focus Monthly summer workshops

The metamorphosis of David Eichelberger focus summer workshops

April 2008 $7.50 (Can$9, E6.50) www.ceramicsmonthly.org

Ceramics Monthly April 2008 1 Monthly

Publisher Charles Spahr Editorial raku, pit & barrel: [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Brandy Agnew firing Techniques web editor Jennifer Poellot Harnetty technical editor Dave Finkelnburg editorial interns Tim Danko, Jason Lippincott Advertising/Classifieds [email protected] telephone: (614) 794-5834 fax: (614) 891-8960 classifi[email protected] telephone: (614) 794-5843 advertising manager Mona Thiel advertising services Jan Moloney EXPERIENCE the secrets, tips and techniques of some of Marketing telephone: (614) 794-5809 the most talented artists working with raku, pit and barrel firing. marketing manager Steve Hecker Subscriptions/Circulation customer service: (800) 342-3594 Explore the effects of unusual glazes and surface treatments only [email protected] Design/Production possible with these alternative firing methods. production editor Cynthia Conklin design Paula John Editorial and advertising offices Discover the thrill 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 of taking glowing Editorial Advisory Board Linda Arbuckle; Professor, , Univ. of Florida red-hot art out of Scott Bennett; Sculptor, Birmingham, Alabama Tom Coleman; Studio Potter, Nevada a raku , then Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada working with flaming Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales combustibles to get Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts those special surfaces Susan York; Santa Fe, New Mexico Ceramics Monthly (ISSN 0009-0328) is published monthly, only possible with raku. except July and August, by Publications Company; a subsidiary of The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals Try out methods for pit postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American and barrel firing, and Ceramic Society. The publisher makes no claim as to the food safety of published discover the effects burning glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recom- mended safety measures, according to toxicity ratings. embers impart to your subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year surfaces using these ancient $60, two years $99. back issues: When available, back issues are $7.50 each, techniques. plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance Energizing your experience with alternative firing techniques notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, P.O. Box 2107, Marion, OH 43306-8207. adds excitement and spontaneity to both your work and your life. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, FREE Shipping daai (design and applied arts index). copies: Authorization to photocopy items for internal when you or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee order online is paid directly to Copyright Clearance Center, Inc., 222 (US only) Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to ceramicartsdaily.org/books republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company, 600 N. Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. postmaster: Send address changes to Ceramics Monthly, 866-721-3322 P.O. Box 2107, Marion, OH 43306-8207. Form 3579 requested. Copyright © 2008, The Ceramic Publications Company; a subsidiary of American Ceramic Society. All rights reserved.

www.ceramicartsdaily.org Ceramics Monthly April 2008 2 Ceramics Monthly April 2008 3 Ceramics Monthly April 2008 4 April 2008 / Volume 56 Number 4

Monthly focus summer workshops

47 Summer Workshops 2008 Every April, we bring you the most comprehensive listing of summer workshops for ceramics in the U.S. and abroad that you’ll fnd anywhere (except perhaps on our website at www.ceramicartsdaily.org). features

32 Dave Eichelberger: Metamorphosis by Erik Haagensen An aspiring potter takes advantage of chance, ambition and restlessness to arrive at a place where he is comfortable with the idea of reinvention and change in his work. monthly methods Salt and 36 Finding the Balance: Recent by Ovidio Giberga by Paul Northway Using humor and subconscious influences, a sculptor explores acculturation as a personal process, and looks at concepts of gender roles, family and larger socio-political concerns. 40 A Quiet Liaison: as Social Intermediary by Joel Betancourt Justin Lambert sees his wood-fred pots (and all pots, for that matter) as having the potential to frame and influence social interaction in a quiet, suggestive way. monthly methods The Cast and Skew 44 Walking a Thin Line: Phil Cornelius’ Thinware Pushes the Limits of by Judy Seckler Sculptural vessels with super thin walls challenge the separation between fragility and strength. recipe Cone 10 Engobe with color variations monthly methods The Skinny on Thinware 40

cover: “Connected Bottle Set,” 8½ in. (22 cm) in height, 36 salt-fired porcelain, by David Eichelberger, Lincoln, Nebraska; page 32.

Ceramics Monthly April 2008 5 departments

8 from the editor

10 letters from readers

14 answers from the CM technical staff

20 suggestions from readers Form Follows Function Follows Form

24 upfront reviews, news and exhibitions 30 click and collect pay a virtual visit to the galleries in this issue 60 call for entries 60 International Exhibitions 60 United States Exhibitions 62 Regional Exhibitions 64 Fairs and Festivals 66 book review A Theory of Craft: Function and Aesthetic Expression by Howard Risatti Review by Matthew Kangas 70 calendar 70 Conferences 70 Solo Exhibitions 70 Group Ceramics Exhibitions 74 Ceramics in Multimedia Exhibitions 75 Fairs, Festivals and Sales 76 Workshops 83 International Events 86 classified advertising 88 index to advertisers 88 comment Wherefore Teapot? by Lori Keenan Watts 28 online www.ceramicartsdaily.org information and inspiration from inside the artist’s studio Features Tips, techniques, profles and more—delivered to your inbox. Education Full listings of colleges, classes, guilds, workshops and residencies. Galleries Artist gallery pages, plus our comprehensive listing of museums and galleries that showcase . Bookstore Complete line of ceramic art books to inspire, inform and instruct. Free Gifts Handy downloadable resources for the studio, including projects, recipes and more! Magazines 26 25 Select and archived features, exhibition reviews and article index.

Ceramics Monthly April 2008 6 Ceramics Monthly April 2008 7 from the editor by Sherman Hall

There’s a strange phenomenon that per- we pull our heads out of the studio long This can involve some very difficult de- vades magazine publishing; we always enough to get the paperwork done. cisions and uncomfortable situations (see think it’s two months ahead of the actual And when the magazine comes off my last letter for an example), but in the date. My brain has been in the new year press, it’s a bit like opening a kiln. Hope- long run it makes what we do better all the since last November; as I write this, it fully there are not too many unwanted time. An enormous part of this decision is February; by the time you read it, it surprises, and sometimes there are nu- making is talking to all of you and learn- will be April. But by then my head will ances we didn’t see before all the pieces ing about what you think we did right and be in June, thinking not only about the and parts actually came together to be a wrong. To push my metaphor a little fur- June/July/August issue, but which summer physical magazine. And, just like a kiln ther; it’s like showing a respected colleague workshop I’ll be attending. See our annual opening, once in a while there is a gem your latest, greatest piece, and having them listing starting on page 47 of this issue, or you just didn’t see coming. It stops you come back with an astute assessment of its go to www.ceramicsmonthly.org and click and you can’t help telling yourself, “I have merits and shortcomings, rather than the on “2008 Summer Workshops” to find to do this more often. I have to fill a kiln effusive praise you were just giving yourself your education/vacation opportunity. with stuff like this.” Sure, it’s easier said a moment before. But your momentary So, while there is potential for this than done—isn’t everything—but it’s what disappointment is quickly replaced by the mental time-leaping to become annoying, keeps us going. knowledge that you now have something there’s a nice optimism to the perpetually When I worked in the studio far more far more valuable than praise—you have forward-looking pattern in which we find often than I do now, I was always chasing reliable information. ourselves. Sure, trying to always stay two those kinds of pots. Actually, I still do that, We like to think that you, as readers, months ahead can make us feel like we’re and I suppose we all do. Otherwise what rely on us for good information (and we always behind, but it forces us to have is the point? We study our tests and deter- like to think we deliver that), but we also good plans and efficient procedures so we mine what worked. What ran a little too understand that we rely on you for that can be ready for what is coming around much? What stuck to the shelf? And I find very same thing. So, what do you think of the corner. we do that here at the magazine, except we this latest piece we made? It’s a lot like filling studio orders; stay- look at what printed too dark, what typo ing ahead of that next shipment deadline; we missed, what alignment was a bit off, preparing for that next show; making sure and we plan for improvement next time.

Ceramics Monthly April 2008 8 Ceramics Monthly April 2008 9 letters e-mail letters to [email protected]

Sustainability success with raw glazing. The results are of two small that had been painted Thank you so much for your issue on just promising enough to keep pursuing. inside with silver paint. I believed that the sustainability! As an artist whose concepts The Energy Xchange (which, ironically artist had not demon- deal heavily with environmental issues, I enough, seems like a utopian heaven on strated their competence am excited to learn about ways I can do earth—at a landfill!) got me to investigate or knowledge or techni- more than just address the issues. As artists the EPA LMOP program at two local cal ability at a national who rely on materials that come directly landfills, but they already had programs in level when silver lustre from the earth and processes that use large place to convert their methane to electrici- would have created the amounts of nonrenewable resources, we ty or to pipe it to nearby businesses (which same effect. Though I have a great responsibility to lessen our is fantastic). With the rise of fossil fuel think there has been impact. Thank you to the determined and costs, the horrible effects of coal mining change, the challenge certainly did not do committed people like EnergyXchange, and pollution, global warming and peak my national pottery career any favors. OVCE, and Ceramics Monthly for recog- oil looming, we must be more mindful and I have subscribed to your magazine for nizing our responsibility of stewardship! educated in our individual and collective nearly twenty years because of its ceramic Annie Campbell, Bloomington, IN choices. Thank you again for bringing this content. I hope the change of direction important issue to the forefront. does not mean it will lean further towards Treading Lightly Lyla Kaplan, Downingtown, PA being just another art magazine. Thank you for confronting the issues of P.S. The Kachelofen rocks! Trevor Wright, Kapiti Coast, NZ carbon footprints and sustainable practices in our own business practice. I always feel Acrylic Talc: What We Now Know hypocritical and guilty when it comes to The October 2007 issue of CM is great, It has recently come to our attention that firing (in fact, I have a recurring dream of but it has prompted me to comment. With the author of “Talc and Asbestos: What We firing endlessly, never reaching tempera- the prominence given to Tyler Lotz’s work, Know and What We Don’t,” published in our ture). Because my soda kiln is lined with it appeared that the magazine was promot- February 2008 issue, was a paid consultant hard brick and takes so much longer to fire ing acrylic paint as a glaze substitute. to R.T. Vanderbilt Co., Inc., during the litiga- than a soft brick kiln, I decided to wean A few years ago, I challenged the selec- tion referred to in the article. We intended myself off of the bisque and am having tion in a New Zealand National exhibition to present a balanced report about potential

