~i~ ~ii~ v

MARCH 1974 60(: And this one's a winner! For six years This unassuming little potter's wheel the Shimpo-West RK-2 has proved its gutsy gets the job done. capabilities in thousands of classrooms, studios, To learn more, please contact us today. and production shops. Superb designing and heavy duty construction give it both compactness and solid, vibration-free performance. Surely this is an unusual combination in any wheel. 5HItI~PO WEST PO g(}123t5, LA PtJENTIE, CALIFI~NtA 91746

d j- j iii~l!!~~i~ ~~ ~j:~ !

J "We have at least 7Wa ker mills in our system,and nothing but happy kids and instructors. We've re- duced costs considerably. We p an to have at east one machine in each high schoo." More and More PeopleEverywhere Larry Schultz Art Coordinator Jefferson County Schools are Mixing Clay with the Colorado ~ iilr~h~anks!~i~giadm~ill: ilSa~ltirs ipamf e ntTh;nk I a~ U

~f "After almost 10 years with a Walker Pug Mill, I have almost forgotten the t me-consuming drudgery of mixing clay by hand or with makeshift equipment I would not think of either operatingmy own studio PUG MILL or teaching a ceramicsprogram without one." Glenn C. Nelson Author Ceramics(Holt, Reinhart& Winston) ~, instructor, Universityof Minnesota, Duluth Professional Potter

Mixing clay by hand wastes time and effort. Buying pre-mixed clay wastes money. • Instructors and potters throughout the nation, and in many foreign coun- tries, have found the better way to mix clay. They're using this modern machine that releases time and talent for teaching, learning, cre- ative production and experi- [ ment. • They've discovered, too, that the Walker Pug Mill pays for itself. • Return the postage-free postcard stitched into this publication. You'll receive more information and detailed Walker Pug Mill specifications by return mail.

pass through the Mill ~~ A single II, renders clay of consistency perfect for throwing or modeling.

.

Load Dry Clay Add Mistakes, J~"

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in ormafion, defnil~rl .... ;~;~,~:...... J _ i ...... Send us your name and we'll rush further

March 1974 3 ALABAMA HEART OF AMERICA CERAMics DOLLMAN CERAMIC SUPPLIES. INC. BATEMAN CERAMICS 817 HAZELHURST CERAMICS Central Avem~, Kml~ City 663 Wald~ A~ue. Buffalo 6615 East LanC~zm. Port Worth PO. PRAIRIE Box 124. Hml Grin OOG CERAMICS GLAD.WELL CERAMIC STUDIO & SUPPLY LAURINE BROCK STUDIO RFD # 1. Norttm THE PIXIE POTTERY 868 Scarsda~e A~mue. s~e~b~e t65z we~t Woodl~n A~. S~ Anton.o SHADOW-BOX 9 North ESth PlaCe. Bw~nghim CERAMIC STUDIO KEESEVILLE CERAMICS COMPANY. INC C C. CERAMICS PiXiE POTTERY OF MONTGOMERY West C1~ Strut, Sllin~ South Sab~e Strut. Kt~lla 4343 K~torvT. Corpus Chwlsti 1224 Madison Avenue. Mo~tgom4fy KENTUCKY LK CERAMIC SUPPLY CERAMIC ART & ANTIQUE SHOP 26E6 Roch~stm Road. cimanda~ua VIKTORIA CERAMICS LOIS CERAMICS 2004 ~Jlen Drive. Wichda Fads 5450 Cottage JEAN Hill Road. MoVie 1 ~ Wa~li~Fj~on Strut. Hendallofl LEONARD CERAMICS THE CERAMIC PEEPLES 9@24 Coro~ A~ue, Corona 1 1/2 MII~ E~ I Highway 1729. ALASKA POLLY'S PLAY HOUSE CERAMIC STUDIO N~ Deal 9806 LEZETTE GATEHOUSE ALASKA MUD Tayl~wille Road. J~Nersm~wn ARTS THE HOBBY SHOP PUDDLE Route 212, S~J9er t~es Woodstock Road. 911 North g034 Hmtzell Road. Anchorage TOM'S CERAMIC STUDIO ~rti~ M~kl~lrd Lane, Ab,le~ LONG 15 W~t 34th Strut, ~all~lt~¢l ISLAND CERAMIC CENTER HOUSTON ARTS & CRAFTS ARIZONA 11~1 R~te 109. WEST KENTUCKY CERAMICS Lind~nhunt 2046 MarshalE Homton MARJON CERAMIC SHOP 1101 Jefferson Strut. paducah RUNION CERAMIC SUPPLY LOMA CERAMICS 3418 N~th 241h Strut. 236 west Comm~cial Phmmix LOUISIANA StrRt. E~t Rodletter 907 Lo~tand Dr,re. El P~ ARKANSAS SEELEY'S CERAMIC SERVICE. INC. tITAN BOEHM CERAMIC SUPPLY 9 Ri~r Strut. Ofleonta CERAMIC ART CENTER. INC. 2239 Eat CAPITAL CERAMICS 1217 NapoleOn (Hwy 90 E). 6ulphur STAATEN CERAMICS R~men Park Road* Little ROd( 2174 South Main Strut. Salt Lake City FORT SMITH MET-LA CERAMICS. INC. 233 Main Strut. Stat~ Island CERAMIC SUPPLY COMPANY. INC. 4411 CODlin Street. MalaiHe VERMONT 731E Rogers Avenue, Fort Smith NORTH CAROLINA SHREVEPORT CERAMIC VERMONT CERAMIC SUPPLY CENTER SUPPLv CREATIVE CRAFTS CALIFORNIA 444 01;~ Strut. ~r~apon CERAMICS. INC. 451 we~t Strut, Rudand $316 Yadkm Road. Fayettlp~ilSe AVANTY CERAMICS WILMAR'S CE RAMIC SUPPLY DURHAM CERAMIC VIRGINIA 687 67th Street, Sleflnl~o 1121 BoRon A~. A~ ~fil SUPPLIES. INC. 1347 Avondale Drive. Ourh~ DILL HAWK CERAMICS. INC. B J CERAMICS WILMAR'S CERAMIC SUPPLY GRAHAM R~te 2. Box 436. H~y 117. RNnoka 2169 Broadway. Eureka 412 H~SO~ La~. CERAMICS. LTD. Monr~ 1319 Central Avenue. ChaHotte M C STUD&O. BAY SHORE CERAMIC INC. SUPPLY MAINE 4116 Hopkins Road. RI~ $90 Aldo Av~ue, Sant~ CIM1 MUSE CERAMICS ME-N Rt 2. Box 126. Delwood Road. POTTERY ART BETTY'S CERAMICS JO CERAMICS WW~iI~ STUDIO. INC. U~S R~te # 1 at Dumtan Cor~, West Scxborough 4401 Kill~ A~ue, Nod~k 13333 South Paramount Bool~ar d, South Ga~ NORTH DAKOTA SMITH'S CERAMICS CERAMIC SUPPLY OF CAROL'S CE WASHINGTON SAN DIEGO 268 Main Strut. Bangor RAMIC CENTER 330 161h Street. San Di~lo H ~hway P.3 N~th. ~k~t CERAMIC HUT S L CLUTTER MARYLAND DOROTHA*E CERAMIC SUPPLY 3996 Valley H~Y # 0. Demmg 13112 &ngl~ood Avenue. Hawthorne HIGHBRIOGE CERAMICS 410 East Main. Mandln CERAMICS BY SHIRLEY St CREST CERAMICS Stephans Church Road & MD Route 3. G~brills NORTHWEST CERAMIC SUPPLY 404 South Second Street. yakima 18C4~ North Chest~ A~ue. Bake~field MARYLAND CERAMIC HOUSE. LTD. 221 223 Broadway. Fa,~o OORE DEPOT OF SEATTLE, INC. DAHM SEDANO CERAMICS 7902 Har|~d Road, ~llti~e 0HI0 318 WesRake Avet~Je North. ~atda 924 El Cami~ R~I. South San Fra~l¢o MASSACHUSETTS G & H CERAMICS MILLER'S CERAMICS DUNCAN CERAMIC Box 2B7. Bothim 4828 pacific Argue. HOBBY SUPPLY FLO'S CE RAMIC~ Angle Road. N~ K~xailM T~m= 5649 Ea~ 5h~lds, Fr~ SPOKANE 2½ W~ton Street. I~di~ Orchard KARSHNER'S CERAMICS CERAMIC SUPPLY LEE'S CERAMIC SUPPLY GINA'S 673 Wil~ Road. Columbus West 38 Third A~n~. Spok~ 1 (355 Sonoma Boulevard, VaSejo CERAMIC SUPPLY HOUSE 588 Rrcad Strut. Emt Weym~th OH&O CERAMIC SUPPLY. INC. WEST VIRGINIA PASO ROBLES CERAMIC SHOP Box 630.. 2861 St=to Route NASHOSA CERAMICS 59. Kent TODD~S CERAMIC SUPPLY. 3 mil~ North of Paso R0hlm on Old 101. Pare INC Rob~ Magulre Lane. $t~ RUTHE CERAMICS 2029 Poplm Strut. K~. RHODY'S CERAMICS Rural R~te 1, New Washington 1640 Coolidge Avenue, N WOBURN CERAMIC SUPPLY WISCONSIN a~Jo~al City ~0 Walnut Str~t.Wobum TOM'S CERAMICS STEWART'S OF CALIFORNIA, INC. 3911 R e~di~J Road. C~¢kl~ti FIRESIDE CERAMICS 16055 South Heron. MICHIGAN 2805 North 8ark~ LI Mirad a THE VILLAGE CERAMIC STUDIO ROad. Brookfmid WESTWOOD SUPPLY. INC. CERAMIC SUPPLY COMPANY. INC JOKEN'S CERAMICS 278 East Main Street, N~ Labano~ MARCE LLA'S CERAMICS. INC. 14490 227 W~t Lomitas Avenue. City of I ndmlfy Washington Strut, MMquette OKLAHOMA 1150 In~ Parkway. IBiIoit COLORAO0 JOY REID CE RAMIe STUDIO ROLENE CERAMIC STUDIO. INC. 2016 North Telegraph Road. Oearboln CERAMIC COTTAGE 1593 WeStern AwA~ge.GW~I BIW VAN HOWE CERAMIC SUPPLY COMPANY 748 South Wheeling, TuhNI TARI TAN CERAMIC SUPPLY. WAUGH'S CERAMIC STUDIO. 11975 East 4Oth Avenue, Denv~ INC. DOL INC. 817 Che~r y Sout heast . Grand Rapids LIE'S CERAMICS & FORCE LAIN Route 3. 2 mik~ Ea~ of Tocmlh on CONNECTICUT 3011 South Shkdds Boulevard, OkLahoma MINNESOTA City Hk3hw~ 12 & 16. Tomlh ADAMS' GUYER'S CERAMIC HOBBY SUPPLY CERAMICS. INC. CERAMICS WYOMING S Colt Street. Milford InduStrial Park. MiNo~d BY DEE 1402 Southwest 21st StrBt, Lwrt~ E95 Front Avenue, St. P~t SCULLY CERAMIC SUPPLY. ELMWOOD CERAMIC STUDIO OREGON INC. O & H CERAMIC~ 146 South Elk. CalpR 62 F~mington Avenue, Farmi~lR~ 6309 Grand Argue, Du lush CLARKE'S CERAMICS CANADA JEAN*S CERAMIC STUDIO 1585 Juniper. ~-~o, ~ty 1073 Buddmgton Road. PARAMOUNT CERAMIC. INC AOANAC Gmton 220 DOBE DEPOT, INC. CERAMICS North State Strut. Fairmont 920 FLORIDA 1100 N~th Central. M~oof Renfr ew Stt~ T J's CERAMICS. INC. vlneo~ 6. 8r~kh cidumb~ CALLAWAY CRAFT CENTER 1311 E~t 6Sth Strut, Min~apolit DORE DEPOT. tNC. 2809 Southeast ALBERTA CERAMIC SUPPLIES, LTD. Route 2. Box 546, Highway 22. P~I Stl~k Street. p¢>rtland City MISSISSIPPI 526 42nd A~nua Soofhealt DOLPHIN ART CERAMICS PENNSYLVANIA c~lary. Ar~rtl 309 61LL'S CERAMIC Sixth Street. Holly HiS & GIFT SHOP AMEIGH'S CERAMIC ALBERTA CERAMIC Re. E, BOx 242-5, Columbm STUDIO SUPPLIES. LTD FRANCOISE CERAMICS. INC. 1910 R~Mt Av~mu|. Willilm~pptt 120(~ - t 111h A~ue 113 491h DOUSLE L CERAMIC SUPPLY Strut South. St. Patefl~utg BECKER CERAMIC SUPPLY Edmemoa. Albma P. O. Box 20127 Wutlind Station, JBrkmn COMPANY LA LENA CERAMICS 426 Li~(nway Welt. Nm Ox~oof CARPENTER CERAMICS 101 Oeal P~kway Southust. Fort MISSOURI Walton Beach BELL'S CERAMIC GIFT SHOP 37O8 South PatkaMa Drive MIAMI ART-CRAFTS SUPPLIES DOUGLAS CERAMIC & CHRISTMAS SHOP 725 Route 15, Dilllb~ll L~dl~./m~rw 235 Nort h~st 671h Route 6. Rox Strut. Miml 6776. Malville ROad. SprklgRMd CERAMIC GROVE GIFT SHOPPE COREQUIO CERAMICS GEORGIA FOUR CORNERS CERAMics. INC. lo8 121h Avenue. Jtm~ata-Altom~a 47 Forrest~ Street 10008 East Trum, Nova ALLISON CERAMIC 50 Highway. Rlytown CERAMICS BY LAFORCE. INC. S¢O~1 SUPPLIES JONASSON 931 McBride Ori~. CokJmbus GENEVIEVE'S CERAMIC STUDIO. INC 1 Mile West on R~te 220. Avis CERAMIC SUPPLY 6514 594 Notre Dame CSRA Web~ Road. St. Louis CROSS CREEK CERAMICS. INC. A~ue CERAMICS wm~pq 2. Man~obe 510 Gr~ Street. ~ LOVE CERAMICS 3596 Brown~ille Road. Pittlburth lilt| REGINA GEORGIA Route 5. Box 291. Namho ELSIE'S CERAMICS OF WHITEHALL. CERAMICS LTD. CERAMIC SUPPLY, INC. INC. 1733 McAra E28 South Central Avenue, Hapeville MONTANA 331 Grape Street, Wh NellaR (Allentown) Street Relma. Sad~n ELSIE'S CERAMICS. FLOYD LEILA RENTZ CERAMICS ALICE'S CERAMICS SCHEIB. INC. SYL 2426 90g EaSt Main Strut. AND SUNS CERAMICS South Pattern Strut, Vak~ta 371 E~t Tet~ A~nue, Sh~by Hl~Pna 2902 KOCH'S 8th Str~ EaSt TEE'S CERAMIC SUPPLIES COUNTRY COTTAGE CERAMICS sathl~oo,. CERAMICS 624 GrOVe Saskal~n 2114 Ha bersham Street. S~ann~h RouZe 4. Kali~l A~ue, Jofm~t~n LE BOEUF FINISHING UNICERAM. INC. HAWAII MONTANA CERAMIC SUPPLY & CERAMIC SUPPLY 4070 St-Dan~ 201E AId~son Rural Oeli~y # 5. W=terfo~d TERRA CERAMICS Av~ue, 13111ansi MontraH. Omb~ SHIRLEY'S CERAMIC LIBERTY BELL CERAMICS. INC VILLAGE 3036 C Koapaka Stleet. Honolulu SUPPLIES 4511 North Broad Sweet. Philadelphia CERAMICS LTD, 90"2 13th A~nue South, G~lt Falls 26-10 Connell Court IBAH0 THE POTTER'S MILL Tmonto. OmMiO NEBRASKA Route 611 & Turk Hold. NU A~T CERAMIC & GIFT SHOP Dovlestown PUERTO RICO 427 No, th Maln, Po~tello BE RNICE'S CERAMICS SHERMAN RECREATION PRODUCTS 8805 Highway 6 TREASURE VALLEY Nort he~t. Lino01n CORPORATION CASA DEL SARRO. INC. CERAMICS Final CaNe Highway 9S North. Wilder F REISZ CERAMIC STUDIO 101 T~eroe Drive, Pittsburgh Feder~o A Costa # 1047 695~SEE7 "J" Strut. Urb Industria~ Tres M~i~t=. Hlto ILLINOIS Omaha SUNSHINE CERAMICS. INC Ray W & M CERAMIC STUDIO Route 307. Rural O~i~y 3. CENTRAL CERAMIC ART SUPPLY COMPANY 221E A~nue G. Kals~y RHODE ISLAND AI~ distribut ~$ in the f oll~irKJ lmeigo M~in Strut, AI~ eount,~es: NEVADA CE CENTRAL CERAMIC ART SUPPLY COMPANY RAM-ART STUDIO AUSTRALIA 29W655 0atria Rc~d. Wa~nville CERAMIC ARTS, INC. 3101 East Main Road, perts~th PANAMA 19(]6 West~n ENGLAND PHILIPPINES CERAMIC CREATIONS Street. ILls Vl,gls LOUIS' CERAMIC SUPPLY COMPANY CERAMIC 114 ~mithRe~d FRANCE VENEZUELA 4116 W~t L~efl~ A~. Chic~lo SUPPLY CENTER A~ue, pmtucket 125 N~th ICELAND CERAMICS BY JOY Edi~ Way. Ra~ SOUTH CAROLINA For further ;ofor marion w~ite to: 3230- 23~d A~nue. Moline NEW HAMPSHIRE ANDERSON CERAMICS COMPANY. INC. Ou~n Cesam~: pr~uc~ Inc. SCHERTZ CERAMIC STUDIO DORA'S CERAMIC 1950 South McDuffie StrRt. Anderso~ STUDIO P. O. Box 7827 1201 W~t Brons. Peoria 87 Broadly Av~ue, M=ncY,estlr FAITH'S CERAMICS. INC. Fresno, Ca[if~nla TOWN & COUNTRY CERAMIC SUPPLY SUPERIOR VIEW CERAMICS P.O. Box 24. N~ay 93727 1 North US Route 83 & Center Street, Grlyslake Route 12, W~tmor~and ROURK'S CERAMIC STUDIO. INC. TOWN & COUNTRY 2476 Ashley CERAMIC SUPPLY NEW JERSEY Rivet Road at Pi~pont. C~f~ton SPRINGFIELD BRANCH BROWN'S SOOTH DAKOTA 2809 South Sixth Strut, St~ no'laid CERAMIC SUPPLIES 619 North Second CERAMIC HOBBY iNDIANA Strut. Jillvflle SUPPLY CERAMIC MAGIC 1117 w~t 1 Ith Strut * Si~ x Falls CRAPSHOP. INC. Route 1 and Oakland Avenue. Edith CERAMIC SUPPLY CENTER HlghWay 6"/ North, Vin~ DOL LY'S CERAMIC ART STUDIO 3321'/~ W~t Main Street. Rapid City EDITH'S CERAMIC NOOK 30 Monitory Strut. Clift~ 6E11 Julian A~e. IndianapoU$ SAVAGE CERAMIC SUPPLY COMPANY MEL*S CERAMIC CORNER R~te 37 & Batthelm Strut. T~$ Ri~r TENNESSEE 20~ E~t Main Street. Grdhth NEW MEXICO THE CERAMIC THE MUQ HUT KORNER, INC. VAN HOWE CE P.o. Box 326. Knoxville 1815 South Har rl~ Strut, Fort Wlyne RAMICS OF ALBUQUERQUE 4810 Pan Am~i~n Ft~Vr HOUSE OF NEELY'S CERAMIC STUDIO ~k~tha~t CERAMICS. INC. E~t Fr~ta~ Road. 101 I North 311 South Apple Road, 0~¢41 Albu~J~U= Hollyw0od. Memphis NEW YORK DOROTHY LAMAR CERAMICS 10WA 3302 Gallatln Road, Nashville CE L-ART CERAMICS. LYLE'S CERAMIC CENTER INC. MOUNTAIN 6750 F~fth A~nue. Brooklyn VIEW CERAMIC CENTER 1E16 South Federal. M~ City 1800 Dayton Boul~ard. Clair t CENTRAL NEW YORK CERAMIC anoo~ PARKER CERAMIC SUPPLY COMPANY SUPPLY "i~NIN CSTY 213 215 Second Strut. Livar CERAMICS. INC. 2204 w~t 23rd Stree% Des Mm~s pool 2S12 Volunteer Parkway. Bristol THE CERAMIC TOUCH. INC. KANSAS 345 New Karnm Road. ~Jbany TEXAS EVANS CERAMIC SUPPLY DEAN'S CERAMIC & GIFT SHOPPE BATEMAN CERAMICS 1618 South Wash.huron. Wichita 246 Chenango Strut, Ekn~l~amton 716 Peerce Strut. DaIlas

4 Ceramics Monthly Potter's Kick Wheels this is the popular Ouagmire wheel with 10,000 sat;stied cus- tomers. It features: a machined adjustable seat, M 0 N T H L ~ steel flywheel, an shelf and splashpan. A welded tubuer steel frame and painted weights are:n 3 March 1974 f~n~sh. Flywheel Volume 22, Number 76, 96 and 116 lb. PrTces are:n $149, $159, $169 power unit 7 Letters to the Editor ...... $50. Bat Pins $3, bats 13" $1.00, 10 crating $6. Itinerary ...... 13 Suggestions from Our Readers ...... 15 Answers to Questions ...... 19 Heavy Duty Marsh Pottery by William Hunt ...... 25 Clay Mixers Robert Arneson Retrospective ...... these units will mix wet scrap or Ceramic Invitational ...... 26 • Biggies and Buddies ~ powder to a throwing state Making and Firing Black Pottery I HP 500 Ib./HR 7 Cu. Ft. $795 28 9 Cu. Ft. $995 by Sirkka-Liisa Hodgson ...... 2 HP 700 Ib./HR Ib./HR 10 Cu Ft. $1100 32 3 HP 800 June Schwarcz--Enamelist by Fred BaH ...... 5 HP 1000 Ib./HR 12 Cu.F. 1300 34 crating $20 freight collect by Rachel Rosenthal ...... Coiled Sculpture please specify vo[tacje and phase. 36 Craftsmen's Biennial 2 ...... 37 Memory Tiles by Nancy Baldwin ...... 42 Extended Throwing by Steven Irvine ...... Propane & Natural ...... 44 Cone 6 Oxidation Glazes by Richard Behrens Gas Downdraft 47 CeramActivities ...... Kilns Books reduction or oxydat~on to cone New ...... 61 66 10. 100~o safety off. Low cost Index to Advertisers ...... operation. All propane units com- plete except for tank. Standard On Our Cover foploaders are priced: $595, $695, $895, $995, for 4, 6, 8, I0, wife potters, at work $795, Tom and Ginny Marsh, husband and 12 cu. ft. front lead 20% studio/resldence and in the throwing and dining room of their gas 20% extra. Sitters of the feature arti- extra, nat. in Borden, Indiana. They are the subject pyros, timers electronics, shelves 19. Photo: William cle, "Marsh Pottery," beginning on page extra. Crating $20 per kiln. Hunt. ~Write for into on large natural gas units.

