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Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, texts and news releases about ce­ ramic art and craft are welcome and will be considered for publication. A booklet de­ scribing procedures for the preparation and submission of a manuscript is available upon request. Send manuscripts and cor­ respondence about them to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue of Ceramics Monthly are indexed in the Ait Index ; on-line (com­ puter) indexing is available through Wilson- line, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953- 1972), coveringCeramics Monthly feature articles, Suggestions and Questions col­ umns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xero­ graphic reprints are available to subscrib­ ers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1989 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly June/July/August 1989 3 4 CERAMICS MONTHLY PHOTO: HOLLY LEE

Volume37, Number6 • June/July/August1989 Feature Articles

Earthenware Potters byDougBrowe ...... 32 Angelica Pozo ...... 38 Planning a Potter’s Sabbatical by Dick Lehman ...... 39 Matthias Ostermann ...... 42 Craig Hurley’s Plastic Glazeby Martha Webb ...... 44

A Studio'*l>otter,s Fulfillment Cliff Lee Philip Cornelius: New Work...... 46 dropped out in the final year of medical school to pursue ceramics. Now, with his Portfolio: Is a Craft Business for You?by Barbara Miner ...... 47 own home/studio/gallery in Arlington, Virginia, he is able to work as he chooses Los Angeles’s Japanese Collection ...... 53 and spend lots of time with his two chil­ Live from Canadaa review by Elizabeth Garber ...... 54 dren, “watching them grow up”; page 58. A Studio Potter’s Fulfillmentby Cliff Lee ...... 58 PHOTO: TOM LIDEN Sara Waters by KippraD. Hopper...... 62 Hubert Arnold Collectionby Ken Magri ...... 64 Glaze Chronicles, Part 2 by Harold McWhinnie ...... 96 Therapeutic Clay by Nancy Bolon ...... 98

Departments

Letters ...... 6 Comment: Shifting Standards by Richard Zakin ...... 22 Where to Show ...... 8 xvith Color and Pate sur Pate...... 22 Itinerary ...... 12 Film & Video ...... 74 Earthenware Potters Influenced by his­ Suggestions...... 76 Questions...... 16 torical European redware seen while in Classified Advertising...... 102 the United Kingdom, earthenware pot­ ters Doug Browe and Jan Hoyman made New Books ...... 18 Index to Advertisers...... 104 their first supply run in a 10-ton dump truck—completely full—after returning to the U.S.; see page 32. News 8c Retrospect Craig Hurley’s Plastic Glaze Imagine using glaze just like clay! Could it be National Endowment News ...... 79 Southwest Crafts in New Jersey ...... 84 thrown, jiggered, handbuilt? Craig Hurley Ceramics Sales Looking Up ...... 79 Nancy Angus ...... 84 found that both clay and glazes can be in­ Renwick Acquires Bogatay Figure...... 79 termixed and layered at any point in his Boston Invitational ...... 86 “very articulate and very forgiving” pro­ East Meets West (Again) in Design ... 79 Sandra Blain ...... 86 cess; see page 44. Culinary Art...... 79 Hand, Heart and Soul ...... 88 Arizona Clay Celebration Kofi Asante ...... 88 The cover Barbara Miner has “made all by Sean McGinnis ...... 80 Lisa Harris ...... 90 the mistakes you can think of,” yet she still Enelia Paz Gomez ...... 82 Golden West Invitational...... 90 feels very positive about operating her Tom Bottman ...... 82 own craft business. The portfolio, begin­ Decorative Function...... 92 ning on page 47, examines her commer­ Electric to Raku Kiln Conversion cial pottery to help you decide if this di­ by Natalie Dykstra ...... 82 Good Humor Annual...... 92 rection is for you.Photo: Michael Houghton. Gail Kristensen ...... 84 Sheila Lindfield ...... 95

June/July/August 1989 5 is unobtainable. There is often a shortage Civil suits are impractical in most cases of feldspar, so I buy in bulk. Most glaze because the legal fees are excessive com­ recipes in books or magazines I just glance pared to the amount in arrears. Small over as sometimes almost 50% of the ingre­ Claims Court victories are often unen­ Letters dients are unavailable here. We have only forceable unless they are brought in the the very basic ingredients and those, also, same city as the offending shop. You can are very often in short supply. I make all my employ a collection agency, but agencies Chicago Galleries Fire glazes by the empirical approach, and generally keep 50% of the amount due. A tragic fire destroyed nine art galleries thought I’d learned a lot until I read the In our experience, better leverage is in Chicago’s River North gallery district on articles by Robin Hopper [Sept. 1988-Feb. obtained by using the “grapevine.” The April 15. The Chicago Artists’ Coalition, in 1989]. They have helped me tremendously, crafts world is a small one and word travels conjunction with Lawyers for the Creative and have given me a boost to get back to fast. In fact, many large craft shows offer Arts, would like to get the word out to testing to find new colors and textures. bulletin boards so that exhibitors can share artists who were affected by the fire—so Many thanks to CM and Robin. His ar­ this very sort of information. that information can be disseminated to all ticles were much appreciated and I look When faced with the prospect of doing of them. forward to more like these that help us get business only on a COD basis with a num­ The Chicago Artists’ Coalition encour­ back to basics. ber of crafts producers, most shops pay ages any artist who lost work in the blaze to Alison Street their overdue bills in a hurry. get in touch with the coalition as soon as Mazabuka Jon Ellenbogen possible. The galleries that burned are: Van Zambia Penland, N.C. Straaten Gallery, Objects Gallery, Peter Mil­ ler Gallery, East W 7est Gallery, Rowe Fine Comments about Comments Provide Practical Pointers Arts, Zolla/Lieberman, Klein Gallery, Haba- There is so much wisdom, insight and Please help with my business: pricing, tat and Sazama/Brauer Gallery. sheer sense in Timothy Gallucci’s Com­ producing, packing, porcelain, purely pos­ It is important that artists be aware that ment on amateurism [March 1989] that it itive, practical potters’ pointers. there is an Illinois Consignment Law that belongs with all the best things ever written Kris Bliss holds galleries liable for damages resulting about art and craft. CM should run it once Anchorage to artwork from theft or fire. Artists can a year. receive a copy of the law by sending $1 to Lucia McCreery Plastic (Mugs?) Debate Continues the Chicago Artists’ Coalition. Secondly, Brooklyn Please—no more plastic over the cov­ the coalition is collecting the names and ers. Perhaps it’s more durable, cost-effec- addresses of artists affected by the fire so “The New and the Unseen” [Comment, tive, etc., but please stop using plastic. Will that they can get in touch with one another April 1989] was right on in more than one CM start promoting plastic mugs next, for if necessary. The coalition is working in sense. I find more and more that the rea­ the same reasons? conjunction with Lawyers for the Creative son I have been so influenced by the old Ladonna Krautkremer Arts to provide artists with information masters is that there are few new ones who Eastsound, Wash. regarding their legal rights and options in seem to be able to communicate in an this situation. To contact them, write to honest, straightforward manner. Too many In response to Sylvia Deaver’s letter Chicago Artists’ Coalition, 5 West Grand of today’s most popular clay people seem [April 1989]: I have also been using [the Avenue, Chicago, Illinois 60610; or call to speak only in metaphor and really say brown paper] wrapper for notes and refer­ (312) 670-2060. very little of substance. Many of the col­ ences since 1971, and now I use self-stick­ Barbara Kancelbaum leges and universities that have ceramics ing address labels for making my notes. I Chicago programs teach nothing of the discipline it file CMs in 3-inch expandable file folders, takes to really succeed artistically. Some one for each year. I then cut out the De­ Touched and Inspired even go so far as to promote free experi­ cember yearly index page and place it in a CM has inspired many responses in me, mentation rather than discipline. This leads sleeved photo folder for the index of my but I have never been moved to tears untilto loads of “interesting” funk works but, complete collection of CMs starting in 1969. reading about Jane Larson’s wonderful generally, they don’t stack up to a Song I do miss the brown paper wrapper, but mural “The Protoporphyrin Molecule” [see vase, or a simple Korean rice bowl, or a enjoy Ceramics Monthly. Keep up the good News & Retrospect in the April 1989 CM]. MacKenzie teapot—for that matter. work. All the elements of that piece combine to The comment article was well stated, Muryl Shumaker make a perfection of medium, location, but it should be emphasized even more Gainesville, Ga. beauty and spiritual depth that touched that the whole reason for moving ahead is and inspired me. to reach something better, not just for the Equal Space for Tradition Melissa Searcy sake of doing something new. I have now stopped trying to convince Ganges, B.C. Darrel N. Bowman would-be pop, dada, kinetic, conceptual, Maiden Rock, Wis. minimal, earth, happening and, especially, Hopped Up in Zambia abstract expressionist artists, that they I live in a country where the ceramic Interested in Retired Potters? should abandon clay. It was a hopeless task. industry is almost nonexistent, and being a Are there state schools that might wel­ But could I ask that dedicated, imagina­ potter is an uphill struggle all the way. Clay come retired potters? Many older potters tive, production-inspired potters (e.g., Tom is plentiful, providing you dig, prepare and want to pursue independent studies with­ and Ginny Marsh of Louisville) be given at test it yourself. It took me three years of out the hassle and expense of studio main­ least equal space with the crazies in CM’s continuous testing before I found a suit­tenance. pages. able clay body for stoneware, but with each Edna L. Arnow Charles Moorman new batch another test must be done as the Chapel Hill, N.C. Hattiesburg, Miss. clay varies from one side of the pit to the other. I use two types of clay—one pit is 72 Bill Collection Leverage Share your thoughts urith other readers. All letters miles away, the other is 200 miles. One amendment for Judy Rohrbaugh’s must be signed, but names will be withheld on As for glaze making, ingredients are fine advice regarding shops that won’t pay request. Mail to The FAitor, Ceramics Monthly, extremely hard to come by. Earthenware is [See “Getting Your Money” in the February Box 12448, Columbus, Ohio 43212; or FAX to totally out of the question as lead bisilicate 1989 CM]: (614) 488-4561.

6 CERAMICS MONTHLY June/July/August 1989 7 13, 1990). Awards. Contact Ulupuh, StarcevicevBooth fee: $30. Cash awards. Contact Village Art Trg 6-2, 41000 Zagreb. Fair, Box 483, Oak Park 60303. Madison, Indiana “Chautauqua of the Arts” National Exhibitions (September 23-24) is juried from 4 slides, in­ cluding 1 of display. Booth fee: $100. Contact June 9 entry deadline Dixie McDonough, 1119 W. Main St., Madison Where to Show Creedmoor, North Carolina “The Cedar Creek 47250; or phone (812) 265-5080. Exhibitions, Fairs, Festivals and Sales National Teapot Show” (July 28-August 28) is Chester Springs, Pennsylvania “Studio Days/ juried from up to 2 slides per entry; maximum Design ’89—Sixth Annual Exhibition of Con­ of 3 entries. Juror: Lou Proctor, director, a.r.t. temporary Crafts” (October 13-15) is juried Gallery. Fee: $15. $3000 in awards. Contact Cedar from 5 slides. Entry fee: $10. Cash awards. Con­ Creek Gallery, Route 2, Creedmoor 27522; or tact Chester Springs Studio, Box 329, Chester International Exhibitions phone Sid Oakley (919) 528-1041. Springs 19425; or phone (215) 827-7277. June 15 entry deadline June 30 entry deadline June 23 entry deadline New Haven, Connecticut “21st Annual Cele­ Mobile, Alabama “25th Annual Outdoor Arts New York, New York “Artitudes” (July 25-Au- bration of American Crafts” (November 13-De- and Crafts Fair” (September 23-24) is juried gust 13) is juried from slides. Jurors: Helen cember 23) is juried from slides, minimum 3. from slides. Entry fee: $10. Booth fee: $75. $6500 Harrison, Guild Hall Museum; Judy Neiswan-Contact Creative Arts Workshop, 80 Audubon, in cash, purchase and merit awards. Contact der, Fog Art Museum; and Lynne Warren, Mu­ New Haven 06510; or phone (203) 562-4927. Ginger Koppersmith, Fine Arts Museum of the seum of Contemporary Art. $7000 in awards. June 30 entry deadline South, Outdoor Arts and Crafts Fair, Box 8426, For further information contact Artitudes, De­ Wichita, Kansas “The Wichita National ’89” Mobile 36698; or phone (205) 343-2667. partment RCR, Box 380, Hartsdale, New York (September lO-October 8) is open to all craft Columbus, Ohio “The 1989 Arts & Crafts Festi- 10530; or phone (914) 633-5333. artists residing in the United States and Puerto vale” (August 12-13) is juried from 3 color pho­ July 22 entry deadline Rico. Juried from slides. Juror: Tony Hepburn, tographs, including one of booth display. Booth Toronto, Ontario, Canada “Fourth Annual ceramics professor, Alfred University. Entry fee: fees: $50 for a 10x10-foot space; or $100 for a International Exhibition of Miniature Art: Ce­ $15 for up to 3 entries. Cash and purchase 10x20-foot space. Contact the Continent, 6076 ramics, Enamels and Glass” (November 3-De- awards. Send large sase to Wichita National ’89, Busch Boulevard, Suite 2, Columbus 43229; or cember 30) is juried from actual works with Wichita Art Association, 9112 East Central, Wich­ phone (614) 846-0418. dimensions not exceeding 3x3x4 inches. For ita 67206; or phone (316) 686-6687. Prospect, Pennsylvania “Sixth Annual Penn’s further information contact Del Bello Gallery, July 1 entry deadline Colony Festival” (September 23-24 and Sep­ 363 Queen Street, West, Toronto M5V 2A4; or Lafayette, Louisiana “Lafayette Art Associa­ tember 30-0ctober 1) is juried from slides. phone (416) 593-0884. tion Ajntnual Juried Competition of Fine Art and Contact Raymond Rush, Penn’s Colony Festival September 24 entry deadline Original Craft” (October 9-November 10) is Association, 1635 El Paso Street, Pittsburgh, Carouge, Switzerland The “City of Carouge juried from slides. Art juror: Alan Flattman, Pennsylvania 15206; or phone (412) 441-9178. Award for Decorated Ceramics” (November pastels. Craft juror: Joe Bova, ceramics. $3000 in July 1 entry deadline 23-January 21,1990) will be juried from 2 slides, awards. Contact Lafayette Art Association, Lafay­ Mason City, Iowa “Summer Arts Festival Art different views, of 1 work or set (consisting of 2 ette Art Gallery, 700 Lee Avenue, Lafayette Market” (August 20) is juried from 5 slides or matching pieces) ofjewelry made predominantly 70501; or phone (318) 269-0363. photographs. Booth fee: $10. Contact Charles from ceramic materials, an entry form and a July 12 entry deadline H. MacNider Museum, 303 Second St., SE, Ma­ brief resume. City of Carouge award: SFr7500 Bethlehem, Pennsylvania “Luckenbach Mill son City 50401; or phone (515) 421-3666. (approximately $4500); jeweler Gilbert Albert Gallery Juried Exhibition of Contemporary Gaithersburg, Maryland “The 14th Annual award: SFr2000 (approximately $1200). For fur­ Crafts” (October 7-November 5) is juried from National Craft Fair” (October 13-15) is juried ther information contact Musee de Carouge, up to 3 slides each of 3 entries. Fee: $10. Jurors: from 5 slides. Booth fees: $200-$650. Contact CH-1227, Carouge. James Cheney, ceramics; Barbara Mail, jewelry; Noel Clark, National Crafts Limited, 4845 October 20 entry deadline and Jean West, fiber. $1000 in awards. Contact RumlerRd., Chambersburg, Pennsylvania 17201; Warrensburg, Missouri “Greater Midwest In­ Luckenbach Mill Gallery, Historic Bethlehem or phone (717) 369-4810. ternational V” (January 16-February 16, 1990) Inc., 459 Old York Road, Bethlehem 18018. Havre de Grace, Maryland “The 26th Havre de is open to all artists, 21 years and older, working September 15 entry deadline Grace Art Show” (August 19-20) is juried from in any media. Juried from slides of 3 entries Rochester, New York “Candleworks” (Novem­ slides or photographs. Booth fees: $35-$70. (maximum 2 views per entry). $1500 in awards, ber 3-30) is juried from slides; maximum of 2 $1200 in cash awards. Contact Havre de Grace plus exhibition contracts. For prospectus send entries. Juror: Massimo Vignelli. Entry fee: $10. Art Show, Box 174, Havre de Grace 21078; or sase (business size) to Billi R. S. Rothove, Gal­ Send sase to Dawson Gallery, 349 East Avenue, phone (301) 879-4404 or 939-3303. lery Director, Art Center Gallery, Central Mis­ Rochester 14604; or phone (716) 454-6609. Cincinnati, Ohio “Crafts Affair” (November souri State University, Warrensburg 64093; or October 2 entry deadline 24-26) isjuried from slides. Entry fee: $5. Booth call (816) 429-4481. Washington, D.C. Renwick Gallery contem­ fee: $215. Contact Ohio Designer Craftsmen October 30 entry deadline porary beadwork exhibition (August 1-Decem­ Enterprises, 2164 Riverside Drive, Columbus, Saint Louis, Missouri “Form and Function: ber 31, 1990) is curated from slides. Contact Ohio 43221; or phone (614) 486-7119. Teapots II” (February 1-28, 1990) is juried from Alice Scherer, Center for the Study of Bead- Columbus, Ohio “Winterfair” (November 3 slides of functional, tea-related objects. Jurors: work, Box 13719, Portland, Oregon 97212; or 30-December 3) isjuried from slides. Entry fee: Paul Dresang, Jerry Rothman and Tom Turner. phone (503) 249-1848. $5. Booth fee: $285. Contact Ohio Designer Entry fee: $10. Contact Maggie Probert, 6640 Craftsmen Enterprises, 2164 Riverside Drive, Delmar, Saint Louis 63130; or call (314) 725- Regional Exhibitions Columbus 43221; or phone (614) 486-7119. 1177 or 725-1151. Dayton, Ohio “Dayton Art Expo ’89” (Novem­ January 15, 1990 entry deadline June 9 entry deadline ber 3-5) is juried from slides. Fee: $70-$85. Geneva, Switzerland “Biennale Orlandi” Indianapolis, Indiana “Art League Regional Contact Diane Coyle, 1610 Ambridge Rd., Cen­ (Spring 1990), a design contest for walls and ’89” (September 22-October 27) is open to art­ terville, Ohio 45459; or phone (513) 435-6633. floors, is juried from a proposal describing the ists within a 250-square-mile radius of Indianap­ Toledo, Ohio “Fall Folk Festival” (September design and specifications for ceramic tiles mea­ olis. Juried from up to 3 slides of works not 30-0ctober 1) is juried from slides. Entry fee: suring 21.6x21.6 centimeters (or a standard exceeding 96 inches in any direction or 150 $5. Booth fee: $60. Contact Penny Junk, Box proportion thereof). Juried by an international pounds. Fee: $20 for 4 entries. Awards: $2000, 7430, Toledo 43615; or phone (419) 536-8365. panel of artists, designers, architects, curators best of show; $1000, second; and $500, third; July7 entry deadline and journalists. Awards: first place, SFr 12,000 plus merit and purchase awards. Contact Chris Dillon, Colorado “The 13th Annual Craft Fair” (approximately $7020); second, SFr8000 (ap­ Scoates, Indianapolis Art League, 820 E. 67 St., (July 15-16) isjuried from 3 slides or photo­ proximately $4680); third, SFr6000 (approxi­ Indianapolis 46220; or phone (317) 255-2464. graphs. Booth fee: $40 for a lOxlO-foot space. mately $3510); and six prizes of SFr2000 (ap­ June 15 entry deadline Contact Lake Dillon Arts Guild, Box 1047, Dil­ proximately $1170) each. The three first prizes Defiance, Ohio “The Emerging Artist/Crafts­ lon 80435; or phone (303) 468-6100. include reproduction rights. Contact Biennale man” (October 1-31 and touring) is open to July 8 entry deadline Orlandi, Mat Securitas Express S.A., Box 289, Ohio residents, students at Ohio colleges, or Manitou Springs, Colorado “Commonwheel CH-1211 Geneva 26. Ohio residents studying at out-of-state colleges, Artists’ 15th Annual Arts Sc Crafts Festival” January 20, 1990 entry deadline between 18 and 30 years of age. Juried from up (September 2-4) is juried from slides. Booth Zagreb, Yugoslavia “World Triennial Exhibi­ to 3 entries, 2 slides each. Juror: Berry Matthews, fee: $55. Contact Commonwheel Artists, Box tion of Ceramics/Zagreb” (June 21-September Pennsylvania State University assistant profes­ 42, Manitou Springs 80829. sor. Fee: $10. Contact Ohio Designer Crafts­ July14 entry deadline Send announcements of juried exhibitions, fairs, festi­ men, 2164 Riverside Dr., Columbus, Ohio 43221. Pittsburgh, Pennsylvania The 20th annual “A vals and sales at least four months before the event’s Fair in the Park” (September 8-10) is juried entry deadline (please add one month for listings in Fairs, Festivals and Sales from 5 slides. Entry fee: $5. Booth fee: $90. For July and two months for those in August) to The further information contact Kay Christy, Crafts­ Editor, Ceramics Monthly, Box 12448, Columbus, June 15 entry deadline men’s Guild of Pittsburgh, Box 10128, Pitts­ Ohio 43212; or phone (614) 488-8236. FAX an­ Oak Park, Illinois “Village Art Fair” (Septem­ burgh 15232; or phone (412) 361-8287. nouncements to (614) 488-4561. ber 10) is juried from 6 slides. Entry fee: $5. Please Turn to Page 94

8 Ceramics Monthly June/July/August 1989 9

ances; exhibitions, including an “Instant Exhi­ in Ming Ceramics,” 90 works from the mid-14th bition” for artists bringing three works; plus to the mid-l7th centuries (Yuan to Ming dynas­ social gatherings. Fee: $150; students $100. For ties); at Birmingham Museum of Art, 2000 further information contact OICS-1990, Annie Eighth Avenue, North. Gisvold, Executive Secretary, National Academy Anzona, Tucsonthrough June 24 “Clay Revisions: Itinerary of Art and Design, Ullevalsvn. 5, 0165 Oslo 1; or Plate, Cup, Vase”; at Tucson Museum of Art, 140 phone 2 20 12 35; or fax 2 11 14 96. North Main. Conferences, Exhibitions, Fairs, California, Carmel June 3-July 1 Clayton Thiel Solo Exhibitions and Don Fritz; at Viewpoint Gallery, 224 Cross­ Workshops and Other Events to Attend roads Boulevard. Arizona, Scottsdale through June 20 “Form and California, Lincoln through June 30 “Artists’ Surface,” collaborative work by Susan Garson Medium = Clay,” individual works by Gladding and Tom Pakele. June 1-30 Gayle Fichtinger, McBean artists. June 3-July 1 Second annual Conferences sculpture; at the Hand and the Spirit Gallery, “Feats of Clay,” national competition for func­ 4222 North Marshall Way. tional and nonfunctional works; at Lincoln Arts California, San JoseJanuary 10-13, 1990 “The Arizona, Tempe through August 13 Ron Gasow- Gallery, 6060 Fifth Street. Case for Clay In Education II: Culture and Tra­ ski, “Fantasy Sculpture Garden,” large-scale in­ California, Los Angeles July 6-September 17 dition,” organized by Studio Potter magazine, San stallation incorporating ceramic tile shards and “Imperial Taste: Chinese Ceramics from the Jose State University and the Santa Clara County found objects; at the Sculpture Court, Arizona Percival David Foundation”; at the Los Angeles Office of Education, will include presentations State University Art Museum, Fine Arts Center, County Museum of Art, 5905 Wilshire Blvd. on “Philosophy and Overview: Perspectives on Tenth Street at Mill Avenue. California, San Francisco July 8-August Narra­ 1 the Importance of Clay in the Curriculum,” California, Davis July 7-31 Marilyn A. Jennings, tive clay by Deborah Hoch, and figurative sculp­ “Clay and Cultural Identity: a Multidisciplinary “Tsutsumi: Wrapped Packages,” sculpture; atture by Lisa Reinertson; at Dorothy Weiss Gal­ and Multicultural Approach,” “Curriculumthe Artery, 207 G Street. lery 256 Sutter Street. Models: Clay in the Classroom,” “Models of California, Mill Valley June 5-July 1Poe Dis- California, Santa Barbara July 22-September 16 Excellence: Scenarios in the Schools” and “Idea/ muke, “Assemblage.” July 3-29 Ron Kovatch, “Clay Revisions: Plate, Cup, Vase”; at Santa Bar­ Information Exchange”; plus networking ses­ “Introductions”; at Susan Cummins Gallery, 32 bara Museum of Art, 1130 State Street. sions; keynote address, panel discussions, exhi­ Miller Avenue. California, West HollywoodAugust 4-September bitions and social activities. Contact Studio Pot­ California, Sacramento through June 18 “Robert 9 “UCSB, Three Generations in Clay,” includes ter, Box 65, Goffstown, New Hampshire 03045; Brady Survey,” sculpture; at Crocker Art Mu­works by University of California-Santa Barbara or phone (603) 774-3582. seum, 216 O Street. faculty artists Patrick Crabb, Yoshiro Ikeda, Shel­ Massachusetts, Hyannis October27-29“Art: Spirit,California, San Diego through June 25 Vessels don Kaganoff, Conway Pierson and Ken Yokota; Mystery & Magic,” biennial New England Art by Don Sprague; at the Focus Gallery, Interna­ at MOA Art Gallery, 8552 Melrose Avenue. Education conference. Location: Tara Hyannis tional Gallery, 643 G Street. Colorado, Colorado Springsthrough June 9 Hotel. Contact Carol Gargon, Box 579, More- California, San Francisco June 6-July 1Tony “NCECA + 10 in Clay,” functional and sculp­ town, Vermont 05660; or phone (802) 496-4605. Natsoulas, life-size figurative sculpture; at Renatural works by 37 ceramists; at the Gallery of North Carolina, Penland September 7-10 “En­ Bransten Gallery, 77 Geary at Grant. Contemporary Art, University of Colorado, couraging the New Garde,” the American Craft California, West Hollywoodthrough June 17 CliffAustin Bluffs Parkway. Council (ACC) southeast region annual confer­ Jacobs, “Drifted Snow,” shino works .June 23-July D.C., Washington through August 27 “American ence, will feature workshops, discussions and 29 Vivika and Otto Heino, “Colors”; at MOA Art Art Pottery, 1880-1930,” 75 works from the seminars. Contact ACC/SE Conference, Pen­ Gallery, 8552 Melrose Avenue. Cooper-Hewitt Museum; at Renwick Gallery, land School, Penland 28765; or phone (704) Connecticut, Brookfieldthrough June 9 Paul Pennsylvania Avenue at 17 Street, Northwest. 765-2359. Fappiano, thrown, raku-fired vessels; at Brook­ Illinois, ChicagoJune 17-July 30 “Third Annual Virginia, Richmond August 4-5 “State of the field Craft Center, 286 Whisconier Road. Great Lakes Show,” juried exhibition of artists Craft II” conference. Contact the Hand Work­ Connecticut, South NorwalkJuly 1-August 1 residing in states and provinces bordering the shop, 1812 West Main Street, Richmond 23220; Myrna Goodman; at Brookfield SoNo Craft Great Lakes; at Lill Street Gallery, 1021 W. Lill. or phone (804) 353-0094. Center, 127 Washington Street. Illinois, GraftonJune 4-July 29 Larry Calhoun, Indiana, Indianapolis June 1-30 Janet Starkey, sculpture; Dan Copeland, salt-fired stoneware; International Conferences handbuilt porcelain forms. July 5-30 Jim Kemp, Luci Mauricio McMichael, porcelain slab sculp­ impressed functional forms; at Alliance Museum ture; Martha Cadle Paquin, handbuilt, raku- Norway, OsloJune 6-9, 1990The “Oslo Inter­ Shop, 1200 West 38 Street. fired vessels; Jeanne L. Stevens Sollman, hand­ national Ceramics Symposium” will focus on Massachusetts, Newton Center through June 9 built rabbit series; and Guy Weible, salt-fired the relationship between art and research. Lec­ Collaborative raku sculpture by Susan and Ste­porcelain vessels; at Potter’s House, Great River ture topics: “Implications of Research and Aes- ven Kemenyffy; at Jubilation, 9i Union Street. Road, 25 East Main. thetics o in Art Education,” keynote address, by Michigan, Grosse Pointe Park June 3-17 Susan Illinois, Highland Park June 3-July 31 New works Arne Ase, artist and professor, National Acad­ and Steven Kemenyffy, collaborative raku; at by Maurice Grossman and David Taylor; at emy of Art and Design, Oslo; “Philosophical Gallerie 454, 15105 Kercheval Avenue. Martha Schneider Gallery, 2055 Green Bay Road. Basis for Research in Contemporary Ceramics” Missouri, Saint LouisJune 2-July 1 Susan Bost- New York, AlbanyJune 6-September 2 “Clayworks” by Gunnar Danbolt, University of Bergen; “Ar­ wick, sculpture; at Craft Alliance Gallery, 6640 by Leslie Fry, Elise Gray, Vera Lightstone, Thom­ tistic Expression and Research” by Marie Th- Delmar Boulevard. as Lollar, Timothy Martin, Amy Ross, Thomas erese Coullery, curator, Musee Ariana in Ge­ New York, New YorkJuly 11-August Robert 4 Schottman, Riter Ward and Dorothy Wilder; at neva, Switzerland, and secretary general of the Silverman; at Greenwich House Pottery, 16 Tones Rice Gallery, 135 Washington Avenue. International Academy of Ceramics; “Aesthetic Street. June 29-August 24“American Studio Ceramics,” Upbringing in Modern Society” by Inge New York, Syracusethrough August 27 “Takako works by ten American and European ceramists L0nning, University of Oslo; “Skills in Craft and Araki: Recent Works”; at the Everson Museum, instrumental in the development of contempo­ the Changing Moral Nature of Skill” by Peter 401 Harrison Street. rary studio ceramics; at the Albany Institute of Dormer, author and art critic, London; “Com­ North Carolina, Raleigh June 30-July 28 “Fire­ History and Art, 125 Washington Ave. ing to Terms with the Past: The Need for a New works,” by Susie Clemens; at Sertoma Arts Cen­ New York, New Yorkthrough June 25 “American Idea of Tradition” by Rosemary Hill, art critic, ter, 1400 West Millbrook Road. Porcelain,” 130 works from 45 public and pri­ London; “The Very Idea of Art” by Ted Cohen, Ohio, Columbusthrough June 25 Artist-in-resi- vate collections; at the Erving and Joyce Wolf University of Chicago; “Research in Ceramics” dence Bing Davis, ceramics, drawings, photos, Galleries, Metropolitan Museum of Art, 82 Street by Garth Clark, ceramics historian, critic and prints and mixed-media works; at the Cultural and Fifth Avenue. dealer, New York; “Post-Memphis, Research, Arts Center, 139 West Main Street. New York, Syracusethrough August 27 “Fragile Experiences, Results, Failures and Successes of Oregon, PortlandAugust 6-September Yothin2 Blossoms, Enduring Earth: The Japanese New Design” by Matteo Thun, ceramic artist Amnuayphol, work inspired by his Thai heri­ Influence on American Ceramics,” 90 clayworks and professor, Milan; “Philosophy and Imagery tage; at Contemporary Crafts, 3934 Southwest from the 1880s to the present; at Everson Mu­ in Ceramic Art” by Richard Notkin, artist, Ore­ Corbett Avenue. seum of Art, 401 Harrison Street. gon; and “National Policies and Artistic Indi­ Pennsylvania, Philadelphia throughJuly 16 MarthaNorth Carolina, Charlottethrough November 12 viduality,” closing speech, by Eric Rudeng, his­ Gittelman, porcelain; at Woodmere Art Mu­ “English Creamware circa 1760-1810: Fifty Years torian, publisher and director of the Norwegian seum, 9201 Germantown Avenue. of Fashion and Fancy,” illustrates the decorative Foundation. Events: workshops; panel discus­ Utah, Logan through July 2 Woody Hughes, styles prevalent during the reign of King George sions; an international student forum; perform- earthenware vessels.July 11-August 13Christine III and Queen Charlotte; at Mint Museum, 2730 Federighi, sculpture; at Nora Eccles Harrison Randolph Road. Send announcements of conferences, exhibitions, ju­ Museum of Art, Utah State University, 650 North North Carolina, CreedmoorJuly 28-August 28 ried fairs, workshops and other events at least two 1100 East. “The Cedar Creek National Teapot Show”; at months before the month of opening (add one month for Cedar Creek Gallery, Route 2. listings in July and two months for those in August) toGroup Ceramics Exhibitions Ohio, Cincinnati July 14-August 28 “Fired with The Editor, Ceramics Monthly, Box 12448, Colum­ Enthusiasm,” contemporary soup tureens from bus, Ohio 43212; or phone (614) 488-8236. FAX an­Alabama, Birmingham July 2-August 20“In Pur­the Campbell Museum; at Taft Museum, 316 nouncements to (614) 488-4561. suit of the Dragon: Traditions and Transitions Pike Street. Continued

