focus Monthly summer workshops

Liz Zlot Summerfield: Working Backwards focus summer workshops April 2009 $7.50 (Can$9) www.ceramicsmonthly.org

Ceramics Monthly April 2009 1 Monthly

Publisher Charles Spahr Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Holly Goring assistant editor Jessica Knapp technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney Marketing telephone: (614) 794-5809 marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 [email protected] Design/Production production editor Cynthia Griffith design Paula John Editorial and advertising offices 600 Cleveland Ave., Suite 210 Westerville, Ohio 43082 Editorial Advisory Board Linda Arbuckle; Professor, , Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama Tom Coleman; Studio Potter, Nevada Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recom- mended safety measures, according to toxicity ratings. subscription rates: One year $38.45, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, P.O. Box 662, Mt. Morris, IL 61054-9662. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company; a subsidiary of American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. postmaster: Send address changes to Ceramics Monthly, P.O. Box 662, Mt. Morris, IL 61054-9662. Form 3579 requested. Copyright © 2009, The Ceramic Publications Company; a subsidiary of American Ceramic Society. All rights reserved.

www.ceramicsmonthly.org Ceramics Monthly April 2009 2 Ceramics Monthly April 2009 3 Ceramics Monthly April 2009 4 April 2009 / Volume 57 Number 4

Monthly focus summer workshops

44 Summer Workshops 2009 Our comprehensive listing of summer workshops in ceramics provides all manner of educational opportunities, vocational training and informational overload. Whether you’re looking for fgurative or functional, high-fre or low-fre, you will fnd it here. features

26 Working Backwards: Liz Zlot Summerfield by Katey Schultz For those who think handbuilt, low-fre can’t be refned—think again. A North Carolina potter brings form and function together in a manner that is intentionally both accessible and elevated. monthly methods Cut Paper Templates by Liz Zlot Summerfield

30 The Pursuit of Perfection by Julie Murphy Scott Ziegler painstakingly layers color over his meticulously formed to achieve bright, inviting surfaces. But these are only the physical layers. monthly methods Stains, Slips and Patience by Scott Ziegler

34 Shigemasa Higashida: Oribe Master by Kelvin Bradford With a history as well-established as Japanese Oribe ware, one might think nothing new was possible within it. One would be mistaken. with Oribe Glaze and Higashida Firing Cycle

38 Expecting Wonders: Alice Ballard’s Pod Series by Katey Schultz Investigation and personifcation of natural forms draws an artist toward tension and drama in her wall installations.

40 The of Guatajiagua by Ana González-Martingale An El Salvadoran family makes traditional blackware, but not in the way you might expect. Their tried-and-true methods are atypical of traditional ceramic processes, but they have been using them for as long as anyone can 38 remember—so who’s to say what’s traditional and what is not?

cover: Box on Brick, 5 in. (13 cm) in height, handbuilt earthenware with terra sigillata, underglaze and glaze, fired to cone 04 in oxidation, by Liz Zlot Summerfield, Bakers- ville, North Carolina; page 26. 34 30 40

Ceramics Monthly April 2009 5 departments

8 from the editor

10 letters from readers

12 answers from the CM technical staff

14 suggestions from readers 14 Tip of the Month: Medicine Bead Cutter

16 upfront reviews, news and exhibitions 56 call for entries 56 International Exhibitions 58 Exhibitions 60 Regional Exhibitions 60 Fairs, Festivals and Sales 62 new books The Spirit of Ceramic Design by Robert Piepenburg 64 calendar 64 Conferences 64 Solo Exhibitions 66 Group Ceramics Exhibitions 68 Ceramics in Multimedia Exhibitions 70 Fairs, Festivals and Sales 72 Workshops 78 classified advertising 79 index to advertisers 80 comment Urban Potter by Celia Hirsh

online www.ceramicartsdaily.org information and inspiration from inside the artist’s studio Features Tips, techniques, profles and more—delivered to your inbox. Education Listings of colleges, classes, guilds, workshops and residencies.

Lidded container Galleries 17 by Neil Pat- Artist gallery pages, plus our comprehensive listing of museums terson, from the exhibi- and galleries that showcase . tion “Under Cover” at Clay Art Center, Port Bookstore Chester, NY. Complete line of ceramic art books to inspire, inform and instruct. Free Gifts Handy downloadable resources for the studio, including projects, recipes, our annual Buyer’s Guide and more! Magazines Current and archived features, exhibition reviews, article index.

24

Ceramics Monthly April 2009 6 Ceramics Monthly April 2009 7 from the editor e-mail letters to [email protected]

I thought I was getting through the winter ing summer in my mind. And when these full credit, and you can write in and thank just fine—and I suppose I was—but then thoughts creep in, there is no escape, and me. Better yet, join me. The more summer I started actually visualizing myself in the only one thing I can do: start making the work we all make, the sooner it will ar- summer, and all hope of maintaining a re- summer work. rive. I don’t care where you live, you have a alistic perspective was lost. My studio is in So I’m ordering a large batch of heav- summer, and I’ll bet you yearn for it. Don’t the basement, and I saw myself setting up ily grogged clay for the planters, and I’m make me do this all by myself. in the backyard on a nice sunny day, mak- experimenting with shapes for the pint In addition to getting summer to show ing big planters at a more rapid pace than glasses. (Luckily, because of ongoing re- up, there is another benefit to doing the I can in the relatively more humid—and lated research, I am already exceedingly summer work now; you’ll be done by the significantly more cramped—basement. I familiar with the measure of a pint.) The time the warm weather rolls around, and have become expectant for that sense of re- only thing left to do is will summer into you’ll have time to go take a workshop, birth and new beginning that comes with existence, throw so many planters that is learn something new, rejuvenate your the change of season, especially when the has no choice but to arrive early. creative self. If you need motivation, our change is from cold to warm, from cloudy Of course, I do the same thing for win- annual listing of summer workshops be- to clear, overcast to bright. ter when I’m growing tired of the thick, gins on page 44. If you don’t have summer I tend to approach the studio with a heavy August air and I scuttle down to the work yourself, the listing is a great way to renewed sense of discovery and exploration cool studio to make soup bowls and whis- come up with ideas. And if you still can’t when the seasons change, partly because it key bottles again. And that has yet to bring come up with your own summer work, is time to begin making different things. I an early winter, but if I’m honest with my- you can help with mine, so I can go to stop making soup bowls, serving bowls and self, I don’t wish for winter the way I wish more summer workshops. I can feel the whiskey bottles and begin making planters, for summer. In fact, this year, I think it’s sun already... flower vases and sandwich plates—maybe fair to say that I am hands-down, all-out, even pint glasses for summer ale! And if I full-on yearning for summer with my entire start making these things before the season being. And I’m not giving up; I’m going to actually arrives, so I can have them in time keep making summer work until summer for their intended use, I am already enjoy- arrives, and when it does I’m going to take e-mail letters to [email protected]

Ceramics Monthly April 2009 8 Ceramics Monthly April 2009 9 letters e-mail letters to [email protected]

A Face To Go with the Work Typical usage rates are around 20–40%. could come from artists combining these I have to second Paul Andrew Wandless’ Common brands available are Pyrotrol and traditional tools of engineering with the letter in the February issue. The idea of Pyrax. For the purpose of kiln wash, they ceramic arts. having a photo of the artist whose art is are all fine, so whatever is available cheaply Allen Moore, Redmond, Washington being featured is very appealing, not just is best. Here is a recipe that will work for for the “greats,” who might not be familiar any purpose: To Teach or Not To Teach... to everyone, but for all artists featured in Pier’s Kiln Wash It’s unfortunate that Ceramics Monthly left an important consideration out of “The the magazine. Pyrotrol or Pyrax ...... 40 % MFA Factor” series. There was no distinc- I have always found it frustrating to Calcined Kaolin...... 25 tion as to whether an individual wishes have no face to go with the ceramic work Kaolin ...... 35 to primarily teach at the college level or being presented. 100 % to develop and show their work. The Judy Sorgenfrei, Golden, Colorado Adding alumina to the recipe will make majority of teaching faculty in the series it even more refractory, but that is expen- are graduates from Alfred. Whether that Let’s Call It a Wash sive. I suggest using whatever kaolin is is good or bad is a separate issue. So, the I enjoyed John Britt’s recent article on cheapest (or whatever you have on hand). moral of the story is: If you are really inter- kiln wash, however, he forgot to discuss David Pier, Chapel Hill, North Carolina ested in teaching at the college level, go to the use of pyrophyllite in kiln wash. It Alfred. If you are interested in developing is a refractory material that dramatically Artistic Synthesis your artwork and refining your vision, any reduces flaking in the fired wash, and it is I enjoyed reading about the use of rapid M.F.A. program will be good. cheap (as little as $0.25/lb when bought in prototyping and other 3D technologies in Joe Pinkelman, San Pedro, California full bags). It does this through chemical the February issue. I’ve found that some of bonding rather than by fluxing, so it does the most interesting things happen at the Editor’s note: To date, 11 of the 38 fac- not reduce the refractoriness of the kiln intersection of things, whether in the natu- ulty in “The MFA Factor” received MFAs wash as flux would, but it does reduce the ral world (think of your last walk along a from the New York State College of Ceramics flaking. It can be used in any kiln wash lake or seashore) or in the technological. at Alfred University. The other 27 attended recipe, including those for salt kilns. It’s exciting to think of what new synthesis 22 other institutions for their graduate work.

Ceramics Monthly April 2009 10 Ceramics Monthly April 2009 11 answers From the CM Technical Staff e-mail technical questions to [email protected]

Q At one of our cooperative meetings, one of main reason for this is that it’s simply too danger- Oxygen analyzers were developed to work in our members complained about the headache ous. Another is that it’s likely to be inaccurate and the exhaust pipe of car engines, so it’s no surprise she received when she was doing reduction fir- inconsistent at best. they work with the oxygen sensor installed inside ing. Then another member noted that she also Before I go further, you need to know that the kiln itself. However, it does not appear that had one after she was cleaning shelves in the electric kiln room. you should have better ventilation in your kiln any of the CO detection systems are designed We bought two carbon monoxide (CO) detectors room. No one should get a CO-induced headache to function with the sensor exposed to full kiln and I mounted one in the electric kiln room and from firing—or working around the firing of—a heat. This means the only way to use the CO one in the gas kiln room. I set the CO detector so kiln. Make sure nothing obstructs the vent; be monitor is to have it outside the kiln where it’s I could determine what the CO was doing each sure the fans are working properly and have clean reading the level of a colorless, odorless, tasteless half hour of firing.I t turned out that there was blades; and if that isn’t enough, add more venting. but very dangerous gas. This means that, if you indeed CO in the rooms. Eureka! This is why our members were getting headaches, but I also had What you want is no (or a very low) reading on are reading the CO monitor, you’re being exposed another way to evaluate the firing of the gas kiln. your CO monitor. to the conditions it is reading, and that is unsafe. I could see that there was a direct correlation CO monitors work in three different ways. I don’t mean to be alarmist, but three people I between the amount of reduction and the CO The original technology is tin heated and reacting have known were separately, and accidentally, that I was measuring in the room. Plus I could with CO. A cheaper technology uses gel-coated exposed to CO. Two died, and the third lives with tell that, when the CO was in the neighborhood of 200ppm, I better not stay too long in the kiln discs that change color in the presence of CO, permanent brain damage. Do not take a chance area. I know the CO monitor operates differently causing an alarm. The third system involves a with carbon monoxide. Keep the CO detector in than an oxygen probe, but could it be a useful chemical reaction with CO that produces an the kiln room, because that makes good sense, tool in firing a reduction kiln?—R.S. electrical current. The latter technology usually but don’t use it as a kiln-firing tool. You clearly have an inquiring mind and are comes with memory and continuous readout, Keep asking good questions and keep yourself open to new possibilities—good for you! However, which sounds like what you’re describing in your and others safe. the short answer to your question is no. A carbon experience. And while your CO–reading capabil- Dave Finkelnburg monoxide (CO) monitor is not a good tool for ity is fairly robust, you do not have accurate oxygen Ceramics Monthly Technical Editor measuring reduction inside a gas kiln firing. The sensing capability. Pocatello, Idaho

Ceramics Monthly April 2009 12 Earline Green’s clay spirit quilts on display in the Dunbar Lan- caster-Kiest Branch Library in , .

A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this in- fluenced the design of Earline’s quilt tile mosaics displayed in the entrance of the Paul Laurence Dunbar Lancaster-Kiest Library in Dal- las, Texas. For that project, Earline fired 284 white stoneware tiles—all in her faithful Paragon Dragon. “The Dragon's design and controls are perfect for firing large flat pieces,” said Earline. “The digital programming controls provide a consistent firing environment that eliminated cracks and warpage in Earline Green with her Paragon Dragon front-loading kiln. This kiln is be- this project. coming a favorite with potters. It is easy to load, heavily insulated, and de- signed to reach cone 10 with power to spare. “During tile production, I fired my Dragon two or three times a week for four to six weeks at a time. I expected and received excellent results with each firing.” Contact us today for more information on the 2011 South Town East Blvd. Mesquite, Texas 75149-1122 exciting Dragon kiln. Ask about the new easy-open 800-876-4328 / 972-288-7557 switch box hinged at the bottom. Call us for the Toll Free Fax 888-222-6450 name of your local Paragon distributor. www.paragonweb.com [email protected]

Ceramics Monthly April 2009 13 suggestions e-mail suggestions to [email protected]

Homemade Sgraffito Tool I’m a high school ceramics teacher and tip of the month am always looking for ways to be efficient and save money. I discovered that a simple, Medicine Bead Cutter! yet effective sgraffito tool can be made with For just one dollar you can have a cut your coil into uniform size beads. When an ordinary #2 pencil. Use a pair of needle instant bead cutter and bead storage unit. you want fat beads, just roll a fatter coil of nose pliers to bend a single paper staple into The “twice-a-day” weekly pill organizer clay and cut your beads without having to a basic “U” shape. Push the ends of the bent becomes an instant bead cutter. Simply measure each one. staple into the pencil’s eraser and...presto! An lift the lids, lay a coil across the individual inexpensive sgraffito tool is made!—Lonnie trays and close the lids. The bead cutter will Schang, Bellingham, Washington

Congratulations to Fujie Robesky of Fresno, California. Your subscrip- tion has been extended by one year!

Ceramics Monthly April 2009 14 Ceramics Monthly April 2009 15 Oh, I Didn’t Know Mårten Medbo’s exhibition “Oh, I Didn’t Know,” was recently on view at the John Michael Kohler Art Center (www.jmkac.org) in Sheboygan, Wisconsin. “The work of Swedish artist Mårten Medbo investigates interpersonal relationships through upfront his ceramic sculptures of monkeys and other creatures,” according to , Arts/Indus- exhibitions and reviews try Program Coordinator. “His solo exhibition, Oh, I Didn’t Know, was cre- ated in the Arts Center’s Arts/Industry Residency Program in Kohler Co.’s Pottery. The exhibition is comprised of two series exhibitions: of slip-cast vitreous 16 Oh, I Didn’t Know John Michael Kohler Art Center, Sheboygan, Wisconsin works. School Yard Mon- 17 Organic Precisionism keys hug, tease, and lean Jane Hartsook Gallery at Greenwich House Pottery, on each other in a variety New York, New York of ways that symbolize 17 Under Cover Clay Art Center, Port Chester, New York how we relate to each 18 Non Fiction Design Collective: other and the commu- Shakespeare Wooden Minnow nity. In the piece Untitled, The Clay Studio, Philadelphia, Pennsylvania three seemingly soft and 18 Clay and Context Indiana State University Art Gallery, Terre Haute, Indiana flaccid seal-like creatures 20 Spirit of the Figure: Four Views that gradually disintegrate Snyderman-Works Gallery, Philadelphia, Pennsylvania into many parts, alluding 20 Ana England: Quercus with Companions to psychological or emo- Northern Kentucky University Gallery, Highland Heights, Kentucky tional scars that we carry 22 Get Fresh from our interactions with Devon Guild of Craftsmen, Riverside Mill, Bovey others or how our personal Tracey, Devon, England experiences build us up 22 Starting a Hare in Ceramics Pewabic Pottery, Detroit, Michigan or break us down. Both 22 Ceramics by Julie Elkins series of works investigate Sherrie Gallerie, Columbus, Ohio the consequences of how reviews: we affect, influence, and 24 Beyond the Brickyard inform one another. by Emily Donohoe “Medbo created the Archie Bray Foundation, Helena, Montana works for the exhibition, Oh, I Didn’t Know, by sewing original stuffed toy monkeys and other crea- tures, from which molds were made,” explains Lipman. “Slip was poured into the molds and al- lowed to sit for a period of time. The excess slip was poured off, and a shell of the object remained. After the object dried, the surfaces were sprayed Top: Mårten Medbo’s Untitled, variable dimensions, 2008. Above: Mårten Medbo’s School Yard Monkeys, variable dimensions, 2008; with liquid slip layered at John Michael Kohler Arts Center, Sheboygan, Wisconsin. Photos: Rich over glaze to achieve a Maciejewski. Finished works made in Arts/Industry, a residency program of the flocked aesthetic.” John Michael Kohler Arts Center. Arts/Industry is fully funded by Kohler Co.

Ceramics Monthly April 2009 16 Organic Precisionism New work by Sanam Emami was on view recently at the Jane Hartsook Gallery at Greenwich House Pottery (http://greenwichhouse.org/programs/arts/pottery) in New York, New York. “My pottery focuses on the potential of function, ornament and pattern to interact and blur the line between historical conventions and contemporary life,” says Emami. “The primary sources of inspiration in my pots are derived from patterns in Iranian and Islamic art and architecture. These patterns are based on elaborate geometric interpretations of nature that when broken down and taken apart are often comprised of simple shapes such as the square, the and the triangle. Elements of floral motifs and architectural drawings appear alongside the Islamic patterns, and imbue the work with an imagined sense of time and place. The layers of colors and imagery are drawn from different cultures and time periods. The attempt to harmonize seemingly disparate elements results in pots that feel familiar and eccentric. “I am interested in the opportunity for individual inquiry and innova- tion within these general and accessible frameworks. The juxtaposition of ideas and images, east and west, old and new are revealed through the functional pot and reflect my own history of moving through cultures and continents.”

Sanam Emami’s tulip vase and dish, 11 in. (27 cm) in height, flowers, , silkscreened underglaze, glaze, 2007; at Greenwich House Pottery, New York, New York. Photo: Joe Mendoza.

Under Cover Under Cover, a group exhibition of works by 83 artists was recently stretching of a moment to explore progression and development. on view at the Clay Art Center (www.clayartcenter.org) in Port Through ceramics, I am investigating issues of process and prov- Chester, New York. enance, manifested as combinatory objects.” The exhibition featured covered containers—boxes, lidded cas- “These days I contemplate the relevance of living as a practicing seroles, covered jars, sugar bowls, canisters and non-functional or artist in a world torn by conflict and exploited for resources,” says Gay sculptural works that deal with issues of containment. Smith. “Working for many years as a potter seems to develop quali- “Ceramics is a kind of ties which I must believe are play; a regenerative act ripe of benefit: caring attention, with reverence, revealing the commitment, courage, hard human hand’s enduring con- work, honesty, love of beauty, nection to creativity,” says and a willingness to get ones Shawn Spangler. “I view my hands dirty. time making as a private act. “What lies embedded Yet those moments serve as in the stone of fired clay a tool to initiate experience by the creative, alchemi- and make connections with cal bond between mate- others in the world. A fired rial, process, and person? pot negotiates the impasse Beyond use and aesthetic between individual labor and pleasure or innovation, do collective product. consciously made pots car- “My current body of ry some ineffable ability to work is a chronology, an heal and transform? What Left: Shawn Spangler, covered jar, 8 in. (20 cm) in height, porcelain, fired to cone 8 in oxidation, $120. overview and illustrative Right: Gay Smith Ruffled Jar, 9 in. (22 cm) in height, porcelain, titanium slip, soda fired to may be conveyed through pause in time . . . . It is a cone 10, 2008, $225; at Clay Art Center, Port Chester, New York. use or enjoyment?”

Ceramics Monthly April 2009 17 exhibitions

Non Fiction Design Left: Non Fiction’s Shakespeare Wooden Collective: Shakespeare Minnow, installation Wooden Minnow view, 2008. Below: Non Fiction’s New work by the Non Fiction Design King Mops, 12 in. Collective were recently on view at The (30 cm) in height, Clay Studio (www.theclaystudio.org) in porcelain, luster, electricity, 2008; Philadelphia, Pennsylvania. at The Clay Studio, The exhibition showcases the latest Philadelphia, Pennsylvania. work of Non Fiction, which is a design collaborative composed of four individu- als based in Columbus, Ohio. Through its work, Non Fiction’s founders, Rebecca Harvey, Katie Parker, Steven Thurston and Guy Michael Davis aim to merge the worlds of ceramics, printmaking and the remaking and reuse of industrial cast-off. They state: “Operating in a hybrid world between handwork and mechanization, we combine outdated processes like thermofax and letterpress with CNC milling and rapid prototyping. Labor-intensive processes mix with strange detritus; abandoned wallpaper and clearance mousetraps combine with hand-carved block prints and fussy porcelain . . . . Our limited production is a mixture of intent and accident—a constant tug between addition and subtraction. We make objects to affect the world.”

Clay and Context Clay and Context, a group exhibition of works by 46 artists, of Show award, are three related, life-size half-length female figures. was recently on view at the Indiana State University Art Gallery “The vibrant red of the strawberry, the stained tongue, and the juice (www.indstate.edu/artgallery) in Terre Haute, Indiana. dripping down the left arm and beading at the elbow contrasts The exhibition, juried by Sherman Hall, Editor of Ceramics Monthly, markedly with the crackled, cream-colored glaze of the figure itself,” explores both functional and nonfunctional contemporary ceramic art. according to the gallery’s director, Melissa Vandenberg. The sensual The exhibited works reflect the personal vocabulary of each of the artists, manner in which the fruit is eaten harkens back to The Garden of and the cultural climate in which they were made. Earthly Delights by Hieronymus Bosch and the ripe strawberry as Christine Golden’s Strawberry #1, #2 and #5, selected for the Best a symbol of the potential carnal pleasure to come.”

From left to right: Christine Golden’s Strawberry #2, Strawberry #1 and Strawberry #5, to 30 in. (76 cm) in height; at Indiana State University Art Gallery, Terre Haute, Indiana.

Ceramics Monthly April 2009 18 Ceramics Monthly April 2009 19 exhibitions Spirit of the Figure: Four Views A group exhibition of works by Adrian Arleo, Matt Nolen, Richard Shaw and Jindra Vikova was on view earlier this year at Snyderman-Works Gallery (www.snyderman-works.com) in Philadelphia, Pennsylvania. ““Spirit of the Figure: Four Views” presents the figure as metaphor, suggestive of but not necessarily replicating nature, formed by skills that celebrate our abil- ity as humans to invest inanimate materials with emotional meaning­—connected to history because those skills have always been there,” says the gallery’s director, Rick Snyderman. “As a painter, storyteller and architect, ceramics provides the means by which I can marry my loves: the painted surface, the three dimensional form and narrative content,” Matt Nolen explains. “Ceramics gives me the language to communicate my stories to a world audience.” “Of all the features of the body, it is the face that most intrigues and challenges me,” says Adrian Arleo. “During the twenty years that I’ve worked with the fig- ure, the faces have moved steadily from vagueness toward increasing specificity and recognizability. The eyes, when I was starting out, were undefined; they have since evolved from being closed, to being down- ward turned, to being open and forthrightly gazing. “I almost always play with how specific to get with facial features. Adrian Arleo’s Honey Comb Head with Developing Figure, 16 in. (40 cm) in height, clay, glaze, wax, encaustic, 2008. I prefer expressions to be quiet, introverted, or even somewhat blank, suggesting that the person is experiencing an internal moment, rather than trying to actively confront the viewer. In this recent body of work I’ve swung back and forth between very specific faces ...to no features at all... I’ve been thinking about the concepts of recognition and identification—about how something in us seems almost “hard-wired” to respond to specific visages. In recognizing a face that is “familiar,” empathy is a frequent response. In a work of art, however, there is a reversal at play, too: sometimes a work of art taps more deeply into us when it has no specific feature, and so resonates as an ar- Matt Nolen’s Crossing Over, 28 in. (71 cm) in height, stoneware, metal, wood, mixed media; at Snyderman- Works Gallery, Philadelphia, Pennsylvania.

chetype.” Ana England: Quercus with Companions A solo exhibition of works by Ana England, was recently on view at the Northern Kentucky University Gallery (www.nku.edu/~art/galleries.html) in Highland Heights, Kentucky. “The wonders of the natural world and the theories of science are the source materials for my art,” states Ana England. “The work I make expresses my own musings about the nature and structure of the universe from the Big Bang and the creation of gravity to the biochemistry of cells and the strategies of seeds. My most recent work explores natural patterns that are present in vastly different scales, demonstrating the connections between the larger cosmos, the human realm and the microscopic universe. “The eleven pieces in this exhibition resulted from a year-long sabbatical project to study how the oak tree (the Quercus species) is a nucleus for the overlapping life cycles of hundreds of forest inhabitants. Seven of the works are composed of half-spheres carved with textures of the oak. A carved porcelain form of an associated species is affixed to the semi-sphere by a bronze molecular structure. For example, the vein patterns of oak leaves surround the form in Quercus with Triad Shield Bug.”

Ana England’s Quercus with Triad Shield Bug, 10½ in. (27 cm) in dia., bronze, burnished stoneware clay, raku fired; porcelain, fired to cone 8; at Northern Kentucky University Gallery, Highland Heights, Kentucky.

Ceramics Monthly April 2009 20 Ceramics Monthly April 2009 21 exhibitions

Get Fresh New work by emerging designer makers was recently on view at the Devon Guild of Craftsmen (www.crafts.org.uk) in Riverside Mill, Bovey Tracey, Devon, England. Of her work, Linda Gates states “My ceramic work is a celebration of the 1950s era. I decorate my slip-cast earthenware with the iconic imagery of furniture and appliances of the time—the period’s advances in atomic and molecular science influenced many of the designs. Icons of 1950s furniture, textiles and ceramics still endure today to become sought after collectors’ items. The all-over style of the images references the fashionable Staffordshire ceramics of the '50s. “It was a time when childhood was unsullied by media images and when consumerism had not yet dominated everyday life. Some of my work depicts this innocence. “Digital technology plays an important part in my work process. Scanned images are manipulated and incorporated electronically. Digital transfer technology makes it possible to apply my drawn designs to glazed ware.” Linda Gates’ Make Do and Mend, 5 in. (13 cm) in length, slip-cast earthenware, slips, under- glazes, oxides and digital transfers, 2008; at Devon Guild of Craftsmen, Devon, England.

Starting a Hare in Ceramics Ceramics by Julie Elkins A group exhibition of works by thirteen artists was recently on view Sculptural works by Virginia artist Julie Elkins were recently at Pewabic Pottery (www.pewabic.com) in Detroit, Michigan. on view at Sherrie Gallerie (www.sherriegallerie.com) in Colum- bus, Ohio. Elkins’ works are handbuilt using porcelain and surfaces are cre- ated using porcelain stains. “The content of my work is influenced directly by my physical surrounding here in Virginia,” says Elkins. “I’m attracted to places where you can see the intricate remnants of history in thick layers. I build little isolated worlds based on dream imagery, crumbling buildings, abandoned places, graffiti, waste, dirt, bones and ghosts. I try to embody the beauty and sadness of overlooked places where there are decaying reminders of human presence and you can feel the haunting reality of the passing of time.” Wesley Harvey’s Tea for Two, 14 in. (35 cm) in length, porcelain, glaze, luster, wood, gold leaf, plastic, rayon fibers, 2008; at Pewabic Pottery, Detroit, Michigan. Julie Elkins’ The Old Homestead, 27 in. (68 cm) in height, porcelain and porcelain stains; at Sherrie Gallerie, Columbus, Ohio. “When the rabbit or its close cousin the hare appears in the literature, religion and art of cultures all over the world, its form may hold numerous and contradictory meanings,” according to Tara Robinson, Curator at Pewabic Pottery. “Thus the rabbit’s talent for breeding frequently and prodigiously lies behind its symbolic meaning as a talisman of both fertility and promiscuity in earlier western art. Its ability to survive and adapt has led to seeing it as a character both clever and wily, not to say sneaky. Thus Bugs Bunny always gets the better of Elmer Fudd, and Peter Rabbit of Farmer Brown. “The rabbits in this exhibition fall very roughly into two categories. In the first, the rabbit appears rendered more or less naturalistically. It may be seen pursuing human-like activities, wherein it, of course, is a stand-in for the human condition. Animals whose forms are slip cast from molds made by the artists, or molds made from mass-produced rabbit forms meant for popular ornaments or even food forms, may stand as a critique of the empty sentimentality of popular culture, or contemporary attitudes to almost anything.”

Ceramics Monthly April 2009 22 Ceramics Monthly April 2009 23 reviews

Clockwise from left: Gabriel Parque, Blessing, 23 in. (58 cm) in height, stoneware, 2007. Monica Ripley, dinner plates, 10 in. (25 cm) in diameter, porcelain, fired to cone 10, 2008. Kate Bauman, Fortitude Series, 2, 13 in. (33 cm) in diameter, stoneware, 2007. Jacob Foran’s Untitled #4 (flesh and bone series), 12 in. (30 cm) in length, soda- fired porcelain, 2008.

