April 1995 1 Spencer L. Davis Publisher and Acting Editor Ruth C. Butler...... Associate Editor Kim Nagorski...... Assistant Editor Tess Galvin...... Editorial Assistant Randy Wax...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver.... Assistant Circulation Manager Connie Belcher...... Advertising Manager

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Ceramics Monthly {ISSN 0009-0328) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to:Ceramics Monthly, Circulation Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines: Printed information on standards and procedures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Additionally,Ceramics Monthly articles are indexed in theArt Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. These ser­ vices are also available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sug­ gestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Send address changes toCeramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested. Copyright © 1995 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY April 1995 3 4 CERAMICS MONTHLY Volume 43, Number 4 • April 1995 Feature Artides

Starting Over by Dano...... 25 Following Anagama Tradition “Thor­ Arch 191 ...... 28 oughly converted to the ancient mysteries Fusz Gyorgy by Gabor Pogdny...... 29 of anagama” during a trip to Japan, New Zealand potters Bruce (above) and Estelle Ann Linnemann ...... 31 Martin share their experience in wood firing a tube kiln. “With an anagama,” they Following Anagama Tradition by Estelle and Bruce Martin ...... 32 explain, “the potterlfirer takes a lesser role, Summer Workshops 1995 ...... 36 letting go of control over the end result”; see page 32. Low-Fire-Salt Fuming by Paul Soldner ...... 41 Built, Thrown and Touched ...... 45 Low-Fire-Salt Fuming Artist/educator Paul Soldner provides “concepts and meth­ Glenda Taylorby Craig Colgan ...... 47 ods I have learned mostly through trial and error” for this previously undocumented Bill Stewart by Shirley Dawson...... 50 method of firing; page 41. Four Functional Potters ...... 53 Eight Steps to Stop Crazing by JeffZamek ...... 82 Worker’s Compensation by Cindy Luciani ...... 84 Up Front Mark Ferri ...... 12 Obtaining MSDSs ...... 12 Marylyn Dintenfass ...... 12 Pinchen Collection ...... 14 Creative Clay Studios: Ambition and Reality by Cathy Grubman ...... 14 Grace Bakst Wapner ...... 16 British Ceramics in Holland ...... 18 Katrina Rozman ...... 18 Ted Saupe ...... 18 Smokeless Reduction under a Cardboard Box by Jerry Caplan ...... 18 Summer Workshops 1995 Resident art­ Patz Fowle ...... 20 ist Annabeth Rosen (above) at Watershed Computer Index for Ceramics Monthly by Rick Malmgren ...... 20 Center for the Arts in Edgecomb, Maine, evaluates her work in carved brick. For a listing of workshop opportunities at Water­ shed and other facilities throughout the Departments world this summer, turn to page 36. Letters ...... 8 Ceramics in Multimedia Exhibitions ...... 68 Worker’s Compensation Artist/auditor Call for Entries Fairs, Festivals and Sales ...... 69 Cindy Luciana takes the mystery out of International Exhibitions ...... 56 Workshops ...... 70 Worker’s Comp insurance; page 84. National Exhibitions ...... 56 International Events ...... 73 Regional Exhibitions ...... 60 Questions ...... 76 The cover Florida potter Glenda Taylor Fairs, Festivals and Sales ...... 62 Video ...... 78 Suggestions ...... 64 in her Vero Beach studio. Determining Classified Advertising ...... 92 how much time to give to career and how Calendar Comment: much to family is a common dilemma for Conferences...... 66 today’s artists-mothers. Time well spent International Conferences...... 66 A 4/4 Beat remains the key to happiness for Taylor; her Solo Exhibitions ...... 66 by Eleonore Sumi von Dassow ...... 94 story begins on page 47. Photo:John Eisinger. Group Ceramics Exhibitions ...... 66 Index to Advertisers ...... 96

April 1995 5

Letters enough high school science credits (my observations put forward by Britt on Hluch excellent, public, girls-only New York City were as follows: That Hluch “can’t sell any of high school having required only one science his pottery,” that Hluch “hates elitists” and course), I was “saved” from having to spend “especially” hates consumers who won’t buy “Leachiness” Is Not Dead yet another year at a job (while making up his pottery, and that Hluch “hates artists and Despite what others would have us be­ credits in night school) by a scholarship craftspeople.” Then Britt parrots—in his list lieve, spending pages and pages to attempt to provided by Mrs. Webb. of ten things that he “learned”—that “life prove that ideals professed by Leach are passe, In my time, the first two Rochester years, sucks” for Kevin Hluch and that he “can’t sell dead, completely irrelevant in today’s modern SAC was full of ex-G.I.s, many of whom hadany of his pottery.” construct of art, the assertion they make is “wasted” enough precious time, and were I can only assume that Britt’s fatuous wrong. eager for the no-frills, non-artsy, intense views could have been printed for the sole I would insist that a grain of wheat is a training SAC provided. purpose of filling in a vacant space on the grain of wheat, food still sates the appetite, Frans Wildenhain was most undelighted Letters page. Britt’s diatribe should, in all and man is still an animal with needs, feelingsthat his entering class was all female. The honesty, have been confined to the rubbish and a desire to use his talents to eat off of only one that was! (From left to right in that bin. something other than the ground. photo on page 55: Barbara Carter, Natalie I personally found much truth in Kevin If every single contemporary ’90s artistl Malter, Cynthia Hardin [Metcalf], Lili Hluch’s article; he had something intelligent potter insists upon making work whose sole Hirsch [Krakowski], Helena Weinerowska, to share with CM readers and he said it well. claim to existence is to fill a niche in the Fran Bauer. Missing: Hildreth Thompson, Larry Hitchen, Fayetteville, Ark. market driven by corporate-brainwashed who died shortly after graduation.) consumers, it does not prove that higher And, missing from Phelan’s account, is I did not “get” the list of ten things John values don’t exist; rather, that the art of today Hobart Cowles, who taught us glaze theory Britt learned from reading Kevin Hluch’s has hit an all-time low. and chemistry and firing. The philosophy of comment on “Leach: Toward a Universal There is beauty in simplicity and the the school at that time was that each depart­ Culture” in the January issue. humble because it is a basic function of life, ment have a U.S.-trained teacher alongside a Wow! What we need is John Britt for a which is (by nature of death) sad, uncertain European-trained one. Hobart (from Ohio political analyst to give us a list of ten things and very simple. Complexity won’t keep a State) was “our” American. The balance that can be learned from Clinton’s one-hour man alive, nor will it improve upon the taste between these two teachers, their identical and-twenty minute speech. of a simple cup of water. dedication to craft, their very different tem­ Jeanie Jones, Lubbock, Tex. Leach’s values are not dead, nor unfortu­ peraments, was a priceless education in itself. nately is the phoney tastelessness, pandering Lastly (before I make room for others In all fairness, it seems to me that it is to the market and work intended to shock who want to reminisce), Phelan is a bit in­ John Britt, not Kevin Hluch, who is para­ and garner attention. The question facing genuous in his description of the Bauhaus, noid, hateful and whining. today’s potter is either to make that simple and what happened to it. It was persecuted Sarah Center, Bellvue, Colo. water cup, or spew out an abomination that by the Nazis (I am not sure whether it was pushes the frontier to the question, “Is it closed down or shut down on its own), and I’m writing in response to the letter by vulgar enough yet?” many of its faculty and students came to the John Britt (February 1995) in which he Anthony Allison, Palisade, Minn. U.S. as refugees. As any history of the Bau­ enumerates ten points of contention with haus (as well as of the Hitler refugees) shows,Kevin Hluch and his article, “Leach: Toward Carter Kudos they brought to the U.S. an immensity of a Universal Culture” (January 1995). Thanks for publishing Chris Carter’s talent and skill that still illuminates the arts Mr. Britt’s letter seems to me to be full of autobiography in the February issue. It is a scene—pottery included. Had U.S. immigra­ erroneous conclusions, which have no basis simple, jargon-free exposition of the philoso­tion policy at the time been more generous, in Mr. Hluch’s article, and appear to be phy of a craftsman; it is a joy to read and not only would thousands more people have fueled only by his own venom. If there is a contemplate, and inspires me to return to mybeen saved from the bombs and the Holo­ shred of sense to be found in Mr. Britt’s workshop! caust, but this country would have been that criticism of Mr. Hluch’s article, it is buried in Jo Ward, State College, Penn. much more enriched by even more talent. the excoriating attack on the character of the Lili Krakowski, Constableville, N.Y. author. SAC Reminiscence It’s not my intention to defend his article, Andrew Phelan’s article on the School for Britt List Responses but rather I want to encourage CM to adopt American Craftsmen in the February issue In response to the John Britt letter (“Stopa widespread editorial practice of allowing the was a delightful surprise. I wish there had the Whining,” February issue), I would like opportunity for an author to respond to been a picture of Mrs. Webb—a great lady to contribute my own views concerning his criticism in the same issue as it appears. It who could have spent her life pursuing polemic on what he (Britt) “learned” on would seem only a matter of courtesy to the amusement and cultivating “hobbies” but, reading Kevin Hluch’s article “Leach: To­ author to do so. instead, in the very best American tradition, ward a Universal Culture” (January issue). Currently, CM authors first hear of writ­ devoted her energies (and influence) to help­ Mr. Britt accuses Mr. Hluch of using ten criticism of their work only after it has ing others. “sweeping generalizations to further bolster been published. This serves no one, not the After the New York State College of his paranoiac vision.” Britt’s own demented readers, not the authors and not the maga­ Ceramics at Alfred rejected me for lack of generalizations in response to Hluch’s article zine. In fact, it makes the magazine appear were nothing more than a polite form of disrespectful of contributing writers and Share your thoughts with other readers. All letters murder by character assassination. It there­ neglectful of the spirit of fair play. must be signed, but names will be withheld on fore needs to be pointed out that Britt I know Mr. Hluch only from his writing request. Mail to The Editor, Ceramics Monthly, learned nothing from Hluch’s article, but in in CM and it’s clear that given the chance, he Post Office Box 12788, Columbus, Ohio 43212- his character assassination of Hluch he scoredcan ably defend himself should he choose to. 0788; or fax to (614) 488-4561. maximum points in ignorance. Some of the Yet he must wait a month for the opportu-

8 CERAMICS MONTHLY April 1995 9 Letters All Things to All People forgiving, that each impression we leave is It frustrates me to see people in ceramics as individual as ourselves. bicker and fight. We have all chosen clay as Ceramics or clay can be anything to nity to respond to this rather zealous criticismthe medium of our expressions for as many anyone—a red brick in a building, a func­ of his ideas and character. reasons as there are of us. Ceramics can be astional soup bowl, a laxative, a tile on the Furthermore, I believe that printing an low tech or as high tech as we want; it can bespace shuttle, a sculpture, the glossy coating author’s response to criticism in the same functional or representational, according to on the paper in a magazine, or the new issue as it appears would better serve the our needs. Clay is the perfect medium to crown that’s now your front tooth. interest of CM’s readers who will enjoy the form and activate our dreams. By working The only limitations that exist in ceramics warm glow of sparks flying as critical dia­ with clay, we learn and discover ourselves, are limitations in ourselves. logue takes place before their eyes. We might and develop a relationship with our world JeffSekera, Medford, Mass. even learn something. If a writer elects not to and the people in it. respond in the same issue, or ever, to a letter Because ceramics can and will continue toKeep It Short of criticism, I believe CM would best serve its be all things to all people who use it, we must A round of applause to CM for selecting readers by printing a note to that effect. remind ourselves that no one thing or chosen Larry Brown’s “Service” for the Comment Kent Miller, Lincoln, Neb. form can be right. Clay is so simple and so department (February 1995). The article was just right: 1½ columns long, nicely written and well focused. May I remind CM editors that lengthy articles on “artvscraft,” “fimctionvsnonfunction” and “modern- aesthetics” can be found in Studio Potter (see the articles by Kevin Hluch and others in the June 1990 issue), or in other “art” magazines that specialize in lots of words. The potters I know are mostly visual folk with short attention spans when away from their wheels. If we read, we want short ar­ ticles with lots of pictures. Elizabeth Drachman, Bethesda, Md.

Left in the Dust There is a wealth of creative energy in the college systems that is overlooked due to the fact of not being “known” or “successful.” Not everyone is “lucky” enough to know or meet the “right” people, or are aggressive enough to push their work into the limelight; thus, some are being left in the “dust” of the class studio. JefMyma, Santa Cruz, Calif.

Keeping Up I subscribed for myself at home, but found I was sharing every issue of Ceramics Monthly with my high school students. Now I subscribe for my classroom, too, and can finally keep my personal copy at home. The magazine helps us keep up with what is going on “globally”; and it’s 100 times better than one book in the library—cheaper, up-to-date and accessible. Nancy Collinsworth, Juneau, Alaska

Recognition Why waste any more space on the “is it art/craft” discourse? Art will be recognized. F. R. Williamson, Marina, Calif.

Errata On page 20 of the February CM, an incorrect cone designation was given for a glaze recipe in an article about the Long Beach Island Foundation of the Arts and Sciences in Loveladies, New Jersey. Base 48 Blue Glaze should be fired to Cone 6, rather than Cone 4.

10 CERAMICS MONTHLY April 1995 11 points out that: ‘There appears to be some misconception that Up Front by virtue of being permitted to be marketed to consumers, consumer products are inherently safe and don’t require any additional information be given to workers using them. This certainly is not the case.’ For this reason, OSHA requires ‘MSDSs Mark Ferri and training as for any other hazardous chemicals.’ North Carolina potter Mark Ferri was the award winner in the “The MSDSs and training requirements are waived only if clay category at the “Festival of the Masters” held recently at the consumer product is: used in the workplace for the purpose Walt Disney World in Orlando, Florida. Ferri has been a studio intended by the chemical manufacturer or importer of the potter since 1987, leaving behind an acting career. product, and the use results in a duration and frequency of exposure, which is not greater than the range of exposures that could reasonably be experienced by consumers when used for the purpose intended.’ “Manufacturers should provide MSDSs that cover possible effects from overexposure and from foreseeable misuse,” accord­ ing to Rossol. “This includes the hazards of inhaling art material dusts and mists, the acute and chronic symptoms of overexpo­ sure by all routes, and effects of repeated use on the skin, including the face. The hazardous decomposition products from open burning and heating materials such as paints, inks and crayons also should be covered. “By clearly stating the hazards of unorthodox use, the MSDSs also can protect manufacturers from lawsuits resulting from product misuse. Conversely, failure to provide this information leads users to assume there are no hazards and encourages haphazard experimentation. Since projects that misuse materials are widely practiced and advertised, manufacturers are vulner­ able to suits involving misuse because they cannot claim igno­ rance of these projects.” Marylyn Dintenfass “ClaylnPrint,” an exhibition of wall works by New Rochelle, New York, artist Marylyn Dintenfass, was on view recently at Hamline University Gallery in Saint Paul, Minnesota. “In my work I explore dramatic shifts in scale and materials, often working on large public installations, then producing intimate Mark Ferri’s “Tea in the Garden of Eden,” 19 inches in height; at the “Festival of the Masters,” Walt Disney constructions in the studio,” Dintenfass explained. World, Orlando, Florida. In this exhibition, “these concerns converge in a body of work that not only expresses a shift in size, but in medium as “I am constantly trying to create in my work and my life a sense of peace and harmony,” Ferri said. “The properties of clay allow me the freedom to flow, and at the same time, it grounds and connects me to the earth.” Obtaining MSDSs Regulations from the Occupational Safety and Health Adminis­ tration (OSHA) require all employers to provide their workers with materials safety data sheets (MSDS) on potentially toxic products used. “However, employed artists, teachers and other art materials users often tell us that they can’t get MSDSs,” reported Monona Rossol in the February issue of ACTS FACTS, a monthly newsletter on arts, crafts and theater safety. “Some say that manufacturers claim that art materials are exempt from MSDS requirements because they are consumer products or because they are nontoxic.’ “Last year,” she continued, “OSHA clarified their position on consumer products in their technical amendments to the Hazard Communication Standard (February 9, 1994). OSHA

You are invited to send news and photos about people, places or events of interest. We will be pleased to consider them for publica­ Marylyn Dintenfass “Negev Imprint,” 4 feet in height, tion in this column. Mail submissions to Up Front, Ceramics glazed stoneware tiles; at Hamline University Gallery, Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Saint Paul, Minnesota.

12 CERAMICS MONTHLY April 1995 13 Up Front founders George Brown and Debi Swauger originally developed the 3200-square-foot studio (beginning with ½ the space in 1992) for their own use, it is now home to over 30 full- or part- well. Using small units as structural and conceptual components time ceramists from Washington, D.C., Maryland and Virginia. in my architectural work, the transition to tile production was a “We did not, at the outset, have in mind what we have today,” natural one,” she continued. explained Brown. “There was a certain evolution. Once we The tiles used to assemble “Negev Imprint,” a 4-foot-high discovered that more and more potters wanted in, we expanded. mural, are the product of Dintenfass’ six-week residency in a We had no advertising. People just started coming.” ceramic factory in the Negev Desert outside Beer Sheva, Israel. Today, in addition to work space, the studio offers classes in “The images, colors and surfaces that I could produce with beginner and intermediate wheel throwing, workshops on relative ease and the abundance of materials in the factory glazing or ornamental design, and professional education setting were a source of constant delight and endless possibili­ seminars on marketing and creative goals. Also, ceramics ties,” she stated. supplies and firing are available to the general public. Creative Clay Studios started when Brown, a retired federal Pinchen Collection employee whose avocation was potting, met Swauger, the The late Robert Pinchen, a collector from Yorkshire, England, mother of two children and a porcelain artist. They were selling donated over 400 pieces of studio pottery to the City Museum their work at a gallery in Reston, Virginia, but both were and Art Gallery in Hanley, Stoke-on-Trent. The collection frustrated with their studio conditions. In fact, Swauger was looking for a location from which to run her business. She not only needed an environment for throwing, glazing and firing, but also a warehouse for storing, packing and shipping. Brown, on the other hand, wanted to find work space, as well as start a ceramics supply company. Agreeing to combine forces, the two rented a “bay” in an indus­ trial park close to their homes. “My wife was complaining about the clay dust in the laun­ dry room. She wanted my studio out of the house,” Brown said. “Both Debi and I needed a place where we could get messy, that was at ground level, and that had big garage doors for clay ship­ ments. We also didn’t want to drive more than 10 minutes. The space was cheapest in an indus­ From Robert Pinchen’s collection (clockwise from top): John Maltby vessel; Susan Halls’ trial park, with a monthly cost of “Groundhog”; David Lloyd-Jones’ cup and saucer; Morgan Hall jar and lid; at the Arnold about $900 per bay, plus mainte­ Mountford Study Gallery, Stoke-on-Trent, England. nance and utilities. “We had to reconfigure the features functional as well as sculptural pots, and represents a area to our needs, and put in rooms and such,” Swauger added. wide variety of materials and firing techniques, including “It was pretty raw when we came here.” earthenware, stoneware, porcelain, slipware, raku, tin glaze and The team admits to spending close to $3000, between salt glaze. remodeling and rent deposit, to ready the site for work. They A local government officer who donated his collection to began with one 1400-square-foot bay, but now utilize three. secure its long-term future, Pinchen often purchased works From the street, Creative Clay Studios looks deceivingly from emerging as well as established potters. His search for new “uncreative,” as it is surrounded by furniture wholesalers and acquisitions took him to small studio potteries and student- car-repair shops. But once through the front door, the smells, degree shows, as well as larger pottery events. sounds and sights of a working ceramics studio are everywhere. Visitors first have an opportunity to check out ceramics supplies Creative Clay Studios: Ambition and Reality (potters tools, wheels, clay, glaze chemicals, etc.). The book­ by Cathy Grubman keeping department, of which Brown is in charge, is behind the Many ceramists dream of working in a spacious studio, with sales counter. contact with other artists and easy access to supplies, but that’s “George does most of the paperwork,” Swauger confessed. not often a realistic goal, especially in metropolitan areas where “He itemizes the supplies people buy, as well as their rent, space is costly. electricity and firing fees. I throw pots.” At Creative Clay Studios in Alexandria, Virginia, within Swauger’s throwing area and warehouse space are found minutes of Washington, D.C., the dream is a reality. Although directly in back of the store. Everything is pristine clean, in part

14 CERAMICS MONTHLY April 1995 15 Up Front dirty. “Dirk basically muscles clay for us,” Swauger explained. “We’ve got the whole family involved.” Her husband Mike pitches in, too, repairing kilns for the studio and outside clients. due to the special needs of a porcelain artist, in part because of a In general, Brown and Swauger are pleased with their efforts relentless lab monitor named Mary Mobley. Both Brown and at Creative Clay Studios. “The only thing we don’t have that I Swauger agree, “She’s tough.” wished we had was a gallery,” Swauger commented, “but work Next door, in the center bay, is the glaze kitchen, a well- space is more important.” Meanwhile, artists display work for stocked area where artists can mix and test glazes. Here, too, are sale on shelves in their areas. Or they wait to sell to the public at shelves where students keep their supplies and ware. One small the quarterly shows that Creative Clay hosts. The exchange of artistic ideas and processes is important to both Swauger and Brown. They see this as one of the perks of working in a group setting. “I learn from people here,” Swauger said. “One of the artists here is a sculptor, and she opened my eyes to it. I find her work helps make my pots more sculptural. Yet, everyone has strong-enough egos and personal tastes that we hold our own. We haven’t melded into each other.” Grace Bakst Wapner “Dyads,” an exhibition of figurative sculpture by Grace Bakst Wapner (Woodstock, New York), was presented recently at Steinbaum Krauss Gallery in New York City. Her latest figures deal with relationships and the fact that “relations between one individual and another, or between individuals and the sur­ rounding world, are the very substance of all human experi­ ence,” observed Ellen Handy in the accompanying catalog. These sculptures “comprise a troupe of hardy but vulnerable figures of often indeterminate gender, who are locked in com­ Creative Clay Studios (Alexandria, Virginia) founders Debi plex paired postures like those of modern dance, martial art or Swauger and George Brown take a break from kiln loading. loving intimacy. No longer concerned with the walls, screens or room in this bay is available for rent. The electric kilns are toward the front of the bay, near large doors to ensure adequate ventilation. The third bay houses more full-time artists who rent 8x 12- foot areas for approximately $150 a month. This does not include the yearly membership fee of $50 ($25 for students). The renters vary from one-of-a-kind handbuilders to produc­ tion potters. Most have their own wheels, shelves and tools, but they share slab rollers and wedging tables that sit in central areas. Student wheels are also at the center of the space. Full-time artist Claire Hasselbeck has been at the studio for one year and loves it: “It’s wonderful—everyone cooperates, it’s convenient and supportive. George and Debi have a good spirit, and the place reflects that. Other people talk about doing something like this. They had the courage to do it.” “Part-timers” pay $50 a month or $100 per quarter (plus the membership fee) for open lab access. For that, they can work at the communal tables, have access to the wheels and fire work. Cynthia Blau of Fairfax, Virginia, is one of these part-timers: “I’ve been here since the beginning. I come three or four days a week, whenever I can. It’s very flexible. I tried various other studios, other art centers, but this one suits me best.” Brown enjoys the experience of working with the artists: “We have beginners, and people who have been in the business Grace Bakst Wapner’s “A Perfect Match,” 18 inches high, for 20 years. It’s a nice mix. stoneware; at Steinbaum Krauss Gallery, New York City. “I was in the federal government for years,” he added. “This is a lot more fun. We provide an opportunity for people to vessels of her previous work, Wapner has chosen to consider express themselves in many different ways.” Unfortunately, since human presences rather than forms that contain or direct them. he does much of the management work, he doesn’t have a lot of “This work,” Handy continued, “comes out of the artist’s time to throw pots anymore. “But that’s okay,” he stated. “I like emotional, personal and familial experience, deriving not so running the studio.” much from the history of Wapner’s previous work as from the Swauger, however, remains busy with clay—developing ideas larger context of her life itself. Intimations of mortality and and fulfilling orders. Her 13-year-old son also gets his hands moments of crisis marked the beginning of the present body of

16 CERAMICS MONTHLY April 1995 17 Up Front various architectural motifs. “Her repertoire—tuneful, intuitive and altogether sumptuous—covers the map,” stated Stephen Phelps in the accompanying catalog. “In her assorted pot forms work, and are inscribed in the tensions and struggles of these and in her mantel pieces and wall mounts, the viewer glimpses sculpted figures. These pressures, as much as the lain in which multiple sources, everything from rococo capitals to 19th- the work was fired, are the fierce and purifying means by which century decorative molding and tilework. clay and experience were transformed into finished art. Wapner “What is unique about Rozman’s creations is the way their says that in making this work she is swimming in water of my geometry overtakes the exigencies of structure. Assuming an own body temperature,’ and it is clear that she [is] engaging organic appearance, her shapes in varied guises—colored, herself in the questions she has most at heart.” scored, glossy or matt—bend, curve, twist and intersect,” Phelps continued. “While these lyrical constructions must obviously British Ceramics in Holland abide by the laws of gravity, they pay the barest lip service to “British Ceramics II,” an exhibition of works by Colin Pearson function.” and Gary Wornell, was on view recently at Galerie Amphora in Oosterbeek, Netherlands. The exhibition was organized to Ted Saupe “Water Jars,” an exhibition of vessels decorated with drawings of plants and animals and stream-of-consciousness narrative by University of Georgia ceramics professor Ted Saupe, was pre­ sented recently at the Thompson Gallery in Athens. Ranging in

Gary Wornell cast dish, 25 centimeters (approximately 10 inches) in height, decorated with terra sigillata; at Galerie Amphora, Oosterbeek, Netherlands. commemorate the 50th anniversary of the liberation of the Netherlands by British, Canadian and Polish troops. Pearson is known for his “winged” pots, while Wornell’s work is mostly geometrical, having been influenced by architec­ ture, African pots and Japanese gardens. Katrina Rozman Sculpture by Calgary ceramist Katrina Rozman was presented recently at Main/Access Gallery in Winnipeg, Manitoba, Canada. Working in earthenware, Rozman is inspired by Ted Saupe’s “E=Water for Wheat,” 32 inches high, low fired in a salt kiln; at Thompson Gallery, Athens, Georgia.

height from 22 to 40 inches, the pots were thrown in sections and fired to Cone 01 in a salt kiln. The personal imagery and memories on the pots were inspired by recent events in Saupe s life—a trip to Crete, a move to Georgia and a new son. Smokeless Reduction under a Cardboard Box by Jerry Caplan John Conrad has a line drawn around each of the tools hanging Katrina Rozman’s “Bay Window Pot,” 24 inches in length, on the peg-board rack. He can operate five kilns at once (gas earthenware with slips and glazes; at Main/Access Gallery, and electric). He makes slip by the gallon with an easy-to-use Winnipeg, Manitoba, Canada. glaze blender. He even made English scones for the workshop

18 CERAMICS MONTHLY April 1995 19 Up Front little tighter. (This whole process should be supervised by someone with raku experience.) “Is someone timing this?” I asked. “Yeah,” sang a chorus of CC GC spectators. “Give me five minutes,” I said. O Then came the moment of truth. When the box was lifted, it was obvious the smoldering paper had done its work. There was a nice black plate. With gloved hands, I removed the partially burnt paper, cleaned a clay stencil from the plate’s surface and placed it on a nearby table—some 100 plates and bowls were completed in one day and with very little smoke. Patz Fowle First place in a statewide art competition at the Florence Mu­ seum in Florence, South Carolina, went to Hartsville ceramist Patz Fowle for her sculpture “Taxicabbing Pachyderms.” Hand-

Jerry Caplan demonstrating smokeless postfiring reduction under a cardboard box at Mesa Community College. held at Mesa Community College in San Diego. The pressure was on for me, then, to prove I could safely reduce ware under a Patz Fowle’s “Taxicabbing Pachyderms,” 11 inches in cardboard box, and contain the smoke with a ring of sand. length, handbuilt porcelain and stoneware, with under­ While folks ate scones and other more typical breakfast fare, glazes, stains, glaze and platinum luster; at the Florence the kiln with the demo plate climbed from 800°F to 1300°F. In Museum in Florence, South Carolina. preparation, a piece of kiln shelf was placed in the middle of a metal table. Then a piece of newspaper was laid on the shelf and built from porcelain and stoneware, it is from a series of whim­ the cardboard box positioned carefully over it. (As in any sical sculptures of animals in automobiles portraying human postfiring-reduction situation, adequate preparation is the key mannerisms and expressions. to safety.) Finally, sand was poured all around the bottom edge of the box—the moment had arrived. Computer Index for Ceramics Monthly I raised the box and the plate was placed on the newspaper. by Rick Malmgren Another sheet of paper was laid on the plate, then the box was Even with a complete set of past December issues’ annual index lowered overall, with the rim pressed firmly into the sand ring. of feature titles, many of us have had trouble finding a CM Little curls of smoke were snuffed out by scooting the sand in a article when we need it. Now, with a computer (Macintosh or PC) and the Ceramics Monthly Cumulative Index, we can search a list of key words to find the correct issue and page number at the speed of light. It all began as an act of love. Marvel C. Stalcup wrote t he program as a Christmas present for his wife, Firuse, who is known in their hometown of East Falmouth, Massachusetts, as “the Persian potter.” Realizing that she was probably not alone in her need for quick access to articles in Ceramics Monthly, he decided to market his index. Based on Hypertext, the Stalcup program is quick and intuitive. It covers all issues of Ceramics Monthly since 1973. That’s more than 2500 articles. Searches can be done on any of 2367 key words for the title, author or subject. The articles are also listed chronologically so that we can electronically flip through the tables of contents. Wliile I don’t use it every week, it is well worth the space on my hard disk. WTienever I want to refer to a particular CM article, I find myself going straight to Stalcup’s index. It is available for the Macintosh or IBM-PC computers (specify disk size) for $24.95, which includes shipping. Yearly updates will be available for $8.00. To order, contact LRS, Inc., More than 100 raku pieces were completed during 456 Locustfield Road, East Falmouth, Massachusetts 02536; the 1-day workshop. (508) 540-3399. Or e-mail: [email protected]

20 CERAMICS MONTHLY April 1995 21 22 CERAMICS MONTHLY April 1995 23 24 CERAMICS MONTHLY Starting Over by Dano

I am not sure what image people have time to study art seriously. Several heart Mountains was strong enough to of the potter who produces the tiny attacks, followed by open heart surgery prompt transferring to the University pieces they see on the open shelves. It is in the 1980s, left me an outsider to the of Arkansas at Fayetteville. At that time, fun to gauge their reactions when they job market. the sculpture program was in transi­ discover that a middle-aged ex-ruffian So at age 47, feeling like a kid with a tion, and someone recommended I with tattoos and scars is responsible. Big Chief tablet and a box of new check out the ceramics program instead. A like amount of disbelief is shown Crayolas, I went back to where I should The first day in handbuilding class con­ when they learn I also make large wheel- have started—school. I began, thanks vinced me I had at last found a home. I thrown and handbuilt pieces. The big to proficiency tests taken over the years soon discovered that Don Curtis, who pots are made from a native stoneware (I was too mean to stay in high school), started the U.A. ceramics program in body that yields a rich, earthy color in with art classes at the University of Tulsa. 1970 and has headed it ever since, is the reduction. Drawing came hard, but the sensuous- fount of knowledge for potters over a Ever since I was a child, I have wanted ness and pliability of the red sculpture four-state area. to make pots. However, the rigors of clay quickly made me a convert. Not only did I turn out to be a raising hell and kids did not allow me By then, the call of my native Ozark nontraditional student, but I also tended

When heart trouble made him “an outsider to the job market,” Dano was able to fulfill a long-held desire to learn how to make pots.