Ceramics Monthly April 2008 10 Ceramics Monthly April 2008 11 letters health effects of New York talc and we believe witness who testified on the opposite side of the I relied on over twenty studies for my we accomplished that with Jeff Zamek’s article. lawsuit mentioned in the article: testimony. Four studies said the fibers in the However, the writer’s relationship with the I’m an industrial hygienist, former pot- talc are not really asbestos and do not cause company, which has mined New York talc, ter, and one of the experts who testified for cancer in R.T. Vanderbilt workers. How- should have been disclosed with the article. We the plaintiff in the 2006 trial Jeff Zamek ever...all four of these studies were financially regret that omission. mentioned in his article…. In this case, a supported by R.T. Vanderbilt. The other As always, we feel that it is in our readers’ potter died of mesothelioma at age 53. The studies essentially all concluded the talc con- best interests to hear all possible perspectives jury concluded that NYTAL 100HR causes tains asbestos and/or harmed the workers. on any topic involving health and safety. To mesothelioma and awarded the widow $3.35 Zamek quotes one of [R.T. Vanderbilt’s] that end, we present here an excerpt from a million in compensatory damages, plus an defense experts who says the fibers are not response to the talc article from a paid expert undisclosed amount of punitive damages. asbestos and the workers are not “at risk for developing asbestos-related pneumoco- niosis.” This is doubly misleading because “asbestos-related pneumoconiosis” is a fancy term for “asbestosis.” This is not cancer. It is a lung-scarring disease requiring very high exposures and is not at issue in this case. Lung cancer and mesothelioma are the is- sues and they occur with far less exposure. The potter in the 2006 case mentioned here was the second ceramicist I know who died of mesothelioma. ...For 30 years I have watched the numbers of mesotheliomas rise in workers and in the general population in the county where the mines are located, knowing that each meso-death represents many more cases of lung and other cancers that were caused by this talc. And now the second ceramicist has died. If CM cares about its readers, it will warn them. Monona Rossol M.S., M.F.A., Industrial Hygienist To read Rossol’s full response, as well as Zamek’s original article, please go to www.ceramicartsdaily.org/magazines and click on the “Back Issues” tab, and then on the “Ceramics Monthly Articles” link.

Recipe Corrections The Yellow Salt Glaze recipe, on page 53 of the February issue, should have 1.1% iron oxide, rather than 11.1% (unless of course you’d like it not to be yellow). On page 64 of the March issue, Jeffrey Kleckner’s Porcelain Body was improperly calculated. The correct recipe is as follows: Porcelain Body (Cone 10) Wollastonite...... 3 % G200 Feldspar...... 10 F4 Feldspar...... 7 C&C ...... 15 EPK Kaolin...... 15 Pyrax...... 10 6 Clay...... 30 Silica (Flint)...... 10 100 % Add: ...... 1 % We promise to check our math in the future.

Ceramics Monthly April 2008 12 Ceramics Monthly April 2008 13 answers From the CM Technical Staff e-mail technical questions to [email protected]

Q I’m trying to find out if there is a recipe for these are formed in nature is called dendritic of years to develop. In ceramics, the process is the technique of using tobacco “tea” (often with formation, where acidic solutions, usually colored done in seconds. It is quite simple, but demands cobalt carbonate added as colorant) applied onto with manganese or iron, have permeated between exact timing and viscosity control. As with the a that is applied onto a pot, while it’s still layers of alkaline sedimentary rock. Compression natural occurrences, it depends on a reaction on the wheel. I’ve done this technique in the past, but I’d like to know if there is an actual and geothermal heating has hardened the stone between acid and alkali. Thick slip is applied recipe. I remember making a “tea” out of loose into a gem quality. to wet or leather-hard clay—I prefer leather tobacco, adding cobalt, then banding this “tea” In nature, these patterns may take hundreds hard—that hasn’t started to change color in dry- directly onto the wet slip. As a result, an intricate ing. If the pot is too dry, it pattern from the “tea” spread out onto the wet might crack or split; too wet, slip. From there, the pot is dried, bisqued, coated with clear glaze and fired again. I’d appreciate and it might sag or slump. any help you can provide.—L. A. If the slip is too thick, the

Photos: Judi D yelle Photos: acid/color mixture (or “tea”) What you are referring to is mocha diffu- will not move; too thin and sion. It is a little-known technique of surface it will run excessively and decoration developed and used in the southwest of England, and subsequently copied in parts of eastern North America, particularly Canada. It was only done on wares of a simple functional nature, and on forms that were simple in shape, such as mugs, , jugs, chamber pots, etc. The name has nothing to do with coffee, but is derived from the word Mecca, the center of the Muslim world, in Saudi Arabia. It is from here This dendritic limestone was formed when acidic solutions of that the finest Moss Agate gemstones come. These oxides leached between alkaline layers of sedimentary rock. The gemstones show the veined patterns reminiscent pattern on the pitcher was formed by an accelerated version of of trees or ferns. The slow evolution by which the same process (see instructions beginning on page 16).

Ceramics Monthly April 2008 14 Ceramics Monthly April 2008 15 answers become blurred. With experience, it is quite kaolin, such as EPK, are the most ideal. All clays Mocha Diffusion Slip easy to control. and slips are primarily alkaline, a basic necessity Feldspar...... 5 % for the reaction to take place with the acidic “tea” Ball Clay...... 75 Suitable Clays or vinegar mix. Kaolin ...... 10 Silica (Flint)...... 10 Mocha diffusion was traditionally done on 100 % both red and white earthenware, but may be Suitable Slips done on almost any clay body at almost any Various slip recipes are good, the most impor- This slip is good on most clay bodies from temperature. Clays that have a high degree of tant ingredient being a high percentage of ball Cone 04 to 12, in any atmosphere. The thickness sand, grog or lignite in them are sometimes prone clay. A basic recipe, which will fit most bodies, should be like double cream, or room-temperature to cracking. From my experience, a smooth clay and which can easily be colored with stains or 10w30 motor oil. A liquefied porcelain clay slip body with a high degree of ball clay or various oxides would be as follows: will not usually work well, since a porcelain body usually contains a maximum of 50% plastic clay material, the remainder being nonplastic fluxes and fillers, such as feldspars and silica.

First, a thick coating of alkaline slip is applied. Consistency is key at this stage, because you don’t want the slip to run off the pot.

Acid/Color Mixture The mixture that is used to form the patterns is called “mocha tea.” It was originally made by boiling tobacco leaves and forming a thick sludge that was then thinned with water and mixed with colorant. It probably originated by pottery

While the alkaline slip is still wet, the acidic mocha tea solution is applied to the top of the slip and allowed to “eat” its way through the slip. decorators chewing tobacco while they worked, and spitting in the paint pot, creating a murky brew. However, nicotine solutions are only one Ceramics Monthly April 2008 16 Ceramics Monthly April 2008 17 answers form of mild acid; many others will work, such as them in suspension. A ratio of about one heaping citric acid, lemon juice, urine, coffee or vinegar, teaspoon of colorant to a quarter cup of mild acid particularly natural apple-cider vinegar. One of is usually a good starting point. However, a good these would be mixed with colorant. Most colo- deal of individual testing has to be done to get the rants work quite well, although carbonates and two liquids to work together to create significant stains are usually better than oxides, since they dendritic formations or diffusions.

