Hill River Festival— www. midusa. net/smokyhillriverfestival; telephone Juror: Ellen Shankin. Fee: $10 per entry; mem­ Fine Art/Fine Craft Show” (June 10-11). Juried (785) 826-7410; or fax (785) 826-7444. bers, $8; up to 6 entries. Cash awards. For pro­ from 6 slides. Entry fee: $15. Booth fee: $200 for March 10 entry deadline spectus, send #10 SASE to Earthworks, South a 10x10-foot space. No commission. Awards: Madison, Wisconsin “Art Fair on the Square” County Art Association, 2587 Kingstown Rd., $5800 in merit and purchase awards. Contact (July 8-9). Juried from 4 slides (withSASE). Ju­ Kingston 02881. Karla Prickett, Festival Coordinator/Visual Arts, rors: Wendy Cooper, owner, Wendy Cooper PO Box 2181, Salina 67402-2181; e-mail Gallery, Madison; Hai-Chi Jihn, metalsmith/in- Fairs, Festivals and Sales [email protected]; see website at www.midusa.net/ structor, University ofWisconsin-Milwaukee; Don smokyhillriverfestival; telephone (785) 826-7410; Hunt, ceramist/teacher; and Betsy Tuttle, assis­ February 22 entry deadline or fax (785) 826-7444. tant director, Gallery of Design, UW-Madison. Guilford, Connecticut “Expo 2000” (July Salina, Kansas “Smoky Hill River Festival— Entry fee: $27. Booth fee: $290 for an 8x10-foot 13-15). Juried from 5 slides. Entry fee: $25. Four Rivers Craft Market” (June 9—11). Juried space. Contact Art Fair on the Square, Madison Booth fee: $400 or $450. For application, con­ from 6 slides. Entry fee: $15. Booth fee: $100 for Art Center, 211 State St., Madison 53703; e-mail [email protected]; or telephone Nicole Allen, Art Fair on the Square coordinator, (608) 257- 0158. March 15 entry deadline Elkhart, Indiana“Aix. Expressions 2000” (June 24-25). Juried from 3 slides of work and 1 of display (with SASE). Entry fee: $15. Booth fee: $95 for a 12x12-foot space. For entry form, send SASE to the Elkhart Art League, 511C Baldwin St., Elkhart 46514. March 17 entry deadline New Brunswick, New Jersey “26th Annual New Jersey Folk Festival” (April 29) .Juried from slides. Entry fee: $5. Booth fee: $100. For application, contact Helen Grynberg (732) 932-9174; e-mail [email protected] ; or download from website http: //nj folkfest. rutgers. edu. March 31 entry deadline Clinton, Iowa “Art in the Park” (June 17). Juried from 4 slides of work plus 1 of display. Entry fee: $5. Booth fee: $65 for a 12x12-foot space. No commission. Cash awards. For prospec­ tus, send SASE to Art in the Park, PO Box 2164, Clinton 52733; or telephone Carol Glahn (319) 259-8308. April 1 entry deadline Moline, Illinois “Left Bank Art League 44th Annual Invititational Fine Arts Fair” (June 3-4). Juried from 3 slides and resume. Fee: nonmem­ bers, $90 for a 10x12-foot space. No commission. Awards. For entry form, contact LBAL,cl o Charles Rubovits, Show Coordinator, 4022 Blackhawk Rd., Ste. 126, Rock Island, IL 61201; telephonel fax (309) 794-1142. Morristown, New Jersey “24th Annual Morristown CraftMarket” (October 20-22). Juried from 5 slides. Fee: $20. For application, send SASE to Morristown CraftMarket-CM, PO Box 2305, Morristown 07962. Cambridge, Wisconsin “9th Annual Cambridge Pottery Festival and U.S. Pottery Games” (June 10-11). Juried from 4 slides. For further informa­ tion, see website at www.potteryfestival.com; or telephone Peggy at (608) 423-3780. April 5 entry deadline Chautauqua, New York “Crafts Festivals 2000” (July 7-9 or August 11-13). Juried from 3 slides of work plus 1 of booth display. Entry fee: $15 per show. Booth fee: $200 per show. For prospectus, send business-size SASE to De­ von Taylor, Festivals Director, Chautauqua Crafts Alliance, PO Box 89, Mayville, New York 14757-0089. June 1 entry deadline Mason City, Iowa “MacNider Museum Out­ door Art Market” (August 20). Juried from up to 5 slides. Entry fee: $40. Seven cash awards. For prospectus or further information, contact Charles H. MacNider Museum, 303 Second St., SE, Mason City 50401; or telephone (515) 421-3666.

84 CERAMICS MONTHLY February 2000 85 Suggestions From Readers

Temporary Lid Need a temporary lid for a small pail? Try using a disposable paper or Styrofoam plate; you can even cut slits through the rim of the plate if the pail has a handle.—Mike Knox, La Crosse, Wis.

Rib Organizer For a wooden rib tool organizer, find a large piece of wood, and run it through a table saw, cutting halfway down to make grooves.— Keofar Kesornsook, Bangkok, Thailand

Wood Ash Sources Potters interested in a consistently plenti­ ful supply of wood ash for their glazes should locate the nearest restaurant using wood to heat their ovens. With the increasing popu­ larity ofwood-burning ovens, and the amount of wood used in a week of commercial baking (½ to ¾ of a cord), restaurant owners are looking to give away large quantities of free wood ash.—JejfZamek, Southampton, Mass.

Drop Cloth To keep my basement workshop clean and dust free, I use a blue plastic dropcloth. This is the reinforced type, which is available in any hardware store, particularly the larger chain stores. They go on sale regularly, so they can be bought for under $8. They come as small as 6x8 feet or as large as 14 feet square. I have had mine under my wheel for three years and wipe it up with a damp sponge or mop as needed.—Darel Stein, Atlanta, Ga.

Burnishing Bag To produce a beautiful shine on terra sigillata, make a pad of soft fabric (e.g., an old T-shirt), then wrap it in plastic, pulling the plastic very snug around the fabric so you have a smooth surface. The bags from the produce department at the grocery store work great, but be sure not to use the ones with printing on them. Use to buff fairly lightly, kind of like shining a shoe, when the terra sigillata is between leather hard and bone dry.—-Jennifer Firestone, Manvel, Tx.

Share your ideas with others. Ceramics Monthly will pay $10 for each one published. Suggestions are welcome individually or in quantity. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960.

