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Ceramics Monthly (ISSN 0009-0329) Is Published Monthly Except July and August by Professional Publications, Inc.—S William C. Hunt........................................ Editor Barbara Tipton...................... Associate Editor Robert L. Creager........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo...................... Editorial Assistant Mary Rushley .............. Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis................................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 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
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