12 Ceramics Monthly June/July/August 1989 13 Itinerary M. Sackler Gallery, Smithsonian Institution, 1050 New York, New Yorkthrough June 10 “Spring Independence Avenue, Southwest. Swim,” includes ceramics by Lanie Conklin, Florida, Gainesville June 18-23 “Spotlight 89, Sarah Ford, Deb and Dave Stabley, Judith Strong, Southeast Crafts,” juried regional; at University and Laura Wilensky; at Incorporated Gallery, Ohio, Clevelandthrough June 30 “Fired with of Florida Gallery. 1200 Madison Ave. Enthusiasm,” contemporary soup tureens from Florida, Miami through June 14 “Pillars and Per­ July 25-August 13“Artitudes,” international art the Campbell Museum; at Western Reserve His­ sons,” includes sculptural forms by Bill Burke; at and craft competition; at Gallery Art 54, 54 torical Society, 10825 East Boulevard. Barbara Gillman Gallery, 270 N.E. 39 St. Greene Street. Pennsylvania, Erie July 8-October 15 “Teco: Art Florida, Saint Petersburg June 2-July 28 “Sum­ New York, RochesterAugust 22-October 17 Pottery of the Prairie School,” terra-cotta pot­ mer Seasun,” includes clayworks by R. Gustafson- “Young Americans,” national juried show of craft tery produced between 1900 and 1920 by the Hilton and D. Langford Kuhn; at Florida Crafts­ works by artists between the ages of 18 and 35; at Gates Potteries in Illinois; at the Erie Art Mu­ men Gallery, 235 Third Street South. Memorial Art Gallery, 500 University Avenue. seum, 411 State. Illinois, ChicagoJune 9-July 11 “Nature Studies:North Carolina, Ashevillethrough July 25 “New Pennsylvania, Philadelphia through June16 Ves­Group Exhibition, Mixed Media in Two and Members’ Exhibit”; at Folk Art Center, Milepost sels by Linda Arbuckle and Michael Lamar; at Three Dimensions”; at Esther Saks Gallery, 311 382, Blue Ridge Parkway. the Works Gallery, 319 South Street. West Superior Street. North Carolina, Charlotte through August 6 Pennsylvania, Pittsburgh through June 11 “In August 19-September 16“Urban Dwellings,” with ‘J. Pierpont Morgan, Collector: European Deco­ Pursuit of the Dragon: Traditions and Transi­ Matt Metz and Dorothy Broaddus; at Lill Street rative Arts from the Wadsworth Atheneum,” in­ tions in Ming Ceramics,” 90 works from the mid- Gallery, 1021 West Lill Street. cludes Meissen and Sevres porcelain, and majol­ 14th to the mid-l7th centuries (Yuan to Ming Indiana, BloomingtonJune 13-Sef)tember 10 “Theica; at Mint Museum, 2730 Randolph Road. dynasties); at Carnegie Museum of Art, 4400 Face of Ancient America: The Wally and Brenda North Carolina, Raleigh June 26-August 20 Forbes Avenue. Zollman Collection of Pre-Columbian Art,” in­ “Treasures of American Folk Art from the Abby through June 14 “Flower and Plant Containers.” cludes ceramics of the Mesoamerica civilizations Aldrich Rockefeller Folk Art Center”; at North through July 19“The Cow Show”; at the Clay (Mexico/Guatemala), and the Andean region; Carolina Museum of Art, 2110 Blue Ridge Blvd. Place Gallery, Mineo Building, 5416 Walnut St. at Indiana University Art Museum. Ohio, Boardman August 5-26 “Small Sculpture Pennsylvania, Wilkes-Barre June 18-July 23 Joe Iowa, Mason Citythrough July 2 “The 24th An­ Invitational,” architectural and figurative works Bennion, Jim Makins, Sandy Simon and Byron nual Area Show”; at the Charles H. MacNider suitable as maquettes for public or corporate Temple, “Clay: Functional Expression”; at Sor- Museum 303 Second Street, Southeast. installations; at Apple Gallery, 813 Boardman- doni Art Gallery, Wilkes College, 150 South Maine, Portland through June 22 “Garden Show,” Poland Road, Presidential Square Plaza. River Street. includes clayworks by Craig Easter, Abby Hun- Ohio, ClevelandJune 28-August The 6 “70th An­ Utah, Logan through June 25 “Northwest Ceram­ toon, Mark Johnson, Eileen Simpson, Sharon nual May Show,”juried regional.June 28-Septem- ics Today,” works by artists from Idaho, Mon­ Townshend and Robert Toyakazu Troxell. July ber 10 “Artists from the Western Reserve,” works tana, Oregon and Washington; at Nora Eccles 1-September 5 “1989 Summer Exhibition,” with made during the years between the World Wars Harrison Museum of Art, Utah State University, Andrew Baird and Kathleen Dustin; at Nancy by regional artists; at the Cleveland Museum of 650 North 1100 East. Margolis Gallery, 367 Fore Street. Art, 11150 East Boulevard. Virginia, Richmond June 23-28 “Clay U.S.A.”; at Massachusetts, Boston June 7-September 3 “The Ohio, Columbusthrough September 4 “Son of the Hand Workshop, 1812 West Main Street. Human Figure in Early Greek Art,” 67 works Heaven,” includes Tang earthenware, Qin sol­ from the ninth through the fifth centuries B.C., diers and porcelain vessels; at renovated Central includes terra-cotta sculptures and vessels; atHigh School, 75 S. Washington Blvd. Ceramics in Multimedia Exhibitions the Museum of Fine Arts, 465 Huntington Ave. Ohio, ToledoJune 18-July 9“The 71st Annual Arizona, Mesa June 9-July 8“At the Beach,” Massachusetts, Cambridge through June 24 “The Toledo Area Artists Exhibition”; at the Toledo national juried works inspired by beach activi­ Ancient Southwest,” pottery and artifacts of the Museum of Art, 2445 Monroe Street. ties; at Galeria Mesa, 155 North Center. pre-Columbian people of the American South­ Oregon, PortlandJuly 6-J0“Artists-in-Residence California, Davis through June 6 A sculpture andwest; at Hurst Gallery, 53 Mount Auburn Street. Exhibition,” includes works by Dana Lynn Louis; painting show, including ceramics by John La Massachusetts, Northampton through July 2 “A at Hoffman Gallery, Oregon School of Arts and Francesca and Richard and Graciela Rios. July Garden Party,” works with floral and garden Crafts, 8245 Southwest Barnes Road. 7-August 12The “Calgene Contemporary Fine themes, plus functional ware for the garden. Pennsylvania, Philadelphia through June 30 A Arts Competition”; at Natsoulas/Novelozo Gal­ August 5-September 23 “The Primitive Image,” two-person show with Mark Burns, sculpture; at lery, 132 E Street, Suite 2A. contemporary interpretations of the theme; at Helen Drutt Gallery, 1721 Walnut Street. California, Los Angeles through June 25 “The Ferrin Gallery, Pinch Pottery, 179 Main Street. Pennsylvania, Pittsburgh through June 18“Art on Vessel: Studies in Form and Media,” functional Massachusetts, Pittsfield June 16-August “Sur­6 the Table: Crafts Designed for Use,” works by 32 and aesthetic aspects of the form in clay, fiber, face 8c Substance: Exploration of Texture in artists; at the Society for Art in Crafts, 2100 glass, metal and wood; at Craft and Folk Art Craft”; at Berkshire Museum, 39 South Street. Smallman Street. Museum 5814 Wilshire Boulevard. Massachusetts, Worcester throughJune 30 “YoungPennsylvania, State College July 5-30 “Crafts California, Pasadena June 10-July 9 “Santa Bar­ Americans,” juried craft national exhibition of 23,” juried exhibition; at Zoller Gallery, 211 bara Arts Festival 1989, Fine Craft Exhibition”; works by artists between the ages of 18 and 35; at Visual Arts Building, Penn State University. at del Mano Gallery, 33 E. Colorado Blvd. Worcester Center for Crafts, 25 Sagamore Road. Texas, FortWorth July 15-October 8 “Treasures California, Sacramento through June 8 “64th Minnesota, Minneapolis June 15-July 19 “1989 from the Fitzwilliam Museum”; at Kimbell Art Annual Crocker-Kingsley Exhibition,” works by Contemporary Tribal Mask Exhibit,” includes Museum, 3333 Camp Bowie Boulevard. Northern and Central California artists; at anagama- and raku-fired works by Lillian Pit; at Texas, HoustonJune 6-July 5 “Imagery: Literary Crocker Art Museum, 216 O Street. Raven Gallery, 3827 West 50 Street. Influence,” includes sculpture by Sonja Light California, San Diego through June 25 “Out of Missouri, Saint Louisthrough July 16 “Shadows and Bobbie McMillan and vessels by Cherie the Carolinas: The Contemporary Crafts of of the Dragon,” Chinese objects with dragon Stanley; at Archway Gallery, 2600 Montrose North and South Carolina”; at International imagery; at Saint Louis Art Museum, Forest Park. Boulevard. Gallery, 643 G Street. New Jersey, Red Bankthrough July 15 “Twenti­ Utah, Logan through August 13 “Southwestern- June 9-July 29“Traditions/01d and New,” works eth Century American Art,” includes works by ers,” art and archaeology of the Pueblo people; by approximately 45 Native Americans; at Faith Christine Knox and Susan Eslick; at Art Forms, at Nora Eccles Harrison Museum of Art, Utah Nightingale Gallery, 535 Fourth Avenue. 16 Monmouth Street. State University, 650 North 1100 East. California, San Francisco through June 11A two- New Mexico, Albuquerquethrough June 16 A Utah, Salt Lake City through June 17 Three-per- person exhibition featuring sculpture by Lisa three-person show including decorated terra­ son show including earthenware sculpture by Breznak; at Alligator: A Gallery and Perform­ cotta pottery by Kate Brown; at Weyrich Gallery, Brad Taylor, and low-fire works by Kerri Buxton. ance Space, 924 Valencia Street. 2935-D Louisiana Boulevard, Northeast. July 27-August 26“Surface Design Invitational”; California, Sherman Oaks through June 15 New Mexico, Los AlamosJune 16-July 30 “Bien­ at Utah Designer Craftsmen Gallery, 38 West “Humor in Art,” includes works by Rudy Fleck, nial Juried Painting, Drawing, Sculpture and 200, South. Meg Johnson and Louis Scorca; at Contempo­ Print Exhibition.” August 4-September 3“The Vermont, MiddleburyJuly 6-29“Vermont Coun­ rary Images, 14027 Ventura Boulevard. Moving Line,” includes pottery by Ursula Krause; cil on the Arts 1988 Fellowship Recipients,” in­ Connecticut, StamfordJune 18-August 13 The at Fuller Lodge Art Center, 2132 Cenual Ave. cludes wood-fired stoneware by Karen Karnes. 54th annual juried exhibition of the Society of New Mexico, Santa Fe through June 14 A dual August 1-27 “Artists of the Month,” with func­ Connecticut Craftsmen; at Stamford Museum, exhibition with ceramics and monotypes by tional vessels by Bob Green; at Vermont State 439 Scofieldtown Road. Gretchen Wachs; at Elaine Horwitch Galleries, Craft Center at Frog Hollow. D.C., Washington through June 18“Treasures 129 West Palace Avenue. Virginia, Richmond June 27-September 3 “The from the Fitzwilliam Museum: The Increase of July 1-October 31 A national exhibition curated Eloquent Object,” 200 works that reflect the Learning and Other Great Objects,” 160 works by Jack Lenor Larsen; at Bellas Artes Gallery, cross-cultural influences on American art; at collected over two centuries; at National Gallery 301 Garcia at Canyon Road. Virginia Museum of Fine Arts, 2300 Grove Ave. of Art, Fourth St. at Constitution Ave., NW. New York, Cobleskillthrough June 11 “1989 Na­August 4-September 29 “New Art Forms: Virginia through July 9 “Timur and the Princely Vision: tional Small Works Exhibition”; at Schoharie II”; at the Hand Workshop, 1812 W. Main St. Persian Art and Culture in the Fifteenth Cen­ County Arts Council, 54 Main Street. Washington, Bellingham June 9-August “1989 6 tury,” over 180 Islamic works from private and New York, CooperstownJuly 16-August 18The Northwest International Art Competition,” works public collections in Europe, the Near East, the “54th Annual National Art Exhibition”; at Coo­ by residents of Idaho, Oregon, Washington and United States and the Soviet Union; at Arthur perstown Art Association, 22 Main Street. Please Turn to Page 68

14 Ceramics Monthly June/July/August 1989 15 leaching, that’s fine. If not, then they proba­ bentonite slip several times through a 120- bly don’t know for sure. If the glaze is mesh or small 200-color lawn [British for a glossy, if it doesn’t contain lead or boron 200-mesh screen]. Three percent is the compounds, if when calculated it seems to normal maximum for addition to a body or Questions have reasonable amounts of alumina and a glaze.” Answered by the CM Technical Staff silica, it’s true that the odds are remote that it will leach anything. But a laboratory test Q I am searching for a recipe, ivhich may have is the only way to know with certainty. started with British potter Bernard Leach, that is (Names and addresses of various labs will­ commonly known as Leach White. I know there ing to carry out such tests were published in are many variations on this glaze, so could you “Testing for Barium” which appeared in discuss them and give me some ideas for vari­ Q I have been using a lovely Cone 6 glaze the May 1986 CM.) ations to try ? —C. T. which employs potassium bichromate as a color­ Short of lab tests, some crude but ulti­ The glaze typically known as Leach ant. I know that this material is hazardous in its mately inconclusive questions which pot­ White is a variation on Bernard Leach’s raxo (soluble) state, but haven’t been able to find ters traditionally have asked about their “4,3,2,1” recipe—the latter being a clear any information concerning its solubility after glazes must be answered with “yes”: Is the glaze, the former being the same clear glaze the glaze is fired. Is it safe for dinnerware? If so, glaze surface enamel or glossy (because with an opacifier added. Thus, the recipe at what temperature does the ingredient properly matt glazes may be simply underfired rather for Leach 4,3,2,1 looks like this: mature to safe standards? I’ve known potters than true, strong and stable matts)? Does Leach 4,3,2,1 Glaze who make complete dinnerware and bakeware the glaze mature in the stoneware or porce­ (Cone 9-11, oxidation or reduction) sets, using potassium bichromate in their glaze. lain range (because strong, acid-resistant Whiting...... 20 % They swear that it s safe; meanwhile , I and some glass is more likely to form at higher tem­ Feldspar...... 40 other potters prefer to err on the side of caution perature with that range’s usual fluxes, such Kaolin ...... 10 and use it only on non-food surfaces. What do as calcium, sodium, fluorine and potas­ Flint...... 30 you think ? —G. C. sium, locking in or chemically reacting with all the glaze’s ingredients)? Does the glaze 100% Many ceramists believe that there is a exhibit no marks when abraded with a stain- direct answer to a question such as yours, Back in the ’60s and ’70s, Leach White less-steel knife edge (soft, structurally in­ but regretfully, there is not. One cannot could be found around the U.S. as the state that any soluble or potentially toxic sufficient glazes are less durable than a following recipe: steel blade and thus mark easily as they compound, such as potassium bichromate, chip and erode from use)? When exam­ Leach White Glaze lead oxide, barium carbonate, etc., is safe ined with a 20-power glass or loop, does it (Cone 9-11, oxidation or reduction) for use on dinnerware, or even that if fired show no pitting (pits, too, may signify a Whiting...... 20% to some specific temperature it will be safe glaze which is underfired or structurally Custer Feldspar...... 40 or even “mature.” The reason for this is that Edgar Plastic Kaolin ...... 10 all ceramic materials behave interactively unstable against the abrasion of daily use)? Can it endure a few days of soaking in mild Flint...... 30 when fired in glaze—predicting their be­ acid (such as vinegar) without pitting or a 100% havior depends on also knowing what they Add: Tin Oxide ...... 10% are combined with, in what quantities, the change of color (glazes which come into contact with food must be acid resistant)? “heat work” applied to them (the cone to But the cost of this recipe today, be­ If you feel uneasy about handling mate­ which they are fired), atmosphere during cause of its substantial tin oxide content, firing, etc. Firing and overall glaze compo­ rials that have among their characteristics makes the substitution of another opacifier sition thus determine how a specific mate­ potential toxicity, the alternatives are ei­ very attractive financially, even if the qual­ ther to be schooled sufficiently in chemical rial reacts, and this rarely has much resem­ ity of the white achieved isn’t nearly as interactions, or to limit glaze materials to blance to the material’s behavior alone. good. So, if price is important, make a those which are nontoxic, and accept the Ceramics sometimes is more complicated direct substitution of 10% Opax, Super­ restricted surfaces and palette that deci­ than we would wish. pax, Ultrox or Zircopax for the tin oxide. So it’s always a good idea to err on the sion produces. Other reasonable, one-for-one substitu­ side of caution when it comes to ceramic tions in either Leach recipe are: any kaolin chemistry and physics. In the case of your Q What s the best way to blend bentonite into a for Edgar Plastic Kaolin, dolomite for the using potassium bichromate, it is simply slip or clay mixture ?—S. P. whiting and any feldspar (potash, soda or not possible to determine its availability to There are two methods for doing this— lithium) for Custer feldspar. All these vari­ food after firing, without knowing the one wet, one dry. The best way to blend ations seem to form rather forgiving glazes, composition of the glaze in which it is fired. bentonite into slip, clay, or glaze is to blend even though each is made up of so few ma­ Any glaze ingredient is potentially leach- it dry into the other dry batch ingredients terials. able after firing to any temperature in the before adding water. This prevents lumps And, of course, standard quantities of typical ceramic range, provided the glaze of bentonite from balling up and requiring coloring oxides, carbonates or commercial fails to form a mature, or suitably durable screening, blunging, or other extremes to stains may be added on an experimental glass during firing. Thus, there is no ingre­ end up with a homogeneous mix. The ba­ basis to any of these glaze bases and their dient firing temperature or cone range sic requirement is that you can obtain rea­ variations in order to produce a spectrum that guarantees maturity or stability. In­ sonably dry supplies. of colors. Also, a lower-firing variation of stead, each material interacts with the glaze, Otherwise, bentonite tends to clump Leach 4,3,2,1 and Leach White may be and this interaction may involve and affect and is very difficult to mix into an already achieved by a direct substitution of nephe- all the materials’ physical and chemical wet batch unless a batch of pure bentonite line syenite for the feldspar content. Try properties. The body on which the glaze is is mixed with water to the consistency of firing the nepheline syenite variations in fired also may play a part in glaze interac­ slip and thereafter added to wet glaze or the Cone 6 to 8 range. tions and it too must be factored into the slip. Robert Fournier (in his Illustrated Dic­ results. tionary of Practical Pottery) recommends the Subscribers ’ questions are welcome and those of Now, if your potter friends say a glaze is following method for mixing bentonite wet general interest will be answered in this column. safe and the glaze contains potassium bi­ into a glaze batch: “Work it into a thick Due to volume, letters may not be answered per­ chromate, I’d ask them how they know. If slurry with a little water first, and add fur­ sonally. Address the Technical Staff Ceramics they’ve done some lab tests for chromium ther water only very gradually.... Pass the Monthly, Box 12448, Columbus, Ohio 43212.