Publisher and Acting Editor: SPENCEa L. DAVZS Assistant Editors: WZLLL~M C. HUNT High Fire Cone 9 ~RANCES SAWYER Electric Kilns BETTY HOLLOWAY Feature Editor: these are well insulated blgh fire Art Director: ROnERT L. CREAOER kilns built to last. They feature a Circulation Manager: MARY RUSHLEY 22" balght with 8 floor variations. Advertising Manager: CONNIS BELCHER Standard units are 4, 6, 8, 10, 12 cu. ft. fop loading. Front load 20% unit prices: $495, F. Carlton Ball, Richard extra. Standard Advisers and Special Contributors: $795, $895. Crating Eckhardt, Zena Hoist, John Kenny, $595, $695, Behrens, Kathe Berl, Edris unit. Sitters, timers, pyros Smith, Helen Worrall, Don Wood. SiS per Karl Martz, Ken electronic controls extra. Please specify voltage and phase. Advertising Representative: Joseph Mervish Asso- West Coast Hollywood, 4721 Laurel Canyon, Suite 211, North DEALERSHIPS AVAILABLE ciates, Area Code 213. California 91607. Telephone: TR 7-7556, more information about the above products Publications, Inc. tar Copyright 1974 Pro[essional ~nd many others write to the address below one of our many dealers . Orders Vol. 22 -- No. 3. Published monthly )r contact Ceramics Monthly March 1974. Inc. -- S. L. Davis, our automatic night line . except July and August by Professional Publications, :an be placed on at 1609 Northwest Blvd., Columbus, Ohio 43212. . Pres., P. S. Emery, Sec.; and change of address ill prices are fob our factory Allduties Correspondence concerning subscriptions, renewals, . to the Circulation Department, Ceramics Monthly, in the price of the goods should be addressed postage paid at Athena, we included Box 4548, Columbus, Ohio 43212. Second Class years $10; Three years Ohio, U.S.A. Subscriptions: one year $6; Two $14. Copyright 1974. All rights reserved. of Ceramics Monthly are indexed in the Art LIMITED The articles in each issue Microfilm copies ESTRIN MANUFACTURING and the Readers' Guide to Periodical Literature. Index University Microfilms, 300 N. Zeeb Rd., 9, B.C., CANADA are available to subscribers from dealing with ~7 WEST 3RD AVE., VANCOUVER Arbor. Michigan 48106. Manuscripts and illustrations Ann welcome and will be considered for publi- PHONE: 731-0312 -- AREA CODE 604 ceramic art activities are range from 600 Manuscripts should be typed double-spaced and cation. correspondence about them to the to 2000 words. Send manuscripts and 43212. Editor, Ceramics Monthly, Box 4548, Columbus, Ohio March 1974 5 OBJECTS: USA l by Lee Nordness. A superb publication fea- turing over 250 artlst/craftsmen working in ceramics and other media. Includes a photo of each craftsman, a brlef biography, and an example of his work. $16.59 CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book on the subject, from choosing the proper clay to putting the final touches on a prate, all clearly explained. $9.75 NATURE AS DESIGNER STEP-BY-STEP CERAMICS by CERAMIC GLAZES by Bertel Bager. This unusual and stimulating Jolyon Hoisted. A complete introduction by Cullen W. Parmelee. A newly revised book presents a treasured to ceramics! There collection of plant are special sections on edition of one of the standard llfe. The forms will the Potter's Wheel, Glazing, texts on suggest an infinite Firing a Kiln, glazes. It is a comprehensive study of every number of shapes and textures far pottery. Building Your Own Kiln, and Raku. $2.50 aspect of the sub ect An outstanding wffh clear, concise ex- gift selection. $14.95 HANDBOOK OF DESIGNS AND planations. An essentia reference with 612 DEVICES pages of technical MAKING POTTERY WITHOUT A WHEEL by Clarence Hornung. Over 1800 sketches information. $14.95 by F. Carlton Ball and Janice Lovoos. This of basic designs and variations including the richly illustrated book covers circle, llne, scroll, fret, shield, RAKU POTTERY every phase snow crystals by Robert Piepenburg. of handbuilding and decorating clay pieces. and many more useful symbols. $2.00 This outstanding new No book covers the subject text covers all the basic information on raku. of texture and A very practical form so effectively. It is a book every CERAMIC DESIGN guide containing instruc- teacher should have. by John B. Kenny. Complete instructions for tlon on clays glazes, kilns, firing, and a $10.9B methods of chapter on safety EXPERIMENTALTECHNIQUES forming and decorating ware are precautons. $12.95 IN ENAMELING given, with step-by-step photos to guide the by Fred Ball. Beginning with essential in- designer along the CLAY AND GLAZES FOR THE POTTER formation way. $9.95 on materials and basic techniques, by Daniel Rhodes. New, revised, and en- this exciting book progresses to new pro- CERAMIC SCULPTURE larged edition f1973) covering by all the cesses with explicit instructions and abundant John B. Kenny. Contains over 1000 photos fundamentals of clays and glazes. $12.50 illustrations. A notable addition to the exist- and sketches covering all phases of the ing literature. $9.95 sculptor's art. A valuable aid for all KILNS: DESIGN, CONSTRUCTION teachers FINDING ONE'S WAY WITH CLAY and craftsmen. $9.95 & OPERATION by Paulus Berensohn. This unique book offers THE COMPLETE BOOK OF by Daniel Rhodes. Everything you need to a new approach to making pots. It know about kilns -- setting up, firing, types is a POTTERY MAKING m is described clear, readable, and definitive book on by John B. and demonstrated. $10.00 making pots using the pinch method. $9.95 Kenny. The "best seller" in the ceramic field! Step-by-step photo lessons PIONEER POTTERY cover all of the pottery-maklng techniques: by Michael Cardew. The main purpose of clays, glazes, firing, piaster, etc. $7.50 this book is to help craftsmen who want to make poffery KERAMOS STONEWARE using natural materials with- by AND PORCELAIN 1 out depending on customary sources Franz Krlwanek. All of the basic areas of by Daniel Rhodes. Describes techniques and of ceramic work are materials supply. Covers clays, glazes, kilns. $15.00 covered in this book. used in hlgh-fire pottery. Includes The examples of pottery are impressive. sections on clay bodies, glazes, colors, CERAMIC FORMULAS: There is a refreshing tex- treatment of subject tures and decoration. $7.50 THE COMPLETE COMPENDIUM matter that makes the book unique. $4.00 by John W. Conrad. This new text contains RAKU: ART & TECHNIQUE over 700 tested A POTTER'S BOOK by Hal Riegger. formulas for clay bodies and by Bernard Leach. The first complete book on glazes in all firing ranges. Features special Now in its twelfth Amer- Raku. Covers clay ican edition, and glaze preparation, coded color charts. this book should be in the kiln building and firing techniques. Beauti- $10.95 library of every potter. POTTERY $12.75 fully illustrated. $12.95 WORKSHOP CERAMICS by Charles Counts. A complete studlo-work- METAL shop manual which guides by Glenn C. Nelson. A new revised and en- ENAMELING the apprentice- larged edition (3rd) by Polly Rothenberg. The emphasis reader from clay to kiln in 250 step-by-step of a favorite title. An in this outstanding handbook for potters book is on new methods of enameling and photos. Written by a master craftsman, it and new will serve as teachers. 348 pages, hardcover. $10.95 applications of the age-old techniques. an inspiration and guide for Many of these unusual experimental projects all students of pottery. $8.95 SELLING YOUR CRAFTS have never before been published. $7.95 DESIGN MOTIFS OF ANCIENT MEXICO by Norbert N. Neson This book leads you by Jorge Enclso. A compilation of 766 through the actual stages necessary to sell CREATIVE CLAY DESIGN ex- successfully amples divided into geometric, natural and what you produce. Covers such by Ernst Rottger. A wonderful aid to those artificial forms. Includes designs based an diverse channels of sales as wholesale, retail, who are learning and those who are teach- flowers, birds, fish, etc. 170 pages. $2.50 mail order and specialty markets. $3.95 ing others how to explore the creative .-- possibilities of clay. $5.95 Order Form ~ We Pay Postage THE WORLD OF JAPANESE CERAMICS by Herbert Sanders. This handsome book BOOK DEPARTMENT Box 4548, Columbus,Ohio 43212 illustrates the forming and decorating pro- cesses and the unique [_~ Bacjer--Natu [] Counts--Workshop $8.% [] Kriwanek--Keramos $4.00 tools used by the re $14.95 potters of Japan. 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6 Ceramics Monthly LETTERS which there has been more tech- CLAY SHOULD LOOK LIKE CLAY always. She also puts forth the theory past few decades to about every- in ceramic art than The one paragraph coverage you gave has been used as a rationale nological advancement in to previous centuries of men and the Rochester Finger Lakes Exhibition thing from the student demonstrations in all of the under- them and with clay and fire. the December 1973 issue of CM is the Watergate scandals--ignore women's encounter To omit cov- come from the studios of standable judging from the abomination they will simply disappear. Much of it has Award, would be craftspeople whose in- which received the Merle Ailing erage of the "objects" in question those artists and cover. of what exhi- the materials and processes and which is pictured on the front to ignore a good percentage volvement with Many of these led them beyond Cone 10 I can only wonder why this award-winning bitions are composed of. of their art has place, them or not, are mugs. As a potter, I have item was shown in such a prominent things, whether you like stoneware coffee pieces and feelings about any object I in favor of one of the many fine witty, humorous, and experimental, very definite Sym- That's what is made of clay. I done at the International Ceramic able to trigger off new ideas. may encounter which will for any number of posium in Memphis. art is all about, isn't it? Whether they may like it or dislike it many impor- allow my personal Please let me add my voice to the stand the test of time isn't terribly reasons. But I do not not to override its who think clay should look like clay, tant. feelings about the object more pots, something about metal, wood, or leather--and please, To see pictures of pots and more potential for teaching me materials of my articles about or by professional potters. no matter how tasteful and well-balanced, new ways of using the knows Max R. Johnson can get pretty dull. And everyone craft, is DeYoung would Memphis, Tenn. how much bad functional pottery there I am indeed as Ms. gives I, however, around, too. I think your magazine have it, "ignorant of true art." OF A DYING BREED art I long ago INTOLERANCE ample coverage to all facets of ceramic have no fear of my ignorance. was finally "true art" is. My annoyance threshold and has become increasingly sophisticated left off worrying about what the letter "Tongue- religion," reached after reading over the years. There are plenty of how-to- Like "true patriotism" or "true 'Junk Art'?" in pot- is perhaps best In-Cheek Artists Producing do-it features and coverage of studio the question of "true art" CM. I have been assorted dilet- the January issue of ters, as well as the farther-out exhibitions. left to critics, patrons, and letters of all those valu- of topics of con- passively reading the I am a teacher and find it all very tantes who are in need who refuse to ac- haggle parties. ceramic reactionaries able. I don't think we have to versation for their cocktail going on in ceramics, ven- Ms. DeYoung knowledge what's about art vs. craft anymore. I would I can only conclude, since today .... is she painting, and life, to add that Ms. DeYoung's work is a bit vague about what exactly the notion that ture I don't wish to propose as dull and tired as her argu- means by "true art," that it is anything is old, but probably sensi- what is new is better than what Bette K. Drake which does not offend her personal to dismiss ment. I find it a gross misconception Cincinnati, Ohio bilities. Certainly strong personal feelings it so that of art what's going on by ignoring about the processes and end results away. I find the attitude necessary to maybe it will go TO DEYOUNG AND EDWARDS are rightfully held and even the intolerance PLAUDITS as Ms. De Young of that writer epitomizing to Joel Edwards and Jean De- the artist. But to suggest, breed. Not dying because of Plaudits publication of a dying for their letters in the January does, censorship in a national age, but certainly because of Young not follow tradi- chronological CM. I had been intending for of any work which does that will not accept issue of which contain a narrow-mindedness to try to write to say what they tional guidelines; guidelines That's dangerous. months as "good design," otherness. expressed so well. The pseudo-so- such vague terminology by people putting down have most part utili- I am bored regardless of their positions on "balance," and "for the Many of the images pro- phisticates, is difficult funk sculpture. and editorial boards, will tarian" is patently absurd. It or nega- judging panels not realize duced are evocative--positively the majority of us that for me to believe that she does beauty, and never convince under- tively. All art doesn't dictate either quality or art. that there are as many different another kind of "that" junk is art of non-beauty can evoke Otto D. Payton standings of "the true craft and crafts- imagery. Bon Air, Va. pottery" as there are potters and craft? Craft decal- Why must we aggrandize people, even among those lustrous, can be deadly. What are seem to for its own sake FAIR REPRESENTATION bedecked ceramic yahoos who in: craft per se or CONTINUE A we really interested OF CONTEMPORARY DIRECTIONS intimidate her so. move, evoke, challenge? from CM will not forms that I refer to a statement in a letter I hope that the editors of are we tryin~ to categorize into issue): contingent of So why J'ean E. DeYoung (January 1974 be swayed by this peculiar craft? The archaic distinct any continue to give craft and not "I was taught, and I believe, that its readership and will painting, sculpture, graphics good other worthwhile lines between ceramic or pottery object should have exposure, as does any and one area often draws be feels is a fair repre- are now blurred, design, balance, and for the most part publication, to what it others for inspiration, imagery, directions of upon the utilitarian." The idea that "any" ceramic sentation of the contemporary To all those potters making cri- Don Ferguson techniques. or pottery object should fulfill these its particular subject. forms, and to those funk Pottery fine, exciting teria and a generally stringent opposition Mooney Fiat unorthodox ways entice, en- so- Calif. artists whose to modern sculptural ceramics and Smartville, perhaps simultaneously disgust, many thrall, and called funk pottery has appeared so who find themselves in the that COMPETENT WORK and to those times recently in your letters column, GENUINELY ORIGINAL position between the two .... every month, in- nebulous I feel some sort of rebuttal is in order. I read your magazine ON! Toby Buonagurio very great interest. RIGHT I myself am a production potter doing eluding the ads, with Bronx, N. Y. am in right now the functional and utilitarian ware. So I I am especially enjoying of my own It is interesting that many THAT'S WHAT ART IS ALL ABOUT no way attempting a defense letters column. for those who have resent the presentation of non- I am amazed at the number of letters work in speaking up people funk "trash art ceramics that have won you have been getting putting down been called "junk artists," "freaks," objective ex- who appear to be in various shows. I am not par- art and ceramic objects. The prime potters," etc. by some awards letter their own ware- fond of that sort of creation ample is, of course, Jean DeYoung's unable to see beyond tieularly argu- seems to be I can recognize that much of in which she drags out the tired old boards. This kind of invective either, but against toward ceramic art original, competent work ment, used since time immemorial born of an attitude it is genuinely us on" too much impor- that it's different than the modern art, that artists are "putting which places altogether and must admit the object pro- of pots, and therefore piques making junk. A lot of the "junk" takes tance on the end product, ordinary run by In of this nature I can imagine that one more technique than regular potting. duced. Never in the letters the imagination. in the process by looking for just that different this day and age it certainly isn't necessary have I read any interest would be things are created. In the Continued on Page 9 for everyone to be doing functional which these objects March 1974 7 ~' L i ..3

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ARE UP YOUR IMAGIMATIOM Really big! Model B-18-H Automatic First, decide on a Cress Kiln. Cress lets you Inside it's 171,4 inches wide and 18 inches deep. control firing speed with the turn of a dial. And only $206.50 All three of these models can fire anything through cone 6 with excellent Even bigger! Model B-23-H temperature Automatic uniformity. This one goes deeper. 22½ inches deep, 17½ They're all durable, yet light in weight inches wide and only $232.50 and have beautiful mirror-finish stainless steel sides. The biggest! Model B-27-H Automatic But inside is where you'll shine! So think Spacious 233,4 inches wide inside and 27 inches about the size you need. deep. Two rigidly fastened sections and six pilot Write us for a catalog or see your dealer. lights make it easy to use. Only $406.00 CRESS MANUFACTURING COMPANY CALIFORNIAPLANT, 1718 Floradale Avenue, South El Monte, California91733 (213) 443-3081 KENTUCKYPLANT, 201 Bradshaw Pike Extension, Hopkinsville, Kentucky 44240 (502) 886.0208 LETTERS Continued [rom Page 7 thing after judging a few art shows. What I really want to say, though, is that your magazine offers people like me, rural and relatively isolated, a peek at the stimulating things that are happening. So please don't stop giving us all kinds of A UNIQUE, articles. Betty Ames FREE-FORM Kenai, Alaska SCULPTURED DISSATISFACTION COMES FROM EXTREMES FOUNTAIN• CM has been Since its first publication Express your a wide range of inter- a magazine aimed at creative For the past severaJ years, it seems to ests. talent with me, your staff has been determined to print interesting a much improved magazine of general in- terest. sculpture- combined with From your letters column I suspect that the pleasant much dissatisfaction comes from extremes sound of --people who want mindless, how-to-do-lt running articles and those whose satisfaction comes water. from the latest non-pots. of diversity or excel- Complete instructions on fountain If there is no loss building in our book, "How to lence in CM I think there will be no loss Make a Miniature Ceramic Fountain," numbers. by Tom Sulkie; $1.00; our latest in subscription catalog of pumps, fountain heads, Raymond Gallucci etc., 50¢; order these two with Studio "Six Fountains" (six designs Contemporary Ceramic using standard molds), all three Allentown, Pa. for $3.00 ($4.50 value!)

TOO CLOSE TO THE CURRENT SCENE? In recent issues of CM many letters have expressed various degrees of rage at creations. some of today's ceramic Dept.M ,2921 North 24th Street It is still quite possible that a well-made, beautifully designed shoe executed in fine. supple leather can be a more successful production than the same shoe made in clay which is encrusted with decals and commercial lusters and incised with haiku. However, we producing artist-craftsmen are too close to the current scene to be objective. The fauves of the 19th century were considered outrageous kooks by many of their contemporaries. There are those today who can remember when anything Victorian was automatically damned as gross. Art nouveau was thought to be an era of over-indulgence in twining poppy stems and languid ladies with vapid ex- pressions who wore mops of impossibly con- trived hair. Today's Art Deco was branded trite and mechanical. Today, all these are acquiring an aura of quaintness as well as acceptance as "relevant to their age." So--be patient. Look at the photographs of prize winners in catalogs of important exhibitions of the 30's and 40's. Time does interesting things to the absolutes of any age. Many of these old pieces, as well as some of today's products, may eventually • . . like they do at Buffalo become "representative" . . . of some- China, Inc. Orton Cones are thing. their guides to consistency And, while you are waiting, produce in the firing of their exten- we what is pleasing to you. Fortunately, sive line of high-quality. live in a country where this is still possible. high-style dinnerware Charles Bartley ]e[fery East Cleveland, Ohio The Edward Share your thoughts with other CM read- OIFITON ~" ers--be they quip, query, comment, or ad- tot o..r 75""°°'°" ~.etw vice. All letters must be signed, but names your ~"~ with Jr. Ceramic ...... will be withheld on request. Address: The Monthly, Box 4548, Co- ORTON CONE8 FOUNDATION Editor, Ceramics Columbus,Ohio 43201 ° Phome(6|4J 299.4104 lumbus, Ohio 43212. t445 SummitStreet °

March 1974 9 ITINERARY Send your show announcements early: cards due April 26. For information, write: lands. Cash awards totaling $6,000 (U.S. "Where to Show" three months ahead Townsend Wolfe, Director, Arkansas Arts dollars) and various purchase awards. En- of entry date; "'Where to Go," at least Center, Little Rock 72203. try forms available until April 1. Forms six weeks be[ore opening. and slides due at Colorado State Univer- COLORADO~ FORT COLLINS sity no later than August May 11-30, 1975 1. For informa- WHERE TO GO "Contemporary Crafts tion and forms, write: Nilda of the Americas: Fernandez 1975," the first exhibition Getty, Department of Art, ARKANSAS, of crafts Colorado State LITTLE ROCK from all the Americas, is open University, Fort Collins 80521. May 17.]une 16 The Seventh Annual to craftsmen or craftswomen born or re- Prints, Drawings, and Crafts siding in any country in Exhibition is North, South, and ILLINOIS, SKOKIE open to all artists. Awards; Fee. Entry Central America, and the Caribbean Is- ]une 22-23 The Second Annual Old Orchard Midwest Craft Festival, spon- sored by Old Orchard Associates and co- ordinated by the North Shore Art League of Winnetka, Illinois, is open to all artists using craft media for their work from Illinois, Indiana, Iowa, Kentucky, Michi- gan, Missouri, and Wisconsin. Jury; Fee; Five slides due March 30. For informa- tion, write: North Shore Art League, 620 Lincoln Avenue, Winnetka 60093.

NEW YORK, BEDFORD HILLS October 6 and continuing "Satirical Crafts Depicting Social Injustices Today," sponsored by The Hands of Man. Media include ceramics. Cash awards. For infor- mation, write: The Hands of Man, 3 Ht.) 's Depot Plaza, Bedford Hills 10507.

NEW YORK~ CORNING May 8-I4 The Eleventh Annual South- ern Tier Arts and Crafts Show and Sale, sponsored by the American Association of University Women in cooperation with the Corning Museum of Glass, is open to all oh( professional and amateur artists and crafts- men throughout the United States. Media include ceramics, enameling, and glass. Entry fee: $6.00; Jury; $2,000 in prizes; Entry forms and work due April 19. For information, write: Southern Tier Arts and Crafts Show, Box 470, Coming 14830.

NEW YORK, MAMARONECK May 3-12 The 21st Open Juried Show, sponsored by the Mamaroneck Artists Guild is open to all media, including crafts. Jury; Awards; Receiving date, April 27 (no shipments). For information, write: Mayco glazes go on smoother. Mamaroneck Artists Guild, 424 Mamaron- And they've been doing it for eck Avenue, Mamaroneck 10543. years. That's why MAYCO® ~,~ COLORS -- America's PENNSYLVANIA, PITTSBURGH finest May 24-June 2 The 15th Annual Three colors--are the No. i choice Rivers Arts Festival, sponsored by Car- of ceramists the country over. negie Institute, is open to artists residing That goes for all within a 100-mile radius of Pittsburgh. Mayco prod- Media I ucts: Glazes, One Stroke, Under- include all crafts, in addition to sculpture, painting, prints, and photogra- glazes. All Mayco products are phy. Entry fee. Deadline entry: April 27. homogenized for easier applica. For information, write: Three Rivers Arts [~¢~ tion and fire at Cone 06. Write Festival, 4400 Forbes Avenue, Pittsburgh 15213. - for free color chart. VIRGINIA, MANASSAS mayco April 26-28 Virginia Crafts Council colors State Craft Fair '74 is open to all crafts- 20800 Dearborn St. Chatsworth, Calif. men residing in Virginia. Entry deadline: 91311 April 15. For application and information, Dealerships Available write: Harriette Anderson, 6449 West Langley Lane, McLean, Virginia 22101. Continued on Page 62

10 Ceramics Monthly OUR REGULAR OUR NEW SPINNING TIGER SPINNING TIGER II

• Has a 1/3 H.P. DC Motor • Has a 1/2 H.P. Permanent • Sells for $149.00 Magnet Motor • Will throw 25 Ibs. of clay • Sells for $199.00 • Ideal for hobbyists and • Will throw over 60 Ibs. of clay the classroom • Is of special interest to • This is the beauty within the professionals and advanced budget of practically everyone students

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-- $9.50 • Optional splash pan ~:~ot t~ll m~.i. 1.., IiRn rt-I.I • Optional stand - fits both models - $14.95 V;I(;P rilt~ir 1~

~liu= I.#ltp][. ~M .1-4 Number of pans. ; stands ~ STUDIO, DEALER J Tarzana, California 91356 Number of Tiger Rollers. AND SCHOOL j Phone: (213) 881-1167 Arm Assembly Kit INQUIRIES INVITED Number of Jigger Name 220 VOLT MODELS residents add 5% sales tax) Address FOR J (California California resale certificate) AVAILABLE (Resellers send Order State Zip EUROPEAN MARKET J Send Cash, Check, or Money City

March 1974 11 EQUIPMENT 0

GLORY H¢ FURNAC MODEL GI

This glass blowing equipment is designed espe- cially for today's glass blower--ideally suited for small groups of designer craftsmen, studio arti- sans, schools, and universities, working with the age old art of hand blown glassware and art forms.