Beyond the Brickyard by Emily Donahoe Each year, some of the best and brightest ceramic artists come to The exhibition also shows a total explosion of the clay genre from drink the waters at the Archie Bray Foundation for the Ceramic Arts, the confines of its fast-fading identity as just a craft. Unencumbered the renowned ceramic arts facility located in the unassuming town by having to dig their own clay and build their own kilns, Warashina of Helena, Montana. With its debut juried exhibition, “Beyond the says that contemporary ceramic artists now have the freedom to Brickyard,” the Bray opens its doors to artists from around the world, get right to the heart of their ideas, and the artwork shown in this including both fresh faces and former residents. The exhibition offers exhibition bears that hypothesis out. The freedom of imagination a window to the greater ceramic arts scene and extends the Bray’s on display is a joyful homage to the pioneering artists who broke mission to an exciting new arena. the barriers of clay in this very spot. Sharing the space with the Bray’s sales gallery, the exhibition is If I didn’t know better, I’d wonder if Warashina was dreaming slightly cramped but visually pleasing, featuring pieces by both emerg- of the sea when she selected the pieces. Many of them reminded ing and established artists, with an emphasis on . me of the ocean, or resembled some as-yet undiscovered animal or The exhibition doesn’t totally hang together, but that’s the mineral to be found in its darkest corners. chance you take with a juried show—you never really know These wild ceramic waters are full of creatures both whimsical how things will interact in a gallery setting. In this case, a strong and bizarre, such as Cara Jung’s slightly naughty Tits Tats: Watermelon compilation of complementary work stops just short of achieving Splash and Rebeca Gilling’s female arachnid A.J. Spider. perfect chemistry. Despite the inventiveness at play, however, the pieces that stand There’s much to be enthralled by in this eclectic collection, se- out in Beyond the Brickyard are more modest in their ambitions. lected by Seattle ceramic artist from approximately Worth noting are Phillip Ahnen’s exquisite stoneware Oiler and Ted 700 works. The show encompasses stylized sculpture, installation Adler’s lusciously glazed Vessel. Ahnen pushes the limits of the line with and masterfully executed functional pieces. This diversity of style his gorgeous wood-fired piece, accentuated with rugged details and fit for is easily attributed to what Warashina describes as her own “very only the most discerning Tin Man. Similarly; Adler combines an organic, broad idiom” when it comes to ceramics. earthy form and natural color palette with thick, luxurious streaks of glaze As noted in her juror’s statement, most of the work shows a in a piece that is somehow as decadent as an ice cream sundae. surprising lack of overt social commentary—and even those pieces Jacob Foran’s porcelain block sculpture of a crushed canine skull that speak to larger issues are intimate and intensely personal. is another outstanding work, both for its unusual construction and Ceramics Monthly April 2009 24 Clockwise from top left: Rebeca Gilling, A.J Spider, 26 in. (66 cm) in length, stoneware fired to cone 05, 2008. Ted Adler, Vessel, 10.5 in. (27 cm) in height, wood-fired stoneware, 2007. Phillip Ahnen, Oiler, 22 in. (55 cm) in height, wood-fired stoneware, 2007. Cara Jung, Tit Tats: Watermelon Splash, 22 in. (55 cm) in length, slip-cast and assembled stoneware, 2008; at Archie Bray Foundation for the Ceramic Arts, Helena, Montana.

overall composition. The use of delicate porcelain and a glossy fin- At first, I didn’t know what to make of this sculpture. Although ish for this extremely detailed rendering of shattered skull and bone it beckons to be looked at, the infant’s expression is somewhat casts Foran’s dark subject matter in a new and beautiful light. All ambiguous, inviting uncertainty rather than instilling comfort. three of these pieces have tremendous integrity, and achieve a certain Ultimately, I think this subtle clash of messages is what makes Bless- freedom from their makers’ mark. With nothing to pull focus, the ing work so well, and it’s a testament to Parque that he was able to effect is liberating for the viewer as well. capture such complexity in the infant’s gesture and expression. Another piece I kept coming back to is Kate Bauman’s Fortitude Monica Ripley’s dinner plates were also honored with the di- Series, 2, an elegant, austere sculpture that looks like it was just rector’s award by Bray resident director Steven Young Lee. These exhumed from the bottom of the ocean. glassy, thrown porcelain plates have a movement and beauty about Bauman’s painstakingly carved stoneware sphere is full of secret them that belies their simplicity. In keeping with the sea creature crevices and shapes that defy easy explanation. A dark, inky slip theme, the almost sculptural plates seem alive and emotional gives the bulk of the sculpture a natural tone and texture. On the despite their usefulness. edges, glaze and slip meld to a tactile, iridescent web, remi- Not all of the pieces in the exhibition achieve success in both niscent of the inside of a mollusk shell. The end result is both quiet concept and execution, probably due to the fact that many of and powerful, in keeping with Bauman’s aim to create something the artists are still getting their sea legs. The most exciting thing “protective and vulnerable at the same time.” about Beyond the Brickyard is the expanded sense of possibility Holding court over the entire exhibition is Gabriel Parque’s it represents for the clay medium. One can’t help but imagine eerie Blessing, the well-deserving recipient of the show’s lone juror’s that artists like , David Shaner and others would be award, which depicts a serene, ghost white infant offering his raised delighted by the work on display. As these forbears suspected, in hand as a priest would during mass. From afar, the infant looks like capable hands, clay can do pretty much anything. something of a baby Botticelli, its umbilical cord flowing to the floor like Venus’ hair. The angelic figure is contrasted by its own blood red placenta, which acts as the sculpture’s base. Created with several the author Emily Donahoe is a freelance writer living in Bozeman, layers of sanded oil paint and a wax finish, the surface of the piece Montana. She has written extensively about the arts in Montana for references classic marble sculpture, giving it an old-world feel. Montana Magazine and the Helena Independent Record. Ceramics Monthly April 2009 25 ing Backw ork ard W s

Liz Zlot Summerfield by Katey Schultz

Avocado Floral and Striped Butter Dish, 6 in. (15 cm) in length, handbuilt earthenware, terra sigillata, glaze, fired to cone 04 in oxidation, luster, 2008.

Liz Zlot Summerfield begins with what we know. “We all have a space that doesn’t demand use of the objects lets them function some sense of shared history through functional objects that we in an emotional sense as well.” can relate to,” she says. “Everybody can have a relationship with a Using the patterns, colors, decals, text and shapes of vintage cup or a creamer because we’ve all seen those things since we were aprons, round barns, antique kitchen appliances, bread boxes, kids. In that sense, what I make is very accessible.” recipe cards, pails and egg baskets, Summerfield seeks to imbue her But Summerfield’s small collections of hand-built boxes, cream- work with “a sense of nostalgia, memory and pastime.” Arranging ers, butter dishes and cups are as equally infused with concepts as her pots in a collection, as she does in her Pail Series, elevates them they are utilitarian value. “Function is not just making something to icon status and recontextualizes even the most commonplace that pours. I believe a pot is ‘functioning’ even if it is completely items because their shape and surface reference things that are empty sitting on a shelf next to other objects. Collecting things in “loaded with their own set of historical information.”

Ceramics Monthly April 2009 26 ing Backw ork ard W s

Top: Cream, Sugar and Milk Set with Brick, 12 in. (30 cm) in length. Bottom: Floral and White Striped Box, 3 ½ in. (9 cm) in height. Both are handbuilt earthenware, with terra sigillata, underglaze and glaze, fired to cone 04 in oxidation, 2008.

Ceramics Monthly April 2009 27 “In a collection, you are taking objects out of a context and placing them in a new space. Interest- ingly enough, the vintage aprons are much more of an icon today than a useful object—the functional use has been replaced with a new and updated emotional or symbolic use, so their primary func- tion has changed over time,” says Summerfield. Change the object from an apron to a hand-built lidded vessel whose surface design mimics quilted apron patterns, and what springs forth is an ob- ject that simultaneously invites everyday use and evokes a sense of preciousness—something that begs to be preserved, set apart and admired. Perhaps Summerfield said it best when she paraphrased Jean Bauldrillard’s The System of the Object, explaining: “A new context associates the object with new status. . . . Collecting is defined as a narrative activity.” In a sense, collections gain momentum as they increase. Ultimately, we find different meaning in the collected objects than if each piece stood alone. Summerfield’s collections have both aesthetic and utilitarian functions and speak in a unified voice that evokes home, domes- ticity and family. Similarly, Summerfield’s pots that mimic round barns contain this paradox of functionality. “I found a book on round barns in Indiana. They are somewhat of an icon now. They are utilitarian, but the formal qualities are what struck me—the materials, the craftsmanship and the presence of these structures in space. Since I’m interested in what arises when you look past the usefulness of a functional object, this source material informs me on a metaphorical level.” The scale of Sum- merfield’s work is intimate (often no larger than the palm of your hand), thus, her boxes further recontextualize round barns by manipulating scale and moving the shape away from the farm and into our kitchens or onto our shelves. On the surface, Summerfield uses colors com- monly found in kitchens from the 1930s–1950s. Mint, pink and aqua terra sigillatas are painted over an earthenware clay body. Texture is added with slip trailing or created by subtraction as she sgrafittos quilting patterns across the forms. She fires the pots that have lusters or enamels three times, so one section may feel waxy across a terra sigillata, glassy across a clear glaze and bumpy across the raised red and luster “” adorning the pot. More recently, Summerfield has experimented with a white and chocolate brown palette and even Floral Pail with Brick, 14 in. (36 cm) in height, handbuilt earthenware, terra sigillata, underglaze, with several pieces that are white on white. She glaze, fired to cone 04 in oxidation, 2008; by Liz Zlot Summerfield, Bakersville, North Carolina. began masking to achieve stripes and continues

Ceramics Monthly April 2009 28 cut paper Templates by Liz Zlot Summerfield

The basic shape of my work originates from simple paper templates. I create my templates from craft paper, file folders or tarpaper depending on their use. Tarpaper will not absorb moisture over time, so it is the best choice for long-term use. My forms usually start out as bottomless, so this allows me to create any shape I desire. I stretch, cut and pooch out the clay to create the volume within the pot. My process starts from a loose drawing of the form that I intend to make. At this point I am thinking about proportions and scale, monthly methods especially if it is a form specific to function, such as a butter dish. Next, I create a clay sketch, working directly from the drawing. This allows me to begin to work through the formal issues before I even start to work on paper. I really take advantage of the clay’s properties, altering the form quickly by pinching or cutting away. The clay sketch is cut flat into one or more pieces, enabling me to trace Above: Floral and Stripped Lidded the form directly onto paper. This tracing becomes my Pitcher, 4 in. (10 cm) in height, handbuilt earthenware, terra master template. This master usually gets slightly altered sigillata, underglaze, glaze, 2008. after I have made a few pots. Right: This paper template was It doesn’t take many templates to create several used to make the pitcher above. different forms. I often cut my templates in half or turn them upside down in order to create new forms from my originals. Also, my copy machine has enabled me to alter my templates quickly if I want to keep the same proportions, but change the scale.

to make subtle changes to the forms with each firing. “Each piece it. Once it’s folded, I push out each pot a little differently in some is like a blank canvas. The question is, how many different ways way. The paper patterns are a starting point for me.” can I break up this space? That said, I really like there to be some In the end, Summerfield has developed a body of work that breathing room on each pot. I’m trying swirls and floral patterns communicates a unique, multi-layered message. The pieces func- now, but I don’t do the swirl or the floral without the stripes next tion independently and as a collection, appearing both playful and to it. The patterns talk to each other and I am working from an useful, historical and modern. Born from a flat surface, they are intuitive feeling to explore that.” lifted and folded into vessels that can contain or hide small items, No matter the object, inherent to Summerfield’s surface design while the surface design and shape of each piece tells an outward is her geometric way of dividing a piece into sections. “I wish I story no matter how the pot is used. could see things in the round, but I see things with a front and For further information on the work of Liz Zlot Summer- back and left and right side. The floral patterns and swirls are my field, visit www.lzspottery.com. Upcoming exhibitions of her work attempt at working more in the round,” she says. In graduate school include a group exhibition at Mudfire Clayworks and Gallery at University of Minnesota, Twin Cities, she completely abandoned (www.mudfire.com), Decatur, Georgia, April 4–May 5; Smithso- the wheel and started from the ground up. “In my first year, many nian Craft Show (http://smithsoniancraftshow.org), Washington, of my friends were making dozens and dozens of pots a week and D.C., April 23–26; and a solo exhibition at Crimson Laurel Gallery I was still trying to make a cylinder.” (www.crimsonlaurelgallery.com), Bakersville, North Carolina, September Working backwards, she threw a pot on the wheel, cut it into 4–October 31. sections and designed a two-dimensional paper pattern that she then laid on the slab of clay to cut out her design. In time, she re- the author Katey Schultz writes from her home in Fork Moun- fined her handbuilding techniques so that each slab folded together tain, North Carolina. Her current projects include a series of es- with precision, leaving thin seams to accentuate the process of the says about art and her creative nonfiction. To learn more, visit making. “Now, when a piece folds up, each side is where I want http://katey.schultz.googlepages.com.

Ceramics Monthly April 2009 29 The Pursuit of Perfection by Julie Murphy

Scott Ziegler is an artist, a teacher and a recent M.F.A. graduate of Northern Illinois University. For the past seven years, while teaching at the high school and col- lege levels, Ziegler has become acutely aware that many students prefer the instant gratification of technologies like video games, iPods and text messaging to dedicat- ing a few hours to complete a ceramics project to the best of their abilities. As a sculptor of highly detailed pieces, Ziegler has sometimes been criticized for spending too much time on the intricate elements in his own work. Critics have suggested he find ways to speed up his process or look for alternate ways of achieving the same outcomes. But, believing in his process, and pleased with the results of his attention to detail, he continued spending countless hours creating each piece.

Innocence, 14 in. (36 cm) in height, porcelain colored slips and glazes, fired to cone 6, 2008.

Ceramics Monthly April 2009 30 Though the criticism did not change the way he worked, he started to question whether he was dissatisfied with anything short of perfec- tion, or if he held himself—and his students—to an unusually high set of standards. He also wondered whether working toward continuously exceeding his own expectations was beneficial. These questions led him to explore the idea of perfectionism. When applied to the ceramic arts, and especially to his own work, Ziegler suggests that perfectionism is more about the evolution of an artist’s photos unless noted: Jeffrey D ionesotes unless noted: Jeffrey photos confidence in his processes—it takes courage to enter into new and unfamiliar territory rather than producing the same work repeatedly or simply replicating a process because it gains recognition. Mastery of material, attention to detail and flawless execution sets an outstanding piece apart from the rest. Ziegler learned this lesson after graduating from college, while work- ing as a toy designer for a small design firm in Chicago. Side-by-side with the owner, learning the detailed work required to produce objects to scale, he acquired the skills necessary to improve his sculpting ability. He explored materials, cultivated patience and discovered the many processes needed to take a project from inception to completion. He was encouraged to be part of the process, and taught not to accept his first idea, or even a good idea, as the gold standard. As he nurtured his creativity, and refined his skills, he sought to exceed his own expecta- tions with the creative process and the outcome. Ziegler saw a dramatic shift in his work. While his art had always been sculptural, his early years had been spent learning, exploring and pushing the boundaries and limitations of clay; his ideas were material- based, not idea-based. He created large-scale work, pushing the size limitations of his material. He experimented with surface decoration and the glazing process, and he developed work that combined throw- ing and hand-building techniques. As a toy designer, he developed and refined his meticulous attention to detail and gained confidence as an artist. He began applying the same level of precision to his own work, creating pieces unlike anything he’d ever produced before. Believing he had developed a reasonable understanding of the material, he focused on perfecting the form. He spent incredible amounts of time on each piece, concentrating on symmetry, detail and realism—elements critical to his success as a toy designer. The precision of his forms and surface detail shifted his attention to glazes and glazing techniques. His work had always been fired in gas kilns, soda kilns and salt kilns using traditional cone 9/10 glazes, but because of the inconsistent results these glazes produced, they weren’t practical for the detailed work he was creating now. He experimented with a variety of low-fire materials (cone 018–01), including under- glazes, glazes and lusters, drawn to them because of the wide range of vivid colors available. The low-fire materials met his expectations,

Right and above: Expiration Date, 13 in. (33 cm) in length, porcelain, colored slips and glazes, fired to cone 6, 2008. Photo courtesy of the artist.

Ceramics Monthly April 2009 31 Roll Model, 7 in. (18 cm) in height, colored slips and glazes, fired to cone 6, 2007.

Ceramics Monthly April 2009 32 producing consistent results and allowing him to be more precise. Stains, Slips and Patience M onthly ethods He began using them exclusively. Ziegler had taught community art classes and, though he found by Scott Ziegler working at the toy company satisfying, realized he missed teaching. He had enjoyed the connections formed with students and missed When my work is bone dry, I use a variety of grades watching a student grasp a process for the first time, to be inspired of sandpaper to smooth out imperfections. After it is and put forth the effort required to be thrilled with their result, so completely smooth, I begin to lay in my color. I create he decided to return to school to pursue an M.Ed. in Art Educa- my own colored slips by adding different percentages of tion. While completing his degree, he was invited to join the fine commercial stains to the same porcelain clay body used arts faculty at a high school with a strong arts program. He received for my pieces, adding water until they become quite fluid. his M.Ed. during his first year of teaching there and later continued It’s generally not wise to add wet clay to bone-dry clay, his studies in art by pursuing an M.F.A., believing one of the best because it will crack off, but since the clay in the slip is ways to develop as an artist is through exposure to different and really just an agent for binding color onto the surface, unfamiliar styles, techniques and schools of thought. I can get away with applying many thin layers. That is He knew he would be challenged, and that his work would be cri- the trick, but the process is very time consuming. Each tiqued and criticized, and he welcomed the process, hoping it would area requires three to four brush coats per color. When encourage him to continue testing the limits of his materials. all the color has been applied, I’m finally able to bisque As a graduate student, he developed a body of work that pushed fire the piece. For the glaze firing, I add glossy and matt him outside his comfort zone as he began to confront childhood glaze and fire to cone 6. experiences he had ignored for years—Ziegler grew up in a dys- functional family, one rooted in alcohol addiction. Building on the precision he had learned as a toy designer, his pieces became more detailed than ever before. Because he spent so much time working with and mastering his materials, he felt a sense of control over his work for the first time. He realized the detail he put into his pieces The Adversary 9 in. (23 cm) in was as much for himself as it was for the viewer. It was a way for height, porcelain, colored slips and him to counteract the chaos he experienced growing up; the detail glazes, fired to cone 6, 2006; by Scott Ziegler, Barrington, Illinois. gave him a feeling of control. He had finally discovered a way to express his experiences in a way he was comfortable with. In his quest for control over his art, he revisited his glazes. While pleased with the colors, stability and level of detail he was able to achieve, the porous low-fire materials he had been using were attracting fingerprints, smudges and dirt—highly undesirable effects when work is designed to engage the viewer, draw them in and encourage them to interact with it. Ziegler began looking for commercially available, alternative glazes and tested numerous op- tions, but none met his needs. Frustrated with the lack of options, he investigated making his own cone 6 underglazes and glazes. After months of testing, he started using commercial stains mixed with slip. He applied it to his pieces in the same way he had been using the low-fire underglazes and lusters, and was able to achieve the same results with none of the limitations. He was also able to produce a wider range of colors than ever before. Though he has learned an incredible amount about himself and his materials, and has developed and refined techniques that will last him a lifetime, his journey has just begun. He knows he must continue to evolve today to get where he wants to be tomorrow. After all, to Ziegler, the perfect piece is a result of a multifaceted, always evolving process and perfection is always one step away. the author Julie Murphy is a writer living in Chicago, Illinois.

Ceramics Monthly April 2009 33 Shigemasa Higashida: Oribe Master by Kelvin Bradford

Within Japan, many leading ceramic mas- ters have followed the family line handed down from father to son. Shigemasa Hi- gashida does not fit this mold, in fact quite the opposite. Born in Hiroshima in 1955, he studied economics at a university in Shimonoseki and decided to pursue post- graduate studies in clay only after he visited a fortune teller and was informed that he was destined to become a great pottery mas- ter. He studied for two years at an institute located in Mino, located near Nagoya, the of the Shino and Oribe tradi- tions. It is not surprising, therefore, that he decided to pursue those traditions. His house and workshop are located in the suburbs of Tokyo. His house was com- pletely rebuilt a few years ago, combining natural elements with Japanese minimalist, contemporary design in a unique way. It’s like entering a small oasis in the middle of

Vase, 14½ in. (37cm) in height, kurinuki (scooping) technique, created from a solid block of clay, with oribe glaze.

Ceramics Monthly April 2009 34 Left: Katakuchi (half-mouthed bowl), 5 in. (12 cm) in height, wheel thrown, oribe glaze. Below: Shigemasa Higashida at his home in suburban Tokyo, Japan. busy suburban Tokyo, the space is totally cut off from extraneous external noise. At the front of the property is a small traditional landscaped garden and, when sitting and eating, one is able to reflect on it by way of a cleverly designed corner window. Higashida stressed the importance of living surrounded by a natural environment and harmony, which he considers essential for the creative mind. Higashida does not have any assistants, and he prefers to work alone. The workshop has been carefully constructed as part of his house. He has two potter’s wheels—one electric and one traditional Chinese hand-wheel—situated adjacent to each other. Behind is a bench and hand-wheel where he can move pieces from the potter’s wheel to work on them further. There is a special storage alcove for clay and glaze materials located under a trap-door in the floor, maximizing the use of space. A separate room houses two gas kilns, the larger about 25 cubic feet, the smaller about 10 cubic feet. Adjacent to the house is a large barn-like storage shed where he stores tons of special clays and materials. Higashida has a great respect for the legendary Shino masters Toyozo Arakawa and Kato Tokoro, as well as Okabe Mineo whose Oribe ware is still considered the finest in Japan. He is also a great result. The surfaces of the works are heavily scoured or scraped with admirer of Fukami Suehara, a leading contemporary master who a tool similar to a wooden wedge. In order to achieve a roughed-up specializes in large sculptural forms. In my personal clay surface, he uses a special mix of 30% mogusa clay—dug during opinion, the Oribe ware that Higashida currently produces is the creation of a golf course near the late master Toyozo Arakawa’s without doubt the most dynamic being created in Japan. One re- home—mixed with 70% white gotomaki clay containing a small ally has to examine the pieces in person to get a real appreciation amount of iron. This combination of clays tears easily with only for their exquisite beauty. slight pressure from the wooden wedge. When asked what would The forms are very sculptural; combining both throwing and happen if a greater percentage of mogusa was added, Higashida reductive scooping (kurinuki) techniques to achieve the desired replied that the clay would be unworkable. It takes about three

Ceramics Monthly April 2009 35 Lidded Box, 10¼ in. (26 cm) in height, kurinuki technique, created from solid block of clay, with oribe glaze. Oribe Glaze Oribe glaze is a favorite within Japan and is becom- ing increasingly popular outside of Japan. The glaze is attributed to Furuta Oribe (1544–1615), a warrior days to construct larger works, some of which are made in two who became a great tea master and was responsible sections and joined in the firing process. for uniting the artisans of the time in a school of The works are first bisque fired to 570°C (1060°F) for about 12 thought that is still flourishing today. hours, then glaze fired to 1300°C (2370°F) for up to 35 hours and Oribe ware is characterized by a dynamic green- fast cooled to 900°C (1650°F). Higashida uses five different glazes, toned glaze and is noted for its geometric decora- incorporating four different types of ash. The different ashes provide tive patterns. Contemporary masters tend to use interesting variations. He brushes these glazes on the ware in layers, the glaze widely on vases as well as vessels used then deliberately fires high enough to induce some movement in for food. It consists of copper carbonate, ash and the glazes. It is this combination of glazes and glaze movement that feldspar, and is often augmented with tin oxide, a creates the extraordinary effects seen in the work. small percentage of iron oxide or barium carbonate. The following direct quote from his website, which has an It is normally fired to 1280–1300°C (2335–2370°F) in English translation, is telling in terms of Higashida’s view of his an oxidizing atmosphere and fast cooled. work. I present it verbatim, as I believe to transliterate it would Please note that it is advisable to restrict the destroy much of its essence: amount of copper carbonate to 3%. All glazes used I would like you to find much difference between clay and other on surfaces intended for food or drink should be materials such as glass, metal, stone and wood and how I bring out leach tested for any harmful materials in the glaze. and express the distinctive feature of clay.

Ceramics Monthly April 2009 36 I always try to make my works released from preconceived concept. Size, weight and other functions that my work has are created by such open-minded imagination. However, I also know it is important that Higashida Firing Cycle I learn from our predecessors’ work to elaborate my sensibility. Only if I acquire these elements can good works be made. As a potter, I hope Hours Atmosphere Temperature you can find your original way to use my pottery. After all, my works 1–8 Oxidation 950°C become the ultimate works as they are used. 8–9 Oxidation Hold 950°C I sincerely wish you would enjoy my works and hopefully sympathize 9–16/17 Reduction 1120°C with the sensibility that I express. 17–23 Oxidation 1170°C (slowly) It is interesting to note that the comments Higashida makes 24–29 Oxidation 1250°C (increased rate) about the difference between clay and other materials is consistent 29–33 Oxidation 1280°C (virtual soak) with most contemporary Japanese masters. This is a major reason why installations containing mixed media have not been success- The most interesting point is the long period of reduction ful in Japan. from 950°C until 1120°C, as there is a real risk of creating a red color from reducing the copper. When questioned on For further information on the work of Shigemasa Higashida, see this aspect, Higashida commented that the reduction period www.soshintougi.com. caused instability in the glaze but increased the dynamics of The author Kelvin Bradford is a New Zealand ceramic artist the work and he was prepared to take the risk in order to and a regular contributor to CM. For further information, see maximize his results. After reaching top temperature, the kiln www.kelvinbradford.co.nz. is fast-cooled to 900°C.

Large , 25½ in. (65 cm) in length, beaten clay slab, with oribe glaze.

Ceramics Monthly April 2009 37 Expecting Wonders: Alice Ballard’s Pod Series by Katey Schultz

Crocus Pod, 11 in. (28 cm) in height, press-molded white earthenware with terra sigillata, fired to cone 06 in oxidation.

Ceramics Monthly April 2009 38 Alice Ballard’s path in life has been as rich and textured as the than higher-fired clays, which makes it easier to plan and execute surfaces of her ceramic pods. The artist spent her formative years her stacked pieces. abroad as an Air Force “brat,” which shaped her values as a woman Next is the task of arranging, which is where the individual who both nests and explores, focuses and experiments. “That life- pieces work together to leave a lasting impression. Most recently style made the world seem more interconnected. It made me feel shown in an inverted triangle form, the pods take on a more femi- very open-minded,” says Ballard. “I lived in Paris from the ages of nine meaning. “I don’t consider myself to be a theatrical person,” ten to twelve, but I also have memories of planting corn and beans says Ballard, “but when I put these together I feel a little like I’m as a young girl at my grandmother’s house in South Carolina.” putting them on stage and orchestrating a drama.” With just enough time at her grandmother’s to stick around and For further information on the work of Alice Ballard, see see the bean sprouts peeking through the soil, Ballard’s infatuation www.aliceballard.com. with pods might have begun at an early age. But her travels as an Ballard’s work will be presented in a solo show in July at adult to Macedonia, China, and Alaska suggest multifaceted Blue Spiral 1 (www.bluespiral1.com)in Asheville, North Caro- influences. This has culminated in an aesthetic that heavily refer- lina, and also in the travelling exhibition “Tradition/Innovation” ences the mother/child/germination metaphor and also explores (www.traditioninnovation.org). the more evocative realm of wonder and awe. It seems impossible to experience Ballard’s pod series without the author Katey Schultz writes from her home in Bakersville, North noticing the nod to such advocates of the natural world as Henry Carolina. Her current projects include a series of essays about art and a David Thoreau. “I have great faith in a seed,” Thoreau wrote. book on Western North Carolina’s historic swinging footbridges. Learn “Convince me that you have a seed there, and I am prepared to more at http://katey.schultz.googlepages.com. expect wonders.” It is precisely this sense of wonder that is crucial to Ballard’s creative process as she synthesizes what she sees in nature. The end result is not necessarily a form that exists in the natural world, but the archetypal references are evident throughout. A heart-shaped pod references the human body or a tulip bulb. The soft folds and openings down the center of a pod evoke flesh or unfurling pet- als. Some hues are muted like the forest duff, while others appear electrified and bright like the skin of poisonous salamanders. “The older I get, the less separation I see between people, animals and plants,” says Ballard. This blending of features allows Ballard to enhance what she likes about the things she studies, and leave out what doesn’t appeal Tulip Leaf Pod in progress. Ballard uses the same press mold to make two halves to her. The most immediate effect of this enhancement is the acces- of a pod, and embellishes the surface after joining the two halves. sibility of her work. Each pod measures roughly 11 inches long, 9 inches wide and 7 inches deep—about the size of the human face. Wall-mounted at eye level, viewers can peer into and around each pod, enabling them to see an enlarged form that echoes nature’s minute miracles. The human scale lends itself to a direct relation- ship between the viewer and the pod, and it is in this moment that the message of Ballard’s work comes to fruition. The many faces that interact with her work are as diverse and wondrous as the pods themselves, and if we allow such forms to be exalted as beautiful and awe-inspiring, isn’t the entirety of creation just as extraordinary? Ultimately, it is this slow and steady work of exploring and cher- ishing that leads to Ballard’s current body of work, which includes totems, bulbs and pod series in triangular arrangements. Ballard’s background in painting comes heavily into play dur- ing surface decoration. “I started regarding the pods as a three- dimensional canvas and that was the first time I started having more fun with color and texture. I use terra sigallata because it reminds me much more of paint. Whereas glaze really sits on top like the icing on the cake, I really want to emphasize the cake.” Ballard prefers working with white earthenware, because the sound and Pod Triangle II, 15-pod wall installation, each approx. 11 in. (28 cm) in height, feel is more like a thug thug than a ping ping. And it shrinks less 5 ft. (1.5 m) in total height, white earthenware, fired to cone 06 in oxidation.

Ceramics Monthly April 2009 39 photos:

The Pottery of

Comales cool against the shed wall after firing, each 24 in. (61 cm) in Guatajiagua diameter. Photo: Ana Martingale. by Ana González-Martingale

During the summer of 2007 I had the opportunity to visit and When I first visited the town, I was introduced to Don Sarbelio observe the work of the potters in the town of Guatajiagua, El Vásquez, a well-respected potter who won international recognition Salvador, which is located in the south eastern part of the country in 2005 with his tlameme sculpture. A tlameme is an Indian man car- about 146 kilometers from the capital city of San Salvador in the rying his pottery on his back, on the way to the market. Don Sarbelio state of Morazán. Guatajiagua is a town with Lenca roots, the introduced me to the López family, whose livelihood depends solely indigenous culture of the region (in the Lenca language, its name on the production of pottery, and from whom I was able to observe means “Land of Tobacco”); however, Guatajiagua is best known for and learn the local pottery making process. Doña Margarita López its ceramic craft and the “loza negra” or black pottery. In the past and her eldest daughter Memi are the potters in the family and they decade, Guatajiaguan potters have achieved international recogni- supervise the production of all the work. The father, Don Jose Manuel tion in their craft. With its unique use of black dye each piece has an is in charge of marketing but lends a hand with production when individuality attainable only through the hand-making process. needed, as do the youngest daughters Katie and Albia.