Method The leather-hard pot is dipped, brushed or poured with slip. While the surface is still wet, and before it has begun to lose its shine, the acid/color mix is dripped or trailed into it. It is best done using a well-loaded brush held just touching the slip. If the viscosity of the slip, and the acid/color mix is right then the feathering pattern will take place quite naturally, as the acid eats a fern-like The dendritic patterns in the surface of this slip are pathway through the slip pulling the colorant still quite clear after firing. with it. Traditionally, the surface is coated with The red and tan slips are alkaline in nature (see recipe on page 16). The black color is not a slip, but an acidic a thin coat of clear glaze, or transparent colored This is a technique that usually takes a while mixture commonly refered to as “Mocha Tea.” glaze, but this might cause the color to bleed out to get used to, but can give interesting results or become absorbed into the glaze, particularly when used sensitively. It can also be done quite are typically a physically lighter precipitate than at temperatures above Cone 4. I prefer to use the easily on once-fired glazes, providing that they oxides. Heavy materials such as black copper oxide, technique on high-fired ware that does not need have enough ball clay in them. black cobalt oxide and black iron oxide do not to be glazed, and have been doing it that way for Robin Hopper, Metchosin Pottery work well, because the acid can’t adequately hold over 35 years. Vancouver, BC, Canada

Ceramics Monthly April 2008 18 Why 2 women in remote Montana have fired only Paragon since 1972 Pioneer Pottery near Roscoe, Montana is so isolated that bears come right up to the studio and smudge the windowpanes with nose prints. The sound of the East Rosebud River flowing past the red two-story building breaks the silence. Janet Hero Dodge and Julie Dickinson began Pioneer Pottery in 1972. They converted a horse stable built in 1910 into their busy pottery studio. Janet and Julie planned to fire with propane; in the meantime, they bought a Paragon square K-6H electric kiln. But they were so satisfied with the Paragon that they never converted to propane firing. Over the years they just bought more Para- gons and have been firing them ever since. “The glazes I developed for the electric firings had the softness and subtlety I had hoped for with propane,” said Janet Hero Dodge. “So I never quite got around to building that gas kiln. “In 1978 we added a Paragon K-6HS square kiln so we could glaze fire back to back when nec- essary. This allowed us to move pots steadily through the firing cycle and fill special orders quickly. In 1980 we added a square Paragon K-6A to our kiln collection. All the kilns are still func- tional.” Janet and Julie fire their glazes to a flattened cone 9. At this temperature, their matte glazes soften and absorb iron from the clay. “Some of Julie Dickinson and Janet Hero Dodge. Pioneer Pottery the glazes are quite bright for electric firing,” said has been firing Paragon kilns since the studio opened in 1972. Janet. “We’ve been real happy with our Paragons. They’ve held up well and produced good results.” We offer a wide selection of top and front Have they been reliable? “Quite.” loading kilns. Call 800-876-4328 or visit www.paragonweb.com for a free catalog and the “You can’t deny that gas firing is exciting,” name of the Paragon dealer near you. said Janet. “But as a production potter who also does my own specialty pieces, I need the reliability The Paragon Dragon of electric, which is more reliable than gas be- front-loading kiln is becom- cause you have fewer variables. And I like the fast ing a favorite with Potters. It is easy to load, heavily insu- turnover I can have with the electric kilns. If I get a lated, and designed for special order that I have to get out fast, I don’t cone 10. have to wait to fill up a big gas kiln. “I use a copper barium glaze,” Janet said, “and part of the reason I started doing that is I had less control over it. So I get some of that same ‘I won- der what I’m going to get when I open it’ feeling.” The Paragon kilns of today are built with the 2011 South Town East Blvd. same dependability as the kilns Janet and Julie are Mesquite, 75149-1122 using. Since their Paragon kilns have worked The switch box on most 800-876-4328 / 972-288-7557 Paragon top-loading kilns Toll Free Fax 888-222-6450 faithfully for so many decades, imagine what your hinges at the bottom for next Paragon will do for you. easy access. www.paragonweb.com [email protected]

Ceramics Monthly April 2008 19 suggestions e-mail suggestions to [email protected]

Form Follows Function Follows Form: Countering the Destructive Forces of Wood Firing By Steven Murphy

Wood firing makes for beautiful pots. But function as protection, as well as have an interest- the fuel itself is heavy, unwieldy and dangerous ing look when the firing was completed. to the clay. No other energy source can so affect To replace the bricks, I created a fragile vessel as a wildly thrown log. BASH, spikes out of scrap clay with heavy grog pugged SMASH, CRASH! into 4-inch cylinders. They are formed, beaten Most of the time, the gamble is worth it. The and rolled in chunk feldspar and quartz (I’m a art that emerges from the fire is given color and rock hunter), and then fired to Cone 6 in an a life unlike any other process. However, after electric kiln. Cone 6 ensures that almost all six years of working with wood firing, I have the shrinkage has occurred before installation learned that a little “insurance” can maximize in the kiln. the results, minimize the damage, and also The firebox at Gustin’s kiln is now built by create some art of a different function. surrounding the wood-burning space with a Most of my work is created with the idea phalanx of these spikes. Every time the firebox is that “form follows function.” I have always ap- constructed, about 18–20 spikes are integrated plied this design principle to my , as into the design. The spikes are placed on the well as my pottery. And now, I have found this perimeter of the firebox, shimmed with kiln precept guiding me in what I create for each washed stoneware wedges, and finally packed wood firing, including pieces that are designed with wadding. for the firing process itself. As with the bricks, these spikes keep the wood from bouncing out of the firebox and bashing the artwork we have so carefully placed in the rest of the kiln. Well- thrown wood is still important, but the spikes are sturdier and taller than the original bricks used, about double the height of the original firebox wall. Because they are cylindrical and spear-shaped, the spikes allow the heat in the kiln to circulate more efficiently. The fire now rolls through the kiln without the obstacle of a brick wall. After the firing, the firebox is dis- mantled, and the spikes are removed and finished. As sculptures, the spikes

The first step in curtailing the destructive potential of the are grouped to be displayed in outdoor firebox was to surround it with clay spikes. These served the gardens and floor installations. With same function as bricks set on end, but they allowed better their function complete, they continue heat distribution and were also meant to be sculptural objects to stand guard. that reflect the activity and drama of the anagama’s firebox. In addition to the firebox for the main chamber of the kiln, there are two When I first started firing at Chris Gustin’s stoking ports, approximately 5 inches in di- anagama in South Dartmouth, Massachusetts, ameter, one on each side of the kiln. In order we stood 9-inch crystallite bricks along the back to heat the rear of the main chamber, we drop wall of the firebox. This was a form of protection small pieces of kindling through these ports. from any flying wood thrown into the kiln with Originally, the work near the stoking ports a little too much zeal. The wall was not very was left unprotected. I have since developed high, and the bricks did an adequate job. But sculptural stoneware grates that are laid down as a potter working collectively with others in a under the side-stoke ports, slightly raised by communal kiln with limited space, I wondered wadding. The grates catch the kindling, keeping if the firebox was an area that could be used. I wood from bouncing onto nearby pots. The proceeded to design ceramic pieces that could kindling is then also raised slightly, allowing

Ceramics Monthly April 2008 20 Ceramics Monthly April 2008 21 suggestions

for a more efficient burn. Built very thick and strong, these stoneware grates perform much like the iron bars in a fireplace, holding the wood as it burns. In developing these two sculptural forms, function came first. These pieces were created to both maximize the efficiency of heat circulation

Sculptural grates were designed to protect the ware at the side of the anagama’s firebox while still allowing flame and ash to reach the work. After firing, the grates are a sculptural record of the firing, like the rest of the ware in the kiln. In order to ensure that they fulfill this function, the grates are supported with wadding so they can be removed intact after the firing.

within the kiln, as well as protect the ceramic work being fired. Once their work was done, both the stoneware spikes and the grates emerged from the fire as finished pieces of art.

the author Steven Murphy operates Bos- ton Pottery in Boston, Massachussetts. See www.bostonpottery.com for videos of wood firing and examples of his work. Ceramics Monthly April 2008 22 Ceramics Monthly April 2008 23 upfront reviews, news and exhibitions

24 Makers and Modelers: Works in Ceramic by Judy Seckler Gladstone Gallery, New York, New York 26 Exit Stage Left by Dorothy Joiner Wesley Anderegg at Goldesberry Gallery, Houston, Texas 28 Kathy Venter: One by John K. Grande Sculpture Site Gallery, San Francisco, California

From top: Installation view of works by Marisa Merz, William O’Brien and Alessandro Pessoli in the exhibition “Makers and Modelers.” Installation view of several small works. Installation view of works by Anne Chu, Liz Larner and Andrew Lord. Installation view of Rosemarie Trockel’s “Watching and Sleeping and Composing,” as well as works by Sam Durant, Andro Wekua and Mary Heilmann. Above: Victor Man’s “Untitled,” 5¼ in. (13 cm) in height, three photo-impressed ceramic funerary plates, golden edging.