16 CERAMICS MONTHLY June/July/August 1989 17 “I had explained to her that I wanted to go and the 20th century. 224 pages, including to a ‘folk pottery village’ and see some of a chart of production organized by regions ‘old Japan.’ I had studied Japanese and was and years, a list of museums with pottery not a beginner in clay: I wanted to go some­ collections, glossary, bibliography and in­ New Books where in the country where I could study in dex. 417 black-and-white photographs, a ‘traditional’ workshop. She had listened drawings and maps; 24 color plates. $24.95, carefully and then suggested Miyama, nam­ softcover.Chilton Trade Book Publishing, Rad­ ing Nagayoshi Kazu, a potter there who she nor, Pennsylvania 19089. The Road through Miyama thought might be able to help.” by Leila Philip As an apprentice, the author had to Italian Maiolica A first-person narrative, this book recalls learn the strict rules of behavior that gov­ Catalogue of the Collections two years spent as a potter’s apprentice in ern village life, which is still rather feudalis- the small, isolated village of Miyama in tic even by japanese standards. Besides pot­ by Catherine Hess Kyushu, Japan. Miyama was populated in tery making and its lore, she writes about The development of tin-glazed earthen­ 1598 by 70 potters brought from southern the villagers’ daily lives, the tea ceremony, ware, or maiolica, on the Italian peninsula Korea by the warlord Yoshihiro Shimazu. tea cultivation, rice planting/harvesting, marked a particularly rich chapter in its Nobody knows how many voluntarily en­ and community relationships. 265 pages. ceramic history. “The term maiolica can be listed and how many were “kidnapped” $17.95. Random House, Inc. 201 East 50 Street, traced either to the Balearic island of Ma­ along the way, but Nexv York, New York 10022. jorca (Majolica), which served as an entrepot from that moment for the Moresque lusterware bound for the they were the prop­ Italian market in the 14th and 15th centu­ erty of Lord Shimazu, A History of World Pottery ries, or to the Spanish name for luster as was their ware—the by Emmanuel Cooper products,obra de malequa,” notes the author beginnings of Satsu- A revised and updated version of the illus­of this catalog documenting the holdings ma pottery. trated history first published in 1972, this of the J. Paul Getty Museum (Malibu, Cali­ Today, in this one- third edition includes a new chapter about fornia). “Medieval potteries at Malaga as street town with a current directions in ceramics. Written by a well as at Murcia and Almeria in the Moor­ population of about potter, the text contains technical as well as ish south were likely the first to produce 600, the only industry historical information of interest to pro­ ceramic lusters in Spain. Until the 16th is pottery; the village fessional ceramists, century, maiolica referred exclusively to has survived through teachers and students wares decorated with iridescent lusters of successive daimyo rulers, through both alike. Often included Spanish or Islamic origin. Only later did World Wars, and through the increased are descriptions of this term come to refer to the more com­ modernization that followed. “But unlike the materials used, mon unlustered earthenware as well.” better-known Japanese pottery communi­ forming techniques, R. J. Charleston, in his book World Ce­ ties, such as Mashiko, Shigaraki, Onta or firing processes and ramics, explains that “ Maiolica specifically Bizen, which now support restaurants, inns, kilns. For example, in refers to tin-glazed earthenware dating from gift shops, and, in the case of Mashiko, describing daywork the Renaissance; majolica is an application scores of potters, the number of Miyama of the Zhou dynasty of the original term to the colorful lead- potteries has dwindled. The village is hard (1155-255 B.C.), the and tin-glazed wares of the 19th century.” to reach—it takes all day by train from author identifies “two It was the Hispano- Tokyo. Consequently, it was not significantly significant developments made during this Moresque pottery affected by the postwar mingei (folkcraft) period which, though not widespread in that exerted the boom, which produced a commercial ex­ their application until later dynasties, were strongest influence plosion in areas closer to Tokyo and Kyoto. of great importance to Chinese pottery. over Italian potters, In Miyama there is no restaurant or visitor The first was the use of a carefully prepared and by the late 15th center, just 14 potteries and pottery paint­ fine white clay decorated in relief in the century they, too, had ing workshops along the road.” style of contemporary bronzes. It is these become adept in the Still, modern life has made a dent there. wares which were the precursors of later tin-glazed medium. Production is geared toward the tourist; a porcelains. The second was the improved While retaining some few chosen “traditional” forms are pro­ design of kilns which allowed more control of the original glaz­ duced in quantity as souvenirs. Standardsand retention of heat. These kilns enabled ing techniques, Renaissance maiolica fea­ are important, nevertheless: “To Japanese clay to be fired to a higher temperature tured distinctive Italian colors and orna­ potters the foot of a pot is considered a vital which gave a harder and more fused body mentation, and served a great range of part of the whole, a final statement. Naga- and formed the earliest stoneware pots purposes. Furthermore, 15th- and 16th- yoshi-san touches the inside of each bowl known. Around this time it was discovered century alchemists and experts in such before he places it on the spinning chock. that a simple glaze could be made by dust­ subjects as pyrotechnics, metallurgy and His practiced leathery hands assess the ing a mineral like feldspar or wood ash on mineralogy helped advance the technical weight and shape of the inside curve. Egg­ the shoulder of the pots. At temperatures side of production by attempting to create shell thin, each bowl weighs 175 grams around 1200°C (2192°F), it willcombine a goldlike luster on maiolica. “Present in after trimming, no more than several eggs with the surface of the pot to form a mottled every court, these alchemists understood together. To be that thin, the exterior of and attractive glaze.” not only the talismanic value of gold but the bowl must be trimmed to an exact Though less than exhaustive in scope, also its appeal for their patrons.” reflection of the inside curve. The proper the text provides a quick reference to ma­ The most exhaustive and didactic man­ size of a large rice bowl at the workshop is jor events in ceramics history from 6500 ual on 16th-century ceramic production 12.5 centimeters at the rim, 7 centimeters B.C. to the present. Starting with the early was written by famed Italian potter Cavali- in total height—just large enough to rest civilizations of the Near East, it goes on to ere Cipriano Piccolpasso, of Castel Duran­ comfortably in the left hand and still hold a discuss the pottery of the Greeks and Ro­ te. (Li tre libri delVarte del vasaio, 1558, was hefty grapefruit-sized mound of rice.” mans, the Far East, Islamic countries, Eu­ translated as The Three Books of the Potter’s Art The author decided to go to Miyama on rope, Great Britain, ancient America, mod­ of the Cavaliere Cipriano Piccolpassoby R. Light- the advice of Louise Cort, curator of ceram­ ern tribal and primitive societies, modern bown and A. Caiger-Smith, London 1980). ics at the Freer Gallery in Washington, D.C. America, the arts and crafts movements, “Thanks to Piccolpasso, we are able to re-

18 CERAMICS MONTHLY June/July/August 1989 19 New Books areas with a thin metal coat. When rubbed, and going upward, striving for a clear state­ these metal deposits produced the shim­ ment, a greater understanding, a keener mering, iridescent surface characteristic of awareness. And solving those problems luster.” brings you to a higher level of experience.” construct contemporary methods of gath­ This catalog of the 36 pieces in the Getty While several sculpture media are de­ ering and forming clay, making and apply­ Museum collection is roughly organized in scribed (those mentioned in the title, plus ing glazes, and firing ceramic pieces. His chronological order according to stylistic cement and vermiculite), two of the seven manual recorded for the first time all of the trends. Each work is shown in color, along how-to chapters are on clay. “Clay...can be secrets of the potter’s art...which have been with black-and-white photographs of alter­ good or bad for beginners: good because kept hidden for many years. Besides being nate views or the reverse. Plate notes in­ clay responds to every push, pull, and pat; hidden, these secrets—the keys to success clude detailed descriptions, dates, size, bad because it offers so little resistance that and fame—we re jealously guarded as well.” marks, provenance, condition of the work, all direction must come from outside forces, Maiolica decoration was achieved by exhibitions, some technical explanations namely you.” The clay modeling chapter covering “already fired earthenware with a and historical commentaries. 127 pages, a includes descriptions of various clay bod­ primary bianco (white) glaze. With firing, list of abbreviations, and catalogue. $32.50 ies, ways to prepare and modify clay for dif­ this glaze became vitreous, establishing the hardcover. 36 color plates; 70 black-and- ferent purposes, set­ appropriate opaque white ground for paint­ white photos; and profile drawings of char­ ting up a work space, ed decoration. The bianco glaze was made acteristic plate shapes. Getty Trust Publica­ appropriate tools, up of a glassy lead oxide opacified by the tions, Book Distribution Center, Box 2112, San­ wedging, forming, de­ addition of tin oxide (ashes) along with a ta Monica, California 90406. tailing, drying, firing silicate of potash from wine lees mixed with and repairing. The sand.” Today majolica glazes employ about Sculpture as Experience chapter on sculpting 10% tin oxide, and omit the lees and sand a clay head is pre­ Working with Clay, Wire, Wax, Plaster and in favor of more insoluble fluxes and flint, sented as a four-week Found Objects respectively. project that involves Luster effects resulted from “the appli­ by Judith Peck working from a live cation of silver and copper oxides in a Organized as a 15-week course for begin­ model; included are geometric guidelines subsequent firing. These oxides were sprin­ ners, “assuming neither prior experience for the placement of each facial feature, kled or painted in a thin wash onto the nor ‘artistic talent,”’ this book is “presented and step-by-step instructions for hollowing surfaces of the ceramics. Introducing smoke as experience and not theory.... Sculptural and drying the completed form. 192 pages, into the kiln during firing by narrowing the problems will appear as the first handful of with supply sources, references and re­ air inlets to the fire chamber and adding clay is pressed between your hands. But sources, 111 black-and-white photographs wet or resinous fuel (such as rosemary or problems in art are different than other (including student and professional work); juniper branches) removed the oxygen problems. They are positive in direction. In 24 line drawings. $14.95, softcover. Chilton from the pigments, leaving the painted other words, you are starting from the norm Book Company, Radnor, Pennsylvania 19089.

20 CERAMICS MONTHLY

Comment Shifting Standards by Richard Zakin

A few months ago I read a pamphlet that Solon’s work was, at the time, very this gulf is large and rarely bridged. entitled “The Story of Minton,” by Paul popular and much admired show us But rarely is not always. Think of the Atterbury (historical adviser to the this? ceramic works of Paul Gauguin and Minton Museum). Since the 18th cen­ The work has little hold over our Joan Miro. These wonderful artists were tury, Minton has been one of the great imaginations today. Solon was able to able to make pieces which are examples ceramic factories in England. One of create an imagery which duplicated of great artistic invention as well as the leading figures there in the late that of the academic painters of his demonstrating real sensitivity to clay. 19th century was ceramist and decora­ time, but these artistic sources are of Both Gauguin and Miro worked closely tor Louis Marc Solon. In Atterbury’s little interest to us now. While we must with astute craftspeople, and their ce­ text I came upon a passage in which he marvel at Solon’s amazing control of ramic work was a cooperative effort. In mentions Solon’s work. The following technique, there is little feeling for clay it the different concerns of artists and section is especially fascinating, for it in this work and there is little else to craftspeople were, to a great extent, re­ seems to resonate with the concerns of draw us in. The admiration his work solved. The result is a group of unique a great many contemporary ceramists: met with stems, I think, from its “im­ works which, I believe, are truly ce­ “Solon’s pate-sur-pate decoration portant” look and from its emulation ramic and truly art. [see below], a method of decoration of art works which seemed to be mak­ Solon’s pieces were highly painted. on vases and plaques, a curious blending important contributions to culture. Perhaps this is the problem. Can a piece of fantasy, Renaissance and Classical What then can we learn from this? be great if its form is merely a canvas styles and discreet eroticism, sold for At first I thought that I would come to on which to hang images? Again, my high prices as examples of contempo­ the place where the gulf between the answer is a resounding, “Sometimes!” rary art, showing that, at this time, the world of art and the world of craft is For me those marvelous Greek terra- barriers between fine and applied art too broad to be bridged: that work in sigillata vases do work, even though had for once been broken down.” which the idea of art is the main thrust they are most definitely paintings on a Is Atterbury’s statement correct? has no place in ceramics. I know there clay ground. What about those highly Were the barriers between fine and are potters out there who say this and painted pieces from the Nazca potters applied art really broken down in the they would be happy to have an ally. of pre-Columbian Peru and those from late 1800s? Furthermore, does the fact As a matter of fact, it does seem that the Mayan potters of pre-Columbian

Color and Pate sur Pate Clayey Kaolin, substitute Grolleg or another pure Cobalt and its compounds give blue col­ white kaolin. Fontainebleau Sand is a natural ors. This metal is employed, either as a by TaxileDoat stoneware which, “when fired in an oxidizing chemically pure oxide, or in the form of fire, [gives] a yellowish tone”; it acquires a “beau­arseniate, carbonate and even phosphate. In pate-sur-pate decoration the ceramist builds tiful blue-gray tone only in a reducing fire. ” A Variations of tones can be obtained by up many layers of white slip over colored slip; reasonable substitute would be a western stone­ adding to it colorless oxides, like zinc and these slips are then covered with a clear glaze. The ware such as Lincoln fireclay. —Ed. aluminum, or by increasing its penetrating result is relief imagery which can be very exact power by the addition of nickel. and illusionistic. Following is a broad descrip­ I have now reached the most interesting Chrome is the basis of greens, from light tion of the pate-sur-pate technique as published part of the grand feu [high fire] art, the green or celadon to the dark malachite in the book Grand Feu Ceramics by Taxile colors. Whether a painter, a sculptor or an green. It can be modified by the addition of Doat (Keramic Studio Publishing Co., Syracuse, architect, the ceramic artist must also be a cobalt and aluminum. Combined with other New York, 1905). Doat, a ceramic master at chemist. He may produce the finest mod­ materials, it gives a wide series of tones. Sevres in France, was brought to the United els of sculpture or the most beautiful deco­ Thus pink is a combination of chrome, tin States to work at the People's University in Uni­ ration, he may fire in the most even and ex­ and aluminum. Combined with lead, it gives versity City, Missouri. Along with Adelaide Al- perienced manner, but he will not succeed yellow; with iron, brown. sop Robineau, Frederick Rhead and other tum- if he has not at his service a palette of colors Nickel which has a great affinity for co­ ofthe-century ceramists there, Doat helped set the which suits his work.... balt, is almost always found close to it in course for the American art pottery movement In [this article] I have carefully avoided nature. The brown palette comes from this which was greatly influenced by his technical dis­ the science of abstract formulae, but on the metal which possesses the greatest power coveries and ideas about appropriate style. contrary, have adopted the science of for penetrating vitrified matter. Doat refers to a number of archaic materials immediate and empirical application.... The Copper, a marvelous metal, runs during which need some contemporary substitutions: For first combinations were made by adding firing through the whole gamut of the most PN Slip, substitute any white porcelain body the coloring oxides to a porcelain paste opposite tones. According to the atmo­ which has a composition similar to (or the same mixed with water. The first attempt was sphere in which it is developed, it gives as) the white body on which it will be painted. For made with chrome, the second with cobalt. black, green, turquoise blue and crimson

22 CERAMICS MONTHLY June/July/August 1989 23 Comment in this process. The work that came out guarantee of good work. Furthermore, of this philosophy is, at its best, marked I think of so many great pieces that by a strong and consistent simplicity communicate intellect and ego—in and directness. I have loved pots of this particular, a Colima pot with elegant, Mexico? Do they work? Yes, I think sort; they are persuasive arguments in sweeping curves from pre-Columbian they do. favor of this way of thinking about clay. western Mexico. This is a marvel of I then began to try to understand But then I remember all that bad work careful intellectual planning, and I the character and mood of Solon’s done by so many who followed Leach, know that Leach’s philosophy, as great work. Why did he do it? Perhaps his and I know that Leach’s way was no as it is, is not enough for me. decorations are merely monstrous crea­ Perhaps pots are nothing more than tions meant to impress, to make us the expression of ideas—strong, reso­ draw in our breath. Perhaps work like nant and beautiful ideas. But then I this is always doomed to be merely think of an intense, strongjar from self-important and dead at the Japan; its rich, squat nature core. Yes, I think that Solon’s draws me in every time I see pieces are very much in this it. The Japanese characters category. on its side mirror the di­ Should we always be rectness of the form, but wary of technical marvels? say nothing more poet­ I would feel easier about ic than “Pickles from such a conclusion if I was Akasuka.” not reminded of a group Perhaps self-expres- of wonderful pieces sion is the key. We cer­ which are both techni­ tainly live in an age that cal marvels and great places a high premium works of ceramic art. I on that trait. I must am thinking of the com­ admit, however, that plex porcelain creations many great pots (includ­ made during the 18th ing that squat Japanese century in China for the jar) seem to have nothing Emperor Chien Lung; these at all to do with the potter’s objects were made to impress self-expression, but are and they still can impress us, rather the expression of use for they are objects of great splen­ and of a culture. dor, at once sophisticated and bar­ Perhaps ceramic work should baric. express tradition, or perhaps its oppo­ Bernard Leach suggested that the site: the avant-garde. Here, too, both approaches have generated work that revelation of clay and its true nature Minton plate with pate-sur-p&te relief figures should be our goal and that we should by Louis Marc Solon, circa 1872. Does it tell is boring as well as work that is vital and submerge our intellects and our egos us about standards today ? exciting. Both strategies can be effec- red. It becomes metal, flows, is translucent Platinum gives to the flux of the body label their colors, in order to avoid disap­ or opaque, according to the materials with and the vitreous glaze only a lead gray color pointments such as I had one day when I which it is mixed. And if it is the most halfway between the color of silver and that accidentally used a celadon of copper glaze difficult metal to control, it is also the good of tin, but it is the only metal which gives instead of a celadon of iron. The vase, fairy of ceramists because of the charm of fixed tones which vary neither in oxidizing when passing through a reducing atmo­ its unexpected effects. nor reducing fires. sphere, became a blackish red which con­ Iron is used in all its forms: colcothar, The two precious metals, gold (1030°C) cealed all the decoration.... scales, bol d’Armenie, Terre de Sienne, yel­ and silver (770°C), which melt at compara­ Coloring oxides may be combined ei­ low ocher, ferruginous silicate of Thiviers, tively low temperatures, disappear in por­ ther with the paste or with the glaze. They etc. The basis for browns, reds, violets, it is a celain firing.... give different effects with these different source of trouble and providence to ceram­ Metallic oxides and their compounds combinations. ists; troublesome because it gets incrusted act differently according to the nature of When the color is mixed with the paste, in the white, and providential because of the atmosphere in the kiln. They must be it forms with it an opaque mass which re­ the variety of tones it gives to other metals. studied for the kind of firing in which they mains fixed, is not displaced, and allows Uranium is, like copper, among the er­ will be used. So uranium gives black in the superimposition of other pastes. This ratic metals. It gives both yellows and blacks, reducing, yellow in oxidizing. Copper, constitutes what are calledcolored slips. going from citron yellow to yellow brown, green in oxidizing, is red in reducing. From If the same coloring matter is added to and from gray to deep black. this fact it will be seen that the scientific glaze, the latter becomes more fusible and Manganese , either common or ferrugi­ regulation of the kiln atmospheres has acquires a tendency to flow, thus making it nous, and pure metallic manganese may doubled the coloring resources. But cer­ impossible to superimpose a decoration. enter into coloring combinations. They tain metals, zinc for instance, are volatil­ This combination gives the colored glazes. produce brownish black, violet, reddish ized and completely disappear in a reduc­ These two processes complete each brown and yellow. In most cases, this color­ ing atmosphere. other, as the colored glaze may safely flow ing gives metallic reflections. Ceramists who use only one or two met­ over a slip decoration which remains fixed. Iridium gives grayish blacks of a great als have not any mistakes to fear, but those Colored slips are not of a complex prepara­ delicacy and of great charm. who want a varied palette must carefully tion. It is sufficient to add to the white slip a

24 CERAMICS MONTHLY June/July/August 1989 25 Comment nard Leach told of his principles at every opportunity. He chose his limb and climbed out pretty far on it. We can take our cue from our feelings tive, but neither will guarantee great about Leach: we do not have to agree work. with him to admire his commitment Perhaps pure form should be our and his energy. main goal; indeed, I think this is a I, therefore, have come to under­ better bet than most. But even here I stand that I do have a standard, one am not so sure, for I think of the eccen­ that I can apply to all ceramics. What I tric and expressive pieces of George see in the pieces I admire is evidence of Ohr; pieces in which it seems expres­ delight in the act of creation, and evi­ sion and a crackling energy are far dence of a forceful personality willing more important than pure form. and able to communicate clearly and I have been mulling this over for directly in the medium of clay. This years. Every time I think I have found standard is subjective, it is vague and that principle which makes the Solon hard to pin down. It is hard to believe pieces puffed up and silly, I realize I that one could get much mileage out know of work done in that same vein of it. There is, however, no other meas­ that moves me with its energy and au­ ure that I could feel comfortable with. dacity. Every time I think I have put my I would never deny that it takes cour­ finger on the underlying factor com­ age to take a strong stand, but for my­ mon to all great ceramics, I remember self I prefer a kind of ironic agnosti­ work that breaks these rules. cism. What we can learn from Solon is This is not to say that we ceramists that in ceramics there are no reliable should have no principles or guiding positions of strength, that all is shifting ideas in our work. They do not always and changing and that to accept this is help, but often enough they do. Ber­ to accept reality. ▲

few grams of coloring oxide and to mix Very Dark Blue Slip with water. Cobalt Oxide ...... 10% The greens which I use in the shape of PN White Slip ...... 90 slip are prepared as follows by simple grind­ 100% ing [of the batch with a ball mill or mortar If on a cobaltiferous slip another col­ and pestle]: ored slip, or simply a white slip, is laid, the Light Celadon Slip latter will be penetrated by the cobalt ox­ Chrome Oxide ...... 2 % ide. This infiltration through a white slip PN White Slip ...... 98 laid over a cobaltiferous slip, has given birth 100% to the process of decoration called pate sur Dark Celadon Slip pate or applied slips. Chrome Oxide ...... 5 % Colored slips must have the following PN White Slip ...... 95 qualities: such a degree of plasticity that 100% they can securely be applied to the piece One may go up to 10% chrome. Al­ and make a whole with it; coefficient of though these two colors stand both firings, expansion identical to that of the porcelain the light celadon is finer in oxidizing, and itself, so that creasing, blisters and cracks the dark celadon in reducing. will be avoided. Besides, they must be mixed If only a small quantity of slip is needed, as thoroughly as possible either by grind­ the mixture can be made on a rough glass ing or fritting, so that they will give uniform with a muller; and with water. For a quan­ tones without spots or shading. tity of more than 1 pound, a hand mill The mixture by grinding is very simple. should be used. Chrome slips have a re­ It is done with a muller and a palette knife. markable distinction and delicacy, but have The mixture by fritting is more complex not a great power of infiltration through and requires practice. A frit is the product other pastes. In order to give more delicacy of the calcination or fusion of many sub­ to their combinations, one may add to them stances, so that they will be intimately mixed from 3% to 5% zinc oxide. and incorporated with each other. It is The blue slips I use are made as follows: made in a fireclay crucible. This crucible, containing the substances to be fritted, is Light Blue Slip placed in the hottest part of the kiln, where Cobalt Oxide ...... 2.5% it passes through the different tempera­ PN White Slip ...... 97.5 tures of the firing and undergoes a partial 100.0% or complete fusion. If there has been only Medium Blue Slip calcination, the crucible, when taken out Cobalt Oxide...... 4% of the kiln, is simply emptied, and the cal­ PN White Slip ...... 96 cined product mixed in the mill. But if the 100% materials have fused, they are stuck to the

26 CERAMICS MONTHLY

Color and Pate sur Pate Mauve Slip Simple mixture Chrome Aluminate...... 30 parts Feldspar in Flour...... 20 crucible, which must be broken, to allow PN White Slip ...... 100 the gathering of all the vitrified substance (strictly oxidizing firing) which then will be crushed and ground, Chrome aluminate or artificial ruby, and will be used in the shape of impalpable composed by Salvetat, is obtained by the flour. It is in the upper part of my kiln that strong fritting of the following mixture: I place the crucibles. If the mixture is liable to overflow, an old [refractory] bat is placed Dry Alumina...... 1000 parts under the crucible.... Bichromate of Potash ...... 75 Dark Blue Slip is obtained by thorough­ ly mixing in the crucible and fusing moder­ Black Slip ately the following materials: Strong fritting Clayey Kaolin ...... 50 parts Frit Chromate of Iron ...... 15 Fontainebleau Sand...... 54 parts Cobalt Oxide...... 6 Pure and Very White Mixture Clayey Kaolin ...... 45 PN White Slip...... 75 Cobalt Oxide Free from Nickel .... 11 Frit...... 30 (for oxidizing firing) This frit crushed and ground is mixed with the slip in the following proportion: Light Gray Slip Simple mixture Clayey Kaolin ...... 45 parts Platinum Oxide...... 2 % PN White Slip ...... 71 PN White Slip...... 98 Frit...... 57 100% (for oxidizing and reducing firing) Dark Gray Slip A moderate fusion can be obtained by Platinum Oxide...... 6 % placing the crucible at the bottom of the PN White Slip...... 94 kiln, a strong fusion by placing it on top, of 100% course in a downdraft lain; inversely in an (for oxidizing and reducing firing; very updraft kiln. fine tone in oxidizing) As much as possible I avoid fritting, but Colored slips are applied either on raw it must be admitted that it is the surest way or baked pieces, quite thick, in successive to obtain a thorough incorporation of the layers, each layer being dried. They are coloring matter with the paste and their applied either with the decorating brush or intimate mixture. Slips which have not been with a fine sponge when large surfaces must fritted have a rough appearance and are be covered. To lay the slip in one coat sprinkled with spots, which are not shown would...produce crackles and blisters. on fritted slips. The latter harmonize bet­ Over these slips, which are not displaced ter with the precious porcelain material. in the firing, can be made, by a superimpo- For this reason fritting is to be recom­ sition of white slip, the fine bas reliefs, mended, but it is slow and expensive. which are called pates sur pates. When the design has been traced over Bluish Green Slip the colored slip, either with a pencil or a Strong fritting pouncer, it is covered with slips of white Fontainebleau Sand...... 30 parts paste laid in successive coats and of differ­ Pure Clayey Kaolin...... 22 ent thicknesses according to the effects to Chromate of Cobalt ...... 7 be obtained. The water is absorbed by the raw body and the paste is gradually depos­ Then to be mixed by grinding in a hand ited. When the desired thickness is ac­ mill, if no motive power is to be had. quired, the paste, thoroughly dry, is mod­ eled with an iron chisel such as is used for Mixture medal engraving. During the firing the Clayey Kaolin ...... 43 parts coloring oxide of the under paste pene­ PN White Slip...... 90 trates the white applied paste according to Frit...... 55 its coloring power and gives it in the thin (for oxidizing firing) parts a transparency which reminds one of Green Slip the precious effects of cameo. Blue and Very strong fritting green slips possess the greatest penetrating Fontainebleau Sand...... 30 parts power. For this reason bas reliefs executed Clayey Kaolin...... 25 over these slips must be made thicker. Feldspar in Flour...... 75 Colored pastes being opaque are natu­ Chrome Oxide...... 20 rally matt after firing. To give them the Intimate mixture necessary brilliancy and glassy finish they Clayey Kaolin ...... 20 parts must be covered with a glaze, which will PN White Slip...... 85 preserve them from the injuries of time, Frit...... 30 and distinguish them from the bas reliefs (for oxidizing and reducing firing) made in Wedgwood style. A

28 CERAMICS MONTHLY

Earthenware Potters by Doug Browe

32 Ceramics Monthly MAiUNG POTTERY for a living is a pro­ By good fortune, we also had the tion conceived as a whole and execut­ gression, a continuing evolution, a lay­ opportunity to visit the studios of Cliveed in collaboration. ering of experiences, techniques and Bowen and Nick Chapman, two North Collaboration for us starts in the inspiration, always building upon it­ Devon slipware potters. Working with idea phase—a monologue that grows self. Like a spring garden, the studio is Nick gave us our first experience with into a conversation. The ideas gener­ a natural and fertile environment for earthenware. We were charmed by the ated individually are developed into creativity to flourish. warm, bright colors and the homey, drawings on paper to be shared, then Jan Hoyman and I have been pot­ cozy feeling of these pots, and were ex­ to sketches in clay—mock-ups which ting together for over ten years now. cited by the process. may or may not be fired. New decora­ We met at a California studio she was Back in the United States, our fate tions are rehearsed on old pieces of working in. I had crossed the country was sealed when we found the only bisqueware, on the table top, and on to visit that studio because of reports of indigenous clay being mined in Michi­ paper, with more discussion clarifying its self-sufficiency—mining clay and gan was a red earthenware clay-shale. and distilling the idea. glaze materials, and wood-firing in a Our first supply run was in a 10-ton After a decade together, we’ve found six-chamber climber. Since then, our dump truck—completely full. We then much of the communication has be­ strongest bond has been commitment started to investigate and experiment come intuitive. Because of that, the to tradition. with the slip-decorated earthenware spontaneity of creating a new idea is Early on in our work with clay, we process we use today. not hampered or slowed. It is that intu­ felt the need to be with people who Originally, decoration consisted of ition that ensures creative freshness were making their living from func­ coating the red earthenware with a fire­ with the advantage of a bipartisan view. tional pottery. So with the offer of stu­ clay slip, wiping through with fingers Process keeps us on track, as the dio work in Ireland, we were off across and ribs, then slip trailing on top. Next, distractions of 100 other studio and the ocean. We spent that next year the pots were covered with a rich am­ business chores are always in the way of working in various potteries across the ber glaze. As we were learning and ex­ the important work of creating. The British Isles and pouring over the U.K.’s panding this process, our lives were drying pots demand to be slipped, great ceramic collections. At the Victo­ changing also. pitchers to be handled, plates to be ria and Albert Museum in London, we Gardening, which started as a way to decorated, kilns to be loaded, and more first walked past all the traditional Eu­ supplement our pantry, was quickly be­ ideas to be explored. ropean and Islamic pots to embrace coming a passion for Jan. Those green Our production flow now starts with historic Asian and contemporary Eng­ thumbs led us to California. The more custom-mixed, pre-pugged clay. The lish pots. I still love the quiet aesthetic hospitable climate not only had its ef­ clay formula, developed over the years, of those works, but eventually we were fect on our gardening, but also on our is still changing as we search for the overpowered by the humanity and work with clay. The format, tools and best balance between plastic working honesty of those early European works. patterns of our decorating evolved with qualities and fired porosity. We battle We were treated with such kindness the use of brush and color to express porosity not only with a body frit, but everywhere, and were always surprised our new surroundings. also by keeping the particle size and by the path opening before us. One The separation of decorator and body grain fine. morning in Ireland we met a gendeman maker has been the typical avenue in We throw to weights and sizes for who took us home to see his pots, a earthenware production. Too often, dinnerware, mixing bowl sets and other veritable who’s who of contemporary forms became weak and lifeless at the repeat work, which by its nature needs ceramics worldwide. It is one thing to command of decorator or designer. to stack and/or have cohesion on a see a 50-year-old Cardew bowl, but quite We feel that the strength of our work table. Most of our work, though, starts another to hold it, feel its contours. lies in the reunion of form and decora­ with just a weight measurement. This

left “Morning Glory Jug, ”10 inches in height, Cone 03 earthenware , with underglaze decoration; $45. right What was once a creamery in Ukiah , California , adapted nicely to functional earthenware production for Jan Hoyman and Doug Browe.