This equipment is highly efficient -- designed for constant use and long life. Zircon firebrick is used in the glass melting tank to eliminate con- tamination and to provide years of service. The design also incorporates easy replacement fea- tures.

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WRITE TODAY Dept. B A. D. Alpine, Tnc. 353 CORAL CIRCLE EL $EGUNDO, CALIF. 90245 AREA CODE (213) 322-2430 / 772-2557 / 772-2558 SUGGESTIONS from our readers burns out during SPLASH PAN SUBSTITUTE desisn or decoration would look. The red ink to the have made a discovery that is a simple solution firing, leaving no residue. I head red ink will "f "1]I) >platt~'ri~l~" from the revolving wheel If a clay body is slightly cracked, a drop of i ~r¢)t~lonl thus indicating of a potter's wheel not expose the length and depth of the damage, equipped with a splash whether it is worthwhile to try to repair it. pan. When my studio be- --Inge Skov-Nielsen, Ekeren, Belgium WARE gan to get really messy, A LAST RESORT FILLER FOR CRACKS IN GLAZED sponge, firing, fill it I found that a If your ware develops a crack in the final glaze water bowl colors of cement tied to the with refractory kiln cement. There are two the your clay. and lined up with available, so use the color that more closely matches head, glaze and re- edge of the wheel The crack can then be covered with an opaque all the ex- would absorb fired. --Jane Larson, Bethesda, Md. cess water produced. Sim- ply attach the sponge to WIRE BRUSH LUSTERS gently touches of a glazed pot the boxxl with a ruloberl~and so that the sponge Run a motorized wire brush over the surface preventing the ware to Cone 018 the edge and top of the wheel head as illustrated, to leave an iron gray deposit, then fire the Bruno, Cali[. you will find splashing of slip or water. --Marilyn Bennett, San as you would any other luster glaze. After cooling, a deeper brown that the deposit has formed a "rust luster." For PACKING YOUR WARE FOR SHIPMENT to bisque temperatures. materials color, fire department stores are a good place to find Monroe, Wash. Large the --Robert Durnil, and shipping your ware. If you ask permission, for packing many A USE FOR PLASTIC LIDS is generally happy to let you remove the that come with store management lo- Assorted sizes of plastic lids, such as those bags and sheets from their bulk waste bins (usually off the bottoms plastic coffee cans, are good shields for keeping glaze cated on their loading dock). the lid (rim down) on the foot to the packing of pots. Invert the pot and place Crumple, twist, or fold the plastic according If the lid is a little larger sheet with before pouring the glaze from above. of each pot. For added bulk, combine plastic or more of the wall needs then than the foot of the pot, one-quarter inch newspaper. Wrap delicate forms in plastic sheet, San lose, CaU[. crumpled will also remain glaze-free. --Marion Marsh, in a strong container and pack popped, unbuttered place them Cali]. around them. --]uin Foresman, Claremont, popcorn DOLLARS FOR YOUR IDEAS item used in this DECORATE AND REPAIR WITH RED INK Ceramics Monthly pays up to $5 for each ware Box 4548, Columbus, Ohio Japan, I was taught to sketch patterns on unglazed column. Send your suggestions to CM, In the way a or return unused items. with red ink (never with blue) when in doubt about 43212. Sorry, but we can't acknowledge Create 8+ Orow emotionally The creativity inherent in ceramics work is can be an cleansing. It is with the belief that our wheels experience exeellent vehicle for realizing the erea tire for sale. Creative lndustries proudly offers its wheels that for The Ci Medium Power Wheel is powerful enough diameter centering up to 35 pounds of clay on its 12-inch potters. head. It is an excellent choice for 90% oJ all Price: $190.00 plus shipping the Ci 1 If you're one of the 10% who needs more power, this wheel i~ Wheel is for you. Producing 1% horsepower, box I than you are! An industrial-quality reduction gear head. power from the motor to the I4-inch diameter Price: $310.00 plus shipping

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Their Skutt Wheel and Kiln provide home entertainment for all their varied ages and interests. Wheel work, slab, coil, or slip cast ware all are easily fired in their Model 181 Kiln-and a load usually costs less than a gallon of gas for the car. Ceramics has something for everyone, and a home studio is the ideal way to bring your family closer together. The Johnsons compared the cost to some of their other "traveling" hobbies and found they were actually saving money, while helping our nation conserve fuel. George is sure he has a winner in Christy. He also knows the family Skutt equipment will last her through every advanced level-even as a professional. You see, dependability is our long suit. Join the Johnsons-and give the fuel short- age "the slip". Skutt Ceramic Products, Inc., 2618 S.E. Steele Street, Portland, Oregon 97202

14 Ceramics Monthly Answers to OUESTIONS Conducted by the CM Technical Staff When I switched from stoneware to porcelain, I found the is the mixture of colemanite, ulexite, and shale which contains lack of grog to be quite a problem, particularly when throw- substantial amounts of carbon dioxide. This mixture is commonly ing large forms. Is there such a thing as porcelain grog? I haven't known as Gerstley Borate, and because it contains a major seen it advertised under that name. Is there another name [or amount of colemanite, it is sold as such. When you use this com- it?--A.A. pound, the result is that carbon dioxide is liberated from the at the lower stoneware firing Porcelain or white grog is sold under the name Molochite. It shale when the glaze is viscous blisters, pinholes, and craters. is available in a wide range of particle sizes. This compound is temperatures--this can cause if he will seek another source composed of mullite and amorphous silica which give it a low Check with your supplier to see want to change suppliers at this thermal expansion. Porcelain grog can also be made by calcining of colemanite, or, should you source. You may be able kaolin to Cone 8 in a suitable particle size. time, you might find another supply to use your glaze if you fire more slowly and soak the glaze when the In the September 1973 issue of CERAMICS MONTE[Ly, you reach Cone 9. This should heal the blistered glaze surface a article entitled "Two Glaze Colorants" lists a formula [or and may produce an interesting, patterned surface." bright copper red glaze [or Cone 9 reduction. Its [ormula is: a terra cotta clay body which colemanite--19.3%, spodumene--36.0, kaolin--9.9, flint--34.8, 0 [ am having problems with fine when removed #om the copper carbonate-~.5, and tin oxide--2.0. A class of mine [ires to Cone 4. My ware looks disintegrate after sitting in my mixed about three gallons of this glaze and tested it on a few kiln after bisquing, but begins to weeks. Can you suggest a reason [or pots. During the firing, one of the pots was visible at the peep- kiln room for two or three a solution?--C.B. hole, and at Cone 5 the glaze was boiling. It continued to boil my problem, and more ferociously as the kiln approached Cone 9. The resulting Your clay body is probably spalling (chipping or fragmenting pots, a[ter cooling, were covered with large craters and bubbles of clay, brick, stone, glass, concrete, etc.). The problem of spall- con- o/ glass. Was this glaze misprinted or is there some other expla- ing begins when lime particles enter the clay body through nation?--D.]. taminated sand, clay, or water. The original source of the lime plaster accidentally find We checked Richard Behrens's original manuscript and found may be in your studio where chips of be a contamination of the that the glaze was accurately printed. His response follows: "The their way into your clay, or there can Sand is the most usual bubbling you experienced is the result of the liberation of large raw materials as they are manufactured. originating at manufacturing. Dur- amounts of gas from the glaze. Colemanite, spodumene, kaolin, source of lime contamination in the clay body. Being in and flint contain only traces of gas producing compounds that ing the bisque firing, lime dehydrates would release at Cone 5. I strongly suspect that your colemanite Continued on Page 17

CERAMICS ENAMELING & CRAFTS You need the 23rd Edition of BERGEN'S catalog •.. an Encyclopedia of Ceramic, Enameling and Craft supplies

1 • Complete China Painting Supplies I • Foil Art and I Oriental Tole Decorating $50 for brochure, prices and new color chart for II [] Enclosed: i • Raku - Clay Glazes II lead-freecopper and aluminum enamels, • [] Enclosed: $5.00 for beginner kit of lead-tree copper enamels and instructions, i • More Kilns and Potters' Wheels • [] Enclosed: $5.00 for beginner kit of lead-freealuminum enamels and instructions i and Findings II [] Enclosed: $30,00 for all ilems listed above. • More Jewelry Settings II ...... H i New items for Fibre Lighting NAME ..... I __ Rush $1.00 (refundable) for YOUR i ADDRESS ...... 200 page catalog and price list to g ~ITY~TAT~--Z~ | BERGEN Arts & Crafts 381.CM 3 CERAMIC COATINGCo. P.O. Box u A j'i h the ~, Morbleheod, Mass. 01945 " "IL-ilJUbkP.O. Box370C, Newport, Kentucky41072 LARGESTDOMESTIC MANUFACTURER OF ENAMELS FOBBOTH ART & INDUSTRY •

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Most potters would prefer to fire in a downdraft kiln. There are many reasons why this is so. Downdrafts use less fuel to reach stoneware temperatures and they fire more evenly. Reduction atmospheres can be regu- lated easily and uniformly throughout the chamber. Before we introduced our 900 series downdrafts, this type of kiln was priced out of the reach of the back- yard potter, small school or studio. Our model CK 910, pictured above, is a professional front loading kiln with a stacking space of 12 cubic feet and sells for $862.00. For detailed information on all of our gas kilns which includes the 900 series, updraft models and kiln kits, see your local dealer or write us direct. ##CALIFORNIA KILN COMPANY 1222 South Lyon Street Santa Ana, CA. 92705 [ j Phone: (714) 836-9009

16 Ceramics Monthly QUALITY PRODUCTS For QUESTIONS Continued [rom Page 15 CERAMICS and CRAFTS a "thirsty" state, the lime begins to absorb water from the atmo- sphere and the ware. (Thus atmospheric humidity, clay porosity and absorption determine the length of time it takes for spalling IMMEDIATE DELIVERY to show up in the body--sometimes a matter of months.) To help solve your spalling problem, first find out if there are NO PRICE INCREASES lime particles in your fired ware. If you see a white speck near the center of each spalled surface, probe it with a needle tool or straight pin. If it crumbles easily, there is a good chance that it is lime. There is a simple chemical test for the presence of lime which a local chemistry teacher should be able to perform on a sample of your pJastic clay. If you have leftover sand, clay, and to find the source of Jgcqce/qH a water sample, you will quickly be able your spalling with this chemical test. If you do not have a chemi- cal test available, eliminate the sand and then change the water VELVA-GLO STAINS source. If spalling still persists, and you are certain that there is no possible contamination from plaster, write your clay manu- facturer to see if he has had similar complaints. PEARLS and BRUSH ON SEALERS 0 Where can I get in[ormation about making screw-on caps SEALERS,METALLICS [or my pots?--H.H. SPRAY-ETTE There are two good sources for this information--CM pub- PEARLS and GOLD WASH lished an article in the September 1972 issue by Robert F. Eilen- berger, titled "Flask with Screw Cap." This article demonstrates a method of making these caps using coils for threads. Another TECHNIQUE BOOKS excellent source is Michael Cardew's text, PIONEER POTTERY. Appendices five and six show the template method of Cipriano METALLIC POWDERS,and Piccolpasso, and the tap and die-nut method. Both of these sources may be available at your local library; but if not, you can purchase Michael Cardew's text from the TEXTURE MATERIALS CM Book Department. Reprints of CM articles are available from University Microfilms, Inc., Serials Section, 300 N. Zeeb VELVA-GLO BRUSHES Road, Ann Arbor, Michigan 48106.

I have been using spodumene in clay bodies and glazes, and have heard that there are different grades of this material available. I] this is so, is there a difference in their composi- tions?--T.D. J,t-e ,gt What you have heard is true. One industrial manufacturer of spodumene contacted by CM sells three grades of spodumene, and lists typical compositions of each as follows: STAINS OXIDE GLAS S-GRADE CERAMIC-GRADE LO~V-IRON SPODUMENE SPODUMENE SPODUMENE BRUSH ON SEALERS Li20 6.13 6.88 6.83 Fe2Oa 1.60 0.65 0.10 Na20 0.80 0.32 0.35 GLUE K20 1.00 0.60 0.14 A120a 25.70 26.15 26.25 VARNETTE SiO~ 63.50 63.70 64.80 SYNTHETIC In some cases, these differences will be significant to the potter. available in For information concerning the composition of the spodumene Spray and Brush On Liquid you now use, contact your supplier.

0 I have access to hard firebricks that were [ormerly used in BRUSHES a a large hospital incinerator. Can I use these to construct includes stain, liners, shaders, they be tested high temperature (Cone 10) kiln, or should Goldinas, glaze and underglaze f'ypes [irst ?--S.S. Detail It is likely that the bricks you describe are low heat duty fire- brick, although some manufacturers recommend high heat duty firebrick even for incinerators. The low heat duty brick, while Supplies available from Distributors and Dealers in your not usually recommended for Cone 10, will not melt or warp at area. Distributorships available in some areas. For that temperature. In fact, they are rated by one manufacturer further information write to: at better than 29000F. Bricks that have been in use for a long time--which have been exposed to corrosive vapors or to ex- tended periods of wetness, freezing, and thawing--may not have much tensile strength, and will break or crumble easily. An inspection of the brick will inform you of its condition.

All subscriber inquiries are given individual attention at CM; and, out of the many received, those of general interest are in this column. Direct your inquiries to CERAMIC ART, Inc. selected for answer Liverpool, N.Y, 13088 the Questions Editor, CM, Box 4548, Columbus, Ohio 43212. Dept. CM 250 109 Monarch Dr. Pleme enclose a stamped, self-addressed envelope.

March 1974 17 l:x:x(:k t:xa.t

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We've used the basic parts of our Model C: the same head and permanently lubricated ball bearings, the same poly-V drive and the same foot pedal. We've found a new I/3 hp permanent magnet motor, and electronic speed control and installed all this in a strong, durable steel frame table that brings the weight for the whole wheel down to 40 Ibs. It's heavy enough to stay put while you throw an honest 25 Ibs. and more, yet light enough to carry around wffh ease.

The foot pedal shown is new, too. We think ;t is the ultimate in smoothness control and qualify -- cast heavy aluminum, and completely waterproof. It's on all of our electric wheels now, so you can try Ix~..ber':r leading Ceramic one at wheetc, cloJ.l, kdn~ suppliers na:tionwide, or send to us 128 mill .r~.oNb for a free brochure. I'~, ccdlPorn~ 907 488-5587 Model A -- $215.00 in kit, $240.00 built, plus freight. Optional splash pan $18.50.

18 Ceramics Monthly sightseers--the sign by the road to attract tourists and from the peaceful Marsh Pottery kind of attention that would detract work environment the Marshes have created. It was winter by ~VILLIA.M HUNT I first visited the Marsh Pottery in 1970. fording the when I drove along their winding driveway, Hunt and finally coming Photos: Don Anderson, William creek on a "U"-shaped concrete slab, as a home. A to a half-finished studio which also serves throughout the wood stove radiated welcome warmth than a two car building, a compact structure no larger were two potter's garage. On entering, I noticed there room table behind, wheels by the front windows, a dining in Borden, Indi- tall at its greatest DmW,NG aowarD "rm: Marsh POTTERY and a sleeping loft (not three feet Highway 71 everywhere--on ana, a potter is easily distracted. Interstate height) above a small kitchen. Pots were rock and great use in the kitchen. cuts through rolling hills of sedimentary the wheels, drying on the table, and in eye of anyone in- but some were veins of clay- enough to catch the Most were made by Tom and Ginny, for the signs potters as Hamada, terested in natural materials. If it weren't products of such renowned Japanese ceramists would hard to find a sim- marked "Emergency Stopping Only," the Sakuma, and Shimaoka. It would be surely be digging up the landscape. ilar total daily immersion in ceramics. setting just nine- in hand crafts- Tom and Ginny Marsh live in a rural I learned that the Marshes' involvement thriving as pot- teen miles northwest of Louisville, Kentuck)~a manship extends further than their commitment studio is set back themselves, from marketplace for a potter's wares. Their ters. They have built their house hill. There is no of good craftsman- from a highway, at the foot of a steep economic necessity and from the pride

Indiana. On the left is ttle studio/residence; ~llarsh Pottery and residence in Borden, The is the barn with retail sales shop. at center is the kiln shed: and on the right

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Above, right: Stoneware teapot,/ire cup capacity, reduction [ired, by Tom Marsh. The white stripe around the form is achie~'ed by dipping three-[ourths o[ the piece in glaze [rom the top, inverting the piece and dipping again [rom the bottom, resulting in a double glaze thickness across the bell), and spout of the teapot.

Le/t: Stoneware bowl with oxide decoration, 4~2 inches high, by Ginny Marsh. The splash o[ oxide was applied while the [orm was upside down. Reduction [ired.

20 Ceramics Monthly books and ship. Never having built a house, they read stages of visited other houses in the area under various and stone construction. Tile result is a beautiful wood visitor structure with a cedar-shingled roof. A Japanese were as commented that the house and environment folk pottery reminiscent of Mashiko (the famous Japanese town), as any place he had seen in America. to be- Re-visiting their pottery recently, it is difficult They lieve the progress their persistence has produced. have finished are closer to completion of their house, and their pottery a large kiln shed, and a barn which contains shop, garage, and storage area. pieces of The pottery produces four to five thousand of the ware is stoneware annually; seventy-five per cent advertising sold from their own shop. With one paid word source (a listing in a Louisville theater program), publicity, the), of mouth, and free newspaper and gallery sell all the ware they produce. when at the Tom's interest in ceramics began in 1952, a friend of age of nineteen he went to Japan to stay with Pacific, his the family. While Tom was crossing the changed his parents received word that tile friend had Tom stayed mind about having an American visitor, so moving only one month in the Tokyo residence before five a nearby student-run dormitory which served into Tom universities. Not wanting to waste tlae opportunity, Tokyo. began studying Japanese at a university in English As money became scarce, he started "tutoring support at night, and for the next two years that financial of Japa- was sufficient to cover sixty-five semester hours his strong nese language training. (Tom feels that without achieved satis- knowledge of Japanese he could not have Field trips factory contact with potters in that country.) stimulated conducted as part of the school curriculum his return to Tom's interest in art. When illness forced University of the United States in 1954, he attended the in painting Louisville and graduated with a double major and ceramics. in Japan. In 1961, Tom felt the need to study further passage. so he sold his car and secured funds for a return but he was He wanted to apprentice with Shoji Hamada,

Top, right: Reduced stoneware bottle with brass rings, was by Tom Marsh. The unglazed belly o/this pot inside conventionally thrown, then expanded from the The rugged without contact with the outside of the [orm. coarse texture of the bottle is the result of stretching a added clay body in this manner. The slab-built neck was and ash glazed, bringing the height to 15 inches. and Right: "'Shaman's Pot," reduced stoneware, rope, and wood. The unglazed handprint adds contrasting Marsh. informal decoration to this 18-inch form, by Tom I i

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2,5 22 Ceramics Montht) Tom "too nmch in awe" of that great master. Instead, was accepted by another Mashiko potter, Totaro Sakuma, Tom a student of Hamada and a master in his own right. an was not selected for an easy apprenticeship, but for accep- exercise in discipline. For three months after his the tance, his experience was limited to cleaning up during studio. Not once was he allowed to form clay that time. his By the end of the third month, Sakuma permitted work American apprentice to make pots after the normal A.M. day had ended; the studio day began for all at 6 and ended at 6 P.M. After six months Tom was assigned or Yu- the task of making two-hundred and fifty teacups For nomi; the cups were to be completed in one work day. twelve and a half hours he worked at tim wheel--the master courteous/}, waiting until 6:30 before inquiring two- about the quantity produced. Tom had completed boards hundred and thirty-nine. Sakuma took the ware com- of Yunomi and dumped them all on the scrap pile menting, "Maybe tomorrow you will have two-hundred and fifty." of a By the ninth month Tom was given the status nine regular production potter; he stayed in that position plans months until a motorcycle accident interrupted his the in 1963. After partial recovery, Tom went to Imbe, famous Bizen pottery town in southern Japan, believing that the favorable climate there (somewhat like Atlanta, for Georgia) might speed his recoverY. There he studied

1. After centering the clay, Tom Marsh opens and pulls the wall, almost as if it were one motion. In the background are a spray bottle for wetting ware, and a hair dryer .for drying it.

2. Like many Japanese-trained potters, Tom throws with the fingers and thumb grouped together, rather than using a knuckle, or fingers alone. The hand is a very stable throwing tool iv the grouped position.

3. Once the final height of the pitcher is achiec'ed, the rim is smoothed with the fingers. The form is then e vpanded from the inside to the finished shape.

4. The completed pitt her is slightly undercut with a plaster turning tool--the last alteration of the foot while on the wheel head.

5. The spout is formed by stroking the wall from belly to rim. The inside finger pushes between the two fingers outside, forming the contour of the spout.

6. 7"he final alteration is to flare the pouring surface with the index/inger. The completed pitcher can then be cut and removed from the wheel head.

:$Iarch 1974 23 Above: The Marshes' 65-cubic-foot, propalw-/ircd. downdraft kiln is a masterpiece of craftsmanship. Left: Ginny and 7"ore Marsh stand outside the door of their retail shop where they sell seventy-five per cent of the [our- to five thousand pieces they produce annually.

three moilths with the exception with Kei Fujiwara, perhaps the most out- that rl'onl usually stacks and fires the standing 65 cubic-foot Bizen potter working today. propane-fired kiln. A wood-fired kiln is an In 1964. Tom and Masayuki Tanaka opened their own addition planned for this year. l)ottery in I Iayama. The Marshes a town fort} miles south of Tokyo. are production 1)otters. making a line of As the second ware, some son of a master potter, Tanaka was ineli- quite sculptural, in which there is a slow gible to inherit evolution the traditional pottery. All but the first of form over a period of years. Decoration, born in such however, potter}" families must either establish their varies greatly froln one pot to the next, leaving own potteries or work the feeling that as journeymen under other potters. each pot is distinctly individual. They use The two handmade men's efforts created a self-supporting business. ware daily to learn more about developing thus establishing harmony Tom as one of the first Americans to between craftsinanship, form, and function. become a successful Although the potter (m Japanese soil. I)uring the influence of the Orient is strong in their first }-ear, three lives and work, major exhibitions of their work were held tile}" have successfully incorporated ele- ments from in Kvoto, Yokohama, and Tokyo. both East and West into their life-style. Tom, As'a result for instance, of his earlier motorcycle accident, Tom was teaches two days a week at the University forced to return of Louisville to the United States in 1965. Afterward. where he is an associate professor. His com- he taught high mitment school art in his hometown of Sellersburg, to that institution is not financial, but rather Indiana: at tile because he feels same time he entered graduate school at that "telling and doing is an ideal com- Indiana University in Bloomington. later receiving an bination." For those M.F.A. degree. thinking of starting a l)ottery like the Tom and Marshes', there Ginnv met in 1968 at a workshop given by are many considerations; 10ut Ginny's Otto and Vivika comment perhaps Heino at hldiana University. They mar- best reflects one attitude necessary for ried and moved success, "A to Columbus, Ohio where Ginny was place like ours requires constant tending-- completing hard physical her graduate degree at The Ohio State Uni- labor which must be done season after season, versity. year after year. Yet many of us tend to underesti- Ginnv's interest mate or even in ceramics began in 1967 when she deny the rewards of hard work." Tom's took a "ceramics feelings are course at DePauw University. That in- similar, "Hoeing in the garden, walking in terest led the woods, digging to an art degree with honors, and to an M.F.A. a ditch--all are equally important to degree in our being 1969. She likes being half of a husband and potters as is throwing at the wheel." wife potting The Marshes' team and comments that there is no profes- example is one many will envy .~ince all sional jealousy facets of their in tile family. Many times both Marshes lives become a creative whole. More im- work on the same portantly they pot, applying their combined efforts to have demonstrated that persistence and ex- its completion. perience' Their pottery duties are loosely defined can" forge a unique and rewarding life-style. 24 Ceramics Monthly Robert Arneson Retrospective

Arneson's sculp- m RETROSPE(;TIVE EXHIBITION Of Robert of Contem- ture and drawings opened at the Museum 12 and porary Art in Chicago, Illinois on January 93 fan- continues through March 3. The show features 1961 through tasized ceramic objects produced from significant 1973~ one of the earliest and most historically stamped with of which is a thrown, capped bottle-form exhibition the words, "No Return," created in 1961. The Art in was organized by the Museum of Contemporary of Art. collaboration with the San Francisco Museum

"'Huddle." 1972, terra cotta.