April 1995 25 Happening upon a supply of Cone 8-10 fine white stoneware while studying at the University of Arkansas led to the production of miniature pots and furniture.

Miniature pots are thrown off a centered hump of fine white stoneware.

After opening with his finger, Dano uses wooden sculpting tools to pull the wall.

A fettling knife helps slide the freshly thrown pot onto a bat.

Tweezers facilitate dipping the miniatures in Cone 10 reduction glazes.

26 CERAMICS MONTHLY to be somewhat erratic in my approach Now I have a good clay body with fair For turquoise, add 3% chrome oxide to class projects. I wanted to try every­ plasticity and a rich color in reduction and 1% cobalt carbonate. thing at once. But Curtis was patient, firing. It fires well at Cone 6, with a Of course, for special effects, I do allowing me to grope along at my own 2.2% absorption rate, and holds up well use other glazes, such as this saturated pace. A few times, he also handed me at Cone 10. iron for reds: enough rope to hang myself when I Native Stoneware insisted on trying some unorthodox Saturated-Iron Glaze (Cone 6-10) method or recipe. (Cone 10, reduction) Custer Feldspar...... 17 lbs. Throwing miniature pots began Colemanite...... 12.38% Bentonite...... 3 when I happened on to 200 pounds of Custer Feldspar...... 76.95 Cedar Heights Goldart...... 25 a Cone 8-10 white stoneware with al­ Whiting...... 6.23 Golden Local Clay ...... 25 most no grog. About that time, Curtis Edgar Plastic Kaolin...... 4.30 Hawthorne or pointed out that my throwing skills were Flint...... 0.14 A. P. Green Fireclay...... 100 just not up to par, and he expected 100.00% Kentucky Ball Clay (OM 4) ... 50 much better work from me. Add: Red Iron Oxide...... 9.98% 220 lbs. My immediate response was unprint­ able. However, I reasoned that by using The native clay (milled and sieved When the ramshackle university stu­ this silky white clay I could both prac­ through standard screen wire) is suffi­ dio was slated for demolition, I rented tice my throwing and make smaller pots. cient for my use, but its possible to add studio space in a building complex near For sure, the first dozen or so minia­ up to 10 pounds grog. the campus and only a block from the tures were not keepers. Bullheadedness When it comes to glazes, I prefer new arts center. Various potters and prevailed and I kept at it, fashioning simplicity. Mostly I use recipes that origi­ other artists also have studios in the new tools as I went along. nated with Daniel Rhodes: complex. I also began experimenting with lo­ I almost dreaded leaving the nest. At Rhodes White Glaze cal clays. The initial recipe for Native the university, the ambience created by (Cone 10, reduction) Stoneware required blending equal parts the many students from diverse back­ Colemanite...... 12.38% of a bright red and a golden clay to yield grounds and the rapport )vith Professor Dolomite...... 6.67 a Cone 10 body. Some pots from this Curtis fostered creativity, but being on Talc...... 14.28 batch fired fairly well, but a few blis­ my own has helped me find new ways Custer Feldspar...... 42.86 tered and all were too dark. Obviously, to shape clay. C&C Ball Clay...... 4.76 the clay body contained too much iron About a year later, I moved out into Flint...... 19.05 and sulfur. 100.00% the hills of Arkansas to set up a new After some recipe juggling and test studio. My production now ranges from firings, I found that the golden clay had For a black glaze, add 1% chrome ox­ less-than-an-ounce porcelain miniatures sufficient iron content on its own to ide, 3% cobalt carbonate, 2% manga­ to 100-pound, single-fired, Native achieve the color and texture I wanted. nese dioxide and 4% red iron oxide. Stoneware vessels. A

Lidded jar, 8 inches in diameter, thrown Native Stoneware, with Saturated-Iron Glaze brushwork over a turquoise variation of Rhodes White Glaze.

Left: Serpentine shelf, handbuilt from Native Stoneware, and miniature wheel-thrown white stoneware pots, by Dano, West Fork, Arkansas.

April 1995 27 Arch 191

An exhibition of ceramic sculpture and functional ware by the artists of Arch 191 was presented at the Orangery in Holland Park, Kensington, England. Now in its fifth year, Arch 191 is a cooperative studio established in Lon­ don by six ceramists (Emlyn Bowdler, Sarah Cox, Mara Lindemann, Anne Middleton, Loraine Rutt and Angharad Taris) who graduated from Central St. Martins College of Art and Design in 1990. Their intent was to provide a supportive and stimulating working en­ vironment, as well as low-cost accom­ modations. The quarters are close, but the stu­ dio members concur that they “all main­ tain a unique and personal vision. One of the strengths of our studio is that we manage to support each other in terms of information, techniques, materials and equipment, while respecting an in­ dependent expression of creative out­ put. Possibly the time spent in colleges of art and design has resulted in an ability to develop an inner privacy when the reality is usually very limited space. No doubt there is cross-fertilization of ideas at some level, but it is obvious that “Goblet,” approximately we have very different aims and ways of 4 inches in height, porcelain, expressing ourselves in clay.” ▲ by Anne Middleton.

“Lapstrake Vessel,” approximately 15 inches in length, porcelain with stains and oxides, by Loraine Rutt,

“Turquoise Coffee Set,” slab-built white earthenware with underglaze, by Emlyn Bowdler.

28 CERAMICS MONTHLY Fusz Gy orgy by Gabor Pogany

Gyorgy’s World War II memorial depicting three Hungarian soldiers (one dead, one wounded and one protecting his comrades) was installed in Kaposvar.

For an up-and-coming student of ce­ For the diploma work, chamotte was ramics (at the Academy of Applied Arts pressed into negative plaster molds that in Budapest) to select as his diploma had been formed by a human body. work a task, the completion of which The basic shape was the bust, removed must meet the demands of sculpture from the negative in a condition still yet require the technical skills of the soft, yet of sufficient hardness to hold ceramist, is a decision that is worthy of itself together. The clay was then de­ notice. In doing so, Fusz Gyorgy made formed, contorted and manipulated the decision—without putting aside in­ prior to being dried. It was not so much dustrial art (the production of articles)— the method that was important, as the to channel his will into the realization final result. of an anthropocentric artistic statement. In the most ancient meaning of the I must apologize to the reader for this word, these and later busts are dramatic monster of a sentence, stuffed as it is works of art. Artistic creation—and now with academic art history terminology, I do not mean just the visual arts, but but the introductory part of an intro­ literature and music as well—has from duction should objectively introduce the the most ancient of times pursued two objects to come. In plain English, Hun­ essentially different aims. (The quality garian artist Fusz Gyorgy has decided of the work of art naturally depends to make sculptures, and his diploma upon the attainment of these aims.) Ei­ work showed that he makes good sculp­ ther a work represents or it relates. For tures, using the techniques of a good instance, a standing statue of a god in a ceramist. Greek temple represents the god s pres-

April 1995 29 “Atvaitozas III (Transformation III),” approximately 13 inches in height, handbuilt porcelain.

ence, whereas the sculptures on the tym­ the clowns of the commedia dell’ arte. panum and metopes narrate the acts of It should not be forgotten that until the the god in ancient mythological times. Late Middle Ages, painting was a basic One typifies the present, and the other feature of sculpture, and that it was just the past. The former is dramatic in char­ as natural for Greek statues to be deco­ acter; the latter, epic. rated with local colors as it was for the With one exception, all of Gyorgys saints of Gothic altars. sculptures are dramatic works. They do Fusz Gyorgys clowns do not wish to not belong to a time, and what we see entertain or make one laugh. The sculp­ belongs to the present. They are of ca­ tor is investigating to what extent face- thartic characters and personalities. painting alters character and personality. The exception is a massive memo­ Let us not forget that the characters of rial, built from 7 tons of clay, for the the commedia dell’ arte were prescribed town of Kaposvar. A heroic memorial by the masks they wore. Words changed; of the second World War, it depicts characters remained stable. The simple three Hungarian soldiers: one is lying Fusz Gyorgy with the “wounded soldier’ citizen of Venice knew precisely what at his studio in Szekszard, Hungary. dead; the second is crouching, probably was to be expected from the actor about wounded; and the central figure is stand­ to enter action on the stage set up on ing, protecting his comrades. The en­ Front, both those who returned home the small Venetian square. Capitano, semble is quintessential of well-known and those who were left behind. Columbina, Pantalone and the rest held photographs and news recordings. It is The newest of Gyorgys busts are their characters upon their faces. And an epic work, for it remembers those again pressed in negative molds, then so the manner of representation re­ soldiers who fought on the Eastern painted in such a way that they become mained dramatic. ▲

30 CERAMICS MONTHLY Ann Linnemann Wok made in the U.S. by Danish ceramist Ann Linnemann was exhib­ ited recently at Joanne Rapp Gallery/ The Hand and the Spirit in Scottsdale, Arizona. The jars, goblets and bowls on view were the result of a year spent as a visiting artist/research scholar at Arizona State University in Tempe. While there, Linnemann “continued exploring meth­ ods of throwing and altering, designing new forms based on function with ele­ ments of movement and adventure. I used porcelain and stoneware, in sepa­ rate pieces and in combination. For ex­ ample, a porcelain jar with a stoneware lid; or goblets with porcelain cups and stoneware stems glazed together.” Her primary interest, though, was in “experimenting with sculptural contain­ ers, where the framing idea was con­ necting elements from the landscape, local organic forms, and buildings like the Indian ruins. As the jars appeared Salt-glazed jar, 9 inches in height, more humanlike, I started involving ele­ thrown-and-handbuilt stoneware. ments of communication, human rela­ tionships, feelings and moods. “Some jars appear united and con­ cerned; some are yielding and contem­ plating. The last idea I worked on was four jars standing together in a small group, both united and separated. I fired all the jars in a salt kiln, in order to let the “skin” reflect their positions and touch-points during the firing.” Linnemann began her ceramics ca­ reer as an apprentice at a well-known Danish pottery. Four years later, after a five-hour throwing and glazing test, she received a potters certificate. Although she enjoyed production work, she real­ Ann Linnemann in her studio at Arizona State University, Tempe. ized she wanted to explore other possi­ bilities, and enrolled at the School of Art, Craft and Design in Copenhagen. of Crafts in Maine; the next summer For the next two years, she worked on found her doing a five-month residency designing products for industry. After at the Archie Bray Foundation in Mon­ graduation, she traveled to Japan to par­ tana, which was followed by the re­ ticipate in a five-week Jomon pottery search year in Tempe. workshop. On returning to Denmark, “My journeys and residencies have she set up a studio on Langeland, a been of great value and inestimable in­ small island in the south. fluence upon my ceramic work,” Linne­ Since then, Linnemann has contin­ mann commented. “The change of ued to take advantage of opportunities environment, and the exchange of to broaden her exposure to ceramics “Winepot,” 10 inches in height, ideas and experiences while working styles and techniques around the world. salt-glazed porcelain. with other ceramics artists have resulted In 1992, she worked as a technical assis­ in important developments in the way I tant at the Haystack Mountain School look at life and art.” ▲

April 1995 31 “Vincent’s Palette,” approximately 18 inches in diameter, slab platter, loaded toward the back of a 500-cubic-foot anagama and wood fired for 9½ days, $750, by Bruce Martin. Following Anagama Tradition by Estelle and Bruce Martin

it may seem strange that our interest The history of the anagama is fasci­ in anagama-fired pots was piqued dur­ nating. It appears that this type of kiln ing a three-month visit to Japan to fol­ was developed by the Kayan people of low the paths of Bernard Leach, Shoji South Korea about the third or fourth Hamada and the mingei (folk craft) century A.D. There is evidence of very movement. Until then we had concen­ close links between the people of Kaya trated on producing practical, useful, and the Yamato empire of early Japan. domestic wares in the Leach, Michael These links can be easily seen in the Cardew and Harry Davis tradition. gray Sue wares of the fifth century in During our travels in Japan, we spent a Japan, which were fired in kilns capable lot of time studying pots in museum of reaching well over 1000°C (1832°F). collections—particularly those from the With the arrival of Buddhism in 552 six ancient kiln sites so often mentioned and the developing need for sutra jars in Leachs writings. The color and beauty and other Buddhist accoutrements, fire of these pots, especially those from Bi- “Ridge of Tears,” approximately was perceived as a great purifier. The zen, Shigaraki and Iga, are what had 7 inches high, tea ceremony water jar,longer and hotter firings, used to purify wheel-thrown, iron-bearing clay, fired onthese religious wares, enhanced fly ash first drawn us to handmade pottery. the third level, $400, by Estelle Martin. Two Thousand Years of Oriental effects. Later, these random and natural Ceramics, published by Thames and effects were much admired by the tea Hudson in 1961, has many beautiful zen pot. Unbeknown to us, at that time, ceremony masters. At times, multiple pictures of such pots, our favorites be­ was the fact that these pieces would firings, giving heavy build-up of ash, ing an old Iga water jar (complete with have been fired for an extended period fire cracks and other natural happen­ firing cracks) and a very crusty old Bi- in an anagama-type kiln. ings, were common, particularly with

32 CERAMICS MONTHLY the Iga wares. Although not ing, work was assessed, and always understood by West­ we quickly learned what to ern people, these very rugged keep and what to return to works are greatly admired by the clay bucket. Only the connoisseurs in Japan. pots that, at the completed Because of strict pollution stage, showed good form and controls, a shortage of suit­ proportion, freshness and able fuel and other economic quiet presence, were kept. factors, there are very few ana- The Japanese method of gamas in use in Japan today. shaping a pot is nearly al­ Few potters will ever have the ways done from the inside, opportunity to participate in either with the hand or a an extended firing of an ana- sponge or throwing stick, the gama; only a very few per­ outside hand being a guide haps feel the need to return to only. When pressure is ex­ such primitive firing methods erted on the outside, usually but, for those that do, the fas­ it is the palm of the hand or cination is endless. the side of the knuckle that Near the end of that first is used. This allows for very visit, we met Sanyo Fujii, then broad, rhythmical throwing. of Kodera, near the castle city To watch Fujii throw was a of Himeji. On seeing his pots, delight; the pot seemed to made and fired in a traditional grow effortlessly, always hav­ manner, we were thoroughly ing life and vigor. converted to the ancient mys­ Thickened rims, broad teries of anagama. Fujiis kiln shoulders and small lugs or was of traditional shape and ears catch ash, thus adding size; it had three pairs of small to the color effects developed doors for stoking on each side, by anagama firing. However, as well as the main firemouth “Reminiscing,” approximately 8 inches in height, heavy throwing lines catch tea ceremony flower container, loaded on the first at the lower front end, and stack, $300, by Estelle Martin. too much ash and allow the was usually fired for 16 days fly ash glaze to gather in hori­ with Japanese red pine. zontal bands. This disturbs Having obtained the design for Fujii s and stayed with us for seven months. the visual effect of the glaze curtain kiln, we built our own anagama near During this time, we were given one- forming on the anagama pot. Hastings, New Zealand, over the next to-one tuition on the intricacies of Japa­ Colors of anagama-fired pottery can three years. Over 500 cubic feet in ca­ nese tea ceremony wares, as well as the range from blacks through dark blues, pacity, it has four levels on a slope of optimum ways of loading and firing greens, browns and yellows to soft, glow­ about 30°. Our decision to fire for ten our anagama. ing pinks, aubergine, apricot and white. days was based on the fact that our Fujii is a well-respected tea ceremony The amount of ash deposit and result­ conditions were much drier than in Ja­ potter, who learned his craft in Bizen ant color is dependent on several fac­ pan, so that no time was needed to dry and Iga over a ten-year period. We were tors, the main one being the length of out the kiln. Our first firing lasted only expected to learn to make tea ceremony firing. But the type of clay, and the pot s six days. Although neutral colors, rather pieces, so that we could exhibit with shape and placement in the kiln also than reduced colors, were produced, the him if the firing was successful. have an effect. The firing schedule can results were sufficiently encouraging for We worked with three clays, each change the amount of ash, too. Extend­ us to want to continue. differing in iron and silica content. The ing the time spent stoking when the Because of our lack of experience main clay was a rough body, high in pots first reach a “tacky” state can help. and our intense interest in the project, silica, containing some feldspar crystals Much of the ash that falls on the pots in we decided to revisit Japan in 1982, but no iron. All were expected to fire to the early stages will slide ofF, except on planning to see Fujii and participate in Cone 12-14. wide shoulders and rims. Heavy reduc­ a firing of his anagama. This was not to We learned by observation, as is usual tion in the later part of firing will help be, but Fujii did come to New Zealand in Japan. At the end of the days mak­ to stabilize the ash as it melts.

April 1995 33 and up to the next level. The need for Years Work Schedule this became more apparent when the embers from the side stoking started to for Two Potters build up because insufficient space for the gases had been allowed. Wood preparation: Cut 28 tons Levels one and two receive the deep­ pinewood to 20-inch lengths, split est deposit of ash, whereas the flame to a triangular shape where pos­ pattern is more apparent on the third sible and the bark removed. (Bark level, especially on the iron-bearing clay. creates clinker, blocking airways and Fujii packed the third level more closely sticking to pots.) Also finely split a large quantity of wood for side stok­ to keep the ash from the fourth level, which was to be colored by flame and ing. Dry and stack under cover. smoke. Under the pair of side-stoking Stack smaller pieces for use in rais­ ports on each level, pots are placed on ing temperature and larger pieces the floor, keeping a low profile so as not to maintain the temperature. Two to stop the passage of the flame. In the months. front of each stack of shelves, a 12-inch Pottery making: Produce ap­ space is allowed for the side-stoked wood proximately 1000 pots. Plan shapes “The Bamboo Is My Brother,” to burn. To protect the pots placed in and quantities of each for the areas approximately 9 inches in height, in which they will be fired. Make this area, the initial five or six stokes are thrown-and-altered flower container, made with handfuls of finely split wood more than needed so that only the by Estelle Martin. so that a cushion of embers builds up most successful forms are fired. Five quickly, covering the pots. months. Make Setters: One week. Carefully wadded pots are also placed Loading begins on the fourth level, around the grate of the firemouth, keep­ Load kiln: Three weeks. placing each pot with the path of the Prepare food: All main meals pre­ ing a line of rise, to direct the flame. flame kept in mind. We don’t expect Some flame must be allowed to go un­ pared and frozen. One week. much ash deposit at the rear of the kiln. der the shelves to heat the pots at the Firing: Ten days. Cooling: Ten days. Here, Fujii placed straw-wrapped pots bottom of the kiln. The flame path made of feldspathic clay. This is the must always be kept in mind when load­ Unloading: Cleaning and testing only area where we load the pots made ing, taking care not to block it off, nor, for imperviousness. Six weeks. of clay with 12% iron content, as this equally important, to make its path too Cleaning shelves: There are 120 fires well at a slightly lower tempera­ or more shelves. Put cleaning off easy. Each pot will relate to the pots ture. Pots made with both the 3% iron until no excuses are left. The front beside, in front and behind in regulat­ and the feldspathic clays are placed on ones, particularly, will need a lot of ing the flow of gases, and relies on this the three other levels. cleaning. relationship for its final appearance. Placement of pots must allow the The success of the firing depends on That’s a total of ten months of flame and gases to pass readily, but each the preparations, including plenty of constant activity—leaving two to pot is set to receive maximum ash ef­ dry wood, cut to the right size and promote anagama pottery. fects. Smaller and lower pots are placed stacked close at hand, and a small team toward the front of the shelves, posi­ ready and able to meet a schedule— tioning each so that the pot behind is Fujii expected each of us to work a 24- In our anagama, most pots are placed not completely sheltered by the one in hour shift. With this schedule, the on press-molded setters made of fireclay front. A space of approximately 4 inches stoking patterns become familiar and and rolled in calcined alumina to pre­ needs to be left between the top of each the temperature is less likely to fluctuate. vent sticking. The floor of the kiln is piece and the arch; the same distance When side stoking starts on level two, quite thickly covered with small silica applies for the side walls. The central two stokers are needed so that the pair chips, and some pots are set directly on area of each stack of wares was packed of pots can be stoked simultaneously; these. The raised setting of the pots and tight to force the flame and gas path after that, the front is again stoked. the silica chips allow gases to penetrate away from the direct pull of the flue. Only one level is side stoked at a underneath to color the base of each However, Fujii showed us that some time; when the required temperature piece. Not all pots are set upright; some space must be left under the lower on that level is reached, the stokers move near the firemouth are set on their side. shelves to allow the gases to pass through on to the next level. The first pair of

34 CERAMICS MONTHLY side-stoldng doors are then resealed. It is important that the atmosphere and temperature in the front of the kiln be maintained right up until the end of the firing. Keeping the front of the kiln under reduction by stoking with a full bundle of mixed-size wood and careful timing from the side stoking to the front stoking will ensure the quality of the glaze on the pots at the front. At the end of the firing, the kiln must not be closed up too quickly. Time to allow some of the embers to burn away and the gases to escape is needed before the dampers are closed, usually one to two hours, with the top damper being the last to be closed. A typical firing chart shows a gradual rise in temperature and various plateaus where the temperature is held steady for up to 24 hours. These periods allow the whole kiln to even out in temperature, burn out excess carbon deposits before the clay body seals, as well as encourage the greatest build-up of ash on the wares. All subsequent actions in the firing process are reliant on the success of ear­ lier stages. For example: when side stok­ ing, the embers may be allowed to build up to about one-third of the internal height of the kiln. The amount of em­ Hexagonal lidded jar, approximately 8 inches in height, ber is controlled by the amount of wood slab built, with thrown lid gallery and foot, loaded at the front used. If, through lack of care, too much of the first stack, $500, by Bruce Martin. ember builds up, then the gases cannot pass, and difficulties start to compound. To allow the embers to burn down, it is necessary to do two front stokes, with­ out side stoking, and repeat, if neces­ sary, until control is regained. The endless challenge, fascination and variety of effects of anagama firing cannot readily be described. It is only by close observation that the various colors, textures and flame markings can be appreciated. Few, if any, of the ef­ fects can be reproduced by any other method. With an anagama, the potter/ firer takes a lesser role, letting go of control over the end result. The wood Based on a traditional Japanese design, fire paints the pots with ash, flame and the Martins' 500-cubic-foot anagama has four intense heat, resulting in a wonderful stacking levels rising on a slope of about 30° palette of color, natural and subtle. A from the firemouth.

April 1995 35 Summer Workshops 1995

Various types of workshops are offered each summer. Most are hands-on experiences; however, sessions of one-half to two days may be demonstration only—a few are strictly lectures or discussions. Skill levels are usually ranked beginning, intermediate, advanced and/or professional. While nearly all workshops are good experiences, the quality of presentation varies widely. If possible, ask others who have attended previous sessions for their feedback, then contact the organizers for specifics.

Alaska, Homer June 9—11 Hands-on throwing workshop with Clary Illian. Contact Annette Bellamy, Post Office Box 6426, Halibut Cove, Alaska 99603; or telephone (907) 296-2226. Arizona, Flagstaff July 17-August 9 “Firing of the Tozan Noborigama” with Don Bendel. Intermediate and advanced. Fee: $408, includes glazes and firing. Contact Don Bendel, Northern Arizona University, Box 6020, Flagstaff 86011; or telephone Bendel (602) 523-2399 or Paula Rice 523-1028. Arizona, Mesa June 5-July 28 “Contemporary Pottery Decoration” with Jeff Reich; “Clay Constructions” with Tim Hernandez (evenings). Fee: $58, includes glazes and firing. All skill levels. Contact Jeff Reich, Mesa Arts Center, 155 North Center, Mesa 85211-1466; or tele­ phone (602) 644-2242. California, Concow June 12—22 “Wood-fire Workshop” with Nolan Babin, mak­ ing work and firing a 200-cubic-foot kiln; or par­ ticipants can bring own work (7 days). Fee: $350/ full session; $250/partial; includes materials, firing and lodging. Contact Nolan Babin, 13191 Mullen Way, Oroville (Co-ncow), California 95965; or Kees Hoogendam coil building a large pot at a workshop telephone (916) 534-9137. in Oosterwolde, Netherlands. California, El Cajon June 19—July 14 “Individualized Advanced Workshop in Ceram­ gust 7-12). Instructor: Kaye Like. All skill levels. California, Idyllwild July 9—August 18 ics” with Les Lawrence, includes specialized pro­ Fee: $280, includes materials, firing, camping fa­ “General Ceramics” with Greg Kennedy, Ingrid cesses, such as overglaze decal making. Participants cilities and evening meals. (Storytelling workshop Lilligren, Brian Ransom and Vincent Suez (July 9— must have beginning college-level ceramics. Con­ fee does not include firing.) Contact Kaye Like, 15, 16-22 and/or August 6-18); fee: $415 per tact Les Lawrence, Grossmont College, 8800 Brandybuck Ranch, Box 266, Point Arena, Cali­ week, includes materials and firing. Contact Sum­ Grossmont College Drive, El Cajon 92020; or fornia 95468; or telephone (707) 882-2269. mer Registrar, ISOMATA, P. O. Box 38, Idyllwild telephone (619) 465-1700, extension 250 or 251. 92549; or telephone (909) 659-2171, ext. 365. California, Hesperia June 24-25 California, Gualala July 17-August 12 “Earth and Ceramic Architecture” with Nader California, Irvine July1 “Altered Burnished Forms,” throwing, handbuild- Khalili, designing, constructing, glazing and firing Vessel construction, using thrown, handbuilt and ing, carving, incising, slip burnishing and pit firing houses, domes, vaults, apses (scale model and life extruded pieces, with Patrick Crabb. Contact Irvine (July 17-22). “Mud-Masks-Metaphor,” handbuild- size) built from adobe, bricks, extruded ceramics Fine Arts Center, Heritage Park, 14321 Yale Ave­ ing and casting masks, pit firing and/or painting and Superadobe/sandbags (earth coils). All skill nue, Irvine 92714; or telephone (714) 724-6880. with an emphasis on primitive methods, using levels. Fee: $275, includes materials. Contact Iliona found natural objects as adornment (July 31- Outram, Cal-Earth/Geltaftan Foundation, 10376 California, Mendocino June 5—September 1 August 5). “Storytelling in Clay,” sculpting figures Shangri-La Avenue, Hesperia 92345; or telephone “The Tea Pot” with Coille Hooven; “Form and ana forms to depict aspects of personal myth (Au­ (619) 244-0614 or (619) 956-7533. Imagery with Colored Clay” with Vince Pitelka