June/July/August 1989 33 left For watercolorlike imagery, Jan brushes underglazes (oxides and stains mixed with bentonite, Gerstley borate, whiting, base glaze, etc.) onto slip-coated surfaces.

right Knee-high waders stored under a table beside a shower room leave little doubt that work in the slip room often requires quick and easy cleanup.

bottom left Doug throws and trims mixing bowl sets, dinnerware and other repeat work according to predetermined weights and sizes.

bottom right “Rose Arbor Platter,” 22 inches in diameter, wheel-thrown red earthenware, with underglaze decoration over creamy white slip, clear glazed; $180.

keeps the pots fresh and allows the Blue Underglaze regain studio momentum again, it’s a form within each ball of clay to emerge. Cobalt Oxide ...... 1 ½ tsps. month down the road. Also, these are Individuality is enhanced by brush- Base Glaze...... 3½ cups juried shows. So there’s always a possi­ work. Because we fire two of the three bility you will not be accepted the next electric kilns every day, decorating is Over the years, our marketing took time you apply. If you’re depending on an ongoing process. Our underglaze on many manifestations before we hit such shows for your income, you may patterns are very impressionistic and upon present methods. Some are quite find yourself washing dishes. watercolorlike. For more fluid or lively normal; some a bit different. When we The most important part of market­ color, additives (Gerstley borate, whit­ decided on earthenware (a full dump ing any work is targeting the people ing, bentonite, base glaze, etc.) are truck is a definite decision), we built a who desire your skill, and finding where mixed with Mason stains or oxides. small wood-burning kiln, contacted lo­ these people go to get it. This is differ­ While we use a lead bisilicate base cal wineries, then started making wine ent for each craftsperson and there is glaze, the following pigments (meas­ bricks with each winery’s logo sprigged no short cut. ured by volume) should work well with on. The glaze and slip were developed The marketing methods we now rely any Cone 03 clear glaze. and refined, while the unglazed ware on most are reorders and word of paid the bills. mouth. We have a strong local retail Black Underglaze After developing our tableware, we following and try to work with gallery Black Stain...... 6 tsps. established a route to deliver to about owners and operators toward an end Bentonite...... 2 tsps. eight shops. On the return trip, we that serves us both. I miss the contact/ Base Glaze...... 3 tsps. would fill car or truck with materials. interactions at the shows and will prob­ We employed this strategy again in Cal­ ably resume doing them—perhaps Brown Underglaze ifornia. The drawbacks are obvious. when our new daughter is two years Manganese Dioxide...... 3 tsps. Long hours on the road, bigger and old, so she can tend the booth. Bentonite...... 1 tsp. bigger rigs needed. Finally, the work is priced as it is Base Glaze ...... ¾ cup In 1984, we decided to try the Amer­ made, collaboratively. Jan goes low, I ican Craft Enterprises (A.C.E.) whole­ go high. In the middle is the right sale/retail show in San Francisco, and price. (It must be the right price—it Peacock Underglaze we liked it. Wholesale is not for every­ has always worked.) Factors to consider Peacock Stain...... 6 tsps. one, as the A.C.E. shows aren’t for ev­ in pricing are material cost; overhead; Whiting ...... 6 tsps. eryone. The positive points include length of training, apprenticeship or Bentonite...... 2 tsps. contact with hundreds of gallery own­ schooling; difficulty of process or attri­ ers and networking; it’s great to spend tion (loss rate and things thatjust don’t Crimson Underglaze a week with so many old and new work out); what the market will bear. Crimson Stain...... 3 tsps. friends. We do strive to keep our costs/over- Whiting ...... 3 tsps. On the negative side, the shows are head down to keep the work at a mod­ Bentonite...... 1 tsp. time consuming and expensive—a min­ est or reasonable level. I once read a imum of $2000, often more. The show six-part craftsperson’s code of ethics Pansy Purple Underglaze fee is not that much, but by the time written by a coppersmith; he said, in Pansy Purple Stain...... 6 tsps. you fly there, ship pots, build your part, conceive a product with love in Whiting ...... 6 tsps. booth, rent a room, eat out three meals your heart, ask an honest price for Bentonite...... 2 tsps. daily, etc., expenses add up. In time ex­ honest work, and you’ll be successful. pended, we figure the whole month of Vanadium Yellow Underglaze the show belongs to that show. By the The author Doug Browe, with Jan Hoy- Vanadium Stain...... 2 tsps. time you organize your display, pack man, operates Earthenware Potters in a Bentonite...... ½ tsp. and ship pots, spend a week at the former creamery, complete with retail shop Base Glaze ...... 2 tsps. show, come back home, chill out, then and formal garden, in Ukiah, California.

34 CERAMICS MONTHLY June/July/August 1989 35 36 C eramics Monthly PHOTOS: THOMAS LIDEN

opposite top left Floral motifs usually involve several underglaze colors; new decorations may be rehearsed on pieces of hisqueware, paper, even the table top.

OPPOSITE TOP RIGHT “Wisteria Vase ” 17 inches in height, slip-coated red earthenware, brushed with underglazes, clear glazed; $160. far left Two of the three electric kilns are fired every day; note the back-saving , counter­ balanced pulley system to raise and lower lids. above “Climbing Rose Teaset” with 12-inch- high teapot, wheel-thrown earthenware , with brushed underglaze decoration over white slip, fired to Cone03 in oxidation;$250. left “Garden Walk Floor Vases”20 inches in height, thrown and squared red earthenware, with underglaze decoration over white slip, clear glazed, by Doug Browe and Jan Hoyman; $140 each.

June/July/August 1989 37 Angelica Pozo

“DROUGHT VESSEL,” a tile and adobe was pushed well into the openings of the same image of the surrounding outdoor installation by Cleveland art­ the mesh. Sand was added to the outer area, from nature (image), in nature ist Angelica Pozo, was featured at the layer to achieve a smoother surface. (site), and of nature (material).” Lima Art Association annual sculpture The tiles were made from terra cotta Having shifted early in her career show at the Ohio State University (Lima mixed with a high percentage of grog. from painting to ceramics, Pozo com­ branch). Located near the main drive Those used as mosaic elements were ments that “in school, the images in leading into campus, the “vessel” was surfaced with vitreous slip colored with my drawing and painting were nonob- positioned horizontally so that rain Mason stains; while the landscape pan­ jective. Gradually, I began to discover water cannot be collected and will drain el tiles were brushed with commercial the landscape references within them, off. This, along with the inlaid tile panel underglazes and a very thin coating of and began to purposely do abstract picturing a dry landscape (inspired by clear glaze to seal the surface without landscapes—which have recently last summer’s drought), substantiates creating a gloss. The panel image du­ evolved into realistic landscape. I feel the work’s title. plicates the surrounding landscape that I have been backtracking the path The adobe was mixed on site from (undergoing the hardship of drought) of modern painting, starting at the end local soil (which is about 33% clay); as it is seen when standing on an adobe and going back to the original source straw; water; and cold-process, emul­ and tile platform at the foot of the in nature. Now I am looking at land­ sified asphalt as a hardening agent. It “vessel.” scapes in a textural sense, combining a was then applied over a hardware-cloth- Pozo purposely “chose a site that textural interpretation with the realis­ covered armature, making certain it afforded a long vista. I wanted to use tic rendering.” A

Angelica Pozo inlaying terra-cotta tile on the adobe substructure of “Drought Vessel ”

above Detail, “Di'ought Vessel” underglaze landscape.

LEFT “Drought Vessel ” 7V2feet in length; separate viewing platform with steps (foreground), 4V2feet in diameter; installed at the Ohio State University , Lima campus.

38 CERAMICS MONTHLY Planning a Potter’s Sabbatical by Dick Lehman

“So WHEN are you going to take your And it was easy for me to justify the sabbatical?” affordability of sabbaticals for people The question came from my long­ in those professions. After all, the in­ time friend Jeff, a professional in the stitutions for which they worked pro­ mental health field, during a three- vided the sabbaticals for them—just month sabbatical he was enjoying as part of the benefits package; no charge. one of his job benefits. Jeff s question As I more carefully examined these was meant largely in jest, with that twist assumptions and beliefs, I discovered of sarcasm that I have come to appreci­ that I have personal needs similar to ate in him. We both knew that potters those in educational pursuits. And I and other self-employed folks can’t af­ concluded that I have a similar, diffi­ ford, and subsequently don’t take, sab­ cult, high calling, whether in my one- batical leaves. of-a-kind forms or in my production Even if I could afford the cost of a ware, to produce works that reflect and sabbatical (which I couldn’t), what communicate with integrity the values would happen to my business in the I hold important. meantime? How could I keep the I realized that those with paid sab­ shelves stocked? Who would keep the baticals are not really getting a “free store open? I couldn’t just walk away lunch.” They earn their sabbaticals in from my retail business and leave cus­ the same way that they earn the rest of tomers of seven years in the lurch. “Im­ Dick Lehman found a reasonable way to their job benefits. They can take a sab­ possible,” I thought. afford a two-month sabbatical leave batical because their employer believes But the question remained with me, from full-time studio pottery. in its value, and plans accordingly. unanswered. I thought back to the year Finally, I realized a need to enlarge before, when during a visit to Arizona my thinking about the length and na­ State University, Randy Schmidt showed sion—would periodically be a part of ture of sabbaticals. Perhaps they did me the university’s facility and told me my personal and professional develop­ not need to be a year in length to have about the visiting artist program, then ment. I had always believed in the value a similar value. What if one considered asked, “So why don’t you apply to come and legitimacy of sabbaticals, that in a six-month, a three-month, even a two- out and spend several months with us?” them was the potential for refreshment, month break? “Itjust isn’t possible,” I’d replied. discovery, growth. For me to seriously consider a sab­ Four years later I took a two-month Yet, after having been a full-time batical I needed to answer two major sabbatical there. What happened in potter for seven years, I found it difficult questions. First, could I make a philo­ the meantime? How did the impos­ to embrace my earlier beliefs. At first I sophical commitment to it? Do I really sible become possible? Perhaps my couldn’t decide if I thought sabbaticals need it? Am I worth it? Am I a profes­ story can serve as a model for how full- were unnecessary for creative artists, sional deserving and needing the ben­ and part-time clay artists might incor­ or if I had just caved in to the realities efits of a sabbatical? porate renewal time into their lives. of running a small business. (There Second, would I, as both employer There are some things in my back­ seems never to be enough time or mon­ and employee in my own business, step ground which may have predisposed ey.) Perhaps it was a mixture of both. to the side, put on my employer hat me to want to take seriously Jeff s and It was easy for me to see and to and discipline myself to do the hard Randy’s questions. From my under­ justify the need for sabbaticals for those work necessary to organize and plan graduate and graduate training in the in education and the helping profes­ the specifics of budget, staffing, and ministry and helping professions, I sions. They are, after all, involved in a production management? came to expect that a sabbatical—a difficult, high calling, and need time My answer to both was a tentative period of paid time off from my profes- to recharge their batteries. “yes.” But then what? First I decided to

June/July/August 1989 39 try identifying as clearly as possible just enough that a man should oughta have with my goals; 5) identification of what what I wanted from a sabbatical exper­ ’em. So I’m gonna buy that boat.’ Now I had to offer the university—from both ience. In “goal and objective” fashion, there’s one thing for sure...I do pay my my experience and academic back­ I outlined my hopes for time away. I bills. If there’s a bill every month for ground; and 6) definition of the sorts also decided that several months away that boat, I will pay it. I’ll just work a of daywork I wanted to pursue. was as much as I could afford. couple extra hours on the side, and I’ll A.S.U.’s initial response was to sug­ enjoy the boat starting now.” If you gest a meeting to discuss my proposal. I Planning and Budgeting believe as much in the value of afinanced a two-day trip to Arizona and, Armed with goals and a timetable, I be­ sabbatical as Jim did in his bass boat, subsequently, was invited to come. gan contacting universities, art centers perhaps it’s worth borrowing for. and individuals. At the same time, I The staffing issue was a bit more On Sabbatical checked with friends and contacts in complex. I have one part-time and one One of my philosophical as well as ceramics circles about ideas they might full-time person working for me. pragmatic commitments toward a sab­ have for sabbatical opportunities. During my sabbatical, I wanted the batical was to get as broad a range of Slowly, a list of possibilities began to studio to remain productive, and the exposure to new ideas as possible in a develop that might match up with my retail sales area open. Accomplishing short two months. During my time at timetable and interests. Two years be­ this depended on two things: the quality A.S.U., I participated in a variety of fore I planned to take my sabbatical, I of the staff; and how I prepared them activities. The following list is repre­ contacted locations that seemed most for my absence. sentative: I sat in on some university promising. Finally, one year before I Let’s consider the second part first. classes; had numerous visits with the planned to leave my studio, I drew up a Planning for an absence forced me to ceramics faculty and made several pre­ full-fledged proposal and sent it to the move the staff into areas of production, sentations to university classes; met with place which looked most attractive, and management and decision making that the art faculty from several other where my needs and theirs seemed to I probably would have been slow to do schools and universities; and spent time match best. had the situation not demanded it. with all the graduate students in ce­ Concurrent with this planning, I had What I discovered was that they were ramics, as well as some students from a to solve two other major issues: variety of other disciplines. Spend­ how was I going to pay for this ing several afternoons studying experience; and how to staff and “Four years later I took the work in the permanent ce­ manage my studio while away? I ramics collection (contemporary immediately went to work on the a... sabbatical.... How did the and early-American work) was a funding issue. Initially, it appeared real treat; and, on one occasion, I the most insurmountable. How impossible become possible?” had the pleasure of a three-hour could the business afford to personal tour of the collection support me for two unproductive with curator Rudy Turk. I also at­ months? My family seemed barely able both ready and able to handle these tended the Yuma Crafts Symposium, to get by on what I was earning. areas. visited local production potters and To complicate the situation, it was But, regardless of how well I worked the Acoma Pueblo, plus several com­ important to expect no salable pots at preparing my staff, the key ingredient munity art centers, museums, art fairs from my sabbatical—no income. I was that they were committed and and galleries. wanted to be completely free of mar­ qualified people of integrity, who would I tried to do all this and my daywork keting. I was looking for a time to ex­ be as careful with my business as they on a schedule which had me “working” periment, to play. would had it been their own. a maximum of six hours a day. With the So what could I do? I searched for remaining “free time,” my family and I ways to increase production while at Approaching the Sabbatical Host spent time together hiking, traveling, the same time expanding my retail and My first choice for a sabbatical location playing, absorbing what this part of the wholesale base. Gradually, I began fun- was Arizona State University, which Southwest had to offer. Certainly this neling some of the profits into savings offers a visiting artist position to pro­ change of pace, new setting, and the for the sabbatical. By starting early, the fessors and professional potters. The stimulation from many contacts and sabbatical fund was spread out over university provides studio space, selectactivities provided a rich foundation two years. As a result, some of my savings materials and equipment, and adjunct for personal and professional growth. actually worked for me by producing professor status to the visiting artists— In the past I have been intrigued interest income. no stipend. with the interplay between controlled, Now, admittedly this is a very My application contained a propos­ disciplined forms, and the spontane­ disciplined approach, very linear, left- al that included the following elements: ous, accidental decoration of the flames brain thinking. If it is just not in you to 1) a resume (thorough background in­ which occurs, for example, in raku work in this manner, yet you believe in formation outlining who I am, where firing. The time at A.S.U. furthered the idea of a sabbatical, perhaps you I’ve been, what I’ve done); 2) a goal that intrigue. I found the faculty to be a could go about it in the same way my statement identifying what I was look­ wealth of resources. Don Schaumburg friend Jim went about getting his new ing for in a sabbatical from the uni­ has worked in raku for years. Jeanne bass boat. “Hey,” he said to me, “there versity and its general/geographical Otis specializes in color. (See ‘Jeanne ain’t no way a man can save up enough location; 3) a timetable stipulating Otis: A Color Dialogue” in the January to pay cash for a new boat...at least this when I was free to come, and for how 1988 CM.) Randy Schmidt piqued my man can’t. So I told my wife, ‘There’s a long; 4) clarification of how this loca­ curiosity with some unusual pumice few things in life that are just important tion and what it had to offer meshed glazes of varying textures and colors.

40 CERAMICS MONTHLY These influences encouraged me to 013 to Cone 10. Careful control of commitment toward planning and continue exploring the interplay be­ saggar venting produced, on the same implementing a scheme which fits our tween the intentional and the acci­ pot, a random range of pastels, plus time, budgets, commitments and goals; dental—but with an altogether new deep blacks and clean whites. Some an attitude of relationship—one which color palette. weed and leaf imaging remained at all involves others in growth. I tried two approaches that showed temperature ranges. Can part-time clay artists take particular promise. The first involved I will be quick to say that alongside sabbaticals? Of course! But to plan using a modification of a flameware these two promising approaches were yours you may need to think in body. Thrown forms, with a Cone Oil many unsuccessful approaches—and I unconventional ways. You may need to copper stain, were smoked in a covered contributed significantly to the A.S.U. create an opportunity to match your bed of sawdust, re-oxidized, and then shard pile. But I contributed happily, goals. Take my friend Dave, for reduced once more in the sawdust until because a sabbatical is a time to play, to example: he has twice scheduled a cool; or smoked in a covered bed of experiment, and to fail. whole summer of volunteering in other sawdust for only five minutes, then re­ Occasionally this experimentation peoples’ studios—two or three weeks moved and water-quenched almost im­ leads to the unexpected, pleasing dis­ at each one. He was interested in ex­ mediately as the stain produced rapid covery—the kind of discovery that panding his view of form and style. and dramatic color changes in re- comes when one puts aside the de- And he wanted to be influenced by the oxidation. (Quenching “fixes” the col­ mands/constraints of marketing and geography from a variety of areas in ors as it stops the re-oxidation.) showing, and simply responds to the the states. So he developed a sabbatical The second method focused on sag- inquisitive and curious “what-ifs” with­to meet his needs. gar-fired porcelains. Brick saggars built in oneself, then takes risks accordingly. Does developing your own sabbatical in kilns were partially filled with saw­ For me, it is the interplay between risks, sound too rigorous? If so, you may dust. Fresh leaves and weeds were used between control and spontaneity, be­ choose to take advantage of existing or to form “beds” for the pots. Copper tween the intentional and accidental easily managed opportunities: work­ sulfate, cobalt sulfate, and/or cupric which makes for the most beautiful shops, conferences or symposia; sum­ nitrate mixed with rock salt in a 1:1 ra­ pots, and the most interesting lives. mer courses at colleges or universities; tio was sprinkled in troughs around volunteer work for another clay artist the pieces. As the saggar was filled with Finding Sabbatical Opportunities for two weeks free of charge; potters’ sawdust, additional portions of the sul­ Do sabbatical opportunities really exist? tours to England, Japan or elsewhere; fate/ salt mixture were placed on shards The key, I think, is not to allow “time” or plan your own workshop, special adjacent to the piece, in layers, from to be a final definition. A sabbatical is, firing, tour, etc. bottom to top. High quality charcoal at least in part, an attitude: an attitude The most exciting opportunities, I was also scattered in the sawdust next of defining needs for personal and am convinced, are yet to come. to the pots, and provided a range of professional developing; an attitude of starburst pastels ranging from pinks adventure with a willingness to search The author owns and operates Dick and oranges to greens and blues. out the opportunities, and at times even Lehman, Potter, Incorporated, a studio pot­ Pots were fired in a range from Cone dare to create them; an attitude of tery in Goshen, Indiana.

Stoneware Body (Cone 9) Recipes Custer Feldspar...... 41 lbs. Cedar Heights Goldart ...... 100 Georgia Kaolin (6 Tile) .... 33 Hawthorne Bonding Clay or Fireclay...... 24 Raku/Flameware Body Kentucky Ball (Cone 011-9) Clay (OM4) ...... 41 Spodumene...... 30% Flint (325 mesh)...... 12 Grog (fine mesh) ...... 14 Custer Feldspar...... 10 265 lbs. Foundry Hill Creme Clay .... 30 Kentucky Ball Add 68-70 pounds water. For an Clay (OM 4) ...... 20 excellent ovenware body, substitute Pyrophyllite ...... 10 kyanite for the fireclay and grog. 100% Copper Stain Add: Bentonite...... 2 % (Copper Matt Finish) Macaloid...... 1 % (Cone 011) Barium Carbonate...... 4.17% For best raku results, bisque to Borax...... 4.17 maximum Cone 08. This body also Copper Carbonate ...... 62.50 may be glazed and fired to Cone 9, Lithium Carbonate...... 12.50 then raku fired with additional Frit 3134 (Ferro)...... 16.66 “Bow-Tie Bottle” saggar-fired porcelain, stains or glazes. 100.00% flashed with copper sulfate, cupric nitrate and rock salt, 9 inches in height.

June/July/August 1989 41 “Majolica Stories,” a solo exhibition illustration. They come from many above“ Reclining Woman” I9V2 inches of earthenware vessels with narrative sources: the Bible; Greek mythology; in length, earthenware , with sgraffito imagery by Montreal potter Matthias ethnic creation myths; European leg­ lines through majolica brushwork. Ostermann, was featured recently at ends; modern authors; or personal OPPOSITE page : Prime Canadian Crafts in Toronto. dreams and ideas. My recent travels in top left “Pied Piper ” 28 inches in Ostermann says that inspiration for his Australia and New Zealand have led to height, handbuilt earthenware sculpture, majolica brushwork comes from a the telling of some Maori and Aborig­ with storytelling decoration. “passion for stories—myths, legends, ine myths.” fairy tales, any stories. I grew up with In choosing to work with majolica, top middle Side 2 of “Gilgatnesh and them; my mother was a professional Ostermann feels “very much a part of a Enkidu” sculpture, 18 inches in height. narrator and storyteller in Germany, long-standing tradition. The Italian is- and I often acted as ‘prompter’ when toriato wares were largely narrative, il­ top right “ Wings of Desire ” earthenware platter with majolica she rehearsed before recitals. I have lustrating stories and parables from the imagery, I8V4 inches in length. since inherited her library and have Bible and Greek mythology. Above all, added to it substantially over the years. they served to brighten the eye and bottom “ The Fisherman and His Soul ” “As a visual artist, I deal with stories mind, and perhaps enhance the home approximately 14 inches in height, through imagery—a retelling through as well. My intention is the same.” A by Matthias Ostermann, Montreal.

42 CERAMICS MONTHLY ^

June/July/August 1989 43 Craig Hurley’s Plastic Glaze by Martha Webb

“THOUSANDS of years ago man made from the beginning, and question: and using plastic glazes, you could do it certain unfortunate assumptions about‘What kind of a format would ceramics in one step.” how clay and glaze relate to one an­ have? How would an artist in our cul­ Between 1977 and 1982, Hurley be­ other,” Craig Hurley tells us, “and we’ve ture work with this medium?’ And I gan experimenting with plastic glazes been working to solve the problem cre­ blended it with the idea that things as a fine art medium. A major inspira­ ated by these assumptions ever since.” had started off a bit on the wrong foot.” tion came from a neighbor who had We accept as a given that clay is plastic So he changed his major at the Uni­ been collecting Japanese woodblock and glaze is not, and to bring the two versity of Oregon from ceramics to prints. “It became a burden and ajoke together, one must change to behave drawing and painting, and held on to between us that I had to look at every similar to the other. this idea that ceramics had gone askew. print he bought,” Hurley says. “I was “But,” Hurley continues, “if we start Then, in the winter of 1976, Hurley ap­ inspired by the way woodblock prints with a system where everything reacts proached Trend Pacific, a manufac­ handled the materials and how appro­ the same, we will no longer be problem turer of tableware in Japan, with his priate that was for my ceramics. solving, and we can put together the ideas. They took him to their factory “So I did this series of triptychs— materials in any order.” Beginning in outside of Nagoya, and with their tech­ there were hundreds of them—I just 1974, Hurley decided to develop glazes nicians, the first experimental proto­ worked with patterns, layering differ­ that behave like clay—glazes that are types were realized. ent patterns. While the Japanese wood­ no longer liquid at room temperature, “I invented a more direct way of block prints were figurative, they’re but plastic and malleable. And because manufacturing noodle bowls, using mostly about patterns—the pattern on the glazes behave like clay, only one fir­ plastic glazes and jiggering the glazes the kimono against the pattern on the ing is required. and the body within the molds,” Hur­ background against the bridge which Recognition of the paradox between ley explains. “The piece would come is a pattern against the sky which is ceramics and “fine art” had a major in­ out of the mold formed and glazed, another pattern.” fluence on the development of this and you could once fire it to maturity; Hurley found that his materials were process. “All ceramists are confronted whereas before, they were forming perfect for a ceramic monoprint. Us­ with this ‘foot in both worlds and no them, firing them, glazing them, and ing glazes like printers’ inks, he paints place of their own,”’ Hurley notes. “My firing them again. But by adjusting and pours, then lifts the result like pa­ way of dealing with the schism was to three settings—inside glaze, body, out­ per from a printing stone. Both clay go back and rethink the whole thing side glaze—on their jigger machine and glazes can be intermixed and lay­ ered at any point in the process. “And that’s what’s different. There’s no se­ Recipes quence according to whether it’s clay or glaze. Everything’s structural; every­ Plastic glazes to be fired at Cone 06, carbonate and 50 grams soda ash, for thing’s plastic; everything responds to Cone 3 and Cone 5 can be prepared each 100 pounds dry weight. the mold. So calling something a clay from the recipes which follow. Note or a glaze is almost a misnomer, be­ Clear Matt Lead Glaze that the glaze mixtures include defloc- cause it tends to divide them inappro­ (Cone 3) culants to minimize the amount of Dolomite...... 30 % priately. The only difference is that in water necessary. In each case, prepare Frit PB-63 (Pemco) ...... 40 the kiln, one melts and one doesn’t.” the water mixture first, then add the Ball Clay...... 30 Hurley starts with a block, much dry glaze ingredients. Color variations % like a litho stone, made of #1 pottery of these recipes are possible with the 100 addition of stains and/or oxides. For a plaster. Working on the image in re­ Mix 84 pounds water with 6 ounces verse, he can paint directly onto the white glaze, add 10% Superpax; for sodium silicate, plus 35 grams barium black, 4% black commercial stain. All carbonate and 56 grams soda ash, for block, or spread on a layer of clay or these glazes contain fritted lead , and thus each 231 pounds dry weight. glaze, or scratch through and fill the should be used only by those with a sound relief. The resulting image can then be knowledge of its safe handling and poten­ Clear Gloss Lead Glaze reinforced with cloth and a final layer tial for toxicity. (Cone 5) of clay, before peeling it from the block. Talc...... 10% Unlike an etching, a ceramic mono- Clear Gloss Lead Glaze Whiting ...... 10 print allows for revision. “If you don’t (Cone 06) Frit PB-63 (Pemco) ...... 50 like a line, you just brush down more Frit PB-63 (Pemco) ...... 15% Ball Clay...... 30 100% glaze, and that line’s gone. It’s very ar­ Frit P-830 (Pemco) ...... 55 ticulate, and yet very forgiving—in Ball Clay...... 30 Mix 131 ½ pounds water with 10 ounces some ways, it’s a better drafting medi­ 100% sodium silicate, plus 22 grams barium um. You can endlessly revise extremely Mix 35 pounds water with 5 ounces carbonate and 60 grams soda ash, for articulate design.” sodium silicate, plus 30 grams barium each 375 pounds dry weight. And because only one firing is re­ quired, the results are immediate.