86 CERAMICS MONTHLY February 2000 87 cussions and demonstrations with Nick Joerling and Ellen Shankin. For further information, con­ Calendar tact David Crane: e-mail [email protected] ; or tele­ Events to Attend—Conferences, phone (540) 231-5547. West Virginia, Ripley February 18—20 “20th An­ Exhibitions, Workshops, Fairs nual Potters’ Gathering” will include “functional pots” session with Lee Rexrode, plus wheel demon­ strations, slide presentations and group discussions. Contact the Cedar Lakes Crafts Center, HC 88, Box 21, Ripley 25271; or telephone Gloria Conferences Gregorich, crafts coordinator, (304) 372-7873. Canada, British Columbia, Vancouver March 25 Alabama, Tuscaloosa March 1—5 “Alabama Clay “Canadian Clay Symposium” will include lectures Conference” will include preconference wood fir­ and demonstrations with 12 ceramists, plus films ing, ancient firing with Vince Pitelka, demonstra­ tions and collaborative work with John Baymore and exhibitions. Fee (before February 15): and Mel Jacobson, plus computer web workshops. Can$64.20, includes tax; after February 15, Can$74.90. Contact the Shadbolt Centre for the Held in conjunction with “Alabama Crafts 2000,” a broad-based crafts conference. For further infor­ Arts, (604) 291-6846. mation or registration forms, contact Georgine Canada, Ontario, Toronto February 18—20 Clarke, Alabama State Council on the Arts, Alabama “From Both Sides of the Counter,” conference Crafts 2000,201 Monroe St., Montgomery, AL 36130; about the current market for crafts, including e-mail [email protected] ; or telephone (334) such topics as finding the right market, photogra­ phy, promotional materials, etc. For further infor­ 242-4076, ext. 250. mation, telephone the Harbourfront Centre at (416) Arizona, Yuma February 24-26 “Yuma Sympo­ sium 2000” will include slide presentations, lec­ 973-4928. China, Guangdong Province, Shiwan tures and demonstrations by various artists. Ceram­ May 20—25 “First Fushan International Ceramics Wood-firing ics events will include a slide lecture and demonstra­ Conference” will include workshops, lectures, exhi­ tion on wood-fired ceramics by Chuck Hindes, and a lecture on “Raku Vessels: A Commitment to bitions, tours of pottery studios and a food festival. Participants will help fire an ancient dragon kiln. Nature/Technology” by George Timock. For bro­ Post-symposium travel will include Jingdezhen, chure, contact Neely Tomkins, 90 W. Second St., Wuhan, Xian, Chenlu, Handan and Beijing. Con­ Yuma 85364; or telephone (520) 782-1934. tact China Ceramic Cultural Exchange Interna­ California, Los Angeles March 3I-/4pnY^National Art Education Association (NAEA) Convention. tional Office, Jackson Lee, 14 Courtwright Rd., For further information, contact the National Art Etobicoke, Toronto, Ontario M9C 4B4, Canada; e-mail [email protected]; or telephone Education Association, 1916 Association Dr., Reston, VA 20191-1590. (416) 695-3607. Colorado, Denver A/arcl;22-25“Higher Ground,” China, Jiangxi Province, Jingdezhen May 27—29 “The Spirit of Porcelain, 34th National Council on Education for the Ce­ plus travel through June 18 from Song Dynasty to Today” will include lectures, ramic Arts (NCECA) conference. Contact Regina Brown, Executive Secretary, NCECA, PO Box 1677, workshops; plus tours of the Song kiln sites, kaolin Bandon, OR 97411; telephone (800) 99-NCECA. and China stone mines, and studios. Post-sympo­ sium travel will include Wuhan, Xian, Chenlu, Florida, Clearwater Beach February 3—4 Handan and Beijing. Fee: US$4300, includes con­ “CerMATECH Workshop 2000” will include ference fee, materials, round-trip airfare, in-coun- structured but informal exchanges on produc­ tion-related topics for production potters and try travel, meals and lodging. Contact China Ce­ pottery manufacturers. Contact CERMA, PO Box ramic Cultural Exchange International Office, Jack- 3388, Zanesville, OH 43702-3388; e-mail son Lee, 14 Courtwright Rd., Etobicoke, Toronto, [email protected]; see website at Ontario M9C 4B4, Canada; e-mail www.offinger.com/cermatech; telephone (740) [email protected]; telephone (416) 452-4541; fax (740) 452-2552. 695-3607. Maryland, Baltimore May 19-21 “Craft Business Institute” will include sessions on marketing-ori­ Solo Exhibitions ented topics for artists with Wendy Rosen, Bruce Arizona, Scottsdale February 3—29 Peter Voulkos; at Baker, Curtis Benzie, Tom Markusen, Courtney gallerymateria, 4222 N. Marshall Way. Peterson, and gallery owners Donna Milstein and California, San Francisco Rudy Autio; at Steve Swan. For further information, contact the March 2—31 Dorothy Weiss Gallery, 256 Sutter St. Rosen Group: e-mail [email protected]; see Colorado, Denver through March 26Charles Simonds. website at www.americancraft.com; telephone (410) through October 1 Takashi Nakazato, “Contempo­ 889-2933; or fax (410) 889-1320. rary Pottery from an Ancient Japanese Tradition”; at New York, Alfred July 9— I2“Fractography of Glasses the Denver Art Museum, 100 W. 14th Ave. Pkwy. and Ceramics IV.” For further information, contact Connecticut, New Canaan February 13—March 12 Dr. James Varner, Alfred University: telephone Marilyn Richeda, “With These Hands: Composi­ (607) 871-2414; fax (607) 871-2354; or e-mail tions in Terra Cotta”; at Hays Gallery, Silvermine [email protected] . Guild Galleries, 1037 Silvermine Rd. North Carolina, Asheboro March3-5“ 13th North Delaware, Winterthur l\ made Carolina Potters Conference.” Contact the February 5—June25“ this jar...’ The Life and works of the Enslaved Randolph Arts Guild, PO Box 1033, Asheboro African-American Potter, Dave”; at the Winterthur 27204-1033; telephone (336) 629-0399. Museum, Rte. 52. Virginia, Blacksburg May 19-21 “First Annual Illinois, Chicago March 18-April 23 Julia Galloway; New River Ceramics Symposium” will include dis- at Lill Street Gallery, 1021 W. Lill. For a free listing, submit announcements of Missouri, St. Louis February 7-29 Chris Berti; at the conferences, exhibitions, workshops and ju­ St. Louis Community College at Forest Park, Gallery ried fairs at least two months before the of Art, 5600 Oakland Ave. Montana, Helena through February 27fod\zxdNot\dn, month of opening. Add one month for list­ “Passages”; at the Holter Museum of Art, 12 E. ings in July; two months for those in August. Lawrence St. Mail to Calendar, PO Box Ceramics Monthly, New York, Alfred through March 30 Jack Earl; at the 6102, Westerville, OH 43086-6102, e-mail to International Museum of Ceramic Art, New York [email protected] or fax to State College of Ceramics at Alfred University. (614) 891-8960. New York, New York through February 5 Peter

88 CERAMICS MONTHLY

tional: Colorado Ceramic Artists.” “Ceramics by Calendar Colorado Middle and High School Students”; at Mizel Museum of Judaica, BMH BJ Synagogue, 560 S. Monaco Pkwy. Pierobon; at John Elder Gallery, 529 W. 20th St., March 12—April 1 “Chinese Contemporary Ce­ 7th FI. ramic Art Exhibition,” works by artists from Main­ through February 5DavidTesdell, “Middleburg”; at land China, Hong Kong, Taiwan and the United Greenwich House Pottery, 16 Jones St. States. “Conceptions in Clayworks—Korea 2000”; through February 12 Betty Woodman, current and at Indigos Gallery, 215 W. 13th Ave. past work; at Max Protetch, 511 W. 22nd St. March 17-April 9 “Clay Show”; at Core: New Art New York, Port Chester February 4—26Kon Meyers, Space, 2045 Larimer St. new work; at the Clay Art Center, 40 Beech St. March 22-25 “Third Annual K-12 Ceramic Ex­ North Carolina, Raleigh March 6-April 9 Peter hibit”; at the Adam’s Mark Hotel, “Windows” room. Callas sculpture; at North Carolina State Univer­ Colorado, Littleton March 15-31 “Rocky Moun­ sity Craft Center. tain Region Cooperative Members Exhibition”; at Pennsylvania, Philadelphia February 4-27 Matt the Littleton Town Hall Art Center Gallery. Wilt. Allan Rosenbaum. Melody Ellis; at the Clay Colorado, Palmer Lake March 15—April 15 Studio, 139 N. Second St. “Richards Feast,” ceramic tableware; at Tri-Lakes Pennsylvania, Pittsburgh through February 2 Anna Center for the Arts, 304 Hwy. 105. Calluori Holcombe, “The Still Life Transfigured.” Connecticut, Brookfield through March 26“ Neriage, through March 1 Megan Sweeney, sculpture. Febru­ Nerikomi and Beyond: Color in Clay,” with works ary 4—March 29 Craig Petey, wood- and gas-fired by 13 artists; at Brookfield Craft Center, 286 Shino ware. March 10-April26Dzv'id Alban, sculp­ Whisconier Rd. ture; at the Clay Place Gallery, Mineo Bldg., 5416 Louisiana, Thibodaux February 28-March 25 Walnut St. “Utilitarian Ceramic National”; at Ameen Art Gal­ South Carolina, Charleston through March 11 lery, Nicholls State University. “Picasso Ceramics”; at Gibbes Museum of Art, 135 Maryland, Baltimore through February 27 “Sub­ Meeting St. lime Servers: A Celebration of Theatrical Possibili­ Texas, Lubbock through November James C. ties for the Table,” works by 35 artists. March 4— Watkins retrospective; at Texas Tech University April 1 Silvie Granatelli and Michael Simon; at Museum, Fourth St. and Indianola Ave. Baltimore Clayworks, 5706 Smith Ave. Virginia, Fredericksburg through February 13 Lorene Maryland, Rockville February 21—March 70“Beau- Nickel, sculptural vessels; at duPont Gallery, Mary tiful Use: A National Pottery Invitational,” with Washington College. works by Linda Arbuckle, Lynn S. Bowers, Linda Washington, Seattle February 3— 27Carol Gouthro, Christianson, Louise Harter, Peg Malloy, Matthew “Fructescence”; at Foster/White Gallery, Pioneer Metz, Lisa Naples, Jeff Oestreich, Neil Patterson Sq., 123 S. Jackson St. and Linda Sikora; at the Montgomery College Rockville Campus Art Gallery, South Campus In­ Group Ceramics Exhibitions structional Bldg., Rms. 117 and 118. Michigan, Berrien Springs through February 11 California, Claremont through March 5 “Ceramic “The Clay Up There: An Exhibition of Current Annual 2000: 56th Ceramic Annual”; at Ruth Ceramic Art from Anderson Ranch,” works by 13 Chandler Williamson Gallery, Scripps College, 11 th artists; at Andrews University, Art Center Gallery. and Columbia sts. Michigan, Detroit through February 26 “Yixing California, El Cajon through February 16 “View­ 2K.” “American Teapot Artists Inspired by Yixing”; point: Ceramics 2000,” juried national; at at Pewabic Pottery, 10125 E. Jefferson at Cadillac. Grossmont College Hyde Gallery, 8800 Gross- Minnesota, Minneapolis through February 19 mont College Dr. “Jerome Artists Exhibition,” works by Angela California, San Diego through October 31 “The Beekman, Edith Garcia and Jen Richardson. March Magic of Mata Ortiz,” with pottery from the Juan 3-April 15“ 1999-2000 Regis Masters Series: The Quezada collection; at the San Diego Museum of Exhibition,” works by Stephen De Staebler, Jack Man, 1350 El Prado, Balboa Park. Earl, Robert Turner, Peter Voulkos, Betty Woodman California, San Francisco February 3—29N ew works and Eva Zeisel; at the Northern Clay Center, 2424 by Sergei Isupov, Keisuke Mizuno and Greg Rob­ Franklin Ave., E. erts; at Dorothy Weiss Gallery, 256 Sutter St. Missouri, Kansas City March 3-April 22 “Flora Colorado, Arvada through March 25“NCECA 2000 and Fauna,” curated exhibition of works by Adrian Regional Students Juried Exhibition.” through March Arleo, Cary Esser, Neil Forrest, Ovidio C. Giberga, 26 “Time in Tandem: Nan and James McKinnell Marilyn Lysohir, Keisuke Mizuno, Adelaide Paul Retrospective” through April 2 “A Glimpse of the and Chris Weaver; at the Kansas City Art Institute, Invisible,” NCECA 2000 invitational exhibition; at 4415 Warwick Blvd. Arvada Center for the Arts and Humanities, 6901 New York, Albany through September 13 “From the Wadsworth Blvd. Collections: The Weitsman Stoneware Collection”; Colorado, Aurora through April 72“Y2Klay at DLA”; at the New York State Museum, Empire State Plaza. at the Denver International Airport, 6th level. New York, Fredonia February 18-March 31 “Sculp­ Colorado, Boulder through March 22“ AD ewdrop ture in Clay,” works by Rick Hirsch, Nancy Jurs, Poised Atop a Leaf of Grass,” 15th-17th-century Bill Stewart and Robert Wood; at the Rockefeller Southeast Asian ceramics; at the CU Art Galleries, Arts Center Gallery, State University College. University of Colorado at Boulder, Sibbell-Wolle New York, New York through February 5 “Func­ Fine Arts Bldg. tional Ceramics Invitational—The Decorated Pot,” Colorado, Breckenridge March 10—26“Wood-fired works by Erik Bright, Julia Galloway, Andrea Gill, Ceramics” by Dan Anderson, Frank Boyden, Doug Frank Martin, Liz Quackenbush and Bruce Winn; Casebeer and Peg Malloy; at Hibberd McGrath at John Elder Gallery, 529 W. 20th St. Gallery, 101 N. Main St. through February 5 “Black and White,” featuring Colorado, Colorado Springs February 23-April 19 vessels and sculpture by Margaret Bohls, Ruth “On the Wall, A Clay Invitational,” works by 14 Borgenicht, Erik Bright, Marek Cecula, Barbara artists; at the Coburn Gallery, Colorado College, 14 Diduk, Kathey Erteman, Jeffrey Mongrain, John E. Cache La Poudre St. Albert Murphy, Melissa Stern, Prue Venables and Colorado, Denver through August 27 “The Clay Alicia Warner. February 24—March 25 “Artists on Vessel: Modern Ceramics from the Norwest Col­ Their Own,” juried exhibition of works by emerg­ lection, 1890-1940”; at the Denver Art Museum, ing artists; at Jane Hartsook Gallery, Greenwich 100 W. 14th Ave. Pkwy. House Pottery, 16 Jones St. February 10—May 15 “The Tzedakah Box Invita­ through February 19 “Contemporary British Ce-

