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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year $16, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for pub­ lication. A booklet describing procedures for the preparation and submission of a manu­ script is available upon request. Send man­ uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing: Articles in each issue of Ceramics Monthly are indexed in theArt Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

Copyright © 1983 Professional Publications, Inc. All rights reserved September 1983 3 4 Ceramics Monthly Ceramics Monthly Volume 31, Number 7 September 1983 Feature Articles Mary Chase Stratton by Dorothy Garwood ...... 29 James and Karen Chalkley...... 34 Akio Takamori...... 37 Insulating Existing Kilns by Regis Brodie ...... 38 Walter Keeler by Cheryl McLean...... 41 Reitz/Soldner/Sperry Exhibition...... 45 Japanese Historical Ceramics...... 46 Colored Clay Invitational...... 50 Weightless Form: John Stephenson...... 51 Peter Voulkos in Japan by Junko Iwabuchi ...... 52 Potters of Nepal by Jim Danisch...... 55 An Approach to Glazemaking by Albert Green...... 62 Byron Temple Exhibitions...... 102 Departments Letters...... 7 Where to Show 15 Suggestions 17 Questions 19 Itinerary 21 Comment: Toward a Postmodern Pottery by Dale Ruff...... 27 New Books...... 67 News & Retrospect 69 Classified Advertising...... 100 Index to Advertisers 104 The Cover Nerikomi jar, approximately 12 inches in height, press- molded colored porcelain, unglazed, by Thomas Hoadley, Pittsfield, Massachusetts. For two other works in the invitational exhibition, “Colored Clay,” see the article on page 50. September 1983 5 6 Ceramics Monthly Letters

Missing Person pensation), I have been requested to quan­ My son, Michael Koceja, was the sole op­ titate the kiln emissions and evaluate the health erator of a studio at 2959 North Lincoln Av­ hazard potential in our high schools’ ce­ enue in Chicago (Chicago Fire and Earth). ramics classes. Both instructors and students There he taught all phases of ceramic art have suffered eye and upper respiratory trad and was an expert in glazing. On February irritation. Sampling and lab analyses have 25, 1983, he left his 11-year-old son, Mat­ revealed very low levels of formaldehyde (0.0T/ thew, at my home and has not been seen since ppm) and no detection of sulfur dioxide from by any friend, relative or business person. the clay, or barium, cobalt, tin or zinc from Police have him listed as a missing person, glazes. making no effort to seek him, or to place him David A. Rinald\ in any APB listing. Michael left no note, left Industrial Hygienisi his car away from his Loss Control residence-studio, gave Box 1095C no information to Reno, Nev. 8951C anyone and as of this date is still missing. Summer Issue He is 38 years old, 5 The high spots of the Summer issue were feet 8 inches tall, 130 the letter about Michael Cardew, Sugges­ pounds, and wears tions (as always) and all the feature articles hearing aids (at­ but most especially “A Coffee Bowl” by And) tached to black plas- Nasisse. I am requiring all of my students tic glasses) in both to read it. That article comes as close to ex­ Michael Koceja ears.° pressing my personal “vessel aesthetic” anc If any of CM’s readers have seen him, all goals as a potter as anything I could hav< we ask is: is he well? His parents, family, written. students, fellow ceramic artists miss him Kevin Kuh, greatly and feel that foul play might have Winkler, Manitoba been involved. Perhaps the readers or Mi­ chael would consider contacting us through In response to Barbara E. Lowman’s lettei Ceramics Monthly to keep his location un­ in the Summer issue, and being a persona revealed. classified ad writer myself, I found nothing Ralph Koceja undignified in having my ad published ir Chicago CM. It has instead been a rewarding learn­ Ash Warning ing experience—not a “dating service.” The There have been many glaze recipes that responses were dignified, from potters will­ call for unwashed wood ash. I can see using ing to share their pottery knowledge wit! wood ash that has not been washed, where results for all. If a relationship develops, thi: it is dusted on ware, but once wetted down,is an added plus. CM is an excellent sourc< wood ash is highly caustic. In fact, lye is the for communicating with serious potters. And stuff that is dissolved in the water in which besides, CM has not been inundated witl wood ashes soak. Lye—that is, the water from personal ads. It’s been tastefully done. S( wetted ashes—can cause severe burns to skin thank you, CM. Please continue to accep and eyes. Unwashed wood ash in glazes will personal ads. also dissolve natural bristles. Most horrible Lydia Gorsk of all is that lye water has a sweet, very at­ Kew Gardens, N.\ tractive smell that tempts children to mess Artist as Innovator with it. I can’t believe that any glaze effect As I see it, there are two basic types oi is worth such dangers. artists: the practitioner and the innovator. The C. Parens practitioner labors diligently to refine form: New York City and ideas relevant to his world and to him­ self, while realizing that the image of the A Request starving artist living in a Bohemian hove I would like to solicit help from CM read­ went out of style long ago. He also realize: ers concerning the types, brands, manufac­ that independence in existence is still nec­ turers and/or chemical composition of clay essary for the artist if he is to remain hones and glazes that create significant kiln emis­ to himself. If, in his need for fame or security sions during firing, and what those contam­he jumps on a bandwagon, it may be on< inants are. One reader had a similar concernthat is temporary: He might find himsel with the release of oxides of sulfur during dropped from the gallery mailing list. bisque firing (November 1982 Questions). The second type of artist, the innovator As an occupational health consultant for has usually chosen his paternalism of ar the Nevada State Industrial Insurance Sys-cautiously while determining his direction tem/Loss Control Division (worker’s com- Continued September 1983 7 8 CERAMICS MONTHLY Letters a sculptor, painting a canvas does not make the ceramic continuum (history to the rest of one a “canvas artist,” and applying photo de­the world). Through this process, the innovator realizes cals to a prefabricated ceramic slab does not It said he used the fanciest technology the difference between newness and origi­make Robert Rauschenberg a ceramist. available. It said some of his fairy dust may nality. The argument that “no form, idea or Paul Murray give wings to earthbound clay and legitimize concept is original” and that “any extension Cleveland clay as an art material. Seems sort of late for of an idea or knowledge of form is firmly that—remember Matisse, Picasso, etc.? supported on the shoulders of giants” may The article on Robert Rauschenberg’s re­ Once content was about all there was to be true in about 99 percent of the cases, but cent ceramics was amazing. Where was the a Rauschenberg work of art. Technology and an existing one percent do create on an orig­ rest of it? His ceramics were not considered permanence had gone out the window; maybe inal level. To work in a new method andin any context at all, neither in relation to it lasted the night or was recorded as a pho­ create ceramic art that is unique to the in­ the vast and diverse body of his precedingtograph. Now he is working with clay—en- dividual is one thing, but it is an entirelywork, nor in relation to what’s now called Continued different thing to introduce a new concept which alters the course of art. The question then arises: “What does an aspiring ceramic artist do when 99 percent of the artists are practitioners?” First he must believe in his reasons for entering the race. Then he must believe in his need to create three-dimensional expression, which will contribute to the cumulative knowledge and extension of form and ideas because of his own uniqueness. He must realize that, in searching for his expression, he must fully utilize all that which is significant and valid for himself and his world. The only way an artist can keep from going nuts is to seek a personal imagery he can project toward the future, while still being immersed in the past (but not chained to it) and cognizant of the present. But in doing these, he must think in unusual combinations and not reject any materials, concepts, techniques, ideas or forms that may at any time seem impractical. Gene Kleinsmith Apple Valley, Calif.

Robert Rauschenberg Initially upon viewing the article in the May issue about Robert Rauschenberg’s ce­ ramics, I was thrilled. As a potter working in porcelain with colors and some decals, it was right up my alley. But the longer I looked, the angrier I got. Perhaps we should retitle the article “What a potter can do with a lot of money.” The costs for the average person (not a big name like Robert Rauschenberg, who either doesn’t have to pay for the ma­ terials or doesn’t care about the cost) would be prohibitive. I cannot begin to fathom what it would cost to have a 3x13-foot tile made for me. And then there are all those custom- made photoceramic decals. What is the av­ erage potter like me to make of a work like this which may have cost hundreds, if not thousands of dollars to produce? You, too, could make these pieces, given the access to industry that Rauschenberg has and given the funding he has. It is too bad that some of that access and funding cannot trickle down to some of us just struggling to pay the rent and make the middle class. Linda S. Birnbaum Saint Paul Painting a house does not make one an architect, painting a statue does not make one

kjoyiy III L/C / / / 10 C eramics Monthly Letters here at Table-Mud Art Works has put its ran to the phone and called Mission Control collective cogitative energy into its giganticat NASA and reserved the next available ex­ during, stable old clay. What happened that hyperproblematical think-tank. Out popped perimental compartment in the space shuttle. he is making art in the most indestructible the answer, which stems from a recent article My flight is scheduled for the fall of 1985. media with the slickest, least chancey tech­ in National Geographic magazine that went That’s plenty of preparation time. I am now nology in the world? Now there is a premise into great detail describing the space shuttle getting together a series of test shapes and for an article. flight. One of the problems discussed was pots which will be dropped from the shuttle Peter Hessemer overheating of the ceramic heat-deflecting tiles during reentry. They will free-fall to earth, Chicago which are used to protect the ship during re­ being heated (fired) on the way down as a entry. Apparently the tiles and the ship must direct result of gravity—the ultimate, single­ May Issue withstand temperatures of about 2350° F. Let’s fired, free-energy trip. Reading through the May issue I came to call it Cone 9. Ah, yes, you say, what about the landing, “The Ultimate Cookie Jar” article and said, Well, the solution to me, a stoneware pot­ what with no parachute? Well, the first pots “Fantastic, this should be great,” only to turn ter, was obvious, and I acted immediately. I Continued the page and find seven color prints of clay architecture in Africa. You want clay archi­ tecture? Come to New Mexico. Tim Wierwille Ruidoso, N.M. I want more good photos of pots (Jack Troy’s wood-fired pots were fantastic) and less photos of ceramic debris. Troy’s pots told me he has soul; Troy’s photo merely told me he is bald. R. B. Gillian Kansas City, Mo. I know what’s under Jack Troy’s ash. This man and his pots are beautiful inside and out. Probably the most sensitive, informative and just plain down-to-earth article ever in CM. Thanks, Jack. You’re a pro. Rick Berman Atlanta “Two Production Potters” in the May is­ sue illustrates a particular consumer problem that many potters (including myself) are guilty of causing: attempting to make functional ware beautiful through the use of large handles, knobs, etc., that are easily broken by the con­ sumer. This is especially evident in the veg­ etable steamer and canister illustrated in the article. Functional means usable. Broken pots aren’t usable. Garry L. Larson Salem, Ore. On page 73 of the May issue, there is a photo of an object which you refer to as a “semifunctional teapot.” Out of curiosity we tried to look up the word semifunctional but couldn’t locate it. “Semi” means half. Does this mean that the teapot works half the time? Or does it half-work (that is, it pours, but not necessarily out of the spout)? If I have a painting that I can also use for a dustpan, would it be called seminonfunctional? Michael Haley Susy Siegele Huntsville, Ark. Solving the Energy Crisis In response to R. Clayton Baker’s Com­ ment in the May CM, relax, mud junkies, your energy problems are solved. The staff zeptemoer lytsj 11 12 C eramics Monthly Letters man can ever afford to stare fixedly down only one path. are to land in the ocean, at a predetermined Sharon Taylor warm-water location somewhere near the Corrales, N.M. Bermuda Triangle. A handpicked team of scuba-equipped potters will just wait deep I enjoy CM’s various articles on “funky” underwater until their pieces splash down pottery—such a nice change from the ex­ and gently sink into their waiting nets. tremely classical style of the majority here in I expect the initial results will not nec­ Switzerland. essarily yield many salable pots, what with Candice Dufresne the unknowns of clay body and glaze re­ Leysin, Switzerland sponse. Many of the pieces will just be test tiles coated with numerous triaxial blends to We would be very interested in informa­ determine how glazes will crackle due to the tion about the many West Coast small-to- rapid cooling cycle. medium art potteries. These have become very Later test dates in the shuttle will attempt well developed and are quite a bit different to work out the oxidation/reduction ques­ than the eastern and midwestern operations. tion. Reduction should not be too difficult to Grant Cloud attain. I propose to drop reduction copper Folsom, Calif. reds, iron blues, etc. over atmospherically polluted cities like Detroit, Los Angeles and Pittsburgh. Smog should provide a suitable April Michael Cardew Obituary reducing atmosphere. Right now we’re Events such as the death of Michael Car­ working on special trajectory calculations to dew should have front page prominence and accurately pinpoint the predetermined land­not be buried in the back pages. ing coordinates. For Los Angeles-type pot­ Ruth Harrowing ters, an extra deep hot tub might be designed. Winfield, Alberta Imagine the fun to be had at your very own special and unique pot party happening. You On Recipes and Ovens could even fill the tub with tea or hot choc­ In the April letters, Ceil Herlinger of olate and wait for your pots and your guests Miami Beach says to use the word “hand- to drop in. For the strictly functional hard­ formed” on the grounds that “we are not car­ working types of the Midwest, there is the penters.” Speak for yourself, Ceil. And all chance to get together and build a pot landingyou potters who have a hidden regard for site, a gigantic bed consisting of a sturdy carpentry, come out into the open—it’s noth­ framework surrounding a 10-foot-thick blan­ ing to be ashamed of. (Some of the best car­ ket of soft ceramic fiber insulation. pentry is “handformed.”) Future experimental research is now un­ And then Ceil wants us to: “Say glaze for­ der way at the Table-Mud Art Works lab to mulas (we are not cooking in ovens).” Please examine the feasibility of making pots out of don’t. No hard feelings though, Ceil. Here Martian clay (see the article in the January is a formula for you: 1979 issue). The tedium and boredom of long K2O 0.340 Al2O, 0.447 SiO2 2.672 space flight could be alleviated by working Na2O 0.012 Fe2O3 0.021 TiO2 0.006 with the Martian clay, which is apparently CaO 0.623 abundant and cheap (free). MgO 0.025 Additional theoretical research indicates I wonder what percentage of CM readers that raku potters need not despair. It seems would rather be given the recipe? While Ceil possible that shortening the distance of the is busy with slide rule and materials anal­ fall of the pottery will lower the fired tem­ yses, the less industrious potter could be put­ perature of the pot. A search team is now ting this glaze onto the pots: examining possible raku landing sites high CELADON GLAZE in the Himalayas. (Cone 10-11, reduction) Well, this is my basic plan to solve the Soda Feldspar ...... 60% energy crisis for potters. There are still a few Whiting...... 20 bugs to work out, and plenty of room for Kaolin...... 5 suggestions. I welcome your correspondence. Red Clay...... 10 “Tamba Joe” Flint...... 5 Table-Mud Art Works 100% Owenton, Ky. As for “we are not cooking in ovens,” my bisque kiln does a tolerable lasagna. Subscribers’ Comments Dave Carter I am perplexed at the current debate over Nummi, Finland functional/nonfunctional. Even though my own work is strictly nonfunctional, I want to Share your thoughts with other readers. All look at everything being done in clay. I may letters must be signed, but names will be not like, understand or want to use every withheld on request. Address: The Editor; concept presented, but it all serves to solidify Ceramics Monthly, Box 12448, Columbus, and expand my own ideas. No artist/crafts­ Ohio 43212. September 1983 13 14 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, Contact: Sue Hakala, Box 1466, Mesa 85201; or tos. Fees: S175—$325. Contact: Jinx Harris, R.D. festivals and sales at least four months before thecall: (602) 834-2053. 1, Box 153J, Auburn, New Hampshire 03032; or entry deadline to: The Editor, Ceramics Monthly, December 2 entry deadline call: (603) 483-2742. Box 12448, Columbus, Ohio 43212; or call: (614) Pocatello, Idaho “Big Sky Biennial Ill/Crafts” Highlands, North Carolina “High Country Art 488-8236. Add one month for listings in July and(March 2-30, 1984) is open to residents of Alaska, and Craft Show” (October 14-16) is juried from two months for those in August. Idaho, Montana, Nevada, Oregon, Utah, Wash­ slides or photos. Fee: $55. For further information ington and Wyoming. Juried from slides. Awards.send self-addressed, stamped business envelope to: Fee: $5 per entry, up to 4 entries. Contact: Big Virginia Smith, High Country Crafters, 29 Hay­ International Exhibitions Sky Biennial Ill/Crafts, Department of Art, Box wood St., Asheville, North Carolina 28801; or call: September 16 entry deadline 8004, Idaho State University, Pocatello 83209; or (704) 254-0070. Toronto, Ontario, Canada “Fireworks 1984” call: (208) 236-2361 or 236-3905. Milwaukee, Wisconsin “Art Fair USA” (No­ Ontario Potters Association biennial traveling ex­ vember 5-6) is juried from 5 slides or photos and hibition (first showing May 25-June 8, 1984) is resume. Fee: $75 for a 1 Ox 10-foot space. Send open to residents of Canada and the U.S.A. Juried Fairs, Festivals and Sales self-addressed, stamped envelope to: Dennis Hill, from works, up to 3 entries, and a biography. Can. September 15 entry deadline 3233 South Villa Circle, West Allis, Wisconsin $2000 in awards. Commission: 40%. Fee: Can.$5 Hillsborough, New Jersey “New Jersey Craft 53227; or call: (414) 321-4566. (Can.$25 membership). Contact: Cynthia Root, 8 Experience” (November 11-13) is juried from 5 October 7 entry deadline Edenbrook Hill, Islington, Ontario M94 3Z6; or slides. Booth fees: $ 165—S230. For further infor­ White Plains, New York “Fifth Annual Craft call: (416) 239-4792. mation contact: Howard Rose, Rose Squared Pro­ Fair” (November 5-6) is juried from 4 slides of September 25 entry deadline ductions, 8-5 Cardinal Ln., Hillsborough 08876; work and 1 of display. Fee: $60 for an 8x 10-foot Manises, Valencia, Spain The 12th “National or call: (201) 874-5247. booth. Contact: Westchester Art Workshop Craft Ceramic Competition” (October 24-November 24) Brooklyn New York “Fort Hamilton Arts and Fair, County Center Bldg., White Plains 10607; is open to Spanish and foreign ceramists residing Crafts” (October 1) is juried from 5 slides. Fee: or call: (914) 682-2418. in Spain and Spanish citizens living abroad. Juried$25. For further information contact: Fort Ham­ October 10 entry deadline from works. Awards. Contact: Concurso Nacional ilton Arts and Crafts, Bldg. 113, Brooklyn 11252; Washington, D.C. “Washington Craft Show” de Ceramica, Museo Municipal, Calle Sagrario or call: (212) 630-4942. (April 27-29, 1984) is juried from 5 slides. Fee: 22, Manises, Valencia. Bay Village, Ohio “Octoberfair of Arts and $10. For further information contact: Women’s November 1 entry deadline Crafts” (October 21-23) is juried from slides or Committee, Smithsonian Associates, A&I 3101, Trois-Rivieres, Quebec, Canada “National photos. Entry fee: $5. Booth fee: $70 for a 1 Ox 10- Smithsonian Institution, Washington 20560; or call: Biennale Exhibition of Ceramics” (June foot space. Contact: Sally Price, Baycrafters, 28795 (202) 357-4000. 26-September 2,1984) is open to residents of Can­ Lake Rd., Huntington Metropark, Bay Village October 20 entry deadline ada. Juried from works. Awards. Fee: Can.$25. 44140; or call: (216) 871-6754. Dallas, Texas “Craft Fair at Dallas” (April Contact: Christiane Simoneau, 643, rue Des Ur- September 16 entry deadline 4-8, 1984) is juried from 5 slides. Entry fee: $15. sulines, Trois-Rivieres, Quebec G9A 5B3; or call: New York, New York “Crafts in the Armory Booth fee: $200-$400. Contact: American Craft (819) 374-3242. ’83” (December 9-11 and 16-18) is juried from 5 Enterprises, Box 10, New Paltz, New York 12561; slides. Entry fee; $5. Booth fees: $195—$250. For or call: (914) 255-0039. further information send self-addressed, stampedOctober 24 entry deadline National Exhibitions envelope to: Jeff Sobel, Artrider Productions, 98- Saint Augustine, Florida “10th Annual Fall September 10 entry deadline 20 Sixty-second Dr., Forest Hills, New York 11374; Arts and Crafts Show” (November26-27) is juried Gatlinburg, Tennessee “The Figure: New or call: (212) 897-0084. from 3 slides, 1 of display. Entry fee:$2. Booth Form, New Function” (November 5-January 7, September 18 entry deadline fee: $85 for a 12x 12-foot space. Send self-ad­ 1984) is juried from 2 or 3 slides of up to 3 entries. Ellicottville, New York “Fall Festival and Craft dressed, stamped envelope to: Frederick White, Saint Work should not exceed 8 feet in any direction nor Show” (October 8-9) is juried from 3 slides. Fee: Augustine Art and Craft Council, Box547, Saint weigh more than can be handled by two people. $35 for a 1 Ox 12-foot space. For further infor­ Augustine 32084; or call: (904) 829-8175. Awards. Juror: F. Clark Stewart. Fee: $10. Con­ mation contact: Avis King, Ellicottville ChamberOctober 26 entry deadline tact: Figure Exhibition, Arrowmont School of Arts of Commerce, Box 67, Ellicottville 14731; or call: New Smyrna Beach, Florida “Images, a Fes­ and Crafts, Box 567, Gatlinburg 37738. (716) 699-2169. tival of the Arts” (February 25-26, 1984) is juried September 16 entry deadline September 23 entry deadline from 3 slides. $10,000 in awards. Entry fee: $5. Rochester, New York “Small Works National Indianapolis, Indiana “First Annual 1983 Booth fee: $40. Contact: Images ’84, 1414 Art ’83” (November 26-December 30) is juried from Greater Indianapolis Arts and Crafts Festival”Center Ave., New Smyrna Beach 32069; or call: slides. Juror: Patterson Sims. Works should not (October 28-30) is juried from 2 slides or photos. (904) 423-4733. exceed a 15x15-inch format. Cash and purchase Send self-addressed, stamped envelope to: TheNovember 1 entry deadline awards. Fee: $8 for 1 entry, $10 for 2. Contact: Promotion Company, 600 N. Alabama, Suite D600, Worcester, Massachusetts “Christmas Craft Small Works National ’83, John Haldoupis, Za- Indianapolis 46204; or call: (317) 632-2666. Festival” (December 9-11) is juried from 5 slides ner Gallery, Department W, 100 Alexander St., Woodstock, Vermont “A Handcrafted Christ­or photos. Fee: $145 for a 1 Ox 8-foot space. For Rochester 14620; or call: (716) 232-7578. mas” (November 26-27) is juried from 5 slides. further information contact: Mil Productions, Box Entry fee: $5. Contact: Rebecca Carleton, Pen- 93, Vernon, Connecticut 06066; or call: (203) 745- tangle Council on the Arts, Box 172, Woodstock 5071. Regional Exhibitions 05091; or call: (802) 457-3981. November 10 entry deadline September 30 entry deadline October 1 entry deadline Asheville, North Carolina “High Country Charleston, South Carolina Juried traveling Chicago, Illinois “Santa’s Workshop Christ­ Christmas Art and Craft Show” (November 25-27) exhibition of small, realistic ceramic art (May 21, mas Art and Crafts Show” (November 25-27) is is juried from slides or photos. Fee: $85. For fur­ 1984—June 1, 1985) is open to residents of the juried from 4 slides or photos, 1 of display. Fee: ther information send self-addressed, stamped en­ southeastern states. Juried from a minimum of 10 $85. Contact: American Society of Artists, 1297 velope to: Betty Kdan, 40 Hyannis Dr., Asheville slides and resume. Contact: ArtSouth, 4491 Merchandise Mart Plaza, Chicago 60654; or call: 28804; or call: (704) 253-6893. MacArthur Blvd., NW, #104, Washington, D.C. (312) 751-2500. November 15 entry deadline 20007; or call: (202) 337-2213. Baltimore, Maryland “ACC Craft Fair at Bal­ Scottsdale, Arizona “Scottsdale Center for the November 11 entry deadline timore” (February 15-19, 1984) is juried from 5 Arts Festival 15” (March 30-April 1, 1984) is Ames, Iowa “Clay/Fiber/Paper-as-Medium slides. Entry fee: $20. Booth fees: $200-$400. For juried from slides. Awards. Fee: $10. Contact: ’84” (December 4-January 29, 1984) is open to further information contact: American Craft En­ Scottsdale Center for the Arts, 7383 Scottsdale Mall, artists living within a 500-mile radius of Ames. terprises, Box 10, New Paltz, New York 12561; Scottsdale 85251; or call: (602) 994-2301. Juried from works. Fee: $15 for 3 entries. Send or call: (914) 255-0039. December 1 entry deadline self-addressed, stamped envelope to: The Octagon, Silver Spring, Maryland “Holiday Arts and Miami Beach, Florida “Miami Beach 10th 427 Douglas, Ames 50010; or call: (515) 232-5331. Craft Show” (November 11-13) is juried from 3 Annual Outdoor Festival of the Arts” (February December 1 entry deadline slides. Fee: $60 for an 8x 10-foot space. Contact: 11-12, 1984) is juried from 3 slides. $6000 in Mesa, Arizona “6th Annual Vahki Juried Sue Taylor, 925 Wayne Ave., Silver Spring 20910; awards. Fee: $125 for a 1 Ox 10-foot space. Contact: Competition” (March 12-30, 1984) is open to res­ or call: (301) 439-7290. Pearl Kipnis, Miami Beach Pine Arts Board, City idents of Arizona, Colorado, New Mexico and Utah. Boston, Massachusetts “Londonderry Faire” of Miami Beach, Box “O,” Miami Beach 33119; Juried from slides of up to 3 entries. Fee: $7 each. (November 25-27) is juried from 5 slides or pho­ or call: (305) 673-7733. September 1983 15 16 CERAMICS MONTHLY Suggestions from our readers Hand Protection at mixing and matching paint you can duplicate any glaze color. If throwing with a heavily grogged clay (such as a sculpture body) For an opaque epoxy, add zircopax, tin or any white powder. For cuts your hands, and rubber gloves diminish your finger sensitivity texture add grog, sand or fireclay. Mix quickly with a nail or splinter too much, try cutting away the middle three fingers of a glove. This and dab into the flaw, smoothing its surface with a finger. When protects the wrist and side of the hand, but leaves fingers free to set, the epoxy ought to have the same gloss as glaze. If not, then sense and work best. —Charlotte Stuart, Berkeley spray the entire sculpture with Krylon clear plastic. —Douglas Grimm, Missoula, Mont. Slab Rollers Large, heavy, plastic cylinders used for shipping silk-screen film, Heavy-Duty Banding Wheel when cut in half and filled with plaster, make excellent, durable Old bar stools with revolving seats make great banding wheels. and authoritative slab rollers. If the legs from the stool are still good, just remove the seat and —Leonard S. Irwin, Gibbsboro, N.J. attach a strong board in its place for a banding wheel that should accommodate up to 250 pounds of clay. Inexpensive Hand Tools —Michael Shekita, Poughkeepsie, N.Y. Scrap fiber glass sheet, ½-inch thick, can be easily cut into pieces with a power saw to form potter’s ribs or other hand tools. These Kiln Lid Repair can then be smoothed and shaped into ovals, rounds, squares or any Though it had been coated with a thin layer of Sairset refractory other shape with an electric grinder. cement, the interior of my electric kiln lid developed cracks. After —Marlene J. Wolf, Lake Stevens, Wash. flipping it over and spraying the new interior with aluminum paint, the lid has stopped deteriorating. Invisible Repair —Dick Studley, South Yarmouth, Mass. Glazed ceramic sculpture with major flaws can be repaired with epoxy you color yourself. The clay surface to be repaired should be Dollars for Your Ideas turned until horizontal, because epoxy sags or runs out of voids. Ceramics Monthly pays $10 for each suggestion published; submis­ Before mixing the glue, rub Vaseline over your hands so that epoxy sions are welcome individually or in quantity. Include an illustration can be washed off. On a metal or plastic lid mix only a teaspoonful or photo to accompany your suggestion and we will pay $10 more of “5-minute epoxy” at a time by squeezing it out and covering it if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio with a small pinch of coloring oxide or glaze stain. If you are good 43212. Sorry, but we can't acknowledge or return unused items.