Top: "Two Chickens Fighting orer .4 rt bl'ork.'" 1970. porcelain. (.'crater: -Typeu'riter," 1966, earthena,are. Bottom: ",.1 Social Gathering in the Late ,'l/ternoon,'" 1970, earthenware.

AIarch 1974 25 Biggies and Buddies Ceramic Invitational

FIFTY ESTABI,ISHI';D as well as new ceramic artists in the United States and parts of England were invited to sub- mit two works to be shown in the "Biggies and Buddies" exhibition which opened January 4 at Mercer University in Macon, Georgia. John Glick, one of tile invited artists, made this statement: "Remember--the difference be- tween a biggie and a buddie is in the eye of the beholder! Some who are biggies are not--and some who are buddies do not aspire to biggie-dom." The show offered a cross-section of work being done in contemporary ceramics, and remained on view through January 30.

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l.e/t: Salt glazed jar by Jane Hatcher. Top: Pitcher with lid, stoneware, low-fire glazes, by Erik Gronborg.

Center: Three-Piece Tea Set by I.l'arren AlacKenzie.

Bottom: Slip decorated plate by Michael Cardew. 26 Ceramics Monthly Right: Slab Bottle by Bernard Leach.

Center: "'The Moon is Made o/Blue Cheese," porcelain, by Charles Lako/sky.

Below: "'Zap-O Nut Table" by Jerry Chapelle.

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Q Making and Firing Black Pottery by SIRKKA-LIISA HODGSON

Photos: John Hodgson

~'~'HILE, LIVINC, IN FINLAND in 1970, I had the opportunity to study with Kyllikki Sahnenhaara, and was introduced to the process of making black pottery by firing with resin in heavy reduction in a wood-burning kiln. returning to the After United States, I began experimenting with this process and obtained satisfactory results, using a metal trash can for a kiln. My black potter5" is fired at a very low temperature (approximately 1700-1800°F') and is therefore quite fragile. It will not hold water, although covering the in- terior of a piece with a low-fire glaze will retard leakage. In some cases I have bisque fired a piece, applied a fire glaze, and fired low- a second time at bisque temperatures. Then the piece is smoke-fired, resulting in a shiny black surface on the outside, with a smoked, glazed, black interior. I have formulated several stoneware and earthenware bodies which work well , for making black potter),. One of these follows...... Burnished black potter), Clay Body for Black Pottery bowl, earthenware form, with incised decoration. Fireclay ...... 70.0% 10.0 Ball Clay (Rex) ...... 10.0 Dalton Red Clay ...... 10.0 ,4 spoon or smooth stone Flint ...... can be used to burnish the ware. The pres~,re at~d [ri~tio, "100.0% of burnishing compacts the clay The Dalton Red Clay content may be varied to three per cent if desired. Many commercially prepared earthenware bodies red will also be useful. The results, ever, are slightly how- different in each case. Clay low maturing bodies with temperatures are stronger, because minimal temperatures of the achieved during smoke-firing. results are Best obtained by using clay bodies stantial amounts without sub- of grog, since the small grog tend to particles break the shine of the burnished most recent surface. My work has been with a red clay which matures (without grog) at bisque temperatures and produces similar to ware the traditional Mexican black Both wheel-thrown pottery. and handbuilt pieces are suitable for smoke-firing if they are uniform in thickness. A spoon or a smooth stone can be used to burnish the ware. The entire surface of a pot can be burnished, or specific signs can be produced de- by selectively burnishing certain areas. Start your work on the pieces when they reached the leather-hard have stage, then proceed on of the initial the basis results (some clay bodies may peated burnishing). require re- Pieces can also be decorated plying by ap- slip to the burnished surface. Ware can be in the bisque or green stage prior to smoke-firing, but all pieces must be very" dry before firing. Bisqueware is, of course, less fragile to handle, but it often does not achieve the deep lustrous black which 28 Ceramics Monthly with painted Burnished black potter), [orms, earthenware, slip decoration.

completely burnished in the manu/acture o/ Slip decoration can be added to a Powdered resin, a basi, o. ingredient more matt. when burned pot causing the decoration to appear and lacquer, u ill carbonize the ware e. varnish l"ini,tl,'d, fired piece, ar~, ~tz~ pz at;~,~ in tl~' kiln.

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:d, these lidded forms have from the burnishing process• 30 Ceramics Monthly heat the ware and 1. A small wood fire begins to slowly resin inside the trash can kiln. may be piled up around 2. For added insulation, bricks progresses. the trash can kiln as the firing fire should be 3. After the first hour, a vigorous hours. The lid maintained from one to three additional creating a small is slightly opened in this illustration, This allows the smoke draft through the trash can kiln. to the carbonizzng effect. C; from the wood fire to contribute newspapers to remove 4. A finished bowl is polished with the carbon residue. 3

in the green stage. is in place, and all ware occurs when ware is smoke-fired When the container of resin trash can which has with the metal lid. Start a For smoke-firing, use a metal loaded, cover the trash can bottom to permit the addi- area under the trash can. When several small holes cut in the small fire in the open circulate through the can. additional bricks can be used tional smoke from the fire to the fire is burning well, two wind, then place the can under the can. For the first the direction of the to further enclose the area Determine side, one on top and increase the as illustrated (two to a of firing, keep the fire small on four bricks half hour vigorous any breeze will hit the bricks the first hour, maintain a of the other) so that heat gradually. After un- through the opening under ware for about two hours; instead of blowing directly fire. Smoke-fire bisqued on a gusty day. If hours of smoking. When the can. Firing is not recommended fired ware requires about four they can be stacked be removed and the excess additional bricks are available, the kiln has cooled, pieces can heat. newspaper. around the can to help retain carbon residue polished off with in the manufacture of Resin is a basic ingredient powdered compound from HODGSON is varnish and lacquer. I buy this SIRKKA-LIISA are other sources avail- of Finland, residing in a small country store, but there a native the resin smokes heavily, New York. She stud- able. When heated in the kiln, Fayetteville, clay body. Place a quantity taught textiles in her reducing and carbonizing the ied and container--a discarded country before coming to of the resin in a heat resistant native set the container on United States in the early bowl or a tin can work well--and /he If ware is to be fired from Her interest in ceramics the bottom of the trash can. 1960"s. to the bottom of the in 1971 and 1972 the green stage, load pieces as close z~'as rewarded to receive maximum heat. received special com- trash can as possible in order ~'hen she one large piece or several from ]erry Williams It is best to smoke-fire only mendations black surface is desired, Da1~i~4 l;tl,,dc, l,r of black pottery exhibited small pieces at a time if an even and pieces freely around the ware. shows of the Ceramic Guild. because the smoke must circulate in annual Syracuse ~gIarch 1974 31 Center in California. She first became interested in June enameling after watching Schwarcz- EnameUst fellow Denver housewives who had been taught by a student of Kenneth Bates, and she by FRED BALL began to experiment with enamels on traditional smooth surfaces such as tile and Photos: University bowl forms• In the mid-19:)0 s o] Washington and Bob Harwayne she began exhibiting her enamels, and since then her work has been collected and shown extensively by nm- scums and galleries. ENAMELINT J UNE SCHV~'ARCZ has After moving to been a one-woman California, the character of her work revolutionary, not by intent was altered, or circumstance, but by the and nature-inspired design sources natural evolution and bark such as curiosity of feeling for what she and ferns were given a luminous calls the %voodsy, light refraction mossy things" of the hills around in acid etchings and high-fired home her transparent enamels• in Marin County, California. In Benefiting from her her home, a husband's technical knowledge, she glass-walled lookout to Sausalito adapted her Bay, she has amassed workroom for electroforming and a collection of visual etching• electro- delights, including Buddhist scripts, In these processes, metal surfaces Japanese dye stencils, are selectively and Mayan pots, which serve built up or eroded by passing a direct an everyday as current between encyclopedic reference for her work. two electrodes submerged It in an acid bath. Prior to im- is a comfortable life, shared by her mersion in the bath, husband Leroy, asphaltum varnish or wax is used to a senior staff member at the Stanford coat areas which University linear will remain smooth; or the entire surface accelerator and a master knotting may be coated craftsman in his free with asphaltum and specific areas exposed hours. In her basement by scraping workshop, the famous crusty or scratching through the protective bowls and panels wait These coating. in vats of electrically charged smooth areas are sometimes filled acid and on makeshift with enamels tables. And they do wait, which after the encrustation of asphaltum is a major surprise and loose metal is about this enamelist. For all removed. June Schwarcz pact the im- often uses this procedure on her work has had, and the lenghty bowl forms, exposing list of awards, them to the acid bath for a period exhibits, and critical acclaim, of hours June Schwarcz has a very or days, until the desired stage of crusty limited lation accumu- production• or relief is attained• For additional Each piece takes months, design or or may be set aside for a texture, the varnish may be removed, year, while its a fresh coat applied logical progression resolves itself--there in another area, and the acid is immersion process repeated. no hurry or compromise. Her workshop, A side benefit from in contrast, these processes is a collection of loose is a series of compromises. Water metal pieces is brought down in which can be used as inlays on pre-enameled buckets from the kitchen, lights panels, to hang from extension create a rich, linear composition similar cords, the tables are cluttered in ap- (in logical order, but still pearance to a line drawing. cluttered), and her equipment June is makeshift, adapted or Sehwarcz's work is not an imitation built with of nature, the help of her husband. rather it is done with empathy and appreciation June Schwarcz was of those born in Denver, and attended the forms she observes. The lush garden Universities of that follows her Colorado and Chicago, the Pratt Institute, home down the hillside is very the much related to the kind Institute of Design in Chicago, and of color and form the La Jolla Art she uses in her work. Her latest pieces are colored with soft pastels~blues and light pink-golds. These colors appear often on leafy, cabbage-like bowls, which are sometimes pierced for optical illusions plique-a-jour or for enameling. Her early work was smoother, in cool blue-greens or yellow transparents; she frequently enameled over craggy surfaces, creating the impression of stones and vegetation on the bottom of a pond. The new work is a reversal of this, with surfaces suggesting the environment around the water, not what is beneath it. When fired, the exposed unenameled areas take on an oxidized coloration, usually dark, although some are plated in iron which is treated chemically or allowed to rust. Each enamel, usually the size of two cupped hands, has a satisfying presence of completeness. As an established pioneer in her field, June Schwarcz makes special mention that there is much she does know. Her not work has been focused on the development of the metal surfaces and a relatively elemental applica- tion of enamels• The subject of interviews over the years, she says, "I was much more articulate about enameling than I am now. I was trying to explore the medium and quite happy to talk about it. Now it is as much a part of me as my bone structure, and I don't try to analyze either of them•"

32 Ceramics Monthly r

Electro/ormed bowl, enameled pink interior with plique-a-jour yellow areas on exterior, 7x4I/~ inches. Oakland (California) Art AIuseum collection.

gold-brown and copper coc'ered with "'A/rican Scar/II,'" panel; transparent -Porest 11, ~" panel, etched electroplated, o[ /orest green opaque white enamel, etched and transparent and opalescent enamels 12x9 inches. iron oxide colors, 12x81/'2 inches. ~l/Iarch 1974 33 bored always making the same cells. The surface are formed, coils Coiled Sculpture added, and twisted in rows simultaneously with the structural coils. Once crafted, the surface is so by RACHEL fragile that it is untouchable, ROSENTHAL and the curls cannot be manipulated further without being crushed. The sculpture Photos: Doolie Brown, Rachel Rosenthal is rather like a Sumi painting inasmuch as it cannot be corrected. During firing, the piece is further altered the heat, often by resulting in unique and surprising effects.

RACHEL ROSENTHAL has I AM CURRENTLY INVOLVED had in the creation of a series of a varied career in the arts, stoneware sculptures with surfaces intricately crafted with including studies in painting, en- small curls of twisted, graving, intertwined clay, evocative of hair and ceramics; the latter or colonies of parasites. The basic shapes are simple--a :cith John Mason and Joe Sol- dome, rounded stele, sugar loaf, or beehive. All the forms date. From 1956 to 1966 she was in the series are frontal and symmetrical similar revolved in the per[orming sculpture to the arts-- shown. Named for the ancient cities participating in "Instant Amazons--Mytilene, of the Thea- Amastris, Salmanoe, and Clete--the tre,'" a totally improvised theatri- series is formed cal in natural unglazed clay (buff, dark art [orm with a three 3'ear brown, yellow, and white) and some are tinted with pro[essional run at the Horseshoe pink underglaze Theatre in Hollywood. colorant; then fired to Cone 10 in heavy The author's [irst major exhibition was in I953 at "Salon reduction. de Mai," Paris; and recent erhibi- The technique for tions include forming these hollow and un- "Ceramics International "73,'" Calgary, buttressed sculptures is steeped Alberta. Born in France, in the fertile boredom that Rachel RosenthaI currently re- is generated by repetition--the sides in way I imagine nature is Tarzana in southern CaIi[ornia.

34 Ceramics Monthly 1,2

1. Oblong bases for the double sculpture are coiled '2. Tendril-like ¢oil.~ are attached to the oblong bases. on a flat clay slab. 4. Hand-rolled coils are adjusted after being attached 3. After decorative coils are attached, structural to each area of the form. coils are added and the process repeated.

Opposite Page:

Left: "'Clete,'" double disk sculpture, charcoal, 23 inches high, 26 inches long, 15 inches in diameter, fired at Cone 10 reduction.

Right: Side view of "Clete'" shows the decorative tension of space between the two forms.

March 1974 35 Craftsmen's Biennial 2

CRAFTSMEN'S BIENNIAL 2, an exhibition sponsored by the Richmond Craftsmen's Guild and the Anderson Gallery, School of the Arts, Virginia Commonwealth University, featured work by 78 craftsmen working in the states of Virginia and North Carolina. Juror Karen Karnes se- lected 106 works from the 468 pieces submitted by 197 craftsmen. A portion of Ms. Karnes's statement in the catalog for the show states: "The objects submitted to the show were all well-made: the problem in selecting an exhibition is to search for those pieces that express more than craft--work revealing an individual's relationship to material in some original way. .... too many follow the styles, and objects are imitative of the few innovators ..... "

Above, right: "'Covered Stoneware Jar" with photo emulsion decoration, by ]anice Atone, Richmond, Virginia.

Center, left: "Stoneware Floor l~ase "' by Thomas Kerrigan, Richmond, Virginia.

Center, right: "Stoneware Casserole" by Bill Coombs, Richmond, Virginia.

Below: "Rio Grande" by Robert Crane, Williamsburg, Virginia.

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36 Ceramics Monthly Memory Tiles by NANCY BALDWIN

Photos: Leo Lewis

WHEN UNLOADING MY KILN, I sort the pieces into three began to take impressions from many surfaces with as categories. There are those pots which come out modeling clay. One source of texture was a cut glass get planned; others look strange and unfamiliar--I must collection decorated with lions, deer, flowers, and geo- acquainted with them; and then there are the pots the metric forms. Another source was the antique carving on fire was unkind to--they hit the shard pile immediately. old tombstones. It is best to conceive of the finished piece The idea of "memory tiles" began almost accidentally. as the memory tiles are made, because the decoration will I found a While conducting a thorough studio cleanup, then be more likely to relate to the finished form. The on small ceramic box which was hidden in a dark corner bisque fired tiles can be stored for future reference and the a shelf. It was one of those uncertain pieces from impressions from them combined in related compositions. middle category. This box did not violate strict utilitarian Small ceramic boxes lend themselves particularly well aesthetics--it had no sharp lip to annoy, no unbalanced to memory tile work. I like to use opposites and repeated pot handle. It suffered from a worse ill--ugliness. This patterns in odd numbers. An interesting pattern is made was about to be added to the shard pile when I noticed with rope used as a connection or a tie. When construct- impulse its bottom had an interesting texture. On an ing a box, press tiles onto the clay---or roll it on if you an im- I reached for a piece of plastic clay and took prefer. Some clay bodies are fragile in the soft bisque and later pression of the bottom of the box as a memory, state, and so some tiles break easily. I use a strong stone- bisque fired it. The resulting textured slab was intriguing, ware body to avoid this problem. I so I made six impressions to form a whole new box. Body (Cone 9 reduction or salt) soon discovered that a memory tile could be made from Stoneware 100 pounds parts of a bad pot, or from the best parts of a Goldart Clay (200 mesh) ...... the best 10 Here was a way of passing on generations of Valentine Clay ...... good pot. 10 pots through memory tiles. Potash or Soda Feldspar ...... 10 Before discovering this tile method, I had a penchant Flint ...... 10 for pressing textures into clay. Frequently dissatisfied, Fine Grog 48 mesh ...... and after taking many impressions, I finally realized what 140 pounds displeased me--that the resulting impression was always Before removing the damp clay from the tile, lift the the negative of my pot textures. It also bothered me that corners and sides up carefully to avoid tearing. If the whatever design I impressed, its original character was a has a tendency to stick to the tile, the clay is too retained; the impressions could not be transformed in clay A little experimentation will help you arrive at the manner that would easily relate to the pot. moist. proper consistency for clear impressions. The memory tiles allow me to take impressions that You may find it best to spend a whole day making later become part of a finished form--the relief decora- impressions of tiles and storing them away. I sort out the tion is the form of the piece, rather than being awkwardly I applied or incised. The technique intrigued me and Continued on Page 40

ACarch 1974 37 \

1,2

3,4 ~ 1. The tile is pressed [ace down into a ( lay slab. A 5. The walls are raised around the base, and all [ettling knife is used to cut around the shape. seams are care[uIly joined. 6. A coil is placed on the roughened top edge o[ the 2. The clay is loosened/tom the edges and peeled o[[ the box. The top section is placed over the coil tile, revealing the negative impression. I[ in successive and the box is sealed. The piece is then care[ully paddled preparation the clay sticks to the tile, the clay is too wet. to retain the design. The slab may be dipped into/lout or dry clay alter each impression. 7. The box is allowed to harden slightly be[ore the lid is cut with a [ettling knife. 3. The rectangular slabs are cut to the correct size, then arranged to repeat the decorative pattern. ~. The lid is cut in a keyed design. 9. The completed box with the edges smoothed and 4. The edges o/the slabs are beveled with a [ettling slightly beveled with the lingers. knife, with the exception o/the edges that will serve as the top of the box. 10. This box was fired in a salt kiln to Cone I0.

38 Ceramics Monthly 5,6

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9,10

~Iarch 1974 39 11

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number of impressions necessary to create a box, separate the clay slabs with a single thickness of newspaper, then wrap each bundle in plastic and label it for storage. The clay will adhere to the newspaper if stored for long periods of time, but the paper will burn out in the firing. Whenever you feel like putting together a box, lay out the box sections as shown in the illustrations. Bevel all edges with a fettling knife (except the top edges of the walls/ and score the beveled edges with a toothbrush 13 dipped in water. Join the box sections, reinforcing the joints with small coils of clay if necessary. Be careful not to spoil the texture while assembling the box. To keep the lid from sinking in, put a small coil around the top rim before the lid is added. With the addition of the lid, the box is completely sealed. If air has escaped and the box looks as though it has been eating persimmons, cut a small hole in one of the corners, make a nipple of clay, and blow into the box. If tile box has been well sealed, it will puff up. There are several ways of cutting the lid. When the

11. A diagonal pattern o[ cord impressions is used for an all-over design on this tile.

12. A mesh patterned tile is used to create another effect.

13. A shell pattern is used as decoration [or the lid o[ this box. The [inished form was high-[ired, then low-fired with luster glazes.

40 Ceramics Monthly The curved line o/the lid becomes a part o/the decoration o[ this raku-/ired box.

box is almost leather hard, take a fettling knife and cut This clear shiny glaze turns to a celadon with a one the lid so that there are at least two keys on adjacent per cent addition of red iron oxide, and turns brilliant you sides. The keys will keep the lid from sliding off. If blue with one per cent additions each of black copper a don't like keys, cut the lid off straight. Then make oxide and cobalt oxide. flange by attaching a coil of clay around the inside rim Ten per cent Albany slip clay may be added to the of a box or its lid. Another method is to bevel the lid, initial formula after the glaze has been strained. Stir in jack-o-lantern fashion. The edges may crumble if the clay the Albany, but do not completely mix it. Interesting by is too dry when cut. You may be able to remedy this blotches and spots of dark brown will result. If the glaze taking a damp sponge and smoothing the edges. is allowed to settle, a darker gray celadon will result. The Before replacing the lid, study the interior of the box. glaze will fire yellow-green to iron-blue, depending on The inside of the box is as important as the outside. the amount of reduction. I reduce heavily for about Every inch of the box is an opportunity to create interest- thirty-five minutes after the Cone 9 maturing temperature I ing surfaces. Try a hidden surprise. is reached, then re-oxidize for about seven minutes. deter Allow the pot to dry with the lid in place. To prefer to place the pieces in the path of the flames where warping during the drying stage, place a rubber band flashing will take place. few at each end of the box. Wrap the box first in a The memory tile technique is by no means limited to have a thicknesses of newspaper if the rubber bands box construction. It can be applied to an endless range of tendency to dig into the clay. Even if they do not cut surfaces, and well designed impressions (perhaps pro- into the box, the rubber bands may leave marks where duced by accident) can be preserved for future use. they restricted drying. These marks may even persist through the bisque firing, but will disappear in the glaze firing. A good glaze for textured surfaces is: Clear Glaze (Cone 9 reduction) 33.85% Kona F-4 Feldspar ...... NANCY BALDWIN, a /requent 19.35 Whiting ...... CAI author, is a student potter in 30.46 Flint ...... New York and teaches 9.09 ..... Northport, Gerstley Borate ...... ~ i~ ~" ceramics in a Great Neck (New 7.25 Kaolin ...... York) adult program, in addition 100.00% to summer classes in Workshop V.