90 CERAMICS MONTHLY ramies,” works by 16 artists; at James Graham and Sons, 1014 Madison Ave. New York, Rochester March 3—April 1 “Porcelain 2000”; at Esmay Fine Art, 1855 Monroe Ave. North Carolina, Winston-Salem through March 26 “Presidential China Exhibit”; at the Gallery at Old Salem, Frank L. Horton Museum Center, 924 S. Main St. Ohio, Columbus February 6—April 9 “Contempo­ rary Ceramics 1999: The Work of African-Ameri­ can Ceramics Artists”; at the Ohio Craft Museum, 1665 W. Fifth Ave. Oregon, Eugene February 14—March 15“0ur Hearts Love and Passion.” February 15-28 “To the Edge and Back,” teapots; at Good Monkeys Gallery, 44 W. Broadway, Ste. 102-A. Oregon, Portland February 1—25 “Kiss of Fire,” wood- and soda-fired works; at Mt. Hood Commu­ nity College, 26000 S.E. Start St. Pennsylvania, Erie through March 5 “Poems in Clay: Arthur Osborne’s ‘Plastic Sketches’ for the Low Art Tile Works,” low-relief, sculptural clay images produced in the 1880s; at the Erie Art Museum, 411 State St. Pennsylvania, Philadelphia March 3—26' Terra,” works by Hungarian sculptors; at the Clay Studio, 139 N. Second St. Pennsylvania, Pittsburgh through February 11 “Ce­ ramics for the New Millennium”; at the Associated Artists of Pittsburgh Gallery, 937 Liberty Ave. Texas, Abilene March 1-31 “Light and Color,” works by Michael Haley and Susy Siegele; at Amy Graves Fine Art Gallery, McMurry University. Texas, Dallas February 5-March 5 “Emerging Voices,” curated exhibition of works by 13 ceram­ ists; at 500X Gallery, 500 Exposition. Vermont, Waterbury Center through February 28 “Vermont Clay Studio Faculty.”March 1—31 “Func­ tional Coastal: A Representation,” works by Maine artists; at the Vermont Clay Studio, Rte. 100. Washington, Seattle February 17-May 7“Porce­ lain Stories: From China to Europe”; at the Seattle Art Museum, 100 University St. Wisconsin, Hudson March 18-May 7“MacKenzie and Johnston: 83 Years of Pots,” functional ware by Randy Johnston and Warren MacKenzie; at the Phipps Center for the Arts, 109 Locust St. Ceramics in Multimedia Exhibitions Alabama, Mobile through April 5“Asking/We Exist: 25 African-American Craft Artists”; at the Mobile Museum of Art, 4850 Museum Dr. Arizona, Mesa through February 19 “22nd Annual Vahki.” February29-April8“L2xg>zi than Life,” three- person exhibition including large-scale ceramic figures by Patti Warashina; at Galeria Mesa, Mesa Arts Cen­ ter, 155 N. Center St. Arizona, Phoenix February 19-May 28 “Three Chinese Traditions—Three Arizona Collections,” including 21 black- and brown-glazed pieces, dated 400-1400; at the Phoenix Art Museum, 1625 N. Central Ave. California, Pomona through February 4 “Ink and Clay”; at W. Keith and Janet Kellogg University Art Gallery of California State Polytechnic University, 3801 W. Temple Ave. California, Rancho Palos Verdes March 10—Sep­ tember 10 “Big Sculpture”; at the Palos Verdes Art Center, 5504 W. Crestridge Rd. California, San Diego through 2001 “Folk Art of Mexico”; at the Mingei International Museum, Balboa Park, 1439 El Prado. California, San Francisco through March 26“ Reli­ quaries for America”; at the San Francisco Craft and Folk Art Museum, Bldg. A, Ft. Mason. California, Santa Cruz through April 16“ A Survey: Two Artists in Mid Career,” with pottery and sculpture by Karen Thuesen Massaro; at the Mu­ seum of Art and History, McPherson Center, 705 Front St. Continued

February 2000 91 Calendar

Colorado, Boulder March 21—June 10 “Celestial Seasonings: A Loose Interpretation,” 30 teapots in clay, glass, metal and wood; at Celestial Seasonings headquarters, 4600 Sleepytime Dr. Florida, Palm Beach February 26-April5 “Empire of the Sultans: Ottoman Art from the Khalili Col­ lection”; at the Society of the Four Arts, Four Arts Plaza. Florida, Tampa February 4-March 30 “11th An­ nual Black and White, shades of gray Exhibition”; at Artists Unlimited, 223 N. 12th St. Georgia, Atlanta through March 25 “Spruill Retro: 1975-2000”; at the Spruill Center for the Arts, 5339 Chamblee Dunwoody Rd. Hawaii, Honolulu February 23-April 16“ Contem­ porary Japanese Crafts”; at the Honolulu Academy of Arts, Second Floor Gallery Illinois, Galesburg March 11-April 8“GALEX 34”; at the Galesburg Civic Art Center, 114 E. Main St. Iowa, Sioux City February 12—April 9 “Sioux City Art Center Juried Exhibition”; at Sioux City Art Center, 225 Nebraska St. Kentucky, Louisville through February 16 “Dinnerworks ’00,” dinnerware and table designs; at the Water Tower, 3005 Upper River Rd. Louisiana, Lafayette March 9—April 25 National juried exhibition of 2- and 3-dimensional art; at the Lafayette Art Association, 412 Travis St. Massachusetts, Belmont February 11—March 10 “Abstract Landscapes in Clay and Fiber,” two- person show including sculptural pottery by Dan Wiener; at Landau Gallery, Belmont Hill School. Minnesota, Bloomington through February 19“Tex­ ture, Tone and Brilliance,” 4-person exhibition including ceramics by Sarah Heimann; at Bloomington Art Center, 10206 Penn Ave., S. Minnesota, St. Cloud March 4-31 “What Is Art?”; at the Paramount Theatre, 913 W. St. Germaine St. Missouri, St. Louis through May 1 “The Really Big Shoe Show”; at City Museum, N. 15th St. Missouri, Springfield through August 1 “Outdoor Sculpture Competition”; at the Open Air Sculpture Gallery, Federal Historic District. Missouri, Warrensburg through February25“Greater Midwest International XV”; at Central Missouri State University Art Center Gallery. Montana, Helena March 24-April30 Two-person exhibition with ceramic sculpture by Adrian Arleo; at the Holter Museum of Art, 12 E. Lawrence. Nebraska, Omaha February 7—28 “All Media II 2000”; at Period Gallery, 5174 Leavenworth. New Jersey, Clinton through February 27 “Hunterdon Museum of Art’s Annual Members Exhibition”; at Hunterdon Museum of Art, 7 Lower Center St. New Mexico, Santa Fe through April 21 “New Mexico 2000,” including stoneware by Katheleen Nez; at the Museum of Fine Arts, 107 W. Palace Ave. New York, Albany through September 13 “From the Collections: Treasures from the Wunsch Ameri­ cana Foundation”; at the New York State Museum, Empire State Plaza. North Carolina, Carrboro through March 31 “Y 2000 Design and Spirit”; at Green Tara Gallery, 118 E. Main St. North Carolina, Charlotte February 26—September 17“An Inaugural Gift: The Founders’ Circle Col­ lection”; at the Mint Museum of Craft + Design, 220 N. Tryon St. South Carolina, Columbia through March 19 “100 Years/100 Artists: Views of the 20th Century in South Carolina Art,” including ceramics by Vir­ ginia Scotchie; at the South Carolina State Mu­ seum, 301 Gervais St. Texas, Dallas February 25-March 19 “Irish Festival Juried Art Exhibition”; at Gallery O, 817 Exposi­ tion Ave. Texas, Houston February 13-May 7 “The Golden