September 1983 17 18 Ceramics Monthly Questions Answered by the CM Technical Staff Q 1 have been given a sketchy description of firing burnished pieces wrapped in newspaper, then aluminum foil. They are fired in an electric kiln which results in rich, black/brown surfaces with no loss of burnished gloss. Could you please provide a detailed description of this procedure and also advise if it's safe to fire such ware in­ doors?—H.C. The procedure you describe is a logical electric kiln variation of pit-fired techniques: The traditional method, is that burnished earthenware pieces are fired with cow dung, and carbonized by smothering the fire. But some of the traditional craftsmen have been wrapping parts of their ware (for example, the lip) in tin foil prior to firing to partially prevent carbonization—thus the lip comes from the kiln a rich brown instead of black. It’s a logical development from this to wrap burnished ware with one sheet of newspaper, wrap over the newspaper with aluminum foil, then place such pieces in an electric kiln, fired to Cone 06. The foil, instead of keeping the carbon out as in the traditional method, holds the burning newspaper tightly against the pot, producing lo­ cally carbonized objects in an otherwise oxidation kiln atmosphere. Because the foil is not a vapor/gas barrier, smoke will leak into the kiln atmosphere even when the pots are very tightly wrapped with foil. For this reason it’s best to create good circulation in the kiln (leave the bottom and top plugs out, replace the bottom plug after shutoff) if very many such pieces are included in a single firing. And because carbon dioxide and carbon monoxide are potential by­ products, proper ventilation is important. This technique does not harm burnishing, as the real detriment to shiny surfaces is excessive firing temperature. Typically, when works are heated above Cone 03, the temperature destroys burnished surfaces, and Cones 05-04 are in a borderline area, depending on body composition. Q Can you suggest a frit to replace borax in a glaze? My current recipe is 50% borax and 50% Gerstley borate for raku firing.—J.C. There are a number of good frit substitutions for borax in a glaze, and these can be directly substituted and tried experimentally in raku glazes, although in other recipes they require some recalcu­ lation. Try Ferro Frit 3185 (contains sodium, too), Hommel Frit K-3 (sodium and calcium added), Hommel 385 (with barium), Pem- co Frit P-54 (with sodium and calcium), Pemco Frit P-318 (with barium), Pemco Frit P-830 (with sodium and calcium), Pemco Frit P-1413 (with calcium). Try these frits with additions of from 20 to 60% clay on an experimental basis. For specifics on these frit com­ positions, see “Frit Formulas” in the May 1978 CM. Your glaze of 50% borax and 50% Gerstley borate, however, is extremely unstable, very susceptible to acid attack and cannot be recommended without additions of clay to make it more durable. Q We’ve been having a discouraging and expensively bad time with warping kiln shelves which leave our oxidation-fired pots with rock­ ing bases. We noted your comment about not using kiln wash and inverting the shelves after each firing, but the clay we use will fuse to the shelf without a kiln wash barrier, and it's unrealistic to make separate settertiles foreach piece, What canyou suggest?—P.M. When bisque firing, fire with the kiln wash side of the shelf down, then during glaze firings invert the shelf to its normal position. While this is not a complete solution to shelf warping, it will greatly extend the life of the shelf. Subscribers' inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. September 1983 19 20 CERAMICS MONTHLY Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, Stopha, masks, bowls and shakers; at 15 Steps, 16-October 15 Rose Gomez Hausman, “Fire and workshops, juried fairs and other events at least407 W. Seneca. Smoke Clay Vessels”; at the Studio in Swarthmore, seven -weeks before the month of opening to: TheNew York, New YorkSeptember 13-30 Jane 413 Dartmouth Ave. Editor, Ceramics Monthly, Box 12448, Columbus, Gustin, majolica ware; at Greenwich House Pot­ Washington, Seattle through September Ohio 43212; or call: (614) 488-8236. Add one tery, 16 Jones St. 14 Rosette Gault, sculpture; at Clay Occasion month for listings in July and two months for thoseSeptember 13-October 13 Rob Sieminski; at Gallery, Stewart House, Pike Place Market. in August. Convergence, 484 Broome St. Oregon, Portlandthrough September 21Dave Deal, wood-fired raku pottery; at the Real Mother Group Exhibitions International Conferences Goose Gallery, 901 S.W. Yamhill. Arizona, Flagstaffthrough September 25Jim Canada, Ontario, TorontoFebruary 23-25, Pennsylvania, Swarthmore September Continued 1984 Annual meeting of the College Art Asso­ ciation of America. October 1 deadline for sub­ mitting abstracts of papers. Contact: CAA, 149 Madison Ave., New York City 10016. Conferences D.C., Washington September25-30 “Connois- seurship of American Ceramics.” For details, con­ sult CM May Itinerary. Contact: Selected Studies, A&I 1190, Smithsonian Institution, Washington 20560; or call: (202) 357-2475. Indiana, South Bend September 10-11 “Busi­ ness of Art Conference” will include panel dis­ cussions: “How to Support Your Art,” “Workshop Design” and “Career Planning.” Lectures will cov­ er business skills, record keeping, legal consider­ ations, photographing artwork, packing and ship­ ping, availability of grants, marketing and promoting art, assertiveness training and time management. Contact: Janice Langland, Art Services, 12632 Anderson Rd., Granger, Indiana 46530; or call: Ronnie Schreiber (219) 232-2933; or Gwen Diehn (219) 259-1592. Louisiana, New Orleans November 13-15 “The Arts of the Edo Period,” an international symposium focused on Japanese art (1615-1868), in conjunction with the exhibition “A Myriad of Autumn Leaves: Japanese Art from the Kurt and Millie Gitter Collection,” will feature speakers from Japan, England and the U.S.A. Registration dead­ line: October 21. Fee: $50. Contact: New Orleans Museum of Art, P.O. Box 19123, New Orleans 70179. Missouri, Kansas CityOctober 14-16 “Ceramic Echoes: Historical References in Contemporary Ceramics.” For late registration and information contact: Echoes, 855 Rockwell Ln., Kansas City 64112; or call: (816) 753-5299. Solo Exhibitions Arizona, Scottsdale September 7-30 Gerry Newcomb; at the Hand and the Spirit Crafts Gal­ lery, 4222 N. Marshall Way. California, Los Angelesthrough September 24 Amanda Jaffe, wall works; at Garth Clark Gallery, 5820 Wilshire Blvd. California, San FranciscoSeptember 7-Octo- ber 1 Raymon Elozua, sculpture; at Braunstein Gallery, 254 Sutter St. September 7-October 1 Patrick Siler, sculpture; at Quay Gallery, 254 Sutter St. Florida, Tampa through September 30 Wally Mason; at the University of South Florida Gallery. Illinois, Chicago September 9-23 John Parcher, “Earthen Wall in Relief,” an installation; at Lill Street Gallery, 1021 W. Lill St. Maryland, Glen EchoSeptember 9-October 5 Jeff Kirk, vessels; at Glen Echo Gallery, Glen Echo Park. Montana, Bigforkthrough September 30 Jerry Weatherman; at the Seastar Gallery, 548 Electric Avenue. New Mexico, AlbuquerqueSeptember 4-No- vember 26 Fred Wilson, large clay sculpture; at the Muddy Wheel Gallery, 4505-07 Fourth St., Northwest. New York, IthacaSeptember 9-October Ba1 September 1983 21

Florida, Jacksonvillethrough September 10 Kentucky, Louisville through September Itinerary Ray Ferguson, Don Penny, “Summer Fantasy”; at 30 “Ban Chiang: Discovery of a Lost Bronze Age,” the Craftsmen Gallery, 2736 University Blvd., W. includes Thai pottery and ceramic figurines and Leedy, Rudy Autio and Peter Voulkos; at the Florida, Orlandothrough October 7 “The rollers from 400 to 200 B.C.; at the Museum of Northern Arizona University Art Gallery, Crea­ Vessel: A Continuing Tradition”; at the East Cam­ History and Science, 727 W. Main St. tive Arts Building. pus Gallery, Valencia Community College. Maine, Ogunquit through September 5 Olga Arizona, PhoenixSeptember 10-February 15, Florida, South MiamiSeptember 2-30 “A Bravo, Harvey Brody, Maureen Daniel-Ellis, 1984 “Gifts of Mother Earth: Ceramics in the Show of Color,” includes Bennett Bean, vessels; atShirley and Jim Parmentier, and Donna Polseno, Zuni Tradition”; at the Heard Museum, 22 E. Netsky Gallery, 5759 Sunset Dr. “Clay: Decorated Surface”; at Maple Hill Gallery, Monte Vista Rd. Illinois, Chicagothrough October 13 “Euro­ Perkins Cove. California, Burbank September 18-30 “Eighth pean Terra-Cotta Sculpture”; at the Art Institute Maine, Portland September 15-October 31 Annual Juried Multimedia Art Exhibition”; at the of Chicago, Michigan Ave. at Adams St. “Portland School of Art Faculty Show”; at Baxter Fine Arts Federation of Burbank, Creative Arts September 30-0ctober 28 “Chicago Vicinity Clay Gallery, 97 Spring St. Center, 1100 W. Clark Ave. 3”; at Lill Street Gallery, 1021 W. Lill St. Maryland, RockvilleSeptember 26-October California, La Jollathrough September 10 Indiana, Indianapolis September 6-30 Richard 14 “Maryland Crafts Council Biennial Exhibi­ “Crafts for the Collector”; at Gallery Eight, 7464 and Marj Peeler, pottery and sculpture; at Indi­ tion”; at Montgomery College. Girard Ave. anapolis Museum of Art, 1200 West 38 St. Continued California, Los Angelesthrough September 24 An exhibition by gallery artists; at Garth Clark Gallery, 5820 Wilshire Blvd. September 11-October 9 “Contemporary Clas­ sical Potters,” works by Elaine and Tom Coleman, Vivika and Otto Heino, Richard Hensley, David Nelson, Don Pilcher, Donna Polseno and Tom Turner; at Rodell/Retreat, 11714 San Vicente Blvd. September 15-January 1, 1984 “German Fa­ ience from the Hans Cohn and Siegfried Kra- marsky Collections”; at the Los Angeles County Museum of Art, 5905 Wilshire Blvd. California, Quincythrough October 31 “Clay Directions”; at Plumas County Museum, 500 Jackson St. California, Sacramento through September 5 “California State Fair, California Works,” regional competition exhibition; at 1600 Exposition Blvd. California, San Diegothrough September 25 “Between Continents/Between Seas: Pre-Colum­ bian Art of Costa Rica”; at San Diego Museum of Art, Balboa Park. California, San Franciscothrough September 18 “California Clayworks: Selections from the Permanent Collection”; at San Francisco Museum of Modern Art, Van Ness Ave. at McAllister St. through September 30 “Treasures from the Shanghai Museum: 6,000 Years of Chinese Art”; at the Asian Art Museum of San Francisco, Gold­ en Gate Park. September 7-October 1 A dual exhibition with Harvey Brody; at Meyer Breier Weiss, Building A, Fort Mason Center. California, Stinson Beachthrough September 4 “Ceramics and Pastels—Summer Show”; at Anna Gardner Gallery, 3445 Shoreline Hwy. California, Westlake VillageSeptember 9-October 10 A dual exhibition with Amy Sar- ner; at the Retreat Gallery, 3865 E. Thousand Oaks Blvd. Colorado, Colorado Springsthrough Septem­ ber 25 “Colorado ’83,” regional juried exhibi­ tion; at the Colorado Springs Fine Arts Center, 30 W. Dale St. Colorado, Denverthrough September 25 “Black and Blue,” an exhibition of American Indian work; at the Denver Art Museum, 100 W. 14 Ave. Pkwy. Colorado, GoldenSeptember 25-October 16 Pat and Cheryl Jarosz, pottery; at the Foot­ hills Art Center, 809 Fifteenth St. Connecticut, Norwalk through September 16 “Challenge of Hands,” functional and non­ functional ware; at 1000 Words Gallery, 136 Washington St. D.C., Washington through October 10 “Scan­ dinavian Modern 1880-1980.” September 16-June 17, 1984 “Clay for Walls,” includes cir­ cular, slab, tile or modular work by 20 American artists; at the Renwick Gallery, Pennsylvania Ave. at 17th St., Northwest. September 28-January 8, 1984 “Art of Aztec Mexico: Treasures of Tenochtitlan,” includes polychrome ceramics from the Great Temple in Tenochtitlan; at the National Gallery of Art, Fourth St. at Constitution Ave., NW. Florida, Gainesvillethrough October 15 “Trea­ sure of the Quicksilver Galleons”; at Santa Fe Community College Art Gallery, 3000 N.W. 83 St. September 1983 23 24 Ceramics Monthly “Louis C. Tiffany and the Arts and Crafts Move­ Craft Invitational Show 13”; at the Mansfield Art Itinerary ment”; at Bellas Artes Gallery, Garcia St. at Can­ Center, 700 Marion Ave. yon Rd. Ohio, Middletown September 16-October 7 Massachusetts, Cambridge September 19- New York, New Yorkthrough September 11 “American Art Annual”; at Middletown Fine Arts October 15 Nancee Meeker and Jane Hollen- “Prehistoric Pottery of the Southwest,” approxi­ Center, 130 N. Verity Pkwy. berg, raku and salt-glazed ceramics; at Ten Arrow mately 40 painted works; at the Whitney Museum Ohio, ToledoSeptember 13-October 2 “Let’s Gallery, 10 Arrow St. of American Art, 945 Madison Avenue. Celebrate It,” juried exhibition of work by Ohio Massachusetts, Northamptonthrough October New York, Scarsdale September 24-October 29 Designer Craftsmen, includes ceramics; at SeaGate 9 “Earthenware: Red, White and Black”; at the “Clay Spectrum,” works by 25 artists; at the One Gallery, Owens Illinois Corporate Center, 1 Craftsmarket Gallery, 150 Main St. Craftsman’s Gallery, 16 Chase Rd. Seagate. Missouri, Kansas CitySeptember 2-30 “For­ New York, Stony Brookthrough September 15 Oregon, PortlandSeptember 22-October 22 A mally Yours,” ceramic works by Helen Helwig, “Ceramic Directions: A Contemporary Overview,” dual exhibition with John Takehara; at Contem­ Diane Kenney, Joan Marshall, Deanna Nichols works by Raymon Elozua, Margie Hughto, Mi­ porary Crafts, 3934 S.W. Corbett Ave. and Diane Volkerscz; at Gallery Woodstock, 902 chael Lucero, John Roloff, Jeff Schlanger, Victor Pennsylvania, CarlisleSeptember 7-20 “Func­ Westport Road. Spinski, Betty Woodman and Arnold Zimmerman; tional Ceramics”; at Trout Art Gallery, Dickinson Missouri, Saint Louisthrough November 27at the State University of New York, Stony Brook College. “Mixed Media: Style and Form in 18th and 19th Union Gallery and Craft Center. Pennsylvania, Willow GroveSeptember 1-30 Century Decorative Arts”; at the Saint Louis Art New York, Syracusethrough September 30 “Southwest Crafts”; at Langman Gallery, Willow Museum, Forest Park. “Modern Ceramics: 1930-1980”; and “The Cloud Grove Park. New Jersey, Camden September 20-December Wampler Collection of Oriental Art.” September South Carolina, Columbiathrough September 30 “Soup Soup Beautiful Soup,” juried and in­ 9-October 30 “The Diversions of Keramos: 18 “Hills and Streams: Landscape Decoration vitational exhibition of soup tureens; at the Camp­ American Clay Sculpture 1925-1950”; at the Ev­ on Chinese Export Blue and White Porce­ bell Museum. erson Museum of Art, 401 Harrison Street, Com­ lain.” through September 25 “Oriental Porce­ New Jersey, MorristownSeptember 10-0ctober munity Plaza. lain”; both at the Columbia Museums, Senate and 5 “Morristown Craftmarket Preview Exhibit”; Ohio, CantonSeptember 18-November 4 “All Bull Streets. at the Main Gallery, Morris Museum of Arts and Ohio 1983”; at the Canton Art Institute, 1001 Tennessee, Gatlinburg through September 20 Sciences, Columbia Turnpike and Normandy Market Ave., N. Yosuke Haruta, Catharine Hiersoux, David Nel­ Heights Road. Ohio, Clevelandthrough October 9 “Con­ son, Jamie Davis, Curtis and Suzan Benzie and New Jersey, Newark through September 30 suming Passions: The Art of Food and Rick Hirsch, “Permanent Art Collection”; at Ar- “Fulper: New Jersey’s Art Potters,” utilitarian Drink.” through February 26, 1984 “Highlights rowmont School of Arts and Crafts. decorated ware from the Fulper Pottery, through of the Rococo: Norweb Ceramics and Related Arts,” Texas, LubbockSeptember 4-October 16 “Clay October 30 A dual exhibition with Toshiko Tak- French works from the 18th century; at the Cleve­ Works” by John Chinn, Ken Ferguson, Barbara aezu. through January 20, 1984 “Tempered by land Museum of Art, 11150 East Blvd. Frey, Jennifer Greer, Les Lawrence, Dennis Smith, Time: 800 Years of Southwest Indian Pottery”; at September 13-October 13 A dual exhibition with Cecily Smith-Garnett, Willy Scholten and James the Newark Museum, 49 Washington St. Gary Schlappal, sculpture; at DBR Gallery, 13225 C. Watkins; at the Mackenzie Terrace Pottery New Jersey, Ventnorthrough September 30 Shaker Square. Center, 1010 Ninth St. Christine and Louis Colombarini, raku vessels; at Ohio, Columbusthrough September 8 “The Utah, Park CitySeptember 17-October 13 Utah EMR Yesterday and Today Gallery, 100 S. Wey­ Clay Guild of Central Ohio”; at Nationwide Gal­ Designer Craftsmen juried show; at the Kimball mouth Ave. lery, 1 Nationwide Plaza. Art Center. New Mexico, Santa throughFe October 31 Ohio, Mansfieldthrough September 25“Ohio Please Turn to Page 90