44 Ceramics Monthly PHOTOS: LENDON FLANAGAN

“Bed of Roses” 41 inches high, ceramic monoprint, using glazes like printers9 inks, single fired at Cone 06. right “Yellow and Blue Drawing,” 20 inches square, paper-thin glaze and clay, reinforced with cloth, by Craig Hurley (below ), Long Beach, California.

“Raku embodies all those elements that the Japanese find as fine art for ceram­ ics,” Hurley notes. “This is like raku for our culture. It is an immediate image- making format, a purist’s way of work­ ing with the medium.” After a couple years experimenting with patterns, and becoming comfort­ able with the ceramic monoprint as a medium, Hurley moved to his own images and expressions. His topics in­ clude frequent nods to traditional ce­ ramics, sometimes as flat visual repre­ sentations of vessels, figures and im­ ages representing his life experiences. Hurley recently completed a year’s lectureship at California State Univer­ sity, Long Beach. He believes that his methods could change the way ceram­ ics is taught at the university level; that ceramic monoprinting—as a hybrid of printmaking, painting and drawing— would allow students from those disci­ plines to experiment with daywork. “They could use it on their own terms. And ceramics students can use their medium in a way that’s in a continuum with the rest of the art department. “There will be many ceramists who will say that it’s not new,” Hurley con­ cludes. “And it is certainly not that dif­ ferent technically. But given the un­ derlying reasons for working with it this way, it is radically new. It is about ideas and cultural biases and how the culture works with the medium pro- cesswise, given their biases.” A June/July/August 1989 45 Philip Cornelius: New Work

FORM is the dominant element of re­ and color. What once were teapots have don’t think anyone sees in them the cent “containers” by Pasadena ceram­ evolved to the point where one ques­ same things that I do. ist Philip Cornelius. Shown in a solo tions what relationship remains to any “One might make the case that con­ exhibition at Dorothy Weiss Gallery in specific vessel tradition. Cornelius now tainers define who we are as a society. San Francisco, these vessels retain the prefers to ‘juxtapose one form against In a world of ever-increasing sophisti­ nearly paper-th in-slab angularity of ear­ another to see what will happen. cation and complexity, we seem to see lier work (see “Charcoal Glazing” in “I have stopped using decoration no end to the various cans, bottles, the October 1980 and “Philip Cor­ because the form has become domi­ boxes, bags, etc. This endeavor to con­ nelius” in the September 1982 CMs), nant,” he commented. “I can only see tain each molecule of our making ap­ but the surfaces are neutral in texturethese forms the way I see them. But I pears to be the mark of the species.” A

left “Blue,” 71 inches in length, slab-built porcelain; $2700. Starting with nearly paper-thin teapot forms, some years ago, Corneliuses ceramics have evolved independently into new, more sculptural directions, at once resembling ocarinas, muffler parts and architecture from some science fiction movie. Yet the vestigial lid remains—a hat tipped in the direction of the vessel concept, both potterly and sculptural, to which he has remained loosely committed. Gone are the drips and lizards; in their stead, more complex form usurps the place of his earlier decoration.

below “Wall,” 19 inches in length, by Philip Cornelius, Pasadena, California; $2800.

PHOTOS: COURTESY DOROTHY WEISS GALLERY 46 CERAMICS MONTHLY

“Triangle Bowls ,” 8 inches in length, slip-cast whiteware, portfolio cover Barbara Miner’s 1000-square-foot studio with brushed underglazes, clear glazed, $80 each. is upstairs in an artists’ space in downtown Columbus, Ohio.

FIRST, let me say that production pot­ good to try selling them for income. its burners were turned on, filling the tery is not a job for the faint hearted. After completing four bowls, I took kiln with gas before ignition (that gave Going into business is complex at best; them to the Sheldon Art Gallery’s the slogan “Flick my BiC” new mean­ frustrating at worst. I have made every museum shop in Lincoln, Nebraska, ing!); and how to make knock-your- mistake possible. Unless you like work­ and placed them on consignment. The socks-off crystalline glazes. ing very long hours and occasionally shop’s director bought two the next I had also learned that “low fire” dealing with difficult people, unless day and things just escalated from and “commercial” were dirty words. you have a burning desire to be solely there. I tried new colors, and asked This applied to both glaze products responsible for the success or failure of friends for advice on new pieces. Thus and production pottery. But as much your endeavor, and unless your ego isbegan the slow process of developing as the process of making was intriguing, cast in cement, you shouldn’t un­ I was fascinated with my pots as three- dertake a craft business. But that dimensional surfaces on which to said, there’s nothing I’d rather do! “I had also learned that paint and draw. Nevertheless, high- Maybe you’d feel the same. temperature techniques did not I got started in a roundabout way. ‘lowfire’and ‘ commercial’ yield the fresh quality of line that I After we moved to Nebraska, where sought for drawings. Then, during my husband had decided to go back a summer semester, we had a visit­ were dirty words. ” to school for his Ph.D., it was up to ing artist whose specialty was low- me to be our main income producer. temperature firing and slip casting. At the time, I was making one-of-a- my “line” of various production works. She was also fluent in the brightly kind, nonfunctional ware, and wait- During ceramics studies at the State colored vocabulary of commercial ressing to cover expenses. I was a good University of New York at New Paltz, I underglazes and lusters. I was hooked; waitress, but didn’t want to do that for had taken a course in glaze chemistry. there was no turning back! the next five years. This included learning about: empiri­ Still, it wasn’t until moving to Ne­ My first production piece was a small cal formulas, quartz inversion, the vari­braska and finding Loretta’s Ceramic rectangular bowl. Initially, I had made ous weights of elements, and how/ Supply and Hobby Shop that things it only for myself. But, when friends when to do a line blend; how to fire a started to gel. Loretta knew how to do kept asking me to make some similar giant, flame-belching, gas kiln that just about anything with low fire, but bowls for them, I thought it would be nearly killed one of my professors when she broke all the rules and had no idea A Ceramics Monthly Portfolio “Tall Square Vase,” 11 ½ inches in height, $90; and “Long Bowl,” 12 inches in length, $60; underglaze-decorated whiteware by Barbara Miner. why any of it worked; so it was useless to consistency, but poor dry strength, or whatever are your desired results. Try have a technical discussion with her. vice versa. I’m rough on greenware, so everything, especially those things While I was learning how to make things dry strength was a concern. Then I dis­ you’ve been told probably won’t work. work (after all, one semester of low-fire covered that a slip which has the de­ By almost eliminating unwanted technology does not ensure success), I sired green strength, but is noticeably variability in firings (electric) and ma­ found it possible to consistently screw difficult to cast, could have its consis­ terials, I have established a production up whole kiln loads. Af ter what seemed tency altered just enough to make it process that allows me to concentrate like an eternity, a few of the kiln’s pour more smoothly by adding a dash on developing a solid line of work, one offerings were keepers. (a couple capfuls) of nondetergent am­ piece at a time. Using commercially “Low fire” and “commercial” are not monia per 2 gallons of slip. The addi­ prepared products affords the time to approaches for everyone, but some ad­ tion of ammonia doesn’t corrode the do work that reflects my spontaneous vantages are undeniable. For the most molds, or affect the fired work in the nature. It allows a concern with the part, there is greater consistency in least. And it does have the added ben­ pattern and rhythm of everyday living products from color to color and clay efit of clearing your sinuses rapidly if to be translated directly into surface batch to clay batch. In addition, I have you lean too close to the slip bucket painting. The simple, slip-cast forms been able to eliminate some of the while stirring or pouring a mold. do not clash for the spotlight with paint­ more annoying problems inherent in As for underglazes, commercial ones ing, and allow infinite opportunities to low-fire work. Shivering was controlled can be brushed, sprayed, sponged or vary surface choices. By adding a round by adding common white vinegar to stenciled on. They can be intermixed platter form to my repertoire, I found the water used to sponge greenware. color to color and brand to brand. a new freedom and concern with the Pinholing is no longer a problem— They can be thinned with water, even overall composition of the piece, as solved by sponging the bisqueware with though some ceramics shops would opposed to the more rigidly patterned clear water, and “soaking” the kiln prefer to sell you expensive thinners. wrapping paper approach I had previ­ (holding temperature) on low for a There are underglaze pencils and ously embraced. half to three-quarters of an hour. chalks which can be used like pastels With local success under my belt, I There are many prepared bodies on bisqued pieces. Many of these prod­ decided to market my work on a and underglazes available on the mar­ ucts have a firing range which extends broader scale. Having gone to school ket. Tests of slip-casting bodies showed to Cone 7 and often a bit beyond. Some in New Paltz, which is also the home of that some will have good deflocculated experimentation is necessary to achieve American Craft Enterprises (A.C.E.), “Vessel Form on Stand ” 21½ inches in length, whiteware , underglazes mixed with sand; a new line of forms being introduced this summer with prices starting at $525. the marketing arm of the American San Francisco.The importance of hav­ of services you’ve chosen before you Crafts Council, I was familiar with the ing great images of your work cannot shoot so that there are no unpleasant services this organization provided to be stressed enough. Slides are the only surprises. Keep those original slides, craftspeople, and decided to try this thing a jury has to judge from. If the but make duplicates so that you have route to expand my business. lighting is off on a slide of the greatest extras on hand to send to prospective Previously, I had even worked for piece you’ve ever made, you can’t be atcustomers/shows without delay. A.C.E. in different capacities. The job the viewing to say, “Well, it really looks One of the most common downf alls included some time spent at the fairs much better than that.” You get one for the new, and not-so-new crafts ex­ in West Springfield, Baltimore, etc. As shot at that jury, and you can believe hibitor is the heady intoxication of suc­ a booth sitter, I saw various display set­ that the potter whose slides were seen cess, even if it is only moderate. There ups, price ranges, and got a general is money to be made; that is obvious. feel for the fair experience. Aside The public and the wholesale buyers from the large wholesale-oriented “...she broke all the rules and love your work. Of course, you’ll fairs, there are a myriad of smaller take that extra order. Who cares local fairs which you should consider had no idea why any of how you’ll find the time to fill it? attending if you are thinking of The euphoria lasts only so long. entering a studio business. There it worked....” When you make up your first are also many state and local or­ work schedule after returning from ganizations, such as Ohio Designer a fair, you may not take into account Craftsmen, which are invaluable re­ just before yours was either an expert those things which never happen at sources for fair information, pricing with a camera, or bit the bullet and any other time, except when you have guidance, general support and other invested in professional photography. a deadline—your supplier is suddenly services. These organizations some­ If you use a professional photographer, out of cobalt, ball clay, large pyrometric times have mentor programs to put ask to see slides done of other craft- cones, whatever. Or maybe you dis­ you in contact with successful, working people’s work. Look at photographs in locate your right shoulder while doing craftspeople who are willing to share magazines such asCeramics Monthly and a particularly brilliant move on the bas­ their time and expertise. American Craft to be sure you are on ketball court. (I’ve done this.) You may I was lucky. My slides were good target with your instructions to your have three blah days in a row, and not enough to get me into an A.C.E. fair in photographer. Understand the price feel like even getting out of bed. You A Ceramics Monthly Portfolio PHOTOS: MICHAEL HOUGHTON, ANTHONY LAURO

above “Small Platter ” IOV2 inches square, slip-cast whiteware , hisqued, brushed with underglazes , clear glazed, low fired and “soaked ” 0/1 low to prevent pinholing, $130.

FAR LEFT “Round Platter ” 15 inches in diameter, whiteware with underglazes and clear glaze , $250. left “Tall Book Vase” 15 inches in height, slip-cast, underglaze- decorated whiteware, $95. “Vessel Form on Stand” 21 1/2 inches in length , slip-cast whiteware, brushed with underglazes mixed with sand, /ouifired, sealed with acrylic, by Barbara Miner. cannot predict the future, but youAnother good resource is the Small expression of one’s own inner voice. should know yourself and your work Business Administration, which some­ Maintaining an open mind and patterns well enough to be able to set times offers programs designed to help allowing for intuitive change are critical goals for your expected monthly out­ set up a bookkeeping system. These to warding off creative burn-out. The put. But do allow yourself and yourprograms are often offered free. initial excitement of discovering a new work cycle enough time for flexibility. When doing a full line of produc­ form or color combination gets stale If you find you need help, look into tion work, it is very difficult to carve outafter the two-hundredth piece. Take hiring someone part or full time. If time to explore personal, individual advantage of opportunities to renew paperwork becomes overwhelming, ideas, but I am finding it to be the only productive energy. I find that by work­ find someone capable of making sense way to secure business longevity. My ing not only with clay, but with acrylics of it. Take a good, hard look at your on canvas, paper and wood, I can strengths and weaknesses, then capi­ bring more energy and life to my talize on this self-knowledge to avoid “Everyday, do something daywork. Because I low fire, the tran­ potential areas where problems are sition to paint is a very smooth step, likely to crop up. which will move you in the as both ceramics and acrylics can It is very important to do some often be handled similarly. long-range planning. What are your direction you have chosen....” Start your business slowly. Plan, monthly costs? What income can as much as possible, your proposed you expect to generate per month? direction. Set attainable, realistic What are the deadlines for upcoming choice, to do production work with goals. Everyday, do something that will fairs? Do you need new slides of those commercial ceramic products, is only move you in the direction you have incredible pieces you got out of the one option for generating an income. chosen, even if it is only cleaning the kiln yesterday? When are taxes due? It is not for everyone. Commercially studio. When problems come up, talk (Yech!) At most libraries, many books prepared products are not the only with other craftspeople who might have are available on small business way to go; they will never threaten the run into similar situations. I’ve made management in general, and crafts existence or validity of an exquisite all the mistakes you can think of and businesses in particular. Your local celadon glaze, or an elusive sang de then some, but I still love making pots, crafts organization may have a library boeuf, but they can be employed as a and setting my own schedule and goals. of its own which might prove helpful. very functional tool by which to gain You may find it’s worth it, too. A Ceramics Monthly Portfolio PHOTOS: COURTESY OF LOS ANGELES COUNTY MUSEUM OF ART

To CELEBRATE the recent opening of woodblock prints. Notable examples its new Pavilion for Japanese Art (the of clayworks are among the oldest ob­ last building designed by architect jects on view: a decorated Jomon pot Bruce Goff), the Los Angeles County (circa 4000 B.C.), a fertility sculpture Museum of Art mounted the first com­ (500-300 B.C.) and a Yayoi jar (A.D. prehensive showing of its collection of 100-300). Japanese ceramics, paintings, textiles, Also shown are a sixth-century Sue lacquerware, calligraphies, netsuke and pot with ash glaze, a seated warrior figure that once guarded a ruler’s tomb, a massive 14th-century Tokonamejar above Tokonamejar, 15 ½ inches high, and several Shigaraki and Tamba ex­ wood-fired stoneware with ash glaze amples from the 16th century. drips, feldspar speckling, 14th century. A set of 12 stoneware plates repre­ left “December” from “Plates of the senting each month by the artist-potter Twelve Months,” slab-built stoneware, Ogata Kenzan (1663-1743), and fine with overglazes, 8 inches in height , examples of 17th-century porcelain by Ogata Kenzan (1663-1743). round out the museum’s holdings.A

June/July/August 1989 53 “White Cow,” 17 inches in length, and “Cow Doug,” 13 inches in length, earthenware with glazes and paint, by Joe Fafard, Regina, Saskatchewan.

FROM THE FAR REACHES of Canada, 20 miniature worlds; and, like Wissinger’s, enhain-trained potters). Perhaps we ceramic objects (along with their ten Baldwin’s exist inside vessels. Land­ should keep our eyes on that new gen­ makers) recently traveled to the Ohio scapes that trail across ceramic surfaces eration of Canadian ceramists pro­ State University in Columbus for the are a hallmark of Wayne Higby. I am jected by Wissinger. exhibition/symposium “Live from Can­ not saying that Foulem’s teapots are ada.” What first intrigued me about the same as Art Nelson’s slumping wire The author Elizabeth Garber is a critic the event was its characterization as Ca­ bowls (Foulem’s stand as straight as and managing editor for Columbus Art nadian. But just what is Canadian clay? chicken wire ever did), nor that any of and the Arts Education Review of Books. According to exhibition co-organizer this work should be dismissed as de­ Chuck Wissinger: Work from Regina is rivative—just that there’s nothing ob­ characterized by figuration. Edmon­ viously Canadian about the work to my ton is the last bastion of formalism a la American eye (and I bow to the possi­ Anthony Caro, Jules Olitski, Larry bility that this is a handicap). Poons. Ceramics from the Maritime Live from Canada, with its stylistic provinces is conservative except for that variety and its individual peaks and connected with Nova Scotia College of valleys, is symptomatic of group exhibi­ above rightWhite earthenware slip Art and Design. The Quebequois want tions whose magnetic force is medium. on wire-mesh teapots, to approximately to be different. In fact, Toronto, Cal­ When that medium is clay, these con­ 8 inches in height, by Leopold Foulem, gary and Quebec are all very eclectic, glomerations are affirmative in that Montreal. “Similar stylistic veins of wide open. Young Canadians are build­ they group together what were former­ work can be found in the United States. ing a character in clay that is based on ly the mutually exclusive categories ofArt Nelson, for instance, has made slip­ the ever-present environment. art and craft. But once we accept that covered wire forms for a number of years Still, Live from Canada could not such separation is irrelevant, eclectic now __ I am not saying that Foulem’s substantiate the generalizations Chuck conglomerations of work in a medium teapots are the same as Art Nelson’s offered, nor even generate a “Canadi- probably ghettoize daywork more than slumping wire bowls, ...nor that any of this work should be dismissed as anything else. A focus for media shows anness.” Similar stylistic veins of work derivative—-just that there’s nothing can be found in the United States. Art could still be a group of ceramists liv­ obviously Canadian about the work ______” Nelson, for instance, has made slip­ ing in regional proximity, but to be covered wire forms for a number of viable, the work should show stylistic or right Majolica flower brick, with terra years now. Doug Baldwin and Charles content relationships (as would, for sigillata decoration, 12 inches in length, Simonds, among others, have created example, a show of Marguerite Wild- by Walter Ostrom, Halifax , Nova Scotia .

54 CERAMICS MONTHLY June/July/August 1989 55 left Untitled sculpture, porcelain, approximately 14 inches in width, by Annemarie Schmid Esler, Calgary, Alberta.

right Terra-cotta bottle with terra sigillata, 26 inches in height, low-fire salted and fumed, by Robert “Irish” Flynn, Winnipeg, Manitoba. The exhibition, “Livefrom Canada, with its stylistic variety and its individual peaks and valleys, is symptomatic of group exhibitions whose magnetic force is medium. But once we accept that such separation is irrelevant, eclectic conglomer­ ations of work in a medium probably ghettoize clay work more than anything else ”

below“We Drank from the River Lethe,” 22 inches square, press-molded and handbuilt earthenware, with underglazes, glazes and over glazes, by Chuck Wissinger, Red Deer, Alberta.

56 CERAMICS MONTHLY PHOTOS: ELAINE COMER SHAY

June/July /August 1989 57 58 C eramics Monthly LIKE MANY Other potters, I often ask The rest of that summer I fought myself, “Why do you keep doing this? It within myself constantly: “Should I lis­ doesn’t make you rich, and your family ten to my heart, or obey my parents’ suffers.” There are various reasons, not wishes?” I decided to quit med school the least of which is I like doing what and concentrate on learning the art of I’m doing. Besides, with my home stu­ ceramics. It was very hard for my par­ dio, I am able to spend lots of time with ents to understand in the beginning. my two boys—watching them grow up. By the fall of 1976, I had finished And I can continue to grow both per­ the ceramics program. All I needed sonally and professionally. was practical experience. Trading ware Born in Taiwan, I was brought up by with the landlord and fixing up a run­ very strict parents. They stressed the down house in Arlington, Virginia, got importance of a good education and me a break on rent. I then set up a the choice of a good profession. In my studio and opened a gallery. late teens, I came to the United States From the beginning, I have enjoyed and studied biology and theology. I experimenting (which must be influ­ then went to medical school at Penn enced by my chemistry background) State. But in my final year of med and have recently been working with school, I felt the strong need to take a crater surfaces on one-of-a-kind porce­ break. It was during the summer of lain vessels. The forms are wheel 1975 that I took a pottery class and fell thrown and trimmed, coated with a in love with clay. thick layer of a crater slip which

June/July/August 1989 59 PHOTOS: HOLLY LEE

“Architecture Form #1,” porcelain, 12 inches high, thrown and handbuilt, with crater glaze, multifired; $600.

Lee’s porcelain-carving tools are simply made from hacksaw blades wrapped with masking tape.

60 CERAMICS MONTHLY left Cliff Lee and son on the steps of his studio/gallery /home in Arlington , Virginia. contains a small amount of silicon to sell them to make a living. It causes a I started going to retail craft shows carbide. After a slow bisque firing, a conflict within me—to produce one- just two years ago, and really like them, crater glaze is applied and the vessel is of-a-kind vessels versus the necessity of not only for their financial aspect, but reduction fired in a 50-cubic-foot gas producing bread-and-butter items. also because of the contact with other kiln. Next, the work is reglazed and Running a pottery and a gallery artists. Daily there is so much to learn fired in an electric kiln. This cycle— during the past 12 years has not been and everything can contribute to work reduction, oxidation, reduction—is easy. So often I greet customers with and life. repeated several times until I am muddy hands. And it’s always been a My Chinese heritage and American satisfied. While the process is time and struggle to put food on the table and education have formed a creative en­ energy consuming, the surface that pay bills. Fortunately, I have always been ergy that hopefully shows in my work. emerges possesses great depth. able to find someone willing to trade The greatest fulfillment comes when I I really enjoy making one-of-a-kind work for services, such as my kids’ den­ see that work appreciated by others. It vessels and feel a loss whenever I have tal needs and kiln repairs. brings me a lot of happiness. ▲

Recipes Alkaline Glaze Purple: (Cone 10-13, oxidation or Cobalt Carbonate ...... 0.5% reduction) Copper Carbonate...... 2.0 % Barium Carbonate...... 36.6 % Yellow: Porcelain Clay Body Lithium Carbonate...... 1.1 Vanadium Pentoxide...... 10.0% (Cone 10-13) Nepheline Syenite ...... 45.6 Gray Blue: Potash Feldspar ...... 35 pounds Ball Clay ...... 7.2 Cobalt Carbonate ...... 1.0% Ball Clay ...... 25 Flint (200 mesh) ...... 9.5 Iron Oxide...... 2.0% Kaolin ...... 35 100.0% Flint...... 22 Black: Surface and color variations are 117 pounds Cobalt Carbonate ...... 2.0% achieved with additions. Iron Oxide...... 3.0% After mixing a batch, I add 2 cups Crater: Manganese Dioxide...... 2.0 % white vinegar to speed aging. Silicon Carbide...... 1.0% Celadon Glaze Crater Slip Dark Green: (Cone 10-12, reduction) Borax...... 5.26% Copper Carbonate ...... 4.0 % Dolomite...... 2.60% Potash Feldspar ...... 21.05 Light Green: Whiting...... 17.22 Ball Clay ...... 26.32 Copper Carbonate ...... 2.0 % Zinc Oxide...... 1.10 Kaolin...... 26.32 Blue: Potash Feldspar ...... 50.45 Flint...... 21.05 Cobalt Carbonate ...... 1.0% Kaolin...... 3.70 100.00% Violet: Flint...... 24.93 Add: Silicon Carbide ...... 1.05% Copper Carbonate ...... 0.5 % 100.00% Apply to leather-hard porcelain. Nickel...... 1.5% Add: Iron Oxide ...... 0.75%

June/July/August 1989 61 Sara Waters by Kippra D. Hopper

TEXAS ARTIST Sara Waters’s obsession from me and that are not a part of me. Step to the side of the danger, into your is the internal world. The figurative My music is about the self: self- own space and time. elements in her art are symbolic of realization, life, being honest and not Learn the rules and then disregard them. human spirit or human energy. being embarrassed about that.” Only a few can survive.... Her work consists of large-scale, in­ Waters finds the recording satisfies “Words and music are not new to stalled ceramic sculpture, incorporat­ a need for risk-taking in the creative me,” says this artist. “Being public with ing wood, copper and paints. In these process, and the first track reveals that them is. My music is simple and raw. sprawling forms, wall elements repre­ preface. Together with a jazzy saxo­ Like my art, it stems from internal re­ sent a spiritual plane, while floor ele­ phone, she sings: gions. Some of these spaces are real, ments represent a physical plane. Art makers and art takers and art fakers some are invented. The music is an Waters says her work is “visually ab­ alike, how they play in the game of desire. obvious extension of my art in a more stract and conceptually real. The con­ Talking and persuading and convinc­ linear manner. The words are the es­ struction is literally invented space or ing the lot. Theirs is the way to the end. sence, the voice is the vehicle and the territory. I believe these piano is the facilitator. places to be real, to exist on “The combination and/ a plane beyond the phys­ or integration creates a dy­ ical dimension. namic exchange between “The content comes abstract symbolism in my from an intense interest in visual work and the direct­ dialogue—the kind within ness of the music’s lyrical one’s mind; dialogue pro­ content. My sculptures por­ voked by relentless contra­ tray invented spaces occu­ diction. The work expresses pied by energy where the psychological dynamics thoughts are exchanged. of duality: calmness within The open-mouthed head chaos; anger within serenity forms and the elongated revealing passion within spirit forms symbolize constraint.” human exchange or com­ And in recent art, Waters munication. The music sup­ has expanded a mixed-me- plies or suggests the ver­ dia style into multisensory biage, the dialogue.” experience by incorporat­ Since 1977, Sara Waters ing her own voice and has been a faculty artist at words. “Out of Range,” a Texas Tech University in musical recording, includes Lubbock. Recently, while eight blues/folk songs with serving as a visiting artist at a hint of jazz and reggae. the Maryland Art Institute She feels the lyrics com­ in Baltimore, she exhibited municate more literally a her sculpture and per­ core of what her art reveals formed her music at the symbolically. Meyerhoff Gallery. Waters’s “Music is an easier way work was also featured in to hear real or harsh things,” the “Texas Woman Artists” Waters observed. “The for­ exhibition at the National mat of a song allows me to Museum for Women in say things that can be apart Lubbock, Texas, ceramist Sara Waters. Washington, D.C. A

62 CERAMICS MONTHLY above “Crossing, Another Chance,” 7V2feet in height, glazed clay, with acrylics and charcoal on wood. right “Pulled ” 19 inches in height, handbuilt white earthenware, incised when leather hard, bisqued, brushed with commercial glazes, and fired to Cone 06 in oxidation, by Sara Waters.