92 CERAMICS MONTHLY February 2000 93 “Majolica” with Mary Lou Alberetti. For further Calendar information, contact the Brookfield Craft Center, PO Box 122, Rte. 25, Brookfield 06804; or tele­ phone (203) 775-4526. Age of Chinese Archaeology: Celebrated Discover­ Connecticut, Guilford February 5 “Clay Sculpture ies from the People’s Republic of China”; at the Workshop” with Dodie Marchese. February 19—20 Museum of Fine Arts, Houston, 1001 Bissonnet. “Vessels that Pour” with Susan Beecher. March 25— Wyoming, Riverton March 6—April 1 ^“Exhibition 26^ThrowingMultipleForms” with John Jessiman. 2000,” juried show of works in all media; at Central For further information, contact the Guilford Wyoming College, 2660 Peck Ave. Handcraft Center, 411 Church St., Guilford 06437; or telephone (203) 453-5947. Fairs, Festivals and Sales Florida, Gainesville February 17—18 Demonstra­ tion and slide lecture with Anne Perrigo. Donations Alabama, Dauphin Island March 11-12 “Fifth accepted from nonstudents; no fee for students. For Annual Art and Craft Guild Juried Show”; at the further information, contact the UF Ceramics Pro­ Little Red Schoolhouse. gram, (352) 392-0201, ext. 218 or 219. Or e-mail Arizona, Phoenix March 3—5 “The Phoenix An­ Missy McCormick, president, Florida Potter’s tique and Art Show”; at the Phoenix Art Museum, Guild, at [email protected]. Cummings Great Hall, 1625 N. Central Ave. Florida, Orlando February 3-^Demonstration and California, Daly CityMarch24-26^X\\t “Contem­ slide presentation on throwing and altering with porary Crafts Market”; at the Cow Palace, 2600 David Banga. Free. Preregistration suggested. For Geneva St. further information, contact Mike Lalone, Dr. California, San Francisco February 4— 6“Sa.n Fran­ Phillips High, 6500 Turkey Lake Rd., Orlando cisco Arts of Pacific Asia.” February 11-13 “The 32819; or telephone (407) 355-3200. Tribal, Folk and Textile Arts Show”; at the Festival Florida, Sarasota February 29—March 1, April 4—6 Pavilion, Fort Mason Center, Marina district. or May 9-11 “Tile Making Workshops for the California, San Rafael February26—27“The Marin Experienced Clay Worker” with Frank Colson, Show,” featuring American-Indian, pre-Columbian relief carving, striking molds and various glazing and Spanish Colonial antiques, plus contemporary techniques. Contact the Tile Heritage Foundation, American-Indian art; at the Marin Civic Center and PO Box 1850, Healdsburg, CA 95448; e-mail Embassy Suites Ballroom. [email protected] ; or fax (707) 431 -845 5. Florida, Gainesville February 11—13 “14th Annual Florida, West Palm Beach February 19-20“Stone­ Hoggetowne Medieval Faire”; at the Alachua County ware and Porcelain” with Tom Coleman. February Fairgrounds. 21-25 “Developing an Attitude—Expressive Por­ Georgia, Atlanta March 18-19 “ACC Craft Show traiture in Clay” with Eugene Daub. March 6—11 Atlanta”; at the Georgia Dome. “Shades of Shino” with Malcolm Davis. Contact Kentucky, Louisville February 5—6'Kentucky Crafted: the Robert and Mary Montgomery Armory Art The Market, Homecoming 2000”; at the Kentucky Center, 1703 S. Lake Ave., West Palm Beach 33401; Fair and Exposition Center, South Wing B. e-mail [email protected]; see website at Maryland, Baltimore February 25—27 “ACC www.armoryart.org; or telephone (888) 276-6791 Craft Show Baltimore”; at the Baltimore Conven­ or (561) 832-1776. tion Center. Florida, Winter Park March 10-12 “Whimsical New York, New York March23-26“ Arts of Pacific Clay—By Wheel, By Hand” with Vincent Sansone. Asia”; at the 69th Regiment Armory, Lexington Fee: $125; members, $110. Registration deadline: Ave. at 26th St. March 3. For further information, contact Crealde School of Art, 600 St. Andrews Blvd., Winter Park Workshops 32792; see website at www.crealde.org ; or tele­ phone (407) 671-1886. California, Mendocino March 4—5 “Realizing and Georgia, Atlanta February 16—March 15, Wednes­ Exploring Your Creativity Thru Throwing” with days, afternoon or efenin^“Beginning Mosaic Work­ Ruthanne Tudball. March 18—19 “Specific and shop” with Robin Campo. Fee: $105; members, Simple Techniques of Mold Making” with Krista $90; includes materials. February 20-March 5“What Grecco. March 25—26 “Tile Accents” with Leslie Every Potter Should Know—3-Week Crash Course” Campbell. April 1—2 “Back to Basics” with Sasha with Becky Freeman. Fee: $75; members, $60. For Makovkin. April 8—9 “Figurative Sculpture” with further information, contact the Spruill Center for Catherine Merrill. April 15-16“All Fishermen Lost the Arts, 5339 Chamblee-Dunwoody Rd., Atlanta at Sea Become the Bones of the Fish They Seek: 30338; or telephone (770) 394-3447. Masks and Monsters of the Deep” with Bill Abright. Illinois, Chicago March 18 “Utilitarian Pottery” April 29—30 “The Ceramics Canvas” with Brian with Julia Galloway. Fee: $60, includes lunch. Higgins. May 6-10 “Centering and the Creative Telephone Lill Street Gallery, (773) 477-6185; or Flow” with Ellen Miller and Gary Sherman. May see website at www.lillstreet.com . 20-21 “Kiln Building” with Paul Soldner. May 27- Iowa, Riverside April 10—15 “Persian Tile and 29 “Atmospheric Firing” with Kent Rothman. For Design” with Jafar Mogadam, working with the further information, contact the Mendocino Art Persian tile-making process known as Ghlami using Center, PO Box 765, Mendocino 95460; see website underglazes and majolica techniques. All skill lev­ at www.mendocinoartcenter.org ; telephone (800) els. Contact the Tile Heritage Foundation, PO Box 653-3328 or (707) 937-5818. 1850, Healdsburg, CA 95448; e-mail California, Walnut Creek February 12 Demonstra­ [email protected] ; or fax (707) 431-8455. tion and slide presentation with Don Reitz. Fee: Kentucky, Richmond February 26SYide lecture and $50. Contact Walnut Creek Civic Arts Education, workshop with Peter Beasecker. Free. For further PO Box 8039, Walnut Creek 94596; or telephone information, contact Joe Molinaro, Eastern Ken­ (925) 943-5846. tucky University: [email protected] ; or Colorado, Denver March 19—21 “Shino, Surface telephone (606) 622-1634. Design and Single-fire Workshop” with Malcolm Maryland, Baltimore March 4—5 Demonstration Davis, Lynn Smiser Bowers and Steven Hill. Fee: with Sylvie Granatelli and Michael Simon. Fee: $125 for 3 days; $55 for 1 day. Limited space. $180; members, $160. April 8-9 “Hands, Smoke Contact Laguna Clay Company, (800) 452-4862, and Fire: A Raku and Pit-fire Workshop” with ext. 200. Ramon Camarillo. Fee: $160; members, $140. Connecticut, Brookfield February 6 “Defects in Contact Baltimore Clayworks: see website Clays and Glazes” with Jeff Zamek. February 11—12 www.baltimoreclayworks.org; or telephone (410) “Salt Firing” with Doug Signorovitch. March 4-5 578-1919. “Colored Clay” with Naomi Lindenfeld. March 11 Maryland, ColumbiaFebruary 19 “Ceramics Cri-