September 1983 25 26 CERAMICS MONTHLY Comment Toward a Postmodern Potteryby Dale Ruff

Today there is a kind of coexistence intion, understood not as the dead weight the ceramics world between the “tradi­of the past but as a condition of dynamic tionalism” of the vessel aesthetic and continuity.the outreach of clay art to the pluralism ofSeen in this light, “purism” is an ar­ contemporary art in general. Both thosetificial construct erected upon the quick­ who would create an independent move­sand of a nonexistent culture. Vessel ment based on the unique qualities of making cannot be hidebound tradition­ the medium and its tradition and thosealism, as there has been no solid tradi­ who would “liberate” ceramics from tion the of pottery as an art form within the shackles of the past can claim a mod­modern world. For that reason, purism ernist ideology as the root of theirhas am­ no ground, no appeal within its own bition. The fact is that ceramics, today, culture. Contemporary pottery is a syn­ is both a tradition apart from the main­thesis of ancient traditions and modern stream and a vital element of a diverse anxieties and ambitions. What makes art community. The explanation for this this synthesis possible is that the basis schizophrenic condition lies in the dual­of the traditional cultures is a value sys­ ism inherent in the medium itself (clay tem or attitude connected with respect is always about itself; yet it is the mostfor the land, an ecological awareness and successful mimic in art) and the peculiar a way of life based on harmony with evolution of modern ceramics. nature. It is not a question of being Zen The vocabulary by which we discuss or of going Indian. Zen and Indian, art is inadequate and misleading whenproperly understood, are not styles but discussing ceramics. Contemporary ves­ ways of relating to the world. For con­ sel makers are called traditionalists; yet temporary man, the ability to relate to it is the potters who have defied Western and absorb traditional culture is rooted art history (tradition) by refusing to yield in the ability to relate to and absorb life­ to the traditional, elitist hierarchy of me­ styles which are based on harmony with dia by which Western art is convention­nature. This harmony which I have ally defined and judged. In fact the tra­identified with the contemporary re­ dition of the contemporary potter is a surgence of vessel making is the under­ synthesis of non-Western cultures: na­ lying ambition and achievement of con­ tive American, Third World and folk.temporary pottery. The potter in the ’80s defies the cul-de- That such a movement coexists with sac Cult of the New, which has been the the mass of iconoclastic styles which to­ hallmark of modern art until recently, day proliferate under the category of ce­ by rediscovering and redefining traditionramic sculpture indicates not only a mood as a condition of creative progress. Look­ of tolerance but the existence of a time ing back at the decadence of pottery within warp in the art world. On the one hand, the impoverished Western tradition ofceramics, starting late and under the ceramics (dating back at least to the Re­ stigma of disenfranchisement (including naissance), the modern potter has re­ an inferiority complex inherited from the jected the European matrix and ab­ Renaissance), has been trying for three sorbed the earthy cultures which decades to catch up, to make it. Shows Europeans (and following them, Euro- like the recent Whitney ceramic sculp­ Americans) have tried to destroy in theture exhibition are an expression of this name of a specious progress. Today’s attitude. On the other hand, those who vessel makers have reintroduced, forare disillusioned with the art world and contemporary man, the concept of prog­ yet desire to create art have found in ress based on the assimilation of tradi­ Please Turn to Page 104 September 1983 27 28 CERAMICS MONTHLY Mary Chase Stratton by DOROTHY GARWOOD

Mary Chase Stratton at Pewabic Pottery, circa 1932. The sketch in the background is for a fountain executed at the University of Michigan.

It WAS SAID she had only two dresses, Longworth Nichols, founder of Rook- After the turn of the century, she stud­ and both were blue. This may have been wood Pottery; Mary Louise Mc­ ied ceramic glazes with Charles Binns true since Mary Chase (Perry) Stratton Laughlin, founder of the Cincinnati at Alfred University. On her return to focused on her work. Personal things Pottery Club; and Adelaide Alsop Rob- Detroit in 1903, she rented a carriage didn’t matter; blue was important— ineau, longtime faculty artist at Syra­ house for $8 per month and formed a dresses were not. cuse University and publisher ofKer- partnership with her former employer Her career reached its height during amic Studio (for which Mary Chase and neighbor Horace Caulkins. In her the first three decades of the 20th cen­ Stratton wrote articles). words, “the adventure was started ... in tury when her Pewabic Pottery supplied In 1897—because she had achieved an abandoned coach house in a spirit of architectural elements for most of the some reputation with china painters— work and play.” The enterprise was called important buildings in Detroit and its Horace J. Caulkins, a Detroit busi­ Stable Studio and the product, Revela­ suburbs, as well as a number of struc­ nessman, asked Mary Chase to dem­ tion Pottery. The first order (for SI000) tures across North America. onstrate his Revelation Kiln at schools was based on a few pots glazed dark Born in 1867, Mary Chase Perry and commercial potteries. (A boon to green matt—the only color she had at started her art training in a traditional china painters, this muffle kiln protected the time. On later work, in keeping with fashion. She studied painting and sculp­the ware from direct flame contact. Fueled her early interest in sculpture, shemod­ ture at the Cincinnati Art Institute and with kerosene, it could be fired to 2400° F; eled relief decoration in the sinuous leaf in New York in the late 1880s, but turned the cast-iron kiln of the time would have and vine style of art nouveau. Although to clay, intrigued by the mysteries of ce­ melted at 2200°F.) Traveling around theshe was one of the few craftswomen of ramic colors. Back in Cincinnati, she United States, Mary Chase visited the the time who learned to throw and used joined that small band of American successful potteries. To learn more, she a small electric wheel in her first work women who were to move from the gen­ even worked in an East Liverpool, Ohio,at the Stable Studio, she soon hired Jo­ teel art of china painting to serious work pottery as the only woman among 900 seph Herrick, a potter from Alsace-Lor- in ceramics. Among them were Maria men. raine who from then on threw the ware September 1983 29 on a kick wheel. Along with pottery, the constructed a tunnel kiln, 51 feet long cording to Ella Peters, her longtime as­ studio also began making tiles which, with a 16 X 20-foot chamber, using, at sistant: “Sometimes she was sorry she with relief panels and other architec­ first, large brick rolling on pebble balls ever developed that glaze because it over­ tural details, were to become the chief which exploded in the kiln, followed by shadowed everything else she did.” source of income for many years. Misco steel trays propelled on Misco rods Charles Lang Freer, a collector of “About this time in 1907,” Mary Chase by a hydraulic pusher.” Firing was usu­ Oriental art and Whistler paintings, be­ recalled, “we felt justified in erecting an ally at Cone 04 for a natural Indiana came her most important supporter; a English-type building, which is a cross clay which produced some fine stone­ collection of her pottery is now in the between a studio and laboratory with ware effects in spite of the low temper­ Freer Gallery in Washington, D.C. little of the factory idea.” They called it ature. Through his collections, she became fa­ Pewabic Pottery, taking the name from The pursuit of subtle and elusive glazes miliar with historical examples of great a copper mine in upper Michigan where interested Mary Chase. In 1901, as she ceramics and was influenced by classic Mary Chase had grown up. (Later she was taking a 3-inch pot from the kiln, Chinese forms, subtle Song (Sung) glaz­ found the name came from a Chippewa she recognized an iridescence which was es, brilliant Persian blues and Hispano- Indian word for red clay.) not the result of an overglaze luster. Em­ Moresque lusters. Also through Charles The first equipment included a min­ ployed over the years, the glaze (prob­ Freer she met artists and architects, and iature Crosley clay processor which was ably a combination of glazes) was some­ interest in Pewabic spread. shown at the World’s Fair in Chicago. times opalescent or iridescent, sometimes In 1918, Mary Chase Perry married After three years, a full-sized blunger, dull and highly unstable. But stable or architect William Stratton, whom she filter press and pug mill were installed. not, it became the identifying charac­ and Horace Caulkins had hired to de­ “For an overwhelming (for us) amount teristic of Pewabic work—something sign the Pewabic building. They had of tile,” Mary Chase recollected, “we even Mary Chase occasionally regretted. Ac­ worked together on various architectural

At the beginning of her career Mary Chase Perry sold kilns manufactured by Horace J. Caulkins, as illustrated in this advertisement from the Ceramic Monthly, a turn- of-the-century magazine for china painters. Later; employer became partner as the two began a business venture to produce and market pottery and tile. 30 Ceramics Monthly projects and, with Horace, had become room. Ford administration buildings inatively large quantities, architectural active in forming and building the De­New York, Omaha and San Francisco elements were never standardized. The troit Society of Arts and Crafts (now the included Pewabic tile, as did two Great dry press mold, purchased for the first Center for Creative Studies, College of Lakes ships, a rooftop restaurant in New tile order, was never used. Innovation Art and Design). York, and the vault and entrance to theand experiment appealed to Mary Chase The twenties were a period of great Union Guardian Trust in Detroit. A and she had discovered early on that ar­ activity for Pewabic. The rising gener­ fireplace, designed by architect Eliel chitects and designers were willing to ation of industrialists wanted homes andSaarinen, was made at Pewabic for the pay for individual handpressed clay forms. public buildings that testified to their Modern Art Exhibition at the Metro­ Pewabic prices were not low. In 1904, business successes, and Pewabic was there politan Museum of Art in 1929, and was lamps (some made to hold Tiffany shades) to meet the demand for colorful archi­ later installed in the headmaster’s (then were listed at $70-$80 wholesale. One tectural enrichment. Following a com­ Saarinen) residence at Cranbrook Acad­ letter records acceptance of a $4537 bid mission for interior tile for Saint Paul’s emy of Art. for tiling two tables for the Edsel Fords. Cathedral in Detroit, work was com­ From the beginning Mary Chase had The largest commission, $65,000, was missioned for churches in Pittsburgh, accepted orders as they came: fountains, for the Lower Church or Crypt in the Evanston, Saint Paul and Washington.plates, boxes, basins, fireplaces, stair ris­ National Shrine of the Immaculate Con­ Ceilings in the Oberlin Art Gallery were ers, floors and ceilings. In a time when ception, Washington, D.C. followed by arches and vaults in the log­ color-coordinated fixtures were not com­ Mary Chase Stratton’s art was not gia of the Detroit Main Library, mosaics mercially available, people brought iron personal in the sense of private expres­ showing “The Seven Ages of Man,” andbathtubs to the pottery to be glazed in sion; neither was it impersonal public fireplace plaques and a frieze depicting colors matching floor and wall tiles. art. From the largest sculptural panel to familiar tales in the children’s reading Although Pewabic produced compar­ the tiled window ledge, it was all part

Like many potteries of its day, equipment at Pewabic was belt driven. Pottery and tile production were aided with the installation of a blunger, a filter press, a pug mill and a 16x20- foot tunnel kiln. Although Pewabic produced comparatively large quantities, architectural elements were never standardized. The dry press mold, purchased for the first tile order, was

Photos: David Atwater, Steven Benson, Thomas W Brunk, Detroit Institute of Arts, Tim Thayer and courtesy Pewabic Pottery never used. September 1983 31 of a total image, often in collaboration molds (as big as 4 X 6 feet) were stacked University to serve as a ceramics labo­ with architect, designer and workman, on shelves. On request, Mary Chase ratory, museum and adult education and always executed under her close su­ would search the loft for replacement center; but is now a gallery, museum and pervision. In the spirit of the arts and tiles, spending hours sorting through the learning facility operated by the Pewa­ crafts movement, no detail, utilitarian or colorful remnants, talking about the work bic Society, which recently announced not, was beneath aesthetic consideration. with pleasure and pride. that handmade architectural tiles will Disaster struck in the thirties. Con­ A tireless researcher, she kept metic­ again be produced for the first time in struction was throttled by the Depres­ ulous records, business and documen­ almost 20 years. sion. After 24 years of all the work the tary materials, correspondence and notes Mary Chase Stratton was a constant pottery could handle, Mary Chase was on experiments. She loved sharing her force in support of handcraft in an in­ hard pressed to keep Pewabic going. It experience and knowledge with one no­ dustrial society and it is a pleasure to was also a terrible time for her person­ table exception—the formula for her ir­ encounter colorful evidence of her work— ally. In 1937, she and her husband lost idescent glaze remained a secret and wasthe images of a simpler time, softly ir­ the home they had built (incorporating destroyed after she died. She valued theregular lines, subtle variations in iri­ a great variety of ceramic details), and chance to work alone, “to let things hap­ descent and matt glazes, and the many a year later W. B. Stratton died. But pen.” She felt potters owed it to them­ colors of natural clay—in buildings Mary Chase continued to find enough selves to develop their own glazes. throughout the country. work to support the small staff that had After her death in 1961, at the age of been with her for more than 30 years. 94, work at Pewabic continued for a few The author California artist Dorothy Remainders from many tile commis­ years under Ella Peters. Later desig­ Garwood (Pacific Palisades) assisted sions were stored on the upper floor of nated a national historic site, the pottery Mary Chase Stratton with ceramics classes the pottery; some of the 1300 plaster was given into the care of Michigan State at Pewabic Pottery from 1942 until 1949.

Pewabic tile met the growing demand for colorful, artistic embellishment in public structures, such as the Union Guardian Trust Building, Detroit. Right A fireplace designed by architect Eliel Saarinen was made at Pewabic for an exhibition at the Metropolitan Museum of Art in 1929, then transferred to this residence at Cranbrook Academy of Art. 32 CERAMICS MONTHLY During her long life (she died in 1961 at the age of 94) Mary Chase Perry Stratton worked in an East Liverpool, Ohio, pottery as the only woman among 900 men; studied glazes with Charles Binns at Alfred University; and wrote articles for Keramic Studio in addition to producing tile and developing glazes that came to be in demand during the early part of this century Top A frieze of fireplace tiles depicting familiar tales was installed in the children's reading room of the Detroit Public Library Left The twenties were a period of great activity for Pewabic, with numerous commissions for homes, businesses and institutions, such as this fountain, installed at the Detroit Institute of the Arts in 1927.

September 1983 33 Teapots , cups, plates, baskets and bowls fashioned from a block of plaster for a AbovePorcelain rice bowls, 5 inches in by James and Karen Chalkley were ex­ permanent and definite shape from which diameter; thrown, altered, clear celadon hibited recently at Cudahy’s Gallery for to make the mold,” Karen explained. She glaze, by James Chalkley, Virginia Beach, the South, Richmond. The Chalkleys also produces incised porcelain tiles. Virginia. work both individually and collabora- Their collaborative work includes large tively in their Virginia Beach studio. plates, thrown by Jim and incised by “Architecture, furniture, fashion and Karen. automobile design all contribute clues to Glazing is with blue, green or clear quality, line, form and detail,” when celadon; carbon trap; matt black; or matt throwing porcelain and sometimes white recipes. To achieve a wider range stoneware for specific items, Jim com­ of results from this palette, the ware is mented. Most of Karen’s work is slip- fired in either oxidation or reduction in cast porcelain. “The original form is a 70-cubic-foot, downdraft car kiln. 34 CERAMICS MONTHLY Photos: Eugene H. Woolridge, Images of Virginia Beach

AboveNested mixing bowls, the largest 12 inches in diameter, thrown porcelain with blue celadon glaze, by JamesiChalkley. Far left Thrown porcelain¥ dinner plates,12 inches in diameter, green celadon glaze over incised decoration, by James Chalkley. Left Rabbit plate, 20 inches in diameter, thrown by James, incised by Karen Chalkley.