36 CERAMICS MONTHLY (June 5-9). “Surface Techniques” with Sana Krusoe Kelly Place, 14663 County Road G, Cortez 81321; Doug Casebeer, Anderson Ranch Arts Center, Post (June 12-16). “Thrown and Altered: Sculptural or telephone (800) 745-4885. Office Box 5598, Snowmass Village 81615; or Clay Forms” with Ingrid Lilligren; “Building with telephone (800) 525-2722 or (303) 923-3181. Clay” with Stan Welsh (June 19-23). “Kids, Clay Colorado, Penrose and Florence June 11—18 and Company” with Kim Rothman; “Sculpting in “Earth, Water, Wind and Fire” with Vern Roberts, Colorado, Steamboat Springs July 10—August 28 Clay” with Glenn Husted (June 26-30). “Building focusing on the materials, as well as the forming, Two-week sessions on throwing, slip casting and Musical Instruments” with Brian Ransom (July 3— decorating and firing methods, used by ancient glazing with Jonathan Kaplan (July 10-24 or Au­ 7). “Making Ceramic Drums” with Brian Ransom Native American potters. Beginning and interme­ gust 14-28). All skill levels. Fee: $250, includes (July 10-14). “Clay on the Wall” with Kent diate. Fee: $200, includes most materials. Contact materials and firing. Contact Jonathan Kaplan, Rothman; “Place Settings and the Banquet” with Marsha Harrington Roberts, Coyote Arroyo Stu­ Ceramic Design Group, Post Office Box 775112, Brook Le Van (July 17-21). “An Artifact Ap­ dios, 1753 13th Street, Penrose 81240; or tele­ Steamboat Springs 80477. proach; with Raku, Low-salt and Sawdust Firings” phone (719) 372-6846. with Patrick Crabb; “Mold Making and Slip Cast­ Colorado, Telluride August 7-11 ing for the Artist” with Tony Marsh (July 24-28). Colorado, Snowmass Village/une 5—September 15 Clay digging, sculpting and kilnbuilding with David “Outdoor Mosaic Sculpture” with Gina Lawson “Figure Sculpture” with William Daley (June 5— Wright. Contact the Ah Haa School for the Arts, (July 31-August 4). “Friends of the Fire” with 16); fee: $535. “Color and Form” with Nancy Post Office Box 1590, Telluride 81435; or tele­ Doug Browe (July 31-August 5). “Developing Selvin (June 5-16); fee: $510. “English Slipware” phone (303) 728-3886. Glazes with Locally Found Materials” with George with Irma Starr (June 19-23); fee: $380. “Deco- Colorado, Vail July 27—30 Dymesich; “Masks from Clay” with Nansee New (August 7-11). “Clay and the Ocean” with Stephen “Summervail Workshop 25th Reunion,” lectures, DeStaebler (August 14-18). “The Literate Potter” discussions, slide presentations with Amanda Bar­ with Sasha Makovkin (August 21-September 1). row, Mary Douglas, Ray Esparsen, Steve Jordan, Contact Kent Rothman, Mendocino Art Center, Therese Lahaie, John Ploof, Jerry Saltz. Fee: $50. Post Office Box 765, Mendocino 95460; or tele­ For further information, contact Randy Milhoan, phone (707) 937-5818. Summervail 25, P. O. Box 1114, Vail 81658; telephone (303) 827-5615. California, Ojai August1—31 Connecticut, Avon July 15-August 12 Potteryworkshop with Lola Rae. Beginning and intermediate. For further information, contact Lola “Pouring Potpourri” with Lisa Stinson, transform­ Rae or Constance Walsh, Ojai Foundation, Post ing a cylinder into a pouring vessel; making lids, Office Box 1620, Ojai 93024; or telephone (805) handles and spouts (July 15); fee: $55, includes 646-8343. materials and firing. Beginning and intermediate. Participants screen freshly dug clay “Surface Decoration and Glazing—Advanced Tech- California, San Luis Obispo July10—15 for use in a handbuilt pottery niques” with Betsy Tanzer, instruction on wax and “Handbuilding Workshop” with William Shinn, workshop with Lia Lynn Rosen latex resist, sgraffito, brushed slip and stain designs, etc; students should bring several pieces of bisqued surface techniques, mold and tool making, repair­ in Albuquerque, New Mexico. ing, photographing, and packaging/shipping of ware (August 11-12); fee: $100, includes materials ceramics. All skill levels. Fee: $575, includes mate­ and firing. Intermediate and advanced. Contact rated Pottery” with Robert Brady and guest artist rials, lodging and meals. Contact Bill Todd, 645 Betty Friedman, Executive Director, Farmington Sandy Simon (June 19-30); fee: $580. “Out of Caudill Street, San Luis Obispo 93401; or tele­ Valley Arts Center, 25 Arts Center Lane, Avon T radition: A New Direction” with Randy Johnston phone (805) 543-7487. 06001; or telephone (203) 678-1867. and Jan McKeachie (June 26-July 7); fee: $580. California, Santa Ana June 10 “When in the Mountains” with Stephen DeStaebler Connecticut, Guilford June 23—August 20 Throwing and handbuilding techniques with Steve (July 3-14); fee: $550. “Surface Texture, Color, “Family Values: A Table Setting for the Ideal Horn. Fee: $25. For further information, contact and Pattern: Low-fire Decoration” with Karen Family” with Matt Nolen, focusing on the vessel as Patrick Crabb, Rancho Santiago College, 17th and Koblitz (July 10-21); fee: $530. “Low-fire Vessels” sculptural form (June 23-25); fee: $ 138; members, Bristol streets, Santa Ana 92706-3398; or tele­ with Judith Salomon and guest artist Norma $ 125. “Handbuilding Utilitarian Ware” with Holly phone (714) 564-5613. Harrack (July 17-28); fee: $530. “Ten Days with Walker (August 19-20); fee: $95; members, $85. Mason” with John Mason (July 24-August 4); fee: All skill levels. Contact Fernn Hubbard, Guilford California, Walnut Creek June 3-August 19 $550. “From High to Low” with Ron Nagle and Handcrafts, Post Office Box 589, Guilford 06437; “Warrior with a Poet’s Heart” with Valentin Lopez. Richard Shaw Quly 31-August 11); fee: $660. or telephone (203) 453-5947. “Saggar Firing and Pit Firing at Ocean Beach, San “The Power of Objects” with Mary Engel and Francisco” with Leslie Jensen. “Sodium Vapor Andy Nasisse (August 7-18); fee: $580. “Salt- Connecticut, Middletown August 21—25 Firing” with Peter Coussoulis. “Architectural Ce­ glazed Stoneware Pots” with Michael Simon (Au­ Hands-on workshop with Walter Ostrom, concen­ ramic Techniques” with Katherine Keefer. “Facial gust 14-25); fee: $530. “Low-fire Salt” with Paul trating on majolica and slip decoration. Intermedi­ Landscapes” with Anita Synovec. “Low-fire Tech­ Soldner and guest artist Peter Voulkos (August 21- ate and advanced. Fee: $275. For further informa­ niques” with Ericka Clark-Shaw. “Raku Crazies” 25); fee: $520. “Making Pots” with Doug Casebeer tion, contact Melissa Schilke, Wesleyan Potters, with Larry Henderson. Session lengths and skill (August 28-September 15); fee: $685. Skill re­ 350 South Main Street, Middletown 06457; or requirements vary. Fee: $40—$ 115. Contact Wal­ quirements vary. For further information, contact telephone (203) 347-5925. nut Creek Arts Education, P. O. Box 8039, Wal­ nut Creek 94596; or telephone (510) 943-5846. Over 5 cords of cedar—split from trunks measuring 25 feet in length and some California, Wilseyville June 2—July 23 over 4 feet in diameter—are used to fire the 200-cubic-foot kiln during Nolan “Pit Firing” with Carol Molly Prier (June 2-4); fee: Babin’s workshop in Concow, California. $150, includes camping and 6 meals. “Raku Fir­ ing” with Bob Charles (July 21-23); fee: $125, includes camping and 6 meals. Beginning through advanced. Contact Earth Nest Ranch, Blue Moun­ tain Road, Wilseyville 95257; or telephone Janis Cabrol-Easton (209) 293-4924. Colorado, Carbondale August 7-18 “Brush-decorated, Majolica-glazed, Terra-cotta Pottery Workshop” with Diane Kenney. Instruc­ tion in English and Spanish. Beginning through advanced. Fee: $500, includes materials and firing. Lodging and meals: $30 per day. Contact Adele Hause, Colorado Rocky Mountain School, 1493 106 Road, Carbondale 81623; or telephone (303) 963-2562. Colorado, Cortez June 25—July 1 “Eleventh Annual Sand Canyon Primitive Pottery Workshop,” covers all aspects of prehistoric pot­ tery production in the Mesa Verde region. Instruc­ tion in English and Spanish. All skill levels. Fee: $750, includes materials, firing, lodging and meals. For further information, contact Kristie Carriker,

April 1995 37 Contact Meg McClorey, Fire and Clay, 2535 Pumphouse Road, Somerset 42501; or telephone (606) 679-7897. Maine, Deer Isle June 4—September 1 “Session 1 ” with Mary Law, altering thrown forms (June 4—16). “Session 2” with Akio Takamori, transforming two-dimensional drawings into three- dimensional vessel forms (June 18—30). “Session 3” with Robert Turner, throwing, handbuilding, making and combining simple shapes; collabora­ tive projects will be stressed (July 2-14). “Session 4” with Bill Brouillard, redefining the utilitarian vessel (July 16-August 4). “Session 5” with Chris Staley, throwing, faceting, high-fire-sodaandhigh- fire-reduction functional forms (August 6—18). “Session 6” with Paula Winokur, designing site- specific pieces, focusing on handbuilding (August 20-September 1). Fee: $460/2 weeks; $605/3 weeks; includes firing. Contact Stuart Kestenbaum, Director, Haystack Mountain School of Crafts, Post Office Box 518, Dow Road, Deer Isle 04627; or telephone (207) 348-2306.

Maine, Edgecomb June 18—August 18 “Residency Session 1” with guest artists Bill Farrell and Berit Solas (June 18—30). “Residency Session 2” with sculptors Karen Gilg and Joan Uraneck, bookmaker Rebecca Goodale, printmaker Susan Groce, and painters Wendy Kindred and Jan Provenzano (July 2-21). “Residency Session 3” (July 23-August 4). “Residency Session 4” with guest artist Terry Siebert (August 6-18). Interme­ diate through professional. Contact Holly Walker, Watershed Center for the Ceramic Arts, RR 1, Box 845, Cochran Road, Edgecomb 04556; or tele­ phone (207) 882-6075. Maine, Hampden May 24-June 7 “Wood-fired Ceramics,” handbuilding, throwing, glazing and firing with Dan Anderson, Linda Chris­ tianson, John Rohlfing and Brad Wiseman. All skill levels. Fee: $375, includes lab fee, materials and firing. Contact John Rohlfing, Hartford Art School, University of Hartford, 200 Bloomfield Avenue, West Hartford, Connecticut 06117; tele­ phone (203) 768-4393 or (203) 693-6412. Maryland, Frederick May 22—June 29 “Advanced Ceramics” with Joyce Michaud Nice (Mondays and Wednesdays). Intermediate and advanced. Contact Joyce Michaud Nice, Hood Stoking the wood-fired kiln during a workshop with Jed Dowlin College, 401 Rosemont Avenue, Frederick 21701; at Miami University in Oxford, Ohio. or telephone (301) 696-3460. Massachusetts, Boston June 12—September 16 Florida, Sopchoppy June5—27 tact Chris Plummer, Evanston Art Center, 2603 Weekly sessions in handbuilding, throwing, glaz­ Individualizing functional stoneware, single-fire Sheridan Road, Evanston 60201; or telephone ing, raku, soda vapor, reduction, electric and saw­ oxidation, fast wood firing and business as an art (708) 475-5300. dust firing. Instructors: Warren Mather, Shawn form with George Griffin (June 5-9, 12-16, 19- Indiana, Indianapolis June 26-30 Panepinto and Makoto Yabe. All skill levels. Con­ 23 or 26-27). Beginning and intermediate. Lim­ tact Shawn Panepinto, Radcliffe College Ceramics ited to 4 participants; workshop may lead to ap­ “Drawing and Painting on Clay” with David Studio, 219 Western Avenue, Boston 02134; or prenticeship. Fee: $330, includes materials, firing Gamble, handbuilding and glazing with low-fire telephone (617) 495-8680. and lodging. Contact George Griffin Pottery, One decorating products. Beginning through advanced. Suncat Ridge Road, Sopchoppy 32358; or tele­ Fee: $368, includes materials and firing. For fur­ Massachusetts, Gloucester Summer phone (904) 962-9311. ther information, contact Karen Neely, University Weekend workshops on African handbuilding and of Indianapolis, 1400 East Hanna Avenue, India­ firing techniques with Hazel Mae Rotimi. Fee: Georgia, Atlanta July 16 napolis 46227; telephone (800) 232-8634, exten­ $10-$25. Contact Hazel Mae Rotimi, Minor “Raku” with Rick Berman. All skill levels. Fee: $40, sion 3395, or (317) 788-3395. Or contact Ameri­ Miracles Pottery in the Park, 52 Cleveland Street, includes materials and firing. For further informa­ can Art Clay Company, Inc., 4717 West 16th Apartment 4, Gloucester 01930-2764; or tele­ tion, contact Glen Dair, Callanwolde Art Center, Street, Indianapolis 46222; telephone (800) 374- phone (508) 281-6578. 980 Briarcliff Road, Atlanta 30306; or telephone 1600 or (317) 244-6871. (404) 874-9351. Massachusetts, Housatonic June 1—August 31 Iowa, Fairfield June 12-23 One-month workshops on Japanese throwing and Hawaii, Honolulu June2—4 “Exploration of Surface and Form, Low-tempera- trimming techniques, with emphasis on produc­ “Raku Ho’olaule’a” with guest artist Paul Soldner, ture Ceramics” with Jim Shrosbree (June 12-16). tion; each session includes firing a wood-burning raku firing on the beach. (Wet-clay demonstration “Ceramic Tile” with Betsy Henry and Jim Shrosbree kiln. All skill levels. Contact the Great Barrington will be held on May 30 and reception/lecture on (June 19-23). Fee: $160. Contact Maharishi Inter­ Pottery, Route 41, Housatonic 01236; or tele­ May 31). All skill levels. For further information, national University, Office of Continuing Educa­ phone (413) 274-6259. contact Megan Bridget Westermeyer, Raku tion, DB 1142,1000 North Fourth Street, Fairfield Ho’olaule’a, 889 Akumu Street, Kailua, Hawaii 52557-1142; or telephone (515) 472-1135, fax Massachusetts, Truro July 3—September 1 96734; or telephone (808) 263-6228. (515) 472-1137. “Wheel and Handbuilding” (July 3-14); fee: $245. “Nails, Paper, Underglazes and Smoke” with Jerry Illinois, Evanston July15—16 Kentucky, Somerset June 10—18 Caplan (July 17-21); fee: $215. “Throwing” with “Fire ’95” with faculty and guest artists, exploring “Kentucky Raku Weekends” with Meg McClorey, Diane Heart (July 24-28); fee: $205. “Forming traditional and alternative firing techniques, such handbuilding, throwing (June 10-11), glazing and Strategies” with Harvey Sadow (July 31-August as saggar, soda, raku, pit and paper kilns. All skill raku firing (June 17-18). Beginning and interme­ 4); fee: $215. “Raku” with Philip Homes (August levels. Fee: $95, includes materials and firing. Con­ diate. Fee: $140, includes materials and firing. 14-18); fee: $210. “Compound Forms” with

38 CERAMICS MONTHLY Mikhail Zakin (August 21-25); fee: $205, includes materials. “Glazes/Surfaces” (August 28-Septem- ber 1); fee: $175. “Clay Jewelry” with Mary Stackhouse (August 28-September 1); fee: $160. Skill requirements vary. Fees include materials and firing, unless noted above. For further informa­ tion, contact Mary Stackhouse, Director, Truro Center for the Arts at Castle Hill, Box 756, Truro 02666; or telephone (508) 349-7511. Massachusetts, Williamsburg June 17-August 13 “Cast, Molded and Slipped! Ceramic Design” with Marek Cecula; “An ‘A to Z’ of Glazing/Decorating Techniques and the Basics of Glaze Chemistry” with Sandy Farrell (June 17-19); fee: $225. “Ho­ rizons High School Program,” ceramics is one of eight courses offered (June 25-July 15 and/or July 17-August 5); fee: $1765 per 3-week session; $3325 for full 6 weeks, includes materials, lodging and meals. “Tableware/Function and Decoration” with Anita Griffith and Bob Parrott (August 10-13); fee: $255. For further information, contact Jane Sinauer, Horizons, 108 North Main Street, Sunderland, Massachusetts 01375; or telephone Montana potter David Shaner demonstrates slab construction for workshop (413) 665-0300. participants at the Santa Fe (New Mexico) Clay Company. Michigan, Saugatuck July 2—15 “Raku” with Robert McClurg (July 2-8 or 9-15). Beginning and intermediate. Fee: $588, includes Contact Sara Nees Holcomb, The Great Montana 5-12); fee: $385. “Pottery Form, Surface and Util­ firing, lodging and meals. Contact Sue Hammond, Clay Getaway, 360 South Broadway Park, Lexing­ ity” with Linda Christianson (August 19-27); fee: School of the Art Institute of Chicago, 37 South ton, Kentucky 40504; telephone (606) 254-8433. $395. Fees include lab and firing. Skill require­ ments vary. Contact Peters Valley Craft Center, 19 Wabash, Chicago, Illinois 60603; or telephone Montana, Whitehall June 21-30 (312) 899-5130. Kuhn Road, Layton 07851; or telephone (201) “Indigenous Ceramics” with Michael Peed, find­ 948-5200, fax (201) 948-0011. Montana, Billings June 21-July 30 ing natural clay deposits, processing clay, firing in New Jersey, Loveladies June 26—September 1 “Ceramics Workshop” with Marcia Selsor, includes bonfires, digging chambers into clay banks to pro­ mining raw materials, clay and glaze mixing, and duce kilns. Intermediate through professional. “Clayas Sculpture” with Mark Davies (June 26- various modeling and firing techniques (Monday- Contact Michael Peed, Professor, School of Art, July 7, weekly, or August 28-September 1). “Glazes” Montana State University, 213 Haynes Hall, with Carolyn Ingraham (July 10—14). “Thrown, Bozeman, Montana 59717; or telephone (406) Built and Altered Forms” with David Wright Quly 994-4501 or 994-4283. For fee information, con­ 17-21 or 24-28). “Raku/Low-fire Techniques” tact the MSU Business Office (406) 994-2701. with Bruce Lenore (July 31-August 4). “Hand- built Forms” with Elyse Saperstein (August 7—11). Nevada, Tuscarora June 17-August 11 “Figuring Vessels” with Lisa Horning (August 14— Throwing, handbuilding, raw glazing and oil firing 18 or 21-25). Sessions run from 9:30 A.M. to with Dennis Parks and Ben Parks (June 17-30, noon. Skill requirements vary. Fee: $80. Contact July 1-14, 15-28 and/or 29—August 11). All skill Meg Mathews, Long Beach Island Foundation of levels. Fee: $790/2 weeks, $1420/4 weeks or $2120/ the Arts and Sciences, 120 Long Beach Boulevard, 6 weeks; includes materials, firing, lodging and Loveladies 08008; or telephone (609) 494-1241. meals. Contact Dennis Parks, Tuscarora Pottery School, Post Office Box 7, Tuscarora 89834; or New Mexico, Abiquiu June 14-18 telephone (702) 756-6598. Handbuilding, sculptural techniques and glazing with Eddie Dominguez. All skill levels. Fee: $110; New Jersey, Belvidere July1—16 members, $95. Contact Penne Roberts, New Mexi­ Lectures, videos and demonstrations with Peter co Potters Association, 4530 Bermuda, Northeast, Voulkos and guest artists Jun Kaneko and Paul Albuquerque, New Mexico 87111; or telephone Soldner (July 1-2); Toshiko Takaezu (Ju.ly 8-9); (505) 293-3107. and Don Reitz (July 15-16). All skill levels. Fee (for first session): $ 175/one day, $300/two days. New Mexico, Albuquerque July 31—August 6 Fee (for second and third sessions): $ 125/one day, “When Clay Sings,” week-long workshops on tra­ Digging clay at “Earth, Water, Wind $200/two days. Limited registration. Contact the ditional pottery making with Lia Lynn Rosen. and Fire,” a Native American Peter Callas Studio, 1 Orchard Street, Belvidere Beginning through advanced. Fee: $325, includes pottery workshop with Vern Roberts 07823; or telephone/fax (908) 475-8907. materials and field trips. Registration deadline: June 1. For further information, contact Lia Lynn in Penrose, Colorado. New Jersey, Demarest June 13—August 8 Rosen, Yetzirah Pottery, 1703 Anderson Place, “Surfaces” with Sandi Pierantozzi (June 13-15). Southeast, Albuquerque 87108; or telephone (505) Thursday). Instruction in English, Spanish and “Raku Forming and Firing” with Mikhail Zakin 262-4801. Russian. Beginning through advanced. Fee: (June 26-August 8, Tuesdays or Wednesdays). $325.40, includes materials and firing. Contact “Becoming Independent” with Bea Bloom; “Hand­New Mexico, La Madera Summer Christine Twato, Summer Session, Montana State building and Wheel” with Mikhail Zakin; “Faux “Native American Pottery Making Experiences,” University-Billings, 1500 N. 30th St., Billings Fruits and Vegetables” with Ina Chapler (June 26- sessions on creating potteryusing traditional Jicarilla 59101; or telephone (406) 657-2203. August 8, weekdays). “Ceramic Jewelry/Colored Apache methods. Contact Native American Pot­ Clay” with Ina Chapler (2-day sessions June 26- tery, Post Office Box 682, La Madera 87539; or Montana, Missoula July 9—22 August 8). Skill requirements vary. Contact Karen telephone (505) 583-2345. Digging clay, throwing, handbuilding, glazing, Shalom/Penny Dell, School of Art/Old Church burfalo-dung firing and raku, plus photographing Cultural Center, 561 Piermont Road, Demarest New Mexico, Santa Fe June 10—August 13 your work, health hazards and repairing electric 07627; or telephone (201) 767-7160. “Large-scale Constructed Forms,” demonstration kilns. All skill levels. Fee: $325, includes glazes, with Don Reitz (June 10-11); fee: $75. “Beyond firing, one-day trip to Glacier National Park and New Jersey, Layton June 2—August 27 Function” with Anne Hirondelle (June 19-23); lodging. Contact Douglas Grimm, Resident Di­ “ 17th-Century Folk Pottery English Slipware Tech- fee: $315, includes materials and firing. “The Clay/ rector, Grimmstone Pottery, 2524 Sycamore, niques” with Irma Starr (June 2-4); fee: $215. Glaze Doctor” with James Robinson (June 27-29); Missoula 59802-3402; telephone (406) 543-7970. “Double-walled Raku Vessels” with George Timock fee: $175, includes materials. “Sculptural Vessels” (June 9-18); fee: $420. “Relief-tile Making from with Rudy Autio (July 5-9); fee: $325, includes Montana, Roscoe July 26—August 2 Plaster Molds” with Ben Culbertson (June 23—25); materials. “Porcelain Wheel Throwing Made Easy” “The Great Montana Clay Getaway,” drawing, fee: $200. “Functional Earthenware” with Ron with Heidi Loewen (July 10-14); fee: $280, in­ handbuilding fountains, silicone mold making, Meyers Quly 1-9); fee: $395. “Wood-fired Pots forcludes materials and firing. “Clay and Mixed Me­ raku and dung firing. Instructors: Steven R. Cram, Home Use” with Douglass Rankin and Will Ruggles dia” with Gretchen Ewert, handbuilding with a Nancy Jefferson, Paula J. Nees. All skill levels. Fee: (July 15-23); fee: $395. “Throwing, Altering, Wood variety of surface treatments (July 17—21); fee: $680, includes materials, firing, field trip, meals. Firing, Sand Blasting” with Dan Anderson (August $280, includes materials and firing. “Coil Building

April 1995 39 Large Figurative Sculptures” with Adrian Arleo 610 Lexington Avenue, New York 10022; or tele­ (July 31-August 4); fee: $315, includes materials phone (212) 735-9731 or 735-9732. and firing. “Earthenware: A Dialogue of Form and Surface,” demonstration and discussion of low-fire June 8-July 22 techniques with Andrea Gill (August 12-13); fee: “Making and Using Clay Vessels” with Frank $75. Skill requirements vary. For further informa­ Martin and Polly Ann Martin (June 8-9). “Throw­ tion, contact Avra Leodas, Santa Fe Clay Com­ ing and Altering” with Josh DeWeese (June 15— pany, 1615 Paseo de Peralta, Santa Fe 87501; or 16). “Burnishing and Pit Firing” with Nancee telephone (505) 984-1122. Meeker (June 29-30 and July 22). “Wheel Throw­ ing” with Alec Karros (July 13-14). All skill levels. New York, Brookville July 17—21 Fee: $125-$ 170, includes materials. For further “Color Visuals in Clay” with Wendy Foster, ex­ information, contact Jeff Cox or Kathy King, 92nd ploring the creation and use of colored clay in free­ Street Y, 1395 Lexington Avenue, New York 10128; form vessels, bas-relief, tile work, mold forms and or telephone (212) 415-5565. beads. Intermediate and advanced. Fee: $1201, includes materials and firing. Contact Wendy Fos­ July 5-31 ter or Frank Olt, C. W. Post College-L. I. U., “Handbuilding” with Steve Welch; “Throwing” Brookville 11548; or telephone (516) 299-2203 or with Malcolm Davis (July 5-9). “Handbuilding” 299-2059. with Arnold Zimmerman; “Throwing” with Bobby Silverman Quly 12—16). “Throwing” with Steve New York, Chautauqua June 26—August 18 Hill (July 27-31). Skill requirements vary. Fee: Eight-week residential with Frank Martin and Polly $315, includes materials, registration. Contact Vic­ Zalabak-Martin. Fee: $2610, includes lodging and toria Thorson, Greenwich House Pottery, 16 Jones meals. Contact Richard R. Redington, Chautauqua St., New York 10014; telephone (212) 242-4106. Summer School of Art, Post Office Box 1098, Department CM, Chautauqua 14722; or telephone Yorgen Chancellor stokes the New York, Oneonta July 2—22 (716) 357-6233. “Screwygama” with salty driftwood “Studio Arts Workshop” with Milly D’Angelo; during an experimental kilnbuilding open to high-school students only. Ceramics is one New York, Clayton July 10—August 16 of five courses offered. Beginning and intermedi­ “Large-scale Clay Sculpture” with Kevin Mulcahy workshop with Paul Soldner at the ate. Fee: $975, includes materials, firing, lodging (July 10-14 and/or 17-21); fee: $115 (members, Mendocino (California) Arts Center. and meals. Studio fees vary. Contact Rhonda Wing, $100), includes firing. “Morning Pottery” with Hartwick College, Office of Special Programs, Mark Lyons (July 24-28 and/or 31-August 4); fee: Oryan Hill, Oneonta 13820; or telephone (607) $150/1 week (members, $89.25), $185/2 weeks New York, New York June 5—August 1 431-4415. (members, $157.25), includes some materials and “Wheel Throwing and Handbuilding” with Vir­ firing. “Raku Pottery Workshop” with Inyo Bayer ginia Piazza (June 5—July 31, mornings, or June 6— New York, Otego July 31—August 22 (August 7-11); fee: $225 (members, $197.25), August 1, evenings). “Basic Throwing” with Jerry Handbuilding, throwing, sculpture, working from includes materials and firing. “Ceramic Glaze Ap­ Marshall (June 5-July 31, afternoons). “Throw­ a model, drawing in clay, bas relief or modeling in plication” with Richard Zakin (August 14-16); ing” with Jerry Marshall (June 5-July 31, eve­ clay, plus independent projects (July 31-August fee: $135 (members, $114.75), includes some ma­ nings) . “Mosaics and Tiles” with Liz Surbeck Biddle13); fee: $625, includes materials, firing and lunch. terials and firing. Contact Lisa LaRue, Director, or (June 6—27, Tuesday evenings); fee: $95 (mem­ “Raku” (August 14-15, making pottery, and 21- Charlotte Nitschke, Registrar, Thousand Islands bers, $75), includes materials. “Handbuilding and 22, firing); fee: $125,includes materials and firing Craft School and Textile Museum, 314 John Street, Sculpture” with Vera Lightstone (June 6-August 1 for 8 pots; additional pieces, $5 each. Instructor: Clayton 13624; or telephone (315) 686-4123. or June 8-July 27, mornings). “Throwing” with Elizabeth Nields. All skill levels. Contact Elizabeth Arthur Gerace (June 7-July 26, evenings). “Wheel Nields Workshop, RD 1, Box 300, Otego 13825; New York, Middlesex Summer Throwing and Handbuilding” with Arthur Gerace or telephone (607) 783-2476. Apprenticeship program in a production pottery. (June 7-July 26, mornings). “Wheel Throwing Beginning and intermediate. Contact Rochester and Handbuilding” with Alan Davidson (June 8— New York, Rhinecliff June 9—August 6 Folk Art Guild, 1445 Upper Hill Road, Middlesex July 27, evenings). Fee (unless noted above): $145, “Don’t Let the Smoke Get in Your Eyes,” three 14507; telephone (716) 554-3539 or 554-5463. includes materials. Contact Karen Hendrickson or low-fire workshops with Bob Green and Nancee Kathleen Hahn, YWCA-Craft Students League, Meeker: “Raku and Pit Firing” (June 9-11); “Raku and Saggar Firing” (July 7-9); or “Raku and Paper Firing” (August 4-6). All sessions include indi­ vidual throwing instruction and glaze mixing. In­ struction in English, Spanish and some French. Beginning through advanced. Fee/session: $250, includes materials and firing. For further informa­ tion, contact Nancee Meeker, 169 Kelly Street at Russell Avenue, Rhinecliff 12574; or telephone (914) 876-3119. Or contact Bob Green, 5A South Street, Bristol, Vermont 05443; telephone (802) 453-2570. New York, Saratoga Springs May 29—August 4 Two sessions on handbuilding, throwing, glazing, slip casting, kiln design, saggar firing, raku and pit firing. All skill levels. Instructors: Regis Brodie, Joyce A. Caputo, Cookie Coyne, Leslie Ferst and Jill Kovachick. Fee: $130+, includes some materi­ als and firing. Contact Marianne Needham, Ad­ ministrative Coordinator, Skidmore College, Saratoga Springs 12866; or telephone (518) 584- 5000, extension 2372. New York, Southampton July 10-28 “The Potter’s Wheel” with Phyllis Kudder-Sullivan (July 10-21). “Primitive Pottery-Raku” with Evan Rosenthal (July 24-28). Beginning through ad­ vanced. Contact Phyllis Kudder-Sullivan, South­ ampton College-Long Island University, South­ ampton 11968; or telephone (516) 283-4000, extension 427. New York, West Nyack June 25-July 18 “Raku-firing Workshop”; participants should bring bisqued ware (June 25); fee: $65, includes glazes and firing. Intermediate and advanced. “Raku— A student tries her hand at majolica decoration during a workshop with WalterStart to Finish” (June 27, July 11 and 18); fee: Ostrom at Anderson Ranch Arts Center, Snowmass Village, Colorado. Please turn to page 86