94 CERAMICS MONTHLY tique Workshop” with Winnie Coggins. Fee: $10, residents; $15, nonresidents. Registration deadline: February 14. For further information, contact the Columbia Art Center, 6100 Foreland Garth, Long Reach Village, Columbia 21045; telephone (410) 730-0075. Maryland, Frederick February 18-20“From Shino to Shinola,” demonstration/discussion with Malcolm Davis. Fee: $130; or combined with next workshop, $230. February 25-27 “Shino Firing Workshop” with Malcolm Davis. Fee: $130; com­ bined with the previous workshop, $230. March 3 “Influences and Connections,” lecture with Sheila Hoffman. Fee: $5. March 31 “Search for Form,” lecture with Robert Turner. Fee: $5. April 6-7and 9 “Salt-firing Workshop” with Ian Gregory and Phil Rogers. Fee: $195. May 4-7“Masters Throw­ ing Workshop” with Joyce Michaud. Fee: $195. May 12-14 “Working with Porcelain” with Patty Wouters. Fee: $145. For further information, con­ tact Hood College Ceramics Program, 401 Rosemont Ave., Frederick 21701; telephone Joyce Michaud (301) 696-3456; or fax (301) 846-0035. Massachusetts, Leverett March25—26“Glaze Clinic and Glaze Application” with Angela Fina. Fee: $90. March 31—April 2 “Printing with Colored Clay” with Mitch Lyons, slide presentation and work­ shop. Workshop fee: $100. May 27—28 “Raku, Pit Firing, Fuming and Burnishing” with Vicente Garcia. Fee: $90. For further information, contact Mudpie Potters/Donna Gates, 102 Dudleyville Rd., Leverett 01054; e-mail [email protected]; or telephone (413) 367-0047. Massachusetts, Somerville February 11, 25, March 17, 31 and April 7 Friday workshop series on techniques and forms with Carole Ann Fer. Fee: $15 per session. February 12—13 A session with Emmett Leader. Fee: $150; members, $75. Febru­ ary 26 “Yoga for Potters Workshop” with Carole Ann Fer. Fee: $25. March 4“Bring in the Spring,” parent/child workshop with Jennifer Thayer. March 11-12 A session with Suze Lindsay. Fee: $150; members, $75. March 26“A Day to Play with Clay” with Jennifer Thayer, workshop for adults. Fee: $25. April 1-2 “Salt-Firing Workshop” with Mark Shapiro. Fee: $275, includes materials, firing and accommodations. For further information, contact Mudflat, 149 Broadway, Somerville 02145; see website www.mudflat.org; telephone (617) 628- 0589; or fax (617) 628-2082. Massachusetts, Stockbridge February 5 and 12 “Glaze Chemistry for Potters” with Jane Burke. Fee: $100, includes materials. February21—25“Get All Fired Up—Personal Place Settings,” a children’s workshop with Paula Shalan. Fee: $110, includes materials. April 29—30 “Slip-decorated Redware Techniques (or ‘Fun with Slip and Slabs’)” with Lauren Mundy. Fee: $150. May 20 and 27“From Glaze Formulation to Fired Results!” with Jeff Zamek. For further information, contact Interlaken School of Art, PO Box 1400, Stockbridge 01262; e- mail [email protected] ; telephone (413) 298-5252; or fax (413) 298-0274. Massachusetts, Williamsburg April 14-16“ Danc­ ing on the Wheel!” with Sharon Pollock-DeLuzio. May 20-22 “Large Ceramic Forms” with Erica Wurtz. For further information, contact Horizons, 108-P N. Main St., Sunderland, MA 01375; e-mail [email protected]; see website at www.horizons-art.org; telephone (413) 665-0300; or fax (413) 665-4141. Michigan, Adrian February 25 A session with Mat­ thew Towers. March 24 A session with Todd Wahlstrom. Fee: $40 each. For further informa­ tion, contact Paul McMullan, Ceramics Dept., Siena Heights University, Adrian 48104; or tele­ phone (517) 264-7848. Michigan, Ann Arbor February 26^“Vessel Making and Different Uses of the Potter’s Wheel” with Matthew Towers. March 18 “Functional Pottery” with Henry Tanaka. Registration deadline: March 8. Fee: $55; members, $45. For further informa-

February 2000 95 Clark, 2555 Graustark Path, Wooster 44691-1606; Calendar or telephone (330) 345-7576. Oregon, Elkton March 9—18 Wood-fire workshop with Hiroshi Ogawa. Limited registration. Contact tion, contact Ann Arbor Art Center, (734) 994- Hiroshi Ogawa, 1264 Wells Rd., Elkton 97436; or 8004, ext. 101. telephone (541) 584-2857. Michigan, Detroit February 6^‘Yixing Workshop.” Oregon, Portland February 25 Panel discussion on March 4 A session with Posey Bacopoulos. For the aesthetic and techniques of American wood further information, telephone Pewabic Pottery firing. Contact Stephen Mickey, Mt. Hood Com­ (313) 822-0954. munity College, (503) 491-7309. Minnesota, Minneapolis February 3 “Photograph­ March 4—5 “Problem Solving in Building Large- ing and Presenting Your Work for Juried Shows and scale Figurative Sculpture” with Adrian Arleo. Tele- Grants” with Jerry Mathiason and Christine Deger; phone the Oregon College of Art and Craft, (503) participants should bring slides. Fee: $25; NCC 297-5544; or see website at www.ocac.edu. and Minnesota Craft Council members, $18. Feb­ Oregon, Salem March 4—5 “Thrown and Altered ruary 5-6 “Tile” with David Regan. Fee: $110; Forms,” lecture and demonstration with Patrick NCC members, $100. February 19 Lecture with Horsley. Fee: $85; SAA members, $75. Contact M. Eva Zeisel. March 18 Lecture with Jack Earl. April T. Sherman Community Ceramics Center, 1220 15 Lecture with Robert Turner. Lectures are part of 12th St., SE, Salem 97302; e-mail the “2000 Regis Masters Series” and are free. Loca­ [email protected] ; telephone (503) 581-7275; or tion for lectures only: the Minneapolis Institute of fax (503) 581-9801. Arts. Contact the Northwest Clay Center, 2424 Rhode Island, Kingston ylpn/.9“Functional Thrown Franklin Ave., E, Minneapolis 55406; telephone Altered Forms” with Ellen Shankin. Fee: $50; mem­ (612) 339-8007. bers, $40. For further information, contact South Missouri, Kansas City April 1—22, vSaturdays Mas­ County Art Association, 2587 Kingstown Rd., ter class with Malcolm Davis. April29-30A session Kingston 02881; or telephone (401) 783-2195. with Nick Joerling. Fee: $90. Contact Steven Hill, Tennessee, Gatlinburg March 6—10 “Slab Con­ Red Star Studios, 821 W. 17th St., Kansas City struction with Surface Exploration” with JoAnn 64108; e-mail [email protected]; or telephone Schnabel. March 13—17 “Useable Pots—Interme­ (816) 474-7316. diate to Advanced” with Ron Meyers. March 20—24 New Jersey, Red Bank April 14-15 “China Paint­ “Tile: The Technical and the Experimental” with ing on Tiles” with Pat Ellson, introduction to color Gloria Kosco and Mimi Strang. March 27—31 “Pot­ layering and multiple firings. For further informa­ tery with a Sense of Touch” with Josh DeWeese. tion, contact the Tile Heritage Foundation, PO Contact Arrowmont School of Arts and Crafts, PO Box 1850, Healdsburg, CA 95448; e-mail Box 567, 556 Parkway, Gatlinburg 37738-0567; e- [email protected] ; or fax (707) 431 -8455. mail [email protected]; see website at New Mexico, Albuquerque and Santa Fe April 8- www.arrowmont.org; telephone (865) 436-5860; 15 “Clay into Spirit” with Anita Griffith. Contact fax (865) 430-4101. Horizons, 108-P N. Main St., Sunderland, MA T exas, Abilene March ^Demonstration of working 01375; e-mail [email protected]; see with colored porcelain with Michael Haley and website at www.horizons-art.org; telephone (413) Susy Siegele. Fee: $30; potluck lunch. Contact 665-0300; or fax (413) 665-4141. Siegele and Haley Workshop, Art Dept., Box 8, New Mexico, Santa Fe March 13—17 “Anagama McMurry University, Abilene 79697; e-mail Wood-firing Workshop.” Contact Susan York, 851 [email protected]; or telephone (915) W. San Mateo Rd.-4, Santa Fe 87505; or telephone 793-4888. (505) 989-4278. Texas, Ft. Worth February 18-20 Slide presenta­ New York, New York March 6—19 or May 1—14 tion and workshop with Lana Wilson. Fee for “Large-scale Ceramic Workshop” with Arnold workshop: $100; members, $80. Slide presentation Zimmerman. Intermediate to advanced skill levels. is free. For further information, e-mail Fee: $1100 per session. Limited to 8 participants. [email protected] or telephone Kim Norris For further information, contact Arnold (817) 431 -1326; leave name, address, telephone num­ Zimmerman, 325 W. 16th St. #4E, New York ber and e-mail address. 10011; e-mail [email protected]; or tele­ Texas, Ingram May 6—7 “Functional Stoneware phone (718) 388-4914. Demonstration” with Steven Hill. Fee: $150. May April 8—9 “Thrown and Altered Majolica” with 8—10 “Functional Stoneware Workshop” with Posey Bacopoulos. Intermediate and advanced skill Steven Hill. Fee: $200. Registration deadline for levels. Fee: $185; members, $170. For further infor­ both sessions: April 6. Contact Hill Country Arts mation, contact the Craft Students League, YWCA/ Foundation, PO Box 1169, Ingram 78028; tele­ NYC, (212) 735-9731. phone (830) 367-5120 or (800) 459-HCAF. New York, Port Chester February 5-6 “Drawing Texas, San Antonio February26-27“Melding Form on Clay” with Ron Meyers. Fee: $130. March 10- and Surface in Vessel Making,” slide lecture and 12 “Historical Context: Contemporary Practices” demonstration with Andrea Gill. Workshop fee: with Walter Ostrom. Fee: $125. Contact the Clay $187; slide lecture is free. Contact the Southwest Art Center, 40 Beech St., Port Chester 10573; or School of Art and Craft, 300 Augusta, San Antonio telephone (914) 937-2047. 78205-1296; e-mail [email protected]; telephone (210) New York, White Plains February 23—25 “Serving 224-1848; or fax (210) 224-9337. and Storing, Open and Closed” with Todd Vermont, Waterbury Center March 17-19 “Ves­ Wahlstrom. March 8 “Form and Sculpture in the sels that Pour,” slide lecture and hands-on work­ Electric Kiln” with Mary Barringer. April 7 “Ex­ shop with Susan Beecher. Lecture (March 17) fee: ploring Pouring Vessels” with Woody Hughes. For $6; members, $4. May 6 “Glaze and Clay Body further information, contact the Westchester Art Defects—Cause and Correction” with Jeff Zamek. Workshop, Westchester County Center, White Fee: $140; members, $125. For further informa­ Plains 10606; or telephone (914) 684-0094. tion, contact the Vermont Clay Studio: see website North Carolina, Bailey March 30-April 72Wood- atwww.vermontclaystudio.com; or telephone (802) fire workshop with Peter Callas. Fee: $350. Contact 244-1126, ext. 41. Dan Finch: e-mail [email protected]; or tele­ Virginia, Alexandria February 5—6 “The Cream phone (252) 235-5082. Cheese Addiction,” porcelain workshop with Debbie Ohio, Wooster April 12-15 “Functional Ceramics Swauger. February 26—27 “A Wheel-throwing Workshop,” demonstrations, slide presentations Clinic” with Beth Kendall. February 27 “Photo­ with Richard Burkett, Andrea Gill and Ben Owen graph Your Art” with A1 Hansen. March 4—5 and 11 III. Fee: $150, includes 4 meals and “Functional “Saggar Firing Workshop” with Barbara Lewis. Ceramics Exhibition” catalog. Contact Phyllis Blair March 18 “A Session with the Kiln Doctor” with