September 1983 35 Above Thrown porcelain basket, 13 inches in height, carbon trap glaze. Far left Porcelain platter, 22 inches in diameter, thrown, finger wipes through raw Shino glaze. Left Faceted cups, 4 inches in height, slip-cast porcelain, Shino glaze. Works on this page are by James Chalkley.

36 CERAMICS MONTHLY Akio Takamori Photos: Allen Laughmiller

AboveUntitled handbuilt sculpture, approximately 13 inches Below Untitled sculpture, handbuilt, 20 inches in height, with in height, with incised, impressed and brush decoration. incised lines, impressed textural areas, brush decoration.

A SOLO EXHIBITION of ceramic sculp­ ture by Japanese artist Akio Takamori was presented at Garth Clark Gallery in Los Angeles through March 5. Com­ bining elements of human and animal figures with the vessel, the forms were made during his residency at the Archie Bray Foundation in Helena, Montana, during the fall of 1982. Interested in the art of primitive re­ ligions and mythology, Akio finds “it helps people rationalize the absurd in a very poetic way. I probably adapted the same kind of process in my work. I think the process of creating helps me accept and understand my life and surroundings— helps me to search for myself.” Akio also noted that the relationship of two- and three-dimensional images is important to the physical structure of his objects. “I especially enjoy looking at Eastern traditional paintings in which I find interesting transformations [sug­ gesting] three-dimensional surfaces.” September 1983 37 Insulating Existing Kilns byR egis Brodie

There is a simple method of upgrad­ ules, with different densities and tem­ules, 9.3-pound density, 3 inches thick ing and improving the thermal efficiencyperature ratings. (this is the smallest thickness available). of an existing kiln, which only requires Another type of module, manufac­ 3. Johns-Manville: Z-Blok Glue-On mortaring a ceramic-fiber insulating tured by the Carborundum Company Cerachrome blanket modules, 7-pound material to the hot or interior face of the for Cone 9 and 10 applications, is the density, 2 inches thick. kiln’s brick wall. By doing this you can folded module. These are formed by cut­ 4. Sauder Industries, Inc./Pyro-Bloc: reduce fuel consumption by 8 to 30 per­ ting strips of fiber blanket, folding the Pyro-Bloc V modules, 8-pound density, cent, depending on the thickness of thestrips, and stacking the folded strips one 2 inches thick. fiber you choose. But you will not only on top of the other. A 3-inch module 5. A.P. Green: Inswool veneering realize a reduction in fuel costs by “ve­ would be made up of a number of strips modules, 8-pound density, 2 inches thick. neering” your kiln in this manner, you 6x12 inches. When the 6-inch strips are will also: extend the life of your kiln, folded, they make a 3-inch-thick mod­ I recommend a 2-inch thickness of in­ improve its insulating quality, shorten ule. The folded modules are manufac­ sulation having a density of 8 pounds your firing cycle (stores less heat), im­ tured and sold in this assembled formper cubic foot. This is suitable for tem­ prove its thermal-shock resistance and and are available in a variety of thick­ peratures over 2250°F and up to 2400°F. enhance temperature uniformity. nesses, from 3 to 12 inches. The modules You should keep in mind that the lining, The modular method uses ready-made are adhered to the wall by the use of a once installed, will cut down on the fiber modules, which are made by cut­ high-temperature, air-setting mortar. amount of interior kiln space; 3 inches ting ceramic-fiber blankets into strips and The following companies manufac­ would increase your fuel savings, but it then stacking the strips one on top of the ture 12x 12-inch ceramic-fiber modules would also decrease your stacking space. other. A gauze netting is used to hold that may be used to insulate an existing Two inches seems to be a reasonable the strips together into a module—12x12 kiln. compromise, unless you have a large kiln inches is standard. The width of the 1. Babcock & Wilcox Company: Ka- and would not miss the lost stacking space. strips—usually 1½ to 12 inches—deter­ owool ST Modules, 8-pound density, 2 The modules are available in different mines the thickness of the module. Near­ inches thick. thicknesses, but 2 inches is what I rec­ ly all of the ceramic-fiber companies 2. Carborundum Company: Folded, ommend. manufacture a variety of veneering mod­bonded 2600 Durablanket CH Mod­ Several financial considerations should To remove the unwanted kiln wash, the walls are sanded with a 7-inch disk sander equipped with a tungsten-carbide disk (24 grit). Moisten the brick wall just before applying the mortar, to The interior kiln prior to insulating. prevent the mortar from drying prematurely.

38 CERAMICS MONTHLY The mortar (the consistency of thick pancake batter), the The veneer modules are applied to the back wall in a parquet plywood fiber holder, and two metal tools used to trowel on the pattern. To piece in a small section, two thin Formica sheets may mortar. Each wall module requires 2½ to 3 pounds of mortar for be used; sheet metal will also work. proper adhering; each roof module requires31/2 to 4 pounds.

Burner-block holes are cut into the modules after the fiber has setAfter the front and back walls are veneered, the side walls may be overnight. covered. The side-wall modules are all applied in one direction, rather than in a parquet pattern, which turns out to be the best orientation because it leaves fewer and smaller gaps. be made before you decide to veneer your Cost Analysis of Insulating The cost of firing Big Mama to Cone kiln. First, get an estimate of the cost of Skidmore College’s Big Mama car kiln 9-10 before the lining was installed was materials. Labor is not a factor, as it is has 27 cubic feet of stacking space. The S24.ll (4,600 cubic feet of natural gas). very easy to do. Second, consider the po­cost for installing 2 inches of Kaowool After lining, the cost was reduced by tential fuel savings you can obtain by ST modular insulation was: $4.37 to SI9.38 (3,700 cubic feet of gas), using modular linings. The 2-inch edge- or 19.6%. The pay-back period using stacked Kaowool ST Modules reduced 50 ST Modules (SI 1.25 natural gas would be: fuel consumption by 19.6%. each)...... S562.50 52 firings multiplied by Finally, project the number of firings 6 square feet Dura-blanket S4.73 = S245.95 per year and multiply that by the fuel CH (S3.60 per square $621.60 (cost of lining) savings. Divide that figure into the ex­ foot) ...... 21.60 divided by $245.95 = 2.5 years pense of materials and you will now have 150 pounds Fiberstick (SI2.50 If the kiln was fired with propane to the pay-back period—the number of years per 50 pounds)...... 37.50Cone 9-10, the pay-back period would it will take for the lining to pay for itself. Total...... S621.60 be even shorter. Before the lining was September 1983 39 installed, the cost of firing was $51.51 kiln that will fire better and last long­ cycle. The low heat-storage capability of ($1.00 per gallon). After lining, the cost er—an excellent opportunity for energy ceramic fiber makes this possible. A fi- of firing was reduced by 19.6% to $41.42, conservation. ber-lined kiln will reduce fuel con­ a savings of $10.09. For the potter who cannot afford to sumption, extend the life of the kiln, 52 firings multiplied by $10.09. build or buy a new kiln, insulating an shorten firing cycles, improve thermal- (fuel savings) = $524.68 existing kiln is the next best thing to do. shock resistance and enhance tempera­ $621.60 (cost of lining) divided An existing kiln that still has years of ture uniformity. With so much to gain, by $524.68 = 1.2 years good service left, but is consuming fuel the studio potter can ill afford not to take Fuel costs will continue to increase in an inefficient manner, can be madeadvantage of this option. dramatically in the future, which is an fuel efficient by insulating. Not only will even more compelling reason to insulate you be able to reduce your fuel con­ Excerpted from The Energy Efficient your existing kiln. The pay-back time sumption, but you can further reduce Potter, Copyright © 1982 by Regis Bro- will be even shorter. And in addition fuel to consumption by an additional 5 to die, published by Watson-Guptill Pub­ saving fuel, you will have an improved10 percent by accelerating your firing lications, reprinted by permission.

Above left Remember to apply mortar to both the module and to the area of application. Using the plywood holder, the module is pressed firmly to the surface, moved slightly back and forth, and then positioned tightly up against the adjacent module, where it is held in place for10 to 15 seconds. AboveThe finished interior before firing. Left Detail of the interior after several firings. This shows the advantages of using edge-stacked modules that are installed under compression: very few shrinkage gaps develop.

40 CERAMICS MONTHLY Photos: Clint Brown, Lutz Dille, Colin Molinenux the artist and the author Walter Keeler by C September 1983 heryl M c L ean 41 42 CERAMICS MONTHLY Set ON A HILLSIDE above the Wye Val­ try potter. However, the original country Although I’m working in an angular way, ley in southeastern Wales is Walter Kee­ potters made crude, functional vesselsI’m still aware of the qualities of the ler’s studio—the epitome of a country with little deliberate attention to aes­ material and its response to my, at times, potter’s abode. While his son went down thetics. “I suppose I’m torn between tra­ somewhat overbearing approach.” the lane for the morning’s milk (fresh ditions,” Wally explained. “I’m someone Wally’s sense of control may be re­ from a nearby farm) and the ducks hud­ working quietly and unselfconsciously lated to the introduction of Scandinavian dled against the cold, Wally and I saton my own, and yet I’m aware of Wedg­ designs in Britain during the 1950s. The surrounded by his pots and talked about wood and the early industrial scene where more austere approach of such potters their sources. people were discovering that you could as Hans Coper and Lucie Rie began to Wally, who describes himself as “a mass produce and impose an awful lot divide British pottery into two camps: potter in the traditional sense,” is inti­ of refinement on clay.” the Scandinavian, design-oriented bias; mately aware of Britain’s pottery tra­ This struggle between two seemingly and the more ethnic, material-based ap­ dition, which spans more than 30 cen­ opposing directions is never completely proach of Bernard Leach. turies, including the early builders of decided in Wally’s pottery. It is neither In working exclusively with stone­ Stonehenge and the Romans who oc­ entirely unselfconscious, because of the ware and salt glazing, he is responding cupied the land in the first century B.C. imposition of an intentional, hard-edged“to what got me interested in the first As a young boy in London, Wally fre­ design, nor entirely controlled in that theplace: the clay and the fire.” Salt glazing quently combed the Thames riverbed salt glazing is a spontaneous interaction for him “is the hardest way of making during low tide, collecting bits and pieceswith clay, at best only estimated by the pots because you can never beat it. It’s of broken pottery. “I have shards from craftsman. a challenge.” After coating a bisqued pot all ages, and used to go to museums to When asked if he considered the hard- with a feldspar/kaolin or feldspar/ball see the whole pots that were obviously edged aspects of his work as a shift away clay slip, he then sprays commercial pig­ the same as the little bit that I had picked from the unselfconscious, responsive ments and/or oxides. The work is fired up,” he recalled. “If you look at a pot handling of clay in the Leach tradition, in a catenary arch kiln which burns au­ in a glass case, you can look at it as a he replied: “Not entirely, no. And yet tomobile crankcase oil in quantities of cultural object. But if you look at a shard, the edge is important to me because I three or four parts used oil to one part you see it from the inside as well as the want to control what I’m doing and athinner grade oil—making it both an outside; you see the marks of the maker hard edge symbolizes control. It shows economically and ecologically sound fuel. and begin to understand the material athat you’ve imposed on the material what And because the oil is filled with all sorts bit more. I think there’s a certain magic you want to do with it.” of residue from engines, it often causes in having a shard, like a handle which Yet Wally’s work consistently exhibits unusual flashing on surfaces of those pots often survives because it is very sturdy,an awareness that “the clay is plastic and nearest the flame—another unpredict­ in which you can see the way it was has its own qualities. For example, if able yet integral effect of Walter Keeler’s pulled very quickly and then smashed you want a sharp edge between two sur­ approach. on with the thumb.” faces, you get a little burr of clay, which These bits of broken pottery had a is about the material. Initially I suppose The author Corvallis, Oregon, arts subtle but lasting effect, leading even­ I could have tried to get rid of it, but it’s writer Cheryl McLean recently spent tually to his current life-style as a coun­ very hard to, so I make a virtue of it. several months working in England.

Above left*l*m someone working quietly and unselfconsciously on my own,” says Wally, “and yet I’m aware of the early industrial scene where people were discovering you could impose a lot of refinement on clay.” Left Bisqued pots are coated with feldspar/ kaolin or feldspar/ball clay slip, then sprayed with commercial pigments or oxides before loading in the salt kiln. Work is fired with a mixture of crankcase oil and thinner grade oil. Right Salt-glazed teapots, each approximately 9 inches in height. “Edge is important to me because I want to control what Vm doing and a hard edge symbolizes control.” September 1983 43 Above Wheel-thrown covered jar, 24 inches in height, salt-glazed stoneware. Left Pitchers, each approximately 4 inches in height, thrown, altered, by Walter Keeler. Sometimes the crankcase oil fuel causes unusual flashing on surfaces of those pots nearest the flame in the salt kiln.

44 CERAMICS MONTHLY Reitz/Soldner/Sperry Exhibition

Prices ranged from $350 to $10,000, yet the recession didn’t affect sales; more than half of the new works presented by clay artists Don Reitz (Marshall, Wis­ consin), Paul Soldner (Aspen, Colorado) and Robert Sperry (Seattle) were sold in a recent exhibition at Image South Gallery in Atlanta. In all, collectors pur­ chased eight Don Reitz residual salt- glazed vessels and low-fired, slab wall forms with bright, polychrome vitreous engobes (priced at $350-$2200); ten Paul Soldner low-fire salt-glazed pedestal and wall forms with bas-relief textures and slips (paying from $600 to $2800), and six Robert Sperry multifired bowls, wall forms and tile murals with crawled sur­ faces ($800-$2000). Sperry also re­ ceived a $20,000 commission through the show, to be completed by the end of the year, for an installation in the Atlanta IBM building. While Soldner and Sperry presented works building masterfully but predict­ ably on previous directions, Don Reitz’s work took a new turn. This was the first major show since his truck accident in Cincinnati forced a hiatus from the pot­ ter’s wheel. Facing a long convalescence, Don began decorating large slabs (which could be rolled out by assistants) as an alternative to the massive thrown forms for which he has become known. While it was rumored that Don might not throw again, that this exhibition contained some of his last wheel-made vessels, he has returned to throwing recently, as ob­ served during a workshop at the Ohio

State University, Columbus. Photos: Gary Bogue, Jere Frutchey and courtesy of Great American Gallery

Above right Slab painting, 32 inches in height, vitreous slips on Cone 06 clay, oxidation fired, by Don Reitz, Marshall, Wisconsin. An earlier show at Chatham College (see the June 1980 CM) and a slab Letter to the Editor (see Letters, March 1981) were precursors of Don's new work. Right Wall plate, 21 inches in diameter, by Robert Sperry, Seattle. Far right Handbuilt wall form, 24 inches in width, low-fire salt glaze, by Paul Soldner, Aspen, Colorado. September 1983 45 Japanese Historical Ceramics Photos: courtesy of the Freer Gallery Art

“JAPANESE CERAMICSfrom Past to AboveServing plate for broiled fish, 7 7 inches in length, Oribe Present,” an exhibition illustrating ware, early 7 7th century. As formal Japanese cuisine evolved characteristics of work from various lo­ during the Momoyama period, specific sorts of dishes were cations and periods, opened recently at designed for serving successive courses. Oribe ware was especially the SmithsonianInstitution’s Freer Gal­ favored for table use. lery of Art in Washington,D.C. Drawn Above right Serving plate with bail handle, 9 inches in diameter, from the gallery’s own collection, the 50 overglaze enamel over crackle glaze, late 18th century. ceramic examples shown range from a Near right Red raku teabowl, 3 inches in height, by Yasuke large, handbuilt earthenware storage jar Kyuraku II, early 19th century. dating from the middleJomon period Far right Water jar for the tea ceremony,7V 2 inches in height, (3000-2500 B.C.) to 19th-century por­ ash glaze over underglaze iron brush decoration, Karatsu-style celain. Many of these styles established Mino ware, probably from the Motoyashiki kiln, circa 1600. A traditions that remain vital in modern phenomenon of the Momoyama period was the imitation of clay work. (Compare “Japanese Ce­ popular wares from other kilns. The Motoyashiki kiln in Mino, ramics Today” in the March issue of which produced the earliest Oribe wares, also made Karatsu-style Ceramics Monthly.) ware. 46 CERAMICS MONTHLY September 1983 47

Left Gourd-shaped bottle, 8V2 inches in height, feldspathic glaze over iron decoration, Shino- Oribe-type ware, from the Motoyashiki kiln, circa 1600. The multichambered Motoyashiki kiln fired more efficiently than the tunnel kilns in which earlier Shino wares had been made, and the feldspathic glaze tended toward transparency, revealing underglaze designs more clearly. Bottle shapes are a novelty among Shino wares.

Left Storage jar, 15 inches in height, Left Spherical wheel-thrown stoneware with natural ash canteen, 10 inches deposits from wood firing, Tamba ware, in height, Sue first half of the 15th century. Jars from ware with natural Tamba are generally of light-colored, fine­ ash glaze from grained clay that fires to pale red. wood firing, first half of the 7th Right Storage jar, 201A inches in height, century. This form, thrown stoneware with natural ash glaze, constructed from Echizen ware, first half of the 16th century. two bowls and a Jars from the Echizen kilns were widely trumpet-shaped distributed by coastal ships. Marks on the neck, is shoulder distinguished the various potters characteristic of sharing the communal kilns. early Sue ware. September 1983 49 Colored Clay Invitational

“COLORED CLAY,” a national invita­ tional exhibition on tour from the Ap­ palachian Center for Crafts in Smith- ville, Tennessee, was featured at the Craftsmarket Gallery in Northampton, Massachusetts, through August 21. Il­ lustrating a range of techniques—ner- iage, nerikomi, millefiori and inlay—the show represents 33 ceramists who have made stained clay their hallmark. Most of the work was unglazed or simply coated with a clear recipe.

“The Colorist ,” 29 inches in height, “The Colorist,” opposite view. “I am porcelain with nylon fibers and stains, working with the super realism of the unglazed, oil pastel decoration, by Mary figure on one side and the abstraction of Hale Visser, Austin, Texas. the flattened form on the opposite side.”

Nerikomi platter, 13 inches in length, by Katie Kazan, Madison, Wisconsin. “In traditional pottery, form and surface decoration are approached days apart. With colored clays, construction and color pattern are integrated into one process.” 50 CERAMICS MONTHLY Weightless Form: John Stephenson Photos: Bob Vigiletti

"Core2 * and “Core 3” each approximately 16 inches in height, handbuilt, low-fire clay, with layered, polychrome slips.