40 CERAMICS MONTHLY I am often asked why there isn’t hardbrick, softbrick, even fiber kilns, any written information on how to but the burner ports must enter hori­ do low-fire-salt fuming. Despite the zontally. Kilns with bottom burners fact that it has been practiced for cannot be used because salt cannot more than 20 years, I don’t know of be volatilized anywhere in the kiln any books or articles giving specific except in the burner flame itself. directions. The following are con­ A salting port should be located cepts and methods I have learned directly above each burner so that mostly through trial and error. salt can be dropped into the flame. In the beginning, it should be Because it is important that salt fall expected that there will be even more into the flame, each burner port accidental effects from low-fire salt­ should be no higher than the kiln ing than ever found in raku. Per­ floor. If it is higher, build a salting haps this is the reason that so little platform level with each burner. The information is available. Neverthe­ kiln also needs a peephole near the less, with experience accumulated bottom of the door so that the qual­ from each firing, potters can dis­ ity of the atmosphere can be in­ cover what works best in their own spected during the firing. Finally, kilns. And, yes, soda can also be there must be a primary-air control fumed in the same way as salt. on each burner. The Clay Body Stacking Almost any clay can be used in Effects of low-fire salting can be low-fire-salt fuming, but if orange- compared to high-temperature wood flashing effects are desired, then the firings. Variation is enhanced by the body should include some iron ox­ flame moving through the ware; ide. If slips, terra sigillata or stains there is also a flame-resist effect when are to be applied to the surface, the Low-fire-salt vase, 18 inches in height, work is tightly stacked and touch­ thrown and altered, with slips and clay body can be any stoneware, por­ fumed copper. ing. In some ways, flame movement celain or a raku blend. is similar to the beautiful patterns My favorite low-fire-salt body is produced by a river flowing under, a mixture of equal parts plastic over and through rocks. In this case, fireclay, Kentucky ball clay (OM 4), the flame is the river and the pots red clay and sand (20 to 60 mesh). are the rocks. Note that there is an absence of flux; Low-Fire-Salt Specific patterns can be achieved however, salt vapor fluxes the body, by masking surfaces with thin (ap­ making it harder than regular bisque- proximately ½-inch-thick) pancakes ware even at Cone 010. Fuming of clay. Several layers of pages from by Paul Soldner glossy magazines or even thin slices The Kiln of wood if placed under a clay pan­ Either an updraft or downdraft cake will produce dark gray patterns. fuel-burning kiln can be used. Ex­ Keep in mind that the shapes of the cellent results can be obtained with masking objects that touch the sur-

April 1995 41 Low-fire-soda, thrown-and-altered form, 27½ inches in height.

faces will have an effect on the patterns it will necessarily be completely full. white slip containing 1 part Gerstley they leave. Shelves are not only unnecessary, but borate, 2 parts flint and 3 parts kaolin Other patterns can be achieved by actually nonproductive, as glazes are will often flash a beautiful pink from embedding rock salt into the clay pan­ not used and the temperature is so low. copper added to the salt or fumed off cake. A few large grains of salt will other copper-decorated ware. The same leave a beauty spot! Metal oxides or Surface Preparation slip with 3%-5% copper carbonate organic materials like seaweed can also If there is a small amount of iron in added will be even more reactive. be used. the clay body, spectacular oranges, yel­ Colors (from copper in particular) The kiln, properly stacked for low- lows and brown flashing can be ex­ are often quite varied because of the fire-salt fuming, will look like a disaster pected. Raku slips will also have a complex stacking, which results in re- area to the uninformed observer. And positive reaction to the process. A raku duction-oxidation and neutral flames

42 CERAMICS MONTHLY Low-fire-salt vessel sculpture, 27 inches in height, thrown and slab built.

licking over the object simultaneously. stacking, surface preparation and body determined by observing the pressure Similar variation in flashing can be an­ composition are important, it is the at the bottom peephole. Above 1300°F, ticipated from the use of terra sigillatas; quality and the quantity of the flame visible flames should be exiting con­ however, the sigillata should be applied that make low-fire-salt fuming so dif­ stantly from the peephole. If this state very thinly and/or fired to a higher ferent from other firings. To begin, the cannot be maintained, increase the gas, temperature (possibly from Cone 06 primary air on each burner is reduced add extra burners or drill out the burner to Cone 01) to prevent cracking. Ap­ to make a long, dirty, soft yellow flame orifices until flames are obtained. plying the sigillata to damp bisqueware for the entire firing. Oxidation and re­ Of course, this is a reducing atmo­ also seems to help. Remember, less duction cycles of glaze firings are of sphere, except that it is achieved with planned decoration is better, and none little significance in the low-fire salting; the dampers opened and the kiln draw­ is often good enough. however, to pull the flame through the ing. Curiously, cones will change their ware, dampers need to be open melting point and are therefore not an Firing throughout the entire firing. exact indication of the actual tempera­ The firing cycle is approximately the Of utmost importance is the need ture, but are close enough to warrant same length as a bisque firing. Although to fire the kiln with excess fuel. This is their use.

April 1995 43 Thrown-and-altered form with slips, 6 inches in height, salt glazed in the firebox, by Paul Soldner, Aspen, Colorado.

Salting oxides may be used to modify the fum­ kiln can be shut off and cooled in the Before loading the kiln, place salt in ing effects, but none as dramatically. usual manner; no other treatment is the flame path of each burner. A mound Oversalting may dull the surface needed or helpful. A good rule is to the size of a large orange is a good color, so be conservative. Salting at the cool the kiln in the same amount of amount to start with. end of the firing is optional. Personal time it took to fire it. When the kiln turns dull red, at experience will determine its impor­ about 1000°F, add more salt to each tance or not. Also, experiment with Postfiring burner. For convenience, the salt can closing the dampers during the salting In order to protect the somewhat be wrapped in newspaper to form a salt cycle, but only for a few minutes. soft surfaces, apply one or two coats of “burrito,” then pushed through the salt­ Work decorated with slips can be acrylic floor wax (such as Futura) di­ ing port into the flame. Additional salt­ fired from Cone 010 to Cone 06. Terra- luted about half and half with water to ing every hour should be enough to sigillata surfaces are better fired higher, both the inside and out. If the result is achieve the desired effects. from Cone 08 to Cone 3. Because there too shiny when dry, dilute the wax a A small amount of copper carbon­ is no glaze to melt, precise temperature little more. The coating will preserve ate added to the salt may be helpful in control is not a problem. the colors and allow the work to be encouraging a pink blush on the other­ After the cones have melted and the cleaned by washing with water from wise white slip surfaces. Many other last salt burrito has been added, the time to time. ▲

44 CERAMICS MONTHLY “Teapot Shell,” 12½ inches in length, salt-glazed stoneware, by David Wright, Morristown, New Jersey.

Built, Thrown and Touched

\A/orks by 30 contemporary ceram­ ists from across the country were fea­ tured in “Built, Thrown and Touched: Contemporary Clay Works,” an exhi­ bition organized by Robert Cugno and Robert Logan of Media Gallery in Garnett, Kansas, and toured by Ex- hibitsUSA. As noted in an accompa­ nying essay by Judith Schwartz, art pro­ fessor at New York University, “These works celebrate the notion that the hand of the artist mirrors the culture, and that the manipulation of materials re­ asserts the ability to continuously de­ fine and redefine the world and its ob­ jects for use and contemplation. “The teapot, for example, takes var­ ious forms, [representing] narrative, conceptual, surrealistic, minimalistic, geometric, and pattern and color-field approaches. Thus, [these artists] extend Salt-glazed lidded jar, wheel-thrown and the experience of the object and pro­ faceted stoneware, 13½ inches in diameter, vide a deeper, more contemporary un­ by Michael Simon, Watkinsville, Georgia. derstanding and set of associations.”

April 1995 45 “Turn,” 13% inches in diameter, handbuilt stoneware, by Mary Barringer, Shelburne Falls, Massachusetts.

“Night Beach I,” 23¾ inches in height, terra cotta with slips, by Susanne Stephenson, Ann Arbor, Michigan.

Some artists focused on form. “Their objects,” according to Schwartz, “are intense spiritual icons, inspired by the sensual shapes of nature—abstractions of geological, biological and galactic worlds.” Others “rely on the inherent quali­ ties of clay to be soft, to fire to a vitre­ ous hardness, and to be glazed so that liquids can be contained....These art­ ists preserve a tradition, but at the same time have mapped new territories by expanding artistic boundaries through their inspired aesthetic consciousness. “Finally, there are those who work with clay to express intense personal experiences and ideas. They rely on clays earthly, tangible nature to be pushed, squeezed, kneaded, stroked, caressed, poked and touched. [They] “Flint Hills,” 22 inches in height, handbuilt, raku fired, share their emotions through their tan­ by Yoshiro Ikeda, Manhattan, Kansas. gible abstractions.” A

46 CERAMICS MONTHLY Glenda Taylor by Craig Colgan

^^t the end of every summer, Glenda Taylor is generally “excited about school starting. I wanna get back to clay!” she can be heard to exclaim. Summer usu­ ally means spending more time chauf- feuring her two young sons, Rex and Eric, to surfing competitions, martial- arts classes and more. Yet, as the school year winds down, she is wont to say: “Im looking forward to the summer, to being with my boys. It won’t be long before they aren’t going to want to hang around with mom on the beach.” So which is it? That’s what Taylor is trying to figure out herself. That ques­ tion and a few others. But none is as important as determining how much time she should give to her art career and how much to give to her family. She is finding ways to enjoy both loves, but it has not been easy. Taylor’s current series of earthenware pots and bowls, many with serpent im­ agery coiling throughout, has gotten a lot of notice. “I’m rather awestruck by the technique,” said Bud Bishop, coor­ dinator of the Harn Museum at the University of Florida, speaking about Taylor’s “Snake Bowl” at a talk he gave following a recent exhibition he had judged. “I thought about how it encap­ sulates so much of the history of ceram­ ics. Like the vessels done by prehistoric peoples—all of these cultures developed “Serpent Snowfall,” 12 inches in height, wheel-thrown and altered terra cotta,a ceramic form and then decorated it with sgraffito decoration through brushed underglazes, with natural forms. And the snake is a clear glazed, fired to Cone 05-04, $375. beautiful choice for a circular form. It

April 1995 47 Terra-cotta vases, to 11 inches in height, wheel thrown, brushed with black underglaze and clear glaze, $180-$250.

also carries both a sinister and an el­ point where I wanted to explore things For the first 15 years of her career, egant kind of context. that were not so easily explained.” Taylor worked with porcelain and fired “I don’t know what the measles’ are, So after some time-off working at a in gas kilns, developing her own glazes but they give an energy and excitement North Carolina summer resort, she be­ and mixing her own clays. She loves the that I’ve never seen in a piece of ceram­ gan thinking seriously about art and process itself, and the challenge of ics. It’s a piece that I feel has a great deal decided to head back to school. This achieving just the right results. When of communication power, a bridge across time, she enrolled at the University of her children were born, she realized she many, many centuries. And that’s a Florida, where she studied photogra­ had to make some changes. There was tough accomplishment in just a single phy, painting, graphics, sculpture, any much less time to spend in the studio pot,” Bishop concluded. form she could find. She enjoyed it all, and something had to give. Firing in an Taylor grew up all over Florida and “but at the first clay class, I knew that electric kiln, and using commercial clays Georgia, as her father worked for Boeing was it. It wasn’t actually the clay itself, and glazes was the logical choice. While and for NASA at Kennedy Space Cen­ but when I got the first piece out of the looking forward to the time when her ter, and her mother was a physicist. kiln, it was the glaze and the glass, the children are grown and she can return With that science-oriented background, pyrolysis that got me.” The scientist in to an involvement with glaze chemistry, it was no surprise that she headed to the her had found a new avenue to explore. “I no longer view my current process as University of Georgia to study com­ After graduating with a B.FA. in ce­ a limitation, or compromise,” she says. puter science. But after two years, some­ ramics in 1977, Taylor was an instruc­ “Instead, I view the situation as a chal­ thing was not right. The answers were tor at what is now the Orlando Museum lenge for my work to change and grow too rigid, too uniform. of Art, and co-owned a gallery in in new directions.” She remembers asking normal kid Melbourne, Florida. Later, when her Taylor currently works with a smooth questions, such as “Why is the grass contractor husband found job oppor­ terra-cotta body (prepared without green?” as a child. Then, instead of get­ tunities in Vero Beach, the family moved grog). All her work is formed initially ting a standard parent brush-off reply, there, and Taylor and three other artists on the wheel, then altered. She tends to “I’d get some lecture on chlorophyll,” opened a downtown studio. She now throw at a very high speed, resulting in she says with a chuckle. “My world was also heads the ceramics department at shapes that often possess what she calls real explainable. But I had reached a Vero Beach’s Center for the Arts. a “machined” look. The altering, usu­

48 CERAMICS MONTHLY Top and side views of “Lynne’s Fancy,” 24 inches in diameter, thrown terra-cotta bowl with underglaze and clear glaze, $550, by Glenda Taylor, Vero Beach, Florida.

ally done by slowly throwing the vessel central imagery. The second firing is to admits. “It’s a real forming process for off center, returns a soft, sensual quality Cone 06 if red is used, Cone 04 if not. me, because in a lot of ways I am shap­ to the form. Taylor’s intricate glazing work is her ing these children. I’m really proud of Decoration begins at the greenware strength. “I enjoy throwing, but I can who they are.” stage. Taylor applies a commercial un­ spend hours glazing,” she says. “When Of course, she still has “to completely derglaze (Mayco Mirror Black), then I think of a surface I want to produce, I switch gears a lot; it has been a real incises sgraffito lines through to the red never think, oh, that’s going to take struggle, a real juggling act. But I do clay. The pieces are then bisque fired to forever. It doesn’t bother me at all. To have a good balance right now. My hus­ Cone 04. Often red underglaze decora­ me, it’s worth it to spend the time.” band supports the family, which is some­ tion is added to the bisqueware. This is Time well spent remains the key to thing I have that a lot of artists don’t then covered with a clear glaze, usually her happiness. “I enjoy spending time have. It’s given me a lot of freedom. I brushed on in patterns to create a subtle with my children every bit as much as just want to do good work and main­ field of design and texture around the the time I spend in the studio,” she tain the balance.” ▲

April 1995 49 Bill Stewart by Shirley Dawson

Bui Stewart is an artist who creates to the humor and whimsy. But after figurative sculpture from clay. His is a ten years of constant work and at the multichaptered tale that began in the height of this commercial success, mid 1960s as a graduate student at Stewart hit the artistic brick wall com­ Ohio University. Form, surface, con­ monly known as “burn out.” tent and scale changed radically over “I could make those pieces with the years, but Stewart’s intuitive reac­ my eyes closed but the challenge was tion to the sociopolitical environment gone,” he says. “There were a few bad of the late 20th century continues to years but I knew I had to keep work­ be played out through his art. ing to push through to the other side “My earlier work developed from a of the block.” So he “started spending nostalgic preoccupation with child­ more time looking at tribal art and hood,” he recalls. “Its roots were the studying ritual. My oldest son, who is naive, and reflected humor, joy, fan­ now a biologist, brought environmen­ tasy, curiosity and fear.” tal issues home.” The creatures he produced during Going back into the studio, he “left the 1960s and early ’70s were part color altogether and abandoned white human, part animal, stacked into diz­ clay in favor of terra cotta. I needed to zying pyramids. They shared what get back to investigation of form.” came to be his trademarks: unlikely The resulting pieces were entirely combinations of intense color covered handbuilt, uniformly covered in matt with surface pattern, and a wry sense gun-metal black. Rough, sandy grog of humor masking social absurdities. was applied for texture variation. The While clay in the eastern part of the scale began to change. Tabletop pieces U.S. was steeped in utility, Stewart gave way to human-scale, free-stand­ had clearly abandoned that direction ing figures. There remained the Stew­ to others as he set out on a personal art humor and whimsy, but now they journey through the imagination. were in equal partnership with danger “After graduate school, I started and mystery. teaching full time at SUNY [State Uni­ The sculptures continued to shed versity of New York] Brockport. My excess detail. They became streamlined wife and I bought land in Hamlin, a forms that in their abstraction seemed rural community 25 miles west of to be at once ancient and futuristic. Rochester. We built our home and my Clearly, the artist’s block was gone and art studio, and raised our three sons. replaced by a palpable intensity. “It was the era of war protests and In 1990, Stewart installed his five- pop culture. I was intrigued by the figure sculpture “The Council”—his absurd fringes of real life. I read largest work to date—in the Greater children’s books, National Geographic, Rochester International Airport. This watched the evening news and col­ commission was the culmination of lected early tin mechanical toys, that investigative phase. When pre­ Ripley’s ‘Believe It Or Not’ cartoons paring for a 1992 one-man show, and circus memorabilia. These ele­ Stewart was ready to again use color. ments all got stirred together and came “Forked Heart,” 62 inches in height, Pared-down forms remained hu­ glazed terra cotta. out in the sculptures I produced man but totally androgynous. While through the ’70s and early ’80s.” earlier works were zoomorphic, these Stewart’s work was discovered and mummylike figures transformed into promoted by Lee Nordness, one of tools and machine parts. Rarely could the first gallery directors to exhibit they stand alone. Some leaned against works by emerging “craft artists.” La­ the wall as casually as the rake or shovel beled pop art, they were sold nearly as that formed their feet. Others rested fast as they came onto the market to on the floor, the figure forming the collectors who responded immediately tongue that gives way to wagon wheels

50 CERAMICS MONTHLY “Doodad,” 38 inches in height, handbuilt terra cotta with brushed low-fire glazes.

“Trinity,” 23 inches in height, cast-and-handbuilt terra cotta; through his latest works, Stewart “suggests that ecological balance has disappeared and judgment is at hand.”

April 1995 51 at the rear. Layers of glaze were caked, cracked and peeling as though the ob­ ject had been made of wood or metal, painted and abandoned outdoors to weather. They are perplexing figures, more threatening somehow for the added layers of sickening color—fer­ mented raspberry, algae green, mus­ tard browns and yellows. “Those pieces went through seven, eight firings to finally reach the dilapi­ dated surface I wanted,” Stewart ex­ plains. “However, I’m not interested in proving technical expertise. Learn­ ing the craft of art broadens possible choices, but I don’t want the viewer to get stuck on technique or color.” Animals, birds and human figures, traditional vessels, tools and machine parts, swaths of color, but more often monotone metallic black, are his cur­ rent and obvious choices. These new­ est pieces are fragmented, more complicated forms than the stream­ lined shapes of a year ago and more sinister in spite of toylike components. In them, Stewart suggests that eco­ logical balance has disappeared and judgment is at hand. Is he holding a mirror to our faces to show us what is? Or what is to be? “It s not my job to explain the work but to keep at it. Other people will be left to interpret. My belief in the equal union of materials, process and con­ tent remains vital. I hope humor re­ mains in my work and a sense of optimism, but I recognize a pervasive sense of uneasiness emerging from these new objects. I believe as an artist I must continue to gamble, abandon­ ing the security of explanation for the allure of the subconscious response to my world. To do so, one must occa­ sionally reach inside to the secret past or plunge into the absurd. The more I work, the more fluent I become at “Wanatanka,” this wordless visual language.” 58 inches high, glazed terra cotta, The author Art critic Shirley Dawson by Bill Stewart, art previously served as director of Dawson professor, State University of New Gallery in Rochester; New York, from York at Brockport. 1981 until its close in 1993.

52 CERAMICS MONTHLY Terra-cotta bowl with brushed slips and clear glaze, 11½ inches in diameter, by Ann Gabhart, Jamaica Plain, Massachusetts. Four Functional Potters

“Function,” an invitational exhibition featuring pots by Linda Christianson, Malcolm Davis, Ann Gabhart and Greg Pitts, was presented in the Jane Hartsook Gallery of Greenwich House Pottery in New York City. Representative of “the best of functional works made today,” each of the four addressed issues of use, as well as aesthetics. A studio potter based in rural Min­ nesota since 1977, Linda Christianson produces wood-fired and lightly salted stoneware. To her, the “pot that cap­ tures my attention over time is not un­ like a favorite book, revealing new layers of meaning each reading. The physical use of that pot is an added bonus. The exterior of an unglazed baking dish de­ velops a warm patina through years of Stoneware teapot, 6 inches in height, wheel thrown, being hauled in and out of ovens. Per­ brushed with underglaze, by Greg Pitts, Brooklyn. haps this is one of the best-kept secrets of contemporary pots that can only be revealed through daily use.” rented studio space in Penland, North fresh, spirited, graceful pots for daily Malcolm Davis resigned his position Carolina, for four years before setting use, searching for fluidity and clarity of as ecumenical chaplain at George Wash­ up his own studio in north central West form within the context of function, ington University to become a full-time Virginia. Currently working with Shino- striving for elegance rather than drama.” studio potter in the fall of 1981. He glaze porcelain, his goal is “to make Ann Gabhart of Jamaica Plain, Mas-

Apnl 1995 53 Wood-fired stoneware teapot, 8 inches in length, by Linda Christianson, Lindstrom, Minnesota.

sachusetts, is pleased when her pots evoke “a feeling of ancient styles. A fleet­ ing, perhaps romantic association to Minoan Creat or imperial Rome, but one that does not quite fit, is what I aim for. While my works are functional ves­ sels that celebrate the pleasures of the table, they are also objects that can be contemplated and enjoyed on their own for their explorations of color, transpar­ ency and volume. Playing against the opacity of terra cotta, I try to introduce an impression of light and air with veils of slips and oxides. Strokes of luster establish a surface behind which the layered decoration can be read spatially. In some lights, the luster darkens and visually perforates the object, making it seem transparent and permeable.” Brooklyn potter Greg Pitts stone­ ware vessels are “hybridized from many ceramic traditions, combining wheel- turned and handbuilt construction with narrative painted images. I am con­ cerned with the issues of how pots perform their specific functions me­ chanically, but also with the ritual en­ gagement they have with the user. Within my own vernacular, I am enter­ taining gestural and cultural notions Soy/Sake Set,” to 4½ inches in height, porcelain with red about people through the ubiquitous Shino glaze, by Malcolm Davis, Tallmansville, West Virginia. kinship that people have to pots.” ▲

54 CERAMICS MONTHLY

Hosselbarth, Kazuo Kimura, Toshiyuki Kita, April 14 entry deadline Call for Entries Alexander Manu, Tapio Perianen and Osamu West Chester, Pennsylvania “Spring Fantasy” Application Deadline for Exhibitions, Suzuki. Jurors, ceramic art: Rudy Autio, Nino (May 5-26). Juried from slides. Fee: $15 for up to Caruso, Marie Therese Coullery, Yoshiaki Inui, 3 entries. For prospectus, send #10SASE to Spring, Fairs, Festivals and Sales Takuo Kato, Kyubei Kiyomizu and Kurt Spurey. the Potter’s Gallery, c/o Janet Smith, 415 Roberts Contact International Ceramics Festival ’95 Mino, Lane, West Chester 19382-5621. Japan, Executive Committee Office, 2-15 Hinode- April 15 entry deadline International Exhibitions machi, Tajimi City, Gifu Prefecture 507. Berea, Kentucky “Beadwork: Beyond Bound­ July 5 entry deadline aries” Quly 1-August 27). Juried from 5-10 slides May 1 entry deadline Manises, Spain “European Biennial of Ceram­ and brief biography. Fee: $10. For prospectus, Washington, D. C. “The Rebellious Bead” (No­ ics” (November 16-December 31), open to ce­ send SASE to Contemporary Artifacts Gallery, 128 vember 1-30). Juried from slides. Entry fee: $15 ramists residing in Europe. Juried from 2 slides North Broadway, Berea 40403; or telephone (606) for up to 3 works. Jurors: David Chatt, Sharon per entry; up to 3 entries. Awards: Gallego Vilar, 986-1096. Markovitz, Kathlyn Moss and Joyce Scott. For 800,000 pesetas (approximately US$6050); Presi­ April 22 entry deadline prospectus, contact the Rebellious Bead, c/o Art dent de la Generalitat Valenciana, 500,000 pese­ Sacramento, California “29th Annual Reli­ Services, 1023 California Ln., SW, Seattle, Wash­ tas (approximately US$3800); Diputacio de gious Art Festival” (April 29-May 14). Juried ington 98116; or telephone (206) 937-2155. Valencia, 300,000 pesetas (approximately from works delivered April 21—22. Fee: $5 per May 31 entry deadline US$2250). Contact Biennial of Manises, Museo entry; up to 3 entries. Awards: over $3000. Send Mino, Japan “The Fourth International Ce­ de Ceramica de Manises, Calle Sagrario, 22,46940 SASE to Saint John’s Church Religious Art Festi­ ramics Competition” (October 28-November 5) Manises; or telephone (52) 10 44, fax (52) 04 53. val, 1701 L Street, Sacramento 95814; or tele­ consists of two entry categories: ceramic design September 3 entry deadline phone (916) 444-0874. and ceramic arts. Juried from photos of up to 6 Chicago, Illinois “Currents 1995” (November April 28 entry deadline entries. Awards (per category): Grand Prize, 3 2—5), open to works in ceramics, glass, metal, Wichita, Kansas “Wichita National 1995” Quly million yen (approximately US$30,000); Gold textiles and wood. Entry fee: $20. $2500 in awards. 28-September 4). Juried from slides. No entry Award, 1 million yen (approximately US$10,000); For prospectus, contact Currents 95,1021W. Lill fee. For further information, contact Annie two silver awards, 500,000 yen (approximately St., Chicago 60614; or telephone (312) 477- Lowrey, Wichita Center for the Arts, 9112 East US$5000); five bronze, 300,000 yen (approxi­ 0484. Central, Wichita 67206; or telephone (316) 634- mately US$3000); and seven judges’ awards, ARTS, fax (316) 634-0593. 200,000 yen (approximately US$2000). Jurors, National Exhibitions April 30 entry deadline ceramic design: Pongsak Arayangkoon, Mai Felip- Philadelphia, Pennsylvania “Invitational Artist April 5 entry deadline Series” (3 solo exhibitions chosen for 1995—1996 Send announcements of juried exhibitions, fairs, fes­ Latrobe, Pennsylvania “Westmoreland Nation­ season). Juried from slides. No entry fee. For tivals and sales at least four months before the event's als” (June 4—18, and July 1—4). Juried from slides. information or application form, send SASE to entry deadline (add one month for listings in July and (Also eligible for entry in “Westmoreland Arts and the Clay Studio, 139 North Second Street, Phila­ two months for those in August) to Call for Entries, Heritage Festival, July 1-4; see Fairs, Festivals and delphia 19106; for information only, telephone Ceramics Monthly, P. O. Box 12788, Columbus, Sales). Awards: $23,000 in cash and purchase. For (215) 925-3453. Ohio 43212-0788; or telephone (614) 488-8236. prospectus, send 55<£ SASE to Westmoreland Na­ Smithville, Tennessee Exhibition proposals. Fax (614) 488-4561. Regional exhibitions must be tionals, RD 2, Box 355A, Latrobe 15650; or Juried from 12 slides and resume. Send SASE to open to more than one state. telephone (412) 834-7474. Exhibitions, Appalachian Center for Crafts, 1560

56 CERAMICS MONTHLY April 1995 57 Call for Entries May 6 entry deadline June 12 entry deadline Rockford, Illinois “2x2x2” (May 19-June23), Helena, Montana “ANA 24” (August 11-Sep­ open to works under 2 inches, excluding frame or tember 17). Juried from up to 3 slides. Entry fee: base. Juried from actual works. Fee: $ 15 for up to $20. Juror: Lloyd Herman. For prospectus, con­ Crafts Center Drive, Smithville 37166; or tele­ 3 entries. For prospectus, send SASE to 2x2x2, tact Holter Museum of Art, 12 East Lawrence phone (615) 597-6801. Gallery Ten, 514 East State Street, Rockford Street, Helena 59601; or telephone (406) 442- May 1 entry deadline 61104. 6400, fax (406) 442-2404. Santa Fe, New Mexico “First Annual Juried May 12 entry deadline June 15 entry deadline Tombstone Show” (June 10-July 8). Juried from West Chester, Pennsylvania “Nuptial Bliss” New Haven, Connecticut “The Celebration of slides. Fee: $6 for 3 slides. For prospectus, send (June 2—26). Juried from slides. Fee: $15 for up to American Crafts” (November 11-December 24). SASE to Angela Treat Lyon, Intergalactic Garden 3 entries. For prospectus, send #10SASE to Nup­ Juried from slides. For prospectus, send SASE to Club, Post Office Box 23494, Santa Fe 87502; or tial, the Potters Gallery, do Janet Smith, 415 the Celebration, Creative Arts Workshop, 80 telephone (505) 473-0511. Roberts Lane, West Chester 19382-5621. Audubon Street, New Haven 06510. Chester Springs, Pennsylvania “Studio Days May 30 entry deadline Denton, Texas “Materials Hard and Soft” (Sep­ ’95” (September 22-October 1). Juried from 5 Philadelphia, Pennsylvania “The Politics of tember 17-October 27). Juried from slides. Juror: slides. Entry fee: $10, refundable if not se­ Scale” (October). Juried from slides. No entry fee. Jane Sauer. Awards: $3000. For application, send lected. Cash awards. Juror: Franklin Parrasch. For application form, send SASE to the Clay SASE to Greater Denton Arts Council, 207 S. Bell, For application, contact Studio Days ’95, Studio, 139 North Second Street, Philadelphia Denton 76201; or telephone (817) 382-2787. Chester Springs Studio, Post Office Box 329, 19106; or, for information only, telephone (215) Burlington, Vermont “Ebb and Flow” (Sep­ Chester Springs 19425. 925-3453. tember 8-October 16). Juried from slides. Fee: $10 for accepted artists only. For details, send SASE to Vermont State Craft Center at Frog Hol­ low, 85 Church Street, Burlington 05401. Manchester, Vmnont“CreativeHarvest” (Sep­ tember 20-0ctober 31). Juried from slides. Fee: $10 for accepted artists only. For details, send SASE to Vermont State Craft Center at Frog Hol­ low, Post Office Box 816, Manchester 05254. Middlebury, Vermont “Revisiting the Arts and Crafts Style” (September 8-October 16). Juried from slides. Fee: $10 for accepted artists only. For details, send SASE to Vermont State Craft Center at Frog Hollow, 1 Mill Street, Middlebury 05753. June 20 entry deadline Florence, Alabama “Kennedy-Douglass Cen­ ter for the Arts 1995 Monarch National Ceramic Competition” (September 5-October 13). Juried from slides. Entry fee: $15 for up to 3 works. Awards. For prospectus, contact Kennedy- Douglass Center for the Arts, Ceramic Competi­ tion, 217 E. Tuscaloosa St., Florence 35630. July 8 entry deadline Alexandria, Virginia “Beads on Target” (Oc­ tober 26-November 25). Juried from up to 2 slides per work. Fee: $15 for up to 3 entries. Jurors: Penny Diamanti De Widt, bead designer; Paula Owen, executive director, Hand Work­ shop, Richmond, Virginia; and Joyce Scott, bead artist. For entry form, sendSASE to the Friends of the T orpedo Factory Art Center, 105 North Union Street, Alexandria 22314. July 20 entry deadline Hazleton, Pennsylvania “The Hazleton Art League Open Juried Exhibition” (October 7-20), open to artists working in clay, glass, wood or metal. Juried from up to 3 slides. Awards: $3500. For application, contact Jayne Persico, 50 North Vine Street, Hazleton 18201; or telephone (717) 454-3789. July 22 entry deadline New Castle, Pennsylvania “14th Hoyt Na­ tional Art Show” (October 8-November 4), open to works under 48 inches in any dimension. J uried from slides. Fee: $20 for up to 3 entries. Juror: Louise Fishman. Over $3000 in awards and pur­ chase prizes. For prospectus, send SASE to Hoyt Institute of Fine Arts, 124 East Leasure Avenue, New Castle 16101. August 10 entry deadline Spokane, Washington “Terra Firma” (Novem­ ber 2-30), open to artists working in functional or sculptural ceramics. Juried from slides. Fee: $5 per entry; up to 3 entries. Juror: Juan Granados, Eastern Washington University faculty artist. For prospectus, contact Terra Firma, Spokane Arts Commission, 808 West Spokane Falls Boulevard, Spokane 99201; or telephone (509) 625-6050. August 15 entry deadline Cheney, Washington “Clay on the Wall” (Janu-

58 CERAMICS MONTHLY April 1995 59 Call for Entries

ary 5-26, 1996). Juried from up to 5 slides of no more than 5 works. Entry fee: $15. For prospec­ tus, send SASE to Juan Granados, Department of Art, Eastern Washington University MS-102,526 Fifth Street, Cheney 99004-2431; telephone (509) 359-2788; or fax (509) 359-7028. September 1 entry deadline Guilford, Connecticut “Artistry” (November 4—December 24). Juried from 5 slides. No entry fee. 40% commission. For application, contact Artistry, 17th Annual Guilford Handcraft Holi­ day Festival of Crafts, Post Office Box 589, Guil­ ford 06437; or, for further information, tele­ phone (203) 453-5947.