Ceramics Monthly April 2009 40 The rim of a tin can, a scoop made from the fruit of the Jícaro tree and a corncob are the main tools used by the López family potters.

Memi López scraping the excess clay from the formed pot Doña Catalina attaching a handle to a comal, a low, wide platter used for making tortillas. using the rim from a tin can.

Clay Preparation The production begins with sourcing the clay, which the family will push the clay to produce a round, slightly concave piece with procures from a local clay pit. The clay is dug out of the nearby no walls. To make an olla (a deep and round bellied cooking pot) hills, which are rich in gray clay. It is then brought over in truck- they use their index finger to pull and thin out the walls. Then, loads to the house, cleaned, prepared and stored in dry chunks in they push out the walls to give the piece the typical roundness of the shed/studio until ready for production. A bulk load can last up an olla. No tools are used for this part of the process—the pieces to a month. To prepare it for use, the chunks are hammered into a are made strictly with their hands. powder and cleaned by hand. This powder is then mixed with sand A total of 70 ollas and comales are made over the course of two and water to the right consistency. After that, the clay is laid out days. After the pieces have been formed, they are left out to dry on plastic in the main room of the two-room house. After some of to a leather- hard state. the water has evaporated, the clay is ready to be kneaded into balls. The family does not work with a formula as to how much water Trimming or sand to add, it is all done by feel and years of practice. When Once the pots are leather hard, the three potters move on to the clay is ready, a portion is separated to use during the week and trimming and adding the final touches to the pieces, which takes the rest is wrapped in plastic and stored indoors. them two more days. The trimming is a three-step process. First Doña Margarita sits and rests the comal on her lap. Using the rim Forming of a tin can or a spoon made from a cutuca, which is the fruit of the Once the clay is ready, Doña Margarita, Memi and a neighbor, Jícaro tree, she scrapes off the excess clay from the bottom, which Doña Catalina, whom they hire to help, are ready to begin a week’s gives the piece the rounded shape necessary for sitting over the fire. worth of work. They first work from a lump of clay laid out on a After performing the same scraping on the inside of the piece, she piece of plastic in the middle of their yard. All pieces start the same uses a corncob to clean off any loose clay. Memi does the second way; the potter stands, bending at the waist and begins pounding part of the trimming, beginning by dipping a rough, rounded rock on the clay with her fist to open the ball. Then, they move their in water, then using it to scrape the inside and outside of the piece hands around to create the desired circumference. When making with the rock. As she scrapes, she adds bits of clay to fill any holes a comal (a wide shallow dish used to make tortillas), the potter that appear from loosened rocks or impurities from the clay body.

Ceramics Monthly April 2009 41 She then scrapes over the entire surface one more time, sealing the After the handles have been added, they are smoothed out holes and evening out the surface of the piece. with the rough rock, blending in the newly added clay to the rest of the piece. Then the whole piece is smoothed out once again, Handles and Finishing Details this time with a round smooth rock that is dipped in water and Doña Cata makes handles from clay mixed with dry cow dung rubbed all over the pot. After burnishing, the piece is much and water. The cow dung will help the thick coil handle adhere smoother and a bit shiny. to the rest of the leather-hard piece and prevents it from falling The pieces are placed aside to dry under the sun for one day off when dry. before the firing. The hot Salvadoran sun and dry air helps the process. Meanwhile, Doña Margarita begins making the dye for the fired pots by soaking nacazcol seeds (the dark brown pods pictured on page 43) in water. After a couple of days soaking in water, the seeds are boiled until the water turns brown and foamy. This is set aside to cool and is then drained using a colander made from a hollowed out cutuca. What is left is a brownish liquid used to dye the pots and give them the unique color particular to the pottery of Guatajiagua.

Firing Firings are only done on Saturday and are conducted by Don Benjamin, the local master in firing techniques who is hired by all the potters in the area to stack the kilns and handle the pieces until they are finished. He is paid five dollars for every firing. The

Above: Finished and burnished comales and ollas drying after the handles have day I observed him he had been hired to do five firings, but will been added. Below: Don Benjamin firing the kiln. typically do as many as ten. hotos (unless noted): D iego Martingale P hotos

Ceramics Monthly April 2009 42 Top left: Nacazcol seeds used to make the dye. Bottom left: Hollowed out cutuca used to separate the dye from the seeds. Photo: Ana Martingale. Above: Memi López pouring the dye on the pots just after removing them from the kiln.

The firing process is an elaborate one, almost a dance, with Completing the Cycle precise movements and concentration needed to avoid breaking It is a long day, but at the end, their week’s work is done. They any of the pieces. This particular day, the kiln is loaded three are all tired but glad that only one piece broke. The wares are lined times to fire all the pieces made during the week. Don Benjamin up inside the two-room house, and they will be ready for packing on stacks the beehive kiln in a way that will allow easy removal after Sunday morning, when Don Manuel and Doña Margarita will take a half hour of firing. After the kiln is stacked,leña (firing wood) is them to the Sunday market in the nearby towns and in the city of San placed in between the pieces and at the door of the kiln. During Miguel, where they will be sold to wholesale merchants. The prices the firing, the women bring out the dyed brown water that they range from $3 to $5 for each comal, depending on the size. The López prepared from the nacazcol seeds, which they will use to decorate family specializes in making comales; however, Memi likes to sculpt the pieces, and place it in a cement hole in the ground. As the pencil holders in the shape of turtles and other animals, which she does pieces finish firing, Don Benjamin pulls them out one at a time by to change her routine in between her work with the comales. placing a long stick through the handle. He holds the piece over The work of a potter in this small town is a difficult one; for the cement hole while Memi pours the nacazcol water over it until all of their work, the family makes only enough money to keep it is completely covered. The dyed water turns into a black slightly them going until the next week when they will be ready to start glossy stain when it makes contact with the hot clay. The piece is the next batch. quickly lined up against a wooden fence to cool off. This process The town of Guatajiagua, where the López family lives and works, is repeated for each piece—a total of 70 times for today’s load. has kept some of its old world charm, with its traditions, its outdoor The kilns used in Guatajiagua are craft or alfarero kilns. They markets, friendly people and beautiful landscape. In a changing world, are rustic beehive-shaped kilns made out of mud and brick that its people are struggling to keep alive an ancient art form that we hope are fired with wood, usually from the avocado tree and reach low will survive and be respected as a true Salvadoran tradition. temperatures. I did not take a temperature reading but according to local arts and crafts organizations and a ceramic store supplier the author Ana González-Martingale is a potter and teacher who also in the capital in San Salvador, an alfarero kiln reaches temperatures holds a degree in Anthropology with a concentration in Archaeology. of up to 900°F (480°C). She lives and works in West New York, New Jersey.

Ceramics Monthly April 2009 43 summer workshops

2009Hone Your Skills, Engage Your Mind, Expand Your World summer workshops 2009

Hong-Ling Wee, a student in ’s clay workshop “Coils Run Amok” hand forms a large pot in the clay studio at Haystack Mountain School of Crafts, Deer Isle, Maine.

Various types of workshops are offered each summer. Karen vanPrice (July 24–July 26). Fee: $185, includes “Reinventing the Wheel,” glazing with Greg Kennedy Most are hands-on experiences; however, shorter sessions materials and firing. All skill levels. (July 13–July 24). Fee: $625, includes materials, firing may be demo only—a few are strictly lectures or discus- Contact Karen vanPrice, vanPrice Fine Art, 2057 Heav- and lunch. All skill levels. sions. Skill levels are ranked beginning, intermediate, enly Place, Prescott, AZ 86303; [email protected]; “Hot Clay,” throwing, handbuilding and firing with advanced and professional. While nearly all workshops www.vanprice.com; 928-443-9723. Cynthia Consentino, Eduardo Lazo, Ingrid Lilligren and are good experiences, the quality of presentation var- Terry Rothrock (June 28–July 3). Fee: $625, includes ies widely. If possible, ask others who have attended Arkansas, Mountain View materials and firing. All skill levels. previous sessions for their feedback, then contact the “Slip Decorating,” handbuilding and surface Contact Diane Dennis, Idyllwild Arts, PO Box 38, organizers for specifics. decoration with Judi Munn (July 27–July 28). Fee: Idyllwild, CA 92549; [email protected]; $120, includes materials. All skill levels. Span- www.idyllwildarts.org; 909-659-2171 x2365. Arizona, Flagstaff ish and English. Contact Jeanette Larson, Ozark “Wood Fire Workshop,” kiln building and firing with Folk Arts Center, 1032 Park Ave., Mountain California, Mendocino Jason Hess (July 20–July 31). Fee: $950, includes ma- View, AR 72560; [email protected]; “Fire and Form,” with Robbie Lobell (June 22–June 26). terials and studio access. All skill levels. Contact Jason www.ozarkfolkcenter.com; 870-269-3851. Fee: $375, includes some materials. Hess, Northern Arizona University, Box 6020, School “Ancient Clay,” with Vince Pitelka (July 6–July 10). Fee: of Fine Art, Flagstaff, AZ 86011; [email protected]; California, Idyllwild $375, includes some materials. www.nau.edu/ceramics; 928-523-2398. “Hot Clay,” handbuilding and surface decoration with “Coiling Pots in Relation to the Human Form,” with Arizona, Prescott Marc Digeros, Rosette Gault and Paul Lewing (July Karin Jarvinen (July 13–July 17). Fee: $375, includes “Handbuilding and Coiling Native Clays,” handbuilding, 5–July 10). Fee: $625, includes materials and firing. some materials. surface decoration and firing with Michael Wisner (June All skill levels. “Everything Goes,” with Marc Lancet (July 13–July 17). 3–June 7). Fee: $385, includes materials and firing. All “Santa Clara Pueblo Pottery,” handbuilding and firing Fee: $375, includes materials. skill levels. Spanish and English. with Susan Folwell (July 6–July 11). Fee: $625, includes “Large Pots from Large Molds,” with Bill Shinn (July “Handbuilding,” hanbuilding with Virginia Cartwright materials, firing and lunch. All skill levels. 20–July 24). Fee: $375, includes some materials. (June 27–June 28). Fee: $185, includes materials. All “Hopi Pottery,” handbuilding and firing with Mark “Making Your Own Pots,” with Josh DeWeese (July skill levels. Tahbo (July 13–July 18). Fee: $625, includes materials, 20–July 24) includes some materials. “Bead Making and Handbuilding,” handbuilding with firing and lunch. All skill levels. “Berning Sculptures and Vessels,” with Kelly Berning Ceramics Monthly April 2009 44 and Trent Berning (August 3–August 7). Fee: $375, 31–August 2). Fee: $330; members $300. Intermediate, “Integrated Slab and Surface: Handbuilding Pots,” includes some materials. advanced and professional. Contact Cheryl McNab, The handbuilding, throwing and surface decoration with “Green Kiln Building,” with Hugh Jenkins (August Art Center, 1803 N. 7th Street, Grand Junction, CO Kathryn Finnerty (July 6–July 17). Fee: $925. Beginning 10–August 14). Fee: $375. 81501; [email protected]; www.gjartcenter.org; and intermediate. “Alternative Raku,” with Eduardo Lazo (August 17–Au- 970-243-7337. “Ceramics as a Metaphoric Cache,” handbuilding and gust 21). Fee: $375, includes materials. Colorado, Mesa Verde surface decoration with MaPo Kinnord-Payton (July 6–July “Yixing Teapots and Sculpture,” with Junya and Xio “Anasazi Pottery at Mesa Verde National Park,” handbuild- 17). Fee: $925. Intermediate. Ping (August 24–August 28). Fee: $375, includes ing, surface decoration and firing with Gregory Wood “Architecture of the Pot,” handbuilding and throwing some materials. (June 14–June 20). Fee: $425, includes materials and firing. with Chris Gustin (July 20–July 24). Fee: $725. Advanced “Ceramics and Sound,” with Brian Ransom (July 27–Au- All skill levels. Spanish and English. Contact Gregory S. and professional. gust 1). Fee: $375, includes some materials. Wood, Adams State College, PO Box 27, Masonville, CO “Figurative Ceramics,” handbuilding and surface decora- Contact Linn Bottorf, Mendocino Art Center, 45200 Little 80541; [email protected]; www.AncientArts.org; tion with Esther C. Shimazu (July 20–July 31). Fee: $925. Lake Street, Mendocino, CA 95460; [email protected]; 970-222-2322. Intermediate and advanced. http://www.MendocinoArtCenter.org; 800-653-3328. Colorado, Pagosa “The Believable Portrait and Personal Symbol,” with California, Nevada City “Anasazi Pottery at Chimney Rock Archaeological Arthur Gonzalez (June 22–July 3). Fee: $925. Intermedi- “What Makes a Glaze?” glazing with Chic Lotz (August Area,” handbuilding, surface decoration and firing with ate and advanced. 3–August 7). Fee: $300, includes materials and firing. Gregory Wood (July 31–August 2). Fee: $150, includes “Handbuilding 101: Coil Pots,” handbuilding with Sam Beginning and intermediate. Contact Chic Lotz, Mud materials and firing. All skill levels. Spanish and English. Harvey (June 29–July 3). Fee: $645. Beginning and Hut Ceramics Center, P.O. Box 556, North San Juan, CA Contact Gregory S. Wood, Adams State College, PO intermediate. 95960; [email protected]; www.potterypoet.com; Box 27, Masonville, CO 80541; [email protected]; “Abstract Hanging,” throwing and handbuilding with 530-288-3200. www.AncientArts.org; 970-222-2322. Sandro Lorenzini (August 3–August 14). Fee: $925. California, Santa Cruz Colorado, Snowmass Village Intermediate and advanced. “Large Vessels for Beginners,” with George Dymesich “Wood Fired Pottery,” firing with Doug Casebeer (June “Functional Pots and Sets: Wood and Soda Fired,” throw- (June 15–June 19). Fee: $150. Beginning. 1–June 12). Fee: $825. Intermediate and advanced. ing, handbuilding and firing with Ching-Yuan Chang “Tea Pots and Related Vessels,” with George Dymesich “Color for Clay: Surface Decorating and Glazing,” and Bede Clarke (August 10–August 21). Fee: $975. (June 22–June 26). Fee: $150, includes firing. Beginning surface decoration and glazing with Michael Corney Intermediate and advanced. and intermediate. (June 1–June 5). Fee: $645. All skill levels. “Exploring Form with Amazing Glazes,” glazing and fir- Contact George Dymesich, Santa Cruz Adult School, “Intimate Clay: Innovative Techniques,” handbuilding, ing with Brad Miller (August 17–August 28). Fee: $925. 7475 Oak Ridge Rd., Santa Cruz, CA 95003; surface decoration and glazing with Michael Sherrill Intermediate and advanced. [email protected]; 831-475-5614. (June 8–June 19). Fee: $825. All skill levels. “Pottery Making,” throwing with Doug Casebeer, Alleghany Colorado, Arvada “Looking Backwards and Forwards: Making History,” Meadows and Takashi Nakazato (August 24–August 28). “Build a Minigama,” handbuilding with Donna Kitchens throwing, handbuilding, mold making and surface Fee: $795. Intermediate, advanced and professional. (July 18–July 18). Fee: $75, includes materials and firing. decoration with Julia Galloway (June 15–June 26). Fee: “Soda Fired Porcelain: Craft, Surface and Slip,” throw- Beginning, intermediate and advanced. $925. Advanced and Professional. ing, surface decoration and firing with Victor Babu and “Here Fishy, Fishy: Handbuilding Fish that Never Need Feeding,” handbuilding with Judy Sorgenfrei (August Susan Beiner builds with slip cast parts at Santa Fe Clay, Santa Fe, New Mexico. 1–August 1). Fee: $35, includes materials and firing. Beginning, intermediate and advanced. “Extruder Extravaganza: Explore the Extrodinary Possibli- ties of Extrusion,” handbuilding with Donna Kitchens (August 15–August 15). Fee: $50, includes materials and summer workshops 2009 firing. Beginning, intermediate and advanced. “Raku,” firing with Bob Smith (June 13–June 14). Fee: $160, includes materials and firing. Intermediate, ad- vanced and professional. “Carved Porcelain,” throwing with Adam Field (June 27–June 28). Fee: $160, includes firing. Intermediate, advanced and professional. “Personal Paradox: Narrative Sculpture,” handbuilding with Todd Redmond (July 18–July 19). Fee: $160, includes firing. All skill levels. “Straddling the Fence: Combining Functional and Sculptural,” throwing and handbuilding with Shelley Schrieber (July 25–July 26). Fee: $160, includes firing. All skill levels. “Salt Kiln Building,” kiln building (August 24–August 28). Fee: $350. Intermediate, advanced and professional. Contact Bebe Alexander, The Arvada Center for the Arts and Humanities, 6901 Wadsworth Blvd., Arvada, CO 80003; [email protected]; www.arvadacenter.org; 720-898-7239.

Colorado, Bayfield “Raven Ridge Private and Semi-Private Pottery Work- shops,” handbuilding, surface decoration and firing with Clint Swink (July 15–August 25) students choose dates. Fee: $200 per day, includes materials, firing, lodging, transportation and meals. All skill levels. Contact Clint Swink, Swink Art, 688 Raven Ridge, Bayfield, CO 81122; [email protected]; www.swinkart.com; 970-563-4624. Colorado, Fort Collins “Ancient Culture through Pottery,” handbuilding, surface decoration and firing with Gregory Wood (June 1–June 4). Fee: $150, includes materials and firing. All skill levels. Spanish and English. Contact Gregory S. Wood, Adams State College, PO Box 27, Masonville, CO 80541; [email protected]; www.AncientArts.org; 970-222-2322. Colorado, Grand Junction “Making the Essential Pot: Plate, Cup and Bowl,” handbuilding and throwing with Bill van Gilder (July Ceramics Monthly April 2009 45 Matt Long (July 27–August 7). Fee: $975. Intermediate Contact Luba Sharapan and Erik Haagensen, directors, Indiana, Bloomington and advanced. MudFire Clayworks and Gallery, 175 Laredo Dr., Deca- “Naked Raku and Black Fire Workshop,” firing with Contact Doug Casebeer, Anderson Ranch Arts tur, GA 30030; [email protected]; www.mudfire.com; Allyson May (July 18–July 19). Fee: $175, includes Center, PO Box 5598, Snowmass Village, CO 404-377-8033. materials and lunch. Beginning, intermediate and ad- 81615; [email protected]; 97023-3181; Idaho, Ketchum vanced. Contact Allyson May, Stoney Creek Pottery, 1 E. www.andersonranch.org. “Pottery as Expression,” throwing with Josh DeWeese Duxbury Dr., Bloomington, IN 47408; [email protected]; (July 31–August 2). Fee: $240. Intermediate, advanced www.stoneycreekpottery.com; 812-219-4871. Colorado, Telluride and professional. Contact Susan Ward, Boulder Moun- “Exploring your Sketchbook: Creating Your Freshest tain Clayworks, P.O. Box 3725, Ketchum, ID 83340; Indiana, Indianapolis Art,” with Julia Wickes (July 10–July 12). Fee: $200. [email protected]; www.bouldermtnclay.com; “Coils, Slabs, Wheel Work and More,” handbuilding All skill levels. 208-726-4484. and throwing with Rimas VisGirda (June 8–June 12). “Pottery: Scratching the Surface,” throwing with Kent Beginning and intermediate. Harris (July 31–August 2). Fee: $275. Intermediate, Illinois, Sandwich “Handbuilding: Throwing Techniques,” handbuilding advanced and professional. “Spraying Glazes,” glazing with Steven Hill (June 6–June and throwing with Rimas VisGirda (June 18–June 20). Contact Rachel Loomis Lee, Ah Haa School for the 13) one weekend and the following Saturday. Fee: $270, Beginning and intermediate. Arts, 300 South Townsend, Telluride, CO 81435; includes materials and meals. Intermediate. Contact Katherine Fries, University of Indianapolis, 1400 [email protected]; www.ahhaa.org; 970-728-3886. “Functional Stoneware/Single Firing: Pouring Vessels,” East Hanna Ave, Indianapolis, IN 46227; [email protected]; http://art.uindy.edu; 317-788-3253. Connecticut, Brookfield summer workshops 2009 “Understanding Ceramic Glazes,” Iowa, Okoboji glazing with Nancy Robbins (June “Silk Screen Printing Made Easy,” sur- 6–June 7). Fee: $265. face decoration with Rimas VisGirda “Pottery Intensive,” throwing with (June 22–June 26). Fee: $275, includes Steve Tanneberger (June 22–June materials. Beginning, intermedi- 26). Fee: $550. ate and advanced. Lithuanian and “Round Forms and Tall Necks,” English. Contact Katie Meyer, Lakes wheel throwing with Angela Fina Art Center, 2201 Highway 71, Oko- (June 27–June 28). Fee: $265. boji, IA 51355; [email protected]; Intermediate skill level. www.lakesart.org; 712-332-7013. Contact Kristin Muller, Brook- field Craft Center, PO Box Maine, Deer Isle 122, Brookfield, CT 06804; “Narrative Ceramic Sculpture: Mini- [email protected]; mal to Monumental,” handbuilding, www.brookfieldcraftcenter.org; surface decoration and firing with 203-775-4526. SunKoo Yuh (June 14–June 26). Fee: $730. All skill levels. Connecticut, Canton “The Functional Pot: Tips, Tools and “The Five Days of Fire,” glazing Techniques,” throwing, handbuild- and firing with Tim Scull (June ing and glazing with Bill Van Gilder 15–June 19). Fee: $495, includes (May 31–June 12). Fee: $730. All materials. Intermediate, advanced skill levels. and professional. “Form and Narrative on Elegantly “Crystalline Glazes,” wheel throw- Simple Press Molded Ceramics,” form- ing and glazing with Tim Scull (July ing, surface decoration and glazing 19–August 16) two Sundays. Fee: with Lisa Orr (July 19–July 31). Fee: $225, includes materials. Intermedi- $730. All skill levels. ate, advanced and professional. “Dialogue in Clay,” handbuilding with “Exploration in Saggar Firing and Magdalene Odundo (June 28–June Smoke Fired Pottery,” surface deco- 10). Fee: $730. All skill levels. ration and firing with Tim Scull (July “Building Consensus,” throwing, 25–July 27). Fee: $295, includes mold making, surface decoration materials. All skill levels. and firing with Tyler Lotz and Jason “Wood Firing in a Noborigama,” Walker (August 2–August 14). Fee: glazing with Tim Scull (August $730. All skill levels. 7–August 10). Fee: $385, includes “Beyond Ceramic,” mold making materials. All skill levels. and firing with Philippe Barde (Au- “Wheel Throwing Clinic,” throwing gust 16–August 28). Fee: $730. All with Tim Scull (August 22–August skill levels. 23). Fee: $195. Beginning, interme- Contact Candy Haskell, Haystack diate and advanced. Mountain School of Crafts, PO Contact Tim Scull, Canton Box 518, Deer Isle, ME 04627; Clay Works llc., 150 Cherry Ginny Glover forms a figurative sculpture at the Metchosin International Summer School [email protected]; Brook Rd., Canton, CT 00019; www.haystack-mtn.org; 207- of the Arts, Victoria, British Columbia, Canada. [email protected]; 348-2306. www.cantonclayworks.com; 860- 693-1000. Maine, Monroe “Summer Solstice Clay Ceremony,” throwing and firing with Steven Hill (August 2–August 8). Georgia, Decatur handbuilding and firing (June 19–June 21). Fee: $375, Fee: $1550, includes materials, firing, lodging and meals. “Dreaming in Metal and Clay,” handbuilding with Lisa includes materials, lodging and meals. All skill levels. Intermediate, advanced and professional. Clague (June 5–June 7). Fee: $295, includes materials, “Process Immersion: The Full Cycle,” handbuilding, throw- Contact Kim Miner, Center Street Clay, 218 W. Center firing and breakfast. Intermediate, advanced and profes- ing, glazing and firing (July 17–July 23). Fee: $875, includes St., Sandwich, IL 60548; [email protected]; sional skill levels. materials, lodging and meals. All skill levels. “Understanding Glazes, Materials and Firing,” glazing www.centerstreetclay.com; 815-570-2030. “Inquiry into the Foundation of Personal Work,” (July and firing with John Britt (June 12–June 14). Fee: $295, Illinois, Sugar Grove 29–August 4). Fee: $875, includes materials, lodging includes materials, firing and breakfast. All skill levels. “Altered Forms Decorated Surfaces,” throwing and and meals. All skill levels. “Building Playfully from Parts,” mold making, hand- Contact Squidge Davis, Starflower Farm & Studios, 941 firing with Lorna Meaden (June 8–June 13). Fee: building and throwing with Susan Beiner (July 24–July Jackson Rd., Monroe, ME 04951; [email protected]; $300, includes materials. Intermediate, advanced and 26). Fee: $295. www.starflowerfarmstudios.com; 207-525-3593. “Imaginative Figures in Clay,” handbuilding with Janis professional. Contact Doug Jeppesen, Waubonsee Mars Wunderlich (August 13–August 15). Fee: $295. Community College, Route 47 at Waubonsee Drive, Maryland, Annapolis All skill levels. Sugar Grove, IL 60554; [email protected]; “The Studio Where Everyone Wants to Be: Guide in Set- “Still Life with Print,” handbuilding with Nancy Selvin http://artdept.waubonsee.edu/Ceramics/index.htm; ting up Ceramic Programs and Studio Design,” studio (July 31–August 2). Fee: $295. 630-466-2505. with Jayne Shatz (July 11). Fee: $100, includes studio

Ceramics Monthly April 2009 46 layout guide and curriculum guide. All skill levels. “Portrait Sculpture,” handbuilding with Antonio T. (July 7–July 28) evenings. Fee: $170; members $150. “Strategies for a Successful Business in Art: Creating Mendez (August 22–August 28). Fee: $185, includes Beginning and intermediate. Money and Increasing your Network,” business with Jayne firing. All skill levels. Contact Emily Garner, DeCordova Museum School, 51 Sandy Shatz (dates TBD) Fee: $100. All skill levels. “Glaze Application,” glazing with Joyce Michaud Pond Road, Lincoln, MA 01773; [email protected]; “Garden Fountains, Bird Baths and Landscape Ceramics: (August 29–August 30). Fee: $175, includes materials. 781-259-0505; www.decordova.org. Large Scale Throwing and Handbuilding,” throwing and All skill levels. handbuilding with Jayne Shatz (dates TBD). Fee: $100. Contact Karen Taylor, Hood College, 401 Rosemont Massachusetts, Williamsburg All skill levels. Ave., Frederick, MD 21701; [email protected]; “The Multifaceted World of Clay,” throwing and firing Contact Jayne Shatz, Jayne Shatz Pottery, 452 Lau- www.hood.edu/ceramics; 301-696-3526. with Bob Green (June 7–June 13). Fee: $705, includes rel Valley Ct., Arnold, MD 21012; [email protected]; Maryland, Thurmont materials, lodging and meals. Beginning, intermediate www.jayneshatzpottery.com; 410-757-6351. “Manabigama Visitor Workshops,” firing with Bill Van and advanced. Maryland, Elkton Gilder and John Thies (June 18–June 21). Fee: $225, “Wheel Throwing: Intermediate to Advanced,” throw- “Art Hike,” handbuilding with Heather Levy (June 7). Fee: includes firing. Intermediate. ing and handbuilding with Michael Kline (June 20–June $65, includes materials and lunch. Beginning, intermedi- “Manabigama Visitor Workshops,” firing with Bill Van 22). Fee: $485, includes materials, lodging and meals. ate and advanced. Gilder and John Thies (August 13–August 16). Fee: $225, Intermediate, advanced and professional. “Parts of the Whole: Teapot Intensive Workshop,” throw- includes firing. Intermediate. “Ceramic Tile Making: From Trivets to Floors,” hand- ing with Amedeo Salamoni (June 20). Fee: $95, includes Contact John Thies, Monocacy Pottery, 11801 Hunt Club Rd., building with Sharon Pollock (May 31–June 6). Fee: materials. Intermediate and advanced. Thurmont, MD 21788; [email protected]; $705, includes materials, lodging and meals. Beginning “Raku Workshop,” firing with Katie Biddle and Heather www.monocacypottery.com; 301-898-3128. and intermediate. Levy (July 11). Fee: $50, includes materials, firing and Massachusetts, Boston “Wheel Throwing: Intermediate to Advanced,” throw- lunch. Beginning, intermediate and advanced. ing with Sam Taylor (August 6–August 9). Fee: $635, “Smokeless Fast Firing Wood Fired Kilns,” kiln building “Summer Sanity: Muddy Moms,” handbuilding and throw- includes materials, lodging and meals. Intermediate, and firing with Kusakabe Masakazu (June 8–June 17). ing with Heather Levy (July 25). Fee: $33, includes materials, advanced and professional. firing and meals. Beginning and intermediate. Free. Intermediate, advanced and professional. “Painting with Fire: Native American Firing Techniques “Hot August Art,” handbuilding and throwing with Katie “Hamada’s legacy,” glazing with Hamada Tomo’o (June Biddle and Heather Levy (August 15). Fee: $35, includes 15). Fee: $35. Intermediate, advanced and professional. and More,” throwing, handbuilding and firing with materials. Beginning, intermediate and advanced. Japanese and English. Bob Green (August 16–August 22). Fee: $705, includes Contact Heather Levy, Art Space on Main, 138 West “Energy Efficient Kilns,” kiln building and firing with materials, lodging and meals. Beginning, intermediate Main St., Elkton, MD 21921; [email protected]; Regis Brodie (July 6). Free. Intermediate, advanced and and advanced. www.artspaceonmain.com; 410-620-2464. professional skill levels. “Teaching Pottery for a Mixed Level Class,” throwing “Kristen Kieffer,” throwing and surface decoration with and handbuilding with Louise Harter (July 31–August Maryland, Frederick Kristen Kieffer (July 6–July 27) Four Monday afternoons. 2). Fee: $485, includes materials, lodging and meals. “East Asian Coil Technique,” handbuilding with Joyce Fee: $395, includes materials and firing. Intermediate, Beginning, intermediate and advanced. Michaud (June 6–June 7). Fee: $175. All skill levels. advanced and professional. Japanese and English. Contact Karen Totman, Snow Farm: The New England “Throwing Large Forms,” throwing with Kevin Crowe “Mosaics,” with Lisa Houck (July 7–July 16) four mornings. Craft Program, 5 Clary Rd, Williamsburg, MA 01096; (July 6–July 11). Fee: $475, includes firing. Intermediate, Fee: $395, includes materials. All skill levels. [email protected]; www.snowfarm.org; 413- advanced and professional. Contact Nancy Selvage, Harvard Ceramics Pro- 268-3101. “Ceramic Sculpture,” throwing with Joyce Michaud (July gram, 219 Western Avenue, Boston, MA 02493; 18–July 30). Fee: $700, includes firing. Intermediate, [email protected]; www.fas.harvard.edu/ceramics; Michigan, Interlochen advanced and professional. 617-495-8680. “Understanding Pottery Glazes,” glazing with Nancy Rob- “Ceramics Workshop,” glazing (August 10–August bins (August 1–August 2). Fee: $170, includes materials. Massachusetts, Lincoln 15). All skill levels. Contact Kristin Hills, Interlochen summer workshops 2009 Intermediate, advanced and professional. “Ceramics,” with Bruce Barry (July 6–July 29) evenings. Center for the Arts, PO Box 199, Interlochen, MI “Masters’ Throwing II,” throwing with Joyce Michaud Fee: $340; members $300. Beginning, intermediate 49643; [email protected]; 231-276-7387; (August 6–August 9). Fee: $300, includes transportation and advanced. www.interlochen.org/college/2009_programs/2009_ and meals. Intermediate, advanced and professional. “Hand Building in Clay,” handbuilding with Terry Goss ceramics_studio_workshop.