“CLAY OUTSIDE THE VESSEL,” a one- same time an expression of lightness. ization that the ceramic artist paints with man show of John Stephenson’s “Core” Made in a relatively human scale, each chemical reactions rather than with a sculpture, was presented recently at the form has an opening running lengthwisemixing of pigments is still incredible to University of Michigan, Ann Arbor. through which a person’s arm may be me. Not only does one deal with hue, “Listening to music with my eyes extended. value and intensity of color, but at the closed, my mind often visualizes forms “Planes on the ‘Core’ forms have fac­ same time with the qualities of trans­ transposed from the music,” says John. ets of color controlling how the sculpture parency and opacity as well as whether “Sounds have visible shapes, just as shapes a glaze is glossy or matt, textured or may suggest sounds. smooth. “Although I was not consciously “Slips colored with stains were ap­ searching for a ‘weightless’ form, I re­ plied to the leather-hard sculpture. Dif­ cently made a series of ‘Core’ sculptures ferent slips were overlapped so that the which the mind’s eye can envision tum­ bottom one was allowed to show through, bling and turning in the cosmos. These thus developing a vibration of color rath­ clay forms do not establish a true bottom er than a flat, even color. A clear glaze on which to rest. Rather, they invite applied in a similar manner further in­ placement in varied positions to reveal tensified the colors underneath. Since in­ different aspects. tense colors appear to jump off the sur­ “Each low-fire clay sculpture was dried face of sculptural forms, the bright planes and fired on two wedge-shaped edges of of color were recessed. Dark values were the form instead of on the typical flat John Stephenson used throughout the rest of the form to plane. An interplay of polarities or op­ contain the color intensity. posites has been an ingredient of my “Ultimately, regardless of the stage of mixed-media wall pieces. ‘Core’ contin­ is perceived. Where colors are placed in reconciliation, the work must be set aside ues the dialogue between flat, unfolding strong contrast, they intensify the form. by the artist. Others must examine the planes against curving, rolling contours.Hues of close value tend to obscure or clay form to determine how well it does There is a sense of weight and at the distort visual understanding. The real­what it set out to do.” September 1983 51 Peter Voulkos in Japan by JUNKO IWABUCHI

52 Ceramics Monthly Photos: Beth Thomas and courtesy oj Point View W one a te r Cne i Tokyo in Center Art the at mounted y ekly eait ee Vuks was Voulkos Peter ceramist Berkeley by Voulkos came to the anagama-fired forms anagama-fired the to came Voulkos ceived, almost everyone who attended the attended who everyone almost ceived, legend American this this time since first Japan, the was in event historical an f oa. s ie asil, .. am­ U.S. Mansfield, Mike As today. of uae ht hy int ae cac to chance a have didn’t they that tunate either to kiln, anagama an in America re­ well was work his While nation.” “ceramic this in show one-man a had has as recognized was it 1), June (through h dvlpetl rcs o hw Peter how of process developmental the mediately. Thus,onceyouhaveseen you Whether art. American in latest the statement a in noted Japan, to bassador t s edl ietfal. . A Voulkos A ... identifiable. readily pottery, is or it sculpture work his consider with familiar are who well those is to Voulkos known “Peter catalog: the for see to order in works earlier his study unfor­ was It ware. Shigaraki or Bizen in fired vessels, these compared show ic cmuiae drcl ad im­ and directly communicates piece hen

n xiiin f odfrd forms wood-fired of exhibition an edited by are appeal and strength its art, Voulkos’s very hardtoforget.” Voulkos on o o I us I a br ta wy My way. that born was I guess I do. to I hands. my with work I alive. stay to why or am, I last what is the mind my about on thing Usually what?” or man, painter, a you Are yourself: call you do I ohr ol sy “f o wr hard, work you “If say, keep would mother “Just say, to used grandmother have I thing the just It’s art. elevate don’t crafts­ a artist, an sculptor, a potter, a I am what I am. I’m just a person trying person a just I’m am. I what am I ht d, ep rahn ad working. about and breathing just keep That’s do, I right.” what all be you’ll my And right.” all be you’ll breathing; people, or myself. We can leave that job that leave can We myself. or people, I never set out to put labels on things or things on labels put to out set never I HAVE BEEN ASKED BEEN HAVE Bill Woodcock many times, “What times, many supplies finishing power. the wheel head provides the initial rotation,whilePete’sson the wheelheadprovides theinitial hisJapanexhibition. Ona during theartist'svisitfor traditional Japanese wheel,astickinsertedinto notchon Above wood-fired stoneware. Left Stackedform,approximately40inches inheight, in diameter; Opposite page Peter VoulkosandhissoninSeimei Tsuji’sstudio wheel thrown,alteredstoneware. Wood-fired plate,approximately22inches o h mda Wa I o s sometimes is do I What media. the to s l itrsig o e Te valuations The me. to interesting all is and plumbing my on work I Sometimes n dsicin ae ae ewe what between made are distinctions and It estate. real sell and buy I sometimes ie o te ae id f information of kind same the you give on who is saying it. A good artist has to has artist good A it. saying depending is great, who on be can it me To word. it somethingwon’tmakesomething. calling there, isn’t bad energy the Too If them. for aware. that, not is are who people or because that, is what and this is ae otr, oeie sculpture. sometimes pottery, make r rf. dnt r t tah hm how them teach to to makepottery.Italkaboutinformation try don’t I craft. or What artist.” good no the hellisthatsupposedtomean? a you’re “You’re but craftsman. craftsman, good a be it. dirty a at is Look “craftsman” “artists,” up. some it To pick it? Just is care? What Why sculpture. or get painting can from you excitement and energy and oeie I an o mk prints. make or paint I Sometimes ral fn Jpns taol can teabowl Japanese fine really A dnt ak o y tdns bu art about students my to talk don’t I September 1983

53 and energies. I try to sharpen their sen­ off plastic plates. I’m not out to put a lot of information out of them. The ones sibilities. I try to teach them how to think. cup and saucer in everybody’s hand. II’m doing now are subdued and strong. Clay is a great teaching device. It is in­ don’t want to produce pottery for every­ Certainly they are the best I have done. timate, fluid. You get your point across one to eat off. When I was younger, I But I am still trying to get it down to quickly I use it as a vehicle, like math supported myself for a while as a pro­ just a couple of gestures. I’m really trying or history, to teach a greater understand­ duction potter. When I told my mother, to get down to one line. I’ve only had ing of ideas and self. If you are an ef­ she said, “What? Make pots and pans? one one-line plate that really came out fective teacher, you learn a lot yourself. I thought you were going to be an artist.” so far. It was brilliant. I’m trying, but There is a real exchange of ideas with It doesn’t mean much, but maybe the so far I haven’t been able to do it again. your students. Students come up with best label is “abstract expressionist.” That When I started, 30 years ago or so, I problems and situations I’ve nevermeans I have to get my hands into my tried all kinds of things, but I’m not pop­ dreamed of. material before I know exactly where I ping around much now. I’m just trying A pot, for me, is a vessel that has an am going. I am not a conceptual artist. to get it down there to a very simple opening, that you can see inside, that can I can’t just sit there and think of an idea. gesture; one where the risks are great, receive. If it is a good pot, it also has Most of it just comes out of my hand. but spiritually rewarding. I guess you some sculptural qualities involved with I have it down in my ceramics to a could say I’m just now getting to where space and form. Most of the forms I make few shapes that I really love—the plates I can really handle the clay. So that the refer to pottery. Maybe this makes me and stacked forms. I’ve made hundredscollaboration can have quality infor­ a potter. The utilitarian aspect doesn’t and hundreds of plates in the past fewmation for everyone. interest me though. I’d just as soon eat years, but the plates are still getting a

Wood-fired stoneware plate, 23 inches in diameter, wheel thrown, altered, with incising, by Peter Voulkos, Berkeley, California. 54 CERAMICS MONTHLY Potters of Nepal by Jim Danisch

SUNSHINE lifts chilly morning fog from Kathmandu Valley, enticing Nikosira’s residents from their cold brick houses into the one narrow street. The day’s slow rhythm begins as everything warms up and dries out—the recent rice har­ vest, pots in process brought from dark

interiors. People squat to smoke the Photos: Judy Chase and the author morning’s ritual hookah, its bowl filled with a sticky mixture of tobacco and brown sugar. Potters enter their ground-floor work­ shops, which extend into the street when wooden shutters are open, to stomp and hand wedge their clay, then place it on the large, floor-level wooden wheels typ­ ical of this part of the world. Spinning the wheel counterclockwise with a long wooden staff, they begin the day’s pro­ duction of vases, cooking pots, planters and stovepipes. As a mirror to Western ceramic con­ cerns, Nepal’s pottery stimulates some interesting reflections. Tradition-bound in a unique blend of Buddhism and Hinduism, and only opened to foreign influence in the early 1950s, the country has not yet been affected by a growing flood of aluminum and plastic. Form and function are still connected to their mythical origins. In essence the potter’s wheel repre­ sents the union of Shiva and Parvati (two of the primary Hindu gods): Long ago, when men and gods mingled freely, Shi­ va and Parvati were to be married. As in today’s Hindu weddings, earthenwareCarrying clay to Nikosira (background), a small village near Kathmandu, Nepal. pots were required for the ceremony. Af­ Clay for Nikosira is dug from vertical shafts 4-5 feet deep—dangerous work, should a pit ter a long search, they found a potter collapse. Once dug, the clay is slaked down and aged four months before drying out. named Kulalak, who consented to do the job if the gods would supply the nec­ essary tools. For a potter’s wheel, Vish­ nu gave his gigantic discus, which was spun on a mountain top. Shiva provided the turning stick (his pestle for grind­ ing), his loin cloth for mopping up and his sacred thread for cutting off. Kulalak was then able to complete the ceremon­ ial pots, initiating a pottery tradition that has lasted thousands of years. Kathmandu Valley lies between the northern border of India and the Hi­ malayas. Several potters’ villages—in particular the cluster of Thimi, Bhak- tapur and Nikosira—produce utilitari­ an and decorative earthenware for a large area. Geologically and mythologically, the valley once held a large lake, fed by mountain snow, flowing down Shiva’s September 1983 55 AbovePotters and their families live their days in the potters’ square of Bhaktapur. The child at the right is wedging clay. Far left In Nikosira, potters and their families warm themselves on the sunny side of the street, to the rhythm of rice being winnowed in the foreground. Left The typical potter’s wheel weighs about 200 pounds and spins on a pointed wooden axle in a stone socket set into the clay floor. It is turned with a long wooden staff set into a notch on the perimeter. The vertical axis shifts constantly as these giant tops spin and tilt. Wheels are worshiped once a year with a chicken sacrifice, lest they cause injury by jumping out of their sockets. 56 Ceramics Monthly hair and depositing deep layers of clay, rich in sparkling mica. The 14th-century king of Kathman­ du, Jaya Sthitee Malla, organized pot­ ters into a special caste with the name Prajapati, meaning Lord-Creator and Generator of All Beings. The potters say: “All men come from Brahma, the cre­ ator, and since we make objects from nothing, we create Brahma.” For the privilege of digging clay wherever they wish, they must provide the government and their local temple with ritual pots at sacred times of the year. Ganesh, the elephant-headed god, presides over the potters’ temple in Bhaktapur. As “re­ mover of all obstacles,” he requires pe­ riodic attention—so he will continue to prevent accidents like the collapse of a clay pit or injury from a 200-pound fly­ wheel jumping out of its socket. Wheels Above left Potter's tools include fired clay stamps (left), a bowl of talc to keep the stamps are worshiped once a year with a chick­ from sticking, fired clay anvils and a wooden mallet to beat pot walls thin. en sacrifice. Nepal’s simple earthenware pots, un­ decorated and unglazed, blend with the Above right and below Pots are thickly thrown on the wheel, then paddled with a environment of earth floors and brick wooden mallet over a clay anvil held inside the form. Mica-bearing sand (top foreground) buildings, emphasizing the anonymity of keePs the mallel fr,,m stlckmS> and Provldes a glaring ™rJace- the individual in a culture where caste and family dominate personal expres­ sion, where function and social position are more important than name. Great heaps of water jars, storage ves­ sels and cooking pots, stacked in the streets for sale, at first have the hungry look of bisqueware waiting to be glazed. To a Western potter, steeped in technical know­ how and living in a great glut of indi­ vidual expressions and philosophies, these pots seem reductive to an extreme. It is only when one’s eye begins to fine tune the subtleties and to see the village’s body of work as a whole that paddled forms, glinting with mica flakes, begin to sing. One potter, working on a day’s produc­ tion of water jars, for instance, sees the whole and not the individual parts. Pots are rarely given final form on the potter’s wheel, especially in the case of large vessels. The shape is thickly thrown, finished only in the neck and rim, then cut off. After setting up, the form, sup­ ported in a clay or wooden bowl, is in­ flated with paddle and anvil; mica-bear­ ing sand keeps the clay from sticking. Open on both ends, the pot is easy to develop. When fullness is achieved, a slab is paddled onto the bottom. Because of all this compression, large pots can be made very thin, yet strong. Water jars 3 feet tall are only ½ inch thick, helping them withstand pit firing without ex­ ploding and making it easier to carry them to market. Seeing these pots in use—sitting in a storeroom, fermenting beer and collect - September 1983 57 58 Ceramics Monthly AbovePots dry in a streetside shed. Mica under ocher slip on the surface will retain its glitter after firing. Right Detail of a ceremonial liquor vessel, with serpent gods around the spout. Since decoration is time consuming, it is only applied to ritual objects. Far right In preparation for firing, pots are layered with rice straw, then covered with ashes to form a “kiln.” September 1983 59 Left Water jars stacked in the market. Black reduced areas are not desirable, since they indicate soft spots in the clay.

Carrying pots to market. The paddling method of forming produces an extremely lightweight object. Jars 3 feet high may have walls Vs inch thick.

A guthi (a kind of potters’ guild) member carries temple offerings. Three times a year, each member must provide pots for the temple, as specified 50 years ago by the king. Potters also perform certain healing functions for the village shaman.

60 CERAMICS MONTHLY If a person achieves the age of 99 years, 9 months and 9 days, a special ritual is held: He or she is placed inside a large urn, which is then broken as a symbol of rebirth.

ing dust; or next to the cooking fire, of the child. This is taken to a crossroads constantly as these giant tops spin and gathering a rich patina of grease and at midnight (where spirits tend to con­ tilt. It is said that in the good old days, soot; or filled with water, growing a var­ gregate) and the shaman performs heal­ the wheel would revolve until the pot­ iegated surface of moss and algae—it be­ ing rites. ter’s entire stock of clay was exhausted. comes clear that surface embellishment Many of the Kathmandu Valley pot­ One day, however, the king sent a mes­ is left to the action of time and function, ters also travel to outlying villages, where senger to bring the potter to the palace. rather than to the projections of man. they may produce pots for half of the The potter, not wanting to interrupt his On a practical level, the Prajapatis say year. All they need is a source of clay throwing, asked the messenger to wait that decoration takes time and raises the and a wheel, which they generally make until he was done. In anger, the mes­ price above affordability. on the spot from various materials—tra­ senger kicked the wheel, thus “pollut­ The only developed decoration is onditionally from wood or a mixture of ing” it and causing it to stop immedi­ large, specially made containers for rit­ clay, manure, molasses and hair (an an­ ately. Ever since then the wheel has ual use. These forms have press-molded cient form of fiberclay that dries very required frequent turning. and modeled images of Hindu gods. Forhard). Recently, they have also been made In Nikosira, firing is done by piling Yihee, a girl’s marriage rite, an image from truck tires filled with clay for weight, pots between layers of rice straw, then of Brahma is painted on, after firing, and mounted on a wooden crosspiece.covering the stack with several inches of during the ritual. If a person achieves The typical wheel weighs about 200 ash from previous firings. With vent holes the age of 99 years, 9 months and 9 days, pounds and spins on a pointed woodenpoked in at strategic spots, this serves as a special ritual is held: He or she is placed axle in a stone socket set into the clay the kiln. A fire is lit at the base, burns inside a large urn, which is then broken floor; it is spun with a long wooden staff for one or two days, then is gradually as a symbol of rebirth. Ceremonial pots set into a notch on the perimeter. opened up to ensure oxidizing conditions are never sold for money; rather, they Itinerant potters are free to sell their for completion of the Cone 012-06 fir­ are commissioned by a client in ex­ ware, in exchange for providing the vil­ing. The ware’s fired color is orange- change for rice. lage temple and the local governmentbrown; smoke flashing is not desired, since Senior members of potters’ families representative with needed pots. Nucheit is thought to indicate weak spots. belong to a gut hi (a kind of potters’ guild) Bhakta Prajapati, a Nikosira potter, spent Certain pots, which need to be less which organizes ceremonial functions and 15 years traveling all over Nepal. When porous, are smoked black in a second business concerns. Three times a year, he was in the village of Bhojpur, he was firing. They are first rubbed with a juicy, each guthi member must provide pots required to provide the king’s daughter resinous leaf, then fired two to three hours for the temple as specified 50 years ago with an entire firing every three months. in reduction. Excess carbon seals the un­ by the king. For example, on the first He later went to make pots in Janakpur, vitrified clay, making the ware suitable day of spring one of the Nikosira Pra­ near the Indian border. Asked by the as rakshi (distilled liquor) or beer con­ japatis gives 50 small, tripod bowls, each local potters to demonstrate what he knew, tainers. containing rice flakes, brown sugar, ses­ he threw 385 different forms. “Whatever Nepali pots are well wed to their ame seeds and clarified butter. Offered comes into the imagination, we can do. functions: Round bottoms fit into holes to the gods, this is later eaten asprasad These things turn around in the heart in the floor or seat neatly into clay tri­ (a gift from the gods). Earthenware food and we see what we should make.” pods above the cooking fire. Wide water dishes are never used more than once, Clay for Nikosira comes from the top jar rims curl back to serve as handles— since it is believed that this function pol­ of a bluff, ½ mile across the rice paddies. applied handles were unknown and un­ lutes them. It is dug from vertical shafts, 4-5 feet needed until recently when teapots were Potters also have certain healing func­ deep, then carried to a sunken pit, where developed for the tourist trade. Even the tions, based on their clay magic: For dog it ages four months, helped along by ceremonial pots are functional, beyond bites, the potter provides a shaman with ground water rich in barnyard juices. “pure vessel,” in that they clearly fulfill clay fresh from the wheel. This is placed Moved indoors to a shallow, brick-linedstated spiritual needs, passed on from on the wound along with a leaf from the basin, it stiffens to working consistency. the gods through the king. peepul tree. The shaman then chants Throwing on the low, wide wheel re­ mantras and blows them into the wound. quires strength and agility, since there’s The author California potter Jim If a child is suffering from “drying out,” nothing to brace on but your own legs Danisch teaches at Ventura College, and a kind of wasting dysentery, the potter and it’s a long stretch to center. To make is artist-in-residence at the Ojai Foun­ is asked to make a bowl and an image it more complex, the vertical axis shifts dation. September 1983 61 An Approach to Glazemaking byA lbert Green