March 1974 41 Extended Throwing by SaT.vvN IRWNW

The author is shou'n throu,ing the upper section o[ a pot; u'hcn completed, it will weigh 300 pounds. SO3II" TIMI" AGO, I watched a film which included a short section about a Japanese pottery on the Island of Shikoku. These potters specialized in throwing six-hundred pound pots for use as storage jars and planters. I was intrigued by the idea of working with such massive amounts of clay, and fortunate to have access to the facilities neces- sary to implement such a project. The first requirement for throwing large pots is a wheel that is not only sturdy, but which will rotate slowly. A minimum speed of 20 r.p.m. (and preferably slower) is necessary to control the tremendous centrifugal force generated by the revolution of wide ceramic forms weigh- ing several hundred pounds. In Japan, small heavily built wooden wheels are used for throwing large forms, and power is provided by a second person who reclines and turns the wheel slowly with his feet. Wheels with fly- wheels are rather impractical for throwing tall pieces since the potter has to stand on a chair or table, and it is inconvenient to frequently climb down to regulate the speed of the wheel. For the North American potter, vari- able speed electric wheels seem to be the most suitable choice for this experimentation. It is a good idea to measure the width of the door to your studio, as well as the dimensions of your kiln, so that you will know exactly what )'our size limitations are. Before actually throwing, you should have a well- formulated design in mind. One of the characteristics of extended throwing is that while working on the upper- most sections of the pot, the lower sections are almost leather-hard (there is little spontaneity in the develop- ment of forms this size). Because of the exaggerated scale, the difficulties encountered will also be exaggerated; the slightest indecision or lack of concentration can bring the whole project to a speedy and unexpected finish. Nearly any good throwing body is suitable, so long as the amount of grog is increased to add tooth to the clay and open the porous structure of the body to facilitate drying. My clay bodv is a typical stoneware recipe with around twenty-four per cent grog added. Center about forty pounds of clay, or an amount that can be comfortably handled, and throw the first section of the form. Once this first section is formed, bevel the rim inward at a five-or-ten-degree angle. The next sec- tions attached will thus be tilting inward, and will have less tendency to flare out of control as the wheel turns. A wire cheese cutter may work better than a needle tool for beveling the edge; it'seems easier to control on wide diameters. The sections to be added to the pot can be made in several ways. One method is to obtain a second wheel, attach a large wooden bat, and throw thick coils. Cut the thrown coils into sections, attach them carefully to the large pot, and re-throw them to the desired thickness-- usually about one-half inch. The rim is then beveled and allowed to stiffen for a few hours before the next coil is added and thrown. This process is repeated until the final form is realized. For those with access to only one wheel, roll out coils on a table and attach them to the pot after beveling one edge to insure a snug fit. Coils ('an also be cut from a large slab of clay and applied in the same manner. Two of the more serious problems encountered in mak- ing large forms are removing them from the wheel head for drying, and loading them into the kiln. A recently made pot weighed close to three hundred pounds, anti even with two assistants it was difficult to manage. If bricks are available, build a kiln directly around the piece--probably the easiest procedure when firing monu- mental ware. Be sure to allow plenty of space around 1. A coil is attached to tke rim of tke pot tkat is almo.~t the pot for proper air circulation in the kiln. Large forms leather hard at the base, yet still pliable at the rim. should be fired very slowly, and the temperature rise rowing. should be particularl i. slow ciuring the time water is being 2. Coil attachment is completed prior to th given off beginning near 200°F. and continuing until past the first change in the ervstalline structure of the clay body (quartz inversion) ai 1063°F. Then the rate of temperature rise can be increased. After reaching the desired temperature, the cooling cycle should also be slower than usual. Constructing large pots is an interesting experience in clay, even if you choose not to fire all the pieces. It chal- lenges the potter to see just how far he can push the mate- rial and himself, and then to go just a bit farther.

March 1974 43 Cone 6 Oxidation Glazes by RICHARD BEHRENS

Over the past [ew months, CA4 read- of fluxes, is appended for those pot- GLAZE Vl (Cone 6) A bright, rnoHled glaze ers have expressed increasing interest ters who wish to try them. Many of Albany in Cone 6 glazes/or oxidation firing. these will fire successfully between Slip ...... 74.2% Lithium It appears that this is becoming a Cone 5 and 7, and all will give good Carbonate ...... 14.8 popular firing temperature [or pot- results at Cone 6. Kaolin ...... 11.0 ters at all levels o/ proficiency and 100.0% involvement. Additional information GLAZE I (Cone 61 Add : Bentonite ...... 2.0% appeared in the article "'Cone 6 Stone- A matt glaze ware," March 1969, and in "'Oxida- Spodumene ...... 53.0% GLAZE VII (Cone 6) tion Glazes [or Cone 6,'" in the May Talc ...... 44.8 A bright, matt glaze Albany 1973 issues o/ CM. Xerographic re- Frit 14 (Hommel) ...... 2.2 Slip ...... 84.1% Lithium prints of these two articles are avail- 100.0% Carbonate ...... 0.9 Zinc Oxide able from: University Microfilms, Add : Bentonite ...... 9.8 2.0% Kaolin Inc., Serials Section, 300 Zeeb Road, ...... 5.2 Ann Arbor, Michigan 48106.---Ed. GLAZE II (Cone 6) lOO.O% A bright, translucent glaze THERE ARE MANY ADVANTAGES TO GLAZE VIII (Cone 6) Cone 6 Lithium Carbonate ...... 2.7% glazes, and one of the most A bright, clear glaze Strontium Carbonate ...... 11.2 important of these is the color obtain- Nepheline Syenite Zinc Oxide ...... 35.4% able with various base formulas. 7.7 Magnesium Volcanic Carbonate ...... 13.6 Glazes fired to Cone Ash ...... 78.4 6 tend toward Zinc Oxide ...... 12.9 a broad spectrum--more 100.0% complete Kaolin ...... 2.5 than the spectrum Add : Bentonite ...... possible with glazes 2.0% Flint ...... 35.6 fired to Cone 9 or 10, particularly in 1oo.o% an oxidation atmosphere. The oxide GLAZE III (Cone 6) A bright, slightly stony cjlaze and carbonate colorants added to GLAZE IX (Cone 6) Barnard Clay Cone 6 glazes tend to break down and ...... 90.0% A bright, clouded glaze Cryolite ...... fade less than when fired to higher 8.4 Potash Feldspar ...... 37.2% Whiting ...... temperatures. As a class, stains are 1.6 Barium Carbonate ...... 13.4 more resistant to color change than lOO.O% Lithium Carbonate ...... 1.3 oxide and carbonate colorants. Thus, Add : Bentonite ...... 2.0% Magnesium Carbonate ..... 1.3 stains are quite useful, particularly in Strontium Carbonate ...... 5.0 the higher temperature ranges, but GLAZE IV (Cone 6) Whiting ...... 13.4 A bright, also at Cone 6. light brown 91aze Kaolin ...... 4.3 Albany Slip As with glazes of all firing tempera- ...... 89.0% Flint ...... 24.1 Cryolite tures, the color of Cone 6 recipes is ...... 11.0 100.0~ affected by certain elements contained 100.0% in the glaze composition. Among Add : Bentonite ...... 2.0% GLAZE X (Cone 6) A bright, opaque them, zinc, calcium, and boron are glaze Lithium Carbonate commonly associated with affecting GLAZE V (Cone 6) ...... 8.5% A bright, light brown, Magnesium Carbonate the action of glaze colorants, and matt glaze ...... 9.0 Albany Slip Strontium Carbonate practical testing of glaze batches in ...... 87.0% ...... 14.3 Frit 14 Alumina Hydrate the kiln can readily show these ten- (Hommel) ...... 3.2 ...... 5.0 dencies. Wollastonite ...... 9.8 Kaolin ...... 16.7 Flint ...... A short formulary of Cone 6 oxida- lOO.O% 46.5 tion recipes, prepared from a variety Add : Bentonite ...... 2.0% 100.0% 44 Ceramics Monthly GLAZE Xl (Cone 6) A satin matt glaze Potash Feldspar ...... 39.7% Whiting ...... 28.6 Kaolin ...... 13.8 Flint ...... 17.9 100.0%

GLAZE Xll (Cone 6) A satin mall glaze Potash Feldspar ...... 9.4% Lithium Carbonate ...... 1.6 Whiting ...... 16.8 Zinc Oxide ...... 17.8 Kaolin ...... 31.4 Flint ...... 23.0 100.0%

GLAZE Xlll (Cone 6) A smooth, mottled glaze Potash Feldspar ...... 49.2% Lithium Carbonate ...... 5.2 Whiting ...... 3.5 Zinc Oxide ...... 10.7 Kaolin ...... 15.4 Flint ...... 16.0 lOO.O%

GLAZE XIV (Cone 61 A smooth, matt glaze Lithium Carbonate ...... 5.9% Whiting ...... 6.0 Titanium Dioxide ...... 10.0 Zinc Oxide ...... 20.9 Kaolin ...... 20.7 Flint ...... 36.5 100.0%

GLAZE XV (Cone 6) A satin mall glaze Potash Feldspar ...... 34.9% Strontium Carbonate ...... 12.6 Zinc Oxide ...... 25.8 Kaolin ...... 4.1 Flint ...... 22.6 lOO.O% list matches yours! GLAZE XVl (Cone 61 We'll bet our check glaze A moffled Low Prices- Tools, Scales, Corks, ...... 8.6% [] Service-- [] Lithium Carbonate Quality Teapot Handles, Books, Etc...... 3.9 Strontium Carbonate Pre-mixed, Brent, Shimpo, 6.2 [] Clays -- Basic, [] Wheels-- Titanium Dioxide ...... & Custom-mixed Alpine, Lockerbie, ...... 18.7 Doric, & Skutt Zinc Oxide [] Chemicals& Frits 21.1 Skutt, L&L Kaolin ...... -- Cones 06-05 [] Kilns-- Alpine, 41.5 [] Glazes & Econokiln Flint ...... Lead-free & Lead-bearing, -- Dynakiln lOO.O% Cones 5-6 and Cones 8-9 [] Pug Mills-- Walker, Alpine [] Misc. Studio Equipment GLAZE XVll (Cone 6) A chocolate, matt glaze j $1. O0 - Free to Schools/ Albany Slip ...... 83.1% Wnte for our catalog - Lithium Carbonate ...... 10.7 Rutile ...... 6.2 CLRY 100.0% HINNESOTR / 612-884-9101 Mn. 55420 8001 Grand Ave. So. / Bloomington, Add : Bentonite ...... 2.0% March 1974 45 Discriminating Ceramists Need a Model A-ggB

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46 Ceramics Monthly CERAMACTIVITIES people, places, and things

BAROQUE '74 AT Montana potter (formerly of tim at Coe, Ms. Vinson will show CRAFTS Shaner, ics professor MUSEUM OF CONTEMPORARY Bray Foundation); and lira Fla- of her work, give wheel and hand- '74," be- Archie slides A major exhibition, "Baroque herty, Montana potter and teacher. demonstrations, and talk about 17 at the building ing featured through March for credit from the Univer- kilns and English potters. in New Application .l[usei~m o/ Contemporary Cra[ts sity of Montana has been made. York City, evolved Workshop dates [or the Council Grove ARIZONA CLAY CLUB EXHIBITION of as an outgrowth Craft School will be listed in the Summer "Clay 73," the Seventh Annual Exhibit the contemporary Workshop director), in the April issue o[ of pottery by the Clay Club was presented artists' fascination CM. -Ed. December 14-3¢1 at the Heard Aluseum, with decoration, re- Phoenix. Arizona. in newed interest MEDIA AT CIVIC ARTS GALLERY TI;¢ (/,:v (IMp, an organization of some a de- the past, and The Seventh "Media" Exhibition, spon- 70 full- and part- a sire to utilize shred by the Civic Arts Gallery of Walnut time potters in the of broader range Creek, California was held November 7- area interested in More techniques. December 29. Froln more than 5(1() entries. stimulating the de- ob- than 90 ornate 68 pieces xxere selected by Ruth Taraura velopment of ce- clay, fiber, jects in and Debra Rapaport Huckins. Their jury ramic arts, has and metal, glass, statement was represented by a series of grown from a small included. wood are thoughts, i.e., "Direct Personal Response - grot p who started ~(;eorge Hanson Among the works All Media and All Work: esthetic form; meeting eight years is "Medusa Mir- visual; quality, concept- follow through-- ago to exchange 58 inches high, by George ror," stoneware, pushing beyond, looking for furtlmr devel- ...... : ideas and talk llanson. opments, new approaches .... Technique: ..... about pots. Mimi Pichey Exhibition coordinator nnt just technique for technique's sake Cad .Sa,st,'dt The 1973 show part, in the catalog ".... Al- states, in .... nontradit!onal and traditional ideas was the first to be juried, with the best of works represented show an though the and techniques. Afterthought: Being able show award going to Carl Sanstedt for a rich tradition of oranamen- influence of a to display each piece to its best! Space high-fired stoneware l!ddcd jar with nickel- and European craft tation in American and display consideratTons contrast and rutile matt glaze, 22 inches high. Tim sec- victorian, art nouveau. history--baroque, ond award went m Esmeralda Delaney; well-known as well and art deco--these tile third was ~iven t(, l'ic Uerbalitis. American artists use as newly established Honorable mentions went t~ Start Bepper. fascination for tile their own personal Larry tlorner, Dcbbie lforrell, Frank Imell create a new con- unique and absurd, to Milce t'rep~k),, and Randall Schmidt. temporary statement." Judges for the show were Maurice Gross- and Georz, e Tomkins. Their state- CALIFORNIA man CERAMIC CONJUNCTION IN follows: "The exhibition demon- of ment A juried and invitational exhibition straws the wide range of work potters are ceramics-in-conjunc- recent ceramics and doing across the cmmtry. The classic, utili- "Ceramic Con- !ion-~yith-other-materials, tarian forms are able to sit side-by-side March 5-31, junctmn," is being featured, with new directional funk and be in har- Glen- at the Brand Library Art Center, with current concepts of the crafts. is com- mony dale, California. The exhibition is a re-evaluatlon of form and by l'here prised of approximately 80 objects going on which should continue if Idaho, function artists from Arizona, California, the potters are to grow." Montana, Nevada, New Mexico, Oregonl Texas, Utah, and Washington. Juror for OLD ORCHARD MIDWEST CRAFT FESTIVAL the show was ]ames Sullivan. Awards will The Second Annual Old Orchard Mid- be announced after the opening of the ,vest Craft Festival will be held June 22-23 Ceramic Platc"--Ed Blackburn show. "t'ntitled ,,n the malls of the Old Orchard Shopping spon- variety throughout total exhibit." Center in Skokie, Illinois. This event, and co- NEW CRAFT SCHOOL IN MONTANA award winners x~ere William Clark, sored by Old Orchard Associates Cash League The Council Grove Craft School, Mis- Berkeley, for his glass "Russian Stereo- ordinated by the North Shore Art a pilot for the soula, Montana will open with types"; Ed Blackburn, San Francisco, for of Winnetka, Illinois, is organized the program during the summer of 1974 under his "Untitled Ceramic Plate": and Squeak purpose of presenting the work of state the direction of Miska and Doris Peter- Carnwath, Oakland, for her Ceramic "The finest artist-craftsmen from a seven Kentucky, sham, formerly of Kent State UnicersSt),, Winners Circle-More Masks." Selected for area (Illinois, Indiana, Iowa, and Kent, Ohio. The 1974 program will in- a one-artist glass exhibition at Cali[ornia Michigan, Missouri, and Wisconsin), clude approximately 25 resident students in College o/ Arts and Crafts, Oakland, was is open to all artists using craft media for two 2-week sessions, in addition to as many Michael Cohn, Berkeley. Howard Kottler, their work. day students as are qualified to hand.le the Seattle, was chosen for a one-artist ceramic A professional jury will select entrants submitted summer program. Instruction will be g~ven exhibition at the Prieto Gallery of 3Iills from slides. Five slides should be in ceramics by Tom Collins and Victor College, Oakland. by March 30 with a $3.00 jury fee, payable Spinski; fabrics: Lisa Drumm and Morague to the North Shore Art League, 620 Lin- Benope; aluminum casting: Don Drumm; ONE-DAY WORKSHOP AT COE COLLEGE coln Avenue, Winnetka, Illino!s 60093. jewelry: AIary Ann Scherr; wood instru- Clary Vinson, a studio potter in Garri- Four slides should be of single pieces, the ment making: Douglas Unger; etching: son, Iowa, will conduct a one-day work- fifth may be a detail; all must be of recent media. Ed Shumake; and resident sculptor for shop, open to the public at 10 A.M. on work and inchlde dimensions and by both sessions: Mitzi Shumake. April 5 at Coe College, Cedar Rapids, Notice of jury decisions will be mailed write to An advisory committee includes Francis Iowa. Ms. Vinson lived in England and April 15. For further information, 31erritt, Haystack School o[ Cra[ts; Maxine worked for several years with Bernard the North Shore Art League. BIackmer, Uniz'ersity o/ AIontana; Dace Leach. According to Art ~Iorrison, ceram- Continued on Page 49

March 1974 47 0

Pottery Vheels

Wide selection of POTTERY WHEELS ranging from "Kick Wheels" to electronically controlled models with variable speed and constant torque.

Write for COMPLETE information Dept. B A. D. A/p , Tnc. 353 CORAL CIRCLE EL SEGUNDO. CALIF. 90245 THE KILN BOOK

F-rederickL.Olsen / I A BASIC GUIDE TO KILN CONSTRUCTION AND DESIGN The IMACCO CLAYS Kiln Book provides the reader with all the illustrations, information, and technical data he PRESENTS needs to build a kiln. Mr. Olsen discusses basic construction methods, various kiln designs-even STONEWARE electric kilns, and includes a great deal of valuable CASTING CLAY estimating data. Cone 6 to I0 In an entertaining and semi-autobiographical A stoneware casflng clay formulated fashion with he relates his experiences with various kilns Imacco Western ball clays. Easy mixing and around the world. The reader comes to understand excellent casting properties. Fires to a cream the type of kiln and firing method which is proper color in oxidation and grey in reduction. Sold for his own situation. in the economical dry powder form and shipped in 50# multl-wall bags. Write for complete Keramos Books 1974 clay data sheets and prices. P.O. Box 2315, La Puente, California 91746 ,OO41.OOOO OOOOO41'41~OOO41'41'OOO~OOOO~OOO~ Please send me __ copies of The Kiln Book @ $8.9S each, Include $.20 postage for each book ordered. INDUSTRIAL California residents please add $.45 sales tax. MINERALS CO, Enclosed is a cheque/money order for $ IOS7 Commercial St., San Carlos, Ca. 94070 A BASIC PRODUCER OF TALC, Name GERSTLEY BORATE. ~ KAOLIN, BALL AND FIRE CLAY Address City State Zip 48 Ceramics Monthly WHEN YOU'RE CERAMACTIVITIES held in Atlantic City, New Jersey for the array of ceramic Continued [rom Page 47 first time. An impressive HOT, hobby products will be on display at this CONTEMPORARY CRAFTS EXHIBITION the 13th Annual NCMA Trade Show- AT DELAWARE ART MUSEUM Convention and Senfinars. All activities are The 17th Annual Exhibition of Contem- scheduled to take place at the Chal/onte- YOU'RE porary Crafts opened on November 18 at Haddon Hall. the Delaware Art Museum, Wilmington, with a record-breaking attendance and Sponsored HOT! S1..5~lt) f~w the first day's sales. ART FAIR LISTINGS Education by the a number of art of the Notices of dates for Department have been re- Museum, fairs with early deadlines Delaware listings for of this ceived in the CM office; brief the purpose follow: is to those including ceramics, exhibition -- August 3-4: fine exam- California, Concord present West Cra/t Fair is open ples of contempo- Fourth Annual All the Western States. Entry rary crafts and to to craftsmen of I. Write: All West Craft provide a sales out- deadline, May Fair, 1950 Parkside, Concord 94519. let for the artist- June 15- A total Connecticut, East Haddam- craftsmen. Arts and Cra/ts craftsmen 16: Connecticut River of 161 Jean Meyer, Old 395 ob- Festival (juried). Write: submitted Connecticut i jects with 152 Colchester Tpk., Moodus, { Pat Kazi 06469. accepted by jurors lack Troy, Ola[ pieces -- June 8-9: Seville ~koo~fors. and William Dale)'. Awards in- Florida, Pensacola Arts and Cra/ts Festival ~s~" ~ Square Settlers ~ ($1,000 in cash prizes). Write: Seville ! P.O. Box 361, Pensacola "~ " ;~ Square Settlers, ~ 32592. Lockport -- June 15-16: Lock- ~-; : Illinois, port Old Canal Days Art and Cra/ts Fair. Write: John M. Lamb, 1109 Garfield Street, Lockport, 60441. Indiana, Fort Wayne -- July 6-7: "Art il in the Park" (juried). Deadline for 5 slides photos, May 1. Write: Mrs. George =~ or Newton, 1707 Kensington, Fort Wayne 46805. Minnesota, Chaska -- August 31-Sep- 14-15; 21-22: Min- t ]urors Dale)', Skoog/ors, and 1~o) tember 2; September nesota Renaissance Festival. Write: Bar- eluded judges' choices for a stoneware jar, Festival, Box 125 ....i ..... by Pat bara Rork, Renaissance "From Cookie Jars of America," Route I, Chaska 55318. Compote" Kazi; a "Salt-Glazed Porcelain Missoula -- April 18-May 3 : 2361 degrees F. to be exact... Pot," both by Montana, and a "Salt-Glazed Porcelain Third Annual Missoula Festival o/ the and cone 11 operation with an ex- Regis Brodie. Arts will feature a 5-day salt glazing work- feature clusive SpaceAge insulating blan- A special shop conducted by Charles Davis of Kalis- show was an operation, even of the Montana. Write: Missoula Festival of ket for economical exhibi- pell, to invitational the Arts, Drawer K, MissouIa 59801. firing and controlled cooling of work by 32 tion Ohio, Cambridge -- August 9-11 : Salt eliminate the major cause of craftsmen includ- Arts and Cra[ts Festival is open to Robert and Fork crazing. ing all craftsmen and artists. Deadline entry Paula Winokur, craftsmen: June 1. Write: Cambridge Spinski, for Kilns by Crusa- Victor Chamber of Commerce, 910 Wheeling THERM-ARMOR John Costanza, Avenue, Cambridge 43725. der offer all this plus exclusive Kirpieh, Claire Rhode Island, Charlestown -- July 28- Uni-Bloc tops and bottoms to re- Garry Gri/lin, Annual Rhode Island Wright, Regis Brodie August 12: Third duce "sifting", and a full range of ]ames Association o/ Cra[tsmen Summer Show Nancy Meritt, Sara controls. Paula Gollhardt, and Sale (limited to 50 Rhode Island automatic Lisker, Carol West/all, and Sigrid Meier. Write: Rhode Island Associa- a three-day raku Craftsmen). Craft events included tion of Craftsmen, Art Department, Rhode by Victor Spinski; a workshop conducted Island College, Providence, Rhode Island Dealer/Distributor slide talk on contemporary crafts by Helen 02908. Inquiries Invited demonstrations on Sun- Drutt; and craft Texas, Conroe- April 19-20: Second day, December 9 by leading local crafts- Texas Regional Arts and through Annual Southeast men, with the show on view Write: Montgomery County 17. Cra[ts Fair. Crusader December Chamber of Commerce by March 15, 10l West Phillips, Conroe 77301. TRADE SHOW Industries, Inc. NCMA Vermont, Stowe -- August 9-II : Sec- TO BE HELD IN ATLANTIC CITY Stowe Craft Show and Sale, 338 WEST12TH ST. than 2,400 people ond Annual From July 18-20 more by Stowe League of Women the greatest ntunber of sponsored HOLLAND,MICHIGAN 49423 are expected to visit Jurying will be done in April. ever to be included in a National Voters. exhibitors Write: Edith Miller, RD -~2, Stowe PHONE (616) 392-1888 Manufacturers Association Trade Ceramic 05672. of Show. The show, open to distributors, A Subsidiary dealers, studio owners, and teachers, will be Continued on Page 50 Thermotron Corporation

March 1974 49 NOW...youcan design Clay CERAMACTIVITIES Continued [rum Page 49 your own glazes.