June/July /August 1989 63 California collector Hubert Arnold.

IT ISN’T UNUSUAL for a museum to ex­ study; then a year later, accepted a math her to sell some of her very good pots. hibit works from a private collection. professorship in the University of Cali­ Interviewer: When did you first meet But less often does the show reveal fornia system. her? something uniquely personal about the Yet Arnold is as comfortable discus­ Arnold: I went up to her pottery on the collector. The Crocker Art Museum’s sing ceramic history, techniques and Russian River, and was very much im­ “Hubert Arnold Collection of Interna­ leading artists as he would be discuss­ pressed. After that, I began to go to tional Ceramics” did just that. On view ing mathematical theories. In a recent everything—all the festivals—and get through April 2 in Sacramento, this ex­ interview, he talked about the develop­ acquainted with the potters. I particu­ hibition of 114 pieces, from a group of ment of his collection, some of the ce­ larly like to get things from the potters 1100, included works by several of the ramists he has met, and thoughts that themselves. I don’t have a dealer mind best-known contemporary ceramists go into the acquisition decision for at all. I’m not that kind of collector. from around the world. The collection each piece: Interviewer: Some collectors prefer a reflects Arnold’s strong and specific Interviewer: Your first pottery purchase sense of separation, but you would rath­ interest in ceramics, as well as his desire was at age ten, but when did you begin er know the artists? to acquire works from artists he has collecting seriously? Arnold: Oh, yes; find out the artists’ been in contact with. Arnold: It started in the forties, when I ideas, their hopes and aspirations— A diverse and fascinating figure with saw some pieces by Otto and Gertrud get an understanding of what their aims both mathematical and artistic inter­ Natzler, in San Francisco—I was in the are. ests, Arnold was raised in Lincoln, Ne­ Navy. I bought some later, in 1948, but Interviewer: Is the Crocker Art Muse­ braska, receiving a degree from the really knew nothing about ceramics. I um exhibition the first major showing local university in 1933 before going just got things that appealed to me. I of the collection? on to study mathematics at the Sor- think it was when I actually saw Mar­ Arnold: Yes. There were a lot of times I bonne in Paris. Thereafter he earned a guerite’s things and became fired up. was asked to, but I made the conditions doctorate from Cal Tech in Pasadena; Interviewer: Marguerite Wildenhain, so stringent that they wouldn’t carry and, as a Naval Lt. Commander during the Bauhaus-trained artist? through. I have several of Michael Car- World War II, was in charge of IBM’s Arnold: Yes. It was quite a tussle with dew’s pieces; and, when Syracuse Mark I calculator at Harvard. Follow­ her to buy things because she would wanted me to contribute to a major ing the war, he joined the Martha always insist that her best were for mu­ show of his work, I said, “All right. Graham Dance Company as an under­ seums only. But I was able to persuade Here are the conditions.” They didn’t

64 CERAMICS MONTHLY Stoneware sculpture, 20 inches high , fry Jan de Rooden, 1972. 1974 and 1969 bottles, to 72 inches in height , fry Hans Coper.

Mishima plate, 11 inches in diameter , stoneware with inlaid slip , fry Tatsuzo Shimaoka, 1971.

June/July/August 1989 65 go any further. The same thing hap­ Arnold: Yes. As I became more inter­ U.C.L.A. for many years and had a pened down in Texas. Cardew came ested, I went everywhere. I had a chance great following of students. She is a over here (from England) for a visit to go to Japan in 1971, so I made it a very outgoing and generous person. and I told him about it. He said, “I collecting tour. I came back with enor­ If you look at a generation of potters don’t blame you at all. I understand mous crates full of stuff. I have alwaysand see who they studied with, it often perfectly.” particularly liked the folk art move­ comes down to one of these women. Interviewer: Is there a reason why you ment that had a connection with Ber­ Interviewer:But you still collect just have collected ceramics exclusively? nard Leach. So, I had collected pots the pieces you like? Arnold: I don’t really know. Some from all these people before meeting Arnold: Well, once in a while there people just have that feeling for clay. I them. And when I went to Japan, they have been times when I have had that do. Glass doesn’t affect me the same knew who I was already. collector’s feeling of wanting a com­ way. I like paintings, but they don’t stir Interviewer: Were there specific Japa­ plete set of all phases of someone’s me up in the same way. The important nese artists whose works you were seek- production—like Marguerite. I didn’t thing is if I like it. ing? succeed because her very early work Interviewer: From an aesthetic stand­ Arnold: Yes, [Tatsuzo] Shimaoka and was made back in Germany. Even she point? [Tatoro] Sakuma from Mashiko. I visi­ couldn’t get hold of them. But there is Arnold: Mostly. I just put myself in ted them and they were very cordial. that desire, if you like the work of some­ front of it and look at it. If something The Japanese artists, particularly the one, to see how it develops—even if happens for me, it’s good. I begin to ceramic artists, are rather highly placed, you don’t care too much for some of feel pleasure, excitement, mystery. socially. So they entertain; they’re well the phases. Interviewer: So the investment aspects known. Interviewer: With over 1100 pieces in of collecting were never a concern for Interviewer: Women are also well rep­ the collection, did a point come when you? resented in your collection. you had to slow down on new pur­ Arnold: Never. It just happened that Arnold: Women potters in California chases? some of the pieces I bought, particu­ (Marguerite, Ruth Rippon, Gertrud Arnold: Yes, I was putting things under larly in Japan, did realize in value. But Natzler, Viola Frey) have been very in­ beds. There were even some pieces I it makes no difference. fluential and very prominent. Laura forgot I owned. And my catalog is rather Interviewer: There is a large amount Andreson is really the big influence in erratic. The field work is so much more of Japanese pottery in your collection. Southern California. She taught at fun than the homework. A

66 CERAMICS MONTHLY PHOTOS: DAN BABIOR, JEFFREY BRIGGS, COURTESY OF THE CROCKER ART MUSEUM

“Two Face Vase ,” 8 inches in height, wheel-thrown stoneware, with incised and brushed-glaze imagery, by Marguerite Wildenhain, 1977. far left Bricolage sculpture, approximately 24 inches in height, white clay with low-fire glazes, by Viola Frey, 1981.

LEFT Porcelain decanter with sprigged medallion, approximately 8 inches in height, by Stig Lindberg, 1972; and glazed porcelain bottle, approximately 11 inches in height, by Gunner Nyland, 1970. Itinerary nual Berea Craft Festival”; on the grounds of Indian Fort Theater, Berea College. Continued from Page 14 Maryland, Columbia June 23-25 “The Columbia Festival”; downtown, on lakefront plaza. the province of British Columbia; at Whatcom Maryland, Cumberland August 4-6 “Music and Museum, 121 Prospect Street. Craft Festival”; at Rocky Gap State Park. Washington, Seattle July 6-30 A two-person ex­ Maryland, Havre de Grace August 19-20 The hibition with Jim Kraft, sculpture; at Foster/ 26th annual “Havre de Grace Art Show”; at White Gallery, 311½ Occidental Avenue. Millard E. Tydings Memorial Park. Washington, Tacoma June 16-August 13 ‘Wash­ Massachusetts, West Springfield June 23-25 ington Crafts Then and Now”; at the Tacoma “ACC Craft Fair”; at Eastern States Exposition, Art Museum, 12th and Pacific Avenue. 1305 Memorial Avenue. Wisconsin, Milwaukee July 3-August 19 “Callio­ Michigan, Ann Arbor July 19-22 “30th Annual pes and Clowns,” circus-themed works; at A. Ann Arbor Street Art Fair”; along South and Houberbocken, Inc., Upper Gallery, 230 West East University Avenues. Wells Street, Suite 202. Michigan, Saint JosephJuly 7-8 “Saint Joseph’s 28th Annual Art Fair”; at Lake Bluff Park. Fairs, Festivals and Sales Minnesota, Saint Paul June 24-25 The “17th Annual Minnesota Crafts Festival”; at Saint Cath­ Arizona, Flagstaff August 4-6 The “Seventh erine College. Annual Festival in the Pines”; at Coconino New Hampshire, Canterbuiy July 29 The 31st County Fairgrounds, off Interstate 17. annual “Canterbury Fair”; at Canterbury Center. California, Laguna Beach July 7-August 27 The New Hampshire, Newbury August 5-13 The “57th Festival of Arts Exhibits 8c Pageant of the “56th Annual Craftsmen’s Fair”; at Mount Sun- Masters”; at Irvine Bowl Park, 650 Laguna Can­ apee State Park. yon Road. New Jersey, Allaire July 15“Allaire Craft Fair”; at California, San Francisco June 11 The Associa­ Allaire State Park, Wall Township. tion of California Ceramic Artists’ outdoor exhi­ New Jersey, LaytonJuly 29-30 “The 19th An­ bition of birdbaths, fountains and animal sculp­ nual Craft Fair”; at the Delaware Water Gap tures; and the annual spring show of functional National Recreation Area. work at the San Francisco County Fair Building; New York, Chautauqua June 30-July 2 and Au­ at Ninth Avenue and Lincoln Way. gust 11-13 “Chautauqua Crafts Festival, ’89”; at August 11-13 The 14th annual “ACC Pacific Bestor Plaza, Chautauqua Institution. States Craft Fair”; at Fort Mason Center. New York, Garrison August 19-20 The 20th California, Santa Monica June 9-11 Seventh annual “Arts and Crafts Fair”; at Garrison’s semiannual invitational “Contemporary Crafts Landing. Market”; at Santa Monica Civic Auditorium, 1855 New York, New Paltz September 2-4 “Woodstock- Main Street. New Paltz Art 8c Craft Fair”; at Ulster County California, Sausalito September 2-4 The “1989 Fairgrounds. Sausalito Art Festival”; on the waterfront. New York, New YorkJuly 1-2, 8-9 and 15-16 California, Walnut Creek June 9-11 ‘Walnut The 13th annual “American Crafts Festival.” Creek Clay Arts Guild Summer Ceramics Sale”; August 26-27, September 2-4 and 9-10 The sixth at the Civic Arts Education Ceramics Studio E, annual “Autumn Crafts Festival”; at Lincoln 1313 Civic Drive, Civic Park. Center, Fordham University Plaza. Colorado, DillonJuly 15-16 The Lake Dillon New York, SyracuseJuly 14-16 “The 19th An­ Arts Guild “13th Annual Craft Fair”; at Dillon nual Syracuse Arts and Crafts Festival”; at Co­ Outdoor Mall. lumbus Circle, downtown. August 5-6 “Summit Fest and 17th Annual Art New York, Valhalla June 17-18 “Clearwater’s and Music Festival” of the Lake Dillon Arts Guild; 12th Annual Great Hudson River Revival”; at at Marina Park. Westchester Community College campus. Colorado, EvergreenAugust 27 The “23rd An­ North Carolina, AshevilleJune 15-18 “Highland nual Evergreen Fine Arts and Fine Crafts Show”; Heritage Art & Craft Show”; at Asheville Mall. at Heritage Grove, next to Hiwan Homestead July 14-16 “Mountain Magic Art8c Craft Show”; Museum, Meadow Drive. at Carolina Day School, Highway 25. Colorado, Manitou SpringsSeptember 2-4 “Com- August 18-20 “Summerfest Art8c Craft Show”; at monwheel Artists’ 15th Annual Arts and Crafts the Civic Center. Festival”; at Memorial Park. Ohio, Chagrin Falls June 10-11 “Art by the Falls”; Colorado, MarbleJuly 1-2 “Marble Art Associa­ at Riverside Park. tion Third Annual Art and Craft Fair”; at Town Ohio, Columbus“The 1989 Arts and Crafts Fes- Park, historic Marble Mill site. tivale”; at the Continent, Busch Boulevard. Colorado, PuebloAugust 25-September 4 “Colo­ Ohio, Kettering August 20 “Arts on the Com­ rado State Fair Exhibit”; at the State Fair mons”; at Civic Commons Park. Grounds. Ohio, Lima August 4-6 “Square Fair ’89”; at Colorado, TellurideAugust 13-14 “Artfest ’89”; Town Square. along Colorado Avenue. Ohio, Peninsula June 23-26 andJuly 1-4 “Boston Connecticut, GuilfordJuly 13-15 “32nd Annual Mills Art Fest”; at Boston Mills Ski Resort, River- Craft Exposition”; at the Guilford Green, 411 view at Boston Mills Road. Church Street. Ohio, Shaker Heights June 16-18 “The Craftfair Florida, Boca RatonAugust 26-27 Second an­ at Hathaway Brown”; at Hathaway Brown School. nual Boca “Twilight” festival; at the corner of Ohio, ToledoJune 24-25 “Festival of the Arts”; 19th and Glades. at Crosby Gardens. Florida, Fort Lauderdale July 1-2 and August September 1-4 “Toledofest, A Celebration of the 26-27 “Las Olas Sidewalk Art Fair”; at 600 Las Arts”; downtown, along the Maumee River. Olas Boulevard. Ohio, ZoarAugust 5-6 “Zoar Harvest Festival”; Florida, Indian Rocks Beach June 17-18 “Ham­ at Zoar Village. lin’s Landing Arts and Crafts Festival”; at Ulmer- Oregon, PortlandSeptember 2-4 The 1989 ton Road. “Artquake Artist’s Marketplace”; downtown. Florida, Pappas July 29-30 “Pappas Plaza Arts Oregon, Salem July 21-23 “Salem Art Fair & and Crafts Fair”; at Route 19. Festival”; at Bush’s Pasture Park. Idaho, Coeur d’AleneAugust 4-6 The “21st Art Pennsylvania, Greensburg July 1-4 ‘Westmore­ on the Green Festival”; at Fort Sherman, North land Arts 8c Heritage Festival”; at Twin Lakes Idaho College campus. Park, off Route 30. Illinois, EvanstonJune 24-25 “Fountain Square Pennsylvania, Lancaster July 27-30 The Penn­ Arts Festival”; downtown. sylvania Guild of Craftsmen’s “42nd State Craft Iowa, DavenportAugust 26-27 “Riverssance Fes­ Fair”; at Franklin 8c Marshall College. tival of Fine Arts”; at riverside. Pennsylvania, Pittsburgh August 11-13 “Shady- Iowa, Mason CityAugust 20 “Summer Festival side Summer Arts Festival”; along Walnut Street. Art Market”; at the Charles H. MacNider Mu­ Pennsylvania, State College July 13-16 “Twenty- seum grounds, 303 Second Street, Southeast. Third Annual Sidewalk Sale”; at Penn State Kentucky, Berea July 14, 16-17 The “Eighth An­ University campus. Continued

68 C eramics Monthly June/July/August 1989 69 Itinerary of the Art Institute of Chicago, 37 South Wabash, Tenth Floor, Box CM59, Chicago, Illinois 60603; or phone (312) 443-3777. New Jersey, DemarestJune 26-July 24 “Tile Tennessee, Memphis August 26-27 Seventh Making,” five sessions on diverse forming and annual “Mud Island Folkfest”; at Mud Island. decorating techniques, with Siglinda Scarpa Tennessee, Nashville June 11-July 16 “24th An­ Anderson. Fee: $85. June 29-July 27 “Colored nual Central South Art Exhibition”; at Nash­ Clay/Ceramic Jewelry,” five sessions with Ina ville’s Parthenon, Centennial Park. Chapler, will include working with colored clays Utah, Salt Lake City June 21-25 “Utah Arts Festi­ and other decorating techniques. Fee: $86, in­ val”; downtown. cludes materials.June 27-July 27 “Earthenware,” Virginia, Manassas July 21-23 “America’s Mas­ ten sessions with Mikhail Zakin, will cover ters Series III Arts & Crafts Show”; at Prince handbuilding, throwing, decorating and firing William County Fairgrounds. an electric kiln at low temperature. Fee: $170. Washington, Bellevue July 28-30 “Pacific North­ July 27 Studio workshop with Susan Eisen. Fee: west Arts 8c Crafts Fair”; at Bellevue Square. $45; nonmembers $65. Contact Old Church Washington, Richland July 28-29 Allied Arts Cultural Center School of Art, 561 Piermont Association’s “39th Annual Sidewalk Art Sale”; Rd., Demarest 07627; or phone (201) 767-7160. at Howard Amon Park. New Jersey, NewarkSeptember 17 “A Way of See­ Wisconsin, MadisonJuly 8-9 The Madison Art ing,” finding new sources of inspiration with Center’s 31st Annual “Art Fair on the Square”; Susan Eisen; at the Newark Museum. Fee: $20; at Madison Art Center, 211 State Street. nonmembers $25. Limited enrollment. Contact Wisconsin, SheboyganJune 15-16 “Nineteenth Anita Gladstone, First Mountain Crafters of New Annual Outdoor Arts Festival”; at the John Mi­ Jersey, 120 West 43 Street, Bayonne, New Jersey chael Kohler Arts Center grounds. 07002; or phone (201) 858-2104. New Mexico, Los AlamosJuly 5 A hands-on, Workshops design-carving workshop with Los Lunas potter Gary Lee Owen. Fee: $30; nonmembers, $35; Alabama, Birmingham June 24-25 Hands-on includes materials. Send sase to Fuller Lodge workshop with Karon Doherty. Contact Alabama Art Center Ceramics Workshop, Box 790, Los Designer/Craftsmen, 121 Lorena Lane, Bir­ Alamos 87544; or call (505) 662-9331. mingham 35213; or phone (205) 871-1358. New Mexico, TaosJune 7-July 11 “American Art: California, Los Angeles July 3-4 “Clay in L.A.” The Southwestern Traditions” and “Ceramics,” with Ed O’Reilly. Intermediate through profes­ offered in conjunction, will cover the major tra­ sional. Fee: $750, includes materials and firing, ditions of the Southwest (Native American, His­ plus live-in accommodations. Contact Continu­ panic and Anglo). Location: Fort Burgwin Re­ ing Education, School of Design, Otis Art Insti­ search Center. Contact Meadow School of the tute of Parsons School of Design, 2401 Wilshire Arts, Southern Methodist University, Dallas, Boulevard, Los Angeles 90057; or phone (213) Texas 75275; or call (214) 692-3657. 251-0550. New York, West NyackJune 10 and 17 “Tilemak- Colorado, BoulderSeptember 15-16 David Shan- ing” with Siglinda Scarpa Anderson, will cover er demonstration; at the First Congregational relief, carving, inlay, slip, sgraffito and glaze Church. Fee: $55. Contact Danni Bangert, 107 decoration; fee: $100. July 11, 12 and 18 “Ce­ Deer Trail Road, Boulder 80302; or phone (303) ramic Jewelry/Colored Clay” with Ina Chapler; 444-0350. Or contact the Boulder Potters Guild, fee: $125 .July 11, 18, 25 and 30 “All-Day Raku” 4525 North Broadway, Boulder 80302. with Rosemary Aiello; participants should bring Connecticut, BrookfieldJuly 29-30 “Pit Firing bisqued works; fee: $100. Fees include materials and Terra Sigillata Workshop” with Anita and firing. Contact Rockland Center for the Griffith. Fee: $115; nonmembers $125. Contact Arts, 27 South Greenbush Road, West Nyack J. Russell, Brookfield Craft Center, 286 Whisco- 10994; or phone (914) 358-0877. nier Road, Brookfield 06804; or phone (203) North Carolina, AshevilleSeptember 8 “Exploring 775-4526. the Edges of Clay,” a lecture with Sally Prange. Connecticut, MiddletownJuly 10-14 “Clay Con­ September 9-10 Workshop with Sally Prange. Fee: struction” with David Rynick; fee: $50. July $30 per day. Contact Programs ’89, Box 9545, 31-August 4 “Functional Pottery” with Ron Mey­ Asheville 28815; or phone (704) 298-7928. ers; fee: $125. August 15, 17, 22, 24 “Throwing Ohio, Cleveland June 12-30 “Architectural Workshop” with Betsy Tanzer; fee: $50. Contact Group Installation” with Peter Gourfain.July Wesleyan Potters, 350 South Main Street, Mid­ 3-21 “Color and the Vessel” with James Lawton. dletown 06457; or phone (203) 347-5925. Contact Office of Continuing Education, Cleve­ Maryland, Baltimore June 24-25 “Teapots” with land Institute of Art, 11141 East Boulevard, Deborah Bedwell; fee: $50, includes materials. University Circle, Cleveland 44106; or phone July 7-9 “Functional Pottery” with Joe Vitek; fee: (800) 223-4700 or (800) 223-6500 (within Ohio). $75, includes some materials. September 29-30 Ohio, ToledoJuly 28 “Design Considerations “Single-Fire Stoneware” with Steven Hill; fee: and Firing Techniques for Large-Scale Ceramic $55. Contact Deborah Bedwell, Baltimore Clay- Sculpture,” lecture with Laurie Spencer.July works Education Center, 5706 Smith Ave., Balti­ 29-30 “Building Wood-Fired Kilns,” hands-on more 21209; or phone (301) 578-1919. workshop with Laurie Spencer. August 1-4 Fir­ Massachusetts, Truro July 5-7 ‘Wheel and ing on site of a 7-foot-high clay dome installa­ Handbuilding”; fee: $93, includes materials.July tion. Contact Crosby Gardens, Box 7430, Toledo 10-14 “Raku Workshop” with Philip Homes; 43615; or phone (419) 536-8365. fee: $165. July 17-21 “Painting with Glaze” with Oregon, Ashland June 19-30 “Clay Workshops” Paul Heroux; fee: $165. July 24-28 “Functional with Suzie Klotz-Reilly, Gifford Myers and Jim Forms” and “Handbuilding with Casting Slip” Romberg. Contact Southern Oregon State Col­ with Carolyn Drake; fee: $165 each. July lege, Ceramics Department, Ashland 97520; or 31-August 4 “Majolica Glazing Techniques” with phone (503) 482-6385. Anne Smith; fee: $165. August 5-26 “Yes, You Oregon, Otis August 26-27 “Ceramics Work­ Can Throw on the Wheel” with Maree Nicholson; shop on the Oregon Coast,” drawing on clay fee: $129. August 7-18 “Vessel Forms in Porce­ with Frank Boyden. Contact Sitka Center for Art lain” with Mark Bell; fee: $195. August 8 “The and Ecology, Box 65, Otis 97368; or phone Natural Way to Throw” with Harry Holl; fee: (503) 994-5485. $50. August 14-18 “Mosaic Workshop” with Sally Oregon, Salem June 24-25 A workshop with Goodman; fee: $165. August 21-25 “Pit Fire Ruth Duckworth. Fee: $60. Camping facilities Workshop” with Philip Homes; fee: $165. Au­ available. Contact Oregon Potters Association, gust 28-September 1 “ClayJeweliy” with Mary Stack­ Craig Martell, 1020 Cascade Drive, Northwest, house; fee: $130. Contact Castle Hill, Truro Salem 97304. Center for the Arts, Box 756, Truro 02666; or Pennsylvania, Wilkes-Barre June 16 Demonstra­ phone (508) 349-7511. tion and slide presentation with Byron Temple. Michigan, Saugatuck Summer Weekly sessions on Fee: $35; members, $30. For further informa­ handbuilding and wheel throwing. For further tion contact Jean Adams, Sordoni Art Gallery, information contact Publications Office, School Wilkes College, 150 South River Street, Wilkes-