96 CERAMICS MONTHLY Mike Swauger. March 26 “Raku with Ramon.” others. March 26-April l6Svend Bayer, wood-fired March 31—April 1 “Slab Construction Workshop” stoneware; at the Harlequin Gallery, 68 Greenwich with Anne Anderson. Contact Creative Clay Stu­ High Rd; open Thurs.-Sun. dios, 5704D General Washington Dr., Alexandria March 8—May 11 Exhibition of ceramics by Linda 22312; telephone (703) 750-9480; or fax (703) Gunn-Russell; at the Garden Flat, 28 St. Lawrence 750-9442. Terrace. Open Wed. and Thurs., 11 A.M.-6 P.M. Washington, Seattle February25-27*Form from Telephone Anatol Orient, (208) 968 7084. Function—Sculptural Vessels” with Anne England, Oxford through February 11 “New Mas­ Hirondelle. Contact Seward Park Art Studio, ters, Old Masters,” including ceramics by Claire 5900 Lake Washington Blvd., S, Seattle 98118; Curneen, Edmund de Waal, Lawson Oyekan, or telephone (206) 722-6342. Nicholas Rena and Rupert Spira. February 16- March 19 Two-person exhibition with ceramics by International Events Simon Carroll; at Oxford Gallery, 23 High St. Greece, Island of Evia Winter Workshops with Belgium, Zulte April—June “Yoshikawa, Akiyama, Alan Bain, handbuilding, throwing, glazing, terra Kiyomizu, Miyashita and Dessauvage: east be­ sigillata, kiln design, raku/pit/black/saggar firings, comes west?” exhibition of ceramics; at Centrum reduction stoneware, etc. Instruction in English, a Goed Werk, Moerbeekstraat 86. little French and Greek. All skill levels. Fee/week: Canada, Alberta, Calgary through February 26 £275 (approximately US$435); includes materials, Retrospective exhibition of works by Leopold firing, trips on island, lodging, meals. Contact Alan Foulem; at the Illingworth Kerr Gallery, Alberta Bain, Kalamondi Pottery, 340 05 near Limni, Evia. College of Art and Design. Italy, TuscanyApril29—May 6^‘Mosaics: Ancient Canada, British Columbia, Vancouver February Art Form/Contemporary Applications” with Eliza­ 3—March 8 “Blossoming Stone,” ceramic sculpture beth MacDonald. Contact Horizons, 108-P N. by Rachelle Chinnery; at the Gallery of BC Ceram­ Main St., Sunderland, MA 01375; e-mail ics, Granville Island. [email protected]; see website at Canada, British Columbia, Victoria April 15—16 www.horizons-art.org; telephone (413) 665-0300; A workshop with Jeff Oestreich, throwing and or fax (413) 665-4141. altering functional forms. Fee: Can$100 (approxi­ Jamaica April 21—29 “Ceramics in Jamaica: Inter­ mately US$68), includes lunch. Contact Meira preting Forms from Nature.” Fee: $1450-$ 1850, Mathison, 650 Pearson College, Victoria V9C includes materials, firing, lodging and meals. Con­ 4H7; e-mail [email protected]; tele­ tact the Registrar, Anderson Ranch Arts Center, PO phone (250) 391-2420; or fax (250) 391-2412. Box 5598, Snowmass Village, CO 81615; e-mail Canada, Ontario, Waterloo through April 22*W- [email protected]; see website at sual Feast: A Sumptuous Selection of Ceramic www.andersonranch.org; telephone (970) 923- Plates and Platters”; at the Canadian Clay and 3181; or fax (970) 923-3871. Glass Gallery, 25 Caroline St., N. Mexico, Oaxaca February 7—12 “Pre-Columbian Denmark, Skaelskor February 18—20 A workshop Wood-Firing Workshop,” exploring tumblestack with Pontus Kjerrman, large sculpture. March 11 firing, sunken chamber reduction firing, stone kiln A workshop with Jeroen Bechtold, porcelain. March firing with tannin staining. Fee: US$595, includes 20—April 1 Firing of wood kilns. April 10 “Where materials, lodging, most meals, local transportation Is Ceramics in the Digital Landscape?” lecture and museum entry fees. Contact Eric Mindling/ with Jeroen Bechtold and “Ceramics of the 20th Rachel Werling, Manos de Oaxaca, AP 1452, Century” lecture with Lars Dybdal. For further Oaxaca, Oax., CP 68000, Mexico; e-mail information, e-mail the International Qeramic [email protected]; see website at Center: [email protected] . www.foothill.net/-mindling ; fax (52) 95 21 41 86. England, Chichester February 11—13 Introduc­ Mexico, Tonaltepec February 28—March 4 tion to mosaics with Emma Biggs. February 18-20 “Tonaltepec Workshop,” digging clay, forming Throwing and turning workshop with Alison vessels, firing the ancient Tonaltepec kilns, post Sandeman. March 12—17Ceramic sculpture (ani­ firing hot staining. Fee: $540, includes materials, mal and bird forms) workshop with Tessa Fuchs. lodging, most meals, local transport, museum entry March 17-19 Surface decoration for functional fees. Contact Eric Mindling/Rachel Werling, Manos pots with Alison Sandeman. March 19-24 Sculp­ de Oaxaca, AP 1452, Oaxaca, Oax., CP 68000, tural ceramics and vessels decorated with colored Mexico; e-mail [email protected]; see website vitreous slips with Carolyn Genders. March 26-31 at www.foothill.net/-mindling; or fax (52) 95 21 Sculptural pots for plants with Gordon Cooke. 41 86. Marc/73/-/4przY2Decorationusingmajolicapaint- Netherlands, Amsterdam through March 1 “The ing and slip with John Hinchcliffe. April 7—9 Size of Their Hand,” exhibition commemorating Further techniques in mosaic with Emma Biggs. 25-year anniversary of gallery; at Galerie de Witte April l4—l6*C\ay as a Canvas—Part 1,” making Voet, Kerkstraat 135. dishes and wall pieces with John Dunn (must be Netherlands, Delft through February 26Exhibmon scheduled with part 2 on May 13). April 23—28 of ceramics by Peter Lane; at Terra Keramiek, Handbuilding and throwing workshop with Alison Nieuwstraat 7. Sandeman. April 28—30 An introduction to mo­ Netherlands, Maastricht March 18—26*The Euro­ saic with Emma Biggs. May 13 “Clay as a Canvas— pean Fine Art Fair”; at the MECC. Part 2,” decorating and glazing with John Dunn. Netherlands, Oosterbeek February 20—March 19 Contact West Dean College, West Dean, Figurative ceramics by Adriana Baarspul and Chichester, West Sussex P018 0QZ; e-mail Marja Hooft. March 26-May 15 “Six Amsterdam [email protected] ; see website at Potters Together Again,” works by Hans de Jong, www.westdean.org.uk ; telephone (243) 811 301; Sonja Landweer, Johan van Loon, Johnny Rolf, Jan fax (243) 811 343. de Rooden, Jan van der Vaart; at Galerie Amphora, England, London through February 20 “Gilded van Oudenallenstraat 3. Dragons: Buried Treasures from China’s Golden Spain, Barcelona through April 23 Exhibition of Ages”; at the British Museum. ceramics by Miquel Barcelo; at Museo de Ceramica, through March I.9“Ripe,” three-person exhibition Palacio Real de Pedralbes, Diagonal 686. including ceramic sculpture by James Evan; at the Spain, Seville and Andalusia March 4—11 “Tiles: A Crafts Council Gallery, 44a Pentonville Rd., Historic Ceramic Legacy—Art of the ‘Azuela’” with Islington. Anita Griffith. For further information, contact through April 23 “Mao: From Icon to Irony”; at the Horizons, 108-P N. Main St., Sunderland, MA Victoria and Albert Museum, South Kensington. 01375; e-mail [email protected]; see February 24—March 24 “Oriental Potters,” works website at www.horizons-art.org; telephone (413) by Shoji Hamada and Poh Chap Yeap, as well as 665-0300; or fax (413) 665-4141.