Art URS EXHIBITION AT DISCOVERY GALLERY During the month of November, the Discovery Gallery, DIAL-A-GLAZE Bethesda, Maryland pre- Center sented a one-person show of work by Urs, does the a Maryland potter, work for you. Distributor of with nearly 200 pieces representing i%, .... different aspects of brent her work: wheel- CUTS the calculation thrown pots, a skutt combination of time from hours to minutes thrown and hand- built shimpo sculptural Everything you always wanted forms, and hand- to know about Uis's 7extmed Pot built planters, dec- glazes but were ohaus orative platters, and wind chimes. afraid to ask. Swiss t)orn Urs hegan her art career as a painter and has since developed a great kemper CALCULATOR AND INSTRUCTION BOOK interest in ceramics. At present she is a studio potter in addition to teaching hand- pacifica building at the Smithsonian Institution thermolite Washington, D.C. Deriving much of the $4.95* Order 40 Beech St. Port Chester N.Y. From: (914) 937-2047 Dial-A-Glaze Box 88, Davenport, Ca. 342 Western Ave. Brighton, Mass. 95017 (617) 787-3612 *--Calif. residents add 5~/o sales fax. Canadian currency acid 50c NOW! All New Irs'~ Coiled Lidded F,.m Potter's Specialty Tools: Sacjgar Maker's inspiration SoHom Knocker, Banana for her work front nature, Urs Ribs, Clay Scoops, Throwing Gauge. works almost exclusively with organic Also: forms, though as a contrast she is also in- terested in OLYMPIC TORCHBEARER portable gas producing simple slab or wheel- kiln with special features thrown forms which are finished with majolica type glazes in brilliant colors. A Write: textured pot and a coiled lidded form are sho'~vn. ROBERT GEE POTTERY 15227 Cascadian • MOTOR--I/2 HP PERMANENT Way MAGNET Alderwood Manor, Wa 98036 WORKSHOP- NEW DESIGN IN DENMARK • MAXIMUM TORQUE -- (206) 743.9725 2120 IN/LBS Included in "Scandinavian Summer Seminars • SPEED RANGE -- 0 to 230 RPM 1974" is a workshop in arts and crafts, "New Design in Denmark," Throwing is Super on our • GEAR open KICK WHEEL. BOX SPEED REDUCTION primarily to art teachers. Ceramics, jewelry Available in Kit Form $45.00 making, • SOLID off-loom weaving, and creative Fully Assembled $115.00 ALUMINUM WHEEL HOW TO BUILD A work with textiles will be included. The KICK WHEEL with • AUTOMATICALLY MAINTAINS event will be held our kit, send $1.00 for illustrated, step-by SPEED AS August 4-17 at the High step LOAD School o[ Art, assembly bookTef. Refund on any IS APPLIED Holbaek Slot Ladegaard at order. Holbaek. After Free brochure. • WORKING HEIGHT the seminar, an optional DC PRODUCTS -- 10 IN & 20 IN one-week tour of Denmark, August 17-24, R.R.~I -- Fort Dodqe, Iowa 50501 • FIBERGLASS SPLASH PAN AND TABLE will show "Danish Design in Daily I,ife" (COLORS AVAILABLE) through visits to designers' studios, public and private interiors, and showrooms. For • PRICE ~ $379.00 F.O.B. information, write Dot Danske Selskab, 2 Nultorvet, DK-II75, Copenhagen K. If you c~n throw it... LOWE COLLECTION AT STATE UNIVERSITY OF ~70A Ceramic Supplies & ...Star NEW YORK #:67B Equip. ~/.uu can turn it! A collection of Enamel Supplies & Equip .... 50 m 375 pieces of earthen- Costs refundable with coupon WRITE FOR FREE BROCHURE ware, stoneware, porcelain, and glass, as- (FREE to Schools and Institutions) m sembled and cataloged by the late Dr. TEPPING STUDIO SUPPLY CO. Louise Lou'e, has been professional staff m STAR ENGINEERING given in her mere- 3003 S laem Avenue, Dayton, Ohio 45406 q 256 E. 4300 So., Ogden, Utah 84403 Continued on Page 5l

50 Ceramics Monthly Nearly a Quarter of a Century Those Who of Quakty . . . For CERAMACTIVITIES Demand dee Very Best. Continued [rom Page 50 STBY ory to the University Art Gallery, State University of New York at Binghamton by Dr. Ellsworth B. Lowe of KILNS her husband, Hasbrouck Heights, New Jersey. More than 200 of the pieces were made by Josiah Wedgwood in the middle of the lSth Formerly century. Other pieces include a large black basalt Grecian-Etruscan amphora; a basalt POTTERY by DOT Homeric vase, 1780; and a green jasper tricolored vase, 1785. A Wedgwood Room is planned in the Fine Arts Building on the SUNY campus where the entire Lowe collection will soon be on permanent exhibition.

$210.00 F.O.B. Crestline, Ohio ONONDAGA POTTERY AT EVERSON MUSEUM FEATURES: use, pro- rust-proofed Household pottery for everday • 30" x 30" x 5", 14 ga. County 13" cast iron throwlncj head. duced by craftsmen in Onondaga steel pan • dis- • I00 lb. 20" flywheel • Helcjht ~ 36" (NewYork) during the 1800's, was • Trim bar for foot rlmmlncj. • Con- played at the Ever- structed of IVz" x In/z" x 3/16" angle son Museum, Syra- iron. • All Seven points of action are cuse, New York precision ball bearlnq. • Handsome ham- from December 18 wlth black stand. • Hip mer flnlshed pan through January rest (non-adjustable). I 13. The exhibition, "Onondaga Pot- tery," included H. B. KLOPFENSTEIN& SONS salt-glazed stone- Ohio44827 ware manufactured RouteTwo~restline, at Geddes, Bald- winsville, and Jor- NOWI Salt Glazed Churn dan during the past century. More than 50 jugs, pots, crocks, churns, pitchers, and other vessels used to A Good Kiln SAN DIEGO -- Kickwheel kit -- Mod-B cool and preserve food and beverages were (metal parts) $49.50. Full line of potter's featured, many decorated with blue de- kiln parts, wheels, gas and electric ki'ns. Gas signs. The Jordan whimsical "face" ex- and much more. pug mill, chemical, scales ample, pictured is Heed Hot Be Phone: 424.3250. considered to be WAY-CRAFT very unusual, CA 92032 394 Delaware St., Imperial Beach, though the motif Expensive appears on pots made at Lyons and up to 37% using a few Havana-Montour Save to fit together Falls. Pottery for pleasant hours only 1 Soldby the exhibition was one of our easy-to-assemble do ~ efficient Authorized borrowed from the ]o/dan "Face" Pot kiln kits. Fun to Dealers Onondaga Historical Association. Other to use. Step by step instruc. Jordan Historical So- for assembly and easy I 1147 E. Elm lenders included the lions W. P. DAWSON, INC. F.nle~tan. Calif. 92631 ciety, Syracuse China Corporation (Onon- beautiful firing. daga Pottery prior to 1966), and private president of collectors. Richard N. Wright, These Are Kilns Made By Association pro- the Onondaga Historical People Who Do Ceramics and materia.ls for the exhibit, as CERAMIC EQUIPMENT vided research Know What a Kiln Has To Do. PARAGON kilns - OHAUS scales - ROBERT well as the Association collection of Onon- BRENT slab railer - WALKER-JAMAR pug mills stock of pot- daga pottery. - Slip mlxers - plus a complete Commercial Kiln Kit ter's and sculptors' hand tools. Send 50c in coin for catalogs and brochures. 24"x24"x27" deep ...... $229.00 CAPITAL CERAMICS. INC. SEVEN WOMEN POTTERS Studio Kiln Kit 2174 South Main St. a quilted look and ...... $ I 19.95 Salt Lake City. Utah 84115 A coffeepot with 18"xl 8"xl 8" deep 466-6471 or 466-6420 by Nancy Selvin were Phone (801) matching cup forms Kiln Kit collection of pottery Hobby part of an unusual 12"xl 2"x131/Z " deep ..... $74.95 displayed at the Mills College Prieto Gal- lery Lounge, Oakland, California October for free brochure. 29 through December 13. The exhibit, Send titled "Seven Women Potters," included the works of Ludell Deutscher, Sherry Haxton, Catherine Hiersoux, Marilyn Le- WESTBY vine, Ruth Rippon, Nancy Selvin, and Ann Ceramic Supply & Mfcj. Co. Stockton. Ruth Rippon exhibited a set of 408 N.E. 72nd St., Seattle, Wash. 98115 Continued on Page 52

A4arch 1974 51 If DUNCAN DECALS manufactures or CERAMACTIVITIES ] Continued [rom Page 51 • . the very best publishes it... seven blocks titled "President's Wives." The set consists of five large blocks, each Please send $1.00 for your bearing the face of a wife of a former complete decal catalog in- cluding H/E stock it! president, and two smaller blocks, repre- application and firing senting the two political parties. Ann instructions. Stockton fashioned E-Z FLOW ...... Glazes animals into several utilitarian creations, including a gator plat- CeramiCorner, Inc. ter, an SM & DM ...... Molds elephant pot, and a dog bucket. P. O. Box 516, Azusa, Calif. 9170'2 The show included decorative pieces as m COVER COAT ..... Underglaze well as bottles, serving platters, and cov- ered jars. E-Z ! .~o~ooo.,p STROKE ...... Transparent ! ! Underglaze EXHIBITIONS AT JENNIFER PAULS GALLERY A group show, emphasizing crafts, open- BISQ-STAINS. • • Unfired Stains ed at ]enni[er Pauls Gallery in Old Sacra- i LESLIE £RAMICS i t BRUSHES mento, California on December 5. Along ! with a collection of ancient Peruvian arti- t Joy Re;d Catalog ...... $1.00 facts and clay sculpture, Donna BiUirk, ' SUPPLY C0 • ! Duncan Catalog ...... $t.50 David Gilhooly, Tom (plus 25c for mail[ncj) Rippon, and Lar- i raine Wade showed fanciful I Since 1946 CeramiCorner Decal Catalog .... $1.00 still life sculp- tures and satirical characters in a variety Complete Chemicals of techniques. Fred Ball contributed large Raw Materials & Equipment wall panels of enameled copper foil under Plexiglas and glued in layers to paper I 1212 San Pablo Ave. BERKELEY, CA. 94706 t b ...... ,,I

Ceramic tud li|11|11111Dll|ll|ll|lllllSll I Ilill|1111Lil[I Ill BSlJ | II | Ili11|L~IILIII I II |III P.O. Box 5367 Colin Pearson/ . 2016 N. Telegraph (US-24) Dennis Healing Dearborn, Mich. 48128 • Phone LO 1-0119 Glaze Calculator ! ~ Easy to use, precision made durable, plastic i disc calculator; with correct decimal point. -=_ Has 37 commonly used glaze materials and "_- oxides on face for instant conversion from-- -'_ formula weight Fred Ball, "Letter to a Friend" to molecular equivalent or = back, then to unity or percentage. There complete is i ~acking. Pictured from the exhibition flexibility for using any other ma- is terials, however complex. Widely used by pot- "Letter to a Friend," 7x4 inches, enamel ters and amateurs in UK, Austra ia, etc. since .~ 1970. Dn copper foil with Plexiglas and paper, by Instructions included. $15.00 ppd. Fred Ball. "Byron Temple Pottery After the closing _; i of the group show, a Box 297. Lambertville, New Jersey 08530 ~. one-man show of work by Richard Hotch- ~ Illllllllllllll H lllltlllllltlllllll HIHIllllll HIHIIIIIIIIIIIIIIIIliIHIlll kiss opened at Jennifer Pauls. After eight years of work on finely crafted functional ceramics, Hotchkiss has taken a major ONE-STOP CERAMIC change of direction into large sculptural SERVICE pieces with an "Antique America" theme, Central New York Ceramic Supply which are interpretations, most of them LIVERPOOL, NEW YORK 13088 quite literal, of the farm implements and antique furniture in and around his North- 213-215 Second St. ern California home. The clay body used Sorry, no catalog available is sandy-buff in color, heavily grogged in most cases, salt fired to enhance the an- tique theme. Although reproducing the spirit of wood furniture and forged iron, Hotchkiss retains a plasticity in his han- Wheels Reasonably Priced From: dling of the clay. Often quite large--some four feet tall--the sections have been fired separately and then joined by gluing to The Potters' Mark wood bases. Rou~e 1, Euckhorn Rd., Gatlinburg, Tenn. 37738 Closing on January 26, this was the last 615-436-7769 show for the Jennifer Pards Gallery at its Old Sacramento location. A new gallery is planned at the Lake of the Pines near Auburn, California.

THE FOUNDRY, HONOLULU Peggy Forman writes from Honolulu, I-[awaii that the area is exceptionally active in the promotion of crafts, with many pot- Continued on Page 53

52 Ceramics Monthly ' +lArDy , TORAGE , CERAMACTIVITIES Continued [rom Page 52 ters working on the island, as well as on • 2x4x12 Kauai and Maul. She mentions specifieially e I-' "4x4x12 " L. has been in Stok Box 6x4x12 The Foundry, a project which IDEAL FOR: existence a little more than four years. CLAYS, GLAZES, MODELING TOOLS, Now managed under the ownership of SMALL GREENWARE, FINISHED PIECES, ETC. Alice and Allan Leitner, The Foundry MOLDED IN WHITE RED, BLUE AND GRAY houses a gallery featuring a different craft show approximately once a month; Pot- tery Kakaako, a 10-member pottery coop- erative; Kamani Art Glass Shop, with pro- fessional glassblowing by Mike Palmgren and Phil Hastings; Foundry Glass Work- Art Cropper; Kakaako Ceramic - Potters - Sculpture shop, operated by Wood Carving, with Michael Fischer; and SUPPLIES Olde Harbor Forge, with Bill Evans work- ing primarily in copper. Complete Line Duncan's In addition to special monthly shows, Stains Melds Glazes The Gallery continuously presents the work Wheel Clays Modeling, Sculpture, & created in the craft areas of The Foundry Paragon Kilns Shimpo Wheels and offers them for sale. Ceramic sculpture Glaze Chemicals Kemper Tools by William Perry will be a special feature month of May. Supply catalog SI.S0 during the Free to: Dealers . Teachers . Institutions NORTHWEST ARTIST CRAFTSMEN Arts & Crafts, Inc. AT WINTERSHOP Houston display of 2048 Marshall . Dept. A, Houston, Tex. 77006 "Wintershop," a month-.long crafts for holiday giving, was presented at School o/ the the Ho/[man Gallery at the the ultimate Arts and Cra[ts Society, Portland, Oregon, • • u t'• |~ pottery wheel to kiln November 25-December 21. Work of more Si.IIMIp/' Gare is dressed was jackets and a 2-year than 25 Northwest artist-craftsmen • Both clockwise and counter- •.. in stainless steel textiles, factory warranty on electrical components. shown, and included ceramics, clockwise operation prices before you make your free Check Gate's net leather, jewelry, graphics, and calligraphy. • Completely maintenance next kiln purchase and make a killing. free opm:ation of Among the ceramics exhibited were those • Vibration- Inc. wheel head Gate Ceramic Supply Co., of George Cummings, instructor at the P.O. Box 830, Haverhill, Mass. 01830 • Free-spinning wheel head i • Operation is safe, simple • Variable speed, anti-corrosive wheel head Mr Kiyo Tsujii AEGEAN SPONGE CO. For dealership inquiries, contact: Silks, Elephant Ears, Wools Mamubeni AMERICA CORPORATION List Write for Price 50-50 39th Street, Long Island City, N. Y. 11104 Telephone: 212/973-8065 4459 W. 56 St., Cleveland, O. 44144 Importer for N Y, VL, Me, Corm, Mass, R l, NH See the Shimpo at these dealers: B Baldwin Pottery INC. Ash Glazed Forms--George Cumming~ New York, N.Y.--212/475-7236 FRANCOISE CERAMICS, Cedco Dist. Corp. DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes, and Molds. IN STOCK: school, whose work consisted of wheel- Hempstead, N.Y.--516/538-1804 Undercjlazes, Bisq-Stoin • Atlantic Large selection of Alberta • Arnel thrown, ash-glazed vase forms, two of Clay Art Center • Pres-O-Lone • Holland • Jamar-Mallory Port Chester, N.Y.~914/939-9508 • Kimple • Ludwig-Schmid which are shown. • Kentucky Slip-O-Maflc Brighton, Mass. -- 617-787-3612 • Weaver & White Horse Molds • Other potters whose work was exhibited represenfc~'ive. Complete ceramic supplies. Tom Cole Ceramic Laboratories WHOLESALE AND RETAIL were Jean Chet,erton, Linda Coghill, Connecticut m 203-364-5025 South St. Petersburg, Fla. 33707 Horsley, Jay Sharon, 113 49th St. Coleman, Jerry Glenn, Pat Grand Street Pollers Jensen, Donald Sprague, and Judy Teufel. New York, New York ~ 212-431-9271 Great Barrington Pottery Housatonic, Mass.~413/274-6259 CONTACT FOR POTTERS Boston, Mass.~617/742-7876 VISITING JAPAN OR OKINAWA Hilco Ceramics Potters planning to visit Japan or Oki- Camillus, N. Y. m 315-487-1451 nawa may wish to write Nancy Hammer in Kilns Supply & Service Corp. of Doug Hammer, USARPAC, F.S.A., Mamaroneck, N.Y.--914/698-7040 care Rare Earth Mudworks APO 96343. In 1973 Nancy became the a Amesbury, Mass.~617/388-4190 first American potter ever to complete Rusty Kiln full four-year apprenticeship under Japan- Westherfield, Conn.~203/529-1066 ese National Living Treasure ]iro Kinjo, Sculpture House Inc. at her own studio in New York, N.Y.--212/679-7474 and is now potting Service Inc. exhibited and Seeley's Ceramic Zama, Japan. Nancy has Oneonta, N.Y.---607/432-3812 sold widely in the Ryukyus. Doug and Stewart Clay Co., Inc. Nancy, who both speak Japanese, enjoy New York, N.Y.~212/226-7452 other potters and will be happy to Jack D. Wolfe Inc. meeting N.Y.--212/387.3607 Continued on Page 55 Brooklyn,

March 1974 53 , ,+. +,++.++7~,; .+.i.++++.++T~i+,+++~ ++++ + Take

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.

+

You can't go wrong with Ceramichrome Whether hi-fired to Cone 6 (2250~F) or fired at Cone temperature, Ceramichrome's 05 (1886"F) or at any specially formulated quality controlled and underglazes perform perfectly...Every .glazes time. Ask the teacher or stuoem who enjoys using the m. More than 200 school approved colors to choose from,..A to help versatile palette "+, . any student do master work. If you'd like comprehens=ve color charts of all of our worry-free .+++-+:++ ~.~ + , ,++ just request products, ++,.~++, + +.+,~ +' it on your school letterhead. They're FREE !

) ,,+ i(+V°, TERRA COTTAVASE byBob Baldwin--Cone 05 STONEWARE FISH TUREEN by Beryl Hahn--C,ne 6 ,:,::i Lined with Ceramich~=me~lnc. golden1 ~.+ -~-- • • aI for food School ...... Division: Box 427, Westminster, CA 92683+~

Now NO. LOOK WHAT THOMPSON 1 in Canada OFFERS YOU / Variable Speed POTTER'S WHEELS The Artist's Choice

Would you believe that all of the items pictured above yours . . . and cjef can be you started enameling . . . for only Yes, that's $59.95? correct, Thompson's catalog introduces package conslsHng a new of an electric kiln (inside dimensions 5" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of enamels, metal shapes and everything supplies . . . you need to s+art enameling immediately for only $59.95, plus . . . shipping charges. Send your order today with payment for prompt shipmenL The new Thompson catalog, along with its famous Color Guide, is waiting for you . . . just mail the coupon and it will be on its way . . • absolutely ...... FREE.