70 Ceramics Monthly June/July/August 1989 71 Itinerary Centre, 425 Brock Avenue, Burlington L7S 1M8; or phone (416) 632-7796. Canada, Ontario, Niagara-on-the-Lake July 1-2 “Artistry by the Lake”; at Queen’s Royal Park. Barre 18766; or phone (717) 824-4651, exten­ Canada, Ontario, TorontoJune 9-September 3 sion 4325. “Tradition and Transition,” a multimedia exhi­ Texas, Dallas October 27-22 Demonstration by bition of Ontario craft collections; at the Craft British potter John Leach; at Lynch Hall, Uni­ Gallery, Ontario Crafts Council, 35 McCaul St. versity of Dallas. Contact William Brigham, 6024 July 26-30 “The Harbourfront Festival of Craft Lantana Lane, Fort Worth, Texas 76112. & Design”; at the waterfront. Utah, Logan June 14 “Gallery Talk” with Woody Canada, Ontario, WoodstockJune 17 “Festival Hughes. July 26 “Gallery Talk” with Christine in the Park,” a juried craft show; at Victoria Park. Federighi. Contact Nora Eccles Harrison Mu­ Canada, Quebec, Montreal June 16-July 15 A seum of Art, Utah State University, 650 N. 1100 two-person exhibition including raku and salt- East, Logan 84322; or phone (801) 750-1412. fired works by Mahmoud Baghaeian; at the Vermont, Middlebury August 5-6 “Mold Making Centre des Arts Visuels, 350 Avenue Victoria. for Ceramics” with Robert Compton, hands-on Canada, Quebec, Pointe Claire August 1-14 “The session using plaster molds and slip casting to Kecskemet Group Workshops,” slide presenta­ increase productivity. Fee: $110, includes tions and demonstrations with 12 ceramists from materials. August 19-23 “Raku and Pit-Firing 8 countries. Contact the Clay Crafters, Stewart Workshop” with Bob Green, will cover making Hall, 176 Brod du Lac, Pointe Claire; or phone and firing glazed and unglazed ceremonial ves­ (519) 630-1220. sels and objects. Fee: $100, includes materials Canada, Saskatchewan, Battleford July 14-16 and firings. Contact Doreen Gaylord, Vermont “Dimensions ’89,” 16th annual juried exhibi­ State Craft Center at Frog Hollow, Mill Street, tion; at Alex Dillabough Centre. Middlebury 05753; or phone (802) 388-3177. Canada, Saskatchewan, Saskatoon August Virginia, Richmond June 26 “Contemporary 12-September 7 “Games People Play”; at the Sas­ Ceramics,” gallery talk in conjunction with “Clay katchewan Crafts Council Gallery, 1231 Idylwyld U.S.A.” exhibition. Contact the Hand Work­ Drive, North. shop, 1812 West Main Street, Richmond 23220; England, LondonJune 6-July 2 Carol McNicoll or phone (804) 353-0094. exhibition. July 4-30 “New Faces, ” includes works Wisconsin, Milwaukee June 11 “Clay: A Healing by Kyra Cane, Richard Landy, Imogen Margrie, Way,” an American-Soviet mural project; at Maier Rosa Quy andjane Staniland; at the Crafts Coun­ Festival Park. Open to all. Participants will mix cil Shop at the Victoria 8c Albert Museum, South clay, spread it over a flat surface, then make Kensington. impressions or inscriptions personally symbolic June 9-12 “International Ceramics Fair 8c Semi­ of peace. The resulting mural will be cut into nar,” includes an exhibition of the Hartman sections, salt glazed and shipped to Leningrad collection of Tang pottery; at the Ballroom Suite, for installation. For further information contact Park Lane Hotel, Piccadilly. Joel Pfeiffer, 617 East Capitol, Hartland, Wis­ June 13-July 7 “Treasures of Ancient China”; at consin 53029. Foxglove House, 166 Piccadilly. June 20-July 1 “Small Is Beautiful,” exhibition of International Events works no larger than 4 inches in any direction; at David Canter Gallery, Craftsmen Potters Shop, Belgium, Brussels through June 10 An exhibition William Blake House, Marshall Street. of works by Thiebaut Chague; at Atelier 18, rue France, Frejus July 11-August 14Lorene Nickel du President 18. and Joseph Detwiler, “Collaboratiave Vessels”; Belgium, Rumst August 16-25 ‘Workshops: at Villa Marie. Ceramics 1” with Anne Ausloos and Johan Siet- France, Nangay through July 16 Whimsical poly­ zema, making monumental clay objects in a clay chrome sculpture byjacky Coville.July 22-Sep- quarry; at Swenden Brick Company. Fee: 9000BF tember 24 Remy Trotro, sculpture; at Galerie (approximately $261). Participation limited. Capazza, Grenier de Villatre. Contact World Crafts Council-Vlaanderen, Box Hungary, SiklosSeptember 18-October 8 Work­ 10, Brussels 23,1000 Brussels, Belgium; or phone shop on forming with plaster molds, and firing (222) 19 3434. in salt and raku kilns with Maria Geszler, Zsofia Belgium, Vossenberg August 16-25 ‘Workshops: Hajdu and Imre Schrammel. Instruction in Ceramics 2” with Tjok Dessauvage and Richard English or German. Fee: $1500, includes mate­ Slee, dynamic pots; at Keramisch Centrum. Fee: rials, firing, cultural programs, lodging and 9000BF (approximately $261). Participation lim­ meals. For further information contact Istvan ited. Contact World Crafts Council-Vlaanderen, Komor, Baranya Creative Colonies, Siklos, Vajda Box 10, Brussels 23, 1000 Brussels, Belgium; orJanos ter 2, H-7800; or phone (operator as­ phone (222) 19 3434. sisted) Siklos 462. Canada, British Columbia, Penticton July 29-30 Italy, Faenza July 22-October 8 The “46th Inter­ “Raku Decorating and Glazing” with Brent national Competition of Art Ceramics”; at the Gloeckler. Participants should bring bisque- Palazzo delle Esposizioni, Corso Mazzini 92. ware. Fee: Can$70 (approximately $60). For Italy, Florence (Firenze)through October 31 Two- further information contact Okanagan Sum­ week general pottery courses with Jules Brunt, mer School of the Arts, Box 141, Penticton, V2A John Colbeck, Pietro Maddalena and Katharina 6J9; or call (604) 493-0390. Noerbel. Instruction in English, German or Ital­ Canada, British Columbia, Vancouver June ian. Fee: 970,000 lire (approximately $728) per 12-July 9 “Four from the Islands,” includes wall session, includes materials, firings, lodging and works and sculpture by Linda Stanbridge; at meals. Contact Pietro Maddalena, 50020 Mar- Surrey Arts Centre, 13750 88th Avenue. cialla, Firenze; or phone (571) 660084. July 3-21 “Ceramic Sculpture” with Steve July 10-August 11Studio work with Allan Rosen­ Heinemann .July 24-August 11 “Tableware” with baum, plus visits to the Museum of the Bargello, Rebecca Rupp. Fee: Can$160 (approximately the village of Impruneta and the Museo Interna- $138) each, plus materials. Contact: Sally Mich- zionale della Ceramica in Faenza. Fee: $1895, ener, Emily Carr College of Art and Design, includes materials, firing and lodging. For fur­ 1399 Johnston Street, Granville Island, Vancou­ ther information contact Sue Ann Messmer, ver V6H 3R9; or phone (604) 687-2345. School of the Arts, Virginia Commonwealth Canada, Ontario, Brockville through June 10 University, Richmond, Virginia 23284; or phone “Garden: Sculpture and Accessories” by Carolyn (804) 367-1700. Gibbs; at Heritage Crafts, Sheridan Mews, July 15-28 or August 1-14 Handbuilding and 182-186 King Street, West. marketing with Silvia Fossati and Hope Maxwell. Canada, Ontario, Burlington September 10 “Is­ Instruction in English, Italian or Spanish. Fee: sues in Contemporary Ceramics” with Steve 500,000 lire (approximately $375), includes ma­ Heinemann, demonstration, slide lecture and terials and lodging. Contact Studio Giambo, Via critiques of participants’ works. Fee: Can$35 G. della Bella, 22, 50124 Firenze. (approximately $30). Contact Jonathan Smith, Italy, Grottaglie August 1-September 15 “Second Curator of Peru Collection, Burlington Cultural Please Turn to Page 104

72 Ceramics Monthly June/July/August 1989 73 Film Sc Video

Handbuilt Clay Sculpture In this how-to video, professional ce­ ramist Christine LePage press molds and slab builds a whiteware sculpture; while student Pete Erlandson handbuilds an earthenware trout. LePage begins by rolling a slab to be placed in a shallow plaster mold. Smaller clay slabs are added to strengthen what will be the sculpture’s inner wall. When leather hard, the two halves are removed from their molds and joined. A figure is then sketched on the surface, and a correspond­ ing segment excised. To form the figure in relief, a soft clay slab is added and manipu­ lated from the inside; the cracking usually associated with the joining of plastic and leather-hard clay is avoided by drying the addition with a propane torch. Once de­ tailing is complete, the sculpture is dried, bisqued, then smoked in sawdust. Interspersed with the LePage demon­ stration are clips of Erlandson working. His trout is roughed out then carved in soft earthenware. Dried to leather hard, the form is hollowed from the underside, with the exception of the tail which must be cut off, hollowed and reattached. The trout is pierced (through to the hollow inside) with a needle tool. The holes are then smoothed over and the surface burnished. To emphasize major points of construc­ tion, the video concludes with a review. 30 minutes. Available as a ½-inch VHS video- cassette, with accompanying pamphlet on studio setup and materials, plus glossary. $49.95 (includes shipping). IBEX, Inc., 2291 White Oak Trail, Oregon, Wisconsin 53575.

Wheel Thrown Pottery Intended as a teaching aid, this video focuses on making a pitcher. Examples of various works are first shown as the narra­ tor discusses basic terms (throwing, trim­ ming, firing, etc.) and some history. Next, as the narrator briefly explains the clay composition, Wisconsin studio potter Gary Roehborn demonstrates spiral wedging. The result is then slapped onto the wheel head, centered, opened and pulled; here a split screen shows the potter’s hand place­ ment from two angles. After the surface is smoothed with a metal rib, a spout is formed, and the bottom wire cut for re­ moval from the wheel. When dry enough, the pot is trimmed and a pulled handle attached. A similar bisqued form is then dip glazed, brush decorated and fired. 30 minutes. Available in ½-inch VHS videocas- sette, with accompanying pamphlet on set­ ting up a studio for student work, money/ time-saving tips, lesson plans, and glossary. $49.95 (includes shipping). IBEX, Inc., 2291 White Oak Trail, Oregon, Wisconsin 53575.

74 CERAMICS MONTHLY June/July/August 1989 75 space” for releasing the bat. I also water­ can be attached to the studio wall, a shelf or proofed the screen molding to prevent to the potter’s wheel itself for a convenient swelling. Two hints: sponge the four edges view of your work’s profile while throwing. of the bat immediately after releasing to The adjustable nature of the mirror makes Suggestions assure a clean fit next time; if the fit is even it suitable for different types of work. The a little loose, push a pinch of clay into the angle can be easily altered with a quick from our readers edge space. touch of the hand.—Darrel Bowman, Maiden Glazed tiles will also work, but cost more Rock, Wis. and don’t release the piece as readily. I have not tried this system with larger tiles, A Scoop for Every Bin Unglazed Tile Bats but I see no reason why it would not work as For those of us who would like a sepa­ I am currently using a bat system, for well.—Norb Smith, Richardson, Tex. rate scoop for each bin in the glaze room, throwing small pieces, that costs just 22£ to adapt an old bat and 19# each for tiles. Better than a Banding Wheel These are 6-inch-square, Italian-made, Without a banding wheel, and in a pinch, unglazed ceramic tiles (available at any I borrowed the turntable added to my mi­ building materials store). They are held in crowave oven. It has since remained in the studio. After winding, it will turn long enough to decorate a piece. With it, I can avoid the jolts of starting and stopping. It’s but can’t afford to purchase that many also very helpful during airbrushing.—Mary aluminum scoops, we should give thanks to Shreves Crow, Wilmington, N. C. the soda companies. By simply cutting their variously sized plastic bottles in two, one Decorating Swabs can come up with a variety of easy-to-clean Foam swabs, which are sold to clean scoops.—Ken Bichell, Tsaile, Ariz. tape and computer equipment, are great for glaze stippling effects, as well as for Dollars for Your Ideas reaching small areas. And they won’t leave Ceramics Monthly pays $10 for each suggestion a trail of cotton fiber, which is often a published; submissions are welcome individually problem when the traditional swabs un­ or in quantity. Include an illustration or photo to furl.—D. Barrows, Centerville, Mass. accompany your suggestion and we will pay $10 place by four 5%-inch pieces of wooden more if we use it. Mail your ideas to CM, Box screen molding glued to an old Masonite Adjustable View 12448, Columbus, Ohio 43212; or FAX to (614) bat with a waterproof adhesive called Lax- The large side mirror from a truck (or 488-4561. Sorry, but we can’t acknowledge or ell. The openings at the comers offer a “pry from a car equipped to pull a large trailer) return unused items.

76 CERAMICS MONTHLY June/July/August 1989 77 78 Ceramics Monthly sale and retail sales, an increase of 32%, was design of both handcrafted and machine- projected. made products in the West have been Add to that new sales avenues at major influenced by Eastern sensibilities. In turn, auction houses, through catalogs and di­ Japanese design has, in recent years, been 8c rect mail, and it’s looking very upbeat in­ significantly influenced by the West. “East News Retrospect deed for U.S. ceramists. Meets West in Design: Archaeology of the Present,” an international competition, was Renwick Acquires Bogatay Figure National Endowment News organized by East Meets West Cultural In­ An earthenware sculpture made in 1936 ternational in New York City to identify For the first time in eight years, the by Paul Bogatay (1905-1972) was recently these influences “by acknowledging the best National Endowment for the Arts (NEA) acquired by the Renwick Gallery of the contemporary examples of fusion in de­ has asked Congress for a budget increase— National Museum of American Art in Wash­ sign, applied arts and crafts. $170,010,000, up nearly a million from the ington, D.C. Fired at the Ohio State Uni­ “The pace of cross-cultural references is fiscal year 1989 allocation of $169,090,000. versity, Columbus, where Bogatay taught growing geometrically: universal satellite During the Reagan administration, budget systems and the miniaturization of compo­ requests reflected the president’s attempts nent parts enable us to communicate with to reduce NEA funding, attempts that were each other and acquire fresh information repeatedly overridden by arts supporters in in a split second,” noted Anneke van Waesber- Congress who saw that appropriations ex­ ghe, East Meets West president. “People, ceeded requests. places, events and tangible things every­ This 1990 budget was the last to be rec­ where in the world are losing their ethnic­ ommended by Frank Hodsoll, who resigned ity. Nearing the nineties we have witnessed as NEA chairman effective March 1, to be­ seemingly disparate cultural traditions be­ come the chief financial adviser and execu­ come unified with one another in art and tive associate director of the Office of Man­ design.” agement and Budget. During the months it Slides of entries by 851 artists from 20 is expected to take President Bush to name countries were reviewed by jury panels, a successor to the post, Hugh Southern, Hod- according to category. Selected for the “East soll’s deputy director for programs, will Meets West” exhibition, which opened at serve as interim chairperson. Among those the Crystal Palace of the JacobJavits Center reportedly being considered for permanent in New York City, were 75 works by 42 appointment are Schuyler Chapin, former artists from Austria, Belgium, Canada, dean of Columbia University School of Arts; Czechoslovakia, Italy, the Netherlands, Barnabas McHenry, a New York arts adminis­ Spain, Sweden, the U.S., the U.S.S.R. and trator and vice-chairman of President Rea­ West Germany. gan’s Committee on the Arts and Human­ Included in this internationally touring ities; Milton Rhodes, executive director of show are a slip-cast teaset by Marek Cecula, the American Council on the Arts; and Lois Parsons School of Design ceramics depart­ Burke Shepard, director of the Institute of ment head; and handbuilt, colored-clay Museum Services. Other administrative changes at the NEA Paul Bogatay’s “Javanese Mother and Child, ” include the appointment of Susan Lubow- handbuilt, approximately 22 inches in height, sky, formerly director of the Whitney Mu­ partially glazed earthenware, 1936. seum of American Art at Equitable Center in New York, as director of the NEA Visual for more than 40 years, it made its public Arts Program. She succeeded Richard An­ debut at the “Fifth National Ceramic Exhi­ drews, who returned to Seattle to become bition” in Syracuse, New York, where it re­ director of Henry Gallery. ceived the $100 prize (a substantial amount in those times) for ceramic sculpture. Ceramics Sales Looking Up Bogatay is one of a growing number of American studio ceramic sculptors whose Nerikomi (handbuilt colored clay) bowls with No matter how you slice it, studio ce­ clear glaze, to approximately 16 inches in di­ ramics’ share of the marketing pie is get­ work is being reevaluated in recent years by ameter, by Beth Forer ting bigger every year. scholars, dealers and collectors worldwide. American Craft Enterprises recently He and his contemporaries who created bowls (shown above) by New York studio announced that sales of ceramics at its “ACC important works (even before the intro­ potter Beth Forer: “Although colored clays Craft Fair” in Baltimore were up an as­ duction ofBernard Leach' s “A Potter’s Book,” are employed in many world ceramic tradi­ tounding 49% this year, with receipts aver­ to America) helped define a new stylized tions, the process used in making these aging $20,347 per booth. That figure is ceramic vocabulary which today is increas­ bowls is the Japanese technique of neriko­ based on reports from 101 ceramists (about ingly regarded as significant and worthy of mi [wherein] the form and the surface are 40% of those selling decorative and/or art historical note. inherently one [and] an exceptionally di­ functional ware). A graduate of the Cleveland School of rect relationship exists between the way a In fact, all previous records in both sales Art, Bogatay worked with K Guy Cowan at piece is made and how it looks. The pat­ and attendance for this annual five-day his pottery in Rocky River, Ohio, before terns are strong, yet the overall effect is subdued. Quiet nobility of the simple form event were broken. From participants’ re­ joining the faculty at O.S.U. in 1928. He ports, a gross figure of $ 16 million in whole- also briefly taught ceramic sculpture at is the desired effect: shibui for contempo­ Kyoto University in Japan. His work, exhib­ rary times.” ited internationally, received prizes in the You are invited to send news and photos Culinary Art about people, places or events of interest. We 1935,1938,1940 and 1948 ceramic nation­ mill be pleased to consider them for publica­ als at Syracuse as well. The sixth annual “Culinary Art” show at del Mano Gallery in Pasadena, California, tion in this column. Mail submissions to East Meets West (Again) in Design News & Retrospect, Ceramics Monthly, Box featured plates, platters, bowls, cups, tea- Since the opening of Japan to foreign 12448, Columbus, Ohio 43212. sets, soup tureens, cookie jars, and other trade in 1868, the arts, architecture and functional forms, by 25 artists from across

June/July/August 1989 79 News & Retrospect Reitz also juried All Fired Up entries. He noted that “making judgments about the quality of other artists’ works is per­ sonal, biased and subjective. Hopefully, that judgment has been cultivated over a period of time that spans many ‘isms,’ fads and trends in art. A broad frame of reference is necessary to make intelligent judgments. “I have been concerned for some time about the status of art, particularly in the field of ceramics. One would think that in the 20th century, a century of discovery

Porcelain platter, 17 inches in length, by Bar­ bara Shaiman

the country. Assembled to “please every palette,” the objects on view ranged from funky to sleek, from whimsical to stately. Shown from the exhibition are a rim- cut porcelain platter with abstract poly­ chrome imagery by Barbara Shaiman, Se­ attle; and a vegetable-shaped jar and tea­ pot, thrown and handbuilt stoneware, with

Raku vessel, 11 inches in height, wheel-thrown earthenware with luster glaze, by Jon Higuchi, Phoenix; $250 “Gourd Jar, ” 14 inches in height, and “Squash Teapot,” stoneware, with low-fired glazes and and exploration, we in the arts would be stains, by Sarah Frederick pushing back frontiers, expanding our horizons and putting forth expressions of glazed interiors, and fluxed stains air- unique and personal concern. I find this is brushed over the exteriors, by Sarah Freder­ not the case. We have become content with ick, Louisville, Kentucky. mediocrity, relinquishing the role of proph­ et and visionary, succumbing to the wishes Arizona Clay Celebration of teachers, galleries and critics. We lack a by Sean McGinnis personal faith in our own uniqueness and A monthlong Celebration of Arizona commitment to purpose. Commerce and Clay, orchestrated by Southern Arizona Clay ego have now become the criteria for suc­ Artists, featured a statewide juried exhibi­ cess and the standards of good art. tion, “All Fired Up,” at the University of “When jurying, I was looking for that Arizona Art Museum (Tucson); plus a work­piece that said, ‘Hey, look at me. I’m going shop with Don Reitz, and an exhibition of to make your mind work. ’ ” Continued his work. Reitz recently moved (with ce­ ramist Paula Rice Reitz) from Wisconsin to Arizona, Don for full-time studio work, Paula to teach at Northern Arizona Univer­ sity and continue her studio sculpture. During the two-day demonstration/lec­ ture, Reitz made 14 vessel-derived sculp­ tures, half of which weighed more than 100 pounds each. He started all of these forms on the wheel, altering them with scraping, slab additions and the application of bright­ ly colored slips. The slips consisted of equal parts premixed commercial underglaze and low-fire casting slip, so thick in consistency they held their shape after application. The most innovative use of these slips Reitz demonstrated was as solid “implants.” He had poured slips into cupcake pans, then let them dry out. These were then broken and jammed into the wet clay forms. “See, color isn’t just surface,” he said. “Color can “Copper Flare, ” 20 inches in height, by Lois be solid; color can have shape.” Gress-Neal, Phoenix

80 CERAMICS MONTHLY June/July/August 1989 81 News & Retrospect

The resulting exhibition well represent­ ed current trends in ceramics, with sculp­ tural, functional, figurative and decorative works by 25 artists. Several were cleanly stated with reference to nature or mono­ liths, a style that is akin to the geology of Arizona. Others were directed toward per­ sonal mythology, dealing with distorted figural imagery. The main focus of all the works was truth to intent. Cash awards were given to three artists: first place went to Aurore Chabot, faculty artist at the University of Arizona; second place to Gary Benna, Tucson; and third place to Lois Gress-Neal, Phoenix, for “Cop­ per Flare,” a raku-fired, slab-built earthen­ ware vessel [see page 80]. “Woman Vase, ” 8 inches in height, handbuilt, stained porcelain, with inlaid imagery

Enelia Paz Gomez Boulder Arts8c Crafts Cooperative in Boul­ Among the artists who participated in der, Colorado, through April 29. Forms, the second annual “Artists for Amnesty,” such as “Woman Vase,” are made by “roll­ an Amnesty International benefit sale at ing out a slab of stained porcelain and Natsoulas/Novelozo Gallery in Davis, Cali­ applying sections of stained and patterned fornia, was Enelia Paz Gomez, a native Co­ clays in puzzlelike pieces,” Bottman ex­ lombian who has recently been working plained. Next, “the surface is rolled smooth, with Robert Ameson at the University of Cali­ impressing the image into the background. fornia, Davis. Bom into a poor black family The slab can then be formed into one of a in southern Colombia, she supported her­ variety of finished shapes.” self first as a beautician, then as a cook for a wealthy family before emigrating to Swe­ Electric to Raku Kiln Conversion den where she now resides. by Natalie Dykstra “People often ask me if my painting and Standing behind the recently built stu­ sculpture are typically Colombian, or per­ dio of raku potterDebra Gritter is an old 24- haps African-Colombian. They are certain­ inch-diameter electric kiln on a bed of ly not,” Gomez observed. “I would rather firebrick. Deb and Mary Doezema , another say that my experience as a hairdresser and West Michigan potter, have converted this top-loader into a propane-fired raku kiln. All the electrical side switches were re­ moved, and a 4-inch-square hole was cut (with a tree-trimming saw) into the kiln’s wall approximately 2 inches from the base for the burner port. The bottom shelf was then stilted with 8-inch-long firebricks to create a firebox with an even-heating ware chamber above it. The flue was cut through the lid, and a swath of ceramic fiber serves as a damper. After ten years of rakuing together, Doezema and Gritter found this kiln “Deep Platter,” 16 inches in diameter, stone­ ware with oxide decoration over white glaze achieves the best overall results, both in fir­ ing ease/efficiency and process control. as a qualified practitioner of haute cui­ They had started out by building a 16-inch- sine—adding the right spice in the right square (interior) kiln from bricks previ­ place—are more important to my work. ously used in a hospital boiler. A few years “But there is no denying that I was also later, they tried building a kiln from ce­ influenced by the folk beliefs in brujos and ramic fiber attached to hardware cloth and brujas (magicians and witches) common steel reinforcing rods. This kiln heated well, among the black people in Colombia. My but the work reoxidized too quickly when father’s tales of witchcraft—for example, a the entire kiln was lifted off the base to woman being turned into a frog or fly; or retrieve the ware. Finally, they purchased the devil turning into a pig—have uncon­ (for small change) the current kiln, non­ sciously brought out a kind of mythical functioning and unwanted by a local school. surrealism in my art.”Photo: Conny Rich. Several yards away are three battered garbage cans, blackened, the lids leaning Tom Bottman against their sides. Straw is put in the bot­ Functional and nonfunctional inlaid tom of each can for postfiring reduction. porcelain objects by visiting artist Tom Bott­ With long tongs, the pots are withdrawn man, Salt Lake City, were on view at the from the kiln, gingerly placed in the cans,

82 CERAMICS MONTHLY June/July/August 1989 83 News & Retrospect at America House in Tenafly, New Jersey, reflects the artists’ surroundings, both natu­ ral and social—the dramatic landscape, Native American traditions, etc. But the “Southwestern” look remains as varied as its influences. Among the ceramic objects on view were saggar-fired vessels by Nicholas Bernard, Tempe, Arizona; ritual vessels by Maurice Grossman, art professor at the University of Arizona; sculpture and wall tiles byPatricia

Raku bowl with handle, 12 inches in diameter, by Debra Gritter

and covered with more straw. Then the lids are quickly closed to create the desired reduction/carbonization inside the cans. Both potters agree the effect of the pro­ cess is alluring and elusive. Gritter says: “It’s the immediacy of raku firing that keeps me coming back, though the breakage and disappointments can, at times, be high. The process presents aesthetic choices that demand quick decisions regarding further Saggar-fired stoneware vessel, 13 inches in reduction or freezing the effect.” height, with imagery based on cave paintings, Ajoint exhibition of their raku work was by Nicholas Bernard featured at Gallery 154 in Grand Rapids, Hoback, Galisteo, New Mexico; and large, Michigan, through May 20. Titled “Out of coil-built vessels with pitted surfaces byAvra the Pits,” the show featured wheel-thrown Leodas, Santa Fe. vessels with crackle-glazed, lustered and flashed surfaces.Photo: Phil Schaafsma. Nancy Angus Inspired by ancient civilizations, partic­ Gail Kristensen ularly Egypt, British ceramist Nancy Angus A commissioned garden fountain and drew upon universal symbolism for her stools by Arizona ceramist Gail Kristensen decorative vessels and ritualistic boxes were installed recently at a private resi­ shown at the Crafts Council Gallery in dence in Phoenix. Slab-built from stone­ London through April 9. “These are hand- ware mixed with 4% iron oxide, 4% yellow built, nonfunctional pieces, textured in various ways, then painted with slips, body stains and glaze,” Angus explained. “I often use ‘water’ or ‘earth’ colors—vivid blues, turquoises, subtle purples and blacks, sandy yellows, pinks, stony grays and browns. “A range of symbols or motifs [are util­ ized] to decorate the forms, a spiral and a cross among others. These all have some personal meaning for me, but I’m not us­ ing them to make a statement, only to imply or suggest my thoughts and ideas. I

Stoneware garden fountain, 5V2 feet in height, and stools, slab built, by Gail Kristensen, Sedona, Arizona

ocher and 4% granular manganese diox­ ide for color and texture, the set was then high fired in oxidation. With her work, Kristensen is “interested in bridging the sterility of modernism and the freedom of nature. I consider form, the rendering of an idea, a concept, and the creative process most important.”

Southwest Crafts in New Jersey “Curvey Pot, ”17 inches in height, coil-built Much of the work featured in a recent stoneware, with sgraffito through earthtone exhibition of “Craftworks of the Southwest” stains and glazes

84 Ceramics Monthly June/July/August 1989 85 News & Retrospect ground, interest in natural history and love of primitive art. The resulting vessel sculp­ tures are highly textured with raised dots, grooves and etchings. Also inspired by the Southwest, the porcelain bowls and plates of Sandy Shaw are a contemporary inter­ pretation of Mimbres pots. Purposely un­ derfired, they remain porous and function primarily as decorative objects. Working with layered colored clays, Beth Forer handbuilds vessels and jewelry. Each piece begins as a loaf of white and black clay, which is then sliced into thin slabs. Kendra Conn is also interested in pat­ “Blue Box ivith Hand, ” 7 inches in length, terning with clay. Fascinated with fabric stoneware, with stains and glazes, fired to and the intricacies of weaves, she layers low- Cone 5, by Nancy Angus fire colored clays to create optical illusions. The slab-built baskets and wall tiles of want there to be a sort of evocative familiar­ Patricia Smith demonstrate her interest in ity about the things I make, and certain dynamic movement created by light and symbols are widely recognized and don’t shadow and various color combinations; require interpretation. while Julie Terestman’s wheel-thrown red “Some of the boxes contain small ob­ earthenware vessels incorporate glaze im­ jects, occasionally ‘souvenirs,’ personal agery that takes on a cartoon animationlike memories of places, particularly of muse­ quality. Photo: Mel Schockner. ums (I love the odd, incongruous displays of objects in museum showcases). They are strange and ambiguous collections of ob­ Sandra Blain jects carefully arranged to suggest ‘spells’ Sculptural vessels from the “Circus” se­ or magic.” Photos: Stephen Brayne. ries by Sandra Blain, director of Arrowmont School of Arts and Crafts, were exhibited Boston Invitational recently at the Ewing Gallery of Art and To present a range of ideas expressed Architecture, the University of Tennessee, in contemporary daywork, vessels and sculp­ Knoxville. The series name reflects the ture by six women ceramists—Kendra Conn, works’ incorporation of “dynamic imagery Gretchen Ewert, Beth Forer, Sandy Shaw, Patri­ related to that...in-the-round production cia Smith and Julie Terestman—were exhib­ filled with action which enhances many ited in a recent invitational at the Society of lives by allowing us to move beyond daily Arts and Crafts in Boston. concerns and enter a world of wonders. Gretchen Ewert’s work is based on a “The ‘Circus’ series also documents a desire to bring together her Southwest back­ vital force within contemporary ceramic

“Seven Fish Plate,” 18 inches in diameter, porcelain, with sgraffito through slip, by Sandy Shaw, San Anselmo, California

86 C eramics Monthly June/July /August 1989 87 News & Retrospect a whiteware wall relief, by Lindsay McCoy. Her work “combines both narrative and abstract elements, exploring the possibili­ ties of texture, color and form inherent in the ceramic medium. An expression of personal understanding, it records mean­ ing and order impressed upon the environ­ ment through visual symbols.”