Idling about New York one afternoon firing cycle. What follows is a synthesis classified according to whether they in­ 35 years ago, I wandered into a display of my procedure. crease or decrease the tendency of feld­ of pots on the tablelike windowsills of a To begin, certain constants are nec­ spar to melt. If they aid melting, they commercial bank. They were stoneware, essary. First, since glazes are adjusted to are referred to as fluxes. If they inhibit and unlike any I had ever seen. The the fire, and not the other way around, it, they are called refractories. potter’s name, Shoji Hamada, meant the firing cycle should be as tightly con­ Common fluxes for stoneware glazes nothing to me at the time. Yet those two trolled and unvarying as possible. Thereare barium carbonate, whiting, mag­ dozen pots have had a profound influ­is not, however, a single correct cycle; nesium carbonate, dolomite and wood ence on my life. As a painter, it was the superior glazes can be produced with any ash. These five materials, either alone richness of the glazes, the play of light logical firing schedule. or in combination, can constitute the en­ against dark, the blending and veiling of The second constant is the prototype tire quantity of flux in the glaze. Ad­ one over another, that excited me. recipe, the structure on which all my ditional fluxes, that cannot by them­ Searching out more of Hamada’s work, glazes are based and also the yardstick selves provide the entire flux requirement and that of Kanjiro Kawai,I came to used to compare any glazes meant for but are used in smaller amounts to mod­ appreciate the strength of the forms they the same broad firing range. It is an ad­ ify the five above, are zinc oxide, cole- clothed. aptation of the rule-of-thumb composi­ manite, bone ash, rutile, and the col­ By then, too, I had become aware of tion of stoneware glazes used, perhaps oring oxides of iron, copper, cobalt and the vagaries of reduction firing and thefor centuries, by Chinese and Korean manganese. sensitivity of all glaze ingredients (ironpotters. Refractories include flint, clay and the in particular) to kiln atmosphere. Once zircon opacifiers such as Zircopax. exposed to the responsiveness of clay and Prototype Glaze (Cone 9-10) Following the prototype recipe, we may the excitement of a glaze kiln, I never Flux ...... 20 grams arbitrarily select dolomite to satisfy the went back to painting. Feldspar...... 50 20 grams of flux requirement, and evenly Abandoning empirical formulas, I Refractory...... 30 divide the 30 grams of refractory be­ worked out my own method, developing 100 grams tween flint and kaolin. Or we could choose and adjusting glazes according to what to use 20 grams of barium carbonate, I had learned of the activity of each in­By consideringall ingredients in terms whiting or wood ash, or any combina­ gredient in the melting process. Al­ of grams resulting in a total recipe of tion of the major fluxes totaling 20 grams. though purely a personal approach, it is 100 grams, the weight of any constituent In the same manner we could convert probably closely akin to that of previous is also its percentage of the glaze. the 30 grams of refractory to kaolin or generations of stoneware potters. While the ceramic engineer is usually flint, or a different mixture of the two. Today, entire books of glaze formulas concerned with the manner in which When added to 50 grams of feldspar and are available. When compounded andvarious elements affect the melting of fired to Cone 9-10, all of these com­ fired, however, they usually produce a silica, for the studio potter it is more positions will result in a usable glaze. glaze of no particular distinction. Givenrelevant to regard stoneware and por­Moreover, they will differ from each other, the large number of variables that are celain glazes as the modification of feld­ either subtly or in the extreme. inherent in translating another’s glazespar by the other ingredients. With no Suppose we converted the refractory to one’s own kiln, it would be surprising additions whatever, feldspathic mate­ requirement entirely to kaolin, but the were it otherwise. Yet many of these glazes rials—feldspar, Cornwall stone, nephe- glaze proves to be too dense and dry a are good and widely used, but almost line syenite—will usually provide a stiff, matt. The first adjustment tried might always with adjustments to the ingre­ sluggish melt at stoneware tempera­ involve converting some of the kaolin to dients to suit a particular clay body and tures. Thus all other ingredients can be more fusible ball clay—perhaps 15 grams 62 CERAMICS MONTHLY of each, or perhaps a 20:10 mixture. A the logical approach would be to reduce second alternative would be to substitute the percentage of the more fusible ele­ small increments of flint for the kaolin. ments of the prototype—the flux and Substitutions as small as 5% flint for clay feldspar—and increase the refractories, will visibly glassify a glaze and dissipate as in the following: the matt surface. As a third option, leave the kaolin at 30 grams and simply coun­ Slip/Glaze (Cone 9-10) teract its inhibition of the melting activ­ Flux ...... 15 grams ity. Since we know feldspar will melt all Feldspar...... 35 by itself, we could increase its presence Refractory...... 50 by 10 grams and do the same with the flux, yielding this recipe: 100 grams To construct a softened glaze that is Stoneware Glaze(Cone 9-10) intended to run in the fire to a controlled Flux ...... 30 grams degree, we would move in the opposite Feldspar...... 60 direction: Kaolin...... 30 Runny Glaze (Cone 9-10) 120 grams Flux ...... 28-30 grams Dividing eachingredient amount by Feldspar ...... 50 the total then multiplying times 100 will Refractory...... 22-20 convert the preceding recipe to a 100% 100 grams batch: It will probably require several ad­ justments to arrive at a recipe that will Stoneware Glaze(Cone 9-10) move just the right amount in the fire, Flux ...... 25% but that or any other glaze characteristic Feldspar...... 50 can ultimately be developed. Kaolin...... 25 Although the prototype glaze dis­ 100% cussed here is devised for Cone 9-10, one could just as well be formulated for The last option should result in a glaze a lower or higher fire by altering the flux that differs from the prototype, but re­ to refractory ratio, remembering that each mains reasonably close; and these ad­ flux will impart a different quality. Flux justments have provided a great deal ofcharacteristics may be quickly isolated information. When kaolin was used as by in turn using each one to fill the rec­ the only ingredient to satisfy the 30% ipe requirement, and then continuing to refractory requirement, the overly stiff add it to the glaze in small increments glaze that resulted would indicate that until a fired test is no longer usable. This 25% might represent its usable limit. In saturation of a glaze with a flux ingre­ such a high-clay glaze, the remaining dient will indicate its optimum fusibility 5% refractory should be converted to ad­ and the outside limits of its use in a ditional flux. glaze. Fired tests for the second option, the Adjusted recipes can and will differ substitution of increments of flint for ka­ greatly from the prototype. However, olin, would indicate that the higher the glazes evolved from this structure com­ ratio of flint to clay in the refractory prise a compatible “family” and can be ingredients, the glassier and clearer the used together without restraint. It will glaze is likely to be. Conversely, a ten­ eventually become second nature to ana­ dency toward opacity and mattness will lyze a glaze according to its percentage develop as more clay and less flint is of flux, feldspar and refractory ingre­ used. dients. One soon learns to read a recipe The increase of flux at the expense of and predict quite accurately the glaze it kaolin in the overly refractory glaze sug­ will produce in one’s own kiln. gests that the fusibility of a glaze is largely It should be evident that glaze for­ determined by the ratio of flux to re­ mulation is neither difficult nor esoteric. fractory ingredients. It is primarily this Once begun, it will return great divi­ ratio which will determine whether a dends for the time and effort expended. glaze melts easily and completely, or And it can free a potter from ever again grudgingly; and by altering this ratio we having to fire “someone else’s glaze.” can move a glaze in either direction. If a potter requires a stiff slip-glaze The authorStudio potter Albert Green to use with coloring oxides under a glaze, resides in Westfield, New Jersey. September 1983 63

66 Ceramics Monthly New Books

Oriental Ceramics: The World’s Great Collections Including examples of ware from Indonesia, Iran, Thailand, Turkey and Vietnam, as well as China, Japan and Korea, each of these 11 volumes on Oriental ceramics represents a collection: the Tokyo National Museum; National Museum of Korea, Seoul; Museum Pusat, Jakarta; Iran Bastan Museum, Teh­ eran; British Museum, London; Percival David Foundation of Chinese Art, London; Musee Guimet, Paris; Museum of Far East­ ern Antiquities, Stockholm; Freer Gallery of Art, Washington, D.C.; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York. Each large-format book is lavishly illustrated with a color portfolio, fol­ lowed by black-and-white photographs of accessions that sometimes range from Neo­ lithic earthenware funerary urns to 18th- century enameled porcelain. Additional black- and-whites act as reference photos, providing alternative views (bottom, top, opposite, etc.) of the ware featured in color. Plate notes at the back of each book describe the works and their provenances in detail. Approximately 200 pages per volume. Up to 100 color plates; approximately 300 black-and-white photo­ graphs per volume. Set $733; sold individ­ ually, S65-S68 each. Kodansha Internation­ al/USA, 10 East 53 Street, New York City 10022 . Kiseto and Setoguro by Shosaku Furukawa Tenth in the “famous ceramics of Japan” se­ ries, this large-format volume describes two types of ware made in the Mino area during the Momoyama period (1573-1615). Their development was influenced in particular by tea masters from Kyoto: Often the soft yellow Kiseto pots were used as serving dishes in the meal that accompanies the formal tea cer­ emony; while the black Setoguro ware was chosen for its teabowls. That prized color was originally the result of drawing test bowls from the kiln during the firing to check the temperature. “An iron-glazed test piece turns black when suddenly removed from a white- hot kiln,” the author explains. “It is fasci­ nating to see how the taste of the tea masters was gradually brought to bear on the Seto­ guro teabowl, elevating it from its test-piece functionality to a personal, artistic form.” 40 pages, including map of kiln sites. 58 color plates; 10 black-and-white photographs; 3 cutaway line drawings of Kiseto ware; 8 cut­ away line drawings of Setoguro teabowl shapes. SI8.95. Kodansha International/USA, 10 East 53 Street, New York City 10022. September 1983 67 68 Ceramics Monthly News & Retrospect

Japanese Ceramics Tour Canada are not disclosed, the foundation granted ship a area, and as the NEA notes “competi­ Approximately 90 objects by contempo­ total of $5.54 million in 1983, with visual tion is intense. Individuals should be aware rary Japanese ceramists were exhibited at artists averaging just under $19,000. that work submitted is reviewed in a rigorous the Centre des Arts Visuels in Montreal The Guggenheim fellowships are awarded professional context.” through June 11 and will tour galleries in annually to residents of the United States and In addition, arts organizations still have the western provinces through 1983. Two Canada. Selection is from applications sub­ time to beat the November 1 deadline for major and opposite trends in the developmentmitted (together with 18 slides or photos of submitting project proposals in the Visual of ceramics in Japan today are represented: recent works and names of references) before Artists Forums category. Grants of up to $5000 the traditional functional pottery such as jars, the October 1 deadline. For further infor­ are available for visiting artists and artist-in- plates, vases, bowls and boxes; and the purely mation, contact: John Simon Guggenheim residence programs, seminars, short-term Memorial Foundation, 90 Park Avenue, New workshops, etc. York City 10016; or call: (212) 687-4470. For guidelines and application forms, con­ In other news of grants to ceramists,Debra tact: Visual Arts Program, National Endow­ Alford, Denver, was awarded a Fulbright ment for the Arts, Washington, D.C. 20506; Fellowship for study this year at the South or call: (202) 634-1566. Glamorgan Institute of Education in Cardiff, Wales. Through this government-sponsored Kate Collie A series of decorated stoneware platters was among the work shown in “Kate Collie: Paintings, Drawings and Pottery” at the Stu­ dio School and Gallery in Johnson City, New York, through June 18. Considered as much paintings as pots by the artist, the platters were formed by throwing a rim on a slab base, then decorating with a variety of tech­ niques. For “Platter with Floating Squares,”

Debra Alford international exchange program, she re­ ceived approximately $10,000 to cover tui­ tion, fees and travel expenses. Debra will be working toward a master’s degree in ce­ Zenji Miyashita’s “ Wind of Afghan ” ramics, having completed a B.F.A. with sculptural forms without any utilitarian ref­ emphasis on ceramic industrial design at erence introduced by the Sodeisha group of Alfred University last spring.Photo: courtesy potters starting in the mid-fifties. Shown above of Alfred University. from the exhibition is a geometric sculpture, “Wind of Afghan,” 12 inches in height, by NEA Deadlines Zenji Miyashita. Ceramists interested in receiving National Endowment for the Arts Visual Arts Fellow­ 18-inch “Platter with Floating Squares” $4 Million Clay Sculpture ships have until February 5, 1984 (for the 18 inches in diameter, the inscribed pattern Frank and Virginia Cryan of Boca Raton, sculpture category) or March 15, 1984 (for was inlaid with white slip. The squares were Florida, have owned a 38-inch-tall, terra-cot- crafts) to submit applications. Basing deci­ satin-matt glazed then painted with stains/ ta “Madonna and Child” for 23 years, but sions on the “quality of work as demonstrated oxides and masked with paper to avoid blur­ did not know its true value until after sendingby visual materials,” the applicant’s “record ring when the form was dusted with wood a photograph of the work to art experts. Sub­ of professional activity and achievement,” andash. After a Cone 6 firing, overglaze enamels sequent tests and research have proved thethat “continued serious and exceptional aes­ and lusters were added to the squares, and sculpture to be the work of Florentine artist thetic investigation will be at a critical point the form was refired to Cone 018. Donato di Niccolo di Betto Bardi (A.D. of development during the proposed fellow­ Kate currently maintains a studio in 1386-1466), commonly known as Donatello. ship period,” a panel will award grants of Plattsburgh, New York, and is on the faculty In keeping with the increase in prices re­ $5000 or $15,000; a limited number of $25,000 at Plattsburgh State University College. She ceived for a variety of ceramic works in to­ fellowships may also be announced. An in­ divides her time between painting and ce­ day’s volatile art market, the piece has been dividual may apply only once in one fellow- ramics, usually working in four-month cycles. valued at approximately $4 million. The Eugene Saturday Market Guggenheim/Fulbright Recipients You are invited to send news and photo­ Founded 14 years ago by potter Lotte Ceramic artists Stephen DeStaebler, graphs about people, places or events ofStreisenger, the Eugene Saturday Market has Berkeley; Mary Frank, New York City and interest. We will be pleased to consider grown from humble beginnings on a small John Roloff, San Francisco, were among 11 them for publication in this column. Mailplaza under the shadow of a parking garage sculptors who recently received fellowships submissions to: News and Retrospect, to encompass the park blocks of downtown from the John Simon Guggenheim Memo­ Ceramics Monthly, Box 12448, Colum­ Eugene, Oregon. Lotte sought to offer crafts rial Foundation. Although individual amounts bus, Ohio 43212. Continued September 1983 69 70 Ceramics Monthly News & Retrospect ish ceramist Henry Hammond were exhib­ ited at the Oxford Gallery, England, through to the public in an open and unpretentious June 1. Among the forms shown was this fashion, modeling the weekly event after South American village markets. The Saturday Market operates from April until Christmas, and retail space is almost always available— allocated to 200-250 craftspeople through a mixed system of seniority, lottery and first come/first served. The fee is 10% of the pre­ vious week’s sales; first timers pay only a few dollars to participate. Faye Nakamura's 33-inch tile mural Although originally opposed by mer­ Now she sells mainly through West Coast chants, the Saturday Market is now appre­ galleries, but she misses the direct response ciated as an important attraction to down- of the Saturday Market. (Shown above is her recent tile mural, “Patterns,” 33 inches in length.) 8-inch “Fish Bowl” When completing an M.F.A.,Gordon Ward “Fish Bowl,” 8 inches in diameter, thrown (Eugene) worked both in clay and print- stoneware, with iron and cobalt oxides under making, and gave little thought to selling. orange glaze. Photo: courtesy of Oxford Gal­ After graduation, he faced economic realities lery. and went to the Saturday Market. There he found “instant testing for products and ideas,”Sally Bowen Prange helping him continue to develop his produc­ The following text was excerpted from a tion work. He came to appreciate the vitality talk at the opening of a July exhibition of found in the broad spectrum of customers the porcelain work by Sally Bowen Prange market provides. (Chapel Hill, North Carolina) at the Jane Vicki Halper (Seattle) started at the Sat­ Hartsook Gallery of the Greenwich House urday Market as a novice potter, and the Pottery in New York City.—Ed. At the Eugene Saturday Market market became her teacher. Customer re­ I have made a lot of pots. I have not count­ town. By exposing the general public to a sponse was supportive and encouraging. Sheed how many. A lot is a lot and quality is wide range of crafts, it has actually helped found herself in an environment of profes­the goal. Learning is a goal, so making mis­ broaden the market for crafts. Perhaps most sional colleagues. “Each week we would share takes is part of the goal—I learn best from significantly though, the market serves as a technical information and sustaining criti­mistakes. The mistakes I don’t or can’t learn regular, unjuried sales opportunity for local cism. I learned an enormous amount.” Char­ from are the really bad mistakes. Yet some­ potters, and as such provides a vehicle for theacteristic of her current work is this wall times that kind of mistake is stored in mem­ transition from student to professional status. form, “Skin and Bones,” 20 inches in length. ory, to be analyzed and scrutinized until fi­ Ten years ago, when Faith Rahill (Eu­ nally something can be learned. Answers gene) first went to sell at the Saturday Mar­ sometimes take years. ket, she had just completed a ceramics degree. The hits and misses of the objects’ success As she recalls: “I was really unsure about or failure are on a normal curve and to get my work. The market gave me a chance to the really superb works there have to be the test the waters, and it really gave me confi­ real bummers. I always hope that I know the dence.” Faith found that there was a small difference. Likewise I cannot tolerate stan­ but dedicated audience for her work in col­ dardization and consistency, so must accept ored stoneware, which she now markets the fact that in order to get the good ones, I throughout the Northwest. have to make the bad ones. Sometimes the For Paul Schneider (Eugene) the Saturday best work is filled with actual struggles, tech­ Market clarified the value of regular contact nically and/or aesthetically. Also, sometimes with the public, and he moved on to open it is the worst work anyway. his own shop. He used to sell at one or two I am ambivalent about too much verbal large fairs a year, but “I always felt I was Vicki Halper’s “Skin and Bones” wall form examination of objects. Up to a point there losing something. There was no possibility At the market she established many cus­ are words to go with the object, analyzing for a relationship with the customer. When tomers who stayed with her as she moved and describing. But the object is a visual ex­ a piece they’d purchased broke, or when they from functional ware into architectural tile perience, neither set to words, music or wanted something special, I was hundreds ofwork. dance—visual in itself. miles away.” Paul now sees himself as an Today none of these five potters sell reg­ Then there is the maker and the viewer. integral part of the community fabric and ularly through the Saturday Market, but all The artist makes the object, but so does the finds that the return on sales goes far beyondcredit it with being essential for their journeyviewer within a personal context. These come the immediate financial reward. to a self-sufficient, professional status. It pro­ together or grow apart—it all depends. So Faye Nakamura (Springfield, Oregon) saw vided a fertile environment, free from the fil­again the words are varying. To talk too much the market as a kind of minishow each week. ter of a jury system or art establishment, where about the object can distract from the creative She arranged and displayed her work andthey could develop and articulate their work. art of viewing. On the other hand, to talk found the customer response gratifying and Text: Allan Kluber. about an object can reveal facets of the object challenging. “Sometimes when I’d get home which a viewer may not see or know. from the market I’d be tired, but I could Henry Hammond Now to the particulars—the “Edge-Scape hardly wait to get to work on Sunday morn­ Stoneware vessels brushed with iron, co­ Vessels” reflect my romance with water: riv- ing. I just found the people so stimulating.” balt and/or chrome oxide decoration by Brit- Continued September 1983 71 72 CERAMICS MONTHLY News & Retrospect bersome slide files maintained by art institutions and individuals. With laserdisk ers and oceans, watersides and sky. (Shown technology, the viewer can have instant access from the exhibition is a white, matt-glazed to images (up to 54,000 on a one-sided disk) and data about them. The picture stored on the laserdisk is sim­ ply a high-resolution video signal. Seeing it in full color requires access to a laserdisk player attached to a microcomputer with a high-resolution color monitor (or any tele­ vision, but with some loss of visual quality). As in the Advanced Image Technology sys­ tem shown (using an IBM personal com­ puter), the image and accompanying data can