Workshop participants stoking a Manabigama kiln. The workshop, taught by John Theis of Monocacy Pottery, in Thermont, Maryland, focuses on loading, firing and unloading.

Ceramics Monthly April 2009 47 Michigan, Saugatuck Fee: $325, includes materials, firing and breakfast. All “Feeding the Fire,” firing with Kevin Crowe (June 19–June “Altering the Wheelthrown Form,” throwing with skill levels. 23). Fee: $460, includes materials. All skill levels. Rob McClurg and Jason Briggs (June 7–June 13). Contact Rachel Hicks, Archie Bray Foundation for the “Sensuous Surfaces for Salt Firing,” surface decoration Fee: $535. Ceramic Arts, 2915 Country Club Ave., Helena, MT and firing with Susan Beecher (June 26–June 30). Fee: “Handbuilding Ceramic Sculpture: Traditional, Unortho- 59602; [email protected]; www.archiebray.org; $460, includes materials. All skill levels. dox and Experimental Techniques,” handbuilding with 406-443-3502. “The Poor Man’s Jigger,” mold making with Matthew Francesc Burgos (June 21–July 4). Fee: $1230. Towers (July 3–July 7). Fee: $460, includes materials. “Mold Processes: Modified Multiples,” mold making with Nevada, Incline Village Intermediate, advanced and professional. Sarah Lindley and Norwood Viviano (August 2–August “Pots/Possibilities,” throwing with Nick Joerling (June “Shino Magic,” glazing with Lynn Munns (July 10–July 15). Fee: $1230. 1–June 5). Fee: $525, includes materials, firing and lunch. 14). Fee: $460, includes materials. Intermediate, advanced “Symbolic Self Portrait,” handbuilding with Tip Toland Intermediate, advanced and professional. and professional. (July 19–August 1). Fee: $1230. “Heads Up: Ceramic Head Constructions,” handbuilding “Shino Magic,” throwing and surface decoration with Contact Amy Stibich, Ox-Bow School of Art, 3435 with Stan Welsh (June 8–June 12). Fee: $525, includes Bonnie Seeman (July 17–July 21). Fee: $460, includes Rupprecht Way, PO Box 216, Saugatuck, MI 49453; materials, firing and lunch. All skill levels. materials. Intermediate, advanced and professional. [email protected]; www.ox-bow.org; 312-629-6155. “Silkscreened Transfers and Plaster Molds,” surface deco- “Image Transfer Techniques for Clay,” surface decoration Mississippi, Natchez with Paul Wandless (July 24– “Emily Reason Participation July 28). Fee: $460, includes Workshop,” throwing, sur- materials. All skill levels. face decoration and glazing “Preparing for the Anagama,” summer workshops 2009 with Emily Reason (June firing with Peter Callas (August 22–June 27). Fee: $450, in- 7–August 10). Fee: $410, in- cludes materials. Intermediate, cludes materials and lunch. advanced and professional. Beginning, intermediate “Firing the Anagama,” firing and advanced. with Peter Callas (August “Natchez Clay Teen Artist 11–August 18). Fee: $750. Week,” throwing with Sara All skill levels. Cochran and Nathalie Harris “Building Your Own Iconogra- (July 13–July 17). Fee: $150, phy,” surface decoration and includes materials. Begin- firing with Bennett Bean (July ning skill level. 31–August 2). Fee: $335. All Contact Donna Jones, Nat- skill levels. chez Clay, 101 Clifton Av- “More Pots Faster,” mold enue, Natchez, MS 39120; making with Kari Radasch [email protected]; (August 28–September 1). www.natchezclay.com; Fee: $460, includes materials. 601-660-2375. All skill levels. , Ellsinore Contact Jennifer Brooks, “Functional Pots: Abstract Peters Valley Craft Center, 19 Pots,” throwing and hand- Kuhn Road, Layton, NJ 07851; building with David Porter [email protected]; (June 7–June 12). Fee: $300, www.petersvalley.org; 973- includes materials, lodging 948-5200. and meals. All skill levels. New Jersey, Lincroft “Making and Firing in the “Intensive Cone 6 Glaze Primitive Style,” surface Workshop,” glazing with decoration and firing with Don Bradford (June 13–June Charles Burton and David Porter (May 31–June 5). Fee: 20) two Saturdays. Fee: $42, $300, includes materials, includes materials and firing. lodging and meals. Begin- Students admiring their work at a kiln opening during the Glaze Intensive workshop at Beginning skill level. ning and intermediate. Hummingbird Studios in Jacksonville, Oregon. “Carved Surface Decoration,” “Wood Fire: The Flame and surface decoration with Joyce Its Effect,” making glazing Nokes (July 8). Fee: $22. and firing with David Porter (June 20–July 2). Fee: $550, ration with Richard Shaw (June 15–June 19). Fee: $525, Beginning skill level. includes materials, lodging and meals. All skill levels. includes materials and lunch. All skill levels. “Crystalline Glaze Workshop,” throwing and glazing with Contact David Porter, Raven Center for the Arts, 514 County “Ready, Set, Throw!” throwing with Christa Assad (July Richard Oates (July 12–July 26) three Sundays. Fee: $92, Rd. 418, Ellsinore, MO 63937; [email protected]; 27–July 31). Fee: $525, includes materials, firing and includes materials and firing. Intermediate. www.ravencenter.org; 573-998-2611. lunch. Intermediate, advanced and professional. “Mold Making Workshop,” mold making with Katie Contact Sheri Leigh O’Connor, Sierra Nevada Col- Missouri, Kansas City Stone (June 25–July 16) Thursdays, 6–8:30 pm. Fee: $70, lege, 999 Tahoe Blvd., Incline Village, NV 89451; includes materials and firing. Beginning. “Two Day Workshop,” glazing with Tom Turner (June [email protected]; 775-881-7588; “Carved Surface Decoration,” surface decoration with 6–June 7). Fee: $125. Beginning, intermediate and www.sierranevada.edu/workshops. Joyce Nokes (August 8). Fee: $22. Beginning. advanced levels. “Blair Meerfeld Workshop,” glazing with Blair Meerfeld Nevada, Las Vegas “Tile Making Wokshop,” handbuilding with Katie Stone (August 2–August 8). Fee: $650, includes materials and “Hands-On,” with Tom Coleman (June 8–June 16). Fee: (July 23–August 27) Thursdays, 6–8 pm. Fee: $100, firing. All skill levels. $770, includes off-site housing. All skill levels. includes materials and firing. Beginning. Contact Laura DeAngelis, Red Star Studios Ceramic “Hands-On Sculpting,” with Amy Kline (June 26–June “Cone 6 Wood Ash Glaze Workshop,” glazing with Bryan Center, 821 West 17th Street, Kansas City, MO 64106; 28). Fee: $150. All skill levels. Quincannon (August 28). Fee: $20, includes materials [email protected]; www.redstarstudios.org; “Hands-On,” with Sam Chung (July 10–July 12). Fee: and firing. Beginning. 816-474-7316. $150, includes breakfast. All skill levels. Contact Christina Carlson, Thompson Parks Creative “Hands-On,” with Ellen Shankin (July 24–July 26). Fee: Arts Center, 805 Newman Springs Road, Lincroft, Montana, Helena $150, includes breakfast. All skill levels. NJ 07738; [email protected]; “Sculpting Gesture: Animal and Human,” with Beth Contact Amy Kline, Pottery West, 5026 N. Pioneer www.monmouthcountyparks.com; 732-842-4000. Cavener Stichter and Tip Toland (June 15–June 26). Fee: Way, Las Vegas, NV 89149; [email protected]; $800, includes materials, firing and breakfast. Intermedi- www.potterywest.com; 702-987-3023. ate, advanced and professional. New Jersey, Lodi New Jersey, Layton “Raku Workshop,” glazing with Brett Thomas (June 13). “All the Things You Want to Know About Clay But “Tile Mold Techniques,” mold making with Gary Car- Fee: $50, includes materials, firing and meals. Beginning, Couldn’t Find Someone to Ask,” sculptural and utilitar- los (June 5–June 9). Fee: $460, includes materials. All ian with (July 10–July 12). Fee: $325, includes skill levels. intermediate and advanced. materials, firing and breakfast. All skill levels. “Form, Surface, Pattern,” surface decoration with Jeff “Raku Workshop,” glazing and firing (August 8). Fee: “Process and Design: Hand Building Slab Pots,” Kleckner (June 12–June 16). Fee: $460, includes materials. $50, includes materials, firing and meals. Beginning, handbuilding with Sam Chung (August 7–August 9). Intermediate, advanced and professional. intermediate and advanced.

Ceramics Monthly April 2009 48 Contact Ceramic Supply Inc., 7 Route 46 West, “Creation of the Sacred Vessel,” with Barbara Campbell “Site Senstive Figuration,” handbuilding with Christina Lodi, NJ 07644; [email protected]; (July 6–July 12). Fee: $300, includes lab fee. Beginning, West (July 13–July 17). Fee: $550, includes materials and www.eceramicsupply.com; 800-723-7264. intermediate and advanced. firing. All skill levels. Spanish and English. “Exploration of Firing Techniques,” with Barbara Campbell “Sculpting the Figure,” handbuilding with Dirk Staschke New Jersey, Metuchen (July 13–July 19). Fee: $300, includes materials. Beginning, (July 20–July 24). Fee: $550, includes materials and firing. “Dish of the Day,” with Linda Vonderschmidt-LaStella intermediate and advanced. Intermediate through professional. Spanish and English. (June 15–June 22) Monday through Wednesday, and “Creation of the Sacred Vessel,” with Barbara Campbell “Add Some Zing to Your Glazing,” throwing and glazing the following Monday. Fee: $75, includes materials and (July 20–July 26). Fee: $300, includes materials. Beginning, with Lynn Smiser Bowers (July 27–July 31). Fee: $550, firing. All skill levels. intermediate and advanced. includes materials and firing. Intermediate, advanced and “Timeless Tiles,” handbuilding with Linda Vonderschmidt- “Sculpting the Dynamics of Complex Facial Expressions,” professional. Spanish and English. LaStella (July 13–July 23) Monday through Thursday, and with Arthur Gonzalez (August 3–August 9). Fee: $475, “The Art of Narrative,” handbuilding with James Tisdale the following Thursday. Fee: $200, includes materials and includes materials. Advanced. (June 29–July 3). Fee: $550, includes materials and firing. firing. All skill levels. “Hunting Intuition: A Sculpture Class,” with James All skill levels. Spanish and English. Contact Linda Vonderschmidt-LaStella, Earthsongs Studio, Tanner (August 10–August 16). Fee: $475, includes “Machine Age Majolica,” throwing and surface decora- 242 Amboy Ave., Metuchen, NJ 08840; [email protected]; materials. Advanced. tion with William Brouillard (August 3–August 7). Fee: www.claysongs.com; 732-906-4137. “Porcelain Pots: A Touch of Elegance,” with Susan Fil- $550, includes materials and firing. All skill levels. Span- ley (July 27–August 2). Fee: $475, includes materials. ish and English. New Jersey, Surf City Intermediate and advanced. “Three Dimensional Narrative Clay Sculpture,” handbuild- “Porcelain Subtleties in Form and Idea,” throwing and “Mata Ortiz Pottery,” handbuilding, surface decora- ing with Sunkoo Yuh (August 10–August 14). Fee: $550, surface decoration with Karen Swyler (June 27). Fee: tion and firing with Pabla Talavera Quezada (August includes materials and firing. All skill levels. $60. Intermediate. 28–August 30). Fee: $150, includes materials and firing. Contact Avra Leodas, Santa Fe Clay, 1615 Paseo de “Sculpting Your Goddess,” handbuilding, mold making All skill levels. Peralta, Santa Fe, NM 87501; [email protected]; and surface decoration with Pat Swyler (July 15). Fee: $60. Beginning. Contact Teresa Tunick, New Mexico Potters and Clay www.santafeclay.com; 505-984-1122. Artists, 131 Ridgecrest Dr., Santa Fe, NM 87505; “Exploring Personal Imagery on Handmade Tile,” hand- New Mexico, Taos [email protected]; nmpotters.org; 505-986-8912. building and surface decoration with Linda Shusterman “Explorations in Surface Design,” throwing and surface (July 25). Fee: $60. Beginning. New Mexico, Santa Fe decoration with Alix Craft (June 13–June 14). Fee: “Throwing and Altering Demo: Using the Potter’s Wheel “Icons and Attitude,” handbuilding and slipcasting with $195. Beginning, intermediate and advanced. Spanish as a Creative Tool,” throwing with Neil Patterson (August Russell Biles (June 8–June 12). Fee: $550, includes materi- and English. 15). Fee: $60. Intermediate. als and firing. All skill levels. Spanish and English. Contact Matthew T. Burton, m.t. burton gallery and “Wheelthrown, Altered and Assembled Utilitarian 19th Street Ceramic Studio, 1819 N. Long Beach “Scratching the Surface,” handbuilding and surface Pottery,” throwing and surface decoration with Leah Blvd., Surf City, NJ 08008; [email protected]; decoration with Shoko Teruyama (June 15–June 19). Leitson (June 25–June 26). Fee: $295. All skill levels. www.mtburtongallery.com; 609-494-0006. Fee: $550, includes materials and firing. All skill levels. Spanish and English. Spanish and English. “Some Assembly Required,” throwing handbuilding and New Mexico, Abiquiu “Considering Form: From Start to Finish,” handbuilding surface decoration with Betsy Williams (June 27–June “Raku Ceramics: A New Approach,” with Jim Romberg with Meredith Brickell (June 22–June 26). Fee: $550, 28). Fee: $215. Beginning, intermediate and advanced. (June 1–June 7). Fee: $500, includes materials. Beginning, includes materials and firing. All skill levels. Spanish Spanish and English. intermediate and advanced. and English. “Stacked Boxes,” throwing and handbuilding with Nancy “Micaceous Pottery,” with Camilla Trujillo (June 15–June “Altered Pots, Form and Surface,” throwing with Sequoia Magnusson (July 11–July 12). Fee: $195. All skill levels. 21). Fee: $275, includes materials. Beginning, intermedi- Miller (July 6–July 10). Fee: $550, includes materials and “Salt Firing,” firing with Logan Wannamaker (July 18–July ate and advanced. firing. All skill levels. Spanish and English. 19). Fee: $195. All skill levels. summer workshops 2009

Anderson Ranch Arts Center’s Ceramics Program Director, Doug Casebeer, demonstrating hand-built functional ware, Snowmass Village, Colorado.

Ceramics Monthly April 2009 49 “The ,” lecture with Austin Soei “Introduction to Handbuilding with Clay,” handbuild- includes materials and firing. Beginning, intermediate Babcock (August 14). Fee: $20. All skill levels. ing with Maureen Donovan (June 27–June 28). Fee: and advanced. “Two Days on the Wheel,” throwing with Don Reitz $180, includes materials. Beginning, intermediate “Building Beautiful Birdhouses for the Whole Family,” (August 15–August 16). Fee: $400. All skill levels. and advanced. handbuilding and surface decoration with Maureen “Large Porcelain Vessels on the Wheel,” throwing with “Terrific Tiles,” handbuilding and surface decoration with Donovan (August 9). Fee: $105, includes materials. Matthew Towers (August 22–August 23). Fee: $265. All Maureen Donovan (July 5). Fee: $125, includes materials. Beginning, intermediate and advanced. skill levels. Beginning, intermediate and advanced. “Thrown, Altered and Assembled with Salt Fire,” throw- “Altered Forms and Decorative Surfaces,” throwing and “Photo Transfer and Ceramic Jewelry,” glazing with ing and firing with John Britt (August 13–August 18). surface decoration with Lorna Meaden (August 29–August Kate Missett (July 10–July 14) two to five days. Fee: Fee: $465, includes materials and firing. Beginning, 30). Fee: $215. All skill levels. $360, includes materials. Beginning, intermediate intermediate and advanced. Contact Logan Wannamaker, Taos Clay, 1208 Paseo Del and advanced. “Watercolor: Basics and Beyond for Beginners and Pot- ters,” with Randy Brodnax (August 19–August 20). Fee: $100. Beginning, intermediate and advanced. “Flashing and Fuming: Firing Salt and Raku,” throwing and firing with Randy Brodnax (August 21–August 26). Fee: $490, includes materials and firing. Beginning, intermediate and advanced. “The Art of Handbuilding,” handbuilding with Maureen Donovan (July 23–August 27) Thursday evenings. Fee: summer workshops 2009 $175, includes materials. Beginning, intermediate and advanced. “Basics and Beyond Section I and II,” wheelthrowing, surface decoration and glazing with Susan Beecher (June 24–August 26) Wednesdays. Fee: $360, includes materials and firing. Beginning, intermediate and advanced. “Porcelain: The Painterly Surface for Vessels and Tiles,” surface decoration and glazing with Linda Shusterman (July 31–August 5). Fee: $365, includes materials and firing. Beginning, intermediate and advanced. Contact Fran Imperiale, Sugar Maples Center for Creative Arts, PO Box 924, Hunter, NY 12442; [email protected]; www.sugarmaples.org; 518-263-2073. New York, Middleburgh “Week Long Summer Pottery Workshop,” glazing with Judy Cid and David Smyth (June 29–July 3). Fee: $300. Beginning and intermediate. “Week Long Summer Pottery Workshop,” throwing, handbuilding and glazing with Judy Cid and David Smyth (July 13–July 17; July 20–July 24; July 27–July 31; August 17–August 21; August 24–August 28). Fee: $300. Begin- ning and intermediate. Contact David Smyth, Smyth/Cid Pottery, 1011 Keyserkill RD, Middleburgh, NY 12122; [email protected]; www.smythcidpottery.com; 518-827-8073. New York, Middlesex “Assembling and Affecting Large Vessels with Heat,” with Mark Shapiro (July 31–August 2). Fee: $175, includes ma- terials. Intermediate, advanced and professional. Contact Annie Schliffer, Rochester Folk Art Guild Pottery, 1445 Up- per Hill Rd., Middlesex, NY 14507; [email protected]; www.rfag.org; (585) 554-5463. New York, Port Chester “Landscape and Texture,” throwing with Matthew Hyleck (June 20–June 21). Fee: $200. All skill levels. “Crossing Boundaries (from Potting to Painting),” hand- building and surface decoration with Sheryl Zacharia (July 11–July 12). Fee: $200. All Skill Levels. “Technique. Form. Personal Design. Porcelain.” throw- ing with Angela Fina (August 3–August 7). Fee: $395. All skill levels. “Material/Nature,” handbuilding and surface decora- tion with Margaret Boozer (August 22–August 23). Fee: $200. Both images above from a raku firing workshop at the Clay Art Center, Tacoma, Washington. Photos by Kay L. Schultz. “Outdoor Animals: Sculpture for Your Garden,” hand- building with Susan Halls (July 31–August 2). Fee: $300. All skill levels. Pueblo, El Prado, NM 87529; [email protected]; “Mastering Throwing Techniques,” throwing and sur- Contact Leigh Taylor Mickelson, Clay Art Center, 40 Beech www.taosclay.com; 575-758-9884. face decoration with Michael Boyer (July 10–July 12). St., Port Chester, NY 10573; [email protected]; Fee: $325, includes materials. Beginning, intermediate New York, Corning www.clayartcenter.org; 914-937-2047. “Woodfired Ceramics and Glass Blowing,” kiln building and advanced. and firing with Steve Gibbs and Fred Herbst (June 9–June “Introduction to the Excitement of Clay Sculpture,” New York, Rochester 11). Fee: $400, includes materials and firing. All skill levels. handbuilding with Tania Kravath (July 17–July 19). “Texture Mat Workshop,” handbuilding and surface Contact Fred Herbst, Corning Community College, 1 Aca- Fee: $325, includes materials. Beginning, intermediate decoration with Gayle Erwin (June 6). Fee: $75, includes demic Dr., Corning, NY 14830; [email protected]; and advanced. materials. All skill levels. www.corning-cc.edu; 607-962-9354. “The Art of Saggar Firing,” surface decoration, kiln “Printmaking on Clay,” surface decoration with Sasha building and firing with Brenda McMahon (July 24–July Reibstein and Jones vonJonestein (June 13–June 14). Fee: New York, Maplecrest 26). Fee: $365, includes materials and firing. Beginning, $145 . All skill levels. “Introduction to Wheel Thrown Pottery,” throwing with Su- intermediate and advanced. Contact Kate Whorton, Genesee Pottery, 713 Monroe san Bogen-Zarrabi (June 26–June 28). Fee: $325, includes “Experience the Excitement of Raku Firing,” firing with Ave., Rochester, NY 14607; [email protected]; materials. Beginning, intermediate and advanced. Deborah Dobski and Robert Tan (August 1). Fee: $110, www.geneseearts.org; 585-271-5183.

Ceramics Monthly April 2009 50 New York, Sag Harbor Contact Sue Fruchey, John C. Campbell Folk 9–August 21). Fee: $775. Beginning, intermediate “Introduction to Ceramic Glazes,” glazing with Nancy School, One Folk School Rd., Brasstown, NC 28902; and advanced. Robbins (June 13–June 14). Fee: $275; members $200, [email protected]; www.folkschool.org; 828- “Hand, Clay, Fire, Spirit,” throwing and firing with includes materials and firing. Intermediate, advanced 837-2775 ext. 122 or 1-800-FOLK-SCH. Jack Troy (August 9–August 21). Fee: $775. Beginning, and professional. Contact Nancy Robbins, Clay Art Guild North Carolina, Penland intermediate and advanced. of the Hamptons, P.O. Box 564, Water Mill, NY 11976; “Make Good Work and Get It Out There,” throwing with “What a Relief!” handbuilding with Angelica Pozo [email protected]; www.hamptonsclayart.org; Ayumi Horie (June 7–June 19). Fee: $775. Intermediate, (July 19–August 4). Fee: $990. Beginning, intermediate 631-726-2547. advanced and professional. and advanced. “Thrown and Altered Majolica,” throwing and surface New York, Water Mill “Allowing the Figure to Speak,” handbuilding with decoration with Posey Bacopoulos (July 19–August 4). “Thrown and Altered Forms,” throwing with Sylvie Debra Fritts (June 7–June 19). Fee: $775. Beginning, Fee: $990. Intermediate and advanced. Granatelli (July 17–July 18). Fee: $275; members $200, intermediate and advanced. “From Calculation to Fired Glaze,” glazing with Jeff includes materials and firing. All skill levels. Contact “Loosen Up,” with Chuck Hindes and Ron Meyers (May Zamek (August 23–August 29). Fee: $445. Beginning, Nancy Robbins, Clay Art Guild of the Hamptons, P.O. 24–June 5). Fee: $775. Intermediate and advanced. “Positively Negative,” handbuilding with MaPo Kinnord- intermediate and advanced. Box 564, Water Mill, NY 11976; [email protected]; Payton (May 24–June 5). Fee: $775. Beginning, intermedi- “The Art of Raku,” glazing with Steven Forbes-deSoule www.hamptonsclayart.org; 631-726-2547. ate and advanced. (August 23–August 29). Fee: $445. Intermediate New York, White Plains “The Joy of Handbuilding,” handbuilding and surface and advanced. “Ceramics for Teachers,” handbuilding with Matt Nolan decoration with Hayne Bayless (July 5–July 17). Fee: $775. Contact Lizzie Lawrence, Penland School of Crafts, PO (July 7–July 9). Fee: $148, includes materials. Beginning. Beginning, intermediate and advanced. Box 37, Penland, NC 28714; [email protected]; “Ceramics for Teachers Section 2,” glazing with Matt “Raku, Sagger, and Throwing Large,” throwing and www.penland.org; 828-765-2359. Nolan (July 13–July 15). Fee: $148, includes materials. firing with James C. Watkins (July 5–July 17). Fee: $775. All skill levels. Intermediate and advanced. Ohio, Cincinnati Contact Lisa Santalis, Westchester Community Col- “Teaching with Clay,” with IlaSahai Prouty (June 21–July “Wheel and Handbuilding Workshop,” throwing and lege, 196 Central Ave., White Plains, NY 10606; 3). Fee: $775. Beginning and intermediate. handbuilding with Neil Patterson and Sandi Pierantozzi [email protected]; www.sunywcc.edu/waw; “Thai Jar Construction Techniques,” handbuilding with (July 25–July 26). Fee: $200, includes materials and 914-606-7511. Daniel Johnston (June 21–July 3). Fee: $775. Beginning, lunch. Intermediate, advanced and professional. Contact intermediate and advanced. Kateri Kosta, Amphora Studios, 2533 Gilbert Ave, Cin- North Carolina, Asheville “Animal Sculptures: New Approaches,” handbuild- cinnati, OH 45206; [email protected]; “Bottles and Vases: Finishing Forms on the Wheel,” ing, throwing and firing with Susan Halls (August www.amphorastudios.com; 513-961-2728. throwing and surface decoration with Becca Floyd (June 1–June 5). Fee: $600, includes materials and meals. Beginning and intermediate. Vincent Massey enlists the help of a student to coil a pot while at the Metchosin International Summer School “Boundaries and Bindings: Making Clay Tiles and of the Arts, Victoria, British Columbia, Canada. Hand Bound Books,” handbuilding with Becca John- son (June 8–June 12). Fee: $600, includes materials. Beginning skill level. “Tackling the Teapot,” throwing with Heather Tinnaro (June 22–June 26). Fee: $600, includes materials, firing and lunch. Beginning and intermediate. “Boxes and Tiles,” handbuilding and surface decoration with Cynthia Lee (July 13–July 17). Fee: $600, includes

materials. Beginning and intermediate. summer workshops 2009 “Raku and Primative Firing,” handbuilding, surface decoration and firing with Holly deSaillan (July 20–July 25). Fee: $600, includes materials, firing and lunch. Beginning and intermediate. Contact Lori Theriault, Crazy Green Studios, 15B Domino Ln., Asheville, NC 28806; [email protected]; http://crazygreenstudios.blogspot.com; 828-333-0622. North Carolina, Bakersville “Basic Glaze Chemistry and Cone 6 Reduction,” glazing with John Britt (June 22–June 26). Fee: $500, includes materials and firing. Intermediate. “Basic Glaze Chemistry and Low Fire Surfaces,” glazing with John Britt (July 20–July 24). Fee: $500, includes materials and firing. Intermediate. “Woodfiring/Salt Glaze Workshop in the North Carolina Mountains,” firing with Shane Mickey (June 20–June 27). Fee: $325, includes materials, firing, tours and meals. All skill levels. Contact Shane Mickey, Shane Mickey Pottery, 5271 Cane Creek Rd., Bakersville, NC 28705; [email protected]; 828-467-1208. North Carolina, Brasstown “Form Flair and Finish,” with Gail Freeman (June 7–June 13). Fee: $512. “Beginning Wheel and Slab: What a Combo,” with Angela Cox and Dylan Cox (June 21–June 27). Fee: $512. “Raku, Salku and the Potter’s Wheel,” with Rick Berman (July 5–July 12). Fee: $750. “Understanding Pottery (Intergenerational),” with Martha Sullivan (July 19–July 25). Fee: $512. “Throwing Made Easy,” with Stephen Heywood (June 28–July 4). Fee: $512. “Beginning Portraits in Clay,” with Mike Lalone (August 2–August 8). Fee: $512. “Beginning Wheel Made Easy,” with Ken Shipley and Melody Shipley (August 9–August 15). Fee: $512. “Sawdust and Saggar Firing with Artist Wrangling,” with Dawn Dalto and Les Powell (August 16–August 22). Fee: $512. “Woodfire: From the Land Down Under,” with Peter Rose (August 23–August 30). Fee: $750.

Ceramics Monthly April 2009 51 summer workshops 2009

Kuo-Wei Lee, recipient of the 2008 Anderson Ranch Arts Center ceramic scholarship, working at the center’s studio in Snowmass Village, Colorado.