Regional Exhibitions April 11 entry deadline Bellingham, Washington “ 15th Annual North­ west International Art Competition” (May 27- July 23), open to craftspeople residing in Oregon, Washington and British Columbia. Juried from slides. Jurors: Bennett Bean and another to be announced. For prospectus, contact the Whatcom Museum, 121 Prospect Street, Bellingham 98225; or telephone (206) 676-6981. Or contact Allied Arts, 301 West Holly Street, Suite M6, Bellingham 98225; telephone (206) 676-8548. April 28 entry deadline Great Falls, Montana “1995 Art Equinox: A Regional Survey of Contemporary Art” (August 19-October 1), open to artists residing in Califor­ nia, Colorado, Idaho, Montana, Nebraska, Ne­ vada, North Dakota, Oregon, South Dakota, Utah, Washington or Wyoming. Juried from slides. Jurors: Rudy Autio; and Sandy Harthorn, curator of exhibitions, Boise Art Museum. Fee: $7 per entry; up to 5 entries. Awards: $2600 in cash and purchase. For prospectus, send SASE to Barbara Racker, Curator of Art, Paris Gibson Square Museum of Art, 1400 First Avenue, North, Great Falls 59401; or telephone (406) 727-8255. Kingston, Rhode Island “23rd Annual Rhode Island Earthworks Exhibit” (May 4-20), open to current and former Rhode Island residents or students. Juried from work. Juror: Malcolm Wright. For prospectus, send SASE to Earthworks, South County Art Association, 2587 Kingstown Road, Kingston 02881. May 5 entry deadline Bellevue, Washington “ 1995 Pacific Northwest Annual” (July 28-September 10), open to resi­ dents of Alaska, Idaho, Montana, Oregon or Washington. Juried from slides. Awards: $7000. For entry form, send legal-sizeSASE to Annual, Bellevue Art Museum, 301 Bellevue Square, Bellevue 98004; or telephone (206) 454-3322. May 31 entry deadline Newnan, Georgia “Living in the South” (Au­ gust 4-30), open to artists residing in Alabama, Florida, Georgia, Mississippi, North Carolina, South Carolina and Tennessee. Juried from slides. Entry fee: $25 for up to 3 works. Send #10 SASE to Living in the South Exhibition, do Manget- Brannon Alliance for the Arts Annex Studios, 15½ Greenville Street, Newnan 30263. July 1 entry deadline Saint Petersburg, Florida“S potlight ’95” (Sep­ tember 24-November 19), open to artists resid­ ing in Alabama, Washington, D .C., Florida, Geor­ gia, Kentucky, Louisiana, Mississippi, North Caro­ lina, South Carolina, Tennessee, Virginia and West Virginia. Juried from slides. Juror: Bill Strickland, director, Manchester Craftsmen’s Guild, Pittsburgh. Fee: $18 for up to 3 entries.

60 CERAMICS MONTHLY April 1995 61 Call for Entries sion. Awards. Send SASE to Herkimer County College Foundation Arts and Crafts Fair, Jackie Shaul, Reservoir Road, Herkimer 13350; or tele­ phone (315) 866-0300, extension 259. Cash and purchase awards. For prospectus, send Groveport, Ohio “Groveport Festival of the SASE to Florida Craftsmen, Inc., 237 Second Ave­ Arts” (September 23-24). Juried from 3 slides of nue, South, Saint Petersburg 33701; or telephone work plus 1 of booth. Booth fee: $75 fora 10x10- (813) 821-7391. foot, tented space. Cash awards. Send legal-size SASE to Festival of the Arts, Village of Groveport, Fairs, Festivals and Sales 605 Cherry Street, Groveport 43125. Richmond, Virginia “31st Annual Richmond April 5 entry deadline Craft and Design Show” (November 10-12). Latrobe, Pennsylvania “Westmoreland Arts and Juried from slides. Booth fee: $275 for a 10x10- Heritage Festival” (July 1-4). Juried from slides foot space; $410 for a 10x15;and $550 for a (Also eligible for entry in “Westmoreland Nation­ 10x20.For application, contact the Hand Work­ als,” June 4-18 and July 1-4; see National Exhi­ shop, 1812 West Main Street, Richmond 23220; bitions). Awards (for exhibition and festival): telephone (804) 353-0094; or (804)fax 353- $23,000 in cash and purchase prizes. For informa­ 8018. tion, send 55American Craft Enterprises, 21 Vail, Colorado “Vail Arts Festival” (July 8-9). South Eltings Corner Road, Highland, New York Juried from 4 slides of work plus 1 of booth. Cash 12528; telephone (800) 836-3470; or fax (914) awards. For prospectus, send SASE to Vail Valley 883-6130. Arts Council, Post Office Box 1153, Vail 81658. Charlotte, North Carolina “ACC Craft Fair April 8 entry deadline Charlotte” (December 8-10). Juried from 5 slides. Chautauqua, New York11 Crafts Festivals ’95” Entry fee: $15. Contact American Craft Enter­ (July 7-9 and/or August 11-13). Juried from 3 prises, 21 South Eltings Corner Road, Highland, slides of work plus 1 of booth. Jury fee: $10 per New York 12528; telephone (800) 836-3470; or show. Booth fee: $ 150 per show. For prospectus, fax (914) 883-6130. send business-size SASE to Kay Collins, Festivals May 5 entry deadline Director, Chautauqua Crafts Alliance, Post Of­ Beaver Creek, Colorado “Beaver Creek Arts fice Box 389, Fredonia, New York 14063-0389. Festival” (August 12-13). Juried from 4 slides of April 15 entry deadline work plus 1 of booth. Cash awards. For prospec­ Kalamazoo, Michigan “19th Annual South tus, send SASE to Vail Valley Arts Council, Post Street Art Fair” (June 3). Juried from 3 slides. Fee: Office Box 1153, Vail, Colorado 81658. $40. For application, send business-size SASE to June 1 entry deadline South Street Art Fair, c/o Gracie Dailey, 3045 Baltimore, Maryland “2nd Annual National West B Avenue, Plainwell, Michigan 49080. Crafts’ Christmas Fair” (December 8-10). Juried Sheboygan, Wisconsin “25th Annual Outdoor from 5 slides of work plus 1 of display, and Arts Festival” (July 15-16). Juried from slides. resume. Entry fee: $10. Booth fee: $450 for a Contact the John Michael Kohler Arts Center, 10x10-foot space. No commissions. For further 608 New York Avenue, Post Office Box 489, information, contact National Crafts, Ltd., Mary Sheboygan 53082-0489; or telephone (414) 458- F. Clark, Director, 4845 Rumler Road, Cham- 6144. bersburg, Pennsylvania 17201; or telephone (717) April 17 entry deadline 369-4810. Coeur d'Alene, Idaho “Art on the Green” (Au­ Gaithersburg, Maryland “20th Annual Na­ gust 4-6). Juried from slides. For further informa­ tional Craft Fair” (October 13-15). Juried from 5 tion, contact Citizens’ Council for the Arts, P.O. slides of work plus 1 of display, and resume. Entry Box 901, Coeur d’Alene 83816-0901; or tele­ fee: $10. Booth fee: $310 for an outside space, phone (208) 667-9346. $385 for roofed, $410 for an indoor space. No April 25 entry deadline commissions. Contact National Crafts, Ltd., Mary Lafayette, Louisiana “Nouveau Expo ’95” (No­ F. Clark, Director, 4845 Rumler Road, Chambers- vember 10—12). Juried from slides. Juror: Jan burg, Pennsylvania 17201; or telephone (717) McNutt, publisher/editor, Art Revue magazine. 369-4810. Entry fee: $ 15 for up to 5 entries. Booth fee: $200 June 15 entry deadline for a 10x10-foot space. Awards: over $5000. For Manitou Springs, Colorado “Commonwheel prospectus, send SASE to Lafayette Art Associa­ Artists 21st Annual Labor Day Arts and Crafts tion, 700 Lee Avenue, Lafayette 70501; or tele­ Festival” (September 2-4). Juried from slides. phone (318) 269-0363. Jury fee: $15. Entry fee: $60. Commission: 10%. May 1 entry deadline Contact Commonwheel Fairs, Post Office Box Newnan, Georgia “Magnolia Arts Festival” 42, Manitou Springs 80829; or telephone (719) (June 17). Juried from 3 slides of work plus 1 of 685-1008. booth. Awards. Booth fee: $45 for a 10x10-foot July 1 entry deadline space. Commission: 10%. For further informa­ Fort Lauderdale, Florida “Harvest Festival” tion, contact Shelly Montgomery, Main Street, (November 24-26). Juried from 4 slides of work Newnan 30264. plus 1 of booth. Booth fee: $450 for a 10x10-foot, Columbus, Indiana “Chautauqua of the Arts” indoor space. No jury fees or commission. Con­ (September 16-17). Juried from 3 slides of work tact Harvest Festival Florida, 6915 Red Road, plus 1 of booth. Entry fee: $10. Booth fee: $125 Suite 228, Miami, Florida 33143; or telephone for a 10x10-foot space; $175 for a corner space. (305) 666-5944. For further information, contact Dixie McDon­ Orlando, Florida “Harvest Festival” (Novem­ ough, Post Office Box 2624, Columbus 47202- ber 17-19). Juried from 4 slides of work plus 1 2624; or telephone (812) 265-5080. of booth. Booth fee: $450 for a 10x10-foot, Herkimer, New York “20th Annual Herkimer indoor space. No jury fees or commission. Con­ County Arts and Crafts Fair” (November 11-12). tact Harvest Festival Florida, 6915 Red Road, Juried from 5 slides. Entry fee: $5. Booth fee: Suite 228, Miami, Florida 33143; or telephone $120 for a 10x6-foot, indoor space. No commis­ (305) 666-5944.

62 CERAMICS MONTHLY

Suggestions From Readers

Embossing Roller I enjoy using various objects to press patterns or textures into clay. These range from natural objects, such as shells, coral or nuts, to carved beads made from clay, bone, jade, wood or plastic. To produce a repeated

pattern with a carved bead, I make a roller, using a 4-inch section of coat hanger as an axle, which in turn is mounted in a copper pipe clamp attached to a wooden handle. I begin by reshaping the pipe clamp with hammer and pliers, squaring the ends to hold the coat-hanger axle. The clamp is then at­ tached to the end of a hardwood handle (approximate dimensions AxViXV a inches) by hammering two small tacks through the center. Using needlenose pliers, one end of the axle is bent to a right angle, then passed through one end of the clamp. The free end of the axle is then passed through the bead and the other end of the clamp, and bent at a corresponding right angle. Wire wrapped around the coat-hanger ends and the clamp sides keeps the axle from turning.—Keith Gordon, Mohegan Lake, N. Y

Bowl Trimming A wide bat covered with ½-inch-thick foam is great for trimming bowls and such. You can still tap the pot to center, but there is no need to hold it in place with wads of clay.—-Josh Teplitzky, Smithville, Tenn.

Smoothing Greenware To smooth irregularities on dry green­ ware (whether cast, handbuilt or thrown), borrow one of the green scrub pads from the kitchen. A used one works better, because it is softer. When it’s dirty, just rinse it out and let dry.—L. D. Jeffries, Boise, Ldaho

Dollars for Your Ideas Ceramics Monthly pays $10for each sugges­ tion published; submissions are welcome indi­ vidually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788; or fax to (614) 488-4561. Sorry, but we can’t ac­ knowledge or return unused items.

64 CERAMICS MONTHLY April 1995 65 Nguyen-Ely, “Trauma and Healing: The Viet­ Calendar nam War,” mixed-media sculpture; at Richard H. Events to Attend—Conferences, Reynolds Gallery, University of the Pacific, 3601 Pacific Avenue. Exhibitions; Workshops, Maryland, Baltimore through April 21 Patrick Caughy, “Salus,” raku; at Baltimore Clayworks, 5706 Smith Avenue. Michigan, Ferndale through April 15 Steve Currie. Conferences April 22-June 3 John Gill; at Revolution, 23257 California, Davis v4pn‘l 6—5 “Sixth Annual Cali­ Woodward Avenue. fornia Conference for the Advancement of Ce­ Minnesota, Minneapolis through April /6^James ramic Art” will include lectures, panel discussions, L. Tanner, “Unrolling Reflection”; at the Minne­ slide presentations, demonstrations, tours and the apolis Institute of Arts, 2400 Third Avenue, South. “Ninth Annual Thirty Ceramic Sculptors” exhi­ Missouri, Kansas City through April 15 Karen bition. Speakers include Jim Adamson, George Karnes, wood-fired vessels; at Leedy Voulkos Gal­ Grant, Martha Heavenston, Stephen Kaltenbach, lery, 2012 Baltimore. Lee Kavaljian, Cindy Kolodziejski, Jo Lauria, John through April 29 Ken Ferguson; at Cohen/ Mason, Mary Parisi, Ruth Rippon, JohnToki and Berkowitz Gallery, 2000 Baltimore. Peter Voulkos. Contact John Natsoulas Gallery, through May 25 Ken Ferguson retrospective; at the 140 F Street, Davis 95616; or telephone (916) Nelson-Atkins Museum of Art, 4525 Oak St. 756-3938. New York, Binghamton through July 2 Pamela D.C., Washington April 28—30 James Renwick Earnshaw Kelly, “Nature of Clay,” sculpture; at Alliance’s “Annual Spring Craft Weekend” will the Roberson Museum and Science Center, 30 include a symposium featuring leading craft art­ Front Street. ists, an auction, and tours of private and public New York, New York through May 9 Eva Stett- craft collections. Contact James Renwick Alli­ ner, raku-fired, life-size figures and wall pieces; at ance, 6801 Winterberry Lane, Bethesda, Mary­ Gallery Juno, 568 Broadway, Suite 604B. land 20817; or telephone Shelley Gollust (301) through May 23 Terry Niedzialek, hair sculpture; 229-2148. in the Empire State Building’s Fifth Avenue Gal­ lery windows. International Conferences through June 25 William Daley, “Inside/Outside: Ceramic Works and Drawings”; at the American Canada, Ontario, Waterloo May27—28“Fusion’s Craft Museum, 40 West 53rd Street. 20th Anniversary 1995 Conference, Workshop April 11-May ^Howard Kottler. May 9-June 3 and Exhibition,” includes workshops by David Masanao Kaneta. Junko Kitamura. Kohei Naka­ Gamble, and Carol and Richard Selfridge, plus mura; at Garth Clark Gallery, 24 W. 57th St. exhibitions. Fee: Can$155 (approximately Ohio, Columbus through April 9 Deb Komitor, US$115); members, Can$105 (approximately “Through the Night,” oils on clay, bas-reliefs and US$77). For further information, contact Fusion, free-standing sculptures; at the Columbus Cul­ Suite 204, 80 Spadina Avenue, Toronto, Ontario tural Arts Center, 139 West Main Street. M5V 2J3. Pennsylvania, PhiladelphiaApril 7-30 Jeffrey Wales, Dyfed July 14-16 “Fifth International Kaller. Kristen Cliffel. Kate Winn.May 5-28 Potters’ Festival” will include demonstrations by Deborah Moore. Steve Welch. Becca Gruliow; at John Glick, Yasho Hayashi, Gwen Heeney, Gillian the Clay Studio, 139 North Second Street. Lowndes, Peteris Martinsons and Trupti Patel; Pennsylvania, PittsburghApril 3—30 Karen seminars, exhibitions, kilnbuilding and firing. For Karnes; at Manchester Craftsmen’s Guild, 1815 information, send SASE to Jenny Fell, Interna­ Metropolitan Street. tional Potters’ Festival, Aberystwyth Arts Centre, Texas, Fort Worth through April 15 Janet E. Dyfed SY23 3DE; or telephone (970) 622889. Kastner; at Rachel Harris Gallery, 211 West Eighth Street. Solo Exhibitions Virginia, Richmond April 7-May 27 Diane Kempler. Marlene Jack; at the Hand Workshop, Arizona, Scottsdale April 6—30 Amara Geffen. 1812 West Main Street. May 4-31 Andrea Gill; at Joanne Rapp Gallery/ Wisconsin, Sheboygan April 23—July 30 Judy The Hand and the Spirit, 4222 N. Marshall Way. Hill, cast-glass and raku self-portraits; at John Arizona, Tempe through May 7 Rudy Autio, Michael Kohler Arts Center, 608 New York Ave. ceramics, prints and drawings; at the Tempe Arts Center, Mill Avenue and First Street. Group Ceramics Exhibitions California, Chico April 21-June 4 Darlene Nguyen-Ely, mixed-media sculpture; at Chico California, Davis April 7-May 6“ 1995 Califor­ Art Center, Depot, corner of Orange and Fifth sts. nia Clay Competition”; at the Artery, 207 G St. California, Los Angeles April 8-May 3 Howard April 7-May 7 “Ninth Annual Thirty Ceramic Kottler. Michael Lucero. May 6-31 Ron Nagle. Sculptors”; at John Natsoulas Gallery, 140 F St. Martin Smith; at Garth Clark Gallery, 170 South California, La Jolla April 3-29 “A San Diego La Brea. Consortium II,” with ceramics byjeannette Brent, California, Sacramento April 8—May 6 Rimas Reiko Campbell, Dorothy Kimura, Ed Thomp­ VisGirda; at Dean Moniz Gallery, 1825 QStreet. son, Julie Thompson and Minako Yamane-Lee; at California, San Francisco May 4—27 Jack Earl, Grove Gallery, Crafts Center of University of narrative sculpture; at Dorothy Weiss Gallery, California, San Diego. 256 Sutter Street. May 12—June 24 “Current Clay IV: A Southern California, Stockton April 11-May 5 Darlene California Juried Exhibition of Ceramics Works”; at Gallery Eight, 7464 Girard Avenue. Send announcements of conferences, exhibitions, ju­ California, Lincoln May 24-June 17 “Feats of ried fairs, workshops and other events at least two Clay VIII”; at Gladding, McBean and Co. months before the month of opening (add one month California, Riverside through April 21 “California for listings in July; two months for those in August) to Collegiate Ceramic Competition”; at Riverside Calendar, Ceramics Monthly, Post Office Box 12788, Community College, 4800 East Magnolia. Columbus, Ohio 43212-0788; or telephone (614) California, Sacramento April 5-May 5 Exhibi­ 488-8236. Fax announcements to (614) 488-4561. tion of ceramics by Michael Hough, Margaret

66 CERAMICS MONTHLY Licha, Armin Muller and Paul Stein; at Michael Himovitz Gallery, 1020 Tenth Street. California, San Diego through April 29 “Fragile Realities: Works in the Spirit of Clay,” with ceramics by Rosemary Boost, Joanne Hayakawa and Jeff Irwin; at Simayspace: Design, 835 G Street. Colorado, Denver through April 15 Pottery by Jim and Nan McKinnell; at the Clay Pigeon, 601 Ogden. Georgia, Atlanta through August 1 “Fit for a King: Ceramics of Royalty and Nobility”; at the High Museum of Art, 1280 Peachtree St., NE. Hawaii, Honolulu through June 18 “Tomb Trea­ sures from China: Buried Art of Ancient Xi’an”; at the Honolulu Academy of Arts. Illinois, Carbondale ylpril7-30“Clay Cup V”; at the University Museum, Southern Illinois Uni­ versity at Carbondale. Maryland, Baltimore May 21—July 77“Ceramics Israel”; at the Jewish Community Center, Park Heights Avenue. Massachusetts, Boston through April 28“ Ceram­ ics from Penland,” works by alumni, instructors and artists-in-residence; at the Society of Arts and Crafts, 101 Arch Street (34 Summer Street/Down- town Crossing). through April30“Ceramics from Penland,” works by alumni, instructors and artists-in-residence; at the Society of Arts and Crafts, 175 Newbury St. Massachusetts, Ipswich April 1—30 “The Chal­ lenged Platter.” May 13-June30“\n and Around the Garden”; at Ocmulgee Pottery, 317 High St. Massachusetts, Lincoln May 19—June 25 “Five Expressions in Clay,” works by Alice Abrams, Joan Carcia, Liz Goibus, Ronnie Gould and Pao- Fei Yang; at the DeCordova Museum School Gallery, 51 Sandy Pond Road. Massachusetts, Northampton May 7—June 26 “The Narrative Teapot”; at Ferrin Gallery, Pinch Pottery, 179 Main. Michigan, Ann Arbor through April 28 “Out of the Fire,” juried exhibition of raku; at Kreft Cen­ ter for the Arts, 4090 Geddes Road. Michigan, Detroit through April 23 “Southwest Pottery from the Collection of Lucille and Marshall Miller”; at the Detroit Institute of Arts, 5200 Woodward Avenue. Michigan, Royal Oak May 6-27 “The Vase: A Container for Flowers,” with works by 35 United States and Canada potters; at Ariana Gallery, 119 South Main. Minnesota, Minneapolis through April23 “Echi- zen: Japanese Pottery”; at the Minneapolis Insti­ tute of Arts, 2400 Third Avenue, South. Minnesota, Saint Paul through April 7(?Works by British, Chinese and Japanese potters; at Macalester College Galleries, 1600 Grand Ave. through April 20 “The Paoli Clay Family Show”; at Art Resources Gallery, 494 Jackson Street. through April28 “Minnesota Hot Dish,” regional juried exhibition. May 12—June30“The Marks of an Artist,” with works by Nancy Blum, Mary Carroll, Matthew Metz and Linda Sikora; at North­ ern Clay Center, 2375 University Avenue, West. Missouri, Kansas City through May 28 “Keepers of the Flame: Students of Ken Ferguson”; at the Kemper Museum of Contemporary Art and De­ sign, Kansas City Art Institute, 4420 Warwick Boulevard. Montana, Helena May 19-June 25 “Sisters of the Earth: Contemporary Native American Ceram­ ics”; at the Holter Museum of Art, 12 East Lawrence Street. New Jersey, Newarkthrough June “American Art Pottery: An Uneasy Evolution, 1880-1930”; at Newark Museum, 49 Washington St. New York, Alfred through June 11 “Casual Col­ lection,” exhibition of ceramics from the collec-

April 1995 67 Calendar California, Redding through April 30 “Myth and Magic: Oaxaca Past and Present”; at the Redding Museum of Art and History, 56 Quartz Hill Rd. California, Sacramento April 8-May 5 “Matrix tion of Robert T urner; at the Museum of Ceramic International ’95”; at Matrix Gallery, 1725 I St. Art at Alfred, Ceramic Corridor Innovation Cen­ California, San Diego April23-Fehruary 19,1996 ter, Route 244. “And the Bead Goes On!”; at the San Diego New York, New York through June 18 “New Museum of Man, 1350 El Prado, Balboa Park. Finds, Old Treasures: Early Chinese Ceramics California, San Francisco through May 29 from the Meiyintang Collection”; at the Asia “Bacchus’ Vessels,” wine goblets; at the San Fran­ Society, 725 Park Avenue. cisco Craft and Folk Art Museum, Landmark April 12—May 6 “Workspace Artists,” works by Building A, Fort Mason. Sadashi Inuzuka, Yeoeun Kwak and Greg Pitts; at California, Santa Ana through August 20 “Be­ Greenwich House Pottery, 16 Jones Street. tween Empires: The Artistic Legacy of Prehispanic North Carolina, Charlotte through April 29 Panama,” exhibition of more than 200 ceramic “Montgomery College National Ceramics Invita­ and gold works; at the Bowers Museum of Cul­ tional,” with sculpture by Nina Borgia-Aberle, tural Art, 2002 North Main Street. Ron Kovatch, Eva Kwong, Paul Sires; at Center of Colorado, GreeleyApril 29—May 5“32nd Annual the Earth Gallery, 3204 North Davidson Street. National Greeley Art Exhibition”; at Bank One, through June 4 “Native American Pottery of the Seventh Street and Ninth Avenue. Southwest”; at the Mint Museum of Art, 2730 D.C., Washington through May “Beyond Paper: Randolph Road. Chinese Calligraphy on Objects.”April 1—Janu­ Ohio, Wooster through April 8 “Functional Ce­ ary 1, 1996“On the River,” includes four ceramic ramics 1995,” with works by 25 potters from 10 works; at Freer Gallery of Art, Smithsonian Insti­ states, Canada and Japan; at Wayne Center for the tution. Arts, 237 South Walnut Street. through June 18 “Uncommon Beauty in Common Oklahoma, Bartlesville April 7-May 19 “Built, Objects: The Legacy of African-American Craft Thrown and Touched: Contemporary Clay Art.” April27-September 4“ White House Collec­ Works”; at Bartlesville Museum. tion of American Crafts”; at Renwick Gallery, Pennsylvania, Lancaster April 29-May 25 “Third National Museum of American Art, Smithsonian Annual Strictly Functional Pottery National”; at Institution. the Market House Craft Center, Southern Market Florida, Saint Petersburg through April29 “Rus­ Center (lower level), Queen and Vine streets. sia. Russia: Contemporary Russian Ceramics and Tennessee, Memphisthrough April 29“ Clay Does Enamel Art”; at the Florida Craftsmen Gallery, It All”; at the University of Memphis. 237 Second Avenue, South. Texas, Denton May 6-June2“Ceramics USA”; at May 5-June 2“Sevt nth Annual All-Florida Spring the Greater Denton Arts Council, 207 South Bell. Juried Exhibition”; at the Arts Center of Saint Texas, San Angelo April 20-June 4 “Tenth An­ Petersburg, 100 Seven Street, South. nual San Angelo National Ceramic Competi­ Florida, Tampa May 5-June 2<9“Flora and Fauna”; tion”; at the San Angelo Museum of Fine Arts, at Artists Unlimited, 223 North 12th Street. 704 Burgess Street. Florida, West Palm Beach May 12-June 17“Ar­ Virginia, Alexandria through April 23 “Built, mory Annual Small Works Show”; at the Armory Thrown and Touched,” works by Ceramic Guild Art Center, 1703 South Lake Avenue. members; at Scope Gallery, Torpedo Factory, 105 Georgia, Atlanta through May 31 “Atlanta’s Con­ North Union Street. summate Collector: Philip Trammell Shutze”; at Virginia, Williamsburg through January 5, 1996 Atlanta History Center, 3101 Andrews Drive, “British Delft from Colonial Williamsburg”; at Northwest. DeWitt Wallace Decorative Arts Gallery, Colo­ Iowa, Sioux City April23—June 11 “53rd Annual nial Williamsburg. Juried Exhibition”; at the Sioux City Art Center, Wisconsin, Milwaukee through April 29 “'Ten by 513 Nebraska Street. Ten”; at Marnie Pottery, 2711-13 N. Bremen. Kansas, Topeka April 1-30 “Topeka Competi­ tion”; at the Gallery of Fine Arts, Topeka and Ceramics in Multimedia Exhibitions Shawnee County Public Library, 1515 S. W. Tenth. Kansas, Wichita April 7-9“Art Show at the Dog Arizona, Scottsdale April 1-24“ All Boxed In”; at Show”; at the Sunflower Cluster Dog Shows, the Mind’s Eye Gallery, 4200 N. Marshall Way. Kansas Coliseum. Arizona, Tempe May 19—July 30“Redefining the Louisiana, New Orleans through April 30“ 1995 Figure in Contemporary Art”; at the Tempe Arts New Orleans Triennial”; at New Orleans Mu­ Center, Mill Avenue and First Street. seum of Art, 1 Collins Diboll Circle, City Park. Arkansas, Fayetteville May 14-June 16 “13th Massachusetts, Cambridge May 11-June l4“Se t- Annual Women’s National Juried Art Exhibi­ ting the Place: Art for the Table”; at Cambridge tion”; at the Walton Art Center. Artists Cooperative, 59A Church Street. Arkansas, Little Rock April23-June ^“National Massachusetts, Northampton April 1—May 31 Objects Invitational”; at the Decorative Arts “Front Porch”; at Pinch Pottery, 179 Main. Museum, Seventh and Rock. Minnesota, Bloomington through April 15 “A California, Downey through April 24 “Informa­ Fragile Balance,” three-person exhibition, includ­ tion Superhighway”; at the Downey Museum of ing ceramic sculpture by Nina Ward; at Bloom­ Art, 10419 Rives Avenue. ington Art Center, 10206 Penn Avenue, South. California, La Jolla through May 6 “Vases and Minnesota, Minneapolis through April 30 “Made Beyond,” includes ceramics by Jim Kraft, Lynn in America: Ten Centuries of American Art”; at Mattson, and Savitri and NJ Lancaster; at Gallery the Minneapolis Institute of Arts, 2400 Third Eight, 7464 Girard Avenue. Avenue, South. California, Los Angeles April 8-May 13 “Hot Minnesota, Saint Paul through April 15 “Gallery Tea”; at del Mano Gallery, 11981 San Vicente Members’ Show,” including ceramics by Cynthia Boulevard. Brattland, Maureen Brockway, Donna Bruhl, Paul April 22-May 28 “Portfolio ’95,” works in ceram­ Epple, David Kroger, Lou Ann Lewis, Gretchen ics, paper, fiber and jewelry by Portfolio artists of Robinson, Ingrid Bjerstadt Rogers, Denise Tennen Palos Verdes Art Center; at the Fashion Institute and Martha Wittstruck. May 5—June 77“Gallery of Design and Merchandising, 919 S. Grand Ave. Members’ Show,” including ceramic sculpture by