Ceramics Monthly April 2008 24 “Makers and Modelers: Works in Ceramic,” installation view, 2007; at Gladstone Gallery, New York, New York. All photos by Gladstone Gallery. review: Makers and Modelers: Works in Ceramic by Judy Seckler The Gladstone Gallery’s recent exhibition “Makers and Modelers: pieces inspired by body parts and mottled with rivulets of glaze that Works in Ceramic” represents a collective conceptual exploration of lacks a certain spark. 31 artists (see www.gladstonegallery.com). It includes a cross section Some artists in the gallery like Anna Chu, Thomas Schütte, Sarah of artists known for their ceramic triumphs, others that use clay as Lucas, Matt Johnson and Klara Kristalova work in a representational one element in part of a larger mixed-media context, as well as some mode, borrowing from a rich painting or sculpting history. Johnson artists who seldom work with clay at all. The scope of the sculptural pays homage to Sandro Botticelli’s well-known painting “Birth of work is refreshing at a time when galleries rarely devote much space Venus” with his own clay version of the same name. Johnson uses to ceramics. fossilized clamshells extruding from the torso, knee and base to With the exception of a parody ceramic jug, there are no cups, suggest the ocean and the memorable half shell from the original. saucers, teapots or serving bowls to be found here. Instead, several However, the cracks in the finish and the expression of this Venus themes emerged in the bright Chelsea, New York, gallery: mimicking suggest a troubled life. objects normally manufactured with other materials, and playfully By contrast, Lucas’ “Richard” [the Lionheart] jug is reminiscent of paying homage to familiar artistic icons. Plus, there was an investiga- one of those souvenir Bavarian beer steins that often find a prominent tion by some artists into the emotional and tactile properties of clay, place of display on the shelf in the den or the bedroom. Lucas’ humor exploiting its shape shifting traits or the use and surface treatment of the clay is a coun- of runny, painterly glazes. terpoint to the psychological drama created Rosemarie Trockel’s life size, white by the work of Schütte, Chu and Kristalova. daybed “Watching and Sleeping and Com- The shimmering, red glaze of Schütte’s posing” is an immediate eye-grabber. Her “Red Woman Head” fills the room. The obsessive attention to industrial design more than two-foot wide disembodied proportions beckons viewers to recline on head evokes simultaneously melancholy the steel, wood and glazed ceramic construc- and a spirit at rest. Missing body parts is a tion. It’s not a flashy pop art statement like recurring theme here. Chu’s “Nine Hellish Jeff Koon’s 1986 stainless steel “Rabbit” Spirits: No. 7” is a provocative, smoke- sculpture, still the work radiates confidence. fired harlequin with arms dangling by wire Although Trockel is not new to ceramics, hooks and a missing hand. Two pieces by Liz Larner’s “smile (abiding)” and “smile (declining), cast she is largely known for her knitted wool porcelain, installation view in the exhibition “Makers and Kristalova, who works often in bronze, fiber paintings, which makes her clay sofa Modelers: Works in Ceramic.” are a nod to Surrealism. In “Game,” glaze sculpture seem all the more imposing. drips down the blindfolded face of a young Sam Durant’s “Light , Unique Mono-Block Resin Chair” in woman, giving the bust’s surface a plastic consistency. A male head porcelain follows in a similar vein. The generic appeal of a familiar sits in a puddle submerged from the mouth down in “Pond,” creating vinyl lawn chair finished in a polished glaze elevates it beyond its retail a palpable tension. roots. The stark palette of these pieces contrasts with the Toggling back to abstraction, Liz Larner astounds with her white, organic appeal of other similar works focused on footware. Fischli & modular sculptures that could be companion pieces to Trockel’s Weiss’ “Untitled,” an unfired clay climbing boot and Andrew Lord’s daybed. The crisp angles of the cast porcelain “smile (declining)” and “Modeled shoe, the Bowery, August, 7 pm” endow the still clay with “smile (abiding)” show clay at its most uncharacteristically brittle. Yet, an emotional history that transcends what we expect from its leather her complete architectural forms radiate a strength that is to be ad- counterpart. In both cases, the temptation is to slip a foot in the open- mired. Veteran ceramist Ken Price pushes his sculpture in the opposite ing to check out the fit. Lord has an additional series of abstracted direction. Price works his material to extract every last curve. “Zoma”

Ceramics Monthly April 2008 25 upfront

looms like a sensuous stack freeze frames from early silent movies, Anderegg’s little scenes in clay of colorful ostrich eggs. capture the perennial intercourse of insecurity and inhumanity played For complexity, William out against the diurnal backdrop of life, death and rebirth. O’Brien’s “cinaedus table Exemplifying the artist’s signature offbeat proportions—diminu- MDCCLXXV” wins the tive, flesh-colored body and oversized head, here a deep, mottled prize. His table filled with blue—the naked miniature figure titled “Praying Man I” joins his glazed ceramic, unfired clay, hands devoutly, knees together, feet lifted in alarm. Swimming below, string, fabric, glass, found objects and plaster make the ceramics a participant in the controlled chaos. His use of dreary and day-glo colors conjures up a dem- onstration circa the 1960s. A refined use of assemblage

Sarah Lucas’ “Richard,” 6 ½ in. (16 ½ cm) in can be seen in Gert and Uwe height, glazed ceramic Staffordshire jug. Tobias’ “Untitled,” a green glass vase filled with three ceramic sculptures immersed in water with one rose. Sometimes, the tactile impact of clay can be heightened in combination with other materials but in this case, the ceramic components of the piece become lost among the other elements. The piece with the greatest commercial allure is Victor Man’s “Untitled,” a series of three glossy, photo-impressed, funerary plates Left: “Shopping at Target,” 15 in. (38 cm) in height, handbuilt earthenware, low with gold edging. The dark Victorian images have great theatrical fired with slips and glazes, steel, sheet metal, wood, 2007. Right: “Dancing To Her appeal whereas, a series of unfired clay pieces by Anish Kapoor are Tune,” 22 in. (55 cm) in height, handbuilt earthenware, low fired with slips and glazes, steel, sheet metal, wood, 2007. All works by Wesley Anderegg.

two behemoth piranhas vaunt sharp, irregular teeth, their eyes pop- ping in anticipation of their meal. Secure in our perceived “safety,” we can laugh at the poor fellow’s plight that inspires him to beg for an uncertain succor from above. Other micro-dramas make us laugh nervously at the debasement of both man and beast. “Spectator Sport #2” shows twinned canines with gaping mouths and spiny teeth rearing up in a realistic dog fight—one head yellow, the other blue; one body yellow, the other blue. Painted on the screen behind the fierce contest is the crowd described by the artist as “wacked out”: some eyes wide in horror, others glazed over as though drugged; mouths agape with savage cries. Who indeed is more bestial here? Man or animals? continued

Works by Anish Kapoor in the exhibition “Makers and Modelers: Works in Ceramic.” massive and raw and owe a great debt to the Abstract Expressionist influence of Peter Voulkos. The exhibition’s strength lies in creating a grand arena for a major- ity of artists who seldom work with clay. It would seem the time is also ripe to give a forum to those artists who do. the author Judy Seckler is a frequent contributor to Ceramics Monthly and a Los Angeles-based freelance writer.

Exit Stage Left by Dorothy Joiner Few pleasures are as genuine as a hearty laugh. Provoking that kind of merriment, Wesley Anderegg stages jokes and witticisms as vignettes, melding the sometimes outlandish fantasies of farce with the drab “Spectator Sport #2,” 18 in. (46 cm) in height, handbuilt earthenware, low fired and everyday, creating a visual dialectic integral to the comedic. Like with slips and glazes, steel, sheet metal, wood, 2007.

Ceramics Monthly April 2008 26 Ceramics Monthly April 2008 27 upfront

Anderegg explores other Comedy, as the celebrated cartoonist Al Capp has so aptly written, familiar theses as well. Aim- is based on exploiting the pleasure we experience in observing the ing at a different but no foibles and vulnerability of others. And isn’t that “what a comedian less universal propensity, is for,” Capp queries, “to make people feel fine?” “Shopping at Target” pic- the author Dorothy Joiner is the Lovick P. Corn Professor of Art His- tures a blond stretched out tory at LaGrange College, LaGrange, Georgia, and a frequent contributor on a tiny lawn chair. Lifting to Ceramics Monthly. her arms, she shrieks in ter- ror as two buzzards swoop Kathy Venter: One over her, eyeing the three by John K. Grande concentric circles decorating Kathy Venter’s latest sculptures have the same sense of having been her bikini at strategic points: uncovered by time as her successful “Immersion” series exhibited breast and pelvis. The title in 2006 [see December 2006 CM cover article]. As artworks, these says it all. Spoofing the ste- terra-cotta and polychrome sculptures involved an ongoing process, reotypical good guy-bad guy mentality of westerns, “High Noon” places two busts in Top: “Praying Man 1,” 18 in. (46 cm) in height, handbuilt earthenware, low fired front of a colorful street with slips and glazes, steel, 2007. Bottom: scene, painted in skewed “Buzzards,” 22 in. (55 cm) in height, perspective. The white hat handbuilt earthenware, low fired with slips and glazes, steel, sheet metal, wood, 2007. brandishes a revolver at the black hat, who presses his hand to the wound in his shoulder, wailing in pain. And is anything more risible than the alleged dominance of the male? Based on Olive Oyl and Popeye, “Dancing to Her Tune” features a woman sitting with splayed legs, fixedly fingering an accordion. Almost like a mari- onette, her partner lifts a leg, dancing to the music she makes. Who is calling the shots here? A leitmotif throughout the exhibit, the buzzard takes center stage in its own piece, appropriately called “Buzzards.” Three red, white and blue birds sit on a metal fence, wings extended, sunning themselves

“Sun,” 50 in. (127 cm) in height, terra-cotta, polychrome. All works by Kathy Venter.

and emerged from the kiln reduced to 15% of their original size. The “One” series, as the latest pieces are called, are life-size incarnations of a process that is painstaking, challenges the artist and rewards at the last stage with surprises, in terms of final coloration, the figural surface effects and the overall impact. It is at this stage that Venter will sandblast these bodyworks, to give them an added patina of wear, something that contrasts the added layers of surface color. “High Noon,” 18 in. (46 cm) in height, handbuilt earthenware, low fired with slips and glazes, wood, 2007; at Goldesberry Gallery, Houston, Texas. As Venter comments, “I have chosen, as the subject for this series, a young woman who has shared my island community and thus, in- with obvious delight. A homely variant of the vulture, the buzzard is directly, been a part of my physical, daily circumstances for seventeen a scavenger known for its voracity. At the same time, however, that the years. By using only one person as the subject, I provide the viewer buzzard consumes carrion, it purifies, becoming a force for good and with an uncluttered reflection of self through another. The sculptures a symbol of regeneration. The buzzard serves, therefore, as a fitting are direct and engaging, life-size, a measure of our humanity.” emblem against which we view Anderegg’s mini-comedies exposing In her early years, apprenticed to the South African ceramist the human condition. Hylton Nel, Venter was exposed to ancient ceramic sculpture from