Ohio, Kent includes materials and lunch. All skill levels. gust 9–August 15). Fee: $495. Beginning, intermediate “Kent Blossom Art: Ceramics,” throwing and handbuild- “Imagery on Form,” surface decoration with Jason and advanced. ing with Val Cushing, Josh DeWeese and Kirk Mangus Walker (July 24–July 26). Fee: $325, includes materials “Trapping Carbon at Touchstone,” glazing and firing (June 15–June 27). Fee: graduate $1224; undergrad and lunch. with Malcolm Davis (August 16–August 22). Fee: $1152, includes materials. All skill levels. Contact Beth Contact Leslie Lee, Hummingbird Studios, 818150 Upper Ap- $825. Intermediate. Renicker, Kent State University, PO Box 5190, Kent, plegate Rd, Jacksonville, OR 97530; [email protected]; “Burning Expectations,” firing with Kevin Crowe (August OH 44240; [email protected]; www.kent.edu/art; 541-899-7045; HummingbirdSouthernOregon.com. 23–August 29). Fee: $500. Beginning, intermediate and advanced. 330- 672-2192. Oregon, Otis “Best of Both Worlds: High and Low Fire Ceramics,” Ohio, Oxford “Earth and Fire: Raku,” handbuilding, surface decora- throwing and glazing with Christy Hedman and Donn “Pottery Making Sampler,” throwing and handbuilding tion and firing with Katy McFadden (August 9–August Hedman (July 26–August 1). Fee: $495. Beginning, with J Harris (June 12–June 14), includes materials and 13). Fee: $400, includes materials and firing. All skill intermediate and advanced. firing. Beginning. levels. Contact Jalene, Sitka Center for Art and Ecology, Contact Collette Ridgeway, Touchstone Center for Crafts, “Ceramics: Techniques in Form,” throwing with Susan 56605 Sitka Drive, Otis, OR 97368; [email protected]; 1049 Wharton Furnace Rd., Farmington, PA 15437; Filley (June 15–June 19), includes materials and firing. www.sitkacenter.org; 541-994-5485. [email protected]; www.touchstonecrafts.com; Intermediate and advanced. Pennsylvania, Farmington 724-329-1370. “Raku and Alternative Firing Techniques,” firing with “Dazzle and Delight: Clay Kaleidoscopes,” handbuilding Pennsylvania, Pittsburgh Charles Riggs and Linda Riggs (June 22–June 26), includes and firing with Stephanie Danz (June 7–June 13). Fee: “Creating Wood Fired Ceramics,” handbuilding, throw- materials and firing. Intermediate. $495. All skill levels. ing and firing with Helena Andersson, Josh Copus, Keith “Progressing on the Potter’s Wheel,” throwing with “Wheel Thrown Pottery,” throwing with Joe Ekstam, Dale Huffman, Kevin Hughes, Eric Knoche, Justin Bill Hunt (July 6–July 10), includes materials and firing. Sendek (June 14–June 20). Fee: $495. Beginning Rothshank, Jose-Antonio Sarmiento and Eva Zethraeus Intermediate and advanced. and intermediate. (July 12–July 13). Fee: $75. All skill levels. Contact Dale “Beginning Wheel Throwing: The W(right) Way,” throw- “Surface Decoration Techniques,” surface decoration Huffman/Justin Rothshank, Carlow University/Union ing with David Gary Wright (June 20–July 3), includes with Yoko Sekino-Bove (June 21–June 27). Fee: $495. Project, 801 N. Negley Ave., Pittsburgh, PA 15206; materials and firing. Beginning and intermediate. Beginning, intermediate and advanced. [email protected]; www.unionproject.org/ceramics; Contact Joyce Ponder, Miami University CraftSum- “Fundamentals of Wheel Throwing,” throwing with 412-363-4550. mer, 515 E. Spring St., Oxford, OH 45056-1888; Emily Reason (May 31–June 6). Fee: $495. Beginning. [email protected]; www.craftsummer.org; “For the Table: Form and Surface,” throwing, handbuild- Rhode Island, Wakefield 513-529-7395. ing and mold making with Brad Birkhimer (July 5–July “Gloworm Loading and Firing,” firing with Thomas Oregon, Eugene 11). Fee: $495. Intermediate and advanced. Ladd (June 6–June 7; July 11–July 12). Fee: $250, “Kitchen to Table Pots: An Introduction to Working with “Mastering Throwing, Altering and Glazing Techniques,” includes materials. Intermediate. Contact Kris Pedersen, Flameware,” with Robbie Lobell (July 7–July 11). Fee: throwing and glazing with Susan Beecher (July 12–July Dew Claw Studios, 545 Pawtucket Ave., Pawtucket, RI $450, includes materials. Advanced. 18). Fee: $495. Intermediate and advanced. 02860; [email protected]; dewclawstudios.com; “Neriage Technique,” with Faith Rahill (July 18–July 19). “Woodfire: Out of the Frying Pan, Into the Fire,” firing 401-312-0540. Fee: $155, includes materials and firing. Intermediate. with Jim Dugan (July 19–July 25). Fee: $495. Intermedi- South Carolina, North Augusta Contact James Laub, Clay Space Membership Pot- ate and advanced. tery Studio, 222 Polk Street, Eugene, OR 97402; “Hot Metal/Hot Clay: Earth–Fire–Metal,” mixed media “Vapor Glaze with Baking Soda,” glazing with David [email protected]; clayspaceonline.com; with Dave Olson and Joe Sendek (June 28–July 4). Fee: Stuart (June 19–June 21). Fee: $150, includes materials. 541-653-8089. $495. Beginning, intermediate and advanced. Intermediate, advanced and professional. “Wheel-Thrown Pottery,” throwing with Valda “I Hate to Trim, So I Throw ‘em Thin,” throwing with David Oregon, Jacksonville Cox (August 2–August 8). Fee: $495. Intermediate Stuart (July 23–July 26). Fee: $250, includes materials. “A Casual Approach to Useful Pots,” throwing and surface and advanced. Contact David Stuart, Wild Hare Pottery, 1627 decoration with Ron Meyers (June 26–June 28). Fee: $325, “Wheel-Thrown Pottery,” throwing with Valda Cox (Au- Georgia Avenue, North Augusta, SC 29841;

Ceramics Monthly April 2009 52 [email protected]; 803-279-7813; Texas, WA 98248-0960; [email protected]; wildharepottery.com. “Succulent Surfaces,” surface decoration with Erin Fu- www.mcdowellpottery.com; 360-384-2543. rimsky (June 26–June 28). Fee: $250, includes materials Tennessee, Gatlinburg Washington, Port Hadlock and firing. Intermediate and advanced. Contact Dennis “Personal Pottery Surface with Majolica,” surface decora- Smith, Southwest School of Art and Craft, 300 Augusta “Handbuilding and Paperclay,” handbuilding with tion with Linda Arbuckle (June 7–June 13). Fee: $485. St., San Antonio, TX 78205; [email protected]; Rosette Gault and Graham Hay (June 12–June 14). All skill levels. www.swschool.org; 210-224-1848. Fee: $420; members $375, includes materials and “Responding to Touch: Thrown and Altered Pouring lunch. All skill levels. Contact Carolyn Dorr, Potters Vessels,” throwing with Leah Leitson (June 14–June 20). Vermont, Bennington Council, 600 N. Cleveland Ave., Westerville, OH Fee: $485. All skill levels. “Alternative Firing Techniques,” throwing, handbuilding 43082; [email protected]; www.potterscouncil.org; “Constructed Forms, Slipped Surfaces,” throwing and and firing with Bob Green (July 19–July 25). Fee: $925, 614-794-5824. handbuilding with Victoria Christen (June 21–June 27). includes materials. All skill levels. Fee: $485. All skill levels. “Wheelworking: Classic and Outlaw,” throwing with Washington, Port Orchard “Handbuilt Raku Vessels,” with Scott Young (July 12–July Ben Ryterband (August 2–August 8). Fee: $925, includes “Ochawangama: Making and Firing the Tea Bowl,” 18). Fee: $485. All skill levels. materials. All skill levels. throwing, handbuilding and firing with Chuck Hin- “Surface Squared,” glazing with George Bowes (July “A Slant on Slabs: Ceramics for the Non-Potter,” glazing des, Rick Mahaffey and Steve Sauer (June 20). Fee: 19–July 25). Fee: $485. All skill levels. with Bob Green (July 26–August 1). Fee: $925, includes $495, includes materials, firing and lunch. All skill “Innovative Handbuilding Plus Glazing,” with Bernadette materials. All skill levels. levels. Contact Steve Sauer, Seabeck Workshop Group, Curran and Lana Wilson (June 28–July 11). Fee: $970. Contact Nancy McCarthy, Art New England, Massa- 1142 Baby Doll Rd. E, Port Orchard, WA 98366; All skill levels. chusetts College of Art and Design, 621 Huntington [email protected]; www.sauerpottery.com; “Firing the Manibigama,” with Liz Lurie and Charity Davis Ave., Boston, MA 02115; [email protected]; 360-871-4788. Woodard (June 28–July 11). Fee: $970. All skill levels. www.massart.edu/ane; 617-879-7175. “Expressive Handbuilt Clay,” with Margaret Bohls (August Washington, Tacoma Virginia, Alexandria 2–August 8). Fee: $485. All skill levels. “Summer Raku Celebration,” firing with Paul Antone, “Horsehair Pottery Techniques,” firing with Ed Bull (July “Pots for the Table,” handbuilding, throwing and mold Joe Brecha, Bonnie Deal and Dave Deal (July 18). Fee: making with Steve Howell (August 9–August 15). Fee: 11). Fee: $50, includes materials and firing. Intermedi- $105, includes materials, firing and lunch. All skill $485. All skill levels. ate skill level. levels. Spanish and English. Contact Joseph Brecha, “Figurative Clay Sculptures,” handbuilding with “Yixing Teapots with Dave Straney,” handbuilding with Clay Art Center, 2636 Pioneer Way E., Tacoma, WA Laura DeAngelis (July 26–August 1). Fee: $485. All Dave Straney (July 19). Fee: $85, includes materials and 98404; [email protected]; www.clayartcenter.net; skill levels. firing. Beginning and intermediate. 253- 922-5342 or (800) 952-8030. “Cut and Paste,” with Deborah Schwartzkopf (July “Raku Workshop,” firing with Matt Freitas (August 8). 26–August 1). Fee: $485. All skill levels. Fee: $60, includes materials and firing. Intermediate. West Virginia, Harpers Ferry Contact Kim Newman, Arrowmont School of Arts Contact Ed Bull, Creative Clay Studios, 5704 E “Yes, You Can!,” studio with Alice Boysen (dates TBD). General Washington Dr., Alexandria, VA 22312; and Crafts, 556 Pkwy., Gatlinburg, TN 37738; Fee: $250, includes materials and lodging. All skill levels. [email protected]; www.arrowmont.org; 865- [email protected]; www.creativeclaypottery.com; Contact Alice Boysen, 239 Marilyn Rd., Harpers Ferry, WV 436-5860. 703-750-9480. 25425; [email protected]; 727-906-1526. Tennessee, Sewanee Virginia, Amherst Wisconsin, Dodgeville “Growing Up: Vertical Forms from Coil Plus Slab,” “Small Group, Big Plans,” throwing with Kevin Crowe handbuilding, glazing and firing with Gail Kendall (June (June 6–June 7). Fee: $350, includes materials, lodging “Communing with Clay,” with Geof Herman (June 14–June 20). Fee: $695, includes meals. All skill levels. and meals. All skill levels. Contact Kevin Crowe, Tye 14–June 19). Fee: $425, includes lodging and firing. Contact Claire Reishman, Shakerag Workshops, 290 River Pottery, 1289 Falling Rock Dr., Amherst, VA 24521; Beginning, intermediate and advanced. Quintard Rd., Sewanee, TN 37375; [email protected]; [email protected]; www.kevincrowepottery.com; “Family Clay Camp,” with Linda Schrage (June 17–June

www.shakerag.org; 931-598-5651. 434-263-4065. 19). Fee: $150, includes lodging and meals. Beginning summer workshops 2009 and intermediate. Tennessee, Smithville Virginia, Faber “Communing with Clay 2,” with Phil Lyons (June 21–June “Fresco Mono-Printing on Clay,” with Arthur Gonzalez “Glazing, Loading and Firing a Cone 10 Reduction Kiln,” 26). Fee: $425, includes lodging, meals and firing. Begin- (June 7–June 12). Fee: $460. All skill levels. glazing and firing with Nan Rothwell (June 13–June 14). ning, intermediate and advanced. Fee: $180, includes materials, firing and meals. Intermedi- “Alternative Firing and Surface Technique,” with Randy “Communing with Clay 3,” with Andrée Valley (August ate, advanced and professional. Brodnax (June 14–June 19). Fee: $460. Intermediate. 9–August 14). Fee: $425, includes lodging, meals and “Altering Thrown Forms,” throwing with Nan Rothwell “Mugs, Bottles, Bowls and Ash Glazes,” with Mark Is- firing. Beginning, intermediate and advanced. (July 11–July 12). Fee: $180, includes materials and meals. senberg (June 21–June 26). Fee: $460. Intermediate. “Professional Studio,” with Tom Philibaum (July 19–July Intermediate, advanced and professional. “The Pleasures of Pottery Making,” with Terry Gess (May 24). Fee: $495, includes lodging and meals. Advanced 31–June 5). Fee: $460. All skill levels. “Teapots,” throwing with Nan Rothwell (August 8–August and Professional. “Hoggama Woodfiring (hybrid Anagama and Ground- 9). Fee: $180, includes materials and meals. Intermediate, “Wisconsin Woodfire 2009,” firing with David Smith hog),” with Daniel Murphy and Stephen Robison (July advanced and professional. (July 24–July 26). Fee: $310, includes lodging and meals. 5–July 17). Fee: $460. Intermediate and advanced. Contact Nan Rothwell, Nan Rothwell Pottery, 221 Pottery Advanced and professional. “Pots: Developing Form and Design,” with Susan Ln., Faber, VA 22938; [email protected]; Contact Angie Burnett, Art Ventures, 312 Wisconsin Ave., Filley (July 19–July 24). Fee: $460. Intermediate and www.nanrothwellpottery.com; 434-263-4023. Madison, WI 53703; [email protected]; Advanced skill levels. Virginia, Gainesville www.bethelhorizons-artventures.org; 608-257-3577. “Handbuilt Vessels,” with Melody Tiemann (July 26–July “Traditional Ceramics: Ghana and Nigeria,” hand- Wisconsin, Herbster 31). Fee: $460. Intermediate. building with Winnie Owens-Hart (August 1–August Contact Gail Gentry, Appalachian Center for Craft, 2). Fee: $155, includes materials and lunch. All skill “The Best Little Wood Fire Workshop 2009,” han- 1560 Craft Center Dr., Smithville, TN 37166; levels. Contact Winnie Owens-Hart, ILE AMO Re- building, throwing and firing with Mike Weber (June [email protected]; www.tntech.edu/craftcenter; search Center, PO Box 361, Gainesville, VA 20156; 7–June 21). Fee: $545, includes materials and firing. 615-597-6801. [email protected]; 703-754-1307; All skill levels. Contact Mike Weber, Weberwoodfire, Texas, Granbury http://home.earthlink.net/~wowenshart. PO Box 45, Herbster, WI 54844; [email protected]; www.weberwoodfire.com; 715-774-3707. “Teacher’s Classroom Clay Projects (for grades 6-12),” Washington, Coupeville handbuilding with Janice Hobbs (June 12–June 13). “Five Days Around the Soda Kiln and in the Studio,” Wyoming, Buffalo Fee: $225, includes materials, lunch and firing. Begin- throwing and firing with Robbie Lobell (July 21–July “Alter Your Mind and Your Pots at the Foot of the Beautiful ning skill level. 25). Fee: $595, includes materials, firing and meals. Big Horn Mountains,” throwing with Connie Christensen “Elementary Teacher Clay Workshop,” handbuilding Intermediate and advanced. (June 13–June 14). Fee: $150, includes lodging if avail- with Janice Hobbs (June 15). Fee: $115, includes materi- “Made in Flameware: Kitchen to Table Cooking Pots,” throw- able. Intermediate, advanced and professional. Contact als and lunch. Beginning. ing with Robbie Lobell (August 4–8). Fee: $595, includes Bonnie Schlesselman, Potters’ Depot LLC, 75 E. Benteen Contact Janice S. Hobbs, Dry Creek Pottery, 8400 Cle- materials and meals. Intermediate and advanced. Street, Buffalo, WY 82834; [email protected]; burne Hwy., Granbury, TX 76049; [email protected]; Contact Robbie Lobell, Robbie Lobell Pottery, 640 Patmore 307-684-4555. www.drycreekpottery.com; 817-326-4210. Rd., Coupeville, WA 98239; [email protected]; Wyoming, Jackson www.robbielobell.com; 360-678-1414. Texas, Ingram “Architectural Ceramics,” handbuilding and mold making “The Wheel is just Another Tool,” throwing with Gary Washington, Ferndale with Marcia Selsor (July 10–July 12). Fee: $210; members Huntoon (July 21–July 24). Fee: $215, includes firing. “Colored Clays: Form and Surface,” with Vince $185, includes materials and firing. Beginning. Contact Intermediate and advanced. Contact Teri Valentine, Hill Pitelka (July 27–July 31). Fee: $380, includes ma- Sam Dowd, Art Association of Jackson Hole, 240 S Country Arts Foundation, PO Box 1169, Ingram, TX 78025; terials and firing. All skill levels. Contact Michael Glenwood, Jackson, WY 83002; [email protected]; [email protected]; www.hcaf.com; 830-367-5120. McDowell, McDowell Pottery, PO Box 960, Ferndale, www.jacksonholeworkshops.org; 307-733-6379.

Ceramics Monthly April 2009 53 International Workshops building with Les Manning (June 5–June 12). Fee: Brewer-White (July 13–July 17). Fee: $385, includes firing $525, includes lunch. Intermediate, advanced and and lunch. All skill levels. Belgium, Brasschaat professional. “Figurative Sculpture,” handbuilding with Patrick Keenan “Throwing on the Wheel in a Japanese Style,” with “Handbuilding Using Molds,” handbuilding with (June 8–June 12). Fee: $385, includes lunch. Beginning, Shozo Michikawa (July 7–July 10). Fee: $300, includes Vincent Massey (June 8–June 12). Fee: $385, includes intermediate and advanced. materials. Intermediate and advanced. lunch. Beginning and intermediate. Contact Meira Mathison, Metchosin Intl. Summer School “Making Sculptures with the Support of Sand “Master Glaze,” glazing with Robin Hopper (July of the Arts, 650 Pearson College Dri, Victoria, BC 99999 Molds,” with Jurg Bachtold (July 7–July 10). 6–July 17). Fee: $750, includes lunch. Advanced and Canada; [email protected]; www.missa.ca; Fee: $300, includes materials. Intermediate professional. 250-391-2420. and advanced. “Kitchen to Living Room,” throwing and firing with “Making Multiple Molds,” with Sasha Wardell (July Tony Clennell (July 6–July 17). Fee: $750, includes Canada, New Brunswick, Florenceville-Bristol 7–July 10). Fee: $300, includes materials. Intermedi- lunch. Intermediate, advanced and professional. “Four Week Anagama and Yoga Immersion,” firing with ate and advanced. “Alternative Raku Techniques,” firing with Joe Brecha Lee Horus Clark, Yolande Clark and Alexandra Norris “Throwing Large Forms,” with Thierry Foucquet (July 6–July 10). Fee: $385, includes lunch. Beginning, (August 3–August 31). Fee: $2600, includes materials, (July 12–July 15). Fee: $300, includes materials. intermediate and advanced. firing, lodging and meals. All skill levels. French and Intermediate and advanced. English. Contact Yolande, Lee Clark, “Slip Casting with Bone China burnt.normal church pottery, 327 Main and Decoration Techniques,” with St., Florenceville, NB 90210 Canada; Sasha Wardell (July 12–July 13). [email protected]; Fee: $180, includes materials. www.burntnormal.blogspot.com; Intermediate and advanced. 506-392-7917. summer workshops 2009 “Raku: Copper Matt,” with Steve Canada, Nova Scotia, Halifax Mattison (August 24–August 27). Fee: $320, includes materials. “Chroma and the Vessel,” glazing with Ursula Hargens (July 2–Aug 19) Intermediate and advanced. Twice a week, from 1-5 pm. Advanced. “Making Expressive Sculptures,” French and English. Contact Neil For- with Anne Bulliot (August 28–Au- rest, NSCAD University, 5163 Duke St, gust 30). Fee: $240, includes mate- Halifax, Nova Scotia 12345 Canada; rials. Intermediate and advanced. [email protected]; www.nscad.ca; “Sangam (inlay): Korean Decora- 902-494-8225. tion Technique,” with Yoon-Kyung Lee (August 29). Fee: $80, includes Canada, Ontario, Brockville materials. Intermediate and ad- “Sagger Firing,” firing with Alison vanced skill levels. Brannen (July 13–July 17). Fee: $248. Contact Patty Wouters, Atelier Intermediate and advanced. Cirkel, Prins Kavelhof 35/2, B “Pottery: Throwing and Building,” 2930 Brasschaat, 2930 Belgium; handbuilding and throwing with Carol- [email protected]; Ann Michaelson (July 27–July 31). Fee: www.ateliercirkel.be; 32 36 33 05 $288. Intermediate and advanced. 89 or 32 (0)3 633 05 89. “Handbuilding with Paperclay Slabs,” handbuilding with Lesley McInally Canada, Alberta, Red Deer (August 4–August 7). Fee: $199. “Pitchers, Lids and Spouts,” throw- Beginning and intermediate. ing with Cathi Jefferson (July 6–July Contact Wiliam Leroux, St. Law- 10). Fee: $525. rence College, 2288 Parkedale Ave., “Visual Fusing of Form: From the Brockville, Ontario K6V1X8 Canada; Plate to the Vessel,” with Les Man- [email protected]; www.sl.on.ca; ning (July 13–July 17). Fee: $525. 613- 345-0660. “Fine Silver Clay: The Basics and Be- Canada, Ontario, Haliburton yond,” with Joan Irvin (July 13–July “Pottery II,” throwing, surface decora- 17). Fee: $595. tion and firing with Barbara J. Peel (July “Finding Form: Exploring Shape in 6–July 11). Fee: $319, includes materi- Useful Pots,” with Steven Roberts als and firing. Intermediate. (July 20–July 24). Fee: $525. “Pottery: Thrown and Handbuilt,” “Firing Cone 6 Reduction Glazes,” handbuilding, throwing, surface deco- glazing with Marcia Selsor (July ration and firing with Wayne Cardinalli 20–July 24). Fee: $545. Mattie Leeds finishes the rim on large vessel at Sierra Nevada (July 13–July 18). Fee: $319, includes materials and firing. Intermediate and “Functional Wheel Thrown Pottery,” College, Incline Village, Nevada. throwing with Connie Pike (July advanced skill levels. 27–July 31). Fee: $495. “Handbuilding Pottery,” surface “Introduction to Ceramic Hand- decoration and firing with April Gates building,” handbuilding with Robin Lambert (August “Basic Glaze Chemistry,” glazing with John Britt (July (July 20–July 25). Fee: $319, includes materials and firing. 4–August 7). Fee: $345. 6–July 10). Fee: $385, includes lunch. Beginning and Beginning and intermediate. intermediate. “Fine Silver Clay: An Intro to PMC3,” with Joan Irvin “Pottery Throwing Camp,” throwing with Jessica Stein- “Extruding and Surface Techniques,” handbuilding (August 4–August 5). Fee: $295. hauser (July 20–July 24). Fee: $279, includes materials. with William Shinn (July 6–July 10). Fee: $385, includes Intermediate and advanced. “Fine Silver Clay: An Intro to PMC3,” with Joan Irvin lunch. Beginning, intermediate and advanced. “Figure Sculpture,” with Paul Portelli (July 20–July 24). Fee: (August 6–August 7). Fee: $295. “Non-Fired Finishes,” surface decoration with Leslie $275, includes materials. Beginning and intermediate. Contact Cindy Corah, Red Deer College, 100 Lee (July 11–July 12). Fee: $155, includes lunch. All “Figure Sculpture II,” with Paul Portelli (July 27–July College Blvd., PO Box 5005, Red Deer, Alber- skill levels. 31). Fee: $275, includes materials. Intermediate and ta T4N 5H5 Canada; [email protected]; “Handbuilding with Textured Slabs,” handbuilding advanced skill levels. www.rdc.ab.ca/continuingeducation/visual_arts; 403- with Dennis Meiner (July 11–July 12). Fee: $155, “Pottery Beginners,” throwing, surface decoration and 342-3130. includes lunch. Beginning, intermediate and ad- firing with Barbara J. Peel (June 29–July 4). Fee: $319, Canada British Columbia, Salt Spring Island vanced skill levels. includes materials and firing. Beginning. “Pottery with Pat,” throwing, handbuilding, glazing “Texture and Color with Paper Clay,” handbuilding “Raku Basic,” throwing, surface decoration and firing and firing with Pat Webber (July 19–July 28). Fee: $500, with Cory McCrory (July 13–July 17). Fee: $385, with Michael Sheba (August 3–August 8). Fee: $339, includes materials, firing and lunch. Intermediate and ad- includes firing and lunch. Beginning, intermediate includes materials and firing. Beginning. vanced. Contact Pat Webber, 425 Stewart Rd., Salt Spring and advanced. “Raku Advanced I,” throwing, surface decoration and Island, BC V8K 1Y6 Canada; [email protected]; “Firing Techniques: Surface Treatments,” surface firing with Michael Sheba (August 10–August 15). Fee: 250-537-8871. decoration and firing with Randy Brodnax (July 13–July $339, includes materials and firing. Intermediate and 17). Fee: $385, includes firing and lunch. Beginning, advanced skill levels. Canada, British Columbia, Victoria intermediate and advanced. “Pottery Decorative Techniques,” throwing, surface “Aesthetics of Ceramic Form,” throwing and hand- “Figurative Sculpture,” handbuilding with Elaine decoration and firing with Scott Barnim (July 27–August

Ceramics Monthly April 2009 54 1). Fee: $319, includes materials and firing. Intermediate Homer, Martin Homer Pottery, Lower Aston House, Contact Uta Spies, Bild-Werk Frauenau, Moosau- and advanced. Aston Bank, Tenbury Wells, Worcestershire WR15 straße 18a, Frauenau, Bavaria 94032 Germany; Contact Shelley Schell, Haliburton School of The Arts, 8LW England; [email protected]; [email protected]; 49 9926 180895; Box 839, 297 College Dr., Haliburton, Ontario K0M www.homerpottery.co.uk; 44 1584 781 404. www.bild-werk-frauenau.de. 1S0 Canada; [email protected]; Italy, Certaldo www.HaliburtonSchooloftheArts.com; 705-457-1680. France, Allegre les Fumades “Inlaid Colored Porcelain,” handbuilding with Susan “Throwing, Raku and Paper Clay Workshop,” throw- Nemeth (June 28–July 4). Fee: $1100, includes materi- Croatia Dalmatia, Split ing, handbuilding and firing with Julia Simonot als, firing, lodging and meals. Beginning, intermediate “Ceramics Art Retreat,” handbuilding and surface and Michel Simonot (July 6–18, July 13–25, July and advanced. decoration with Vendi Borovic, Ivana Mustapic and 20–August 1, July 27–August 8, August 3–15, Au- “Sculpture and the Life Model,” handbuilding with Ivan Svagusa (July 1–August 31). Fee: $899, includes gust 10–22–). Fee: $1147, includes materials, firing Lucianne Lassalle (June 18–June 27). Fee: $1500, in- materials, firing, lodging and some meals. Beginning and and meals. Beginning, intermediate and advanced. cludes materials, firing, lodging and meals. Beginning, intermediate. Contact Vendi Borovic, Tajne Zanata Asso- French and English. intermediate and advanced. ciation, Fra Luje Maruna 3, Split, Dalmatia 21000 Croatia; “Raku and Paper Clay Workshop,” handbuilding “Approaches to Landscape,” throwing and hand- [email protected]; petielement.hr; 614-555-1212. and firing with Michel Simonot (June 15–19, July building with Barbara Van Sickle (July 5–July 18). Fee: 6–11, July 13–18, July 20–25, July 27–August 1, Denmark, Skælskør $2700, includes materials, firing, lodging and meals. August 3–8, August 10–15 or August 17–22–) five- “Sculpture in Public Space,” with Christie Brown, Akio Beginning, intermediate and advanced. day sessions. Fee: $604, includes materials, firing Takamori and Wenzhi Zhang (June 27–June 28). Fee: “Alternative Raku,” throwing, handbuilding and fir- and meals. Beginning, intermediate and advanced. $300, includes lunch. All skill levels. ing with Eduardo Lazo (July 19–July 25). Fee: $1100, French and English. “Woodfire Marathon,” firing (August 1–August 31). includes materials, firing, lodging and meals. Beginning, “Throwing Workshop,” throwing with Julia Simonot Fee: $630, includes lodging. intermediate and advanced. (June 15–19, July 6–11, July 13–18, July 20–25, July Contact Ane Fabricius Christiansen, Guldager- “Raku Techniques,” throwing, handbuilding and fir- 27–August 1, August 3–8, August 10–15 or August gaard International Ceramic Research Centre, Heil- ing with Luca Tripaldi (July 26–August 1). Fee: $1100, 17–22–) five day sessions. Fee: $543, includes materi- mannsvej 31 A, Skælskør, 4230, includes materials, firing, lodging and Denmark; [email protected]; meals. Beginning, intermediate and www.ceramic.dk; 45 5819 0016. advanced skill levels. Italian, French England, Somerset, Yeovil and English. “Douglas Phillip Pottery Workshop,” “Mediterranean Techniques,” throw- handbuilding, surface decoration, ing and firing with Pietro Madd- glazing, kiln design, firing with alena and Orietta Mengucci (August Douglas Phillips and Jennie Phillips 2–August 15). Fee: $1900, includes (July 13–August 20) weekly ses- materials, firing, lodging and meals. sions. Fee: $500, includes materi- Intermediate, advanced and profes- als, firing and meals. Beginning, sional. Italian and English. intermediate and advanced skill “Crystalline Glazes on Porcelain,” levels. Contact Douglas and Jen- throwing, handbuilding, glazing nie Phillips, Ridge Pottery, Queen and firing with Luca Tripaldi (August Camel, Yeovil, Somerset BA22 7NF 16–August 22). Fee: $1100, includes England; [email protected]; materials, firing, lodging and meals. www.mud2fire.com; 44 19 3585 Intermediate, advanced and profes- 0753. sional. Italian and English.