68 CERAMICS MONTHLY Denise Tennen; at Craft Connection Gallery, Utah, Cedar CityApril 6-28“ 54th. Annual ‘Open’ Wisconsin, Madison May 20—August 6“Breaking 1692 Grand Avenue. Art Exhibition”; at Braithwaite Fine Arts Gallery, Barriers: Recent American Craft,” with ceramics New Jersey, Montclairthrough June 4 “Patterns Southern Utah University. by Viola Frey, Michael Lucero and James Tanner; in Culture”; at the Montclair Art Museum, 3 Vermont, Manchester May 10-June 10 “Teapots at the Madison Art Center, 211 State Street. South Mountain Avenue. by Vermont Artisans”; at Vermont State Craft Wisconsin, Milwaukee through April 12 “Tea­ New Mexico, Albuquerque through July 15 Center at Frog Hollow, Historic Route 7-A. pots, Funky and Functional”; at Saint John’s Three-person exhibition with coiled stoneware Vermont, Middlebury May 5—29 “A Creative Uihlein Peters Gallery, 1840 N. Prospect Ave. bowls by Mia Blocker; at Ken Dewey Fine Art Marriage,” two-person exhibition with pottery by Wisconsin, Oconomowoc through April 30“^Y tz- Gallery, 323 Romero, Northwest. Miranda Thomas; at Vermont State Craft Center pots, Funky and Functional”; at Oconomowoc New York, Albany May 5—30 “Air and Stone,” at Frog Hollow, 1 Mill Street. Gallery, 157 East Wisconsin Avenue. two-person exhibition with ceramics by Ulla Virginia, Alexandria April 26—May 28 “Special Sattinger; at Broadway Gallery, 991 Broadway. Objects, Special Celebrations: Weddings, Gradu­ Fairs, Festivals and Sales NewYork, Binghamton through May 29“ Handed ations, Promotions and Other Good News”; at On: Folk Crafts in Southern Life”; at the Rober­ Scope Gallery, 105 North Union Street. California, Pasadena May 12-14 “Contempo­ son Museum and Science Center, 30 Front Street. Virginia, Norfolk May 4—June 25 “D’Art Center rary Crafts Market”; at the Pasadena Center, 30 New York, New York through June 25 “Jewelry Fifth Annual Mid-Atlantic Art Exhibition”; at East Green Street. from the Permanent Collection of the American d’Art Center, 125 College Place. California, Santa Monica May 19—21 “Contem­ Craft Museum”; at American Craft Museum, 40 Virginia, Williamsburg April 3—19 Two-person porary Crafts Market”; at Santa Monica Civic West 53rd Street. exhibition with ceramics by Dan Finnegan; at the Auditorium, 1855 Main Street at Pico Boulevard. New York, Rochester April 13-June 18 “From Twentieth-Century Gallery, 219 N. Boundary. Connecticut, GreenwichApril 29-30 “First Brant Point to the Boca Tigris: Nantucket and the China Trade”; at the Memorial Art Gallery, Uni­ versity of Rochester, 500 University Avenue. North Carolina, Charlotte April 15-June30 “Elvis and Marilyn: 2xImmortal”; at Mint Museum of Art, 2730 Randolph Road. North Dakota, Minot through April 23 “18th Annual National Juried Exhibition”; at the Minot Art Gallery, Minot Art Association, North Da­ kota State Fairgrounds. North Dakota, Valley City April 4-26 “19th Biennial National Juried Art Exhibition”; at 2nd Crossing Gallery, 200 North Central. Ohio, Athens through May 7“Area Art on View”; at the Dairy Barn Cultural Arts Center, 8000 Dairy Lane. Ohio, Cleveland through April 9“ Ceramic Invita­ tional XVII,” will also include a fiber artist and furniture maker; at American Crafts Gallery, 13010 Larchmere Boulevard. through April 23 “A Passion for Antiquities: An­ cient Art from the Collection of Barbara and Lawrence Fleischman”; at the Cleveland Museum of Art, 11150 East Boulevard. Ohio, Columbus through April 9“ 14th Biennial Contemporary Works of Faith”; at the Schumacher Gallery, Capital University. through April 30 Exhibition of works by the fac­ ulty of Columbus College of Art and Design; at Joseph V. Canzani Center, Cleveland Avenue and Gay Street. April 7—June 23 “Best of 1995,” juried all-Ohio exhibition; at the Ohio Craft Museum, 1665 West Fifth Avenue. Ohio, Mansfield through April 16 “All-Ohio Ju­ ried Exhibition”; at Pearl Conard Gallery, the Ohio State University at Mansfield, 1680 Univer­ sity Drive. Oklahoma, Tulsa April 2-May 28 “American Arts and Crafts: Virtue in Design”; at the Philbrook Museum of Art, 2727 South Rockford Road. Oregon, Portland through April 16 “Breaking Barriers: Recent American Craft,” includes ce­ ramics by Viola Frey, Michael Lucero and James Tanner; at the Portland Art Museum, 1219 South­ west Park Avenue. Pennsylvania, Allentown May 18-July 1 “Outside In”; at Open Space Gallery, 913 Hamilton Mall. Pennsylvania, New CastleApril 4—28 “Ceramic Images, Textile Art and Ceramic Vessels,” three- person exhibition with daywork by Lucille Sturdevant Leeper and Bruce Woyt; at the Hoyt Institute of Fine Arts, 124 East Leasure Avenue. Tennessee, Gatlinburg April 20-May 13 “Resi­ dent Artist Exhibition,” includes wood-fired and salt-glazed pottery by Jeff Brown and Patrick Purcell. May 19—August 11“Summer Faculty and Staff Exhibition”; at Arrowmont School of Arts and Crafts, 556 Parkway.

April 1995 69 Calendar Virginia, Blacksburg April 7—9 “24th Annual Brush Mountain Arts and Crafts Fair”; at Rector Field House, Virginia Tech campus.

American Crafts at Greenwich”; at Robert Sherman Workshops Baldwin Park, downtown waterfront. D.C., Washington April27-30 “The Smithsonian California, Concow./lpri!.9-7^“Wood-fire Work­ Craft Show”; at the National Building Museum, shop” with Nolan Babin, firing a 200-cubic-foot Fourth and F streets, Northwest. kiln. Participants must bring bisqued objects (Cone April 29 “In Praise of Craft,” auction of works by 10 clay). Beginners. Fee: $250, includes materials, seven craftspeople, including ceramist Betty firing and lodging. Contact Nolan Babin, 13191 Woodman. (See “In Praise of Craft” under Work­ Mullen Way, Oroville (Concow), California shops.) Tickets: $175 each. Contact the James Ren- 95965; or telephone (916) 534-9137. wick Alliance, 6801 Winterberry Lane, Bethesda, California, Gualala April 28—30 Three one-day Maryland 20817; or telephone (301) 229-2148. workshops in “Tile Painting” with Marji Ingersoll, Florida, Jacksonville May 19-21 “ArtWorks”; at using opaque underglazes on commercial bisque Prime Osborn Convention Center. tiles. Fee: $50 per day, members $45, includes Illinois, Chicago May 19-21 “Folk and Tribal materials and firing. Limited enrollment. Contact Arts Festival”; at Merchandise Mart ExpoCenter, Gualala Arts Center, Post Office Box 244, Gualala 350 North Orleans. 95445; or telephone (707) 884-1138. Illinois, Saint Charles May 12—13 “Interior In­ California, Hesperia May 20—21 “Earth and Ce­ spirations ’95: An Eclectic Collection for the ramic Architecture” with Nader Khalili. All skill Home.” For ticket information, contact the Fine levels. Fee: $275, includes materials. Contact Iliona Line Creative Arts Center, 6N 158 Crane Road; Outram, Cal-Earth/Geltaftan Foundation, 10376 (708) 584-9443. Shangri-La Avenue, Hesperia 92545; or telephone Iowa, Clinton May 20-21 “Art in the Park”; at (619) 244-0614. Riverview Park. California, Mendocino April 8—9 “Uncentering: Maryland, Gaithersburg April 7-9 “Sugarloaf s A Contemporary Dialogue with the Potter’s Spring Gaithersburg Crafts Festival”; at the Mont­ Wheel” with Tom Orr. April22-23 “Clay, Myth gomery County Fairgrounds. and Fairy Tale” with George Kokis.April 29—30 Maryland, Timonium April 28-30 “Sugarloaf s “Handbuilding Forms from Nature” with Spring Timonium Crafts Festival”; at the Mary­ Jacqueline Davidson. May 6-7 “Two Days with land State Fairgrounds. John Leach”; fee: $175; members, $150. Fee/ Michigan, East Lansing May 4-6“Greater Lan­ session (unless noted above): $95; members, $75. sing Potters’ Guild Annual Spring Sale”; at All Contact the Mendocino Art Center, 45200 Little Saints Church, 800 Abbott Road. Lake Street, Post Office Box 765, Mendocino Michigan, Novi April21-23 “Sugarloaf s Spring 95460; or telephone (707) 937-5818. Novi Crafts Festival”; at the Novi Expo Center. Connecticut, New Haven April22—23 “Ceramic Minnesota, Saint Paul April 21-23 “ACC Craft Sculpture Demonstration” with Jonathan Wil­ Fair Saint Paul”; at the Saint Paul Civic Center. son. Fee: $60; members, $54. Contact Creative New Jersey, Flemington ^4pnl22—23“Flemington Arts Workshop, 80 Audubon Street, New Haven Crafts Festival”; at the Flemington Fairgrounds. 06510; or telephone (203) 562-4927. New Jersey, SomersetMay 19-21 “Sugarloaf s D.C., Washington April23 “Throwing Big” with Spring Somerset Crafts Festival”; at the Garden Rex Brown, includes decorating large vessels.May State Exhibit Center. 7“Covered Vessels” with Connie Rogers, throw­ New York, Chestnut Ridge May 5-7 “26th An­ ing, cutting, trimming and decorating closed boxes, nual Invitational Green Meadow Artisans’ Show”; jars and urns. May 21 “British Studio Production at GMWS, Hungry Hollow Road at Route 45. Techniques” with Bill Van Gilder, making tea­ New York, Long Island April 7—9 “11th Spring pots, goblets, plates, plus molds. Fee per session: Fling Crafts Festival”; at Nassau Coliseum. $35. Contact Hinckley Pottery, 1707 Kalorama New York, New York April 25 Craft Emergency Road, Northwest, Washington, D.C. 20009; or Relief Fund auction and sale of works by 17 craft telephone (202) 745-7055, fax (202) 462-4159. artists. Ticket price: $100. For further informa­ April 29 “In Praise of Craft: Conversations with tion, contact Lois Ahrens, Craft Emergency Relief Seven Masters,” including ceramist Betty Fund (413) 586-5898; or write 245 Main Street, Woodman, moderated by Michael Monroe. (See Northampton, Massachusetts 01060. “In Praise of Craft” under Fairs, Festivals and May27-29and June 3—^“The Washington Square Sales). Fee: $20; Alliance members, $15. Loca­ Outdoor Art Exhibit”; along University Place, tion: Renwick Gallery. Contact the James Ren- Greenwich Village. wick Alliance, 6801 Winterberry Lane, Bethesda, Ohio, Akron May 5—7 “The Blossom Music Maryland 20817; or telephone (301) 229-2148. Center Arts and Crafts Festival”; at Blossom May 7 Lecture by Mary Lou Deal. Location: Music Center. Renwick Gallery. Contact the James Renwick Ohio, Dayton May 27-28 “Art in the Park”; Alliance, 4414 Klingle Street, Northwest, Wash­ at Riverbend Art Center, 1301 East Siebenthaler ington, D.C. 20016. Avenue. Georgia, Augusta April 22—29 “Gone to Pot” Oregon, Portland May 12-14“ 13th Annual OPA with Nancy A. Fishback, includes sculpting and Showcase,” featuring works by members of the pit firing a doll, as well as dressing the figure in raw Oregon Potters Association; at the Oregon Con­ materials. Open to women ages 15 and over. Fee: vention Center. $ 100, includes materials. Preregistration required; Pennsylvania, Fort Washington April 29-30 space is limited. Location: Castaway Ceramics. “Pennsylvania Crafts Fair”; at the Fort Washing­ Contact Nancy Fishback, 1027 Tara Court, ton Expo Center. Lincolnton, Georgia 30817; or telephone (706) Pennsylvania, Pittsburgh April 21-23 “Third 359-7242. Annual Antiques Show”; at the Carnegie, 4400 May 20 “Raku and Faux-Ku,” hands-on work­ Forbes Avenue. shop with Linda Guthrie and Ka-Cee Vaughan, South Carolina, Greenville May 5-7 “River Place includes glazes, formulas, firing techniques and Festival”; on the grounds of the Peace Center for firing of bisqueware. Fee: $35. Preregistration the Performing Arts and along the banks of the required; space is limited. Contact Castaway Ce­ Reedy River. ramics, 3689 Peach Orchard Road, Augusta 30906;

70 CERAMICS MONTHLY April 1995 71 Calendar Hot! Alternative Firing and Decorating Tech­ with Sammie Nicely. Fee: $225. May 21-27 niques” with Bob Green. May 13—15 “Working “Earthenware Encounter” with Mary Dashiell. with Colored Clays: A Japanese Approach to the Fee: $225. May 28-June 3 “Raku—Fusing Past Vessel” with Debbie Freed. Contact Horizons, and Present” with Gary Clontz. Fee: $225. Con­ telephone (706) 798-6493 or Linda Guthrie (706) the New England Craft Program, 108-P North tact John C. Campbell Folk School, Route 1, 737-8868 . Main Street, Sunderland, Massachusetts 01375; Box 14A, Brasstown 28902; or telephone (800) Illinois, Evanston May 14 Slide presentation, or telephone (413) 665-0300. 365-5724. discussion and demonstration with Liesa Goerlich Montana, Missoula A/ay 25-27“ Woodstack ’95,” North Carolina, Winston-Salem April 7—9“Clay on an alternative approach to handbuilding. Fee: wood-fire symposium featuring demonstrations Curriculum and Technical Development,” work­ $10; members free. Contact Chris Plummer, by Rudy Autio and Peter Voulkos, plus slide shop for teachers of ceramics, with Sandra Blain. Evanston Art Center, 2603 Sheridan Road, lectures, panel discussions and exhibitions featur­ Preregistration required. Contact April Work­ Evanston 60201; or telephone (708) 475-5300. ing Autio, Don Bendel, Peter Callas, Josh shops, Sawtooth Center for Visual Art, 226 North Kentucky, Somerset April 29-30 and May 6-7 DeWeese, Ken Ferguson, Torbjorn Kvasbo, Jim Marshall Street, Winston-Salem 27101; or tele­ “Kentucky Raku Weekends” with Meg McClorey, Leedy, Don Reitz, David Shaner, David Smith phone (910) 723-7395. focusing on handbuilding and throwing (first and Voulkos. Fee: $125/3 days; $45/1 day. Lim­ Ohio, Columbus April 29-30 Hands-on ceram­ weekend), then glazing and raku firing (second ited space. Contact Bryan D. Spellman, Woodstack ics workshop with Lee Rexrode (part of the Ohio weekend). Beginning and intermediate. Fee: $140, ’95, School of Fine Arts, University of Montana, Designer Craftsmen’s eighth annual Midwest Craft includes materials and firing. Contact Meg PART 110, UM Campus, Missoula 59812-1220; Conference). Advance registration required. Con­ McClorey, Fire and Clay, 2535 Pumphouse Road, or telephone (406) 243-4971. tact Ohio Designer Craftsmen, 1665 West Fifth Somerset 42501; or telephone (606) 679-7897. New York, New York May 9 “An Evening with Avenue, Columbus 43212; or telephone (614) Maine, Portland April 29 “Raku and Barbecue” Beth Forer and Brother Thomas,” an interview by 486-4402. with Steven Fasciana. Participants should bring David McFadden, Department of Decorative Arts, Ohio, Wooster April 6-9 “Functional Ceramics bisqued ware. Fee: $30, includes glaze and firing Cooper-Hewitt, National Design Museum, about Workshop” with Steven Hill and Kouji Sugie. for up to 4 medium-size pieces. For further infor­ the influence of Chinese ceramics on their work. Also includes a brush-making demonstration by mation, contact Portland Pottery School and Sup­ Contact the Asia Society, 725 Park Avenue, New Glen Grishkoff, and “Three Approaches to Mak­ ply, 118 Washington Avenue, Portland 04101; or York 10021; or telephone (212) 517-ASIA. ing and Selling Out of Your Own Studio” with telephone (207) 772-4334. New York, Port Chester May 20 “Figurative Lynn Lais, Dick Lehman and Mark Nafziger. Fee: Maryland, Rockville May 6A session with Mary Ceramics Workshop” with Sarah Coble. Contact $100; students, $50. For further information, Lou Deal, featuring coiling, use of color and raku the Clay Art Center, 40 Beech Street, Port Chester contact Phyllis Blair Clark, 102 Oakmont Court, firing. Fee: $50; Alliance members, $45. For fur­ 10573; or telephone (914) 937-2047. Wooster 44691. ther information, contact the James Renwick Al­ North Carolina, Brasstown April 2-9 “Wood Pennsylvania,Blue Bell April 7—9 Lecture (April liance, 4414 Klingle Street, Northwest, Washing­ Firing Porcelain and Stoneware” with Marcia 7) and workshop (April 8-9) with John Glick. ton, D.C. 20016. Bugg. Fee: $350. April 9—15 “The Art of Raku” Lecture fee: $10. Workshop fee: $100 (includes Massachusetts, East Walpole April 22 Lecture, with Lynn Jenkins. Fee: $225. April 16-22 lecture). Limited space. Contact Mike Smyser, demonstration and hands-on session with Mikhail “Thrown, Manipulated and Assembled Vessels” Art Department, Montgomery County Commu­ Zakin. Fee: $25. Contact Potter’s Place, 153 with Mike Vatalaro. Fee: $225. May 5-7“Wheel nity College, 340 DeKalb Pike, Blue Bell 19422; Washington Street, East Walpole 02032; or tele­ Throwing” with Jan Davis. Fee: $125. May 7—13 or telephone Mike Smyser (215) 641-6477. phone (617) 762-6184. “Handbuilding and Slab Construction” with Judy Pennsylvania, Chester SpringsApril21—23 “Shin­ Massachusetts, Williamsburg April 21-23 “Get Robkin. Fee: $225. May 14-20 “Mask Making” ing Clay: Clay and Deep Ecology” with Paulus Berensohn. April 28—30 “Behaving Artistically: Journal Making and Keeping” with Paulus Berensohn. Advance registration required.August 9—September 2 “Summer Residencies,” two ce­ ramics projects requiring wood and/or other out­ door firing facilities (raku, pit). To apply, send 10 slides, resume and one-page description of project. Application deadline: May 1. Contact Chester Springs Studio, Post Office Box 329, Chester Springs 19425; or telephone (610) 827-7277. Pennsylvania, DoylestownAugust 28-November 18 “Moravian Pottery and Tile Works Apprentice Workshops,” forming and reproduction tech­ niques, including tile making, mold work, glaze application, saggar firing and cement installation. To apply, send 10 slides of recent work, resume, artist’s statement, cover letter on expectations for the experience, and two letters of recommenda­ tion. Application deadline: June 5. Contact the Apprentice Program, Moravian Pottery and Tile Works, 130 Swamp Rd., Doylestown 18901. Pennsylvania, Harrisburg April 22 “Ceramics Workshop,” demonstration and slide lecture with Christopher Staley. Fee: $30; lecture only, $5. Registration deadline: April 15. Send SASE to Kim Bowie, Art Association of Harrisburg, 21 North Front Street, Harrisburg 17101; or telephone (717) 236-1432. Pennsylvania, Mill Hall May 7-12 “Pipe Sculp­ ture Workshop” with Jerry Caplan, making terra­ cotta sculpture from fresh extrusions. Beginning through advanced. Fee: $295, includes materials and firing. For further information, contact Penn­ sylvania Guild of Craftsmen, Post Office Box 108, State College, Pennsylvania 16803; or telephone (814) 231-0565. Pennsylvania, Pittsburgh April 7—9 Slide lecture (April 7) and workshop (April 8-9) with Karen Karnes. Limited enrollment; advance registration required. For further information, contact

72 CERAMICS MONTHLY Manchester Craftsmen’s Guild, 1815 Metropoli­ International Events Clay—My Favorite Dish,” exhibition and sale of tan Street, Pittsburgh 15233; or telephone (412) works by 14 B.C. potters; at the Metchosin Com­ 322-1773. Australia, Gulgong May 6—14 “Clay-Sculpt munity Hall, Happy Valley and Metchosin roads. Rhode Island, Kingston April30 Demonstration Gulgong: A Practical Wood Firing and Master Canada, Ontario, East York April 28-30 Sale of with Malcolm Wright, production and one-off Workshop Experience” will include firing various works by 40 potters; at the Potter’s Studio, 2 throwing, plus handbuilding with extruded parts. types of wood kilns and making clay sculptures for Thorncliffe Park Drive, Unit 16. Contact South County Art Association, Potters’ the environment. Participating artists: Bruce Canada, Ontario, Toronto through August 5 “The Cooperative, 2587 Kingstown Road, Kingston Anderson, Peter Callas, Joan Campbell, Michael Sculpture of Georges Jeanclos”; at the George R. 02881; or telephone (401) 783-2195. Flynn, Robert Harrison, Nina Hole, Bronwyn Gardiner Museum of Ceramic Art, 111 Queen’s Texas, Gruene (New Braunfels) April 25-26A Kemp, Gudren Klix, Ryoji Koie, Torbjorn Kvasbo, Park. session with John Leach. Contact Buck Pottery, Richard Launder, Janet Mansfield, Vince Mc­ May 5—7 “Thirteenth Annual Spring Show and 1296 Gruene Road, New Braunfels 78130; or Grath, Claude Presset, Ann Roberts, Mitsuo Sho- Sale”; at the Woodlawn Pottery Studio, 80 telephone Dee or Terry Buck (210) 629-7975. ji, Peter Voulkos and Chuck Wissinger. Fee: Woodlawn Avenue, East. Texas, Wimberleyylpnl£and22“Clay Day ’95,” AU$300 (approximately US$234), includes exhi­ May 8—26 “Throwing” with Debby Black and workshop for adults and children, handbuilding, bition, gallery and studio visits, as well as tours to Gerry Johns. Beginning and intermediate. Fee: glazing and raku firing with Mike and John Quinn. local attractions. For further information, contact Can$295 (approximately US$217), includes ma­ Fee: $15. Contact Clay Jungle, P. O. Box 2183, Janet Mansfield, Ceramics: Art and Perception, terials and firing. Contact Denise Buckley or Wimberley 78133; or telephone (512) 847-7219. 35 William Street, Paddington NSW 2021; or Gerry Johns, George Brown College, Post Office Utah, Salt Lake City April 20-25 “Salt/Wood- telephone (236) 15286 or (637) 40257; fax (236) Box 1015 Station B, Toronto M5T 2T9; or Fired Pottery Workshop” with Joseph Bennion. 15402. telephone (416) 944-4465 or 944-4470. Fee: $100. Preregistration required; limited space. Brazil, Sao Paulo through April 8 “The Knives,” Canada, Quebec, Pointe-Claire April 8—May 14 Contact Stone Age Crafts-Pottery, 3695 South with ceramics by Carmen Gross; at Museu de Arte “Biennale Nationale de Ceramique”; at Stewart 300 West, Salt Lake City 84115; or telephone Moderna. Hall Art Gallery, Centre Culturel de Pointe-Claire. (801) 262-9654. Canada, Alberta, Calgary May 26-28 “Color in England, Bath May 27-/une2“Playing with Fire” Vermont, Bristol May 19-22 “Experiencing the Clay,” workshop with Shirley Rimer. Fee: with Lexa Lawrence and Steve Mills. For further Fire” with Robert Compton, firing pots using five Can$125 (approximately US$92); Alberta Pot­ information, send SAE to Bath Potters’ Supplies, different methods and kilns, including a salt; ters’Association members, Can$95 (approximately Dorset Close, Bath, Avon BA2 3RF; or telephone raku; sawdust; pit; and climbing, multicham­ US$70). Contact Mount Royal College, Con­ (22) 533-7046, fax (22) 546-2712. bered, wood kiln. Intermediate. Fee: $430, in­ tinuing Education and Extension, Arts Area, 4825 England, Chichester April 2—7 “Pots for Plants” cludes materials, firing and meals. Contact Robert Richard Road, Southwest, Calgary T3E 6K6; or with Gordon Cooke. April 16—21 “General Pot­ Compton Pottery, RD 3, Box 3600, Bristol 05443; telephone (403) 240-3833 or the Alberta Potters’ tery,” handbuilding and throwing with Alison or telephone (802) 453-3778. Association (403) 270-3759. Sandeman. Contact the College Office, West Dean Virginia, Alexandria April22-23 Demonstration Canada, British Columbia, Victoria April 8-9 College, West Dean, Chichester, West Sussex and discussion of form, decoration and glazes with “Throwing and Altering” with Patrick Horsley. PO18 0QZ; or telephone (24) 381-1301. Cynthia Bringle. Fee: $85; Clay Connection mem­ Fee: Can$75 (approximately US$53). Contact England, Derby through May 27“Ceramics from bers, $50. For further information, contact Pine Metchosin International School of Art, RR#1, 25 Years,” by Joanna Constantinidis; at the Con­ Ridge Pottery, 5704G General Washington Drive, Pearson College, Victoria V9B 5T7; or telephone course Strutt Building, University of Derby, Alexandria 22312; or telephone Barbara Lewis (604) 478-5591. Kedleston Road. (301) 932-3915. May 27-28 “Fired-Up! Contemporary Works in May 2 Lecture by Joanna Constantinidis.May 16

April 1995 73 Calendar

“The Texture of Memory: Joanna Constantinidis and 20th-century Studio Ceramics in Context,” lecture by Sebastian Blackie. Contact University of Derby, Kedleston Road, Derby DE22 1GB; or telephone (33) 286-2868. England, Hatfield May 11-14 “Living Crafts,” demonstrations and sale of craftwork; at Hatfield House, Hatfield Park. England, London through April28 Exhibition of pottery by David Leach.May 3-June2 Exhibition of ceramics by Jennifer Lee; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. April I-77Two-person exhibition with ceramics by Vinitha McWhinnie; at the Ice House, Hol­ land Park, off Kensington High Street. April 24—May 6 “Between the Two Gardens,” exhibition of ceramics, paintings and prints by Khairat Al-Saleh; at Leighton House Museum and Art Gallery, 12 Holland Park Road. May 18-31 “Earth, Fire and Water,” exhibition of ceramics by Christine-Ann Richards; at the Orangery, Holland Park, off Kensington High St. England, Oxford May 1-31 Exhibition of luster- ware by Sutton Taylor; at Oxford Gallery, 23 High Street. England, Stafford April 4—May 13 “The Break­ fast, Lunch and Dinner Party,” exhibition of tableware by Morgen Hall; at Shire Hall Gallery. England, Stoke-on-Trent through April “The Robert Pinchen Collection of Studio Pottery”; at the City Museum and Art Gallery, Arnold Mountford Study Gallery, Hanley. France, Nancay through May 7 “20 Ans d’Histoire”; at Galerie Capazza, Grenier de Villatre. Germany, Dusseldorf through May 21 “Zeit- genossische Finnische Keramik”; at Hetjens-Mu- seum, Schulstrasse 4. Italy, Milan April 1-9 “The 13th Internazionale dell’Antiquariato”; at the Fiera Milano. Italy, Tuscany May 20-28 “From the Etruscans into the Future” with Nancee Meeker. Contact Horizons, 108 N. Main St., Sunderland, Massa­ chusetts 01375; or telephone (413) 665-0300. Japan, Nagoya May 9—20 Exhibition of wood- fired pots by Rob Barnard; at Hashimoto Fine Art, 3-Chome, 27-7 Sakae, Ci Mansion, Minami-Otsu. Japan, Shigaraki through May 31 “The Raw and the Cooked”; at Shigaraki Ceramic Cultural Park. Netherlands, Deventer through April 13 Exhibi­ tion of stoneware by Johannes Peters and porce­ lain by Mary Vigor.April 23-May 21 Exhibition of ceramics by Jean Claude de Crouzas and Catherine Vanier. May 14—July 1 “Showcase,” with ceramic jewelry by Christiane Pluvy; at Loes and Reinier International Ceramics, Korte Assenstraat 15. Netherlands, Dordrecht through June 14 “Het tijdelijk oponthoud,” with ceramics by Rein Dool; at Dordrechts Museum, Museumstraat 40. Netherlands, Landgraaf through April 10 Exhibi­ tion of ceramics and mixed media by N iek Geelen. April 28-May 28 “Paintings on Ceramics”; at Galerie Gaudi, Hereweg 83. Netherlands, Rotterdam April 6-27 Exhibition of ceramics by Byron Temple; at Museum Boy- mans-van Beuningen, Mathenesserlaan 18-20. Netherlands, Slootdorp through April 30YLx\Y\b'\- tion of ceramics by Nicholas Pope; at Art and Project, Nieuwesluizerweg 42. Scotland, Edinburgh May 8-31 Exhibition of ceramics by Kate Malone; at the Scottish Gallery, 16 Dundas Street. Switzerland, Geneva through April 17 Ceramics by Hideyuki Hayashi; at Ariana, Swiss Museum of Ceramics and Glass, 10 Avenue de la Paix.