Ceramics Monthly April 2008 28 Ceramics Monthly April 2008 29 upfront

China, England, Mycenaean emperor Qin, as an influ- Greece and Italy, and the hu- ence on her work, the man body quickly became a innovations are not at all subject. These recent sculp- like John de Andrea or tures likewise capture one Duane Hanson’s super body—that of an adolescent real sculptures that cap- girl entering into womanhood tured the everyday with and, like the earlier Immersion a heightened realism, series, these have some of that like three-dimensional archaic feel, like the found photographs. Instead, figures preserved at Pompeii Venter engages in build- by the volcanic ash of Mount ing a relation to history Vesuvius. They simultaneously through the simple act of cover and uncover, reveal and interpreting her model, disguise the subject—a young over a period of a month, woman. These instant archaic- in varying poses, at dif- looking sculptures capture ferent times of day, in their portrait subject with an various moods. And the intensity and accidental surface surface likewise references effect, something that recalls a process of mold making, Manuel Neri’s innovations…A “Second Order,” 68 where the traces remain distancing accompanies the in. (172 cm) in height, after the mold is removed, tactile surface immediacy in terra-cotta, polychrome; a process Venter used at Sculpture Site Gallery, these sculptures. San Francisco, California. while a student in South Venter’s One series, un- . These memories usual for this era, explores the of process remain in the artist–model relationship. The Sculpture Site Gallery exhibition, language of her unique sculptural accomplishment to this day. on view recently in San Francisco (www.sculpturesitegallery.com), The process of being and making or creation are thus both part of evidenced Venter’s great capacity as a sculptor who takes chances, the essence of Venter’s recent work. These works establish a dialogue using classical composition, while engaging in challenging poly- about the relation between the sculptor and emergent form. All this chrome surface effects that build a tension in the overall production is done with a basic humanist intuition. We are always in the same whether in “Here and Here,” “Second Order” or the “Head” series. place, these incredible sculpture from Venter’s One series seem to Venter has taken the process of building up her sculptures using the communicate, wherever we are, not by choice but by chance. hand pinch method a step further by adding multi-colored layers of hydro-stone (a cement-like plaster) and clay engobes to suggest Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and images in conjunction with exhibitions or other events of interest for publication. Images should wear and accretion. Unusually (due to the surface color splashes), be high-resolution digital on CD. Mail to Ceramics Monthly, 600 N. Cleveland Ave., Suite 210, Westerville, a postmodern and relativist aesthetic that can borrow from many Ohio 43082. traditions and eras, including modernity, has emerged in these recent terra-cotta sculp- click and collect tures. Interestingly, these pay a virtual visit to the galleries in this issue sculptures are not presented on pedestals. Instead, they American Museum of Ceramic Art, Pomona, California engage us directly as physi- www.ceramicmuseum.org cal presences. The dialogue Armstrong’s, Pomona, California www.armstronggallery.net with the viewer is active, and the language is as much Gladstone Gallery, New York, New York www.gladstonegallery.com about the process, and the artist’s inner narrative, as Goldesberry Gallery, Houston, Texas www.goldesberrygallery.com it is about the physical Museum of Contemporary Craft, Portland, Oregon product that results from www.museumofcontemporarycraft.org that process. Sculpture Site Gallery, San Francisco, California While Venter cites the www.sculpturesitegallery.com found terra-cotta army SOFA New York “Head #2,” 25 in. (63 cm) in height, terra- of sculptures created and www.sofaexpo.com cotta, polychrome. buried with China’s first

Ceramics Monthly April 2008 30 Ceramics Monthly April 2008 31 David Eichelberger: Metamorphosis by Erik Haagensen

Metamorphosis [met-uh-mawr- David Eichelberger is a quiet young potter with a dry sense of humor and engaging smile. His recent work fuh-sis], noun, The process of is crisp, striking and refined, with hints of Bauhaus rapid and radical change in form, and Eva Zeisel. But it’s likely to change completely character, condition or function in the next three years. In getting to know Eichelberger, we’ll also peer usually accompanied by a change in through a window into the lives and opportunities of circumstance or environment. a generation of aspiring studio potters. Eichelberger’s is a story of chance, ambition, restlessness and of in- volvement with some of the great people and places of contemporary clay. His earliest memory is of drawing, and he was excited by grade school art projects to the point of competitiveness. In high school he started drawing outside of class, using pen and ink with strong lines and layers of water color. We see these design elements lingering in his ceramic work. Elegant vertical lines stand alongside blocks of subdued color.

Mugs, 4 in. (10 cm) in height, porcelain, salt fired, 2007.

Ceramics Monthly April 2008 32 Teapot, 6½ in. (16 cm) in height, porcelain, salt fired, 2007.

“I went to Virginia Tech with the intent of majoring in archi- “My work varied while I was at Tech. It was an experimental tecture, as a practical blend between art and a career. Once there, phase, and I was learning the fundamentals of working with clay. I I started taking art electives, to keep going with what I already was tried different things, but the influence of those Greek and Minoan interested in. Architecture began to look less appealing, more like a pots stuck, and the forms stayed very clean. I didn’t leave school compromise, and being in the studio felt natural.” with a style or a plan, but with a passion.” His first throwing class was with one of the greats of contem- For two years Eichelberger struggled with the banalities of work porary studio ceramics; Silvie Granatelli. Eichelberger had a lot and rent, making pots in his tiny home studio with no kiln to fire of fun, but he didn’t take the class terribly seriously, which earned in. His first summer out of school he attended a workshop with him a grade of D+ in a subject he would soon decide he wanted Nick Joerling and Ellen Shankin, and another with Chris Staley at to pursue as a livelihood. the Penland School of Crafts. The following spring he returned for Eichelberger’s next pottery class was with David Crane. They concentrated study with Suze Lindsay, Linda McFarling, Jack Troy made pots all semester to fire off campus in the wood kiln at Crane’s and Terry Gess. home. Eichelberger felt a strong connection with the whole process, “That spring was an amazing experience. But I felt uninspired and with the idea of a life spent creating beautiful things while after returning home from that intensely creative environment,” he surrounded by nature. He’d leave his Greek Art and Archeology recalls. “After a year of hardly making pots, I knew it was time to im- class, and head straight to the studio to seek a classical mathematic merse myself again or forget about it. I needed to make a change.” perfection in his pots. Eichelberger drove west to Santa Fe to visit a friend. He got a When the deadline came to declare a major, Eichelberger chose job at Santa Fe Clay and ended up staying for three years. He ran ceramics. He had transformed from a drifting architecture student the warehouse, worked in the retail area, delivered clay and spent into a motivated ceramist intent on building a life in clay. long hours in the studio in a self-guided residency.

Ceramics Monthly April 2008 33 The Metamorphosis

The piece at the top left was made during Eichelberger’s ”residency” at Santa Fe Clay. The bold brushwork came out of his renewed energy for claywork. Oil Ewer, 9 in. (23 cm) in height, thrown and altered porcelain with thin red Shino wash and slip and glaze patterned brushwork, 2004.

Leaving bold decoration (as well as Santa Fe) behind, he moved to North Carolina and began limiting his glaze palette, as seen above in this connected bottle set, to 6½ in. (16 cm) in height, porcelain, salt fired, 2005. One result of limiting surface activity was a concentration on form, as seen in this teapot (left); 6½ in. (16 cm) in height, thrown porcelain with stamped decoration, black underglaze, and amber and black matt glaze, soda fired, 2006.

“I went from pottery exile back home to being surrounded by had a reduction kiln to fire in, and used thin red Shino washes that clay,” he says. “Santa Fe Clay’s gallery was expanding and I saw looked salt fired. He decorated with white and black slips, painting some of the best work in the country. The workshops brought elegant patterns. incredible artists, and I would sometimes show them around town Eichelberger cranked out pots. Piles of bisque accumulated and at night. The connections and conversations we had were honest he’d binge glaze an entire kiln load overnight. He lavished brushwork and gave me a view into the artist’s life. It was the perfect place on his pots, striving for a surface so busy that it lost its busyness, for me to be.” looking as if draped in patterned textiles. An oil ewer from 2004 A new energy and intensity appeared in Eichelberger’s work. summarizes this work nicely, with dense brushwork serving as a rich He had moved west with ideas of salt firing and brushwork, think- counterpoint to the diminutive attachments of spout and abstracted ing of pots by Lindsay, Gess, Ruggles and Rankin. In Santa Fe he handle (this page, top left).