Thomas C. Thompson Co. Model RK-2 (shown). Dept. CM 3 -- 1539 Old Deerfield Road All models C.S.A. Highland approved. Park, Illinois 60035 E.~'c.ht,~ice Importer [] Enclosed is payment {or new kiln package. and. Distributor (llllnois residents add 5~'o sales tax.) [] Please rush FREE Thompson Catalog. Name. Address 518 Beatty St. V ancouver, D.~. City_ State Zip

54 Ceramics Monthly JOHNSON CERAMACTIVITIES Continued [rom Page 53 White lend their experience to visiting American Ceramic potters to whatever extent possible. The one exception is they cannot provide letters Glazed Clay Tiles of introduction to Jiro Kinjo for any new prospective students since he has requested they not do so. for decorating CERAMICS BY BILL STEWART Bill Stewart, winner of the Jurors' VERSATILE SIZES: Award at the Finger Lakes Exhibition, 1973, Rochester, New York, was the prin- 41/4" and 6" Squares. - cipal exhibitor at the 31/2" and 6" Round. ~ the December-Jan- uary show held at Recfanguior. ~ 6" x 3" ~ Ox[ord Gallery, 31/2" Coasfer Round. also in Rochester 6" x 41/4" Oval. An assistant pro- /-ii fessor of art at State University o/ Write /or prices and samples. : ; New York, Brock- or phone 212 247-2087 port, Stewart draws much of his inspi- Pill Stewart ration from chiId- H & R JOHNSON, INC. and dreams--whimsical, AVENUE of fhe AMERICAS aood memories 1270 fantasies translated into toy-like NEW YORK, N.Y. I0020 mstalgic mages, and monster movies provide other deas. He is pictured with some of the In Canada: )bjects he creates. Stewart's work has been featured at the H & R JOHNSON, INC. ;airtree Gallery, Lee Nordness Gallery, 15 CoIville Road, Toronfo, Onfario nd at the Museum o/ Contemporary the Traits, all in New York City. .maximum Tel. #416-247-7834 =n ~MERICAN GLASS NOW design... Organized by the Toledo ~luseum o[ Ert (Ohio), "American Glass Now," a isplay of sculpture and container forms lade from blown, cast, or bent glass, was WEBCOSUPPLY COMPANI ,'atured at the San Francisco ~iuseum 0 I rt from January 18 through March 3. of the con- DISTRIBUTORS FOR Iarking the tenth anniversary :iii ~mporary studio glass movement, the ex- A. D. Alpine, Inc. • Brenf Wheel hibition was organized to highlight the Mill strength... Shimpo Wheels • Walker Pug work of over thirty American glass workers is study of The Max Wheel Lockerbie Wheels • Randall Wheel: selected as a result of a nationwide cast of heavy-duty glass craftsmen throughout the country. aluminum, weighs the show, Robert Phillips, curator 100 pounds and has durability... SILICON CARBIDE SHELVES FOR About of the Toledo Museum of Art, says: "This a high-performance Designed as a DELIVERY not a toy, IMMEDIATE exhibition shows an impressive develop- motor that can work machine, the Max Wheel 11 X28X3/4 ment of an expanded range of techniques. up to 250 pounds of 9X20XS/8 -- fur- strain, insulates each 10X20 X3/4 ~ 12X22X3/4 Not only have contemporary craftsmen clay without 12X24X3/4 but precision part of the 11 X20X5/8 ~ ther refined traditional glass blowing, precision.., for X 28 X 3/4 meth- drive system 14 they have also utilized other forming protection from glass or sagging Designed by crafts- ods such as casting molten men for craftsmen, water and clay. It's and bending sheets and blocks of semi- vibration, rugged, uncompli- Clay Mix-- a there is no Webco molten glass. In addition to fuming, or cated design makes a misalignment W|ll mix 200 lb. technique using chemicals to impart chance for loosening for a maintenance- clay in 20 min- to the surface color, Max Wheel. free wheel, utes and is self changing iridescence in the unloading a number of other surface treatments are SVz Cu. Ft. Ca- employed .... Although most of the pacify. glass in the exhibition relies on light from Neoprene rubber number of craftsmen mQx paddle shaft an outside source, a llml oorpecebon seals. have incorporated light as an integral part (Lifetime guaran- Box 34068 of their work .... This collection hope- D.C. 20034 tee. ] of what is Washington, Grid w/Bag Split- fully represents only a beginning (301) 365-1544 ter or Solid Top. to come." HP motor 3 illustrated brochure. 220V Single Phase WINTER PARK SIDEWALK ART FESTIVAL Free $875.00 Celebrating the 15th anniversary of the Name _ F.O.B. Tyler, Tx. Festival, Annual Winter Park Sidewalk Art Address_____ exhibitors wiJ1 occupy 400 display areas State/Zip Webco Supply Co. along Park Avenue in Winter Park, Flori- Box 3054. Dept. CM To complement the Phone__ Tyler, Texas 75701 da, March 15-17. Phone: (214) 593-6951 Festival, "Dimensions 74/' in Lock Haven The Max Corporalion D.C. 20034 © Continued on Page 57 Box 34068 Washington,

March 1974 55 ~--~ POTTERY/POTTERY EQUIPMENT

BOX 90. ASPEN. COLORADO 81611 |11 ,jq

Clay Mixer Electric Potter's Wheels

Momentum Kick Wheels All equipment was designed and built by Paul Soldner, a professional potter. We have been manufacturing lick Wheel pottery equip- Kit ment since 1956. Write for free brochure giving SOLDNER REWARD CERAMIC COLOR MFRS. 314 specifications POTTERY EQUIPMENT Hammonds Ferry Road, Glen Burnie, Md. 21061 and prices.

dies, can extrude THE an infinite variety of solid, ha!low, and curved 131.tJl!lgl D PUGMILL w,th its various cuf- shapes. fing and ex~rudlng options If you are not is the most useful and versatile clay working convinced that the Bluebird Pugmill is the best, fool available. The special compare our capaclty/prlce stralghf-through design provides maximum with other well-known pugmills in the llfe and efficiency and chart below. If you are minimum maintenance because there are no still not convinced, send for our illustrated internal bearings or seals fo wear out. brochure. Safety is provided by a protective motor screen, an easily PUGMI accessible safety switch, LL CAPACITY/HR and the clay press fully covers the hopper COST to keep clay in m hands BRAND A I out. 800 LBS $2160.00 The Bluebird Pugmill not only does a superior job of wedging BRAND B 300 LBS and reclaiming $1075.00 clay but also provides the core of a sophisticated BLUEBIRD 1000 LBS extruding system which, with optional attachments and homemade $ 895.00

To Bluebird Pugmill owners: We have received a leHer from Michael and Harriet Cohen of Amherst, Mass., stating that they ran 2000 Ibs of clay through theTr Bluebird Pugmill in 45 minutes. They would like to know if that is a record. Any takers?

56 Ceramics Monthly CLAY BODIES & SLIPS STONEWARE CERAMACTIVITIES Continued /ram Page 55 LYmPIC KILNS EARTHENWARE Park will present outstanding examples of creative art. For the convenience of vis- PORCELAIN itors, shuttle transportation will be avail- ab,le. White, Terra Cofta Participating artists were selected dur- Buff, Red and Brown ing a preliminary screening in January by Lloyd Herman, director of the Renwick High and Low Gallery, Washington, D.C., and Diane Kelder, associate professor of art history, City University of New York. At a later date they made final jurying decisions in collaboration with Evan H. Turner, direc- tor of the Philadelphia Museum of Art. Included are non-competitive exhibitions entered by professional and cultural asso- ciations supporting the Festival. In addi- tion, a special section is devoted to exhibits of work by school children and a new feature "The Children's Workbench," in- WHEELS AND KILNS IN troduced in 1973, which provides them STOCK AT ALL TIMES with an opportunity to experiment with paints and colors. GIVE SERVICE -- TRY US! WE More than 250,000 visitors participated Send for catalog ~ no charge. in the Festival in 1973 with $90,000 in We carry all Ceramic Supplies. total sales. Inquiries concerning the Festival and requests for application for participation in the 1975 exhibition may be addressed to the Winter Park Sidewalk Art Festival, CERAMIC SUPPLY CO. INC. P.O. Box 1210, Winter Park, Florida] 95 Barfley Road. Flanders, N.J. 07836 32789. (201) 584-7492 RECENT EXHIBITS AT ROCKFORD COLLEGE A major educational exhibition, repre- ~ FRICTION DRIVER sentative of almost 3,000 years of Peruvian Wheels art, opened at Rockford College, Rockford, For Randall pottery $4.50.. 3 for $12.00 llllnoi~ in (-)c~,,h~.r. Media included C.O.D. ONLY from the Nazca, F.O.B. TROY,MICH. Chimu, Specify 1/2" or 5/8" Hole Mochica, METRO SUPPLY CO. and Inca cultures. 1774 Maplelawn Troy, Mich. 48084 A special feature of the exhibition was a room-within- Your st-room where a Homecrc multi-slide presen- been waiting for, Custome given Here's what you've tation was portable gas kiln. We will love Robert ]ewett until the closing of the Olympic on November 9. call it the Torchbearer, and it fires the show propane, or An alumni invitational, two-man show to cone 10 using natural, of work in ceramics and glass by Robert butane gas. ]ewett, and prints by Richard Lenburg, opened in the main gallery of Clark Arts is 281/4 and The Torchbearer model 2827G Center on the campus November 19, 27 inches deep. (10 December 14. Some inches wide and was on view through 41/2 inch spacer ring may and of Jewett's work is pictured. In the fore- cu. ft.). A "Chess Pawns." be added giving 11.67 cu. ft. you'll M ground are shown three The piece in the background 6D salt-glazed. is titled "Bunny Village," with lusters and Olympic kilns also offers a wide ceramic flocking. variety of other models to choose from, both gas and electric. For fur- CONFERENCE ON INDIAN CRAFTS ther information send for our brochure, The Wisconsin Designer Craftsmen plan or give us a call today. a conference on Indian Crafts, April 18- 20, at the University o/ Wisconsin Con- Stevens Point, Wisconsin. ~erence Center, of Lamps.Regular Tablo Lamps J be six workshops including Clay, Division Figurine J There w~ll -'*Make-your-own" Swag Lamps by Richard Schneider, which the details on ordering I conducted INC. Get feature pit firing; Jewelry, with Ron HAUGEN MANUFACTURING, & DISTRIBUTOR PRICES on REOUEST J will ~D/ALER ]ohnson; and Leather, conducted by Furry 2222 North Pacific St., Sea,fie, WA. 98103 Foote. Demonstrations are scheduled in Phone (206) 632-0120 beading, basketry, finger weaving and other Continued on Page 59

March 1974 57 Versatile... from P, rci ic, r... The STALLION ELECTRIC a totally new concept!

Potters who talk quality know our wood kickwheels -- both kits and pro-assembled. Now, after 2 years of development, we offer our elec- trlc unit capable of doing all the usual work while giving you power with mobility and all new SCR circuitry.

• While light as a suitcase, your own weight secures the splash p an and ....oortable and removable work area, the legs and all wheel as you work. The molded to fit built-in seat is the other standard stuff -- you II fred ,t s comfortable. A waterproof (really) foot pedal a there along wlth a 5 year guarantee. But keep which talking, gives 0-200 rpm stays put and can be left at your own to us especla ly, -- cause we're listening. speed by using side mounted switch. New circuitry has For more information write: no moving parts to clog or wear out employing photo cells that will last a lifetime if not longer. No slippage, either I Try 50# of clay, the adjustable pedal angle and Box 1407, Dept. C., Ferndale. WashingtOn.98248.

NEW 1974 CATALOG )uncan Glazes and Products

~¢+~ Corks #~'ee G~azeS LoW ?ire petalite S~utt Eilns SpigotS 80 Raw Materials ~eve~ Clare see~o ~ Lead Free Glazes Sponges ~t~ ~I~ ACCesso~e s Bamboo Handles Kemper Tools Kingspin Wheels scaleS ~6%~ SCOops O~5~ %oC%~¢~ OSe~e "6~~ skutt ee'~t.Te~ ~'/] eeSs eO complete ~%%~ 60$1.00 Page Catalog "~ ~@.~ (Free to Schools & Institutions) PARAMOUNT 220 NO. CERAMIC, INC. STATE FAIRMONT, MINN. 56031

58 Ceramics Monthly EARN A LIVING [I t l portable. CERAMACTIVITIES In Hobby Ceramics Continued /rom Page 57 The conference is books show you how. typical Indian crafts. These two by the ;tIinnesota Designer TEACHNG HOBBY CERAMICS by Kay co-sponsored ete gu de to con- Cra/tsmen and is open to all interested Healy is the comp information, ducting classes in ceramics, g ass, craftsmen. For additional and chna painting. 35 write: Hilda Reynolds, program chairman. porcelain L'Ate 2 step-by-step lesson plans for the Wisconsin Designer Craftsmen, c/o beginning teacher or the old-timer lier Gallery, 2008-10 North Farwell Ave- who wants to bring something new nue, Mihvaukee, Wisconsin 53202. to hobbyists ...... $7.00 ART MINNESOTA MUSEUM OF So where's the handle...?,you're asking THE WONDERFUL BUSINESS OF Encounter with Artists 13/Minnesota CERAMICS by Merle Peratis tells Crafts '73, the 13th in a series of exhibl- The JUDGE, unlike any other full'sized a in the gas kiln,won't tie you down Wth a few you how to set up and operate tions featuring area artists, opened qu ckly disassem- at Mu- simple tools, the JUDGE profitable hobby ceramics shop Community Gallery of the ~Iinnesota bles into flat sections easily mc~ed from $3.95 going. home or store ...... seum of Art, Saint Paul, on November 30 wnere you are to where you're of the Minne- with 32 craftsmen members course, no one investsin a kiln just Craft .Of. That's for the Ceramic sota Cra/tsmen's Council represented. tor the novelty of moving it around. BUYERS GUIDE and glass. Works why ~ designed the JUDGE as a down- 5000 references on media included ceramics cubic feet of usable Hobby Industry. awards by draft kiln with sixteen manufacturers, importers, distribu- ~' ...... b'ct-d for exhibition and stacking space and engineeredit for con- etc ...... $2.00 Paul D. Donhauser sistent, economical,predictable and trou- tors, teachers, ble.free firing. (Include 20 cents postage & handling and Naomi Whit- charge per book. Calif. residents also ing Towner. In a kiln is all about? tax please. Now, isn't that v&,~t add 6% sales presenting 17 mer- it awards and 6 Order Today from The Library Comer, th0 or directly from: ,o. hase,,z.s. your distr~utor commented: SCOPE BOOKS jurors CERAMIC "The objects which Box 48643, Los Angeles, Ca. 90048 I~ were chosen for ex- JU OE hibit represent a body of work which The $ r :abIe Gas Paul .I. l),,,a,,c upholds the best XiIn artistic expression and high stan- spirit of Reduction Production 106 B'way Cambridge,/VIA021,~ dards of craftsmanship. They illustrate viv- N0. 13 idly why some crafts deserve to be exhibit- ed in a museum of art." Works to be added to the Minnesota Museum's extensive col- CATALOG lection of contemporary crafts include "Traveling Cup," by Paul d. Dresang, Minneapolis; "Palm Tree," by Judith K. $1.00 Bot- Ono[rio, Rochester; and "Engraved pr¢, Catalog Sent Free tle," by Bill Smith of Cold Springs. illiken To Schools & Institutions The exhibition was sponsored jointly by PRESENTS the Minnesota Museum o[ Art, the Minne- VAN HOWE CERAMIC SUPPLYCO. sota Craftsmen's Council, and was sup- ported by a grant-in-aid awarded by the Colorado 80239 11975 E. 40th, Denver, Minnesota State Arts Council, with funds glaze appropriated by the Minnesota Legislature and the National Endowment [or the Arts. ,¢ulation

if available, about L KILNS Send news, and photos, of Glaze Calcu- L 6, you think will This is our second edition "'People--Places--Things" It still gives the advantage of • .. the most complete line! We will be happy to lation. be of ceramic interest. tJnscrambfing the science of glaze calcula- only kilns with patented DYNA.GLOW them for use in this column. Ad- in over 40 The information. consider tuo.n. A required text used element holders. Write for Ceramics Monthly, The step-by-step CO.. Box 348 dress: CeramActivities, umversities and colleges. L and L MANUFACTURING makes a most 144 Conchester Rd.. Twin Oaks, Pa. 19104 Box 4548, Columbus, Ohio 43212. guidelines, reference charts valuable addition to the library of both the serious student and independent potter. EAGLE CERAMICS =, •ooo••t.ttoe•. SUPPLIES clays • wheels To serve the Mid-Atlantic '•teee°eo•eooe*.eoot glazes • kilns and South we now stock: billiken pro, i Jose, Calif. 95125 "Thermolite" Portable Gas Kilns ; P.O. Box 8564 San sculpture • weav- BURT CLASSES CRUSADER Cone 11 Electric Kilns pottery of Glaze ; ing • PACIFICA Wheels ; Please send me copies SHIMPO and Add 25¢ handling • or retail ORTON Products ; Calculation @ $4.45. POTTERY wholesale KEMPER, OHAUS, • costs. California Residents add 20c Sales ; Moist Clay • STANDARD CERAMICS :" Tax. THE SALEM CRAFTSMEN'S GUILD Full list of Chemicals, Dry Clays N.J. ; Name 3 ALVIN PL. UPPER MONTCLAIR QUANTITY DISCOUNTS lO42 SALEM RD. UNION N.I. Contact EAGLE CERAMICS at • Address 20852. 12264 Wilkins Av.. Roekville. Md. Zip • Phone (301) 881-2255 City State eeamaooeooe• • • coO•Coo,

March 1974 59 NEW FANTASTIC BRILLIANT UNDERGLAZECOLORS

You've never seen anything like these new Amaco Special Liquid Underglaze Dec- orating Colors. They are so brilliant they almost hurt ones eyes. Six reds, oranges and yellows are now available. Hopefully there are more to come. Available in 3/4 ft. oz. jars, with a special clear covering glaze in 4 and 16 oz. jars. For more infor- mation write us for Amaco Pottery and Metal Enameling Supplies and Equipment Catalog No. 58 (pictured below).

4717 W. 16th St. Indianapolis, bad. 46222

half the price. Constant torque, stepless speea control, gives power enough to center 50 pounds of clay. All these features at the low priceof... ~ZIg. 00 plus freight Dealer inquiries invited on your letterhead.

~1 ue, washington 98005

60 Ceramics Monthly DOING SLABS? NEW BOOKS Consider the MPP SLABROLLER of CERAMIC FORMULAS: illustrated with black and white photos COMPENDIUM and THE COMPLETE examples and/or how-to series. Front Conrad color. by John W. back covers show examples of pots in Conrad is a professor of fine 80 pages; Paperbound; $1.95. Lane Maga- Joseph W. Cali- Menlo Park, arts at Mesa College, San Diego, zine and Book Company, CM BOOK D~- fornia, and currently is a ceramic research California 94025, or the for a leading manufacturer of PARTMENT. consultant an ceramic and cement materials. Holding author, M.F.A. and Ph.D. in ceramics, the THE KILN BOOK Institute, who attended Carnegie-Mellon L. Olsen of more by Frederick has compiled this reference manual enamel, Frederick Olsen's objective in preparing than 700 formulas for clay, glazes, his book was to offer available information and glass. Formulas are grouped according con- subdi- on kilns: materials used, methods for to type of material and use, then and struction, principles used in design, work in our shop vided by media, use, firing temperature, It is a More than half the tested for main types and fuels for firing. needed a and technique, and have been a type of is done with slabs. We by industry, potters, step-by-step guide to building way ¢o reliability and safety design for individual fast, inexpensive, reliable and enamelists. kiln of individual sturdy ma- glassblowers, to the author, all the kilns make them. The MPP, a four basic ceramic categories need. According be- Each of the and illustrated have been built chine that sandwiches the clay discussion of the properties of the described the includes and successfully used. tween two strips of canvas, was material, methods for testing materials, evaluation of The book is divided into eight chapters result. and comprehensive scales for as follows: Chapter results. including information Materials and Usages (fire- The book begins with clay body formu- I--Refractory body-- and mortars, speclal materials) ; II-- las and includes: earthenware clay brick clay of Kiln Construction (wall con- Cone 022-04; medium-temperature Methods clay--Cone struction, brick laying techniques, arches, body--Cone 03-4: stoneware of Kiln 11-16; expansion joints) ; III--Principles 5-10; porcelain clay body--Cone design); IV-- paste day formu- Design (basic rules of kiln raku clay, and Egyptian kilns, Tamba Ko- includes related Crossdraft Kilns (early las. Each clay category chamber kilns: colorants, testing, and rean style kiln, climbing information on salt glazing kilns); V~ findings. firing, Bizen kiln, in- Kilns (proportional relation- A special feature of this book is the Downdraft style, colors ships, stacking, saggar setting, Tajimi clusion of a color chart showing 160 glazing, circular domed, downdraft salt with hundreds of the glaze formulas keyed of Puget in this text kilns built at the University It will quickly and easily make per- to the chart. Glazes published (early kilns: 15; and include Sound) ; VI--Updraft Kilns from 1/16 +o 21/2" ¢h|ck, range from Cone 022 to or raku style; fact slabs and raku glazes. Each is pit, Greek, Muslem; enamel wide and as long as slip glaze formulas modern updraft); VII-- up ¢o 30" form with information on circular updraft, permit. Nearly listed in table and Firing Systems your workspace will surface finish, fluidity possi- Fuels, Combustion, through the temperature, in firing systems, calculations); VIII-- anything can be passed bi.lities, stain penetration, opacity, color (fuels, the clay: rope, burlap, if the Electric Kilns (types and shapes, bricks roller with reduction or oxidation. In addition, etc. known, proper acknowl- and laying techniques, electrical power original source is elements). con- been given to inventors of calculations, The MPP IS NOT A TOY and edgment has dia- t these formulas. Each chapter is accompanied by no wood or plastic. It is 6S and photographs which tams about enamel formulas in- grams, drawings, of solid machined steel, wlth Information the directions involved. Appendix pounds testing and formulation, colorants explain of parts welded or eludes further technical information every union and a colorant chart. of tables and is virtually maintenance. in- are included. 146 pages; Paperbound. bolted. I¢ The chapter about glass formulas 2315, La free and impervious to abuse. of testing and findings, $8.95. Keramos Books, P.O. Box dudes a discussion Puente, California 91746. are colors and a colorant chart, and tempera- All workmanship and materials ture equivalents. f°r °ne year. Also, POTTERY faU~lyY~,lu~l~a~:ed, Four page glaze reference chart in color; THE ROCKINGHAM be returned within T. A. Lockett y bibliography; 309 pages; $10.95. Macmil- by Arthur A. Eaglestone and for a full, no-questlons- Third Ave- with seven days lan Publishing Co., Inc., 866 First published in 1964, reprinted asked refund. New York 10022, or CM the new revised 1973 nue, New York, amendments in 1967, Basic MPP as shown, but with safety Booz~ D~PART~ENa'. includes an additional chapter de- canvas edition re- guard and starter voted to recent research and discovery {Bolts to any table) ...... $180.00 CERAMICS Rockingham pottery, as well as 22 dual-level garding will MPP w~th TECHNIQUES AND PROJECTS additional illustrations, all of which custom table • .$264.00 those in- 36" x 72" by the Editors of Sunset Books and be of interest to collectors and Set of Plans...... $10.00 Sunset Magazine art. The revision pro- terested in ceramic Brochure available special interest to beginning potters, valuable addition to the author's Big Spring, Texas j Of of vides a pot- F.O.B. new edition presents discussions original work concerning the classic this clay, and named techniques for working with tery from the Swinton factory (later stimulating ideas for projects to im- under the Brameld's regime, many sec- Rockingham) in skills. The book is divided into deals with the potter and the patron q STAR POTTERS prove proper- and tions covering the history of clay; first section of the book; with wares BOX 2401 the white ties of clay; techniques for handbuildlng; in the second section. Black and BIG SPRING, TEXAS 79720 on the wheel; decoration; firing; 159 pages; $8.50. Charles E. Phone: (915) 263.6487 working photographs. 05701. and raku firing. Each section is generously Tuttle Company, Rutland, Vermont ,14arch 1974 6! ITINERARY Continued ]rom pag~ I0

WHERE TO GO ARIZONA, SCOTTSDALE March 8-10 Scottsdale Arts Festival V; in the Civic Center Plaza. ARIZONA, TUCSON Continuing Ceramics by Rose Cabat; at the Cabat Studio, 627 N. 4th Avenue. CALIFORNIA, GLENDALE .March 5-31 "Ceramic Conjunction," a juried and invitational exhibition of artists from 10 Western states; at the Brand Library Art Center.