74 CERAMICS MONTHLY April 1995 75 leave a powdery residue that is more apparent after can be substituted at 0.75 part strontium to 1 part Questions the bisque firing. Typically, barium is added barium in glazes, there have been no alternative Answered by the CM Technical Staff because it reacts with the soluble salts to form materials suggested to prevent scumming. Be­ insoluble materials. cause of the low amount of barium used to prevent Frank Hamer, in The Potters Dictionary of scumming in low-fire bodies (usually 0.5%) and Materials and Techniques, identifies calcium sul­ the subsequent formation of insoluble barium Q For some time, I’ve been using a heavily grogged fate and magnesium sulfate as the major culprits. sulfate, most studio potters do not consider this low-fire clay for handbuilding It’s composed of When combined with barium carbonate, the use of barium much of a risk. Cedar Heights Redart (75 pounds), Missouri Fire­ result is barium sulfate (the insoluble form of Linda Arbuckle clay (25pounds), grog (30pounds), talc (8pounds) barium introduced into the body for X-rays) and University of Florida and a pinch of barium carbonate to prevent scum­ calcium or magnesium carbonate. Gainesville, Florida ming The ingredient that concerns me is the barium The question of a substitute for barium car­ Q Tm designing an updraft kiln for reduction carbonate. Is there any less-toxic substitute you can bonate has been raised on Clayart (a discussion firing, and would like to make the soft brick, but can’t recommend that will prevent scumming? —S. S. group accessed via computer; see “Ceramics and Scumming is caused by soluble salts in the Electronic Communications” by Rick Malmgren find a recipe or instructions. Can you help?—M. G. ingredients or the water used to mix the clay body. in the November 1993 CM for information on Industry produces insulating firebrick by two As the clay dries, these salts wick to the surface and joining) several times. While strontium carbonate methods: one mixes a gas or gas former into the stiff clay; the other adds a combustible material that burns out during firing. The function of the holes left in the brick by either method is to prevent heat transfer. The burnout method is the easiest to control in a studio situation; however, there are several drawbacks to attempting to make your own soft- brick—shrinkage and even drying being the most serious. Have you considered casting refractories and firing the entire kiln in place? Rather than making individual brick for construction, you can cast a large kiln customized to suit your needs. I have found kilns constructed from studio- mixed castable refractories to be much cheaper to build than brick kilns. (See “Castable Refracto­ ries” and “A Castable Kiln” in the November 1981 CM.) The sawdust and vermiculite, which are major components of castables, are very inex­ pensive. I have also derived a great deal of satisfac­ tion from breaking up all those old pots and firebrick, and adding them to the castable mix. Before building your kiln, test the castable, making certain it will withstand the required temperatures and that it has suitable strength at the highest temperature you expect to be firing to. (Place a brick on top of your test sample and check for deformation at temperature.) Do not use any steel reinforcing material in the refactory. Any burnout material should be small (less than ½ inch). Do not use any burnout material that is in the form of a shaving or splinter, as this will weaken the castable. Although portland cement can be used in castable refractories that are fired to Cone 10, it is advisable to use calcium-aluminate cements for studio-mixed castables. A good source is Lehigh Cements of Allentown, Pennsylvania; (610) 366- 4651. Lehigh manufactures two refractory ce­ ments: Lumnite, which sells locally for 20C per pound; and Refcon, which sells for 23 per pound in quantity. I have not used the Refcon, but the company says it is the higher strength cement at high temperatures. The Lehigh staffis very helpful and will direct you to a local supplier. W. Lowell Baker University of Alabama Tuscaloosa, Alabama

Subscribers’ questions are welcome and those of gen­ eral interest will be answered in this column. Due to volume, letters may not be answered personally. Ad­ dress the Technical Staff, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788.

76 CERAMICS MONTHLY April 1995 77 Video wax resist to the bottom) for glazing, she demonstrates some simple techniques: single and two-tone dipping, overlapping two glazes The Making of a Functional Potter to create a third color, and pouring. Two with Carole Berhorst other potters then demonstrate underglazing Intended for beginners, this profession­ on greenware, using wax resist for decorative ally produced series of six videos focuses on purposes and on-glaze decorating. wheel throwing. “With lots of practice and The sixth tape looks at alternatives to patience and determination, you can learn to throwing: Another potter forms a bud vase do pottery on the wheel,” assures functional around a paper-towel roll, and also alters a potter Carole Berhorst. “Whether or not you bowl at the leather-hard stage by carving the ever become a great potter is not the ques­ surface and cutting into the rim. A squared tion—it’s a lot of fun to do, and there’s a lot tray is constructed by draping a slab into a of wonderful results that come from it.” wooden frame, then decorated with impress­ Berhorst begins most of the tapes with a ing, slip trailing, carving, etc. Finally, Berhorst brief discussion of the tools needed and a shows how to form bowls by draping slabs wedging demonstration. Throughout the into metal containers. Each tape runs 60—90 series, two different camera angles are used, minutes. Available as VHS videocassettes. allowing the viewer to see the demonstrated $ 19.95 each, plus $4 shipping and handling. forming process from the top and side. EachAVProductions, Post Office Box 1796’ Troy, tape ends with a list of recommended refer­ Michigan 48099; (810) 879-1884. ence books and periodicals. The first tape looks at the basics of work­The Art of Clay Printing ing on the wheel—centering, throwing and with Mitch Lyons trimming (cylinders, bowls and plates). Pulling monoprints from clay “has given Berhorst repeats the processes of centering me infinite avenues of artistic expression,” and throwing with varying weights of clay, states artist Mitch Lyons in this how-to reminding beginners that they will need lots video. “It is very different from all the other of practice to feel comfortable with the tech­printing processes that I know. It is much niques. Just learning to center can take two tomore painterly. The only restriction is your three months, she cautions. imagination.” After briefly discussing the Tape two covers cylindrical shapes, such tools needed, Lyons begins by spreading out as vases, mugs, candlestick holders and plant­a ½ -inch-thick slab of stoneware over a sealed ers. “The cylinder is the basis of all pottery rectangle of plywood. Once the clay has shapes,” Berhorst states. “You must master dried to leather hard, he coats it with five or this.” After throwing and trimming several six layers of kaolin slip, explaining that the cylindrical forms, she demonstrates pulling color is more intense on the white slip than and attaching handles to mugs and pitchers. on stoneware. She also carves a leather-hard piece for deco­ To mix the colored clays (which will be rative effects. applied to the slip-coated slab), Lyons stirs The third tape focuses on flatware— dry pigments into water. Some are standard plates, trivets, low bowls and mirror frames. ceramic oxides, but others are organic pig­ The thrown pieces are trimmed, and handles ments used by painters. Kaolin slip is then are applied to plates. She then carves the rim added to each pigment mixture. He also of a plate, noting that “there are many alter­ makes pastels by pouring excess colored slip natives to design on even the simple plate.” onto newsprint, letting it dry until plastic, Bowls (her favorite shape to make “be­ then rolling it into a ball and setting it aside cause of the possibilities”), covered dishes to dry completely. and handles are demonstrated in the fourth Lyons demonstrates several different tape. Advising beginners to “keep it simple,” methods of applying imagery to the slab. Berhorst throws small and large bowls, as Colored slip can be applied directly onto the well as a jar and a casserole, plus two types ofslab with a brush, then inlaid by placing lids—one fits inside the jar and the other sits newsprint on top and pressing with a rolling on top of the casserole. She also trims a foot pin. Slip can also be applied to newsprint on one of the bowls and trims the lids. with a brush or syringe; when the slip has lost Handles are pulled and attached to a bowl its sheen, the newsprint is inverted onto the and to the casserole. slab and pressed with the rolling pin. Lyons Glazing techniques are discussed in the also uses numerous stencils—paper, rope, fifth tape: “I’ll show you all the steps from berry baskets, doilies, Cheerios, etc.—with beginning to end, and where you go with it brushed slip and dusted pastels (scraping the has only to do with your creativity,” Berhorst dry ball on a handheld screen) to achieve comments. After describing the preparation desired effects. of a bisqued piece (cleaning and applying When the slab is decorated to Lyons’

78 CERAMICS MONTHLY April 1995 79 Video

satisfaction, he inlays everything one last time before pulling the print—on interfac­ ing material purchased at a fabric store. Lyons first borders the slab with drywall tape. He then lightly sprays the slab and the inter­ facing with water. Positioned on the deco­ rated slab, the interfacing is pressed with the rolling pin. He then pulls up one side, sprays the material and the slab, and rolls again. This process is repeated several times on all sides until he is satisfied with the print. “When pulling a print from clay, do not expect to get the mirror image,” he cautions. “You must be free enough to trust your instinct.” After the interfacing is removed from the slab, it is hung to dry for a couple of hours. The slab can then be printed from again, or recoated with layers of white slip and a new design begun. 68 minutes. Available as VHS videocassette. $39.95, plus $2.90 shipping and handling. Mitch Lyons, 2009 Newark Road, Post Office Box 40, New London, Penn­ sylvania 19360-0040.

The Sculptor in You! Volume One: Shortcuts to Portrait Sculpture In this video for beginning artists, sculp­ tor A. Wasil demonstrates the construction of a portrait bust, explaining that “it takes more than raw talent to become an accom­ plished sculptor. It takes learning technique and practice.” Taking the viewer step-by-step through the process, Wasil begins by measuring and photographing various sections of the model’s head. He then shares tips on average propor­ tions of the head; for instance, the eyes are approximately halfway between the top and bottom of the head, and there is about one eye width between the eyes. To support the bust during construction, Wasil mounts an armature (a steel pipe) on a bat, then wraps large chunks of clay around it. More clay is added to establish the profile, before rounding out a head shape. Details are then “fleshed” out according to the initial measurements. Recommending that artists work loosely at first—“time spent on detail is wasted if your general placement is wrong”—Wasil advises that “your photographs are your best guide. Study them carefully for the small cues that will help you capture the essence of your model.” 60 minutes. Available as VHS videocassette. $49.95, plus $3 shipping and handling. Webber Marketing Company, 12584 Cresta Court, San Diego, California 92128; (619) 485-9355.

80 CERAMICS MONTHLY April 1995 81 Adjusting a crazed Cone 6 glaze recipe by adding flint: the tight craze pattern evident on the first tile was produced by a recipe made up of equal parts whiting, Ferro frit 3124, nepheline syenite, Edgar Plastic Kaolin and flint; the second tile shows the same recipe with an additional 10 parts flint (for a total of 30 parts flint); the third tile has 40 parts flint; and the last, 50 parts.

It’s important to understand glaze If the craze pattern is tight (lines mesh sizes. Finer mesh sizes might be theory if you want to solve any glaze spaced less than ½ inch apart), the de­ available on special order from a ceram­ problems. There is no shortcut to knowl­ gree of difficulty in eliminating crazing ics supplier. edge in ceramics. What most potters is increased; the closer the lines, the Also, try fused silica, a calcined silica would prefer, however, is a step-by-step harder the fix. with a very low shrinkage rate. Siltex 44 guide for solving common problems. If the clay body has a high absorp­ is the trade name of fused silica pro­ When you’re lost, you don’t need to tion rate (over 4%) after firing, chances duced by Kaopolite Incorporated, 244 know how to build a road; you need to of correcting the crazing are also low. Morris Avenue, Union, New Jersey know which road to take to reach your If you have tried several corrections 07083; telephone (908) 789-0609. Its destination. This guide is meant to help with no success and the result you want low shrinkage rate helps stop crazing. potters who are troubled by crazed glazes is fairly common (i.e., clear gloss, satin Most glaze formulas have some room find their way. matt, etc.), try another glaze recipe. for increases in flint, without becoming Crazing is a network of lines or cracks If the glaze is unique and cannot be opaque or dry when fired. Try additions in the fired glazed surface. It happens changed, try another clay body (per­ of 10, 20 and 30 units of measure; i.e., when a glaze is under tension. A craze haps a simple Cone 06—04 white clay if your glaze has 50 grams of flint, in­ pattern can develop immediately after made from 50 parts ball clay, 50 parts crease flint to 60 grams, 70 grams and removal from the kiln or years later. talc and 3 parts whiting; the whiting 80 grams. The strongest, most stable glazes are helps keep a lot of glazes from crazing). 3. Fire the glaze lain to the correct under compression. This means that With these four points in mind, you cone over a longer period of time. Dur­ when the object cools, the glaze shrinks are now ready to take a corrective step, ing the last quarter of the cycle, try slightly more than the body. or a combination of steps to solve glaze stretching out the firing by two or three Although crazing is considered a glaze crazing. hours. This will give the clay body the defect, it can also be corrected by ad­ 1. Crazing can often be eliminated best chance to “tighten up” or reach its justing the clay body. A glaze adjust­ simply by applying a thinner glaze coat. maturity, which will help in achieving a ment might not be possible if it is under With some glazes, a thinner coat is not good interface. The interface is where so much tension that there is no room an option, but often a slight decrease in the clay body and glaze meet. The bet­ in the recipe for correction. The goal glaze thickness will stop crazing. ter the development of the interface, should be to have both glaze and body 2. Add increasing amounts of flint the better the glaze fit. shrink at a compatible rate, with the (without changing the amounts of the Generally, low-fire and/or porous glaze coming under slight compression. other ingredients) to the recipe; the finer bodies do not have a well-developed Before starting, let’s consider the fol­ the mesh, the better. The flint used in interface. The fact that the clay and lowing points: glazes comes in 200-, 325- and 400- glaze are not well integrated leads to a

82 CERAMICS MONTHLY higher incidence of crazing. Conversely, at stoneware temperatures, the interface is more developed and there is less po­ tential for crazing. 4. Fire one or two cones higher, but only if the glaze will not be adversely affected. By firing higher and/or longer, the glaze and clay body might fit better. Remember, what you are trying to do is change the rate of shrinkage of either the clay body, the glaze or both in order to bring the glaze under slight compres­ sion. However, if the clay body is al­ ready overfired or on the edge of its maturity range, firing higher will cause more crazing. 5. Add flint (200 mesh) to the clay body. Increase the flint content by in­ crements of 5%, 10% and 15%. Flint in a clay body remains a crystalline solid, which has different characteristics than flint in a glaze, but will still work to stop crazing in a glaze. 6. Slow cool the glaze kiln. Do not open the door until temperature is be­ low 200°C (390°F). You should be able to unload the kiln bare handed. Waiting for the kiln to cool down will cause no problems; fast cooling in­ creases the chance of crazing. If the pots are “pinging” when you open the lain door, the glaze is being stressed. 7. If you’re using a low-fire body and the glaze is crazing, try bisque firing one or two cones higher. 8. If you’re using a fritted low-fire glaze and it’s crazing, try using a frit with a lower coefficient of expansion. Materials with low coefficients of ex­ pansion are less likely to cause crazing. Your ceramics supplier or the manufac­ turer of the frit will have the coefficient of expansion rates for each frit. Frequently a combination of meth­ ods will work, depending on the sever­ ity of the craze problem. It is important to be flexible in your thinking while evaluating the test results. If the craze lines are moving farther apart, you are on the right track. If the craze lines are closer together, try something else. While the eight steps listed are not the only ways of correcting crazing, they have consistently shown good results.

The author Ceramics consultant Jeff Zamek resides in Southampton, Massa­ chusetts.

April 1995 83 Worker’s Compensation by Cindy Luciani

Here’s a dull topic that needs to be of payroll on an individual’s gross earn­ the effect that fraudulent claims have addressed: Insurance! Specifically, ings; $12,000 in annual payroll costs on insurance rates and the resulting shut­ Worker’s Compensation insurance. It’s the employer approximately $777.60 down of a business when the owner has the cause of some businesses shutting per year. It is more than likely that the had enough. Abuses in Worker’s Comp down rather than putting up with the employee thinks Worker’s Comp cover­ claims for soft-tissue injury, lower back expense and confusion. age is like “manna from heaven,” that strain, etc., have contributed to rate I’m an art-school graduate who has no one pays for it. hikes. Insurance companies submit re­ always been fascinated with the busi­ Actually, this insurance is paid to quests for rate increases on a regular ness side of art. Through a series of cover the cost of the possibility of an basis. These rate filings are reviewed by personal happenstance, I became a accident happening to a worker on the the individual state’s insurance regula­ Worker’s Comp auditor for central and job. That’s on the job—not at a week­ tory commissioners. Actuarial statistics northern New Mexico. This artistically end softball game. Fraud on the part of compare cost of reserves for risks, losses charged environment includes Santa Fe employees is a big share of the reason paid out, cost of litigation and opera­ and Taos. It’s an interesting job that rates are so high. Worker’s Comp is not tion expenses. Who has to carry this type of insur­ ance? In New Mexico, nonconstruction Employers [often] feel victimized by insurance companies. industries having three or more work­ Partially it's a result of the billing surprises that they encounter ers, part time or full time, must pay Worker’s Comp. Corporate officers are at the end of the policy. Also, they believe the rates are too high. considered employees. It’s a good idea There is no reward or “discount”for not having claims. to check with your agent on whether to include the owner(s) of the business. Some employers are trying to de­ takes me to some fascinating places. (I vacation time or sick pay. True, many crease their insurance cost by avoiding once audited the estate of Georgia insurance companies settle rather than direct labor. This means that the work O’Keefe and had the opportunity to see fight illegitimate claims, but fraud is must be done by people who remove her studio and living area, which is still fraud. materials to their own workplace. They closed to the general public.) I also have When the industrial revolution was are then paid per finished item. These a small ceramics studio in my home, in full swing, work was dangerous and people are regarded as “piece workers.” which helps me appreciate how diffi­ dirty. It wasn’t a very pretty picture. They are actually self-employed indi­ cult it must be for artists to be business- After a work-related injury or death, viduals or “Americans with no insur­ men/women. neither the worker nor the family was ance.” Although they appear to be Many times, I have encountered em­ compensated. Now the system has exempt from Worker’s Comp, 1099 ployers who feel victimized by insur­ swung to the other extreme. Some forms must still be filed. ance companies. Partially, it’s a result of the billing surprises that they encounter Some people plan an accident the way another person at the end of the policy. Also, they be­ lieve the rates are too high. There is no would plan a vacation. A word of advice to employers reward or “discount” for not having would be “Know thy employee. ” If you are the least bit claims. The laws vary slightly state by state, suspicious, reconsider hiring this individual. but this type of insurance is almost al­ ways annoying to the employer and a people plan an accident the way an­ Here is a hole that employers often complete mystery to the employee. First, other person would plan a vacation. A fall into. They estimate that they’ll have let’s dispel the mystery. If you are an word of advice to employers would be a person doing part-time cleanup around employer, show your employee what “Know thy employee.” If you are the the studio, as well as some additional you are paying for Worker’s Compensa­ least bit suspicious, reconsider hiring clerical duties. Perhaps another part-time tion. In New Mexico, the rate for pot­ this individual. production potter will also be hired. tery manufacturing is $6.48 per $100 Many employees do not comprehend The policy is written for $5000 in the

84 CERAMICS MONTHLY clerical classification @ 80

April 1995 85 25-July 7). “Expressive Function” with Jenny Lou Summer Workshops Sherburne; “Form and Color” with Nancy Selvin Continued from page 40 (July 9-21). “Clay” with Cynthia Bringle; “Pots as Metaphor” with Ron Dale (July 23-August 9). “Beyond Function” with Brad Schwieger; “The $135, includes materials and firing. Beginning and Clay Odyssey” with George Kokis (August 13-25). intermediate. Instructor: Rosemary Aiello. Con­ “Understanding Ceramic Glazes” with Pete Pinnell; tact Lucy Brody, School Director, Rockland Cen­ “Pinching ‘Shining Clay’” with Paulus Berensohn ter for the Arts, 27 S. Greenbush Rd., West Nyack (August 27-September 1). Skill requirements vary. 10994; or telephone (914) 358-0877. Fee: $590. Contact Dana Moore, Penland School of Crafts, Penland Road, Penland 28765; or tele­ North Carolina, Brasstown fune 4-August 19 phone (704) 765-2359. “Raku” with Elma Johnson (June 4-10). “Throw­ ing Large Forms” with Leon Nichols (June 11-17). Ohio, Cleveland fune 12—fuly 15 “Wheel Throwing” with Barbara Joiner (June 25- “Kiln Repair” with Steven Bradford (June 12-16). July 1). “Smoke, Fire and Glowing Pots—Raku” “Multiple Levels” with George Bowes (June 19— with Obie Clark (July 2-8). “Colorful Contain­ 30). “Handbuilding” with Kim Dickey (July 5- ers—Sculptural and Utilitarian” with Susie Duncan 15). Contact the Cleveland Institute of Art, 11141 (July 9-14); fee: $205, includes firing. “Clay East Blvd., Cleveland 44106; or telephone (800) Whistles” with Barbara Joiner (July 14-16); fee: 223-6500 in Ohio, or (800) 223-4700 elsewhere. $125, includes firing. “Starting with the Wheel” with Nicholas Joerling (July 16-22). “Throwing Ohio, Logan fune 11—17 and Decorating” with Nancy Darrell (July 30- “Pipe Sculpture” with Jerry Caplan, making sculp­ August 5). “Hand-formed and Pit-fired Pottery ture from sewer-pipe extrusions 6 to 8 inches wide with a Cherokee Artist” with Amanda Swimmer and 5 feet long. Intermediate through professional. (August 6-11); fee: $205, includes firing. “Clay Fee: $300, includes materials and firing. To regis­ Basics” with Bob Owens (August 13-19). Skill ter, send slides of work and SASE by May 22. requirements vary. Fee (unless noted above): $225, Contact Jerry Caplan, 5819 Alder Street, Pitts­ includes firing. Contact John C. Campbell Folk burgh, Pennsylvania 15232; or telephone (412) School, Route 1, Box 14A, Brasstown 28902; or 661-0179. telephone (800) FOLK SCH. Ohio, Oxford fune 19—fuly 21 North Carolina, Highlands August 14—18 “Beginning Throwing” with Jed Dowlin (June 19— “Raku—The Japanese Tea Ceremony” with 23). “Ceramic and Mosaic Tile Production” with Cameron Covert, individual expressions with clay, Adam Zayas (June 26-30). “Glazing Materials and calculating simple raku glazes, building and firing Techniques” with George Bowes (July 3—7). “Raku a raku kiln. Beginning and intermediate. Fee: $215, and Low-fire Salt” with Patrick Crabb Quly 10- includes materials. Contact Highlands Center for 14). “Pit Firing and Terra Sigillatas” with David Visual Arts, Post Office Box 430, Highlands 28741; MacDonald Quly 17-21). Skill requirements vary. or telephone (704) 526-4949. Fee: $267/Ohio residents. Contact CraftSummer, Joyce Ponder, Workshop Coordinator, Miami Uni­ North Carolina, Little Switzerland fuly 16-29 versity, Rowan Hall, Oxford 45056; or telephone “Ringling School of Art and Design’s Wildacres (513) 529-7395. Art Workshops,” ceramics is one of five courses offered (July 16-22 and/or 23-29); fee: approxi­ Oregon, Portland fune 12—23 mately $375, includes lodging and meals. All skill “Coil Building Figurative Sculptures” with Adrian levels. For further information, contact Sandra Arleo (June 12-16). “Thrown and Altered Porce­ MacDonald, Director of Continuing Education, lain Vessels” with Peter Beasecker (June 19-23). 2700 North Tamiami Trail, Sarasota, Florida Contact Valorie Hadley, Oregon School of Arts 34234; or telephone (813) 359-7577. and Crafts, 8245 Southwest Barnes Road, Portland 97225; or telephone (503) 297-5544. North Carolina, Penland May 28—September 1 “Makin’ Potz” with Linda Christianson and Nick Pennsylvania, Chester Springs June26-August 11 Joerling; “Handbuilt Ideas” with Mary Barringer Making and firing work in a double-chamber, (May 28-June 9). “The Clay Surface” with Jenny cross-draft, wood/salt kiln with Jack Troy. Partici­ Lind; “Mold Making” with Allan Walter (June 11— pants should bring bisqued, Cone 10 pieces (June 23). “Rural/Industrial” with Dan Anderson; “An­ 26-30). Making porcelain functional ware, throw­ cient Traditions” with Winnie Owens-Hart (June ing and altering; plus loading and firing a double-

A participant places a red-hot vase into combustibles for postfiring reduction at Robert Compton’s raku workshop in Bristol, Vermont.