Ceramics Monthly April 2008 34 After three years, Eichelberger was Salt and Earthenware ready to spend even more time in the stu- dio. Mark Shapiro and Jason Bohnert rec- Eichelberger is experimenting at school with salt firing earthenware. He is ommended the Energy Xchange residency adapting his porcelain techniques to earthenware in the hope of simplifying program in Burnsville, North Carolina, to process, reducing warping and cracking, and taking advantage of a broader him. He applied and was accepted. It was range of color. time for another phase shift. He uses red earthenware covered with a white terra sigillata when bone Eichelberger left Santa Fe and the dry. Carving into the bone-dry surface with an X-Acto blade creates a rough line intense brushwork behind. He was eager due to the 7% grog content. The dark clay is revealed within these incisions, to start with a clean slate and investigate obviating the need to rub stain in to achieve contrast. The pieces are glazed a new style. He started working harder with a 90/10 mixture of 3289 and EPK, and then salt fired. than ever before, focusing on efficiency In initial tests, the white terra sigillata would disappear, resulting in a dark Monthly Methods and form, minimalizing decoration. He brown surface. Lithium in the frit caused the glaze to dissolve away the terra used solid colors, large swaths of black sigillata, and he is testing different for less impact. Eichelberger also decreased and white to start, then adding stripes and the amount of salt added to the kiln, as this had the same “browning” effect. lines. He took time out from the studio He now sprays four pounds of salt dissolved in five quarts of water. The salt is to assist Gay Smith and Linda McFarling introduced at Cone 05, with the kiln fired in a neutral to oxidized atmosphere. at Penland’s 2005 fall concentration. Two He occasionally gets an unwanted mustard-yellow flashing on the white surface. months of conversation, experiments and To counter this, Eichelberger will next test Zircopax as an alternative to titanium happenstance combined for a stylistically dioxide as the colorant in the terra sigillata. pivotal transition. He settled on amber celadon, blue ce- ladon and matt black glazes on porcelain. He salt fired some pots, but fired most in the landfill methane gas kiln at Energy Xchange. He began stamping small circles, slip trailing tiny dots and carving lines in spare patterns quietly reminiscent of his Santa Fe work. He rubbed stains into the lines and circles to darken them. A pair of teapots from 2006 reflect these techniques and illustrate the clarity of form Eichel- berger had achieved. Eichelberger spent three years at Energy Xchange developing a powerful new style, building gallery relationships and a clientele, selling at top juried craft Serving Tray, 24 in. (61 cm) shows, and winning awards. He was well- in length, slab-built earthenware positioned to set up a studio and continue with white terra sigillata, salt building on his early success. fired, 2007; by David Eichelberger, Lincoln, Nebraska. “I wanted to continue to expand the possibilities,” he explains. “I looked at residencies and graduate schools and decided to accept a graduate position at the University of Nebraska term nature of these options makes it likely that aspiring studio at Lincoln. Now I have the resources to experiment and feedback potters will undergo a series of metamorphoses as they move from from the other graduate students and the faculty so I can continue place to place, balancing financial pressures with time to develop to develop my work. Before, the financial pressures of maintaining one’s work, influenced by changing people and places, and drawing a studio and supporting myself began to dictate what I was making, deep from the bright well of contemporary studio ceramics. to some degree, and now selling work is not a priority. I’m free to The path to making a living in clay is rarely straightforward or easy. investigate. I felt like I skipped this phase and now I have time.” That so many choose to pursue it is a tribute to both the primordial The twist and turns of Eichelberger’s twenties will sound familiar pull of hands to clay and the plodding tenacity of the human spirit. to many young ceramists. Residencies, workshops, post-baccalaure- Eichelberger’s story reminds us of the importance of periodic reinven- ate and M.F.A. programs, and apprenticeships abound. The short- tion in the pursuit of a life and a body of work infused with beauty.

Ceramics Monthly April 2008 35 Finding the Balance: Recent Sculpture by Ovidio Giberga by Paul Northway

Most people have moved at least once in their lifetime. For ceramist rent themes of gender roles and socio-political consciousness. The Ovidio Giberga, moving has been a familiar constant embraced since piece materialized from a dream, arising from a subconscious level childhood, which has supplied a curious and artistic mind with where Giberga’s work often visits. Revisiting the dream he explains, continuous material. The experience of living in different places and “I saw something sticking out of my foot. I picked at it and started among diverse cultures grants Giberga opportunities to develop a pulling a thick plastic thread from my foot. I pulled and pulled creative voice that speaks of individual journey and cultural identity. until finally, it came out.” Giberga writes, “Each culture presents a unique set of challenges and a sense of awareness into his life, the thread becomes a choices. In this way, acculturation became a personal metaphor for pursuing cultural continuity of time and process, instigating change in myself and my work.” place. Giberga reveals the struggle to preserve family Adjusting to the latest of life changes—in his recent tradition through a precariously balanced foot, leaving appointment as assistant professor of ceramics at the viewer to ponder stability of the physical object and the University of Texas, San Antonio, and as father the “footprints” of his legacy. twice over—Giberga’s current work is wrought with Incorporating notions of ritual into his recent beginnings fused with his deep identity within Cuban work, Giberga’s sculptures often conclude with a stir- and Hispanic culture. rup spout. Used predominately by the Moche From a first-generation beginning typical of many culture of ancient Peru, the stirrup spout vessel Cuban–Americans, Giberga was born at a time of transi- feature was presumably thought of as a link tion for many close-knit Cuban families. Aware of this with the sacred ancestors. Giberga’s titles influence throughout his life, Giberga reflects, “There often mimic museum descriptions of had always been a sense of displacement or of living in significant anonymous artworks, suggest- exile.” Continuing the family’s cultural legacy was impera- ing anthropological artifacts specific to tive for Giberga’s relatives. His grandparents took a keen his place and time. Well- interest in his upbringing, and instilled a strong appreciation of art and culture. Reflected in big and small decisions, this value system appears in everything from his desire to raise his children with bilingual skills to his artwork. Working primarily from the figure, Giberga’s work suggests conflicts between internal and external forces. A 2006 piece, “Foot Vessel with Hand and Tweezers Pulling Thread” reveals recur-

Ceramics Monthly April 2008 36 versed in ceramic , Giberga appropriates the stirrup writes: “It is impossible to talk about Moche art without talking spout to elicit a response akin to his early fascination with Moche about its humor. Much of the humor is sexual humor, which al- vessels. Giberga reveals, “The stirrup spouts serve as a compelling ways cuts deep into the psyche, religion and social behavior. Sexual design feature but more importantly refer to the ‘figure as vessel’ humor, in its most basic forms, certainly has evocations that defy metaphor, inviting the viewer to think abstractly as to their content barriers of time and place.” and purpose.” Alluding to social and professional taboos with sexual content, At first glance, his work may be interpreted as literal, yet it is Giberga’s “Standing Male Vessel with Smoke in His Eyes” utilizes apparent that realism is not the purpose of his depictions. Giberga the Greek Kouros pose juxtaposed with a modified Moche stirrup explains a result that can often be seen as decorative spout. His work often references multiple historical periods of or disfiguring, beautiful or grotesque, that calls art history in order to underscore the impact of the subject to mind themes similar to the power symbols matter. Channeling the changes associated with a new aca- and major motifs of Moche ceramics. After close demic appointment, the figure becomes engulfed in rolling examination of Giberga’s work, one concludes gray smoke. Reconciling studio production with bureaucratic that he adopts not only the design features productivity, a pair of gray mechanical hands at the feet of of the Moche vessels but their use the figure feed a fire with legal or “documents.” The of interrelated parts and at- figure mimics the rigid pose of Kouros with one significant but titudes of a social system. subtle exception; his penis is tucked between his legs. Giberga In an excerpt from her explains the contents of the vessel metaphorically as containing essay, Andean Aesthet- latent energy that would be in opposition or stand in defiance ics from The Spirit to the pressure exerted. The phallus, often a prominent point of Ancient Peru of reference and symbol of power for the virile Kouros, is pulled Esther Pasztory away unexpectedly and unconventionally. The statement of defi- ance and desire to control is embodied in the arms, gesturing at a ninety degree angle as if grasping the controls of a rocket ship or mimicking the tense posture of a two year old throwing a tantrum. Perhaps there is a bit of irony in it all, since the vessel captured best of show at “From the Ground Up,” a juried exhibition at Las Cruces Museum of Art, New Mexico. Brushing up against the “machismo” theme of Latin culture, Giberga’s sculptures em-

This spread: Front and back views of “Foot Vessel with Hand and Tweezers Pulling Thread,” 12 in. (30 cm) in height, handbuilt Watershed clay with terra sigillata, underglazes and china paints, 2006.

Ceramics Monthly April 2008 37 brace a complicated social context; a concept often fraught with contradictions. Giberga’s familiarity with the negative and positive implications is showcased in his artwork. He represents both sides of the cultural understanding by emulating the previous generations of his father and grandfather’s role as proud providers, while simultaneously portraying a younger generation rapidly distancing themselves from the baggage of tra- ditional roles and often-sexist connotations. Utilizing the grandiose pose of the Greek Kouros while shrinking its scale to trophy size, Giberga reveals a subtle humor and seemingly cryptic message. Giberga’s recent figures defy social stereotypes of what it means to be “macho” while embracing the roots from which they are derived. Acknowledging the roots, “Balanced Male Vessel with Mapped Surface” abstractly locates a reference point for the social progression.

The naked male figures emerged at about the time Giberga began having children, although he explains that the figures evolved from a social, rather than repro- ductive point of view. Catching his stride in mid career, Giberga elaborates on his motivation: “Social values and attitudes toward defined gender roles can be found throughout Cuban culture, and par- ticularly in the songs and folklore of my upbringing. I thought of them as novel and pertaining to a different

“Standing Male Vessel with Smoke in His Eyes,” 32 in. (81 cm) in height, slip-cast earthenware with terra sigillata, fired to Cone 04, 2004.