Kofi As ante Commissioned stoneware objects by Kofi Asante were in place for the grand opening on March 6 of the newly built Ghanian Embassy in Washington, D.C. A native of Ghana, Asante has been an artist-in-resi- dence at Wesleyan Potters in Middletown, Connecticut, since 1987. His training as a potter began when he entered the University of Science andTech- nology in Kumasi, Ghana. He had intended to study textiles, but was persuaded to switch to ceramics by W. C. Ownsn, who was then a lecturer in pottery. “Circus Slide: Ringed Image Tie, ” 21 inches in After completing university studies, height, wheel-thrown earthenware, with slips, Asante spent some time at the North Staf­ oxides, glaze and luster, by Sandra Blain fordshire Polytechnic in Stoke-on-Trent, art—the use of the traditional vessel form England, where he specialized in the tech­ as a vehicle for personal aesthetic state­ nology of heavy clays and refractories. ment. Through history the vessel has ac­ quired a capacity to symbolize accrued human experiences, the exploration of in­ terior and exterior surfaces and space. “Symbolic of the circus is the clown. Through visualizing his absurd dress and bizarre antics, elemental shapes (dots, tri­ angles, checkerboards, stars) are distilled to attain lavish surface embellishment with intense colors, bold patterns and relief markings. “Drawing, direct brushwork, stamping, stenciling and airbrushing techniques are used with slips, glazes and lusters. The pieces undergo multiple firings to achieve a sense of visual complexity.”Photo: Thomas Neff.

Hand, Heart and Soul

The Gallery of Florida Craftsmen in Stoneware stool, approximately 20 inches in Saint Petersburg recendy presented “Hand, height, slab built, sprayed with manganese/ Heart and Soul,” an exhibition of valentine red iron oxide wash works in clay, fiber, glass, jewelry, leather, wood and mixed media. Among the ce­ Thereafter, returning to the university ramic objects on view was “Florida Stories,” at Kumasi as a lecturer in ceramic technol­ ogy, he taught such practical subjects as Phase Rule, Raw Materials and Refracto­ ries. Yet his real love was traditional African pottery. Eventually, Asante decided that the preservation of African culture was of prime importance, and that he could best carry out that conviction by developing and expanding the traditional pottery of his region. “The pieces I create incorporate many traditional African symbols, which have been handed down for centuries through proverbs, images and so on,” he explained. “For example, a figurative piece with joined hands says ‘unity is strength’; and four figures, two men and two women, carrying the map of Africa, expresses the idea that “Florida Stories,” 17 inches in height, Blacks anywhere in the world must uphold handbuilt whiteware, with brushed and air- brushed glazes, by Lindsay McCoy, Largo, the good image of Africa. Still another sculp­ Florida; $125 ture, which has three figures carrying a

88 CERAMICS MONTHLY June/July /August 1989 89 News & Retrospect built parts that are cut, paddled and other­ wise altered. By using colored slips and underglazes heavily imbued with grog, sand and borax, I create an archaeological qual­ large bowl, depicts ‘libation’ or faith in the ity, a crust of ages past. spirit above.” Photo: S. McCarthy. “My goal is not a blind pursuance of ‘style’ per se. Each piece, whatever form or Lisa Harris surface it takes on, is faithful to the same “Traditions Past and Present,” a solo ex­ underlying intent, and that is to energy, hibition of sculpture and functional ce­ freshness and expression with all its inher­ ramics by Lisa Harris, was presented re- ent rough edges.”

Golden West Invitational The “Third Ceramic Invitational” at Golden West College in Huntington Beach, California, featured vessels and sculpture by 14 artists living in Indiana, Oregon and

Lidded box, 15 inches in length, slab-built, press-molded and extruded terra cotta, with sprayed glazes (fired to Cone 06) and gold leaf, by Mark Derby, Long Beach, California; $350

Southern California. In issuing invitations, curator Majorie Gray “did not wish to em­ “Hut Form,” 10 inches in height, thrown and phasize traditional, functional ware, nor altered terra cotta, with sgraffito through slips and glazes, by Lisa Harris, Chicago conceptual art where idea or statement is primary and the clay medium is incidental. :ently at Lill Street Gallery in Chicago, My primary interest was in promoting good ^laying on “ideas from antiquity, classicism, ceramic work. All of the invited artists are primitive and folk traditions, my work draws disciplined, intelligent, technically skilled, ’rom ceramic history and a strong interest and massive energy is evident in their work.” n architecture,” Harris commented. “In Shown from the exhibition are three ihort, [it represents] a veneration or nos- “Sentinels,” from a series exploring the algia for the past. concept of “one who watches or guards” by “Fired in oxidation to 1700°F, the forms Todd Gamer. “The image I chose to convey ire assembled from both thrown and hand- this idea is that of a helmet,” the artist ex-

From left: “Moon Sentinel, ”“Fear Sentinel” and “Tide Sentinel, ” each approximately 70 inches in height, acrylic-painted earthenware, with lustered elements fired separately and attached, by Todd Gamer, Long Beach, California; $2000 per work

90 Ceramics Monthly June/July/August 1989 91 News & Retrospect

plained. “The helmet not only is a protec­ tive covering for the head, but also is an abstraction of the head itself, and becomes a subjective, dual emblem for both. The armor aspect of the helmets becomes a symbol for the external (physical) world, and the head a symbol for the internal (spiritual) world.” Among the vessel forms on view were terra-cotta boxes by Mark Derby. In his work, he is “interested in finding the point at which form and decoration appear to merge. Oversize additions, which at times act as applied decoration, may simultane­ ously function as supporting structures to the oval box forms. These works are meant to be meditative, contemplative and to re­ veal themselves slowly over time. They are a personal view of beauty, an expression of excellence and quality, a suggestion of an ideal state.”

Decorative Function Alex Karros, Anne Smith and Judy Zieve offered decorative interpretations of func­ tional ware in a recent exhibition at the

Terra-cotta jar, 22 inches in height, with slips and glazes , by Alex Karros, Philadelphia; $250

Works Gallery in Philadelphia. Zieve fuses Japanese Oribe motifs with contemporary themes in her porcelain vessels; while Kar­ ros’s colorful wares reflect Mediterranean traditions; and Smith’s patterned cups on shelves go beyond function to become wall sculpture.Photo:Jack Ramsdale.

Good Humor Annual The fourth annual “Good Humor” show of whimsical and decorative objects was

92 CERAMICS MONTHLY June/July/August 1989 93 Where to Show Continued from Page 8

July 15 entry deadline Minneapolis, Minnesota “American Folkart Show” (September 15-17) is juried from 3 pho­ tos plus 1 of booth. Fee: $200 for a 10x10- or 8x12-foot space. Contact Charles D. Veldhuizen, American Folkart Association, Box 3225, Sioux City, Iowa 51101; or phone (800) 365-5278. July 23 entry deadline Silverthome, Colorado Fourth annual “Moun­ tain Community Fair” (July 28-30) is juried from slides. Booth fee: $40. Contact Lorrie Schottleutner, 135 Montezuma, Dillon, Colo­ rado 80435; or phone (303) 468-2219. July 31 entry deadline Dillon, Colorado “Summit Fest and 17th An­ nual Art and Music Festival” (August 5-6) is juried from 3 slides or photographs. Booth fee: $40. Contact Lake Dillon Arts Guild, Box 1047, Dillon 80435; or phone (303) 468-6100. August 1 entry deadline Ormond Beach, Florida “27th Annual Halifax Art Festival” (November 4-5) is juried from 3 slides. Fee: $80. $10,500 in awards. Contact Hal­ ifax Art Festival, Box 2038, Ormond Beach 32074; or phone (904) 253-3772. Dalton, Georgia “Prater’s Mill Country Fair” (October 14-15) is juried from slides or photos. Booth fee: $50. Con tact Judy Alderman, Prater’s Mill Foundation, 216 Riderwood Dr., Dalton 30721; or phone (404) 278-7373. Covington, Kentucky “Oktoberfest ’89” (Sep­ tember 8-10) is juried from photos and written description. Fees: $100 for a lOxlO-foot open space; $125 for a 9x20-foot covered booth. Contact Eunice Koch, MainStrasse Village Asso­ ciation, 616 Main St., Covington 41011; or phone (606) 491-0458. McLean, Virginia “Skilled Hands Art 8c Craft Show” (November 25-26) is juried from 3 slides or photos, plus 1 of display. Fee: $130 for a 10x7- foot space. Contact Bob Livingston, Skilled Hands Productions, Box 883, Carlisle, Pennsyl­ vania 17013; or phone (717) 486-7100. August 6 entry deadline Waukesha, Wisconsin “American Folkart Show” (October 6-8) is juried from 3 photos plus 1 of booth. Fee: $200 for a 10x10- or 8x12- foot space. Contact Charles D. Veldhuizen, American Folkart Association, Box 3225, Sioux City, Iowa 51101; or phone (800) 365-5278. August 15 entry deadline Herkimer, New York “The 14th Annual Herkimer County Arts 8c Crafts Fair” (Novem­ ber 11-12) is juried from 5 slides. Entry fee: $5. Booth fee: $90. Purchase awards and prizes. Contact Jean Slavik, Herkimer County Commu­ nity College, Reservoir Road, Herkimer 13350. Nashville, Tennessee “12th Annual Tennessee Fall Crafts Fair” (October 27-29) is juried from 5 slides, including 1 of display. Entry fee: $10. Booth fees: $225 for a 10x10-foot space; or $340 for a 10x15-foot space. $2000 in cash awards. Contact Tennessee Fall Crafts Fair, Box 120933, Nashville 37212; or phone (615) 383-2502. September 15 entry deadline Dillon, Colorado “11th Annual Colorfest” (September 23-24) is juried from 3 slides or photographs. Booth fee: $40 for a 10x10-foot space. Contact Lake Dillon Arts Guild, Box 1047, Dillon 80435; or phone (303) 468-6100. September 21 entry deadline Sarasota, Florida “Saint Armands Circle Festi­ val of the Arts” (October 21-22) is juried from slides. Booth fee: $120. For further information contact Howard Alan Promotions, 1 North Uni­ versity Drive, Suite A313, Plantation, Florida 33324; or phone (305) 472-3755. September 26 entry deadline Moorestown, New Jersey “Eleventh Annual Ju­ ried Craft Show and Sale” (December 6-9) is juried from slides or actual works. Contact Sue Zikmund, 540 Eaglebrook Drive, Moorestown 08057; or phone (609) 234-0255. Or contact Perkins Center for the Arts, Kings Highway and Camden Avenue, Moorestown 08057; or phone (609) 235-6488.

94 CERAMICS MONTHLY News & Retrospect

“Mother Cupboard, ” approximately 12 inches in height, painted terra cotta, by Simi Berman presented recently at both Jackie Chalkley Gallery locations in Washington, D.C. Among the ceramic works on view were terra-cotta sculpture by Simi Berman of Chesterfield, New Hampshire. When de­ veloping an idea, Berman frequently uses “verbal and visual puns, and their ambigu­ ity, as a jumping-off point.” She likes to think of her work as “little one-liner theater pieces that illustrate, in a slightly off-center, humorous way, the unexpected and incon­ gruous in this crazy life.”

Sheila Lindfield “Contrapuntal Bowl,” a handbuilt stone­ ware vessel by Vancouver ceramistSheila Lindfield, was awarded $500 in “Made by Hand,” the recent provincewide juried exhibition sponsored by the Crafts Asso-

“Contrapuntal Bowl, ”15 inches in length, handbuilt stoneware, with slip/glazes, multi­ fired to Cone 9 ciation of British Columbia. “I am inter­ ested in forms that are not round but achieve a harmonic resonance, that have a sense of strong movements encapsulated in stillness,” Lindfield commented. She prefers to work with stoneware “for its toughness and pitch, with very dry glazes to draw the eye below the surface.”

June/July/August 1989 95 Glaze Chronicles Part 2

by Harold McWhinnie

THIS IS THE SECOND of two articles [see were fired at Cone 10 in reduction, Add: Tin Oxide...... 3.22% March 1989] chronicling the develop­ they yielded interesting matts. Zinc Oxide...... 3.96% ment of glazes at workshops sponsored Black Copper Oxide ...... 1.94% by schools and crafts centers during Ludwig’s Clear Gloss Variation the past five years. The first was at Ar- (Cone 04) For a creamy tan and turquoise gloss, rowmont School of Arts and Crafts in Colemanite...... 22.98% add 1% rutile. Other colorants may be Gatlinburg, Tennessee. Recipes tested Cryolite...... 13.50 added for varied effects. there were later refined at other work­ Whiting...... 2.02 shops. Most have been tried at both Ball Clay ...... 24.87 Patella’s Turquoise Variation high- and low-fire temperatures, and Flint...... 36.63 (Cone 5-6) 100 00 in various atmospheres (oxidation, re­ . % Barium Carbonate...... 1.30% duction, salt, etc.). Working notes were Add: Zinc Oxide...... 5.21% Gerstley Borate ...... 2.74 included to show how glazes may be Color variations were prepared with Magnesium Carbonate...... 3.26 developed even from failures, and that the following additions: Whiting...... 6.79 glaze making is an ongoing process: Wood Ash...... 19.58 Clear: Nepheline Syenite ...... 47.83 Wood Ash ...... 20.00% Ludwig’s Clear Gloss Glaze Flint...... 18.50 (Cone 4-5) White: 100.00% Cryolite...... 13.50% Zircopax...... 15.00% Add: Tin Oxide ...... 3.22% Dolomite...... 11.83 Soft pink with brown spots: Copper Carbonate ...... 1.94% Gerstley Borate...... 11.15 Zircopax...... 15.00% Whiting ...... 2.02 Manganese Dioxide...... 1.00% At this lower temperature and in Ball Clay...... 24.87 oxidation, this variation yields a tur­ Turquoise: Flint...... 36.63 Wood Ash...... 20.00% quoise gloss. Elimination of the cop­ 100.00% Copper Carbonate ...... 1.00% per carbonate addition would open Add: Zinc Oxide...... 5.21 % the remaining base recipe to a variety Because of the high amount of cole­ Color variations were prepared with of color possibilities. manite, this glaze tends to flocculate. the following additions: An addition of gum to the dry mixture Patella’s Clear Variation White: is recommended. Crawling may result (Cone 5-6) Zircopax...... 10.00% if the glaze is thinned too much. Barium Carbonate...... 1.62% Off-white with spots: Raku tests using additions of 15% Gerstley Borate ...... 3.40 Zircopax...... 10.00% Zircopax (white), and 15% Zircopax Magnesium Carbonate...... 4.05 Manganese Dioxide...... 1.00% plus 1% copper carbonate (maroon) Spodumene...... 5.66 Turquoise: were successful. Whiting...... 8.45 Zircopax...... 10.00% Nepheline Syenite...... 53.82 Copper Carbonate ...... 1.00% Patella’s Mottled Purple Glaze Flint...... 23.00 (Cone 8-10, reduction) Pastel blue: 100.00% Barium Carbonate...... 1.30% Zircopax...... 10.00% Add: Tin Oxide...... 4.00% Gerstley Borate...... 2.74 Cobalt Carbonate ...... 0.25% Zinc Oxide...... 4.92% Magnesium Carbonate...... 3.26 Rich medium blue: Whiting...... 6.79 Spodumene was added in an at­ Zircopax...... 10.00% Wood Ash...... 19.58 tempt to reclaim the mottled effect of Cobalt Carbonate ...... 0.50% Cornwall Stone...... 41.80 the original recipe. (Lithium has aided As a clear glaze, this recipe proved Kona A-3 Feldspar...... 3.88 mottling in past glaze tests, and be­ unsatisfactory. But, with the addition Nepheline Syenite ...... 2.15 cause the feldspars had already been of Zircopax and colorants, it has end­ Flint...... 18.50 adjusted, I thought this lithium com­ less possibilities. When color variations 100.00% pound would be testworthy.)

96 CERAMICS MONTHLY Satin Matt Glaze Hal’s Semigloss Cream Glaze (Cone 8-10, reduction) (Cone 9-10, reduction) Dolomite...... 20.00% Magnesium Carbonate...... 8.15% Kona F-4 Feldspar...... 40.00 Whiting...... 14.67 Edgar Plastic Kaolin...... 20.00 Zinc Oxide...... 1.30 Flint...... 20.00 Custer Feldspar...... 40.29 100.00% Edgar Plastic Kaolin...... 8.41 Color variations were prepared with Flint...... 27.18 the following additions: 100.00% White with spots: Add: Tin Oxide...... 0.10% Manganese Dioxide...... 1.00% Red Iron Oxide...... 0.10% Lavender: Color variations were prepared with Copper Carbonate ...... 1.00% the following additions: Rich blue: Mottled tan: Cobalt Carbonate ...... 0.25 % Manganese Dioxide...... 1.00% Mottled tan: Medium blue: Rutile...... 1.00-3.00% Cobalt Carbonate ...... 0.25% Satin Matt Variation Rich brown: (Cone 5-6) Chrome...... 0.25% Dolomite...... 18.18% Rutile...... 1.00% Gerstley Borate ...... 9.09 Hal’s Semigloss Cream Variation Nepheline Syenite ...... 36.37 (Cone 5-6) Edgar Plastic Kaolin...... 18.18 Magnesium Carbonate...... 7.41 % Flint...... 18.18 Whiting...... 13.34 100.00% Zinc Oxide ...... 1.18 Color variations were prepared with Nepheline Syenite ...... 36.63 the following additions: Edgar Plastic Kaolin...... 7.64 Mottled off-white: Flint...... 24.71 Rutile...... 1.00-3.00% 100.00% Mottled pastel pink: Add: Tin Oxide...... 0.10% Manganese Dioxide...... 1.00% Red Iron Oxide...... 0.10% Mottled icy turquoise: Color variations were prepared with Copper Carbonate ...... 1.00% the following additions: Mottled blue-violet: Smooth tan: Cobalt Carbonate ...... 0.25% Manganese Dioxide...... 1.00% A Cone 6 oxidation variation of Satin Mild blue: Matt Glaze involved the unsuccessfulCobalt Carbonate ...... 0.25% substitution of nepheline syenite for Light tan with brown spots: Kona F-4 feldspar. It didn’t mature with Chrome...... 0.25% just the nepheline syenite substitution. Rutile...... 1.00-3.00% Suspecting that the silica and magne­ sia in the dolomite were inhibiting the Here, too, it was necessary to add melt, I decided to add Gerstley borate. Gerstley borate; without it, the glaze A side effect was mottling. would not mature at Cone 6.A fune/July/August 1989 97 Therapeutic Clay by Nancy Bolon

To THE POTTER, clay is the raw material self-appreciation and a more positive to try. Another futile attempt drops the for functional ware and artistic forms. self-image. Sometimes, when working self-esteem even lower. Thus support But to the emotionally stressed person, with a reluctant patient who obviously and encouragement commonly accom­ clay can be raw feelings to mold and doubts his/her ability to mold even a pany basic handbuilding instructions transform, or to pound and destroy. basic pinch pot, I have made reference during therapy. Clay can also be an important building to my experience of teaching pottery As patients work through pinch, coil block for a positive self-image. Through to primary school children at a local and slab pots, much can be learned the ceramic process, success can be recreation center. about their problems. Even the most achieved or debilitating feelings can The children generally attacked elementary skills—such as ability to be explored and diluted into manage­ their ball of clay with refreshing enthu­ follow instructions, dexterity and hand- able emotions. These experiences with siasm, never doubting their powers of eye coordination—are observed. clay include basic physical involvement creation. They worked impulsively and The approach taken by the indi­ (sometimes to the point of physical almost intuitively, proudly adding fin- vidual is also informative. Patience or exhaustion), problem solving in a crea­ lack of patience with clay, tools, the tive sense, and making a personal or therapist and the environment can re­ social statement. “ These natural qualities of clay flect how that person deals with other All of the processes used with clay, allow it to be a therapeutic medium daily activities. Low frustration toler­ all of the approaches, appear to have ance often surfaces here, if that is a beneficial qualities in a sense of being in which destruction and creation problem. therapeutic or evaluative. This makes can both occur. Essentially , The size of the projects can indicate clay a very natural healing/helping therapy is just that.” how patients feel about their ability to medium. control the clay, and even their con­ Anyone who has worked in clay fidence in controlling themselves and knows the importance of pounding and ishing touches as they eagerly asked their environment can be reflected. wedging it into a homogeneous mix­ how soon they could pick up their fired The amount of time invested in pro­ ture. To the psychiatric patient, this pieces so they could show them off to ducing a pot can suggest attention or process, too, can be very important for family and friends. What a difference interest deficiency. This is not to say a different reason. Such physical work the children’s self-confidence made in that a pot has to be created in a pre­ often allows feelings to surface. When their ability to succeed and be content determined amount of time, or that a the patient is working with an art thera­ with themselves. patient even has to like the medium. pist during this process, that expendi­ However, in unexpected or unfa­ If the task of working in clay was ture of energy and/or expression of miliar situations, adults’ hesitation is assigned (as is often done in art thera­ feelings can be a necessary release of rather typical. My point was to demon­ py, even when the clay itself is objec­ confined, confused and/or buried feel­ strate how as adults, mentally distressed tionable), perhaps some aspect of the ings. Once identified, these feelings or healthy, we at times tend to suppress project would offer a beneficial ele­ can be discussed with the therapist and growth, rather than to nurture the nov­ ment or stimulation. Although some expressed perhaps in a physical gesture. ice, the child, within us. Often it is less patients I have worked with disliked This allows a better understanding of painful to be the first to self-criticize, or clay, most found the medium very the problem for both the patient and better yet, decline new challenges to agreeable and helpful in providing in­ the therapist. avoid critical observations. sight into their situation or personality. The next step, too, can be beneficial. Also, by the time we become adults, The challenge of working on a pot­ Creating a simple handbuilt pot not experiences and observations give us ter’s wheel can have therapeutic value only provides helpful information con­ an idea of what something ought to in the sense of supplying an additional cerning the patient’s problem, but it look like (i.e., the supposed appear­ risk-taking venture. Wheel work, also, can provide a hands-on, successful and ance of a well-made pot). Obviously, can supply additional confirmation of therapeutic experience. So often low practice is needed in making a nice a talent or an ability to succeed. Con­ self-esteem haunts psychiatric patients piece. First attempts can appear silly versely, an occasional deflated ego and the ability to successfully create a and hopelessly awkward. A sense of punctured by the demands of the wheel pinch pot can be the beginning of new failure may overpower any enthusiasm can provide a more realistic perspective

98 CERAMICS MONTHLY June/July /August 1989 99 Therapeutic Clay importantly, not by me, as therapist. these nonverbal shapes and actions This eliminates the therapist as judge ought to remain mute and unchal­ for determining sculptures which are lenged, and when the form ought to “good enough.” Projects don’t have to be questioned by the patient and the of a person’s ability and limitations. be accepted or rejected by me, which therapist so it can become a vehicle for Most potters probably can remember could potentially affect the therapeu­ expression and feelings. The expres­ those initially humbling moments of tic relationship. The power struggles sion of a feeling, the acknowledgment working on the wheel. Memorable, too, are short lived. The kiln decides which of a feeling, is the beginning of psychi­ is the sense of accomplishment when a sculptures were made well enough to atric recovery. Readiness to explore on technique was mastered or the pot was survive the firing. That survival de­the patient’s part is essential, and again finally thrown. Meeting the challenge pends on the quality of work. Ulti­ the therapist must be sensitive to this of taking a risk obviously reinforces mately, then, the sculptor, the patient, timing. self-esteem. But a word of caution: it is is responsible. How ironic that on a Personally and professionally, I have necessary to be able to correctly assess larger scale, in more important life experienced the beneficial qualities of appropriate candidates for wheel work. situations, the patient is responsible clay. That must be the reason why ther­ Placing ill-suited patients at the wheel for his/her quality of life. No one else apy in clay feels so honest and healing and then expecting preciseness and can be held responsible for attitudes to me. These natural qualities of clay patience from them can negate much or actions. No one else can answer. allow it to be a therapeutic medium in self-confidence. If they are not able to The product, the sculpture, can which destruction and creation can perform and meet their own expec­ show expressions of feelings such as both occur. Essentially, therapy is just tations (as well as the therapist’s), anger, love, guilt, loss. It can be vaguethat. It is a tearing down process—of whether due to a lack of talent or low and abstract or revealing and realistic. defenses, of destructive thoughts or ac­ tolerance for frustration, a devastating It can be the wildest fantasy possible or tions and of useless, harmful feelings. setback can occur. impossible. The process, the modeling This destruction is followed by a re­ Sculpting clay presents an entirely of the piece, can express feelings such building of new, healthier coping skills, different potential and significance. as frustration, anger, gentleness and of more positive action, of tolerance This is when the beauty of clay as thera­ ambivalence. The result can even be and understanding. Clay therapy seems py is at its best. If the sculpture is to be physically destroyed, symbolically giv­ so obviously healthy. And clay always fired, if the sculptor intends for this ing a conquering power back to the will be an incredible material. creation to last, then basic clay rules creator. must be observed. These boundaries Part of being an art therapist work­ The author Nancy Bolon is a registered art have been established by the clay and ing with clay is understanding when therapist residing in Chugiak, Alaska.

100 CERAMICS MONTHLY June/July /August 1989 101 102 Ceramics Monthly June/July /August 1989 103 Itinerary Continued, from Page 72

International Biennial of Contemporary Ceram­ ics”; in the natural cave below street level at Via F. Crispi 43. Japan, Nagoya July 25-August Ban 2 Kajitani, neriage vessels; at San Gallery Sumie, Nittko Shoken Building, B2, 3-2-3 Sakae, Naka-ku. Japan, SapporoJuly 27-August 1 Hiro Ajiki, Toshiki Ishiyama and Ban Kajitani, ceramics exhibition; at Marui Imai Department Gallery, near Sapporo Station. Japan, TokyoJune 19-July 2 Sculptural vessels by Ban Kajitani; at Akasaka Green Gallery, 4-8-8 Akasaka, Minato-ku. Mexico, Chihuahua, Cave of the OllaSeptember 9-19“Casas Grandes Pottery” with Juan Quezada. Instruction in English or Spanish. Fee: $650, in­ cludes materials, firing, camping and meals. For further information contact Summer Program Registrar, Idyllwild School of Music and the Arts, Box 38, Idyllwild, California 92349; or phone (714) 659-2171. New Zealand, Auckland June 3-18 “The Fletcher Challenge Award 1989”; at the Auckland War Memorial Museum. Switzerland, NyonJune 1-October 29 “Triennale de la Porcelaine”; at the Casde of Nyon. West Germany, Briihl July 1-11 Dieter Eichel- mann, ceramic reliefs; at Orangerie Schloss Augustusburg. West Germany, DiisseldorfAugust 6-September 9 “Bauhaus Ceramics”; at Helens Museum, Deutsches Keramikmuseum, Schulstrasse 4. West Germany, Sieburg August 17-September 10 Dieter Eichelmann, ceramic reliefs; at Tor- hausmuseum.

104 Ceramics Monthly