“Wood Fired Figures,” handbuilding summer workshops 2009 England, Suffolk, Ipswich and firing with Donna Polseno (August “Throwing for All Levels,” throw- 23–September 5). Fee: $1900, includes ing and firing with Deborah Baynes materials, firing, lodging and meals. (July 5–July 11). Fee: $764, includes Beginning, intermediate and advanced. materials, firing, lodging and meals. Italian, French and English. Beginning and intermediate. Contact Claudia Bruhin, La Merid- “Throwing for All Levels,” throwing iana–International School of Ce- and firing with Deborah Baynes (July ramic Art in Tuscany, Bagnano 135, 12–July 18). Fee: $764, includes Certaldo, Florence 50052 Italy; materials, firing, lodging and meals. [email protected];www.lameridiana.fi.it; Beginning and intermediate. 39 0571 660084. “Throwing for All Levels,” throwing and firing with Deborah Baynes (Au- Italy, Tuscany gust 2–August 8). Fee: $764, includes “Wood Fired Terra Cotta in Italy,” materials, firing, lodging and meals. firing with Don Davis (June 23–July Beginning and intermediate. 7). Fee: $2700; students $2400, “Throwing for All Levels,” throw- includes materials, firing, lodging ing and firing with Deborah Baynes and meals. All skill levels. Italian and (August 16–August 22). Fee: $764, English. Contact Donald Davis, ETSU includes materials, firing, lodging and Dept of Art & Design, Campus Box meals. Beginning and intermediate. 70708, Johnson City, TN 37614; “Throwing for All Levels,” throw- Instructor Donna Polseno prepares to load a figurative piece into the kiln [email protected]; 423-439-7864; ing and firing with Deborah Baynes www.spannocchia.com. (August 23–August 29). Fee: $764, at La Meridiana International Centre of Ceramics in Tuscany, Italy. includes materials, firing, lodging and Mexico, Chihuahua, Mata Ortiz meals. Beginning and intermediate. als, firing and meals. Beginning, intermediate and “Hands On Mata Ortiz,” handbuilding, surface decora- “Throwing for All Levels,” throwing and firing with advanced. French and English. tion and firing with Jose Martinez and Susy Martinez Deborah Baynes (July 26–August 1). Fee: $764, includes Contact Michel and Julia Simonot, Mas Cassac, (July 14–July 22). Fee: $900, includes materials, firing, materials, firing, lodging and meals. Beginning and F-30500, Allegre les Fumades, 30500 France; transportation, lodging and meals. All skill levels. Span- [email protected]; www,mas-cassac.com; 33 intermediate skill levels. ish and English. Contact Peter Chartrand, Mata Ortiz, Contact Deborah Baynes, Deborah Baynes Pottery Studio, 4 66 24 85 65. PO Box 1043, Bisbee, AZ 85603; [email protected]; Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW England; www.mataortizcontact.com; 520-249-8093. [email protected]; www.potterycourses.net; Germany, Bavaria, Frauenau 44 1473 788300. “Ceramic Sculpture: The Figure in Three Dimen- People’s Republic of China sions,” with Ucki Kossdorff (July 8–July 24). Fee: “Ceramic Art Tour of China,” with Xiaosheng Bi (June England, Worcestershire, Tenbury Wells $782, includes materials and firing. All skill levels. “Pottery Workshop,” glazing with Martin Homer (June German and English. 15–June 29). Fee: $3600, includes air fare, transporta- 12–14, July 5–11, July 12–18, August 2–8, August 9–15, “Ceramics: Rhythm and Composition,” with Ka- tion, lodging and meals. All skill levels. Contact Karen August 28–31) 2 day, 3 day or 7 day sessions. Fee: $346, tarzyna Koczynska-Kielan (August 5–August 21). Taylor, Hood College, 401 Rosemont Ave., Frederick, MD $497, $736, includes materials, firing, lodging and meals. Fee: $782, includes materials and firing.All skill 21701; [email protected]; www.hood.edu/ceramics; All skill levels. French and English. Contact Martin levels. German, Polish and English. 301-696-3526.

Ceramics Monthly April 2009 55 call for entries Deadlines for Exhibitions, Fairs and Festivals Submit online at www.ceramicsmonthly.org international exhibitions 05777; [email protected]; www.carvingstudio.org; Studio, 139 N. Second St., Philadelphia, PA 19106; (802) 438-2097. [email protected]; www.theclaystudio.org; (215) 925-3453. April 3, 2009 entry deadline May 1, 2009 entry deadline May 31, 2009 entry deadline Portugal, Aveiro “IX Biennial International Artistic Ohio, Cincinnati “Call for solo and group exhibition France, Vallauris “Small Art Objects 2009” (July 7–21) Ceramics Exhibition Aveiro 2009” (October 3–Novem- proposals for 2009–2010 exhibition schedule.” Juried open to work not exceeding 15cm in any direction. Con- ber 15). Juried from digital. Contact Secretariat, C/O from digital. Fee: $30. Contact Terra Firma, Manifest tact, A.I.R Vallauris, Place Lisnard, 1 Boulevard des Deux Val- Câmara Municipal de Aveiro, Divisão de Acção Cultural, Creative Research Gallery and Drawing Center, PO Box lons, Vallauris, 06220 France; [email protected]; Casa Municipal da Cultura, Edifício Fernando Távora, 6218, Cincinnati, OH 45206; [email protected]; www.air-vallauris.com; 33 0 493 64 65 50. Praca da República, 3810-156 Aveiro, Aveiro, Portugal; www.manifestgallery.org. [email protected]; www.cm-aveiro.pt; 351 South Carolina, Rock Hill “2nd Annual 30 Small June 1, 2009 entry deadline 234 377 763. Works” (June 24–August 7) open to work no larger than Pennsylvania, Philadelphia “Earth Matters” (March April 8, 2009 entry deadline 20” in any direction. Juried from digital. Fee: $30 for 13–April 15, 2010). Contact Linda Ganstrom, NCE- Massachusetts, Newtonville “Call for group exhibition two entries; $5 for each additional entry. Contact Alfred CA, 77 Erie Village Square, Erie, CO 80516-6996; proposals.” Contact Ceci Mendez, Curatorial Opportunity McCloud, Gallery Up, 201 E. Main St. 2nd Fl., Rock Hill, [email protected]; www.nceca.net; (866) 266-2322. Program, New Art Center in Newton, 61 Washington SC 29730; [email protected]; www.galleryup.com; Pennsylvania, Philadelphia “Call for thematic Park, Newtonville, MA 02460; [email protected]; (803) 980-5355. group exhibition proposals for 2009–2010 exhibition www.newartcenter.org/exhibitions/exhib_cop.html; May 15, 2009 entry deadline schedule.” Juried from digital. Contact Jeff Guido, The (617) 964-3424. Canada, Toronto “Call for site-specific out- Clay Studio, 139 N. Second St., Philadelphia, PA 19106; April 15, 2009 entry deadline door sculpture.” Contact, Toronto Sculpture Gar- [email protected]; www.theclaystudio.org; (215) California, City of Industry “Laguna Featured Artists” den, 38 Avenue Rd., Ste. 713, Toronto, M5R 925-3453. (ongoing) open to art and objects made with Laguna 2G2 Canada; [email protected]; June 5, 2009 entry deadline products or equipment. Juried from digital. Juror: Julie www.torontosculpturegarden.com/proposals.htm; (416) Ohio, Cincinnati “3rd Annual Master Pieces” open & Jon Brooks. Contact Julie Brooks, Laguna Clay Com- 515-9658. to current or recent MFA and MA students. Juried pany, 14400 Lomitas Ave., City of Industry, CA 91746; May 20, 2009 entry deadline from digital. Fee: $30. Contact Terra Firma, Manifest [email protected]; http://www.lagunaclay. Turkey, Eskisehir “International Symposium of Creative Research Gallery and Drawing Center, PO Box com/featured-artists/submissions.php. Overglaze Paintings 2009” (June 29–July 10). Juried 6218, Cincinnati, OH 45206; [email protected]; April 24, 2009 entry deadline from digital. Fee: $505. Contact S. Sibel Sevim, Anadolu www.manifestgallery.org. Ohio, Cincinnati “5th Annual Magnitude Seven” University, Ceramics Department, Eskisehir, 26470 Turkey; June 19, 2009 entry deadline open to work no larger than 7 in. in any dimension. Jur- [email protected]; www.seramik.anadolu.edu.tr; Spain, El Vendrell “V Biennal de Ceràmica” (October ied from digital. Fee: $30. Contact Terra Firma, Manifest 90 222 335 1290. 15–18). Juried from digital. Contact, Patronat Municipal de Creative Research Gallery and Drawing Center, PO Box May 31, 2009 entry deadline Serveis Culturals, La Rambla, 24, El Vendrell, 43700 Spain; 6218, Cincinnati, OH 45206; [email protected]; China, Beijing “Beijing International Art Expo” (August [email protected]; www.elvendrell.net/default2.aspx; www.manifestgallery.org. 27–31). Contact Guangzhen Po Zhou, Chinese Ceramic 0034 977 66 56 84. April 30, 2009 entry deadline Art Council, 1155 S. De Anza Blvd., San Jose, CA 95129; June 22, 2009 entry deadline Vermont, West Rutland “Call for proposals for solo or [email protected]; www.chineseclayart.com/ Republic of Korea, Heungdeok-Gu, Cheongju-Si two person exhibition for 2009–2010 exhibition schedule.” mall/c110/s25729/opportunity.asp; (408) 343-3919. “Cheongju International Craft Biennial 2009” (Septem- Juried from digital or slides. Contact, The Carving Studio Pennsylvania, Philadelphia “Juried Solo Artist Se- ber 23–November 1). Fee: $50 per entry, $85 for non and Sculpture Center, PO Box 495, West Rutland, VT ries.” Juried from digital. Contact Jeff Guido, The Clay members. Contact Kang Sun Kyoung, Cheongju Inter-

HAndbuilding & PAPerC l A y

Potters Council Regional Conference

Port Hadlock, WA June 12-14, 2009

Featured Artists: Graham Hay and Rosette Gault

Three days of hands-on opportunities! Space limited to 40

866.721.3322

Sponsor: Clay Art Center, www.clayartcenter.net

Artist: rosette gault www.potterscouncil.org Artist: graham Hay

Ceramics Monthly April 2009 56 Ceramics Monthly April 2009 57 call for entries national Craft Biennial Committee, 329 Heungdeok-Ro, September 1, 2009 entry deadline with porcelain and pieces under 40 cm. Juried from Heungdeok-Gu, Cheongju-Si, 361-828 Republic of Korea; Texas, Corpus Christi “Call for exhibition proposals digital or slides. Fee: $15. Contact, Zelli Porcelain, 55/57 [email protected]; www.okcj.org; 82 43 277 2501-3. for 2009–2010 exhibition schedule.” Contact Brooke Chiltern St., London, W1U 6ND England; [email protected]; June 30, 2009 entry deadline Fitzpatrick, K Space Contemporary, PO Box 545, Cor- www.zelli.co.uk; 020 7224 2114. Georgia, Norcross “2009 Art Kudos Interna- pus Christi, TX 78403; [email protected]; November 1, 2009 entry deadline tional Online Juried Competition” (August 15–Au- www.kspacecontemporary.org; (361) 887-6834. Massachusetts, North Adams “Call for exhibition gust 14, 2010). Fee: $30. Juror: Scott Canty. September 17, 2009 entry deadline proposals for 2009–2010 exhibition schedule.” Con- Contact Robert Anderson, Artshow.com, 4388 Wick- Pennsylvania, Wayne “Craft Forms 2009” (December tact, Contemporary Arts Center, 189 Beaver St., North ershire Way, Norcross, GA 30092; [email protected]; 4–January 23, 2010). Juried from digital. Fee: $30. Juror: Adams, MA 01247; [email protected]; www.thecac.org; www.artkudos.com/callforentries.html. Bruce W. Pepich. Contact Nancy Campbell, Director, Wayne (413) 663-9555. July 3, 2009 entry deadline Art Center, 413 Maplewood Ave., Wayne, PA 19087; Spain, El Vendrell “V Fira de Ceràmica 2009” (October [email protected]; www.wayneart.org; www.craftforms. 15–18). Juried from digital. Contact, Patronat Municipal de com; www.juriedartservices.com; (610) 688-3553. united states exhibitions Serveis Culturals, La Rambla, 24 El Vendrell, 43700 Spain; September 26, 2009 entry deadline [email protected]; www.elvendrell.net/default2.aspx; England, London “Proverbial Porcelain: Zelli Porcelain April 1, 2009 entry deadline Texas, San Angelo “2009 Kiln God National” (April 0034 977 66 56 84. Award 2009” (October 19–31) open to artists working 18–May 21). Juried from actual work. Fee: $15 for two en- tries. Juror: Billy Ray Mangham. Contact Jerry Warnell, Kiln God National, Chicken Farm Art Center, 2505 MLK, San Angelo, TX 76903-3092; www.kilngodnational.com. April 10, 2009 entry deadline North Carolina, Raleigh “2009 Furini Memorial Sculpture Juried Exhibition and Symposium” (October 23–25). Fee: $25 for three entries. Juror: David Detrich. Contact, Meredith College Art Dept., 3800 Hillsbor- ough St., Raleigh, NC 27607; [email protected]; www.meredith.edu/art/furini2009; (919) 760-8332. May 1, 2009 entry deadline Massachusetts, Needham “Drink It In” (June 5–July 3) open to functional and sculptural interpretations of drinking vessels. Juried from digital. Fee: $20 for three entires. Contact Jennifer Barbe, The Gallery at The Potter’s Shop and School, 31 Thorpe Rd., Needham, MA 02194; [email protected]; http://thepottersshopgallery.blogspot.com; (781) 449-7687. May 15, 2009 entry deadline Pennsylvania, Philadelphia “The Marge Brown Kalod- ner Graduate Student Exhibition” (July 3–August 2) open to students currently enrolled in a Graduate Program or graduating from a Graduate Program in 2009. Juried from digital. Contact Jeff Guido, The Clay Studio, 139 N. Sec- ond St., Philadelphia, PA 19106; [email protected]; www.theclaystudio.org; (215) 925-3453. June 1, 2009 entry deadline Kansas, Wichita “The Wichita National All Media Craft Exhibition 2009” (September 4–October 18). Fee: $30 for three entries. Juror: Kathleen Royster Lamb. Contact Molly Tully, The Wichita Center for the Arts, 9112 E. Central, Wichita, KS 67206; [email protected]; www.wcfta.com; (316) 634-2787. June 2, 2009 entry deadline New York, Rochester “History in the Making IV: Ceramic Traditions/Contemporary Pots” (September 18–October 24) open to work incorporating historic design elements, themes or trends. Juried from digital or slides. Fee: $20 for one entry; $25 for two entries; $30 for three entries. Contact, Genesee Pottery, 713 Monroe Ave., Rochester, NY 14607; [email protected]; www.geneseearts.org; (585) 271-5183. June 10, 2009 entry deadline Pennsylvania, Lancaster “Strictly Functional Pottery National” (September 26–October 25) open to work not exceeding 30 inches or 20 pounds. Juried from digital or slides. Fee: $30 for three entries. Juror: Pete Pinnell. Contact Phil Har- alam, Strictly Functional Pottery National, The Market House Craft Center, PO Box 204, East Petersburg, PA 17520-0204; www.strictlyfunctionalpotterynational.net; (717) 560-8816. June 15, 2009 entry deadline Texas, “Dining In: An Artful Experience.” Juried from digital. Fee: $25 for three entires. Contact, 18 Hands Gallery, 249 W. 19th St., Suite B, Houston, TX 77008; www.18handsgallery.com; (713) 869-3099. July 1, 2009 entry deadline Nebraska, Lincoln “Art of Fine Craft 2009” (October 1–November 8). Fee: $30 for three entries. Juror: Jason Briggs, Victoria Goro-Rapoport, Lulu Smith, Jess Starkel and . Contact Regina O’Rear, Nebraska Wes- leyan University and Lux Center for the Arts, 5000 Saint Paul Ave., Lincoln, NE 68502; [email protected]; www.luxcenter.org; (402) 465-2529. August 1, 2009 entry deadline Illinois, Warrenville “Clay3 National Juried Ceramics Exhibit” (October 23–November 21) ceramic art that Ceramics Monthly April 2009 58 Visit us at ceramic artsdaily.org

Showcasing the work of leading ceramic artists

Your resource for ceramic techniques

A membership community of potters and artists

ceramic artsdaily.org

A website bringing it all together for the ceramics community

Join today to receive your FREE newsletter featuring weekly videos, post your work, submit listings and much more.

Ceramic Publications Company, 600 N. Cleveland Avenue,Ceramics Suite 210,Monthly Westerville, April 2009 OH 43082 Phone: 866-721-3322 Fax: 614-794-5842 59 call for entries fits within one cubic foot. Juried from digital. Fee: $25 for two entries. Juror: Mary Kay Botkins. Contact Marie Gnesda, ClaySpace, 28W210 Warrenville Rd., Warrenville, IL 60555; [email protected]; www.clayspace.net; (630) 393-2529. regional exhibitions

April 1, 2009 entry deadline New Jersey, Stirling “Art Tiles, from a Slab of Clay” (June 4–29) open to residents of New Jersey, New York and Pennsylvania. Juried from digital or slides. Contact Susan Ahlstrom, Watchung Arts Center, 221 Pleas- ant Plains Rd., Stirling, NJ 07980; [email protected]; www.newartgroup.com; (908) 310-3371. April 10, 2009 entry deadline New Mexico, Las Cruces “From the Ground Up XXIV” (September 4–November 7) Open to artists in AZ, CO, MT, NM, TX, UT and WY. Juried from digital. Fee: $30 for four entries. Juror: Blair Meerfield. Contact, The Las Cruces Museum of Art, PO Box 20000, Las Cruces, NM 88004; [email protected]; http://museums.las-cruces.org; (575) 541-2221. April 15, 2009 entry deadline Rhode Island, Kingston “36th Annual Earthworks Exhibition” (April 23–May 16) open to New England residents. Juried from actual work. Fee: $15; members $12. Juror: James Lawton. Contact Susan Shaw, South County Art Association, 2587 Kingstown Rd., Kingston, RI 02881; [email protected]; www.southcountyart.org; (401) 783-2195. May 1, 2009 entry deadline Wisconsin, Madison “Juried Exhibition” (September 15–November 25) open to residents of MI, MN and WI. Juried from digital. Juror: Peter Held. Contact, Promega Corporation, 2800 Woods Hollow Rd., Madison, WI 53711; [email protected]; or contact Peter Held at [email protected]. May 15, 2009 entry deadline Kansas, Hays “2009 Invitational Members Exhibi- tion” (October 19–November 7) open to residents of CO, KS, MO, NE and OK. Juror: Glen Brown and Linda Ganstrom. Contact Linda Ganstrom, Kansas Artist Craftsmen Association, 600 Park St., Hays, KS 67601; [email protected]; www.kansasartistcraftsmenassociat ion.com; (785) 628-4273. June 19, 2009 entry deadline New Mexico, Las Cruces “Call for solo and group exhibition proposals for 2010 exhibition schedule” open to artists in AZ, NM and TX. Juried from digital. Fee: $30. Contact, The Las Cruces Museum of Art, PO Box 20000, Las Cruces, NM 88004; [email protected]; http://museums.las-cruces.org; (575) 541-2221. July 15, 2009 entry deadline Colorado, Arvada “Continental Divide” (September– November) open to residents of CO, MT, NM and WY. Juror: Bebe Alexander, Linda Ganstrom and Collin Parson. Contact Linda Ganstrom, NCECA, 77 Erie Vil- lage Square, Erie, CO 80516-6996; [email protected]; www.nceca.net; (866) 266-2322. fairs, festivals and sales

April 1, 2009 entry deadline Indiana, Bloomington “33rd Annual Fourth Street Festival of the Arts and Crafts” (September 5–6). Fee: $25. Contact, Fourth Street Festival of the Arts and Crafts, PO Box 1257, Bloomington, IN 47402-1257; [email protected]; www.4thstreet.org; submit entries via www.juriedartservices.com; (812) 335-3814. Pennsylvania, Bloomsburg “ArtFest” (August 15–16). Juried from digital. Fee: $10; Booth fee $75–$125. Contact, Downtown Bloomsburg Inc., 238 Market St., Bloomsburg, PA 17815; [email protected]; (570) 784-2522. June 1, 2009 entry deadline North Carolina, Dillsboro “Western North Carolina Pottery Festival” (November 7). Contact, Brant Barnes, Travis Berning and Joe Frank McKee, PO Box 397, Dillsboro, NC 28725; [email protected]; www.wncpotteryfestival.com; (828) 586-3601. Ceramics Monthly April 2009 60 Your Source for Inspired Techniques The CeramiC arTs handbook series

Throwing Surface Raku,Pit Barrel Firing Forming Finishing & Techniques Handbuilding& Techniques Decoration Techniques

Ceramic Ceramic Ceramic Arts Arts Arts Handbook Handbook Handbook Series Series Series

Edited by Anderson Turner Edited by Anderson Turner Edited by Anderson Turner

Electric Extruder, Forming Glazes Finishing Creative Mold& Tile Techniques Glazing& Techniques Firing Techniques

Ceramic Ceramic Ceramic Arts Arts Arts Handbook Handbook Handbook Series Series Series

Edited by Anderson Turner Edited by Anderson Turner Edited by Anderson Turner 136 136 136

Advanced Innovative Ceramic Inspiring Raku Firing Techniques Ceramic Art Techniques Sculpture Techniques

Ceramic Ceramic Ceramic Arts Arts Arts Handbook Handbook Handbook Series Series Series

Edited by Anderson Turner Edited by Anderson Turner 136 136 136

ceramicartsdaily.org/books

866-721-3322Ceramics Monthly April 2009 61 136 new books

The Spirit of Ceramic The book is divided into three parts, “Es- Design: Cultivating sence of Design,” “Cultivating Your Design Creativity with Clay Aesthetic” and “Design Relationships in Clay.” by Robert Piepenburg The chapters in Essence of Design cover the In this book, Robert Piepenburg gives ce- definition of design, it’s use as a language ramists a beneficial guide for cultivating their and communication tool and design as spirit. creativeness with clay. As the author explains in the The section titled Cultivating your Design foreword, “It is an examination of how design and Aesthetic discusses self-understanding and spirit influence creative output—how one makes the origins of design together, framing the it art and the other makes it meaningful.” discussion in a new way. Design Relation-

ships in Clay includes chapters that cover the essential elements (line, form, space, color, texture, light and time) and organizational principles (balance, movement, unity, va- riety, emphasis, placement and mystery) of three-dimensional design, while continuing to emphasize the involvement of the human spirit in creating successful work using these elements and principles. Through the discussion of these classical elements and principles of design, the book offers readers fresh insights into the various dimensions of designing by exploring the intrin- sic connections between designing and human spirituality. In presenting new alternatives and possibilities for the ways we work creatively and live privately, Piepenburg addresses the complex significance of design as an aesthetic language of our humanity that serves our needs by adding meaning to our ceramics and value to all of our undertakings. Illustrated in full color with designs by contemporary ceramists from around the world and interspersed with quotations per- taining to the essence of the text, The Spirit of Ceramic Design illuminates the human spirit as an energetic power source for enhancing creative freedom and extending expression. In addition to being a source of insight into the spirit’s ever-widening connections to artistic empowerment, this book serves as a guide to timeless strategies used by designers to realize their visual objectives. 253 pages. 72 color illustrations. Paper- back, $34.95. ISBN 978-0-962841-7-9. Published by Pebble Press, Inc., 1610 Long- shore Dr., Ann Arbor, Michigan 48105-1678; [email protected]. Ceramics Monthly April 2009 62 The Robin Hopper Trilogy

The Robin Hopper Trilogy covers every important aspect of creating ceramic art. The Ceramic Spectrum guides you through a non-mathematical easy-to-understand journey for getting the colors and glazes you want. In Functional Pottery, you’ll be able to develop your own designs and methods for the pots you use. And in Making Marks you’ll discover the many possibilities of enriching your surfaces.

Color The Ceramic Spectrum A Simplified Approach to Glaze & Color Development

form

Functional Pottery Form and Aesthetic in Pots of Purpose

surface

Making Marks Discovering the Ceramic Surface

Only $44.95 each or you can SAVE 25% when you order all three for just $99!

Robin Hopper’s books are now available from www.CeramicArtsDaily.org/books

Ceramics Monthly April 2009 63 calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org

conferences Daley. Demonstrators: Lisa Naples, Sandi Pierantozzi, Arizona, Scottsdale May 14–28 “A Profound Legacy: Holly Walker and Lana Wilson. Contact Sandi Pieran- The Pottery of Mela Youngblood”; at King Galleries of Arizona, Flagstaff April 6–7 “NCECA Pre-Conference tozzi, 2034 Fairmount Ave., Philadelphia, PA 19130; Scottsdale, 7100 Main St., #1. Symposium: Potters as Sculptors, Sculptors as Potters,” [email protected]; www.sandiandneil.com; (215) Arizona, Tempe through May 16 “Eden Revisited: presentations by Christa Assad, Eva Kwong, Karen 236-1617. The Ceramic Art of Kurt Weiser”; at ASU Art Museum Thuesen Massaro, Don Reitz, Brad Schweiger and Rus- Virginia, Front Royal October 1–4 “8th Bien- Ceramics Research Center, Arizona State University, Mill sel Wrankle. Contact Jason Hess, Northern Arizona nial Mid-Atlantic Clay Conference,” presentations by Ave. and Tenth St. University, Box 6020, School of Fine Art, Flagstaff, AZ Frank Giorgini, Suze Lindsay and Gay Smith. Contact Arkansas, Little Rock through May 17 “Legacy of 86011; [email protected]; www.nau.edu/ceramics; The Clay Connection, PO Box 3214, Merrifield, VA an American Potter” works by Warren MacKenzie; at (928) 523-2398. 22116-3214; [email protected]; Arkansas Arts Center, 501 East 9th Street. Arizona, Phoenix April 8–11 “43rd Annual NCECA www.theclayconnection.org; (540) 636-6016. California, Davis May 1–30 “Ceramic Plates” works Conference, Ceramic Interface: From Dawn to Digital.” Canada Ontario, Toronto May 22–24 “Fusion by Linda S. Fitz Gibbon; at Rominger West Winery, 4602 Contact NCECA, 77 Erie Village, Suite 280, Erie, CO Conference 2009,” presentations by Tom Coleman Second St., Ste. 4. 80516-6996; [email protected]; www.nceca.net; and Meira Mathison. Fee: $103. Contact Lucie Gil- California, Monterey Park through April 23 (866) 266-2322. christ, Fusion: Ontario Clay & Glass Association, 1444 “Twilight” works by Rebekah Bogard; at Vincent Price California, Davis May 1–3 “20th Annual California Queen St. East, Toronto, Ontario M4L 1E1 Canada; Art Museum, East Los Angeles College, 1301 Avenida Conference for the Advancement of Ceramic Art,” pre- [email protected]; www.clayandglass.on.ca; Cesar Chavez. sentations by Bill Abright, Clayton Bailey, Jack Earl, Sylvia (416) 438-8946. California, Pomona May 16–July 25 “The Artist Hyman, Louis Marak, Kevin Nierman, Richard Notkin and Republic of Korea, Heungdeok-Gu, Cheongju-Si is in the Details” works by David Furman; at American Judith Schwartz. Contact Nancy Resler, John Natsoulas September 23–November 1 “Cheongju International Museum of Ceramic Art, 340 S. Garey Ave. Gallery, 521 1st St., Davis, CA 95616; [email protected]; Craft Biennale 2009 ‘Outside the Box’.” Contact Kang Colorado, Denver through April 19 “New Work” www.natsoulas.com; (530) 756-3938. Sun Kyoung, Cheongju International Craft Biennial Com- works by Judith Cohn; at Spark Gallery, 900 Santa Fe. Maine, Deer Isle July 12–16 “Making: Past, Pres- mittee, 329 Heungdeok-Ro, Heungdeok-Gu, Cheongju- Georgia, through April 24 “New Work” ent and Future,” presentations by Sonya Clark, Neil Si, 361-828 Republic of Korea; [email protected]; works by Diane Kempler; at Emory Visual Arts Gallery, Gershenfeld, Sabrina Gschwandtner, Lydia Matthews, www.okcj.org; 82 43 277 2501-3. 700 Peavine Creek Dr. Walter McConnell, David Revere McFadden, Stephen Georgia, Columbus April 3–24 “The Grandiose Nachmanovitch and Joe Wood. Fee: $320. Contact Candy South Africa, Durban September 18–27 “African Numerical Equation” works by Matthew Paul Isaacson; Haskell, Haystack Mountain School of Crafts, PO Box Ceramics Conference.” Contact University of KwaZulu- at Columbus State University, 4225 University Ave., 518, Deer Isle, ME 04627; [email protected]; Natal, King George V Ave., Durban, South Africa; University Hall, Experimental Theatre. www.haystack-mtn.org; (207) 348-2306. [email protected]; www.ukzn.ac.za; 27 (0)31 Iowa, Iowa City April 24–May 15 “Featured Artist” Ohio, Lakewood April 22–26 “American 260 2212. Association Annual Conference.” Contact American Art works by Josh DeWeese; at AKAR, 257 E. Iowa Ave. Pottery Association, 1519 W. Clifton Blvd., Lakewood, solo exhibitions Iowa, Iowa City May 29–June19 “Recent Ceramics” OH 44107; [email protected]; www.aapa.info; (216) works by Ron Meyers; at AKAR, 257 E. Iowa Ave. 221-3537. Arizona, Scottsdale April 8–22 “Living Wyandot” Louisiana, Alexandria through April 11 “New Pennsylvania, Philadelphia September 17–19 works by Jamie Zane Smith; at King Galleries of Scottsdale, Work” works by Conner Burns; at River Oaks Arts Center, “Handbuilt,” presentations by Guest Speaker: William 7100 Main St., #1. 11330 Main St. potters council potters Did you know that Potters Council now offers REAL Health Insurance for Members?

JOIN TODAY! 866.721.3322 or www.potterscouncil.org

We realize that one of the largest barriers for ceramic artists is the rising cost of health care. This is one of the most comprehensive health insurance programs available.

Other beNefITs include: • Online Artist Gallery • Potters’ Pages Newsletter • Artist: Kelly King 20% Discount on Art Books • 20% Discount on Ceramics Monthly • Regional Conferences • 20% Discount on PMI • And much more...