Ceramics Monthly April 2008 38 Above: “Reclining Male As Flower Brick,” 22 in. (56 cm) in length, slip-cast Cone 04 earthenware with terra sigillata, glaze and gold luster, 2007. Below: “Balanced Male Vessel with Mapped Surface,” 15 in. (38 cm) in height, slip-cast Cone 04 earthenware with terra sigillata, dowels, paint and transfers, 2007.

Two recent works, “Balanced Male Vessel with Roses” and “Reclin- ing Male as Flower Brick” (shown above) celebrate Giberga’s internal debate acknowledging a need to balance the instinctive side against the rational. Often stealthily inserting themes of nature-versus-nurture and masculine-versus-feminine into the content, Giberga celebrates a dilemma of self-inflicted notions of gender preconception. Conveying the tension of existing dualities, his figures are simultaneously embel- lished and disfigured through surface rendition, while demonstrating masculine strength with yoga elegance. Giberga’s additions of gold luster and floral patterning elevate the subject to divine beauty status, but confine the figure to a decorative object that may be appreciated on a superficial level. Making light of the uncomfortable balanced position, the reposed figures seemingly accept the strife for equilibrium as if flattered by the objectification imposed by the viewer. Intriguing his audience with rich layers of subject matter, the broad appeal of Giberga’s work is its accessibility on several levels. generation. I have come to realize that they have partially informed Balancing the right amount of individual content, cultural symbol- certain opinions and attitudes I have, such as the pressure of being ism and historical parallels, Giberga receives a distinguished nod a provider. It is a source of internal conflict because they are not from contemporaries in and out of the ceramic field. Dissecting his pragmatic or congruent with the way I live my life, nor ideas that work tells us as much about the process of art history and theory as I rationally believe to be true.” it does the complex individual who created it.

Ceramics Monthly April 2008 39 A Quiet Liaison:

Pottery as Social Intermediary by Joel Betancourt

Mug set, to 6 in. (15 cm) in height, thrown porcelain with slip, wood-fired to Cone 11, cooled in reduction.

A cup, a bowl or a bottle may merely hold food or drink—simple over a meal, are two such examples given by the artist. A set of substances that nourish the body—but for Justin Lambert, the bowls and plates used specifically for sushi is a highly welcomed same cup nourishes much more. Lambert, a potter residing in companion for Lambert and his wife. Whenever he prepares such Jupiter, Florida, sees his functional ware as a mediator between a meal, no ordinary dinnerware will do. “It just wouldn’t be pre- people. Each piece sets up a dialog among its users or initiates a sented as nicely,” he says. “You can appreciate the meal more when meeting or moment. it’s on something handmade that shows what type of labor was put “The work I make is geared toward either an interaction with into making it. A different kind of labor goes into those plates than it and only it, or an interaction with a grouping of pieces along ones bought from a Pottery Barn. A more direct labor.” with, usually, one other person,” Lambert explains. “By grouping Friendship echoes from a piece thrown by an old companion. items or setting up particular scenarios of pots, you can control Lambert’s grip around a cup made by a fellow artist becomes the situation in which they’re going to be used. You’re able to cre- more like a handshake with that artist. “When I grab one of my ate a moment or an experience between one or two people.” This old friend’s cups or mugs from the cupboard, I instantly feel a unspoken voice leads the users toward an intimate exchange; the connection to that person.” potter becomes a quiet liaison. “It is through this language that I Lambert was introduced to ceramics at Florida Atlantic Uni- am able to encourage these quieter, private, special moments to versity where he was a Computer Information System’s major. He take place.” took a ceramics class with a friend. “I needed to fulfill an elective, Instances where a lone flask comforts a single soul at the end of and my friend thought it would be fun. He asked me to take the a hard day, or a dinnerware set brings husband and wife together class with him and I agreed.”

Ceramics Monthly April 2008 40 Shortly after that, Lambert’s life plans changed. “I ended up In a firing atmosphere, where fire and ash might seem to dictate changing my major to fne arts in ceramics, and that was pretty their whims and wants over the surface of each piece, Lambert feels much it,” he recalled. “I realized I didn’t have to sit behind a com- there is actually a great deal of control over the process. “You can puter everyday for the rest of my life to make a living.” have a lot of control,” he said. “No two pieces are going to be the The medium’s flexibility drew Lambert closer into the ceramics exact same, but if you want a certain color and a certain surface, world. One of the most interesting things about clay, as compared you can place the work in a certain part of the kiln. Then fire the to other mediums, was its pliability. “You can do anything with it,” Lam- bert said. “You could always change it. It’s the most responsive material to your touch. Clay is completely mal- leable, unlike wood or steel. At least, in a more hands-on way.” After completing his bachelor’s degree, Lambert earned his M.F.A. in ceramics from Indiana University. He currently teaches at Broward Com- munity College and at Palm Beach Community College, while also work- ing out of his home-based studio. The bulk of his work consists of wood-fired and soda-fired ware. He prefers these firing techniques over others because of the connection to the whole creative process as a potter. “I feel like I interact with the firing more so than by putting a glaze on a piece and putting it in a kiln,” he explained. “Depending on the size and type of the work, you can adjust the firing to get different surfaces. Whereas with reduction firing, I felt limited. “It’s a touchy subject” he con- tinued, “and I don’t want to offend anyone, but I’d rather spend my time playing with the kiln, than playing with chemicals in a glaze room.” In wood firings, Lambert claims, “You are the variable. Pretty much the only one.”

Flask, 12 in. (30 cm) in height, wood fired to Cone 11, reduction cooled.

Ceramics Monthly April 2008 41 kiln a certain way and you’ll get that color and surface. Will it look the exact same as the one before it? No, but you’ll definitely be able to tell how to reproduce the results. “I think that there’s a lot of room for experimentation. I like it when people take the extra step and look at firing as a research tool as opposed to just throwing the work in there and hoping for the best.” The second reason he enjoys wood or soda firings is the unique surfaces created by the process. “I like the glaze, whether it’s the wood ash or the baking soda. I like the way it interacts with the surface of the clay. Not only does it give a glazed surface and a nice sheen in some areas, but it leaves some areas rougher. I like that variation of texture and color on a pot in contrast to just one glaze.” Lambert’s choice to create functional pot- tery over sculptural or decorative work stems from a desire to reach a larger audience and to allow the work to touch viewers in a more personal manner. “It’s a vehicle to get across some of the surfaces I’ve explored to people who wouldn’t normally see them.” Functional ware is more accessible to the masses. “You can sell a pot to almost anybody but you can’t necessarily sell them a sculpture. But I also like the way it initiates certain situations between people.” The exploration of the medium allows one to actually use it. “You use it in a different way other than by purely viewing it or touch- ing it. You’re interacting with it.” Lambert is still in contact with his col- lege friend who first introduced him to the material years ago. The friend now lives in Massachusetts far away from the ceramics studio at Florida Atlantic University. “He doesn’t work in clay at all, but he always asks me about it. Always.”

Liquor bottle, 18 in. (46 cm) in height, porcelain with slip, wood fired to Cone 11, cooled in reduction; by Justin Lambert, Jupiter, Florida.

Ceramics Monthly April 2008 42 the cast and skew

In 2001, while attending Indiana University, Justin Lambert “You can make it into any shape you need. It’s stronger than was faced with a problem; a problem that led him to a unique most brick and easier than cutting brick. You just make the solution and a relatively under-used material in kiln building. mold and pour it. Castable also withstands or resists the soda Lambert and fellow graduate students, Kari Smith and and the wood ash more than the majority of other brick.” Mathew Repsher, began construction of a train kiln to replace The negative characteristics of castable are its size and the older kiln at the university. They didn’t want to make weight. Besides the throat arch, skewbacks, large lintel bricks a removable lid because those lids seemed to deteriorate and smaller sections where cutting brick is difficult, Lambert very quickly. They decided to put a 90 degree doorway in could not see castable replacing traditional brick. “It’s pretty the side of the kiln but needed a way to span the gap over cumbersome to maneuver once you get your desired shape. the doorway. One skewback would use 70–100 pounds of dry castable Lambert contacted Jason Hess, now a professor at material.” The ideal situation is to cast certain pieces inside Northern Arizona University. Hess recommended using high- the kiln, exactly where they need to stay. Lambert cast the monthly methods temperature refractory castable. They ended up using the throat arch for his killn directly into place. A mold was made castable for the throat arch between the firebox and kiln. using plywood and 2×4-inch reinforcements and later the They also used it instead of cutting bricks to key in the two wood was burned out. This eliminated the need to move interlocking arches. They found that the castable held up any heavy parts. better than the brick. The castable Lambert used is called Krykon. He recommends After graduate school, Lambert began working on the wood adding 2–3% steel needles into the mix for support. The kiln at his own studio. Satisfied with his first experience using process is similar to pouring cement. There is only a small refractory castable, he decided to use the material again. He amount of water used in the mix. “There’s sodium silicate found several key places where the use of castable made the in it, which causes it to almost flocculate as you’re mixing building process easier. “I used castable in the throat arch it,” Lambert explains. “The material mixes up like real thick between the firebox and the chamber. I also used it for all concrete, and then you trowel it into the mold and level it off. three skewbacks.” You try to get the air bubbles out, cover it with wet towels According to Lambert, refractory castable has several and let it cure. It takes two or three hours and then it’s hard. benefits over traditional brick. “It’s like using clay,” he said. Afterwards, you could fire it 48 hours later.”