February 2000 97 Questions Answered by the CM Technical Staff

Q I am a studio potter and am having trouble with my glaze, which lam pretty sure is due to the nickel oxide. Theproblem is that the glaze thickens in the bucket over time, to a degree that it becomes unusable.—J.M. I don’t think the nickel in your glaze is the main problem, but it may be a contributing factor. It would be easier for me to give a more accurate answer if I knew the recipe for your glaze and the temperature you are firing to. I can only guess that it is a Cone 6 glaze with Gerstley borate in it. If that is so, what you have is a glaze that flocculates (gets thicker) over time. This is due to the slight solubility of the borate, which makes the particles want to clump together. The quick cure would be to add some Darvan #7 to deflocculate the glaze enough so it can be used. I don’t know how much glaze you have, but try adding a few drops of Darvan, then stir the glaze and let it sit for a half hour. When you stir again, you will find out if that was enough deflocculant. If not, add a few more drops, repeat the stirring and wait another half hour. Just keep repeating the process until you are satisfied with the result. Keep track of how much Darvan you have added. Next time this happens, you will have a much better gauge of how much you need. Don’t add it all at once, though, because there are different degrees of flocculation. The better solution to the problem is to reformulate your glaze with a frit to take the place of the Gerstley borate, as it is no longer being mined by U.S. Borax, and suppliers’ stockpiles will last only a year. Ron Roy Ceramics Consultant Scarborough, Ontario, Canada

Q For the work I intend to do, I am in need of a Cone 10 porcelain or white stoneware that can withstand the thermal shock of poured molten gold. Can you recommend a recipe for such a clay?—F.M. It is possible to formulate a clay body that can withstand the thermal shock you describe. The melting point of gold is 1064°C( 1947°F), and a clay body can be designed to take that heat. However, the addition of the necessary materials to resist this abuse will affect the

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be an­ swered in this column. Due to volume, letters may not be answered personally. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960.

98 CERAMICS MONTHLY plasticity of the clay body. Glaze fit will also be For additions, use 5-15% kyanite, mullite, save the piece, or is it destined for the garbage compromised, as one decreases the expansion alumina hydrate, pyrophyllite and spodumene, dump?—D. Q. of the clay body to counter the effect of molten by themselves or in combination, not to exceed Your question gives me an opportunity to gold. You can make a very open stoneware body 25-30%. answer a few questions. First of all, you did not using a lithium-based material, such as spod­ A simple heat shock test could be made on specify what cone you refired to; I am assuming umene, but glaze choice with such heat resis­ a series of clay bars with or without glaze, by it was Cone 6. When glazes melt, or remelt, they go through a bubbling stage—sometimes more tant/ovenproof bodies is severely limited. In an firing them to approximately the same tem­ than one. Because you only fired to Cone 6, you early issue of Studio Potter (volume 2, number perature as the gold, removing them from the stopped the glaze during a bubbling stage. If 2), Ron Probst writes about his encounters with test kiln at that temperature, and quenching you had gone to Cone 9, the glaze would have low-expansion clay bodies using spodumene, them in cold water. Protect your eyes and hands smoothed out again, and crazed again. Let me and provides some recipes. You can also use when doing this. Also, while this porcelain explain why crazing happens. The glaze be­ such materials as kyanite, mullite, alumina hy­ recipe is a standard that many potters use, comes rigid upon cooling and contracts during drate or pyrophyllite, to name a few. thorough testing would be required with the the rest of the cooling, as do most solids. The A porcelain body can be formulated using above ingredients. clay is also contracting during that cooling. some of the above materials as well, but again Jonathan Kaplan Glazes and clays always contract at different there will need to be compromises with your Ceramic Design Group rates. If the glaze contracts more than the clay, glaze (if you are using one). I would start with Steamboat Springs, Colorado the glaze breaks up or crazes. It is therefore a known porcelain recipe, such as a standard unlikely that you can cure crazing by refiring. If “four equal parts body,” as a base, then run a Q I have been attending a studio, which is now you look at the glaze carefully, with a good series of tests for thermal shock using any or all defunct, so lam unable to question why one of their magnifying glass, you will probably see that it is of the above materials by themselves or in standard glazes, applied to one of their standard still crazed. combination. For example: clays, has crazed. It is one of my best bowls to date I think it would be worth refiring at Cone 9 and is very disappointing. The piece was fired to to smooth the glaze out, but I don’t recommend Base Porcelain Cone 9—10 in reduction. I had learned that a piece going higher. Every time you refire, you get (Cone 10) fired at Cone 9—10 in reduction could be reglazed more melting. I also think there will be color Feldspar...... 25% with a Cone 6 glaze and refired to Cone 6 in changes if you refire in oxidation, and the glaze Ball Clay...... 25 oxidation. So, Irefiredthebowl(withoutreglazing), will craze again. with the hope of melting the glaze and eliminating All of us potters have lost many pots we have Kaolin...... 25 the crazing. Well, it did eliminate the crazing, but liked along the way. It’s part of the deal. Ifwe are Flint...... 25 the glaze blistered very badly. Is there any way I can 100%

February 2000 99 Questions

lucky, we still have a picture or two to remind us of those pieces, to help us make more of the ones that touch the soul. Ron Roy Ceramics Consultant Scarborough, Ontario, Canada

Q I have been told that zinc is very dangerous in a reduction atmosphere. Not only does it change into a dangerous gas and is released into the atmosphere, but it can do damage to my pots. Still, I see recipe after recipe using zinc in reduction. Was I misinformed? If not, what can I substitute for the zinc in these recipes? I was told to leave it out if it is a small amount, but what if it is a major portion of the formula?—G.B. In a reduction atmosphere, with your kiln firing to Cone 10, zinc oxide is completely volatilized. This was thoroughly explained on Clayart, which is an online discussion group, by Tom Buck: “Zinc oxide in a glaze mix starts its fluxing action around 180°F (Bristol glaze), but by itself, zinc oxide would not melt until 3555°F is reached. “However, zinc oxide is easily changed to zinc (metal) by the action of CO and H2 in the reduction phase of a gas-fired kiln. Pure zinc metal melts at 755°F and boils at 1633°F. “So, if the reduction of zinc oxide to zinc metal starts happening at 1800+°F (commonly done in Cone 10 firings), then the zinc oxide goes to metal and boils immediately. In effect, the zinc metal is ‘formed’ in the gas phase and leaves the kiln. Hence, putting zinc oxide in a high-fire glaze that will undergo reduction re­ ally is throwing money up the flue. The zinc won’t stay long enough to do much fluxing. “David Hendley did some copper red tests, some with zinc oxide as ‘flux’ and the same recipes without the zinc. He reported, in the October 1999 issue ofCeramics Monthly, that he could detect no difference in the fired pieces; both produced the red he sought.” Though you did not include a copy of your glaze recipe, you indicated that zinc was a major portion of it. My experience with zinc is that it is an auxiliary flux at high temperatures and can be dropped from the glaze. If it is, indeed, a major part of the glaze, I would use a glaze calculation program, such as Insight, to estab­ lish the relationship of the oxides, the expansion of the glaze and the silica-to-alumina ratio. I would then recalculate it without the zinc and bring it up to the proper numeric relationships. As always, test the glaze thoroughly before using it on your wares. Jonathan Kaplan Ceramic Design Group 100 Steamboat Springs, Colorado CERAMICS MONTHLY February 2000 101 102 CERAMICS MONTHLY February 2000 103 104 CERAMICS MONTHLY February 2000 105 Comment

The “Unknown Craftsman”Is Dead by John Britt

The unknown craftsman, mingei and Ber­ must be made by an anonymous crafts­ nard Leach are ubiquitous terms in ce­ man or woman and therefore unsigned; ramics today. Their influence pervades it must be functional, simple and have our education system, journals and folk­ no excess ornamentation; it must be one lore, and yet very few people have any of many similar pieces and must be inex­ firsthand knowledge of them. Instead, pensive; it must be unsophisticated; it they rely on word-of-mouth and roman­ must reflect the region it was made in; tic anecdotes that are passed on in a and it must be made by hand.” slightly altered form each time to the With this definition in mind, let us next willing neophyte. This is the stan­ examine each of these criteria in the work dard of the oral tradition, which for thou­ of Bernard Leach. First, the fact that he sands of years has been renowned for its was at that time, and is today, world creation of myths and legends. famous excludes him from the criterion Rather than be satisfied with these of being an anonymous craftsman. Sec­ legendary and ofttimes conflicting oral ond, that the work be unsigned was never accounts, I decided to research the his­ even attempted by Leach. In fact, he put tory of these ideas. What I found is that several stamps on his work at St. Ives. We mingei was a notion fabricated, postfacto, know that Hamada signed his pots early in an effort to save the ailing Japanese on, yet later insisted that the “work itself craft industry from the impending perils is the best signature,” and ceased the prac­ of Western industrialism. Yet mingei nei­ tice. The neglected and most revealing ther existed in Leachs time nor can it fact, however, is the traditional practice exist now. In order to show this, we will of hako-gaki or “box writing.” As Susan examine the criteria of mingei in the work Peterson writes in Shoji Hamada: A Potters of Bernard Leach, one of its most vocal Way and Work, it “is customarily prac­ advocates. Doing so will accomplish two ticed by all potters who sell their work things: first, it will show that mingei is an expensively, whether or not the potter anachronism; second, it will give us a signs his pieces.” Hamada himself said more realistic picture of who Leach really that since the “box lid authenticates the was, rather than the romanticized image pot by Japanese tradition, so it is unnec­ of our modern ceramics mythos. We will essary to stamp the pot as well.” So in find that the glorious legend of Bernard spite of his rhetoric, Hamada, too, effec­ Leach is difficult, if not impossible, to tively did sign his work. reconcile with the facts. Interestingly, Leach not only signed In his writing, Leach contends that his work, he even signed the work that the humble craftsperson embracing the others made for him. Watson explains nobility of poverty could, by creating that the chief thrower at St. Ives, William functional objects that were simple, un­ Marshall, made much of Leach’s best assuming and inexpensive, stave off the work, which was finished up, then deco­ ravages of the materialism of industry rated and of course signed by Leach. Simi­ and its sensibility to beauty. His notion larly in Japan, the Viscount appointed of the ethical pot is defined by Oliver the best craftsmen to be at Leach’s dis­ Watson in his book Studio Pottery as “a posal. Maybe this is the “unknown crafts­ pot, lovingly made in the correct way man” he was referring to; it was unknown and with the correct attitude, would con­ which craftsman made his work. tain a spiritual and moral dimension.” From his own accounts, we know that This enduring image still inspires and Hamada sold his work expensively. Leach, sustains potters today. too, sold his work at prices comparable This philosophy is further revealed in to the artists of the day. Watson does an the idea of mingei, the criteria for which accounting of Leach and William Staite were enumerated by Soetsu Yanagi: “It Murray (whom Leach disparaged as an