86 CERAMICS MONTHLY chamber, cross-draft, wood/salt kiln with Kris Crafts, Post Office Box 567, Gatlinburg 37738; or Nelson. Participants should brine bisqued ware telephone (615) 436-5860. (August 5-11). Fee: $370; members, $350; in­ cludes 50 pounds of clay and firing. For further Tennessee, Smithville June 5—July 28 information, contact Chester Springs Studio, 1668 “AlteringThrown Forms” with Ron Meyers; “Clay: Art School Road, Post Office Box 329, Chester Considering a New Path” with Tim Weber (June Springs 19425; or telephone (610) 827-7277. 5-9). “Ceramic Handbuilding” with Doug Jeck and Delia Seigenthaler (June 12-16); fee: $185. Pennsylvania, Elkins Park July 10—August 19 “Raku” with Bill Thompson; “Colored-clay Tech­ Ceramics workshop with Nita Turnage. All skill niques” with Vince Pitelka (July 10-14). “Wood levels. Fee: $45, includes some materials and firing. Firing” with Bill Thompson (July 24-28). Skill Contact Peg Samsak, Information, Tyler School of requirements vary. Fee (unless noted above): $ 180. Art, Beech and Penrose avenues, Elkins Park 19027; For further information, contact Appalachian Cen­ or telephone (215) 782-2828. ter for Crafts, 1560 Craft Center Drive, Smithville 37166; or telephone (615) 597-6801. Pennsylvania, Farmington June 12-August 27 “Sculpting from the Model” with Myrleen Harrison Utah, Cedar City July10—13 (June 12-16); fee: $220. “Single-fired Stoneware “Ceramic Workshop,” demonstration, slide pre­ Pots” with Kevin Crowe (June 19-23); fee: $205. sentation and lecture with Tom Coleman. Inter­ “Wheel-thrown Pottery” with Bob Anderson (June mediate through professional. Fee: $250. Contact 26-30); fee: $195. “Advanced Pinch Pottery” with Mark Talbert, Art Department, Southern Utah Jimmy Clark (July 10-14); fee: $195. “Colored- University, 351 West Center Street, Cedar City clay Handbuilding on the Wheel” with Mitch 84720; or telephone (801) 586-5427. Lyons (July 24—28); fee: $200. “Raku” with David MacDonald (July 31-August 4); fee: $205. “Ad­ Utah, Park City June 5—9 ventures in Raku for Teens—Ages 13-18” with Throwing, using traditional and nontraditional Lou Ann Gallanar (August 7-11); fee: $165. methods, with Joan Grabow. Beginning through “Wheel-thrown Ceramics” with Valda Cox (Au­ advanced. Fee: $25, includes materials and firing. gust 14-18); fee: $195. “Wheel-thrown Ceramics” For further information, contact Rebecca Samson, with Valda Cox (August 21-27); fee: $280. Skill Kimball Art Center, Post Office Box 1478, Park requirements vary. All fees include materials. For City 84060; or telephone (801) 649-8882. further information, contact Touchstone Center for Crafts, RD 1, Box 60, Farmington 15437; or Vermont, Bristol June 16—July 9 telephone (412) 329-1370. “Experiencing the Fire” with Robert Compton, firing salt; raku; sawdust; pit; and climbing, multi- Pennsylvania, Philadelphia July 5-28 chambered, wood kilns (June 16-19). Fee: $430, Handbuilding, throwing, glazing, kiln design and includes materials, firing and meals. “Throwing pit firing with the ceramics staff. Beginning throughGiant Pots” with Robert Compton (July 7-9). Fee: $300, includes materials and meals. Intermediate. Contact Robert Compton Pottery, RD 3, Box 3600, Bristol 05443; telephone (802) 453-3778. Vermont, Middlebury June 2-4 “Throwing” with Val Cushing. Advanced and pro­ fessional. Fee: $195, includes materials. Contact Mary Louise Carter or Mary Lou Willits, Vermont State Craft Center, Frog Hollow, 1 Mill Street, Middlebury 05753; or telephone (802) 388-3177. Vermont, Savage Island July 9-15 Personal experimentation, handbuilding, mixed- media sculpture, traditional utilitarian, ritual ob­ Arizona ceramist Don Reitz ject to contemporary decorative, paper kilns and lecturing during a workshop at pit firing with Kate Tremel. Beginning through the Anderson Ranch Arts Center. advanced. Fee: $525, includes materials, firing, lodging and meals. Contact Ayn Baldwin, Shelburne Craft School, Post Office Box 52, Shelburne, Ver­ advanced skill levels. For further information, con­ mont 05482; or telephone (802) 985-3648. tact Clare M. Doyle, Coordinator of Young Artists Workshop, Moore College of Art, 20th and Park­ Vermont, Shelburne June 19-23 way, Philadelphia 19103; or telephone (215) 568- “Throwing” with Mark Siminitus. Beginning 4515, extension 1127. through advanced. Fee: $255, includes materials. For further information, contact Ayn Baldwin, Rhode Island, Providence May 22—June 30 Shelburne Craft School, Post Office Box 52, “The Pottery Wheel as a Tool” with Jay Lacouture Shelburne 05482; or telephone (802) 985-3648. (Monday-Wednesday). Beginning through ad­ vanced skill levels. Fee: $403, includes most mate­ Virginia, Amherst June 1—August 11 rials. For further information, contact Samuel B. Throwing functional pots and raw glazing for Ames, Rhode Island College, Department of Art, single firing in a wood kiln; plus discussions on 600 Mount Pleasant Avenue, Providence 02908; firing a large, climbing, chambered, wood kiln, or telephone (401) 456-8054. with Kevin Crowe and guest artists (June 1—5, July 3-7 and/or August 7—11). Fee: $300/session, in­ Tennessee, Gatlinburg June 5—August 11 cludes materials and gourmet vegetarian lunch. “Expanding the Use of the Potter’s Wheel” with Intermediate and advanced. Contact Kevin Crowe, Woody Hughes (June 5-9). “Functional Pots: Ap­ Tye River Pottery, Route 3, Box 324, Amherst proaches to Forms and Surfaces” with Matthew J. 24521; or telephone (804) 263-4065. Metz and Linda Sikora (June 12-16). “Clay with Historical Referencing”with Mary Barringer (June Virginia, The Plains June 24—25 19-23). “Firing the Anagama” with John Chalke; “Fifth Annual Raku Weekend” with Rick Berman, “Clay: Building Surface Variety” with Barbara making, glazing, building and firing a kiln. Fee: Tipton (June 26-July 7). “Useful Pots” with Lee $90. For further information, contact Fran New- Rexrode (July 10-14). “Low Fire: Science and Art” quist, Newquist Studios, 6292 Lee Street, The with Linda Arbuckle and Pete Pinnell Quly 17— Plains 22171; or telephone (800) 718-7999. 28). “Developing Personal References in Clay Sculp­ ture” with Ron Kovatch (July 31-August 4). “Raku/ Washington, Bellingham July 10—28 Pit-fired Statements” with Patrick Crabb (August Intensive workshop on all ceramics techniques 7-11). Skill requirements vary. Fee: $195 perweek. with Patrick McCormick. Beginning through ad­ Contact Registrar, Arrowmont School of Arts and vanced. Contact Patrick McCormick, Art Depart-

April 1995 87 day sessions on “Throwing” with Jim Etzkorn, Summer Workshops Kathryn Finnerty and Noboru Kubo; “Clay Sculp­ ture” with Trudy Golley; “Amazing Paperclay” with Rosette Gault; “Creative Glazing and Design” with Brian Gartside; “Tile Making” with Katrina ment, Western Washington University, Bellingham Rozman; “Clay Figures” with Kathy Venter; “En­ 98225; or telephone (206) 650-3660. hancing Your Production and Studio” with Yvonne Lynch; “Sculpting the Head” with Bill Starke (July Washington, Seattle June 2—August 20 3—August 4). Beginning through advanced. Fee Slide lecture and demonstration with Pat Horsley (per session): Can$225 (approximately US$160). and Don Sprague (June 2-4); fee: $100 (slide Contact Anne Brodie, Red Deer College, Post lecture is free). All skill levels. “Sculpting with Office Box 5005, Red Deer T4N 5H5; or tele­ Paperclay,” slide lecture and hands-on workshop phone (403) 342-3130, fax (403) 340-8940. with Rosette Gault (August 15-20); fee: $150 (slide lecture is free). Intermediate and advanced. Canada, Alberta, Water Valley July 16—29 Workshop is limited to 20 participants. Contact “Whispering Pines Ceramic Retreat” with David Jean Griffith, Pottery Northwest, 226 First Ave­ Settles and A1 Tennant, throwing, raku, high- nue, North, Seattle 98109; or telephone (206) temperature wood and soda firing (July 16—22 or 285-4421. 23-29). Fee: Can$275/US$200, includes some materials, firing and 3 meals per day. Contact Washington, Wenatchee June 22—24 David W. Settles, Fairview Studios/Whispering Salt saggar firing in a gas kiln with Ruth E. Allan, Pines, 7060C Farrell Road, Southeast, Calgary, preparing work, loading, firing and unloading kiln. Alberta T2H 0T2; or telephone (403) 255-7882. All skill levels. Fee: $97, includes registration, materials and firing. For further information, con­ Canada, B.C., Vancouver July 4—August 11 tact Ruth E. Allan, Wenatchee Valley College, “Skin or Vestment (Surfaces and Forms)” with 1300 Fifth Street, Wenatchee 98801; or telephone Paul Mathieu, exploring surface treatment of ce­ (509) 662-6991. ramics using a wide range of techniques, materials, processes and firing temperatures (July 4—21). West Virginia, Elkins July 16—28 “Figurative Clay Sculpture” with Susan Low-Beer, “Mud and Fire” with Jeff Diehl, throwing, hand­ handbuilding sculpture using a live model Quly building, decorating, raku and pit firing, etc. Be­ 24-August 11). Intermediate. Fee: Can$355 (ap­ ginning through advanced. Fee: $540. Contact proximately US$255), includes materials and fir­ Registrar, Augusta Heritage Center, Davis and ing. Contact Isabel Spalding or Sally Michener, Elkins College, Elkins 26241; or telephone (304) Emily Carr Institute of Art and Design, 1399 636-1903. Johnston Street, Vancouver V6H 3R9; or tele­ phone (604) 844-3800. Wisconsin, Appleton June 18-July 30 “China Mending and Restoration” with Gerlinde Canada, B.C., Victoria June 26—July 7 Kornmesser, removing stains and old repairs, bond­ “Ceramics—Glaze and Color Development” with ing single and multiple breaks, filling chips, mod­ Robin Hopper (June 26-July 7); fee: Can$600 eling and casting replacement parts, and painting (approximately US$430), includes firing. “Throw­ to obscure the damage (June 18-25, July 9-16 ing Beyond the Basics” with Randy Brodnax (June and/or July 23-30). Fee: $900, includes materials, 26-July 7); fee: Can$555 (approximatelyUS$400), lodging and meals. Location: Lawrence University. includes materials. “Ceramics: The Wheel and a For registration form, send SASE to Gerlinde Personal Signature” with Les Manning (July 1-2); Kornmesser, Porcelain Restoration Workshop, fee: Can$100 (approximatelyUS$70). “Raku” with 1804½ Glenview Road, Glenview, Illinois 60025; A1 Tennant (July 1-2); fee: Can$110 (approxi­ or telephone (708) 724-3059. mately US$80), includes materials. Intermediate through professional. Contact Meira Mathison, Wisconsin, Drummond June4—17 Metchosin International School of Art, RR 1, Handbuilding and throwing, plus Cone 9 salt and Pearson College, Victoria V9B 5T7; or telephone raku firings with Randy Johnston and Michael (604) 478-5591. Padgett (June 4-10 or 11-17). All skill levels. Fee: Wisconsin residents, $350; Minnesota residents, Canada, Ontario, Ha[[bmtonJuly3-August 12 $376; includes materials, lodging, meals and regis­ “Pottery—Beginners” with Barbara Joy Peel; “Clay- tration. Contact Randy Johnston, University of Relief Sculpture” with Richard Gill (July 3-7). Wisconsin-River Falls, Art Dept., 410 S. Third St., “Pottery II” with Barbara Joy Peel (July 10-15). River Falls 54022; or telephone (715) 425-3266. “Pottery—Teapot Form” with Deborah Black (July 17—21). “Pottery—Form and Function” with Wisconsin, McNaughton July 3—7 Timothy Smith; “Handbuilding Clay Sculpture” Constructing and firing a fast-firing, wood-burn- with Dzintars Mezulis (July 24-28). “Pottery— ing kiln with Fred Olsen. Fee: $200. Contact Joan The Decorated Form” with Denise Buckley duly Slack-DeBrock, River Run Pottery, Post Office 31-August 5). “Raku—Special Effects” with Box 95, McNaughton 54543; or telephone (715) MichaelSheba; participants should bring 16 bisqued 277-2773. pieces for firing (August 7-12); fee: Can$168.25 (approximately US$120), includes materials. Skill International Workshops requirements vary. Fee (unless noted above): Can$ 128.25 (approximately US$90). For further Canada, Alberta, Calgary June 9—25 information, contact Ruth Walker, Haliburton “Raku and Aspects of the Surface” with Walter School of Fine Arts, Box 839, Haliburton K0M Dexter (June 9-11); fee: Can$190 (approximately ISO; or telephone (705) 457-1680. US$140); Alberta Potters’ Association members, Can$l60 (approximately US$115). “Focus on Canada, Ontario, North Bay July 3-28 Maiolica” with Katrina Rozman (June 23-25); fee: “Raku I” with Judy Lowry (July 3-8); fee: Can$ 159 Can$ 125 (approximately US$90); Alberta Potters’ (approximately US$115), includes materials. “Stu­ Association members, Can$95 (approximately dio Pottery” with Jim Louie (July 10-14). “Hand­ US$70). Contact Mount Royal College, Continu­ building Clay Sculpture” with Dzintars Mezulis ing Education and Extension, Arts Area, 4825 (July 17-21). “Portrait Sculpture in Terra Cotta” Richard Road, Southwest, Calgary T3E 6K6; or with Christopher Rees (July 17-21). “Decorative telephone (403) 240-3833. Or telephone the Porcelain” with Keith Campbell (July 17-22); fee: Alberta Potters’ Association (403) 270-3759. Can$159, includes materials. “Decorative Earth­ enware” with Peter Thomas; “Figure Sculpture- Canada, Alberta, Red Deer May 8—August 4 Clay” with Christopher Rees Quly 24-28). Skill “Artists in Residence,” working with visiting artists requirements vary. Fee (unless noted above): from Canada, Norway and Iceland (May 8—June Can$l40 (approximately US$100), includes ma­ 16); fee: Can$600 (approximately US$430). “Se­ terials. Contact Artsperience ’95, Keith Campbell, ries’95, A Visual Arts Summer School,” includes 5- Director, Canadore College, 100 College Drive,

88 CERAMICS MONTHLY Cynthia Bringle demonstrates throwing a lid for workshop participants at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee.

North Bay P1B 8K9; telephone (705) 474-7601, stoneware and porcelain (August 5-11). Fee (un­ extension 5377; fax (705) 494-7462. Or through less noted above): £408 (approximately US$650), Internet: [email protected] includes firing, lodging, meals. Skill requirements vary. Contact Heather Way, Public Relations, West Canada, Ontario, Toronto May 29—July 14 Dean College, West Dean, Chichester, West Sus­ “Exploring Teapots” with Debby Black (May 29- sex P018 0QZ; or telephone (243) 811301. June 9); fee: Can$231 (approximately US$165), includes materials and firing. “Excess and Restraint: England, Eye Summer Handbuilding in Clay with Found Objects” with One- or two-day sessions with Robin Welch. All Wendy Walgate (June 12-30); fee: Can$308.86 skill levels. Fee: £40 (approximately US$65) per (approximately US$220), includes materials and day. One-month advance booking required. Con­ firing. “Exploring Color, Slip and Glaze for Cone tact Robin Welch, Stradbroke, Eye, Suffolk IP21; 6” with Wayne Cardinalli (July 4-14); fee: Can$231 or telephone (379) 384418. (approximately US$165), includes materials and firing. Contact Denise Buckley or Gerry Johns, England, Ipswich Summer George Brown College, Ceramics Department, Weekend and weekly sessions on handbuilding, Box 1015 Station B, Toronto M5T 2T9; or tele­ throwing, glazing, decorating, salt glazing, pit fir­ phone (416) 944-4465 or 944-4470. ing and wood-fired raku with Deborah Baynes. All skill levels. Fee: £260 (approximately US$415) per England, Chichester June 18-August 11 weekly session; £110 (approximately US$175) per “Pottery” with Alison Sandeman (June 18-23); weekend. Fees include materials, firing, lodging fee: £334 (approximately US$530). “Workingwith and meals. Contact Deborah Baynes Pottery Stu­ Porcelain” with Alison Sandeman (June 30—July dio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 2); fee: £139 (approximately US$220). “Mosaics 1PW; or telephone (473) 788300; fax (473) 787055. in Marble, Glass and Stone” with Emma Biggs (July 22-28). “Pottery” with Alison Sandeman, Summer including raku and stoneware glaze firing (July 29- Weekly sessions in which participants can design August 4). “Handbuilding” with Gordon Cooke, their own experience, choosing from such pro-

April 1995 89 Summer Workshops Greece, Evia June 4—August 28 “Paperclay and Environmental Beach Project” (June 4-9); fee: £450 (approximately US$715). “Paperclay, Beach Sculpture and Pit Firing” (July 2-10); fee: £625 (approximately US$995). “Potter’s cesses as handbuilding, throwing, slips, glazing, Camp,” camping on the beach, creating works with kiln design, sawdust firing, marketing, etc. Instruc­ clay and found materials, firing experimentally or tors: Alan and Patt Baxter. All skill levels. Fee: £235 with a portable raku kiln (August 1-28); fee: £350 (approximately US$375), includes materials, firing, (approximately US$555) per week. Instructor: Alan lodging, meals, and transportation to and from Bain. All skill levels. Fees include materials, firing, train station. For further information, contact Alan lodging and meals. Contact Schoniad Bain, Candili Baxter Pottery Workshop, The White House, Mountain Pottery, 340 04 Procopi, Evia; or tele­ Somersham, Ipswich, Suffolk IP8 4QA; or tele­ phone (22) 74 12 98. phone (473) 831256. Italy, Certaldo (Firenze) July 2-September England, Ross-on-Wye July 24-August 5 Two-week sessions on throwing, handbuilding, “A Fresh Approach” with Jack Doherty, thrown decoration, glazing, tiles, reliefs, printing tech- forms and integrated decoration, using colored porcelain and soda-vapor glazing (July 24-29 and July 31-August 5). Fee: £190 (approximately US$300), includes materials, firing and meals. Advanced and professional. Contact Jack Doherty, Hook’s Cottage, Lea Bailey, Ross-on-Wye HR9 5TY; or telephone (989) 750644. England, Rye July—August Five-day sessions on slipware and high-fired earth­ enware with John Solly. All skill levels. Fee: £160 (approximately US$255), includes materials, firing and meals. Contact John Solly, Goldspur Cottage, Flackley Ash, Peasmarsh, Rye, East Sussex TN31 6YH; or telephone (797) 230276.

England, Southsea Summer “The Art of Ceramic Repair and Restoration,” three-week sessions with Mary Rose Wrangham. All skill levels. Fee: £900 (approximately US$1430), includes materials, firing, lodging, meals and tours. Contact Mary Rose Wrangham, Studio 304, 13 Gloucester View, Southsea, Hants. P05 4EB; or fax (705) 871490. England, Tenbury Wells Summer Weeklyand weekend workshops on all aspects of Participants learn both the throw- pottery making, with an emphasis on throwing, and-coil and throw-and-assemble with Martin Homer. All skill levels. Fee: £127 techniques at a workshop with (approximately US$200) and up, includes materi­ Robert Compton in Bristol, Vermont. als, firing, lodging, meals and transportation from train station. Contact Tina Homer, Martin Homer Pottery, Lower Aston House, Aston Bank, Tenbury niques and raku. Instructors: Kenneth Clark, J. Wells, Worcestershire WR15 8LW; or telephone Colbeck and Pietro Maddalena. Instruction in Newnham Bridge (584) 781404. English, German and Italian. Beginning through advanced. Fee: 420,000 lire (approximately England, Uxbridge July 3-30 US$255), 470,000 lire (approximately US$290) “Mold Making and Slip Casting” with David or 550,000 lire (approximately US$335), includes Cowley; “Plaster Sculpture” with Sue Andreae (Julymaterials, firing, lodging and lunch. For further 3-7). “Raku—A Fresh Approach” with John Dunn information, contact Pietro Maddalena-Ceramiche, (July 10-14). “Garden and Patio Pottery” with Loc. Bagnano, 40-50052 Certaldo (Firenze); or George Wilson; “Terra-cotta Modeling from Life” telephone (57) 166-0084. with Jo Miller (July 17-21). “Throwing” with Brian Dewbury Quly 24-28). “Ceramics” (July Italy, Faenza June 12—July 23 24-29). “Surface Pattern and Decorative Tech­ “Sculpture Workshop” with Emidio Galassi (June niques” with Paula Gray (July 29-30). All skill 12-18, July 3-9 and/or 17-23). Instruction in levels. Contact Christine Garner, Brunei Univer­ English, Italian and Spanish. Contact Emidio sity Arts Centre, Brunei University, Uxbridge, Galassi, Arte Aperto, Via Castellina 4,48081 Faen­ Middlesex UB8 3PH; or telephone (895) 273482. za; or telephone (54) 668-0398.

France, Allegre Summer Italy, Milano July 16—August 19 One- or two-week sessions on throwing, glazing, Weekly sessions on handbuilding, throwing, pot­ firing, stoneware and raku. Beginning through terydesigns from primitive to contemporary, and advanced. Instructor: Michel Simonot. Instruc­ firing with Giuseppe Dovis and Paola della Per­ tion in French and English. Fee: 2500Fr (approxi­ gola. Instruction in Italian and English. Beginning mately US$485) per 1 week; 4600 Fr (approxi­ through advanced. Fee: US$1200/week, includes mately US$895) per 2 weeks; includes materials, materials, firing, lodging, meals, and transporta­ firing, lodging and meals. For further information, tion to and from airport. Contact Giuseppe Dovis, contact Michel et Francoise Simonot, Mas Cassac, Dovis Designs, 2286 Old Neck Road, Exmore, F-30500 Saint-Ambroix, Allegre; or telephone (66) Virginia 23350; or telephone/fax (804) 442-4079. 24 85 65, or fax (66) 24 80 55. Italy, Sorano Summer France, Loire Valley June 18-July 14 Workshops on coiling, slab building, modeling, “Figurative Clay Modeling and Stone Carving” throwing, decoration, surface texture, pit firing; with Lynne Streeter, Sergio Valenti and Martine plus traditional Italian pottery, such as Etruscan Vaugel. Instruction in English, French and Italian. bucchero, majolica and terra sigillata (two 2-week All skill levels. Fee: US$2300, includes materials courses in July; 9-day courses offered throughout and some field trips. Contact Lynne Streeter, Marble summer). Fee: approximately US$470/2-weekses­ and Art Workshops, 627 Adams Street, Albany, sion; approximately US$315/9-day session. For California 94706; or telephone (510) 524-7115. further information, contact Studio Pandora, Suite

90 CERAMICS MONTHLY 11E, 110 Bleecker Street, New York, New York terials, firing, lodging and meals. Contact Hanneke 10012; or telephone (212) 533-2045. Oort, Poeldijk 8, 3646 AW Waverveen; or tele­ phone (29) 798-3707. Italy, Urbino July Two- to four-week sessions covering all aspects of Spain, Conil Summer ceramics with Egiziano Piersantini and staff. In­ Workshops on handbuilding, throwing, slip cast­ struction in English, French, German and Italian. ing, modeling, glazing, pit firing, stoneware with All skill levels. Fee: US$2200-US$2400, includes Jose Luis Aragon and Manuel Garcia. Instruction materials, firing, lodging, meals and field trips. in English, French and Spanish. All skill levels. Fee: Contact Lynne Streeter, Corte della Miniera, 627 40,000 pesetas (approximately US$310), includes Adams Street, Albany, California 94706; or tele­ materials and firing. Contact Jose Luis Aragon, La phone (510) 524-7115. Tacita, El Colorado, Conil, Cadiz; telephone (56) 44 59 12 or fax (56) 44 56 86. Japan, Mashiko June—July Ten-day workshop with George Dymesich, Karen Wales, Cardiff July 17-28 Hildebrand and three traditional Japanese potters. “Ceramics Summer Programs,” include workshops; Registration limited to 10. For further informa­ lectures; seminars; and museum, gallery and studio tion, contact George Dymesich or Karen Hilde­ visits. Contributors: Felicity Aylieff, Michael brand, 1426 Glen Canyon Road, Santa Cruz, Cali­ Casson, Paul Greenhalgh, Morgan Hall, Woody fornia 95060; or telephone (408) 427-1504. Hughes, Wally Keeler, Carol McNicoll, Philip Rawson, Michael Robinson, Bronwyn Williams- Netherlands, Oosterwolde August 21-September 1 Ellis and Takeshi Yasuda. Contact the Director, “Primitive and Traditional Pottery” (August 21- Centre for Ceramics Studies, Cardiff Institute of 25); “Raku” (August 28-September 1) with Kees H.E., Howard Gardens, Cardiff CF2 ISP; tele­ Hoogendam. All skill levels. Fee: 475fl (approxi­ phone (22) 250-6615 or fax (22) 250-6960. mately US$290), includes materials, firing, lodg­ ing and meals. Contact Kees Hoogendam, De Wales, Pwllheli Summer Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or Weekly sessions focusing on throwing, slip glazing telephone (51) 608-8238. and finishing stoneware pots, plus kiln design, with John Davies. Intermediate and advanced. Fee: £150 Netherlands, Veghel July 2—September 2 (approximatelyUS$240), includes materials and Salt-glazed stoneware and porcelain, plus firing lunch. Contact John Davies, Bryn Goleu Farm, paper kilns with Ton van de Rotten (July 2-8). Pwllheli LL53 6UT; or telephone (75) 861-2932. Raku, pit firing and other primitive techniques with Carla Teer; instruction in Dutch and English Wales, Rhayader May 29—August 7 (July 9-15). Salt-glazed stoneware and porcelain “Throwing” with Phil Rogers, includes some glaz­ with Gert de Rijk (August 20-26). Raku with ing and reduction firing (May 29-June 5 or July Carla Teer (August 27-September 2). Instruction 31—August 7). Beginning through advanced. Fee: in Dutch, English and German, unless noted above. £205 (approximately US$325), includes materials, All skill levels. Fee: US$195, includes firing. Con­ firing and lunch. Contact Phil Rogers, Marston tact P. van Melis, Pieter Brueghel, Middegaal 23- Pottery, Lower Cefn Faes, Rhayader, Powys 25, 5461 XB Veghel; or telephone (41) 306-5675. LD6 5LT; or telephone (59) 781-0875. Netherlands, Waverveen July 3-August 26 Wales, Wolfscastle Summer Throwing, handbuilding, glazing, pit, raku, wood Weekly workshops on throwing and handbuilding and gas firing with Hanneke Oort (July 3-8); with Philip and Madeleine Cunningham. Begin­ Doug Green and Hanneke Oort (July 24-29); ning through advanced. Fee: £325-£350 (approxi­ Susanne Gast and Hanneke Oort (August 7-12); mately US$515-US$555), includes materials, or Jeannette Huizenga Huteyn (August 21-26). firing, lodging and meals. Contact Philip Cunning­ Instruction in Dutch and English. All skill levels. ham, Wolfscastle Pottery, Wolfscastle, Pembroke­ Fee: 500fl (approximately US$305), includes ma­ shire SA62 5LZ; or telephone (43) 774-1609.

Nolan Babin (front left) and participants load his 200-cubic-foot kiln with bisqueware during a wood-firing workshop in Concow, California.

April 1995 91 92 CERAMICS MONTHLY April 1995 93 Comment

A 4/4 Beat by Eleonore Sumi von Dassow

I recently have had the opportunity to do something I haven’t really done since high school—work on pots, uninter­ rupted, for extended periods of time while listening to music. In high school, we had a record player and a half dozen scratched records. Whoever had clean hands chose the music. Now I have a new CD player and a modest but growing collection of about 50 discs (some still in their wrappers, I must admit). In the 12 years since high school, I’ve owned a variety of used and barely usable sound systems, and a variety of used and barely audible records and tapes. I was usually too busy to listen to music anyway. This fall marked a new era in my life. For the first time in six years, I can work six or seven uninterrupted hours on pottery. For the first time in six years, I can listen to my own music selections instead of Raffi or Wee Sing. That’s right, my baby is now in first grade and I have the whole day to myself! Not one or two hours squeezed in during kindergarten, naps and after bedtime to work on pots, but seven hours from the time my husband leaves for work until my daughter returns from school. It didn’t occur to me right away to listen to music while I work. The CD player wasn’t in my studio, after all. But one day when I had a couple shelves full of burnished pots to deco­ rate with terra sigillata, I decided to listen to some of my old favorites. The Moody Blues popped into my mind first. There’s a band, I thought, that successfully uses a full orchestra to cre­ ate rock music. Sort of like those ce­ ramists who use the teapot format to make an art object—classic medium, modern message. Beginning to mark a design on the surface in red pen, I waited for the lovely harmonies and rich melodies to begin. When I heard a steady drum beat in 4/4 time emerging from the speakers, I was a little surprised. It was

94 CERAMICS MONTHLY April 1995 95 Comment For my next piece, I deliberately 4/4 time that was the villain, just the drew a circle on one side. I would have unimaginative drumming. Maybe I to work that circle into a balanced could create variety, interest and bal­ not what I remembered from a dozen pattern—there would be no identical ance by moving from one section to years ago! sections on this pot. the next. I looked at the pot I had been di­ I put on an Elvis Costello song to Six hours, five pots and five or six viding into 4, then 8, then 16 equal listen to while I worked. Here, too, CDs later, I put down my brush. My sections to decorate, trying to keep in was a 4/4 beat, but the instrumenta­ daughter was home, I was a mom mind a teacher’s injunction against tion changed throughout the song. The again, and it was time to think about symmetry: “There’s no reason to make drum faded in and out, other instru­ dinner. But I had learned a lot about your decoration perfectly symmetri­ ments achieved prominence, there was both art and music that day, and pro­ cal. Strive for balance, not symmetry. variety and interest, but balance, too, duced some fine work. After 15 years Why divide the surface into sections as the melody shifted and returned. of studying, making and selling pot­ and put the same tery, I think I am thing in each sec­ Maybe the song wasn’t so hummable or easy to dance to, but it was beginning to un­ tion? That’s not derstand some of interesting.” interesting, even exciting, to listen to. It was music I would want to hear what makes a pot As I worked really good. for balance, not again and again, because there was always something new to pick up on. I am working symmetry, I heard And, come to think of it, didn’t I want to make work people want to look on refilling those a steady beat con­ shelves in my stu­ tinue throughout at again and again, always seeing something new? dio now. They’ve the entire song, got just about as and I suddenly realized that it was like Maybe the song wasn’t so hummable many coil-built forms as they can hold, the symmetry I was trying to avoid. or easy to dance to, but it was interest­ and it’ll take me a couple of days to The music was divided into measures ing, even exciting, to listen to. It was burnish them all. When they’re ready, of four beats each, with an easy, un­ music I would want to hear again and I’ll put on some more music and settle changing drum rhythm throughout. again, because there was always some­ in for another decorating session. It was a hummable, danceable song. thing new to pick up on. And, come Maybe I’ll try some favorite classical Unfortunately, it was uninteresting and to think of it, didn’t I want to make composers this time. J. S. Bach and unchallenging to listen to, just as di­ work people want to look at again and Aaron Copland might have something viding a pot’s surface into sections and again, always seeing something new? to teach me, too. decorating each area the same way is Turning to my next piece, I decided uninteresting and unchallenging to to divide the decorating surface into The author Eleonore Sumi von Dassow look at. sections again. After all, it wasn’t the maintains a studio in Golden, Colorado.

Index to Advertisers

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