Ceramics Monthly April 2009 64 Ceramics Monthly April 2009 65 calendar solo exhibitions

Maryland, Baltimore through April 16 “New Arizona, Phoenix April 8–11 “Santa Fe Clay’s La Work” works by Ann Hazels; at Baltimore Clayworks, Mesa”; at Wyndham Hotel, 50 E. Adams St. 5707 Smith Ave. Arizona, Scottsdale April 6–12 “Beyond the Function: Maryland, Baltimore April 25–May 30 “New International Contemporary Teapot”; at Chinese Clay Art, Work” works by Joe Vitek; at Baltimore Clayworks, USA French Designer Jeweler, 7148 E. Main St. 5707 Smith Ave. Arizona, Surprise through April 12 “Argillaceous Art: Massachusetts, Cambridge May 2–30 “New Works Arizona Clay Exhibition”; at West Valley Art Museum, in Porcelain: Lotus Series” works by Dorothy Feibleman; 17420 N. Ave. of the Arts. at Mobilia Gallery, 358 Huron Ave. Arizona, Tempe through May 30 “NCECA Clay Na- Massachusetts, Wellesley May 3–31 “A Potter in tional”; at ASU Art Museum Ceramics Research Center West Africa” works by Ann Schunior; at Clever Hand Arizona State University, Mill Ave. and Tenth St. Gallery, 52 Central St. California, Berkeley May 9–June 5 “New Work” Missouri, St. Louis through April 5 “New Work” works by Kusakabe and Marc Lancet; at TRAX Gallery, works by Randy Carlson; at Craft Alliance, 6640 Del- 1812 Fifth St. mar Blvd. California, Claremont through April 5 “Wearing Montana, Red Lodge May 1–31 “Featured Artist” it on Your Sleeve: Sympathizers, Empathizers and Pro- works by David Hiltner; at Red Lodge Clay Center, 123 vocateurs: The 65th Scripps College Ceramic Annual”; S. Broadway. at Ruth Chandler Williamson Gallery, Scripps College New York, New York April 16–19 “New Works in 1030 Columbia Ave. Porcelain: Lotus Series” works by Dorothy Feibleman; at California, Clarksburg through April 1 “The Remem- SOFA New York, Park Avenue Armory, 643 Park Ave. brance of an Era” works by George Esquibel and Teiko Pennsylvania, Philadelphia through April 25 “New Sasser; at Schumacher Ceramics, 36530 Riverview Dr. Work” works by Dirk Staschke; at Wexler Gallery, 201 California, Davis May 1–29 “20th Annual California N. Third St. Clay Competition Exhibit”; at The Artery, 207 G St. Pennsylvania, Philadelphia May 1–31 “The Audo- California, Fresno through May 2 “Functional Forms” bon Cups” works by Julia Galloway; at The Clay Studio, works by Mary Law, Paddy McNeely and Ken Standhardt; 139 N. Second St. at Clay Mix, 1003 N. Abby St. Pennsylvania, Philadelphia May 1–31 “New California, Irvine through April 11 “Teapot Set” Work” works by Sharif Bey; at The Clay Studio, 139 works by Antony Foo, Julia Klemek, Marie Nagy and N. Second St. Ruben Ruiz; at Irvine Fine Arts Center, 14321 Yale Ave. Vermont, Bennington through May 17 “Tradition, California, Lincoln April 25–May 31 “Feats of Clay”; Innovation and Good Design: The Ceramics of David Gil”; at Lincoln Arts Center, 580 Sixth St. at The Bennington Museum, 75 W. Main St. (Rte. 9). California, Pomona through April 4 “Patchwork” Wisconsin, Racine April 24–August 16 “Bigger, Bet- works by Bennett Bean, Nick Bernard, Beverly Crist, ter, More: The Art of ”; at Racine Art Museum, Thomas Hoadley, Peter Kuentzel and Geoffrey Swindell; 441 Main St. at Armstrong’s, 150 E. 3rd St. Canada Ontario, Toronto through May 3 “Récupéra- California, Pomona through May 16 “Cerámicas tion” works by Léopold L. Foulem; at , de la Tierra”; at American Museum of Ceramic Art, 111 Queen’s Park. 340 S. Garey Ave. Canada Ontario, Toronto May 15–August 23 Colorado, Aspen through April 5 “New Work” “George Ohr Rising: The Emergence of an American works by Michael Corney and Mikey Walsh; at Harvey Master”; at Gardiner Museum 111 Queen’s Park. Meadows Gallery, 133 Prospector Rd. Suite 4114A, England Merseyside, Liverpool April 25–June 6 Aspen Highlands Village. “Idea to Object” works by Matthew Burt; at Bluecoat DC, Washington through May 10 “Golden Seams: Display Centre, 50-51 The Bluecoat, Bluecoat Chambers, The Japanese Art of Mending Ceramics”; at Freer Gal- College Ln. lery of Art, Smithsonian Institution, Jefferson Dr. at England West Yorkshire, Leeds through April 30 12th St., SW. works by Rie Tsuruta; at The Craft Centre & Design Gal- DC, Washington through January 1, 2010 “Taking lery, City Art Gallery, The Headrow. Shape: Ceramics in Southeast Asia”; at Arthur M. Sackler Germany, Frechen May 17–July 26 “Exhibition” Gallery, Smithsonian Institution, 1050 Independence works by Gibert Portanier; at Keramion Foundation, Ave. SW. Bonnstraße 12. Florida, St. Petersburg through April 4 “Florida Netherlands, Amsterdam through April 11 “New Fire: The UF Ceramic Faculty Experience” works by Work” works by Alexandra Engelfriet; at Galerie Carla Linda Arbuckle, Raymond Gonzalez, Anna Calluori Koch, Veemkade 500, 6th fl. Holcombe and Nan Smith; at Florida Craftsmen Gallery, Netherlands, Delft through April 18 “Vases” works 501 Central Ave. by Dirk Romijn; at Gallery Terra Delft, Nieuwstraat 7. Florida, West Palm Beach April 24–May 15 “Emer- Netherlands, Delft April 25–May 23 “New Work” works gence: The Resident Artist Exhibition”; at Armory Art by Wim Borst; at Gallery Terra Delft, Nieuwstraat 7. Center, 1700 Parker Ave. Netherlands, Delft May 30–June 27 “New Work” Georgia, Columbus through April 17 “Standing on works by Duncan Ross; at Gallery Terra Delft, Nieuw- the Shoulders of Giants” works by Val Cushing, Chris straat 7. Gustin, , John Jessiman, Don Reitz, Allan Netherlands, Leeuwarden through September Rosenbaum, Brad Schwieger, Chris Staley, Lydia Thomp- 6 “Levenswerk 07 - Fussfassen” works by Beate Re- son and Peter Voulkos; at Corn Center for the Visual Arts, inheimer; at Ceramic Museum Princessehof, Grote Columbus State University 901 Front Ave. Kerkstraat 11. Georgia, Decatur April 4–May 3 “Potters of the Spain, Barcelona through May 10 “There, Where Roan Guild Exhibit” works by Melisa Cadell, Terry Gess, the World Ends.” works by Rosa Cortiella; at Museu de Michael Kline, Suze Lindsay, Ken Sedberry, Jenny Lou Ceràmica, Palau Reial de Pedralbes, Av Diagonal 686. Sherburne and Gay Smith; at MudFire Clayworks, 175 Switzerland, Geneva May 7–January 11, 2010 Laredo Dr. “Céramique” works by Philippe Barde; at Musée Ariana, Georgia, Decatur May 9–30 “Parke - Peterson” Ave. de la Paix 10. works by Gillian Parke and Ronan Peterson; at MudFire Clayworks 175 Laredo Dr. group exhibitions Georgia, Sautee Nacoochee through August 31 “International Folk Pottery Exhibition”; at Folk Pottery Arizona, Phoenix April 8–11 “Veneration” works Museum of Northeast Georgia, Georgia Hwy 255, Sautee by Mary Barringer, Meredith Brickell, Matt Burton, Nacoochee Center. Lynn Duryea, Bryan Hopkins, Sequoia Miller, Karen Illinois, Chicago April 4–30 “Blooming” works by Swyler; at Eye Lounge Contemporary Arts Space, 419 Andrew Martin, Allison McGowan, Kari Radasch, Eliza- E. Roosevelt St. beth Robinson and Robert Sutherland; at Lillstreet Art Arizona, Phoenix April 9–11 “RJP’s Nomadic Gal- Center, 4401 N. Ravenswood Ave. lery’s Room for Eleven ”; at RJP Nomadic Gallery, Phoenix Illinois, Chicago May 2–27 “Michael Corney and Bart Convention Center, 100 North Third St. Johnson”; at Lillstreet Art Center, 4401 N. Ravenswood Ave. Ceramics Monthly April 2009 66 Iowa, Iowa City through April 17 “2009 Steven Fabrico, Frank Georgini, Ruth Sachs, Shoshanna Oregon, McMinnvile through April 8 “Clayworks” Invitational”; at AKAR, 257 E. Iowa Ave. Snow and Joan Snyder; at Greene County Council on works by , Val Cushing, Malcolm Davis, David Iowa, Iowa City April 24–May 15 “Recent Ceram- the Arts, Main St. Furman, , Eva Kwong, Janet Mansfield, ics” works by Marty Fielding and Stacy Snyder; at AKAR, North Carolina, Seagrove through April 3 “Owen/ Jeff Shapiro and ; at The Gallery at Linfield 257 E. Iowa Ave. Owens Family of Potters”; at North Carolina Pottery College, 900 SE Baker St. Kansas, Wichita through April 24 “Blow Up”; Center, 233 East Ave. Pennsylvania, Philadelphia through April 26 “A North Carolina, Seagrove April 30–August 1 “Dan at ShiftSpace Gallery, Wichita State University, Tribute to Helen Drutt” works by , Anne 1845 Fairmount. Finch and The Finch Studio Potters Exhibition”; at North Currier, Val Cushing, , , Kentucky, Louisville April 3–May 3 “2009 Best of Carolina Pottery Center, 233 East Ave. Graham Marks, Lisa Orr, , Paula Wi- Louisville Clay”; at Kentucky Museum of Art and Craft, Ohio, Cincinnati through April 10 “Focus on Func- nokur and ; at The Clay Studio, 139 715 W. Main St. tion” works by Mike Baum, Chris Early, Steve Howell, N. Second St. Kentucky, Louisville April 4–June 20 “Painted Kelly King, Pam Korte, Joe Molinaro, Laura Ross, Amy Clayworks: Ceramics and the Graphic Arts”; at Kentucky Sanders and Gil Stengel; at Funke Fired Arts, 3130 Pennsylvania, Philadelphia through June 21 “Dirt Museum of Art and Craft 715 W. Main St. Wasson Rd. on Delight: Impulses that form Clay” works by Kathy But- Maryland, Baltimore through April 16 “Couplets”; Ohio, Nelsonville through April 19 “Starbrick Clay Na- terly, Lucio Fontana, Viola Frey, Jeffry Mitchell, George Ohr, at Baltimore Clayworks, 5707 Smith Ave. tional Cup Show”; at Starbrick Clay, 21 W. Columbus St. Beverly Semmes, Arlene Shechet, Peter Voulkos, Beatrice Maryland, Baltimore April 25–May 30 “Spoon It! Fork It! Cut It Up!”; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Dennis through April 12 “Clay: Works by Cape Cod Potters”; at Cape Cod Potters, Inc., Cape Cod Museum of Art, 60 Hope Ln. . Massachusetts, Lexington through April 25 “6th Biennial State of Clay”; at Lexington Arts and Crafts Society, Inc., 130 Waltham St. Massachusetts, Needham through April 17 “Four of a Kind” works by Jennifer Barbe, Karen Mahoney, Raphaella Osborn and Sarah Whitlock; at The Gallery at The Potter’s Shop and School, 31 Thorpe Rd. Massachusetts, Northampton April 10–May 17 “Recent Work” works by Emily Reason and Lindsay Rogers; at The Artisan Gallery, 162 Main St. Michigan, Detroit May 15–June 28 “Altogether Now: Sets, Themes and Aggregates” works by Daniel Bare, Heather Mae Erickson, Alleghany Meadows, Mia Mulvey, Susan Schultz and Mark Shapiro; at Pewabic Pottery, 10125 E. Jefferson. Minnesota, Minneapolis through May 3 “Con- temporary Monsters” works by Wesley Anderegg, Tom Bartel, Cynthia Consentino, John de Fazio, Edith Garcia, Arthur González and Michael Lucero; at Northern Clay Center, 2424 Franklin Ave. E. Minnesota, St. Paul May 8–June 14 “Pots plus Prints” works by Jason Bohnert, Heather Mae Erickson, Peter Jadoonath and Jon Neuse; at The Grand Hand Gallery, 619 Grand Ave. Mississippi, Biloxi May 22–August 21 “Attention to Detail” works by Lorna Meaden and Lana Wilson; at Ohr- O’Keefe Museum of Art, 1596 Glenn Swetman St. Montana, Red Lodge April 1–30 “Box”; at Red Lodge Clay Center, 123 S. Broadway. Montana, Red Lodge April 1–30 “Imagery”; at Red Lodge Clay Center, 123 S. Broadway. Montana, Red Lodge May 1–30 “Butter”; at Red Lodge Clay Center, 123 S. Broadway. Montana, Red Lodge May 1–31 “Buckets and Bas- kets”; at Red Lodge Clay Center, 123 S. Broadway. Nebraska, Lincoln April 3–25 “Juried Cup Exhibi- tion”; at Lux Center for the Arts, 2601 N. 48th St. New Jersey, Surf City May 23–June 24 “Jersey Shore Clay National 2009”; at m. t. burton gallery and 19th Street Ceramic Studio, 1819 N. Long Beach Blvd. New Mexico, Santa Fe April 3–May 2 “Thank You T’ang!”; at Santa Fe Clay, 1615 Paseo de Peralta. New Mexico, Santa Fe May 8–June 6 “The World We Live In” works by Lindsay Feuer, Kathleen Royster Lamb and Kate MacDowell; at Santa Fe Clay, 1615 Paseo de Peralta. New York, New York through August 9 “Royal Porcelain from the Twinight Collection 1800–1850”; at Metropolitan Museum of Art, 1000 Fifth Ave. New York, New York May 6–August 23 “Object Factory: The Art of Industrial Ceramics”; at Museum of Arts and Design, 2 Columbus Cir. New York, New York May 7–June 6 “No Two Alike” works by Andy Brayman and Ayumi Horie; at Greenwich House Pottery, 16 Jones St. New York, Port Chester April 4–25 “Recent Works” works by Matthew Metz and Linda Sikora; at Clay Art Center, 40 Beech St. New York, Windham May 30–July 18 “Journeys in Clay: Contemporary Ceramics 2009” works by Katheryn Battles, Susan Beecher, Marybeth Bishop, Ceramics Monthly April 2009 67 calendar group exhibitions

Wood and Betty Woodman; at Institute of Contemporary England Merseyside, Liverpool through April 18 Arizona, Tempe through May31 “Potters on Paper: Art, University of Pennsylvania, 118 South 36th St. “Stories and Memories”; at Bluecoat Display Centre Selections from the Collection” works by Rudy Autio, Pennsylvania, Philadelphia May 1–31 “Small Favors Bluecoat Chambers, College Ln. Jun Kaneko, Richard Shaw, Peter Shire, Robert Sperry, IV”; at The Clay Studio, 139 N. Second St. Germany, Frechen through April 26 “One and One and Patti Warashina; at ASU Art Museum Texas, Dallas April 3–5 “Second Annual Dallas make One: Ceramic Representations”; at Keramion Ceramics Research Center, Arizona State University, Mill Pottery Invitational”; at Janette Kennedy Gallery, 1409 Foundation, Bonnstraße 12. Ave. and Tenth St. California, San Diego through April 19 “India S. Lamar St. Germany, Frechen through November 22 “Work Adorned”; at Mingei International Museum Balboa Virginia, Williamsburg through December 31 “Iden- of the London Group”; at Keramion Foundation, tifying Ceramics: The Who, What and Ware”; at DeWitt Park, 1439 El Prado. Bonnstraße 12. DC, Washington through April 15 “Microworlds” Wallace Decorative Arts Museum, 325 W. Francis St. Japan, Tokyo through May 10 “U-Tsu-Wa” works by Virginia, Williamsburg through December 31 works by Neil Forrest; at Cross Mackenzie Ceramic Arts, Jennifer Lee and Lucie Rie; at 21_21 Design Sight Tokyo “Inspiration and Ingenuity: American Stoneware”; at 1054 31st St. Midtown Garden, 9-7-6 Akasaka Minato-ku. Abby Aldrich Rockefeller Folk Art Museum, 325 W. DC, Washington April 23–26 “Smithsonian Craft Netherlands, Delft through June 3 “Theme Tulip” Francis St. Show”; at Smithsonian Women’s Committee National Virginia, Williamsburg through December 31 works by Guido Geelen, Hanneke Giezen, Marijke Building Museum, 401 F St. NW. “Revolution in Taste”; at DeWitt Wallace Decorative Gemessy, Simone Haak, Marta Nagy and Judith Rigert; Florida, Naples through April 30 “Cultural Connec- Arts Museum, 325 W. Francis St. at Museum Lambert van Meerten Oude delft 199. tions” works by Margret Chevalier, Alexandra McCurdy, Gabrielle Nappo and Richard W. Rosen; at Rosen Gallery Virginia, Williamsburg May 31–January 2, 2011 Netherlands, Delft through June 3 “Tulip and Studios, N. Line Plaza, 2172 J and C Blvd. “Salt-Glazed Stoneware in Early America”; at DeWitt Vases from 12 Designers” works by Ineke Hans, Hugo Hawaii, Honolulu through April 9 “The 10th Inter- Wallace Decorative Arts Museum, 325 W. Francis St. Kaagman, Jan Kamphuis, Manita Kieft, Lotte van Laa- national Shoebox Sculpture Exhibition”; at University of Wisconsin, Madison May 1–22 “Surfaces” works tum, Gert de Mulder, Frans Ottink, Olav Slingerland, Hawaii Art Gallery, Art Dept., 2535 The Mall. by Bacia Edelman, Briony Jean Foy, Yong Kim, Linda Wieki Somers and Norman Trapman; at Gallery Terra Massachusetts, Pittsfield through April 18 “Women: Delft, Nieuwstraat 7. Leighton, Phil Lyons, Hailey Neises and Andree Valley; Portrait & Figures” works by Chris Antemann, Jessica at Higher Fire Clay Studio, 2132 Regent St. Spain, Barcelona May 19–August 30 “Villa Nurbs” Calderwood, Debra Fritts, Brooke Noble, Kurt Weiser and Canada Ontario, Toronto through July 5 “Wedg- works by Frederic Amat, Toni Cumella and Enric Ruíz- Red Weldon Sandlin; at Ferrin Gallery, 433 N. St. wood: Artistry and Innovation”; at Royal Ontario Museum, Geli; at Museu de Ceràmica, Palau Reial de Pedralbes, Mississippi, Biloxi through April 11 “Sculptors of 100 Queen’s Park. Av Diagonal 686. the Mississippi Gulf Coast” works by Gerrol Benigno and Canada Ontario, Toronto through August 9 “Clay Switzerland, Geneva April 23–October 4 “Swiss Dina O’Sullivan; at Ohr-O’Keefe Museum of Art, 1596 Canvases: The Fine Art of Painted Ceramics”; at Gardiner Ceramics 1959–2009: The New Generation”; at Musée Glenn Swetman St. Museum, 111 Queen’s Park. Ariana, Ave. de la Paix 10. Missouri, St. Louis May 1–June 28 “Reactions”; at Croatia, Varaždin through April 4 “Kerameikon: Craft Alliance, 6640 Delmar Blvd. The Third International Exhibition of Postmodern Ce- ceramics in multimedia New Mexico, Albuquerque April 3–May 29 “Expres- ramics”; at Kerameikon, Croatian Ceramic Association, sive and Aesthetic Ends” works by Kevin Crowe, Judith Križanićeva 13. exhibitions Duff, Gary Hootman, Dale Huffman and Jack Troy; at England, London through April 25 “Contemporary Weyrich Gallery, 2935 D Louisiana Blvd. NE. French Ceramics” works by Virginie Besengez, Nath- Arizona, Surprise through May 17 “Prints and Pots: New York, Peekskill through July 26 “Origins”; alie Domingo and Marilyn Vince; at Flow Gallery, 1-5 George Palovich Museum Fund Raiser Exhibit”; at West at Hudson Valley Center for Contemporary Art, 1701 Needham Rd. Valley Art Museum, 17420 N. Ave. of the Arts. Main St.

Ceramics Monthly April 2009 68 Ceramics Monthly April 2009 69 calendar multimedia exhibitions

Ohio, Cleveland Heights through April 30 “Pro- tégé, Mentors, Peers” works by Sandy Barstow, Jack Valentine and Donna Webb; at Pentagon Gallery, 3102 Mayfield Rd. Ohio, Columbus May 3–June 21 “Best of 2009”; at Ohio Craft Museum, 1665 W. Fifth Ave. Pennsylvania, Philadelphia through September 30 “The Art of Japanese Craft: 1875 to the Present”; at Philadelphia Museum of Art, 26th Street and the Benjamin Franklin Parkway. Pennsylvania, Reading May 10–June 14 “Landscape and Industry Juried Exhibition”; at GoggleWorks Center for the Arts, 201 Washington St. Texas, Houston April 4–July 3 “Literally Figura- tive”; at Houston Center for Contemporary Craft, 4848 Main St. Wisconsin, Racine through April 5 “Hot Stuff from the Hothouse: Floral Images from RAM’s Collections”; at Racine Art Museum, 441 Main St. Wisconsin, Racine through August 2 “Go Figure!: The Human Form in RAM’s Collections”; at Racine Art Museum, 441 Main St. England, London through April 26 “The Art of Drink- ing”; at V & A South Kensington, Cromwell Rd. England Devon, Bovey Tracey through April 26 “Re-Route” works by Jenny Beavan, Katie Bunnell and Jessie Higginson; at Devon Guild of Craftsmen, Riverside Mill. England Devon, Bovey Tracey May 9–June 21 “Cup”; at Devon Guild of Craftsmen, Riverside Mill. fairs festivals and sales

Alabama, Birmingham April 24–26 “ONB Magic City Art Connection”; at Operation New Birmingham, 1128 Glen View Rd. California, Lincoln though May 2 “ClayFest”; at Lincoln Arts Center, Lincoln Arts/Beermann Plaza, 540 F St. Illinois, Chicago April 24–26 “Spring Festival: An Arts and Crafts Affair”; at The Odeum, 1033 North Villa Ave. Maryland, Arnold May 2 “Spring Sale”; at Gloria Dei Church, 461 College Pkwy. Maryland, Bethesda April 22–26 “Craft Week DC”; at The James Renwick Alliance, 4405 East West Hwy., Ste. 510. Maryland, Gaithersburg April 3–5 “Sugarloaf Crafts Festival”; at Montgomery County Fairgrounds, 16 Chestnut St. Maryland, Timonium April 24–26 “Sugarloaf Crafts Festival”; at Maryland State Fairgrounds, 2200 York Rd. Massachusetts, Walpole May 1–3 “Potters Place Spring Show and Sale”; at Potters Place, 127 B Old West St. Michigan, Novi April 17–19 “Sugarloaf Art Fair”; at Rock Financial Showplace, 46100 Grand River Ave. Minnesota, Minneapolis April 3–5 “Spring Festival: An Arts and Crafts Affair”; at Canterbury Park, 1100 Canterbury Rd. Minnesota, St. Croix Valley May 8–10 “17th Annual Studio Tour and Sale”; at Minnesota Potters of the Upper St. Croix River Valley, 41421 Ferry Rd., Sunrise. Nebraska, Omaha April 17–19 “Spring Festival: An Arts and Crafts Affair”; at Qwest Center Omaha, 455 N 10th St. New Jersey, Cranford May 30–31 “Spring Noma- hegan Park Fine Art and Crafts Show”; at Nomahegan Park, Springfield Ave. New Jersey, Morristown April 3–5 “Spring Crafts at Morristown”; at Morristown Armory, 430 Western Ave. New Jersey, Verona May 16–17 “Fine Art and Crafts at Verona Park”; at Verona Park, Bloomfield Ave. and Lakeside Ave. New Mexico, Santa Fe April 25–26 “11th Contem- porary Clay Fair”; at New Mexico Potters and Clay Artists Association, 1616 Old Pecos Trail. New York, Lockport May 29–31 “100 American Craftsmen Festival”; at Kenan Center, 433 Locust St. New York, Lyndhurst May 1–3 “Spring Crafts at Lyndhurst”; at, Route 9 Tarrytown. Ceramics Monthly April 2009 70 Ceramics Monthly April 2009 71 calendar fairs,festivals and sales

New York, New Paltz May 23–25 “Woodstock-New Paltz Art and Crafts Fair Spring Show”; at Ulster County Fairgrounds, Libertyville Rd. New York, New York April 2–30 “Made in Clay Gala and Benefit Sale”; at Greenwich House Pottery, 16 Jones St. New York, New York April 16–19 “SOFA New York 2009”; at Park Avenue Armory, 643 Park Ave. North Carolina, Charlotte April 18 “Circle of Eight Spring Pottery Sale”; at Circle of Eight, 1225 Dade St. North Carolina, Seagrove April 18–19 “Celebra- tion of Spring in Seagrove”; at Luck’s Cannery, 798 NC Highway 705. Oregon, Portland April 24–26 “Ceramic Showcase 2009”; at Oregon Potters Association, Oregon Conven- tion Center, 777 NE MLK Jr. Blvd. Pennsylvania, Langhorne April 22–26 “American Art Pottery Association Annual Show and Sale”; at American Art Pottery Association, Sheraton Bucks County Hotel, 400 Oxford Valley Rd. Texas, Lubbock April 30–May 3 “Lubbock Arts Festival”; at Lubbock Memorial Civic Center, 1501 Mac Davis Ln. Virginia, Chantilly May 1–3 “Sugarloaf Craft Festival”; at Dulles Expo Center, 4320 Chantilly Place Ctr. England London, Chelsea May 15–17 “Collect 2009”; at Saatchi Gallery, Duke of York’s HQ, King’s Rd. workshops