106 CERAMICS MONTHLY February 2000 107 Comment were a small and elite group (many were homemade food. In such, they found the same collectors as Murray’s). And leisure and satisfaction, as well as work. while his pottery did make standard func­ Repetition for a hand potter is of a like “art potter”), and finds that Murray sold tional wares, he personally had less and nature’—was never his life. He never his work in “roughly the same price range less to do with this activity.” gained great technical facility in throw­ as Bernard Leach. And more importantly, Leach spoke often about the value of ing, and never pretended that he had none of these wares was particularly cheap repetition in the life of the potter, as well gained it. He never needed to make such and they were certainly not for ordinary as its value in the production of work. As a sacrifice of his time. Throughout his people.” In The Potters Art, Garth Clark Edmund de Waal noted in Bernard Leach, life...pots were thrown under his direc­ explains that in spite of his verbal acro­ St. Ives Artist: “The endless repetition pro­ tion for him to decorate.” batics, “Leach was as much interested in scribed by Leach in a revealing image— According to the rhetoric of Soetsu making art’ pots as Murray, except he think of the hours women have spent Yanagi and Leach, repetition and lack of called them personal pots.’ His collectors with knitting needles and in cooking good ego produced the enduring masterpieces of the Song dynasty. Yet Yanagi himself writes in The Unknown Craftsman (a book adapted by Leach): “No famous painters of the day were hired to work for the kilns. The job was performed by boys around the age of ten, children of poor families, many of whom no doubt dis­ liked the work and had to be forced by their parents to do it....It was not rare talent but...the endless repetition de­ manded of the children.” I believe today we refer to this as sla­ very, child slavery! Is this the “ethical pot” we have heard so much about? Yanagi and Leach were aware that the Song dy­ nasty potters were no glorious “artist/ craftsmen.” They knew that they were slaves. It is ironic that while Leach at­ tacked the “industrial devils” of his gen­ eration whose factories alienated workers, he glorified the same practices employed in child sweatshops of the Song dynasty. We know Leach constantly sang the praises of utilitarian pottery. Yet, we also know he made mostly show pieces and exhibition work. But most shocking is Leach’s attitude toward “the woman who wrote to him complaining that a teapot he had made dribbled everywhere.” In their book, British Studio Ceramics, Paul Rice and Christopher Gowing reveal that “Leach responded with a mild sense of horror that she should be serving tea in it—a St. Ives standardware teapot. He went on to explain the spiritual content of his pots and suggested that the piece be used as a sort of icon, to contemplate for inner peace.” This sounds more like a 1990s artist statement than the rhetoric of a functionalist. As to reflecting the area in which it was made, Leach is immediately dis­ qualified, as he was copying Song ware. How he rationalized that brushwork on copied Song forms reflected the country­ side of England is difficult to imagine.

108 CERAMICS MONTHLY February 2000 109 Comment

Perhaps he thought that briefly making some English slipware with local materi­ als qualifies all work made in that studio, ad infinitum, as English. Or perhaps he rationalized that any country England had colonized somehow qualified it as within the domain of English heritage. And finally, regarding the humble pot­ ter and the “nobility of poverty,” Leach was the furthest thing from it. He was born into an aristocratic family, his father was a colonial judge. He made numerous transoceanic trips before he was 21 years old at a time when there were few roads, the auto was in its infancy and air travel wasn’t even a consideration. He was self- sufficient only by means of his inherit­ ance from his father, his many benefactors and his wealthy collectors. For example, in 1920 when Leach moved to St. Ives to start a pottery business, it was financed by Mrs. Frances Horne of the St. Ives Handicraft Guild. In the “Leach Legacy, St. Ives Pottery and Its Influence,” Marion Whybrow writes that Horne “put up £2500, which Leach matched with a simi­ lar sum over a period of time, enabling him to buy the property.” Later, in spite of this huge financial support, Leach was, as Watson writes, “steadily going bank­ rupt. He was only saved by his involve­ ment with the Elmhirsts at Dartington Hall [who] invested some £3000, a very considerable sum, for the modernization of the St. Ives Pottery....They also financed a trip to Japan for Bernard in 1935 and a course at Stoke-on-Trent for his son while he was away.” In order to fully understand the significance of these sums of money, let’s try to put them into context. This can be a bit confusing, because no one writer gives us all the information in one place. For example, Watson writes that “a skilled worker’s wage might be around £5 per week; earnings Bernard aspired to in the early 1930s in his negotiations with Dartington Hall.” So £3000 is the equiva­ lent of more than ten years salary. The size of these sums of money is often brushed over in the historic literature. Similarly, statements like “a trip to Japan” was a two-year trip for Bernard Leach and a friend. Dorothy Elmhirst “provided the money for Mark Tobey, an American painter, to go as traveling companion.”

110 CERAMICS MONTHLY February 2000 111 Comment ists (the Elmhirsts were heir to the Ameri­ gressed through modernism and is well can Whitney fortune) and the education into postmodernism. The irony is that of David at the “hands of the industrial now, rather than fulfilling the needs of And according to Rice/Gowing, a “course” devils” at Stoke-on-Trent, industrial capi­ the common person, as arts and crafts was really “two years at Stoke-on-Trent” talism is what kept him alive. philosophers originally intended, func­ for David. Elmhirst did not stop there; Finally, apologists of Leach claim that tional ceramics are generally made by the she also provided the “means for his re­ Yanagi proposed two kinds of mingei: elite, for the elite. search and working time to write” A the jiriji-do or the way of self-reliance; We need to accept the fact that the Potters Book. Conservatively, this totals and the tariki-do or the way of reliance “unknown craftsman” is dead. Mingei is to well over 30 years salary for Leach. (In on others. We know Leach does not an anachronism. Attempts to follow the todays standards, if you make $25,000 a qualify as tarild-do so he must, as his mingei vision today are attempts to real­ year, that would be over $750,000.) proponents claim, be jiriji-do. Yet claim­ ize an impossible, outdated, romanticized All this grandiose rhetoric about the ing this distinction is disingenuous, be­ notion of crafts that does not and cannot humble potter “coupling beauty with the cause there are no mingei tarild-do. There exist in the world. For ceramic art to be nobility of poverty” was fine for everyone weren’t any then and there are none alive viable in the next century, we need to else, but not for Bernard Leach. In real­ now. And yet that is the implied meaning confront the world we live in today. We ity, he was a wealthy, globe-trotting aris­ when people use the term mingei, while cannot look backward, waiting for the tocrat. If that were not contradiction the definition of mingei jiriji-do is, sur­ day when a nonexistent, idealized view of enough, the real paradox is unearthed in prisingly, the individual artist, the genius, the preindustrial world will return, once Tanya Harrod’s summary of “the un­ the “man of capacity,” who strikes out on and for all revealing the glory of hand­ known potter,” a “gospel of humility and his own, driven by his inner search for made crafts and its craftspeople. This will abnegation of self and its taste for Zen personal expression. This is the definition not happen. We must stand on the shoul­ Buddhist aesthetics provided a framework of the individual artist who Leach fought ders of history and tradition, and express for craft activity that involved radical re­ so strongly against, and yet includes ev­ our own vision from that position of jection of a whole set of Western val­ eryone working then, now and in fact strength. Most importantly, we must cre­ ues—particularly industrial capitalism.” Leach himself. Leach, Yanagi and Hamada ate new ways of seeing and reflecting our The irreconcilable contradiction of were not mingei; they were wealthy, well- world as it exists today. Only then can we Bernard Leach is that, on one hand, he connected, art-school-educated, famous create a new vision and place for ceramic rejects Western industrial capitalists, while artist/philosophers. art in the modern world. at the same time, he desperately needs While ceramists remain mired in this them to survive. Between his elite cus­ endless 1850s arts and crafts debate, the The author Artist!educator John Britt re­ tomers, financing by wealthy industrial­ rest of the art world has already pro­ sides in Dallas, Texas.

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