CALIFORNIA, LOS ANGELES through April 7 "Costa Rica Today," includes artifacts; at the California Mu- seum of Science and Industry. through May "Paracas and Nazca," in- cludes ancient Peruvian ceramics; at the Los Angeles County Museum of Art. CALIFORNIA, OAKLAND through March 10 Faculty Exhibition; Mills College Art Gallery. March 2-April 28 "California Ceramics CERAMIC GLAZE PROJECTS PROJECTS and Glass, 1974"; at the Oakland Museum. by Richard Behrens. This unique book covers edited by Thomas Sellers. An outstanding the formulation selection and application of a variety of projects for the classroom, home CALIFORNIA, PALO ALTO of LEAD-FREE glazes in and studio. Each all firing ranges. proiec¢ introduces a dif- through March 16 "1974 Arts Competi- An invaluable tool for those who like ferent method of working ¢o in clay. Fountains, tion"; at the Palo Alto Cultural Center. experiment wlth glaze making. Includes a planters, jewelry, bottles and other unique special glossary items of materials which is an are presented. 64 pages $2.00 CALIFORNIA, excellent reference source. 64 pages $3.00 SAN DIEGO UNDERGLAZE DECORATION March 16-April 21 The 1974 California- POTTER'S WHEEL PROJECTS by Marc Bellaire. This complete Hawaii Regional Exhibition includes sculp- handbook ture, painting, edited by Thomas Sellers. The projects in has all the answers on materials, tools and and graphics; at the Fine this handbook provide step-by-step instruc- ¢echnque Step-by-step projects are pro- Arts Gallery of San Diego. tion on a wide variety of special throwing fusely iflustrafed. A practica gu de for the techniques. Bells, bird houses and feeders, beginner. 64 pages $3.00 CONNECTICUT, AVON PARK NORTH musical instruments and teapots are a few through March 7 The Society of Con- items you'll find presented. 64 pages $2.00 necticut Craftsmen New Members Show; at the Farmington Valley Arts Center. DECORATING POTTERY by F. Carlton Ball. This book explores easy COPPER ENAMELING F LORIDA~ MIAMI by methods of decorating poHery wlth clay, slip Jo Reberf and Jean O'Hara. Recognized March 15-16 Juried Sidewalk Art and glaze. as the Show, Those who lack skill and confi- best in basic instruction, this elabo- sponsored by the South Miami dence in rate handbook Chamber drawing and painting will find has over 200 photographs. of Commerce; on the sidewalks special pleasure in Recommended by of South discovering these deco- leading enamelMs and Miami. rating techniques. 64 pages $3.00 teachers. 64 pages $2.00 FLORmA, THROWING BRUSH DECORATION KEY WEST ON THE POTTER'S WHEEL FOR CERAMICS March I-3 First annual by Thomas Sellers. A by Marc Bellalre. A show sponsored complete manual on fascinating book on by the Key West Craft how to use the potter's wheel. Covers the use and care of brushes. Shows how Council; at the all to Key West Craft Center. basic steps l~rom wedging clay to making make designs for decorating ceramics using specific just three shapes. Clearly describes every de- basic brushes -- the watercolor, FLORIDA~ tail using step-by-step liner and square shader. Excellent manual WINTER PARK photo technique. The March 15-17 "Winter Park finest text available. 80 pages $4.00 for beginners. 64 pages $3.00 Art Festi- ~ a~ ~ ~ ~ ~ ~ ~ ~ m ~ ~ val"; along Park Avenue. FLORIDA, YBOR CITY March 1-22 Annual Fine Arts BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212 Competi- tion includes ceramics; at the Latin Quar- V•J ~rllg--C)-I~'i" ter Art Gallery. H L Y [] Throwing on the Wheel @ $4.00 II Pleasesend me the following: [] Ceramic Projects @ $2.00 GEORGIA~ MACON [] Gloze Projects @ $3.00 | March 3-26 [] Underglaze Decoration @ $3.00 | Exhibition of work by [] Potter Clemson University s Wheel Projects @ $2.00 [] Copper Enameling @ $2.00 Art Faculty; at Mer- Decorating Pottery cer University Art Gallery. @ $3.00 [] Brush Decoration @ $3.00 J [] I encl°se F~ Check [~ Id°neyOrder (Ohi° residents add 4% sa]estax) i ILLINOI~ EVANSTON through March 17 Evanston Invita- tional includes work of Patti Warashina Bauer, Jack Earl, David Gilhooly, Ken Little, Jim Lorio, and Jim Melchert; at L the Evanston Center for the Arts.

62 Ceramics Monthly March Greg Giesmann, Cerm-nics, and MASSACHUSETTS, BOSTON Montana; at the Museum of the Plains Joel Philip Myers, Glass; at Exhibit A March 15-April 28 "Mound of Dark- Indian and Crafts Center. Gallery of American Ceramics. Age pottery and other works hess," Bronze VEGAS from the excavation near Morphou and NEVADA, LAS ILLINOIS, LAKE FOREST sponsored by the Museum March 1f-April 5 The Southern High- Cyprus, jointly Exhibi- March 1-31 Functional and decorative Arts and Harvard University; at lands Handicraft Guild Traveling at of Fine of Nevada. ceramics by Jane E. Dalton, Deerfield; the Museum of Fine Arts. tion; at the University the Deerpath Gallery of Lake Forest. ROCHESTER NEW JERSE'.,', NEWARK MIN NESOTA~ at INDIANA, BLOOMINGTON "Craft Commitment--Clay," March 14-17 Teen Arts Festival; in- March 4-31 Museum. March 29-April 14 Two-man Show a competitive clay exhibition sponsored by The Newark cludes ceramics by Dennis Kirchmann, the Rochester Art Center; at the Center, paintings NEw YORK, BINOHAMTON Indiana Central College; and 320 East Center Street. of of Indiana March lO-April 24 "The Fine Art and drawings by William Itter of Regis 101 N. Grant. MONTANA, BROWNING Craftsmanship" features work University; at The Gallery, Cushing, Warren through March 8 Ceramics by Roger Brodie, Edd Burke, Val INDIANA, EVANSVILLE Broer, Sioux artist-craftsman from Billings, Continued on Page 65 through March 10 The 14th Annual Mid-States Craft Exhibition; Evansville Museum of Arts and Science. INDIANA~ INDIANAPOLIS through March 17 "Indian Art of the Americas," a traveling exhibition of 500 objects from the Museum of the American Indian; at the Indianapolis Museum of Art. Iowa, AMES March 31-April 24 Exhibition of work by Octagon classes and staff; at the Octagon. CAR SHUTTI, KII,NS IOWA, CEDAR RAPIDS The car shuttle kiln is ideal for the small to March 2-31 "Art Clay," an invitational medium sized pottery or for universities and showing work of 18 clay artists from 10 art institutions hav; states including Bailey, Barnaby, Bramson, ceramic curriculurr Forde, Kozlowski, commercial potter Bryant, Dick (Iowa), sonal production Kramer, Lewy, Morrison, Moty, Sherwood, is required. Timock, Voss, Yursity, and Silva, Stewart, With the two car shl Zack; at Coe College. Reception for artists t 2, place at the same and lecture by Clayton Bailey, March fired another load c in the Sinclair Galleries. car outside the kiln April 5 One-day ceramics workshop stacked with the ne to the public) conducted by Clary load may be remov (open the resic Vinson, apprentice to Bernard Leach; at 450°F and Coe College. the next load. KANSAS, WICHITA March 1-30 Ceramics by Kent Follette; at the Frame Guild. KENTUCKY, BOWLING GREEN March 21-April 19 Beaux Arts De- signer/Craftsman '72 traveling exhibition; at Western Kentucky University. KENTUCKy, MURRAY March "The Kentucky Artist/Crafts- man," traveling exhibition sponsored by the Kentucky Guild of Artists and Crafts- men and the Kentucky Arts Commission; at Murray State University. LOUISIANA, NEW ORLEANS through March 8 Louisiana College craftsmen's show; at the Louisiana Crafts Council. LOUISIANA, SHREVEPORT dl4arch 2-15 Shreveport Parks and Rec- reation Department National Exhibition; at Barnwe]l Garden and Arts Center. MARYLAND, ANNAPOLIS March 1-30 "Pots for Plants," Group Show; at the Thought Gallery. CABLES: "ADALPlNE" 3 5 3 C O R A L C I R C L E MARYLAND, BETHESDA EL SEGUNDO, CALIF. 90245 March 17-April 6 Kiln-Fired Glass by Priscilla M. Porter; at Appalachians.

March 1974 63 TOOLS OR THE P 0 T T E R SCULPTOR CERAMIST potter's rib is made from smooth-finished imported eal for many shaping and smoothing operations on the d. Rib 4" Long ...... $ .90

pl was developed for fast production of many small pots gle mound of clay. The sharp point contours the lower the pot and the 14" braided nylon cut-off cord is used ~e pot from the mound. Successive pots are then made parated from the same mound. The tool is made from imported hardwood and is about 7" long. MND Mound Tool ...... $1.25

This is a heavy duty knife made especiallyfor trimming tion quantities of pottery and ceramic pieces. The heavy .hard" blade is capable of extended usage on highly products without sharpening. Productivity is increased between sharpenings is increased and less time is spent re. Overall knife length is 71,~". (nife ...... $1.50 ~'efe K~MPER CATAL©~ e~'osin~

CERAMICRAFT Simplicity at its best KILN KICKWHEEL FRAME - 2 in. by 6 "The Pint in. ~'- -'~ Size Brute" steel fubincj. FLYWHEEL- Reinforced concrete, 125 Ibs. HEAD - Machined aluminum tapered fit. SEAT - Four way adjustable tractor seat. BEARINGS - Agricultural type Fires on with waterproof seals FOOT PEGS - Six way Propane adi-stable or GUARANTEE - 2 years on all parts. Natural COST - $165 Less splash pan. . Gas WE ALSO HAVE AVAILABLE Allison's Cone 9 pepper speckled clay. In oxidation this - -- • " " e stoneware body fires a clean white with t,ny p p- per-like black speckles. A smooth throwing clay that allows the pot"ter to work as thin as he likes without TL-D the clay t~visfing. So dependable is fhis clay body that it is The Inside Story used by the poffers at the new CARBO- RUNDUM MUSEUM OF CERAMICS in Niagara For more information, write Office Falls, New York 6708 San Haroldo Way Buena Park, Ca. 90620 (714) 99S-KILN CERAMIC SUPPLY INC. Plant 369 MILL ROAD, EAST AURORA

64 Ceramics Monthly Summer ITINERARY Continued [rom Page 63 ARTISTS-IN-RESIDENCE Hullow, Nancy Juts, Isabel Parks, Arthur in Sennett, Bill Steward, Robert Turner, Bru- Workshops no LaVerdiere, and Laura Wilensky; at Center. Roberson " Ceramics NEW" YORK, NEW YORK through March 9 Exhibition of work by " Figure Drawing Li]li Miller, Greenwich House potter; and loan exhibition, "Towards a New Ceramic • Painting Aesthetic," organized and collected by the class of that title. March 22-April 6 Exhibition of work INDIVIDUALIZEDINSTRUCTION POTTERY by Young Artists of Greenwich House Pot- artists and tery (Teenagers in Office Gallery; younger for experienced students in Gallery); all at Greenwich beginners with minimum experience EQUIPMENT House Pottery. March 12-23 Ninth Annual League Pot- June 17-28, ] 974 SPECIALISTS ters' Show; YWCA Craft Students League. March 17 "Baroque '74," in- OF KILNS (gas and through LEADING LINES clay work; at the Museum of Con- electric), WHEELS, TABLES, PUG cludes Mont Alto Campus and TRUCKS. temporary Crafts. MILLS Week in New York Southern Sales Office covering southeastern March 28-31 Craft U.S. ~ N.C., Tenn. and all states south] sponsored by the New York State Crafts- THF PAUL STROMGREN & ASSOCIATES men; at the New York Coliseum. i13 N. 11th St., Tampa, FI. 33609 21 Second Annual Pots or night March 30-April STATE Call: {813) 831-8081, clay at Earthworks Pottery; at 251 PENNSYLVANIA Sales and Service for Plants; West 85th and 255 East 74th Streets. Continuing "The Arts of Ancient UNIVERSITY in- China," an exhibition of 450 objects Johnson, Galleries, For further information: Clyde J. Seeley's OLD BISQUE cludes ceramics; Far Eastern Assistant Director for Continuing Education Metropolitan Museum of Art. Mont Alto Campus, Merit Alto, Pa. 17237 CHINA DOLL MOLDS (717) 749-3111 & ~h;s Produce your own unique gi{fS. New NEw YORK, ROCHESTER of {;no mords from mon~'h on exclusive line March 2-24 Medieval Faire includes an unusuel colrecf;on o{ Art Gallery, Uni- dolls. crafts; at the Memorial anfique versity of Rochester. $EEI.EY'S CERAMIC SERVICE, INC, 9 River Street I Oneonfal N.Y. 13820 NORTH CAROLINA, CHARLOTTE March 9-30 The Southern Highlands Exhibition; at ARROWMONT Handicraft Guild Traveling Queens College. School of Crafts CHIE BRAY NORTH DAKOTA, GRAND FORKS March 25-29 Tom Ferreira, California PI BETA PHi - UNIVERSITY OF TENNESSEE OUNDATION State University at Long Beach, will con- duct a 5-day ceramic workshop (design • jewelry kiln con- in ceramics and sculpture; and • enameling struction; University of North Dakota. SUMMER SESSION • ceramics Ceramics and Glassblowing OHIO, COLUMBUS • design and Wood Firing - Stoneware through March 15 Sculptured work by Bill Vlasich; at the • weaving Salt - Porcelain blown glass Drake Union, Ohio State University Cam- • textile design Creative Casting & Mold pus. • spinning information write: March 3-30 Ceramics, weavings, and for at • vegetable dyeing 2915 CountryClub Avenue - Helena, Montana 59601 looms by Audrey and Robert Nelson; ~ "o"o"*-o~'.o".'.o'ao~,.o-,,.o-ao,,.O-,,.o~,~.~ Helen Winnemore's, 150 East Kossuth. • tiber techniques OHIO, FINDLAY • stitchery 3-April 5 Annual March Craft • wood 1974 LIVE.IN WORKSHOPS March Show includes ceramics by Edith Franklin, SPRING SUMMER FALL Toledo, Ohio; Bruce Grimes, Green Bay, GRADUATE - UNDERGRADUATE.NON-CREDIT Bluff- DANIEL RHODES Wisconsin; and Darvin Luginbuhl, SESSIONS by Karen Hirsi- PAULUS BERENSOHN ton, Ohio; and weaving at Gallery One. iO-June 21 July 15-July 19 BRUCE McDOUGAL maki, Cleveland; June 24- July 5 July 22. July 26 SPRINGFIELD June OHIO, 8- July 12 July 29- Aug. 2 6 The Ohio Designer July March 2-April Aug. 5-Aug. 16 Craftsmen Exhibition 1974; at the Spring- field Art Center. FOR FOLDER We,TO TORONTO ] ONTARIO, ARROWMONT School I BIG CREEK POTTERY March Ceramics by Robin Hopper; at the Craft Gallery. TENN. 37738 DAVENPORT, CALIFORNIA 95017 ] BOX 587, GATLINBURG, Continued on Page 66

March 1974 65 Advertisers Index March 1974

ITINERARY A-1 Ktl. Mfra ] ...... ~l Aeg~n Sponge Co ...... CERAMICS • Continued [torn Page 65 Alpine, A. D ...... WEAVING 12, 48, 68 JEWELRY " American Art Clay Co ...... PHOTOGRAPHY PENNSYLVANIA, Arrow Rock Pottery 60 ALLENTOWN ...... 66 GLASS BLOWING • LEATHER March Arrowmont School ...... 18-April 10 One-woman show Art Consultants ...... v FABRIC DECORATION of work by Judy 52 Cornell of the Archie Banff School of Fine Arts GRAPHICS ...... 66 • FOUNDRY Bray Foundation; Bellman, W. J. Co • WOOD College Center Gallery...... 64 Our sixth year offering two summer April Bergen Arts & Crafts ...... of three-weeks each sessions 2-3 Workshop conducted by Big Creek I5 to high school students Judy Pottery ...... ages 14-19 years Cornell; both at Cedar Billiken Press ...... ~ old. Crest College. Bluebird Mfg. For information Co ...... write P. Schauder, Director Bray, Archie, Foundation 56 PENNSYLVANIA, CAMP ...... HILL Brent, Robert, Company ...... THE HINCKLEY SCHOOL March 7-30 Byrne Ceramics ...... 18 Of CRAFTS Ceramics by Edward Lit- 57 BOX H, Hlnokley, Maine 04944 singer of Williamsport, Pennsylvania; at California Kiln Co.-_-----_-_----_---_--_-_ ...... 16 William Ris Galleries. Campc~bell. Gilmour ..... Cover 4 Capital Ceramics ...... Central( New York Ceramic 51 Supply ...... PENNSYLVANIA, WALLINGFORD Ceramic Coating Co 52 ...... 15 March 15-April Ceramic Scope ...... 1000 ISLANDS MUSEUM 18 Exhibition of ceram- Ceramic 2. ics Supply, Inc ...... by Lisbeth Stewart, Laura Wilensky, Ceramichrome ...... o] CRAFT CeramiCorner, Ine 5 SCHOOLcLAyToN. 13624 N.Y. and Paula Winokur, is in conjunction ...... with Clay Art Center ...... 52 BATIK, EARLY AMERICAN the National FOCUS Creative Industrles 50 oRATION, DEC- on Women in the ...... CHINA PAINTING, June Creek-Turn ...... ENAMELING, 24 Arts during April and May; 51 LEATHER, PAINT- at the Com- Cress Mfg. Co ...... I N G PORTRAITURE, REVERSE munity Arts Crusader Industries PAII~ITING thru Center...... ON GLASS, August 29, 49 SKETCHING, sOULPTURE, D C Products ...... STAINED SOUTH CAROLINA, COLUMBIA 50 GLASS, WEAVING 1974 Dawson. W. P ...... AND wOODCARVING. March 10-31 Artists Dial-A-Glaze -'--[2::---::--: 51 Guild of Columbia ...... 50 Annual Spring Duncan Ceramic Products ...... For further information write to: Show; at The Columbia 4 EMILY POST, Director Museum E~gle Ceramics ...... 10 Boudinot of Art. Earth 596 Street, princeton, N.J. 08540 Treasures ...... Estrin Mfg. Co ...... After May 1st to: SOUTH DAKOTA, MADISON a 1000 ISLANDS MUSEUM March 18-30 Fifth Annual Beadle Art- Fountains for the Home ...... CRAFT SCHOOL Francoise Ceramics ...... 9 CLAYTON, 1000 iSLANDS, N.Y. 13624 ists Guild Art Competition; 53 at Dakota Gate Ceramic Supply ...... State College...... -_- ...... 53 Gee, Robert, Pottery ...... 50 Harris Linden TEXAS, AUSTIN Ceramics ...... Haugen Mfg. Co ...... 46 through March 24 Hinckley School of Crafts 57 "Dogon Art Exhibi- ...... 66 ARROW ROCK Hiro Distributors ...... tion." Houston Arts & Crafts, Inc 551 March 31-April 21 ...... POTTERY Annual Art Faculty Industrial Minerals * 1974 Exhibition; both ...... 48 at The University of Iron Star Potters ...... SUMMER WORKSHOPS Texas Art Museum. 61 Jacqueline Ceramic Art ...... Johnson, H & R, 17 Live, work, and sell in one Inc ...... 55 of Mis- TEXAS, HOUSTON Joy Reid Ceramic Studio ...... souri's most historic towns March 8-31 52 ~ Arrow "Houston Designer Crafts- Kemper Mfg. C ...... 64 Rock. Expert instruction men: 1974" juried by Keramos Books ...... with em- William Alexander; Klopfenstein, H. B. & at Sons ...... phasis on porter's wheel, glazing the Sara Campbell Blaffer Gallery, 51 L & L Mfg. Co ...... and firing. University of 59 Earn college credit in Houston. Lamp Specialties ...... 51 one or both of two 4-week Leslie Ceramics Supply Co ...... sessions. UTAH, SALT LAKE CITY ' FOR Marubeni America Corp ...... MORE INFORMATION, through March 31 "The Max 53 WRITE: Rambova Egyp- ...... Corp ...... ED COLLINGS, ARROW ROCK, MO. tian Collection," Mayco Colors 55 includes Egyptian ceram- • ...... ; I0 65320 ics and fragments; Menco Engineer ...... n and "Cypriot Antiqui- Metro Supply Co ...... 53 57 ties," include ceramics Miller Ceramics Inc. uncovered at the Mi _ ...... 45 - Cyprus ..... ta Clay Co. ------"----- digs (given by Elmer Davy) ; at the ...... 45 Utah Museum New York State Craftsmen ...... THE BANFF CENTRE of Fine Arts. 60 Ohio Ceramic Supply School Opus 4 ...... 53 of Fine Arts WASHINGTON# V ANCOUVW'R Cover 3 Ceramic courses March Orton Ceramic Foundation all levels, Apt thru "Red Earth Design," a collection Oscar-Paul ...... 9 Exce lent faclities and instruction including:Sept. Corp ...... F. Carlton Ball, Victor of garden and patio planters 52 Brosz Luke Llndoe, by Bob Pacifica Crafts ...... Ruth Duckworth, Moore; at ..... 58 Los Mann|ncj, ~aurlc;eSaV°le" the Fuzzy Brush Art Studio• Paragon Industries ...... 46 For calendar and full particulars wrrr Paramount Ceramic ...... =...... School of Fine WEST Pennsylvania State 58 Arts, Banff, Alberta, Canada. VIRGINIA, HUNTINGTON University ...... ,~ through June Potters' Mark ...... 9 "Ancient Art of Middle • America," an Reductzon Productmn- ...... 59 exhibition of 150 objects Reward ...... which ~6 covers the span of artistic creation ROViR Ceramics ...... WORKSHOP: CERAMICS in Mesoamerica FOR BEGINNERS. from the Maya and Aztec Salem Craftsmen's Guild ...... Pinch, coil and basic throwing cultures before Scott Creek Pottery 59 skills stressed. Spanish conquest in 1520 ...... 568 Excellent cuisine in quiet mountain A.D.; Seeley's Ceramic Service ...... settlncJ. at the Huntington Galleries. Shimpo-West ...... Reasonable rates. Cover 2 Scandinavian lodge, Steam- Skutt Ceramic Products ...... Soldner 14 boat Sprincjs, Colorado. July 29 - August 9, WISCONSIN, MADISON Pottery Equipment ...... i974. Star Engineering 56 Contact Dr. Herb Schumacher, Univ. March 24-May 5 ...... ~0 of Department of Art Stromgren and Associates ...... No. Colorado, Greeley, Colorado 80639 Faculty Exhibition includes more than 100 Temple Byron Pottery ...... recent works , • ' 52 by 34 faculty members; at Topping Studlo Supply ...... 0u the Thompson, Thomas _ Elvehjem Art Center. C., Co ...... 54 Thousand Islands Museum ...... Tuscarora Pottery School ...... WISCONSIN, MILWAUKEE 66 The Tuscarora Retreat & Summer University of Northern through March 15 Exhibition of ceram- Colorado ...... 66 PoHery School Inc., Tuscarora Van Howe Ceramic ics by Nancy Dudchenko. Supply ...... 59 Nevada, announces Chat it has March 17-April 25 "Dolls," Walker Jamar Co ...... adopted a show pri- Way-Craft ...... 3 racially non.dlscrimlnatorY marily in clay 51 media, includes porcelain Webeo Supply (30 ...... admissions and operations dolls; both Westby Ceramic policies. at the L'Atelier Gallery, 2008- Supply ...... 5.1 Western Ceramic Supply ...... 10 North Farwe]l Avenue. Wheeleraft, Inc ...... 46 60 66 Ceramics Monthly Summer Pottery Workshop

IN THE FOOTHILLS OF THE ROCKIES

INSTRUCTORS and GUEST ARTISTS for 1974. Michael Leach Devon, England

Bob LeDonne ~~ Denver, Colorade~ ~.~: Warren Mac~ZI~ ~°'~ Stillwater, Minnesota ~

James and Na Denver, Colora¢ Larry Clark Sandpoint, Idaho Bob Smith ldledale, Colorado James Melton Sedalia, Colorado -,~ , ;;~ ~,~-[ Class Counselors/~. ,~ James Melton at fhf • ;*; . his new studio in Gary Duleff Sedalia, Colorado BetSYBothBehling:.: \~ Derive r~, Co.I,o~d

For information .send ¢t~r~ ...... ~ .. ~, ~,~; ~.~ Opus 4 Summer Pottery Workshop ° Star Route,~2, Sedalia, Colorado 80135

The Bruce Kick Wheels used during the program will be sold in August. Contact us for details. 11

for HOBBYISTS • SCHOOLS * ART & CRAFT CENTERS • INSTITUTIONS

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