9V2-inch “Edge-Scape Vessel” vessel, 9½ inches in height, thrown porcelain, altered, with attached clay “findings.”) Geology was a youthful hobby, collecting rocks, minerals and fossils, and trying to dis­ cover their secrets. Now I think that early interest is reflected in my choice of material. The destructive power of geological forces as well as the constructive power could be rep­ resented in the vessels and a new series ofLaserdisk computer system wall forms. There is the slashing, ripping, appear on separate screens or on one monitor folding of clay on the wet, wheel-thrown ves­ with the text laid over the image. You can sel. There is the adding of clay findings, ask the computer to find all the Han dynasty piercing of holes, and the warping and dis­bowls on file, look up all the Bernard Leach tortion occurring in the fire. There is the teapots, or quickly search for a specific piece. return to calm in the throwing of the simple, The system may also include devices for data basic ceramic bowl or vase. printouts and image copies. Adding silicon carbide to porcelain or Once implemented, a laserdisk system can brushing silicon carbide slip onto the green­ be constantly revised with new images and ware causes a coarse, textured surface where information. The potential is there for virtual the silicon carbide bubbles through a glaze museums of work at your fingertips. (as on this vessel, 9½ inches in height, with For further information, contact: Ad­ matt glaze). The surface is evocative of vol- vanced Image Technology, Inc., 555 Fifth Avenue, New York City 10017. NCECA 1983: A Review Actually the 1983 National Council on Education for the Ceramic Arts (NCECA) conference began for many of us earlier than scheduled with on-the-way tours of potters’ studios and galleries in Kentucky, North Carolina and Georgia. This informal inau­ guration continued on the beginning day at Georgia State University, Atlanta, with the opening of the national invitational exhibi­ tion “Function in Clay,” a slide show of mem­ bers’ works, and an exhaustingly fast tour of Vessel textured with silicon carbide slip city galleries. So, even before the official wel­ canic magma activity as well as underwater come by N C EC A presidentMarge Levy (West barnacle contortions and formations. It is like Lafayette, Indiana), we had charged around they remained a long time under water where the countryside, scooted in and out of six or these barnacles formed. The peace formed in seven galleries, and experienced triple slide the vessel is the peace found in these places. projections of clay works. Following the greetings and introductions A Museum at Your Fingertips for the four-day event, past-presidentVal Imagine extremely clear images of all the Cushing (Alfred, New York) coordinated the world’s ceramics stored on a single shelf! It’s presentation of Honorary Fellows of the possible through laser-optical video disk stor­ Council: Bill Alexander (Oakland, Califor­ age, a system compatible with most micro­ nia), Paula andRobert Winokur (Horsham, computers which may soon replace the cum­ Continued September 1983 73 74 Ceramics Monthly News & Retrospect proaches. Shown below are studio artist Ju­ dith Salomon (Cleveland), assembling work Pennsylvania). Honorary Memberships went to Bill Brown (Penland, North Carolina), Bill Daley (Elkins Park, Pennsylvania),Jane Hartsook (New York City). Philip Rawson (dean of Goldsmith Col­ lege of Art and Design, London, and author of the book Ceramics: An Appreciation of the Arts) presented the keynote address, “Form and Responsibility, a Personal View,” an en­ couraging admonition to his listeners to fill the making and experiencing of ceramics with understanding actions, recognizing both the value of risk and of traditions. He related the historical background of early 20th-cen­ tury culture with emphasis upon the “prim­ itive” (presence of the natural and sponta­ neous), noting that the term itself indicates a biased set of mind which must be recog­ nized. However, ceramists seem not to have been caught up in the explosive presence of early 20th-century primitive forms and, fur­ ther, the second wave of Far Eastern influ­ ence via Leach and Hamada (the first waveJudith Salomon slab building sculpture having been the late 19th-century Japon- from decorated, slip-cast slabs; andTony isme) presented a profound plumbing of true Hepburn (faculty artist at New York College Zen (and Ch’an) philosophies that affected, of Ceramics at Alfred University), discussing many young potters’ work often without their knowing it. In some recent American ceramics, Philip Rawson sees an “inner structure of meaning” which can lead to a sense of responsibility, to a fuller understanding of the basic values imported from the East. In a discussion of “form,” his words were beautifully evocative of potters’ shapes and textures, and his anal­ ysis moved from strict design elements to theological concerns, with a final definition coming down on the side of the sensory, but Tony Hepburn demonstrating noting that “form and content are one.” his approach to sculptural concerns with the The following reviews cover just a sam­ audience. pling of the sessions on local and foreign tra­ We attended one “spotlighting” session, with ditions, individual artists’ work, and topicsAndrea Gill (Kent, Ohio),John Frantz (Fries, of concern to contemporary ceramists. Virginia) and Chris Gustin (South Dart­ John Ground (Holtwood, Pennsylvania) mouth, Massachusetts). Any generalized presented “Mexican Potters Today,” visitingstatements about spotlighting would be faulty, (by slides) many towns and potters working but some thoughts were triggered during this in various styles and methods, and includingsession which could be important for further anecdotes that brought forth hearty laughter consideration about the field. For example, (i.e. the small boy who, after only two months a number of ceramists appear to be coming of learning ceramics, apologized for only being to their craft via concepts, ideas, words; able to make 72 dozen small bowls a day). whereas it would seem that these should be In the session of “Georgia Jugmakers and aftereffects, that their work should precede Alabama Potters” by John Burrison (Atlan­ conceptual notions. (This might indicate that ta) and Henry Willett (Montgomery, Ala­ there is a yearning to have their work reach bama), it was mentioned that one of the freest levels of comment about society and that they forms among the Georgia “pots” was the clay are not satisfied with simply turning out a graveyard headstone, presumably because nice pot.) Also a quite strong self-conscious- there was no function to dictate the form. ness about adopting a “style” was apparent; Hank Willett related the anecdote about the again, it would seem that style should not be Alabama potter from the 1930s, Norman a conscious goal but an irrelevant consider­ “Jug” Smith, who sold primarily to moon­ ation in the creative process. Both of these shiners. When he heard of their arrests and observations echo Philip Rawson’s opening imprisonment, he would visit their stills, pick talk. up his pots and resell them. CM editor William Hunt moderated the Several sessions were devoted to artistssession “Four Magazine Editors” and opened demonstrating particular techniques and ap­ Continued September 1983 75 76 CERAMICS MONTHLY News & Retrospect Atlanta); “Mexican Pottery” (John Ground collection); and “Face Jugs” (collection ofTim with candid remarks informing us as to what Bookout, Atlanta). editors are about. Each journal clearly iden­ The High Museum of Art offered an ex­ tified its own turf in the scheme of publish­ hibition of work by turn-of-the-century Mis­ ing; all appear to be response magazines with sissippi potter George Ohr, with a booklet in the exception of American Ceramics, edited which critic/historian Garth Clark (Clare­ by Michael McTwigan, which commissions mont, California) describes him as a pre­ most articles. (Studio Potter, edited byGerry cursor of funk. Among the objects shown was Williams, also commissions articles, but it is this mug, 5 inches in height. An interesting, a more response oriented publication because of its avowed policy of serving as a link be­ tween potters.) Each editor gave firm ideas about the nuts and bolts of the magazine’s operation, detailing the type and nature of acceptable photographs (if shooting 35mm color film, use Kodachrome 25—William Hunt); content (not interested in aesthetics— Gerry Williams); and major interest (in news—Lois Moran, American Craft). It was encouraging, but smacked of friendly collu­ sion, to hear four editors describe the pur­ poses of their magazines and find that these purposes were sufficiently divergent to serve the public, as well as, on reflection, to dis­ cover that the magazines themselves do hold very close to the lines drawn by the editors. A number of exhibitions were on view around Atlanta. Together with the previ­ ously mentioned “Function in Clay” (which George Ohr mug featured this porcelain plate with overglaze if unintended, comparison with Ohr’s work was made in the adjacent rooms of the mu­ seum where their permanent collection of European ware demonstrated a more effec­ tive use of glaze and even more knowledge­ able exploitations of clay. This revealed his strength as that of an eccentric rather than an initiator. We went to seven of the commercial gal­ leries around town featuring clay, and con­ sidered all worthwhile; there was a good mix of new and familiar names. The concluding business session conveyed the feeling that this had been a meeting of friends. From the appropriate giving of thanks to all who served the conference, through the elections and a quiet, reminiscing tribute to English potter Michael Car dew by Warren Victor Babu’s 22-inch porcelain plate MacKenzie (Stillwater, Minnesota), the At­ stencil and slip-trailed decoration byVictor lanta event wound down . . . and the board Babu, Overland Park, Kansas; and the 12- began tuning up for NCECA Boston, 1984. inch porcelain pitcher and four cups, below, Text: Dale Haworth and Karen Beall, photos: by Clary Illian, Garrison, Iowa) at Georgia Ken Cohen and courtesy of NCECA. Sharon Hubbard “The impression the artist imposes upon the clay is like doing a series of self-por­ traits,” observedSharon Hubbard, Ypsilanti, Michigan, whose slab plates with abstract designs were exhibited at the Artisan’s Gal­ lery in Great Neck, New York, through May 15; and at the DeMatt Gallery in Holt, Michigan, through May 31. “You emphasize certain areas, redefine or reshape others in the process of trying to get the clay to take on a specific character, a preconceived no­ Clary Illian s porcelain pitcher and cups tion,” she continued. State University were “Village Potters of Ah- Sharon’s porcelain plates are first pat- mednager” (the collection ofRick Berman, Continued September 1983 77 78 Ceramics Monthly News & Retrospect strated sculpture involving cast female fig­ ures, each approximately 3 feet in height. terned with impressions from found textures, With slabs, she built a pedestal base, incising brushed with slips and drawn into; then col­a brick pattern overall. A precast figure was ored clay elements are added to the surface. mounted on the pedestal, then wrapped with slip-soaked gauze. Originally, Patti made

20-inch-square “Dawn Menagerie” For “Dawn Menagerie,” approximately 20 inches square, a dusty rose slip was applied as the ground, and olive green clay pieces were rolled on top. After bisquing, the forms are sprayed and painted with layers of stains; ceramic pencils and crayons are employed for additional drawing. Clear glazed, they are fired in saggars to Cone 6 in an oxidizing propane kiln. Finally, the plates are lustered or reglazed for a polychromatic, layered ef­ fect. Annual Southwest Conference The University of New Mexico in Albu­ querque recently hosted the “6th Annual Southwest Regional Ceramic Conference,” drawing approximately 300 participants from as far as California and Minnesota. Begin­ ning the activities,Tom Dickerson (Pecos, New Mexico) gave a presentation on pueblo pottery. While working with the Museum of New Mexico on research and reconstruction of ancient pueblo forms, Tom became par­ ticularly interested in the Rio Grande glaze style, which developed in west central New Mexico and east central Arizona, was dom­ inant for about 350 years, then disappeared by 1700. He has reproduced this lead-silicate glaze with boiled bee weed as a binder and fossils rich in iron, yielding a black to brown­ ish green color. “I have continued searching out clay beds, experimenting with firing tem­ peratures and various glaze mixtures,” he commented, “until I feel that I am now able to work within the ancient glaze tradition— creating new one-of-a-kind pieces that are expressions of an ancient form.” Tom finds and processes all his materials. Demonstrating his approach, he coil built with a dark gray clay. After sanding the sur­ face, he applies ten coats of slip to each pot, which has been warmed to offset the mois­ ture. The pot is then lightly burnished and Patti Warashina constructing slab and cast figure form painted with a variety of colored slips. Pre­ (without armatures or models) 15 figures in warmed in his oven, the pots are fired withdifferent positions, then cut off the arms and wood and manure, which leaves a thick in­ legs and made molds of all the pieces. Using sulating ash. a talc/ball clay body, she can cast and ma- Next, Patti Warashina (Seattle) demon­ Continued September 1983 79 80 CERAMICS MONTHLY News & Retrospect Many of Manji Inoue’s pots are carved, usually with a simple geometric pattern, or nipulate the form to get exactly what she a bamboo or flower design. Some pots are wants. Although she emphasizes ideas rather clear glazed; others have a blue^os*/ (natural than process, it is still important to her that cobalt mineral) decoration. A very dilute so­ the sculpture is in clay: “I would rather work lution of clear glaze with a tiny bit of cobalt with clay than bronze because I want that in it is floated into the carving and then clear fragility. I want that kind of tension when glaze is applied on top of that; after firing you look at it.” the carving has a very subtle bluish cast. Patti has a stream-of-consciousness ap­ In Arita, the ware is fired in a 120-cubic- proach to her work, letting ideas flow through foot car kiln once a week. Each pot is fired free association to create a narrative, a stage on a silica-coatedhamma , a thrown disc that on which her figures mimic, make fun of and shrinks at the same rate as the object, thus reveal through symbolic imagery. Ritual, decreasing cracking problems. Ken Little, another conference guest artist, teaches sculpture at the University of Okla­ homa in Norman. Rather than demonstrate his techniques, he chose to give a perfor­ mance. “The only techniques I use are real simple ones like rolling out coils, scoring with a fork and then smoothing it out,” Ken ex­ plained, “and I just couldn’t see doing that for four hours. When you make a ceramic piece, the things that go into it are clay, slip, fire. But then there’s all those other things like your life, how you got there, your ex­ periences, your inspirations, your future. So I used a metaphor—trying to interface life experiences—with music and art, and then 23-inch “A Cry for Help” presented that.” magic, identity and particularly the nature The stage was set with a step ladder with of restraint and the struggle for freedom have an armature of two-by-fours across an up­ been recurring themes, as in “A Cry for Help,” per level rung and step. On the two-by-fours above, 23 inches in height. were a television and circular saws; dishes Manji Inoue traveled from Japan with his were placed on the floor around the ladder. assistant and former apprentice, Takehiko The performance consisted of a series of day Tsuji, to demonstrate Manji’s work in por­ and night scenes, each symbolic of a certain celain, using techniques handed down for thetime in life—birth, youth, the working life, past 400 years. As one of the most prominent death and rebirth. The contrast between “day” master potters in Japan, he is considered inand “night” was also a contrast between the line to be a “living national treasure” whenconscious and unconscious, the rational he reaches the appropriate age (65-70); he is now 54. Currently, he has five apprentices at his studio in Arita, one of the few places in the world where natural porcelain is found. Manji threw a variety of shapes on the wheel, including summer and winter tea- bowls and a very large bowl; specific tools were employed for each shape. The wheel rotated clockwise so the strongest hand (the right) held the tool firmly on the inside of the form, shaping the clay against the left hand on the outside. Before trimming, the bottom of each form was paddled to compress the clay, helping to prevent cracking, and creating a convex curve on the inside to compensate for sagging dur­ ing firing. Since the tool is held in the right hand for trimming, the wheel turned coun­ terclockwise. With a razor-sharp steel tool, a fingerhole was trimmed in the center of the bottom so that, instead of attaching the pot with wads of clay, a finger could hold it firmly on the chuck. An advantage of this method is that one can remove the pot at any time to quickly check progress. Later the finger- Ken Little performance hole was trimmed away. Before each pass and irrational, dreams and logic. During the with the trimming tool, the pot was moist­ day scenes, fragments of country and western ened with a brush and water. Continued September 1983 81 82 CERAMICS MONTHLY Work by conference guest artists was on display at four of the galleries on campus. songs, sounds of construction and machineryText: Lin Johnson; photos: Anita Douthat, floated in and out. The night scenes were Penne Roberts; Roger Schreiber. filled with the sounds of wind, storms and crickets. ACC Recognition Ken’s sculpture also reflects his interest in Three ceramists were installed recently as duality: “I want to show both the world as members of the American Craft Council a beautiful, wonderful and joyous kind of Academy of Fellows, an honorary group es­ place and as a frightening, terrible place all tablished in 1974 to acknowledge distin­ at the same time.” For “Fit to Kill,” 32 inches guished craft leaders. F Carlton Ball, Ta­ in height, Ken portrayed his younger brother coma, Washington, and Ruth Duckworth, Chicago, were recognized for their contri­ butions to the craft movement through ex­ cellence in their own work; while Susan Pe­ terson, New York City, was awarded a fellowship for her work in craft education and literature. Colorado Competition “Colorado Clay,” an outgrowth of previous “Vessels of Clay” exhibitions, was presented at the Foothills Art Center in Golden, Col­ orado, recently. This year the “vessels” re­ striction was eliminated, thus permitting the inclusion of any approach to clay as a me­ dium for artistic expression. Since the mem­ bership of the selection committee reviewing the submitted slides changes each year, the selection criteria also change. As a result, no style or ceramic medium has become habit­ ual. This porcelain vase, 14 inches in height,

“Fit to Kill” Ed in oil painted clay with shards protruding from the surface. “I wanted the piece to be aggressive enough to attack you or know you before you have a chance to think about it. In other words, it sort of wakes you up and then you have a chance in a more heightened kind of awareness to look at and think about the piece.” Anita Suazo is a potter from Santa Clara Pueblo in New Mexico who works within the traditional framework of Indian ware. For the past 25 years, she has made carved red-and-black, as well as polychrome pottery. She digs all her materials with the help of her husband and son. Anita says: “[Digging for] clay is like digging for gold; it comes in a vein and it runs out and then you don’t have any more.” She adds screened sand to the screened clay, and her husband mixes it with his feet in an old bathtub. Sara Behling’s incised porcelain vase Anita demonstrated her coiling technique, incised, by Sara Behling, Lakewood, was and explained how she carves, sands, appliesamong the works by 33 Colorado artist- slip (usually five coats) and burnishes her craftspeople selected for the 1983 show. Text: work. For a “kiln,” she uses four upright tin Herb Schumacher. cans over which is spread sheet tin to make a base for the pots. Next, she covers the pots Dorothy Hafner with more sheet tin, then cow dung; the fire Porcelain tableware by New York City ce­ is started with cedar. For black pots, she fires ramist Dorothy Hafner (see the Summer 1982 with horse manure and smothers the flame CM portfolio) was featured at Martha for reduction. For red pots, tree bark provides Schneider Gallery in Highland Park, Illi- an oxidation atmosphere. Continued September 1983 83 News & Retrospect nois, through May 28. Characteristic of her one-of-a-kind serving trays, the form shown below, 14 inches in length, was decorated with

“For 16 Fruit Tarts” serving tray underglazes and clear glazed. “In producing wares for use at the table,” Dorothy com­ mented, “I strive not only for forms that are simple and functional, but for decorative pat­ terns that reflect the celebratory aspect of mealtime gatherings. I like to think that my platters are having parties on their own, even when not in use.” Photo: S. Baker Vail. Sandy Simon Porcelain by Sandy Simon (Crockett, Cal­ ifornia) was featured in a multimedia pre­ sentation at the Craft Alliance Gallery in Saint Louis, through June 6. Shown from

10-inch porcelain teapot the exhibition is a thrown and altered teapot, 10 inches in height, with brushed black stain, embedded black porcelain “rocks,” sprayed with frit, fired to Cone 7 in oxidation. Joe Rohrman A ceramic sculpture by Joe Rohrman, In­ dianapolis, was selected by jurorJohn Can- aday, art historian and former critic for the New York Times, to receive the $1000 first- place award in the “39th Annual Wabash 84 CERAMICS MONTHLY Valley Exhibition” at the Sheldon Swope Art Gallery in Terre Haute, Indiana. “Unem­ ployment Line,” a stoneware on wood sculp­ ture, “is an attempt to capture a broad class of individuals who are unfortunately caught

“Unemployment Line” up in the difficult times we are currently ex­ periencing,” Joe observed. “It has often been the intent of my work to reveal people going about the routine of their daily affairs, some­ times satirizing them, and other times simply commenting on the modern human condi­ tion. Rather than inventing allegories, ab­ stractions and fantasies to reveal my subjects, I utilize a form of caricature to convey my vision of reality.”Photo: Skip Jones. Paulina Van Bavel Kearney Sawdust-fired stoneware by Paulina Van Bavel Kearney, Weimer, Texas, was exhib­ ited at Objects Gallery in San Antonio earlier this year. Among the vessels shown was this

“Tri-color Vase” “Tri-color Vase,” 14 inches in height, thrown, with terra sigillata, sawdust fired.Photo: David Wharton. Robin Hopper Workshop Canadian potter Robin Hopper, Victoria, British Columbia, recently gave a workshop for the Association of San Francisco Potters on techniques for wheel-thrown agate ware and colored slip work at the Walnut Creek Continued September 1983 85 News & Retrospect Civic Arts Ceramics studio. The processes he described are based on traditional methods once employed by European ceramists. He

Robin Hopper feels that it is important to draw from West­ ern roots rather than look only to Eastern ceramics for inspiration. One of the decorative techniques Robin demonstrated which is occidental in origin is called mocha diffusion: A weak acid solution with colorant is dropped on wet slip. As the oxide-acid spreads into the slip it produces a featherlike pattern. Robin uses apple cider vinegar as the acid, but the potters who orig­ inated this technique mixed the oxide with tobacco juice. Another method Robin demonstrated is the use of colored porcelain in wheel-thrown pottery. Developed in China during the Tang dynasty and later popular with English pot­ ters, this type of pottery is called agate ware after the rock it resembles. Pattern variations can be produced by placing the colored clays in vertical or horizontal layers on the wheel; further striations are brought about when the clay is manipulated by coning several times while centering. As he was slapping pan­ cakes of porcelain together, Robin noted that it is better to allow the layered clay to stand overnight to equalize any unevenness in moisture content. Rather than using the more expensive glaze stains, Robin employs common oxides such as copper and cobalt. But colored clays are still costly, especially black porcelain; with 1% cobalt, 2% iron and 4% manganese added to the body, it may cost up to $1 per pound. For even distribution the oxides are mixed with the dry clay body ingredients instead of being wedged into plastic clay. When the thrown pot (with white and one or more other colors combined to produce the agate design) is leather hard, Robin often enhances the pattern by fluting the surface 86 CERAMICS MONTHLY with a wire-loop trimming tool. The depth of the cut varies the color pattern.Text: San­ dra Johnstone. In New Mexico “Clay in New Mexico ’83,” a statewide juried exhibition, was presented in conjunc­ tion with the “6th Annual Southwest Re­ gional Ceramic Conference” at the Univer­ sity of New Mexico in Albuquerque. Among the 50 works selected from the 250 entries was “Rabbit Bowl,” 19 inches in diameter, slip-decorated stoneware, by Stephen Kil- born, Taos. “I make functional pots to fill a basic need,” the artist explained, “and also

Stephen Kilborn’s 19-inch “Rabbit Bowl” because after a time I get tired of most of the nonfunctional art I own; but somehow the handling of pottery, the constant using of a piece, endears it to me and as time goes on I enjoy my functional art much more because of its function.”Photo: Penne Roberts. Ann Honig^Nadel “Ceramic Kimonos,” an exhibition of wall reliefs by Ann Honig Nadel, Mill Valley, California, was presented at Bluxome Gal­ lery in San Francisco through July 23. Char-

45-inch wall relief with oil paint acteristic of the works shown is this white stoneware form, 45 inches in height, assem­ bled from 12 tiles, with Paintstiks oil paint surface embellishment after firing. A 1981 study trip to Japan sparked Ann’s fascina- Continued September 1983 87 News & Retrospect tion with the concept of the ceremonial ki­ mono as a “canvas” for an artist’s view of nature. By convention, the robe is never per­ fectly symmetrical, as no ideal form occurs in the organic world, and fabric design and color are based on natural elements. Accord­ ingly, Ann uses the format of the kimono shape to convey her interest in nature and Japanese philosophy. Photo: Marsha Heck­ man. David Davison Raku and soda raku vessels and sculpture by David Davison, Dunstable, Massachu­ setts, were exhibited at the Ecole National des Beaux-Arts et des Arts Appliques a l’ln-

18-inch soda raku vessel dustrie in Bourges, France, earlier this year. Characteristic of David’s work in soda raku firing is this vessel, 18 inches in height, thrown, altered and incised. New Directions in Porcelain Wall forms and decorative vessels Car­by ole Aoki (Santa Rosa, California) were among the porcelain works by ten American ceram­ ists presented in an exhibition at the Retreat in Westlake Village, California, earlier this

Carole Aoki’s “Unjoldment” year. “Unfoldment,” 16 inches in length (in­ cluding matt board frame), was assembled from stained clay rolled into thin sheets. “Ex- 88 CERAMICS MONTHLY truded strands of porcelain are used to tether the effects the wind or sea might have on the sheets if they were made of cloth or paper,” Carole explained. “I try to express movement