Arizona, Phoenix April 6–7 “Surface Embellishment,” presentations by Halldor Hjalmarson. Fee: $140. Contact Halldor Hjalmarson, Hjalmarson Pottery, 45 W. Lyn- wood, Phoenix, AZ 85003; [email protected]; www.hjalmarsonpottery.com; (602) 254-1222. April 6–7 The Sound and Soul of Clay” at Marjon Ceramics,” presentations by Josh DeWeese and Frank Giorgini. Contact Carol Schober, Laguna Clay Com- pany, 14400 Lomitas Ave., City of Industry, CA 91746; [email protected]; www.lagunaclay.com; (800) 452-4862. California, Mendocino April 3–5 “Quick Books: A Mendocino Narrative,” presentations by Steve Allen. Fee: $250. April 10–12 “Figures in Paper Clay,” presentations by Gregg Jabs. Fee: $250. April 17–19 “Handmade Tiles,” presentations by Meaghan Scott. Fee: $250. April 24–26 “,” presentations by Arie Grie. Fee: $250. May 8–10 “Surfaces: Finishing Techniques,” presenta- tions by Bill Shinn. Fee: $250. May 16–17 “Heads and Hands: The Anatomy of Expres- sion,” presentations by Cynthia Siegel. Fee: $175. May 23–25 “Creating Ceramic Instruments,” presen- tations by Ernesto Hernandez-Olmos. Fee: $250. Contact Linn Bottorf, Mendocino Art Center, 45200 Little Lake Street, Mendocino, CA 95460; [email protected]; http://www.MendocinoArtCenter.org; 800-653-3328. California, Santa Maria April 25-26 “Creative Extruding and Shortcuts in Clay,” presentations by Wil- liam Shinn. Contact William Shinn,, 3999 Loch Lomond Dr., Santa Maria, CA 93455; [email protected]; (805) 937-1424. California, Torrance April 18 “Ceramic Master Workshop,” presentations by Robert Farmer and Hasuyo Miller. Fee: $55. Contact Janene Ferguson, City of Torrance, 3330 Civic Center Dr., Torrance, CA 90503; [email protected]; www.torrnet.com; (310) 618-2326. Georgia, Columbus April 15–16 “Ceramic Work- shop,” presentations by John Jessiman. Contact Corn Center for the Visual Arts, Columbus State University, 901 Front Ave., Columbus, GA 31901; www.colstate.edu; (706) 507-8304. Georgia, Decatur May 2–3 “From Flat to Form to Function,” presentations by Sandi Pierantozzi. Fee: $245. Contact Luba Sharapan and Erik Haagensen, directors, MudFire Clayworks and Gallery, 175 Laredo Dr., Deca- Ceramics Monthly April 2009 72 Ceramics Monthly April 2009 73 calendar workshops

tur, GA 30030; [email protected]; www.mudfire.com; (404) 377-8033. Kansas, Hays April 15–17 “Shino Workshop,” presentations by Malcolm Davis. Fee: $100. Contact Linda Ganstrom, 600 Park Street, Hays, KS 67601; [email protected]; (785) 628-4273. Maine, Monroe May 22–25 “Introduction to Pot- tery,” presentations by Squidge Davis. Fee: $450. Contact Squidge Davis, Starflower Farm & Studios, 941 Jackson Rd., Monroe, ME 04951; [email protected]; www.starflowerfarmstudios.com; (207) 525-3593. Maryland, Annapolis April 4 “Sandi Pier- antozzi Workshop.” Fee: $50. Contact Anne Webber, The Potters Guild of Annapolis,, Ar- nold, MD; [email protected]; www.pottersguildofannapolis.com; . Maryland, Baltimore May 2–3 “Throwing and Altering Workshop: Throw, Facet, Stretch, Dart!,” presentations by Neil Patterson. Fee: $220; members, $200. Contact Mary K. Cloonan, Exhibitions Direc- tor, Baltimore Clayworks, 5707 Smith Ave., Baltimore, MD 21209; [email protected]; www.baltimoreclayworks.org; (410) 578-1919 ext. 18. Maryland, Frederick April 25–26 “Plates & Platters,” presentations by Joyce Michaud. Fee: $175. Contact Joyce Michaud, Hood College Ceramics Program, 401 Rose- mont Ave., Frederick, MD 21701; [email protected]; www.hood.edu/academic/art; (301) 696-3456. Maryland, Frederick May 2, 9, 16 “Multichambered Kiln Wood Firing,” presentations by Kevin Crowe. Fee: $300. Contact Joyce Michaud, Hood College Ceramics Program, 401 Rosemont Ave., Frederick, MD 21701; [email protected]; www.hood.edu/academic/art; (301) 696-3456. Maryland, Frederick May 29–31 “Alternative Kilns and Firings,” presentations by Pamela Theis. Fee: $185. Contact Joyce Michaud, Hood College Ceramics Program, 401 Rosemont Ave., Frederick, MD 21701; [email protected]; www.hood.edu/academic/art; (301) 696-3456. Massachusetts, Somerville April 5 “Clay on the Wheel,” presentations by Lisa Knebel. Fee: $40. Contact Lynn Gervens, Mudflat Pottery School and Studios, 149 Broadway, Somerville, MA 02145; [email protected]; www.mudflat.org; (617) 628-0589. Minnesota, Grand Marais May 16–17 “Majolica Tile with Karin Kraemer: Explore the World of Color.” Fee: $135. Contact Holly Beaster, Grand Marais Art Colony, 120 3rd Ave. W, Grand Marais, MN 55604; [email protected]; www.grandmaraisartcolony.org; (218) 387-2737. Minnesota, Grand Marais May 30–31 “Robert Briscoe: Loosening Up,” presentations by Robert Briscoe. Fee: $25: students, $50. Contact Holly Beaster, Grand Marais Art Colony, 120 3rd Ave. W, Grand Marais, MN 55604; [email protected]; www.grandmaraisartcolony.org; (218) 387-2737. Minnesota, Luverne April 24–26 “Refire Madness, Raku U,” presentations by Randy Brodnax. Fee: $225. Contact Jerry Deuschle,, 1294 131st St., Luverne, MN 56156; [email protected]; (507) 283-8477. Minnesota, Minneapolis May 2 “Cynthia Con- sentino Demonstration.” Fee: $45; members, $40. Contact Sarah Millfelt, Deputy Director for Program- ming, Northern Clay Center, 2424 Franklin Ave. E, Min- neapolis, MN 55406; [email protected]; www.northernclaycenter.org; (612) 339-8007. Mississippi, Gulfport April 10–12 “Unusual Con- struction Techniques with Soft Slabs,” presentations by Lana Wilson. Fee: $325. Contact Marjorie Gowdy, Execu- tive Director, Ohr-O’Keefe Museum of Art, 1596 Glenn Swetman St., Biloxi, MS 39530; [email protected]; www.georgeohr.org; (228) 374-5547. Nevada, Las Vegas April 4–6 “Wood-Soda Firing and Demonstrations,” presentations by Tom Coleman and Matt Long. Fee: $250. Contact Amy Kline, Pottery West, 5026 N. Pioneer Way, Las Vegas, NV 89149; [email protected]; www.potterywest.com; (702) 987-3023. New Jersey, Metuchen April 21–29 “FlowerPot People,” presentations by Linda Vonderschmidt-LaSt- Ceramics Monthly April 2009 74 ella. Fee: $100. Contact Linda Vonderschmidt-LaStella, Earthsongs Studio, 242 Amboy Ave., Metuchen, NJ 08840; [email protected]; www.claysongs.com; 732-906-4137. May 18–21 “Mystic May Mandalas,” presentations by Linda Vonderschmidt-LaStella. Fee: $125. Contact Linda Vonderschmidt-LaStella, Earthsongs Studio, 242 Amboy Ave., Metuchen, NJ 08840; [email protected]; www.claysongs.com; 732-906-4137. New Mexico, Abiquiu May 11–17 “Micaceous Pottery: Big Pots,” presentations by Camilla Trujillo. Fee: $275. September 28–October 4 “Micaceous Pottery and Fall Traditions of Northern New Mexico,” presentations by Camilla Trujillo. Fee: $275. Contact Ghost Ranch, HC 77 BOX 11, Abiquiu, NM 87510; [email protected]; www.ghostranch.org; (505) 928-8539. New Mexico, Santa Fe May 2–3 “Paper Clay for Sculpture,” presentations by Judy Nelson-Moore. Fee: $200. Contact Avra Leodas, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe, NM 87501; [email protected]; www.santafeclay.com; 505-984-1122. May 16–17 “Contemporary Approaches to Traditional Japanese Decoration,” presentations by Betsy Williams. Fee: $200. Contact Avra Leodas, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe, NM 87501; [email protected]; www.santafeclay.com; 505-984-1122. New York, Port Chester April 4 “Simultaneous Dem- onstrations,” presentations by Matthew Metz and Linda Sikora. Fee: $200. Contact Reena Kashyap, Executive Director, Clay Art Center, 40 Beech St., Port Chester, NY 10573; [email protected]; www.clayartcenter.org; (914) 937-2047, ext. 221. May 2–3 “ with Water Based Mediums,” presentations by Paul Lewing. Fee: $200. Contact Reena Kashyap, Executive Director, Clay Art Center, 40 Beech St., Port Chester, NY 10573; [email protected]; www.clayartcenter.org; (914) 937-2047, ext. 221. North Carolina, Brasstown April 5–11 “Totems in the Garden,” presentations by Vince Sansone. Fee: $512. April 9–25 “Burnished and Smoke Fired Pots,” presentations by Christine Clark. Fee: $512. April 26–May 1 “Sculpting: A Focus on Faces,” presentations by Chris Howard. Fee: $460. Contact Sue Fruchey, John C. Camp- bell Folk School, One Folk School Rd., Brasstown, NC 28902; [email protected]; www.folkschool.org; (828) 837-2775 ext. 122 or 1-800-FOLK-SCH. North Carolina, Durham April 18 “Open Raku Firing,” presentations by Barbara McKenzie. Fee: $60. Contact Leonora Coleman and Jenny Buelin, Clay- makers Gallery, 705 Foster St., Durham, NC 27701; [email protected]; www.claymakers.com; (919) 530-8355. Oregon, Astoria April 17–18 “Jack Troy Tra- ditional Anagama Workshop.” Fee: $250. Con- tact Clatsop Community College, 1653 Jerome Ave., Astoria, OR 97103; [email protected]; ccc-ceramicsdepartment.schools.officelive.com; (503) 338-2449. Pennsylvania, Lancaster April 25 “Great Results from your Electric Kiln,” presentations by John Hessel- berth. Fee: $87. Contact Pennsylvania Guild of Craftsmen, 252 N. Prince St., Lancaster, PA 17603; [email protected]; www.pacrafts.org/workshops; (717) 431-8706. Rhode Island, Kingston April 19 “Earthworks,” presentations by James Lawton. Fee: $55; members, $45. Contact Susan Shaw, South County Art Association, 2587 Kingstown Rd., Kingston, RI 02881; [email protected]; www.southcountyart.org; (401) 783-2195. Tennessee, Gatlinburg April 5–11 “Schlumpy Funk Sculptures,” presentations by Laura Jean McLaughlin. Fee: $485. Contact Kim Newman, Arrowmont School of Arts and Crafts, 556 Pkwy., Gatlinburg, TN 37738; [email protected]; www.arrowmont.org; 865- 436-5860. Tennessee, Smithville May 15–17 “Glaze Techniques: Beyond Dipping and Pouring,” presentations by Susan De- May. Fee: $250. Contact Gail Gentry, Appalachian Center for Craft, 1560 Craft Center Dr., Smithville, TN 37166; [email protected]; www.tntech.edu/craftcenter; (615) 597-6801. West Virginia, Huntington May 15–17 “Poetic Objects,” presentations by Michaelene Walsh. Fee: $225; members, $195. Contact Huntington Museum of Art, 2033 McCoy Rd., Huntington, WV 25701; [email protected]; www.hmoa.org; (304) 529-2701 ext. 21. Wyoming, Jackson Hole July 10–12 “Architectural Ceramics,” presentations by Marcia Selsor. Fee: $210; members, $185. Contact Sam Dowd, Art Association Ceramics Monthly April 2009 75 calendar workshops of Jackson Hole, 240 S Glenwood, Jackson, WY 83002; [email protected]; www.jacksonholeworkshops.org; 307-733-6379. May 29–30 “Wheel Pots: The Basics and Beyond,” presentations by Bede Clarke. Fee: $275; members, $250. Contact Sam Dowd, Art Association of Jackson Hole, 240 S Glenwood, Jackson, WY 83002; [email protected]; www.jacksonholeworkshops.org; (307) 733-6379. September 17–19 “Ceramics: Color and Design,” pre- sentations by Donna Rozman. Fee: $290; members, $265. Contact Sam Dowd, Art Association of Jackson Hole, 240 S Glenwood, Jackson, WY 83002; [email protected]; www.jacksonholeworkshops.org; (307) 733-6379. Australia New South Wales, Sydney April 4–5 “The Paperclay Revolution,” presentations by Graham Hay. Fee: $240; members, 220. Contact Trisha Dean, editor, Australian Ceramics, PO Box 274, Waverley, New South Wales 2024 Australia; [email protected]; www.australianceramics.com; 61 2 1300 7201 24. Canada Alberta, Medicine Hat May 14–24 “Kiln Building Workshop,” presentations by Aaron Nelson. Fee: $600. Contact Les Manning, Artistic Director, Historic Clay District, 713 Medalta Ave. SE, Medicine Hat, Alberta T1A 3K9 Canada; [email protected]; www.medalta.org; (403) 529-1070. Canada BC, Creston May 12-16 “Seven Alternative Raku Firing Techniques,” presentations by Eduardo Lazo. Fee: $285. Contact Maggie Leal-Valias, Wynndel Mud- ders, 156 E Lakeview Arrowcreek Rd., Creston, BC V0B 1G8 Canada; [email protected]; (250) 866-5674. Canada Ontario, Haliburton May 4–9 “Pottery Contemporary Design and Traditional Technique,” presentations by Jessica Steinhauser. Fee: $319.16. Contact Shelley Schell, Haliburton School of The Arts, Box 839, 297 College Dr., Haliburton, Ontario K0M 1S0 Canada; [email protected]; www.HaliburtonSchooloftheArts.com; (705) 457-1680. April 27–May 2 “Handbuilding Functional Pot- tery,” presentations by Thom Lambert. Fee: $319.16. Contact Shelley Schell, Haliburton School of The Arts, Box 839, 297 College Dr., Haliburton, Ontario K0M 1S0 Canada; [email protected]; www.HaliburtonSchooloftheArts.com; (705) 457-1680. Greece, Skopelos Island September 9–25 “Suzy Birstein Ceramics Workshop.” Fee: $1800. Contact Gloria Carr, Skopelos Foundation for the Arts, PO Box 56, Skopelos Island, 37003 Greece; [email protected]; www.skopart.org; (604) 737-2636. Greece Crete, October 2010 “Greek Island Ce- ramics Excursion.” Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; (250) 537-4906. Bali, Ubud April 12–25 “From Micro to Macro: Let’s Think Big,” presentations by Hillary Kane and Marcello Massoni. Fee: $1950. Contact Gaya Ceramic and Design, Jl. Raya Sayan, Ubud, Bali 80571 Indonesia; [email protected]; www.gayafusion.com/ceramic_design/workshop.php; 62 361 979252 253. Jamaica, April 24–May 2 “Ceramics in Ja- maica,” presentations by Doug Casebeer, Randy Johnston, Jan McKeachie-Johnston and David Pinto. Fee: $2,850. Contact Doug Casebeer, Anderson Ranch Arts Center, PO Box 5598, Snowmass Vil- lage, CO 81615; [email protected]; www.andersonranch.org; (970) 923-3181. Morocco, October 28–November 15 “Village Pot- tery Experience.” Contact Denys James, Discovery Soldner Clay Mixers Art Travel, 182 Welbury Dr., Salt Spring Island, British by Muddy Elbow Manufacturing Columbia V8K 2L8 Canada; [email protected]; (250) 537-4906. EASY.Aslowly revolving China, Beijing, Shanhai, Suzhou, Xian and Yixing concrete tub forces clay through June 15–29 “Ceramic Art Tour of China,” presentations a stationary plough bar, turning, by Xiaosheng Bi. Fee: $3600. Contact Joyce Michaud, blending and spatulating the Hood College Ceramics Program, 401 Rosemont mixture to a throwing Ave., Frederick, MD 21701; [email protected]; consistency in minutes www.hood.edu/academic/art; (301) 696-3456. Switzerland Ticino, Gordola November 2–7 “Sag- call or email for a demo video gar Firing, Sulfates,” presentations by Patty Wouters. Fee: $750. Contact Atelier Cirkel and Toepferschule, 310 W. 4th • Newton, KS • 67114 Phone/Fax (316) 281-9132 Via San Gottardo 3, Gordola, Ticino 6596 Switzerland; [email protected] [email protected]; www.toepferschule.ch; 091- soldnerequipment.com 745 3495. Ceramics Monthly April 2009 76 Exclusively! VENCO Pugmills, Wheels Spare Parts www.vencousa.com [email protected] 508-662-5706

Ceramics Monthly April 2009 77 classified advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Per- PotteryVideos.com – DVD’s with Robin Hop- sonals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the per, Gordon Hutchens and Graham Sheehan. first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! Video Workshops for Potters at all levels of ex- See www.ceramicsmonthly.org/classifieds.asp for details. perience. Choose from 21 titles. (800) 668-8040; [email protected]. buy/sell Summer 2009 – Nantucket Island School of De- real estate sign & The Arts. Artisans workshops in ceramics, Two AMACO FA-88 Kilns with stands, 240 volt; textiles, jewelry and painting. Plus Creativity & De- Renovated 1840 farmhouse in West Chesterfield, two years old but never used, still in original boxes. sign: Environment & Studio and Cultural Expressions: NH. Attached 2-story barn with finished pottery Price 55% off retail. Call (619) 244-5141 or email Interdisciplinary Curriculum, integrated with Ceram- studio in rural setting. Display gallery adjacent to [email protected]. ics Studio @ Seaview Farm. Living, Harbor Cottages. barn. 3 miles from Brattleboro, VT; 12 from Keene, PDPs; credit available, affiliation Mass College of For Sale: ECONO kiln, $300; EXCEL kiln, $400; NH. Large yard, vegetable garden, perennials, well, Art, Boston. www.nisda.org, [email protected], EXCEL kiln, $300; Duncan kiln, $100; DaVinci L&L brook. Home: independent 2-bedroom, 2nd floor (508) 228-9248. kiln, $250; Bailey tall oval kiln, $500; Bailey gas apartment, ample 1st floor 2-bedroom residence. downdraft kiln, $1000 OBO; Adjustable hydraulic “Handbuilt”. Philadelphia, PA, September 17-19, 4300 sq. ft. total. $295,000. (603) 256-8906. press, $500 OBO; other miscellaneous equipment 2009 – Demonstration, Inspiration, Conversation. Beautiful, rural 3200 sq. ft. home with 224 sq. ft. also available. FOB our dock, as is, working condi- Handbuilding Conference to benefit CERF. Dem- artist studio. Includes Skutt electric kiln, potters kick tion. For size/condition, contact (515) 284-1675 or onstrators: Hayne Bayless, Sandi Pierantozzi, Lisa wheel, work tables and shelving. Sits on 2 1/2 acres [email protected]. Naples, Holly Walker. Guest Speaker . east of Denver with great views of the front range. www.sandiandneil.com. employment Fully fenced with large barn suitable for horses. No Jack Troy Traditional Anagama Workshop at As- covenants or HOA fees. www.obeo.com/484682. Edinboro University of PA invites applications for toria Dragon Kiln in Astoria, Oregon. Starting April a full-time temporary ceramics instructor (position 16, 2009. For more information and registration visit Arizona Red Rock country. 3000 sq. ft. remodeled #10005958) in the Art Department for the 2009-10 ccc-ceramicsdepartment.schools.officelive.com or home in Cornville wine district. 4 bedroom house academic year. For complete details about the phone Richard Rowland (503)338-2449. with separate studio amid thriving art communities position and the University, visit www.edinboro.edu of Jerome and Sedona. Phoenix 90 minutes. 50 (keyword: employment opportunities). Affirmative Tom Turner’s Pottery School. For details, please minutes to Prescott, Flagstaff and NAU Tozan kilns. Action/EOE/M/F/V/D. visit www.tomturnerporcelain.com; or call (828) Privacy on 1.9 acres. Perfect place to build kilns and 689-9430. woodfire! $395k; [email protected]. Resident Potter: Established gallery connected to miscellaneous studio. Gas-reduction stoneware, wheel and slab. Chanticleer, an amazing nationally-known pot- Full-time; furnished apartment; use of all facilities; tery established over 50 years ago in the Arcadia New! billandlizhunt.com salary. Beautiful north Georgia mountains, close to Valley of Ironton, Missouri, is available for pur- North Carolina, Georgia pottery centers. Contact opportunities chase. 4+ beautiful acres plus 1873 home, huge Cindy Angliss www.hickoryflatpottery.com; (706) workshop with 4 kilns, gift shop with inventory 947-0030. Juried One Person Shows and Workshops, and much more. $825,000. For information call Viterbo University, La Crosse, WI invites artists to Excellent opportunity for exploring wood firing Sharon Dougherty, Dielmann Sotheby’s Interna- submit work for 2009/10 academic year exhibitions. in a natural Ozark forest setting. Studio assistant tional Realty, (314) 725-0009 or cell (314) 330-0372; Open to all artists working in any medium. Juried desired in exchange for room, board, small sti- [email protected]. from 10-20 pieces. Jurors: Viterbo Art Faculty. pend, studio space and kiln space —anagama, Responsibilities include installation, attendance at Working Pottery and Consignment Art Gal- noborigama. For details contact Joe Bruhin (870) opening, workshop, slide presentation, removal. lery established 30+ years with 30+ artists. 363-4264; [email protected]. $1,000 honorarium awarded. Entry deadline: April Beautifully situated in upscale, historic, down- Apprentice / Internship. Small production pottery 27, 2009. Applicants required to submit CD of digital town Stuart, Florida. For more information visit in northwest Montana seeks motivated individual for images. Send to Viterbo University, Attn: Venancio www.rare-earth-pottery.com/4sale. one-year position starting end of August. 40 hours/ Luz, 900 Viterbo Drive, La Crosse, WI 54601. Include week in exchange for studio space (includes materi- email address for notification. CDs will not be re- rentals als and firing), room and board, monthly stipend, turned. Review complete submission requirements For lease: Idaho pottery studio, living and retail gallery sales. Check www.whitefishpottery.com for at www.viterbo.edu/arts.aspx?id=9806 or email space. 2 wheels, slab roller, extruder, pugger, more details about applying. Venancio Luz at [email protected]. electric and gas raku kiln. Available March 1; Assistant position in western North Carolina. Live Collaborative Exhibitions at Gloria Kennedy Gal- $750/month. Call Dan (208) 776-5125 or email the good life on Yellow Branch Farm assisting in the lery please visit http://gkgart.com/ce.html. [email protected]. pottery studio and gardens and growing your own Mid-Coastal Maine Potter’s Retreat. Beautiful food. Monthly stipend and house provided. Clay ex- Midwest Clay Guild, Evanston, Illinois. Studio ceramics studio/living space on 110 acres. Woods perience required. Details at www.yellowbranch.com. space, 24-hour access, gas and electric kilns, park- trails, swimming pond, private lessons and critiques/ Karen Mickler, Yellow Branch Pottery; (828) 479- ing. Rents start at $275. (847) 475-9697. group workshops. Nearby ocean and sailboat. 6710; [email protected]. www.starflowerfarmstudios.com; (207) 525-3593. services events Apprenticeships available at Eckels Pottery, Skillfully designed, dynamic, clean, easy-to- Bayfield, Wisconsin. For those seriously interested Pottery West in Las Vegas, NV. Offering an extended navigate and affordable web sites for Visual Artists in furthering their career as a studio potter. Email weekend of private instruction with Tom Coleman. and Art Organizations. Site maintenance also. Please [email protected] or call (715) 779-5617. Accepting only 4 students. This is a customized visit http://VisualArtSites.com/. class session. You decide what you would like to publications/videos focus on. Contact Pottery West for dates and details. Web Sites for Potters - We specialize in custom Pottery Classes, Workshops, and on-site Residen- Tom Turner’s 2-day workshop, 4-disc DVD set. designed sites for artists, craftspeople. New sites, cies. For more information visit: potterywest.com or To order, see www.tomturnerporcelain.com; or call redesigns, maintenance. Visit www.webkazoo.com/ call (702) 987-3023. (828) 689-9430. ceramics or call (860) 664-9593. Ceramics Monthly April 2009 78 Ceramics Consulting Services offers technical travel information and practical advice on clay/glaze/ kiln faults and corrections, slip casting, clay body/ glaze formulas, salt glazing, product design. Call Morocco 2009 Ceramics Excursion - October or write for details. Jeff Zamek, 6 Glendale Woods 28-November 15, 2009. Offered again in 2009 due Dr., Southampton, MA 01073; (413) 527-7337; email to popular demand. www.discoveryarttravel.com. [email protected]; or www.fixpots.com. Tuscany Workshops. Throwing, sculpture, soda Custom Mold Making—Increase your productivity firing, wood firing, alternative raku, shino. See and profits with quality slip-casting molds of your programme 2009 at www.lameridiana.fi.it La popular designs! Petro Mold Co. offers a complete Meridiana International School of Ceramics. range of mold-making services, including sculpt- Since 1981. ing and 3-D models, master and case molds, and production mold manufacturing to thousands of Craft & Folk Art Tours — Ecuador, Guate- satisfied customers. Visit www.custommolds.net; mala, Chiapas (Mexico), Christmas in Oaxaca or call (800) 404-5521 to get started. (Mexico), Romania, SW Balkans, South Africa, Myanmar (Burma), India, Central Asia. Small, Accept credit cards in your ceramics retail/whole- personalized groups. Craft World Tours, 6776CM sale/home-based/Internet and craft-show business. Warboys, Byron, NY 14422. (585) 548-2667; No application fee. No monthly minimum. No lease www.craftworldtours.com. requirement. Retriever/First of Omaha Merchant Processing. Please call (888) 549-6424. Overseas Ceramic Workshops & Tours—Mo- rocco, October 28 - November 15, 2009, Berber Master Kiln Builders. 26+ years experience de- traditional pottery, adobe architecture, tile art in signing and building beautiful, safe, custom kilns Southern Morocco. Lombok and Bali, March 2010, for universities, colleges, high schools, art centers Crete, Greece, October 2010. Burma (Myanmar) and private clients. Soda/salt kilns, wood kilns, raku February 2011. Small, culturally-sensitive groups kilns, stoneware kilns, sculpture burnout kilns, car using local translators and experts. Discovery Art kilns and specialty electric kilns. Competitive prices. Travel, Denys James, Canada; (250) 537-4906; Donovan. Phone/fax (612) 250-6208. www.denysjames.com; [email protected].

index to advertisers

92nd St. Y...... 69 Davens Ceramic Center...... 60 Manitou Arts...... 75 Runyan Pottery Supply, Inc...... 76 Discovery Art Travel...... 74 Market House Craft Center...... 73 Aardvark Clay & Supplies...... 68 Dolan Tools...... 75 Massachusetts College Shakerag Workshops...... 79 ACerS Books...... 61, 63 of Art and Design...... 12 Sheffield Pottery...... 73 Amaco and Brent...... Cover 2 Euclid’s/PSH...... 70 Master Kiln Builders...... 79 Shimpo...... 3 American Museum of Ceramic Art Metchosin Intl School Sierra Nevada College...... 77 (AMOCA)...... 15, 21 Georgies Ceramic & Clay...... 65 of the Arts...... 77 Skutt Ceramic Products...... Cover 4 Anderson Ranch Arts Center...... 73 Giffin Tec...... 2 Mid-South Ceramic Supply...... 68 Smith-Sharpe Fire Brick Supply... 69 Graber’s Pottery...... 76 MKM Pottery Tools...... 72 SOFA...... 19 Bailey Pottery...... 1, 11 Great Lakes Clay...... 71 Mudtools...... 65 Soldner Clay Mixers...... 76 Bamboo Tools...... 77 Greenwich House Pottery...... 69 Spectrum Glazes...... 14 Bennett Pottery...... 7 New Mexico Clay...... 74 Standard Ceramic Supply...... 75 Helena Chamber BigCeramicStore.com...... 66 North Star Equipment...... Cover 3 Strictly Functional and Visitor Bureau...... 60 Bracker’s Good Earth Clays...... 72 Pottery National...... 73 Herring Designs/SlabMat...... 76 Odyssey Center Highwater Clays...... 65 for Ceramic Arts...... 65 Taos Art School...... 70 Canton Clay Works...... 74 Olympic Kilns...... 57 Trinity Ceramic Supply...... 62 Carolina Clay Connection...... 74 Idyllwild Arts...... 73 Ox-Bow Summer School of Art.... 69 Ceramic Supply Chicago...... 77 Truro Center for Arts...... 77 Tucker’s Pottery...... 67 CeramicArtsDaily.org...... 59 Kentucky Mudworks...... 76 Paragon Industries...... 13 Chinese Clay Art...... 71 Keraflex, US...... 63 PCF Studios...... 76 Classifieds...... 78, 79 Peter Pugger Mfg...... 9 Venco USA...... 77 Clay Art Center/Scott Creek...... 75 L & L Kiln Mfg...... 4 Peters Valley Craft Center...... 71 Vent-A-Kiln...... 70 Clayworks Supplies...... 77 L&R Specialties...... 77 Potters Council...... 56, 64 Continental Clay...... 23 Larkin Refractory Solutions...... 71 Potters Shop...... 72 Ward Burner Systems...... 77 Coyote Clay & Color...... 58 Wichita State University Cress Mfg...... 10 Macon Arts...... 63 Red Star Studios...... 60 Ulrich Museum of Art...... 8

Ceramics Monthly April 2009 79 Comment urban potter by Celia Hirsh

Many potters have studios in the country. The see the few fellows who were too late to find is. To comply with the strict building codes, rural studio offers lots of space. They often a bed for the night asleep on the sidewalk in there were no do-it-yourself solutions, no have adjacent workshops, filled with wood- front of my studio. They leave before most visits from handy neighbors, no tools sourced working or metalworking tools, acquired of the world wakes up. and fashioned from some other discipline over a lifetime, ready to address whichever I’m able to pace my day by the activities I to solve the problem. Rather, it took three technological conundrum arises in the studio. witness. Whether it’s the dentist opening his months of additional engineering drawings, These potters build kilns outdoors, vented to door for the day, the toddlers running to the two additional parts sent 3000 miles and 20 the air, and often fire with wood or which- morning program at the indoor playground hours of a qualified and certified service tech- ever fuel they can get on the cheap, nician’s time to satisfy the inspector’s getting help with all-night firings from requirements. And because my studio their neighboring clay folk. They get sits at the base of a 23 story apartment to watch the seasons pass, witness the building, it’s always windy, so that a coming and going of wildlife and get special, extreme-wind-resistant cap had inspiration from the natural beauty of to be installed on my venting to stop their landscape. the flames from being blown back into Then, there’s my studio. A former the kiln. barber shop, 650 square feet of retail The space inside my studio is at a space, situated on a secondary main premium. I have no extra space, no barn, street in a depressed retail neighbor- no shed, no open grass to spread out hood, in the very urban environment onto. Squeezed in, yet leaving that cru- of the massive, sprawling city that is cial three feet of open space all around Toronto, Ontario. my kiln, are; my wheels; spray booth; As I stroll to work, I too get to watch greenware; bisqueware; glaze chemicals; the changing of the seasons. First, I pug mill; photography equipment; ship- know it’s summer because of the glaring, a couple of doors down from me, or the guy ping boxes; toilet; sinks; and that ton of clay clean whites worn by the ladies and gentle- with the two Russian Wolfhounds (their that was just delivered. Oh yes, there are also men of the Lawn Bowling League—a vestige coats like a heavily reduced Malcolm Davis finished pots on display for sale. of Canada’s commonwealth heritage. This Shino) going out for his daily walks. I know What can I say—I love my studio. I love is not to be confused with the filthy whites my day is winding down and it must be 4 how it fits into this quirky urban neighbor- of the massive snowbanks of the winter sea- p.m. when the school bus drops off all the hood. Toronto is a complex and curious city. son (it’s sort of like the difference between kids who live in the apartments above my Within three blocks, there are not only the Hamada White and Mamo White). I know studio, and the meter reader starts handing homeless shelters, but multimillion-dollar when it’s the end of the month because the out parking tickets. homes, lots of regular homes, condominiums bar across the street fills up with patrons. There is nothing bucolic or pastoral about and apartments, too. And even though I usu- It’s tax season when all the clients of the ac- my studio. The odors that drift in range from ally brown-bag it for lunch, I like knowing countant, whose office is behind me, come in bus exhaust to burnt coffee to unspecified that—if I was in the mood—I could buy looking for directions. And I now know when sewer smells. Occasionally, the scent is even some of the best Jamaican jerk, East Indian it’s World Cup season, from the shouts com- strong enough to overpower the smell of rotis (flat bread), or Thai food with just a ing from the men who populate the Turkish moldy slip. The city was reconstructing the five-minute walk. Like the fellow up the street cafe next door to me. street last summer so the road was closed who makes and sells his own homemade The rent is relatively cheap here, the same completely for two months. The smell of hot ice-cream, I love being part of what makes cost as industrial space, because there are two tar went on for weeks—although it did inspire this area special. It can be dirty and even shelters for homeless men across the street me to perfect an iron-saturate black glaze. smelly, but it’s also vibrant and busy. Even if from my studio, with offices for support Then there’s my gas kiln. Although I think no one comes in all day and I’m working on services taking up several more storefronts. it’s a thing of beauty (it’s a Geil DL-12F), glaze test #673, endlessly searching for that They make for good neighbors. The staff because of municipal bylaws it needed the elusive turquoise, I still feel connected to the is often nearby and the fellows who use the expertise of a structural engineer, a mechani- life of the city. facilities are mostly quiet, making their way cal engineer and an architect to get approval If you’re in the neighborhood, stop by from the shelter to the library and then on from the city. It could only be installed three and say hello. to spend the day in the nearby park. When feet from my front windows. People stop by the author Celia Hirsh is an urban potter in I fire the kiln really early in the morning, I just to find out what that hulking silver thing Toronto, Ontario, Canada.

Ceramics Monthly April 2009 80