14-inch “Complect” of flow, and convey porcelain’s quality of high plasticity.” Thrown forms, such as “Com­ plect,” 14 inches in diameter, were considered “blank canvases”; stained porcelain extru­ sions were added to incised and excised de­ signs. To add brilliancy to the clay body colors, a clear glaze was applied before firing the works to Cone 10. Also featured in “New Directions in Por­ celain” were California artists Romilla Batra andLynn Turner (Berkeley), Vivika and Otto Heino (Ojai), Judy Miller (Boulder Creek), and Bill and June Vaughn (Twain-Harte); Ohio artists Curt and Suzan Benzie (Colum­ bus); and Texas ceramist E. Sky (Bedford). Photo: Bill Galloway. Ontario Exhibition “Clay: Means to an End,” an exhibition featuring sculpture by Ontario ceramists Jo­ seph Hubbard, Margaret Malouf and Ann Roberts, was presented at the Tatay Gallery in Toronto earlier this year. “Purple and Green

Margaret Maloufs “Purple and Green A-Tray” A-Tray,” 18 inches in length, slab built, pat­ terned with dots on dots, is characteristic of Margaret’s work “alluding to function but concerned with the decorative.”Photo: David Lee. Minnesota Collector’s Show “Gretchen Quie: Potter and Collector,” an exhibition of 30 works by the artist as well as approximately 20 objects acquired during Continued September 1983 89 Indiana, MadisonSeptember 24-25 “Chautau­ Summer Arts and Crafts Festival ’83”; at Wash­ Itinerary qua of the Arts”; at Vine Street, downtown. ington County Fairgrounds. Continued from Page 25 Indiana, West LafayetteSeptember 3-4 Ohio, Peninsula September 2-5 “Ceramics Fair”; “Lafayesta ’83”; at Soldiers and Sailors Park. at Boston Mills Ski Resort, 7100 Riverview Rd. Washington, Bellingham through September 7 7 Iowa, Council BluffsSeptember 1-4 “1983 Ohio, ToledoSeptember 3-5 “Toledo Festi­ “Continuity,” a dual exhibition with William Gor­ Eighth Annual Old-Time Country Music Contest val: A Celebration of the Arts”; at the Civic Center man; at Whatcom Museum of History and Art, and Pioneer Exposition of Arts and Crafts”; at the Mall, downtown. 121 Prospect St. Pottawattamie County Fairgrounds. Tennessee, Lawrenceburg September 3-5 “Da­ Wisconsin, Milwaukee through September 11 Massachusetts, West Springfield September vid Crockett Arts and Crafts Festival”; at David “Wisconsin Today,” semiannual juried show. 14-25 “The Big ‘E’ Crafts Show”; at the Expo­ Crockett State Park. through October 16 “Medieval and Renaissancesition Grounds. Tennessee, Memphis September 3-4 “Mem­ Ceramics from the Kassebaum Collection,” 60 ex­ Michigan, Birmingham September 24-25 “Art phis Music Heritage Festival”; downtown. amples of tin-glazed earthenware from the late in the Park”; at Shain Park. Vermont, Mount SnowSeptember 30-0cto- medieval period through the 18th century; at the Michigan, Lowell September 24-25 “Fallas- ber 2 and October 8-10 The “Eighth Annual Milwaukee Art Museum, 750 N. Lincoln Me­ burg Fall Festival”; at Fallasburg Park, 4 miles Mount Snow Craft Fair”; at the ski area Base morial Drive. north of Lowell. Lodge. Michigan, Marshall September 10-11 “Occa­ Vermont, Stratton September 11-October sion for the Arts”; at Marshall Middle School. 10 “Stratton Arts Festival”; at Stratton Moun­ Fairs, Festivals and Sales New Jersey, ClintonSeptember 16-18 “Third tain Base Lodge. California, Sausalito September 3-5 “The Annual Craft Fair”; at Hunterdon Art Center, Old Wisconsin, BeloitSeptember 11 “Fifth An­ Sausalito Art Festival”; at Caledonia and Bee Sts. Stone Mill, Center St. nual Rock Prairie Showcase Festival of the Arts”; Colorado, Manitou SpringsSeptember 3-5 New Jersey, DemarestSeptember 9-11 “Center at Beloit College. Commonwheel artists “Ninth Annual Labor Day Craft ’83” juried fair; at the Old Church Cultural Wisconsin, La CrosseSeptember 4-5 “Great Festival”; at the Memorial Park. Center. River Traditional Music and Crafts Festival”; at Connecticut, GlastonburySeptember 10-11 New Jersey, PatersonSeptember 17-18 First the University of Wisconsin. “On the Green Show”; at the Town Green. annual juried craft show; at Cianci Street Park. Connecticut, MarlboroughSeptember 17-18 New York, Saratoga SpringsSeptember 16-18 “10th Annual Creative Arts Festival”; at Blish Park. The “Eighth Annual Adirondack Green Moun­ Workshops Florida, Panama City BeachSeptember 17-18 tain Craft Fair”; at the fairground buildings. Arizona, Flagstaff October 19 David Leach, “Sunfest ’83”; at Panama City Beach Community North Carolina, Cashiers September 2-4 demonstration and slide lecture. Fee: SI0. Contact: Park. “High Country Art and Craft Show”; at Highway Northern Arizona University Art Gallery, Box 6021, Illinois, Mount VernonSeptember 10-11 107, north of Highway 64 intersection. Flagstaff 86011; or call: (602) 523-3471. “Seventh Annual Cedarhurst Craft Fair”; at the North Carolina, High PointSeptember California, Glendale September 26 Jens Mitchell Museum grounds, Richview Rd. 4-5 “14th Annual Day in the Park”; at High Morrison, “The Tinajas and Trojes of Cocucho,” Illinois, SkokieSeptember 10-11 The 26th Point City Lake. a lecture on pottery and houses of western Mexico. annual “Old Orchard Art Festival”; at Old Or­Ohio, Atnens September 17-18 The sixth an­ Contact: Rob Kibler, Art Department, Glendale chard Center. nual “Barn Raisin’ Arts and Crafts Festival”; at Community College, 1500 Verdugo Rd., Glendale Indiana, BloomingtonSeptember 3-4 The the Dairy Barn Southeastern Ohio Cultural Arts 91208; or call: (213) 240-1000. sixth annual “4th Street Festival of the Arts and Center. Connecticut, BrookfieldSeptember 17-18 Crafts”; at Fourth St. Ohio, MariettaSeptember 16-18 “Indian Continued

90 Ceramics Monthly News & Retrospect green, bisqued at Cone 05, detailed with Cone 06 glazes, and luster fired. The butterfly net her travels, was presented recently at the is a wood and wire “prop” attached with epoxy. University of Minnesota in Minneapolis. The artist maintains a studio at the family farm Anne Barres near Marine on Saint Croix. Begun in the New work by French ceramist Anne Barres late 1940s, her collection includes Early was featured recently at Galerie Alain Oudin American stoneware jugs, crocks and bottles, in Paris. Among the works shown in “Reliefs de Terre” were porcelain and nylon cord wall

French artist with 7V2-joot “Le Crochet” forms, such as “Le Crochet,” approximately 7½ feet in height. Photo: courtesy of Galerie Alain Oudin. Clapp/Nicolaidis Nonfunctional bowl forms by San Diego artists Patricia Clapp and Judith Nicolaidis Early American salt-glazed bottle were exhibited recently at MiraCosta Col­ such as this salt-glazed form, approximately lege in Oceanside, California. While Pat 10 inches in height, with trailed cobalt de­ combined small thrown bowls with torn and signs. Also in the collection are works by rippled thin slab tops, Judith made consid­ contemporary American potters, as well as erably larger forms of a basic shape, except objects acquired in Denmark, Norway, Hol­ for some tilting and slumping away from pure land, Korea, Japan and China. Paul Brandwein “Containers,” a solo exhibition of hand­ built red earthenware forms by Paul Brand­ wein (New York City), was presented at Mobilia in Cambridge, Massachusetts,

Judith Nicolaidis’s 23-inch

92 CERAMICS MONTHLY News & Retrospect ulty artist) was this cut-edge bowl with clay additions, 12 inches in diameter, thrown, by past 25 years, didn’t choose an oil or a bronze, Steve Mikola, Warren, Ohio. but says his favorite is this Ming dynasty California Annual The Hayward (California) Area Forum of the Arts 22nd annual multimedia exhibition was presented at the city’s Centennial Hall through May 22. Among the clay works shown

Ming dynasty wine cup with polychrome decoration wine cup. Only about 2½ inches in diameter, this porcelain cup, with blue underglaze and red and green overglaze images of children playing, bears the reign mark of Chenghua (1465-1487). But perhaps the choice is not so surprising, given Sherman Lee’s history of independenceMardi Wood’s porcelain teapot from art trends. In the April 1983 issue of was this porcelain teapot, 5½ inches in di­ ARTnews, Rand Castile noted: “Lee quite ameter, by Mardi Wood, Corte Madera, Cal­ early broke down the curatorial distinctions ifornia. between the fine and the decorative arts. Per­ haps because of his long association with the Kerrigan/Marino Installation Far East, where little distinction existed be­ Integration is the central concept in the tween the two, Lee has tended to favor a 25-foot-long modular relief installed recently unified approach to curatorial responsibility. at the new Government Service Center in His successor, Evan H. Turner, formerly di­ Duluth by Minnesota architectural ceram­ rector of the Philadelphia Museum of Art, ists Tom Kerrigan andMark Marino. To believes this is a potentially important di­ rection for museums generally.” So the Lee legacy may endure. Photo: courtesy of the Cleveland Museum of Art. Ohio Competition The “35th Annual Ohio Ceramic, Sculp­ ture and Craft Show,” open to residents and former residents of the state, was presented at the Butler Institute of American Art in Youngstown earlier this year. Among the 77

25-foot modular relief achieve unity between the work and its en­ vironment, the artists looked to nearby Lake Superior for a theme, and studied the pro­ Steve Mikola's 12-inch bowl posed installation site. In the completed re­ ceramic objects selected by juror Michael lief, choppy water is portrayed in the broken Moseley (Youngstown State University fac- Continued September 1983 93 94 Ceramics Monthly News & Retrospect pottery to pottery, the pottbakers imbued their work with individuality through decoration,” curves of the modular surfaces, while the as is evidenced in this 1809 butterchurn, ap­ bricklike regularity of the modules relates to proximately 14 inches in height, with incised the wall that forms the ground. and cobalt brushed images of a fish milking The competitive state office building com­ a cow and a cat churning butter, byPaul mission was awarded late in 1981 and con­Cushman, Albany. “It is interesting to note,” struction began in March 1982. The system of molds contained 158 different shapes from which 750 modules were slip cast. Formu­ lated with a high percentage of taconite (a low-grade iron ore obtained from a mine a short distance north of Duluth), the black clay body forms the basic color of the relief; the lateral edges of the modules were glazed black to help define the shapes. The fish forms were glazed various hues of blue, echoing the

Paul Cushman butterchurn produced in 1809 he continued, “that much is made of the elab­ orate, cobalt blue decoration that embellished the later salt-glazed stoneware. Yet, the ear­ lier incised designs often impart personal, patriotic or festive messages which histori­ cally are more significant.” In Toronto Area ceramists recently presented objects suitable for the outdoors in “The Patio Show” at the Craft Gallery in Toronto. Shown to­ gether with sculpture, decorative tile, wall- sconces and jardinieres was this charcoal grill,

Installing the modules installation site’s blue ceiling. Under the su­ pervision of the artists, the relief was in­ stalled with adhesive, module by module.Text: Jennifer Elion’s grill Jennifer Link; photos: Tom Kerrigan. 8 inches in height, unglazed stoneware fired to Cone 6, by Jennifer Elion. Photo: Jona­ Historical Salt-glazed Ware Show than Kaplan. “Earth, Fire and Salt,” an exhibition of 18th- and 19th-century salt-glazed pottery New York Invitational made in upstate New York, was presented “Six Plus Twelve,” a national invitational at Hofstra University in Hempstead, New for which one artist in each of the exhibited York, through May 20. In describing the media was invited to select two other artists ware’s production, curator Donald Booth working with like materials, was presented noted: “While the shapes varied little from Continued September 1983 95 96 CERAMICS MONTHLY News & Retrospect objects shown were these baking dishes and mixing bowls, approximately 8 inches in di- at the Pyramid Arts Center in Rochester, New York, earlier this year. In ceramics, in-

John Leach's wood-Jired ware ameter, thrown stoneware, wood fired, byJohn Judy Moonelis’s 25-inch earthenware sculpture Leach, Muchelney, Somerset. (See the Sum­ vitee Graham Marks (ceramics professor at mer 1983 CM for a profile of this third- the Rochester Institute of Technology School generation potter.)Photo: John Coles. for American Craftsmen) selectedJohn Gill (assistant ceramics professor at Kent State Steve Gamza University) and New York City artist Judy Smoke-fired, slip-decorated vessels by Steve Gamza, artist-in-residence at Penland School of Crafts (North Carolina) were fea­ tured in a June exhibition at Convergence Gallery in New York City. Among the works shown was this asymmetrical form, “Bulging

“Bulging Three-legged Vessel” Three-legged Vessel,” 10 inches in height. “An artist’s perception and understanding of his life and times is essential,” Steve com­ John Gill’s 13-inch bottle mented. “In a positive environment where Moonelis. Shown above from the exhibition the artist can become more responsive to him­ are Judy’s earthenware sculpture, top, 25 self and his total environment, concepts of inches in height; and John’s asymmetrical creative thinking are easily visioned. By bottle, 13 inches in height.Photo: Doug Long. making objects of clay that are responsive to these perceptions, he is physically exploring In England his life in relation to today’s world. British pottery designed for everyday use “What concerns me now is conveying a was featured in the recent exhibition “For vitality not easily produced with precon­ Food” at Collection Craft Gallery in Led­ ceived ceramic vessels. It is important that bury, Herefordshire, England. Among the Continued September 1983 97 98 CERAMICS MONTHLY News & Retrospect my applied color appears to be a part of the piece: a skin to enhance the surface treatment rather than to cover it.”Photo: Dan Bailey. Walt Gordinier Ceramic sculpture by Portland, Oregon, artist Walt Gordinier is an exploration in dichotomy. Constructed with heavy clay slabs and rods stacked post and lintel style, the forms are often enhanced by incised lines il­ lusively holding the work together. Shown from a recent exhibition at the Contempo-

“Big Time Two” rary Crafts Gallery in Portland is “Big Time Two,” 20 inches in height. “I like contrasts,” Walt commented, “to play surfaces and shapes against one another—a thin sheet of clay off a thick one, a smooth surface off a broken one.” From a background in functional pottery, Walt began exploring the concept of positive and negative mass. “I was frustrated with the traditional vessel because I couldn’t see the bottom of the form. I wanted to see more of it and have the exterior surfaces become part of the interior space. “I am fascinated with the process of build­ ing,” he continued. “With the scaffolding and the skeleton of a building, you can get down underneath and look all the way to the top; you can look into the bottom; you can look through it. The building at that stage is ac­ cessible from every point of view.” Working with a commercial Cone 8-10 sculpture body tempered with nylon fibers, Walt shapes cubes of clay by throwing them down (in four directions for slabs, two for rods) onto a clean surface. Construction is completed directly on the kiln shelf, with newspaper under the object to allow drying shrinkage without cracking. Slabs and other clay elements are lifted into place between two lightweight boards to avoid touching the clay. “I want to keep the surfaces as clean as possible to enhance their simple, geometric lines and shapes,” Walt explained. After drying Continued September 1983 99 100 CERAMICS MONTHLY News & Retrospect blanket. Gauging the smoke, Walt turns the burner off after 10 to 14 minutes and allows three to four weeks, each form is fired slowly the kiln to cool. “What makes this kiln dif­ to Cone 2-5: one element on low for two and ferent,” he observed, “is the advantage of get­ a half days, or until the temperature reaches ting full body reduction at an extremely low 500°F, before activating the second element. temperature, which is good for ceramics be­ After the bisque firing, parts of the structures cause you don’t have to get anywhere close are masked with Fiberfrax blanket held in to the stresses of quartz inversion again. To place by small-gauge wire used by building get black—pitch black—in an hour at 400°F contractors when forming concrete. The is an amazing thing.”Text: Cheryl McLean; photos: Rick Paulson. Virginia Scotchie Red earthenware sculpture by Virginia Scotchie (Asheville, North Carolina) was shown earlier this year at the Baton Rouge Gallery, Louisiana. Constructed from slabs, the forms were covered with white slip, then painted with thick layers of colored slips and stains; colored clay chips and coils were also added to some surfaces. Deep lines drawn

Fiberfrax masking unmasked areas are airbrushed with an ex­ tremely thin coat of bright acrylic resin paint, which dries immediately. In the final stage the forms are individ­ ually smoked in a 4 X 4 X 4-foot kiln, con­ sisting of a welded 16-gauge sheet metal box inserted in a stacked hardbrick shell so that 26-inch “Pimona” there are 4 to 6 inches between metal and through the slip expose the red clay body brick. The work is placed on a brick-sup- underneath, as on “Pimona,” 26 inches in ported shelf directly over a 4-inch layer of length. Sometimes Virginia cuts animal or abstract shapes from the slabs, then reat­ taches them to add dimension to the flat sur­ faces and allow the viewer to see through the form. “Interaction is expressed not only in

Walt Gordimer loading“Hot Cross Box' fine sawdust and the kiln is covered with Fi­ berfrax blanket. A propane burner (1 ½ inches Virginia Scotchie below) heats the metal, which in turn causes structural concerns but also in decoration the sawdust to ignite. Because the ceramic where patterns, lines and color continue from blanket allows no oxygen to enter, there are one structure to the other,” the artist ob­ no flames; as the sawdust smolders, the served. “The designs may reflect the actual chamber is filled with carbon. At 400°F the shape of the slab sculpture. Triangles appear paint is baked onto the clay and carbon pulled often in these pieces. The sharp, directive into the surface reduces the bright colors to quality of the triangle has always appealed soft pastels; a feathered effect occurs along to me. Somehow, more than any other geo­ masked areas where carbon gets under the metric form, it seems to make sense.” September 1983 101 Byron Temple Exhibitions

Flower jar, 12 inches in height, salt glazed at Cone 10. Photos: Phil Haines, John PJahl 102 CERAMICS MONTHLY One-of-a-kind covered jar; 8 inches in diameter; wheel thrown and altered, Cone 10 salt glaze.

Wheel-thrown covered jar; 5 inches in height, salt-glazed Cup and saucer, wheel-thrown, salt-glazed stoneware, by Byron stoneware, fired to Cone 10. Temple, Lambertville, New Jersey.

STANDARD WARE and one-of-a-kind able a larger volume of work to be made sels, the forms may be seen as part of forms by studio potter Byron Temple, in the same amount of time, or on the an extensive body of work using alter­ Lambertville, New Jersey, were shown other hand allow emphasis of the mak­ ations in the kiln’s atmosphere in place recently at two Pennsylvania galleries—er’s statement by stripping the object of of conventional glaze. Using salt, saw­ International Print Society in New Hope, unnecessary detail,” observed British ce­ dust and/or wood, Byron preempts and Recent Works in Lancaster. ramist Mark Anderson, who now works functional considerations, allowing the “The simplification of a technique used with Byron. “While Byron produces both strength of the fire to become a major to produce pottery may on one hand en­ functional and artistic salt-glazed ves­part of the final work.” September 1983 103 Comment Continued from Page 27 ceramics a way to express both their de­ fiance of the modernist imperative and a way to renew their connection to the sources of creativity. This is the dualistic basis of the contemporary ceramics movement. From this viewpoint, ceramic sculpture is modernist; vessel making is postmodernist. Contemporary potters, “born free” (to borrow from Alexis de Tocqueville’s incisive definition of the American), are free to choose their val­ ues and thereby to create, beyond the bourgeois hoax of modernist freedom, a tradition at once liberated from the fet­ ters of an unauthentic past and vitally connected to the real sources of creative power. Once we are willing to let go of the bias of Faustian culture, we are able to begin participating in the creation of a new culture, a synthesis of the ancient cultures the West has tried to bury. Those who dismiss the new wave of potters as traditionalist and purist not only mis­ understand the meaning of vessel mak­ ing in the contemporary world but do the work of the old order. The author Studio potter Dale Ruff resides in Oak View, California.

104 CERAMICS MONTHLY