The firebox arch of Lambert’s kiln is supported on both ends by cast-refractory The throat arch between the firebox and ware chamber is cast from a thick form. skew supports. The rear end shares a support with the main ware chamber arch, This prevents the likelihood of bricks spalling and solidifies the center structure of making for an incredibly stable structure. the kiln, where the downward forces of the two arches meet.

Ceramics Monthly April 2008 43 Walking a Thin Line

“Sea Change,” 9 in. (23 cm) in height, press-molded porcelain thinware, sprayed with blue and green engobes, fired to Cone 10.

Ceramics Monthly April 2008 44 Phil Cornelius’ Thinware Pushes the Limits of Porcelain by Judy Seckler

One critic has called Philip Cornelius’ work idiosyncratic and an- be shipped to various museum collections. A small offce off the other labeled it impossibly thin, but those descriptions just scratch dining room has overhead bookshelves flled with many ceramics the surface of his evolution in ceramics. magazines and reference books. Beyond the tiny kitchen, a short His signature porcelain “thinware” developed back in 1970 from recycling curling wisps of leftover clay found on a bat after a piece had been wire cut, is often roughly textured and asymmetrical. The recipe work is made up of elements that look like they’ve been retrieved The blue, orange and green surfaces that resemble velvet are from a lost civilization. The super-thin quality of his porcelain has obtained by overspraying engobes onto the work. to be admired for its alternating delicate yet strong skin. Cornelius has perfected this style into a reliable technique that has become Engobe his visual calling card. (Cone 10) Potash Feldspar ...... 40 % “I like to do everything. I don’t like to be cornered,” says the Kaolin ...... 30 artist. Of his process, he adds, “It changes like quicksand. You never Silica (Flint)...... 30 know when you’re going to fall through.” 100 % Cornelius is not interested in making conventionally pretty art. Blue variation His aesthetic involves life on the edge, making sense of a debris- Add: Cobalt...... 5–7 % laden landscape like those portrayed in the flms “Children of Men” and “The Terminator.” A Cornelius teapot can be viewed as more Green Variation tempest than tea. The idea of serene tableware has been exchanged Add: Chromium Oxide. . . . . 10–15 % for military equipment. The shapes of the pots look more like Orange variation battleships, their spouts more like gun barrels with names such as Add: Rutile...... 9–13 % “Patton,” “Eisenhower” and “Sherman.” The look, needless to say, After a form dries, it is bisque fired to 1850°F (1010°C). Next, is not for everybody. Cornelius applies the gritty, textured engobe. He can apply 2–3 Cornelius’ attraction to clay began in a roundabout way. He frst coats before the clay becomes too saturated. When it becomes majored in science at San Jose University. His lackluster performance too saturated, the form is placed in a kiln heated at 180°F for 15 was interrupted in 1957 when he was drafted into the U.S. Army. minutes to dry out. Cornelius typically applies ten coats of engobe In the military, he reconnected with his artistic gifts and used his to a piece so that it has to be dried out in the kiln at least two and off time to read and develop his background in art. He was able to sometimes three times. Once all the layers have been built up, the visit numerous major museums in Berlin, Amsterdam, Basel and work has to be handled with great care for its final firing to Cone Paris during his tour of duty. A military doctor saw his drawings 10. Fingerprints can turn up in the final product, so Cornelius care- fully lifts the work by the undersides. and urged him to pursue his artistic interests. After the service, Cornelius fnished his science degree and a few months later took his frst ceramics class. This sent him spinning in a new direction. He spent a year at the Brooklyn Museum in New York on a scholarship studying ceramics in 1962. Later, he attended the Claremont Graduate School on a full scholarship and earned an M.F.A. in 1965 while he worked as a part-time high school teacher. After graduate school, he became a ceramics instructor at Pasadena City College and remained on staff for more than forty years. In that time, his work has become part of many major American and international museum collections. Cornelius lives and works in a bungalow-style home on a shady, tree-lined street in Pasadena, California. The living room, with its bank of large windows, is sparely furnished but flled with the artwork from several artist friends. The dining room has an open “Four Birds and a Condom,” 11 in. (28 cm) in height, porcelain thin ware, tower of shelves in a corner overfowing with work waiting to sprayed with blue and green engobes, fired to Cone 10.

Ceramics Monthly April 2008 45 The skinny on thinware

To create his signature thinware, Cornelius starts with a huge slab of clay, 10 inches thick and between 100–150 pounds. He works on a plaster surface that’s been cast from a piece of glass to create a smooth and flat surface. He lays the clay down on the plaster bat and runs a stainless steel wire through the bottom, leaving behind a section of clay that is one-twentieth of an inch thick. He builds his forms from these delicate sheets of porcelain. As he discovered long ago, the forms are monthly methods surprisingly durable after bisque and multiple glaze firings. Cornelius says that the right clay is key to the process. To build a piece, Cornelius lays out several sheets of porcelain from left to right on his worktable. The first pieces become the sides. The ends are joined and once the material firms up, he uses his breath “International Rabbit,” 9½ in. (24 cm) in height, Sevres porcelain thinware, to inflate the form so that it becomes hollow and is by Phil Cornelius, Pasadena, California. capable of standing up. Next, he assembles lids, rims, handles and spouts with the wetter clay. Two-piece plaster molds are used to form baby hallway leads to his studio: a large, stark room flled mostly with heads, oranges, small birds and other details. The wet tables, providing generous work surfaces. On the walls, Cornelius clay is introduced to the mold. Cornelius folds excess displays four small, elegant porcelain tableaux flled with evocative clay beyond the working surface. When slip is applied images made from multi-pieced press molds. A white raw clay piece to the excess clay, the matching pieces can be mashed has a round bas- profle of a woman surrounded by a rabbit’s together. A visible seam is formed around the piece. head and disembodied baby arms and hands. The piece is framed Sometimes, the seam becomes an integral part of the in spikes, a distinct Cornelius touch. The tableaux represent his form and sometimes it’s trimmed slightly. early explorations with molds that eventually found their way into In the last steps, the bottom and top of the sculpture his sculptural work. are added. The bottom edge is dipped in slip and set He learned his method of press molding, or estampage, as a on another sheet of clay where the bottom shape is visiting artist in the town of Sevres, France, when the country’s min- trimmed to fit with an X-acto knife. For the top, slip istry of culture invited him in 1988 as part of its system of visiting is brushed on to the top edge and a sheet of clay is artists. The pieces are the byproduct of his six-week European visit added. Next, a thin sheet of plywood is placed on top where he was exposed to the town’s ceramics museum, which had a and the vessel is turned upside down. The wood makes huge collection of 400-year-old molds. The technique has been an it easier to transport, as well as trim the top on a flat important part of his process since then. “It was quite an experience surface. Finally, design elements such as baby faces, for me. I had never worked with molds before. I didn’t know they’d birds, hands and decorative cylinders are attached. be there,” he says. He found that press molding gave him another visual language to add to his arsenal. When Cornelius’ longtime colleague and retired university ce- ramics teacher Rimas VisGirda thinks of his friend’s work, he says he is reminded of a quote from the Tom Robbins book Even Cow- girls Get the : “The ugly can be beautiful, the pretty—never.” VisGirda contends, “Phil’s stuff is beautiful.” But his friend’s praise aside, for Cornelius, the act of cre- ation boils down to one endeavor: trying to capture the magic of the material.

Phil Cornelius’ work can be found at Armstrong’s Gallery in Pomona, California (www.armstronggallery.net).

the author Judy Seckler is a contributor to Ceramics Monthly, and “Two Sirens Looking at the Tower,” 9 in. (23 cm) in height, porcelain thin a Los Angeles–based freelancer who writes about art, architecture ware, sprayed with blue and green engobes, fired to Cone 10. and design.

Ceramics Monthly April 2008 46 Workshop participants at Metchosin International School of Art, Victoria, British Columbia, Canada.

summer workshops

2008Hone Your Skills, Engage Your Mind, Expand Your World

Ceramics Monthly April 2008 47 Various types of workshops are offered each summer. ware with Cindy Teyro (June 28–29); fee: $75. Con- 29–July 4); fee: $620/week, includes materials, firing and Most are hands-on experiences; however, sessions of tact Karen vanBarneveld-Price, vanPrice Studio, 2057 meals. “Mata Oritz Pottery,” handbuilding with Nicholas one-half to two days may be demo only—a few are Heavenly Place, Prescott 86303; [email protected]; Quezada (June 30–July 5); fee: $645, includes materi- strictly lectures or discussions. Skill levels are ranked be- www.vanprice.com; (928) 443-9723. als, firing and lunch. “Hopi Pottery” handbuilding and ginning, intermediate, advanced and professional. While Arizona, Tucson firing with Mark Tahbo (July 7–12); fee: $640, includes nearly all workshops are good experiences, the quality “Intensive Tile Making,” hands-on tile making, glazing and materials, firing and lunch. “General Ceramics,” wheel of presentation varies widely. If possible, ask others who throwing, handbuilding, glazing and firing with Greg have attended previous sessions for their feedback, then firing with Susan Gamble, Kristine Stoner and Donna Ston- Kennedy and Eric Kao (July 7–18); fee: $620, includes contact the organizers for specifics. er (June 4–10); fee: $560, includes materials and firings. Beginning/intermediate. Contact Leslie Gamble, Santa materials, firings and lunch. All skill levels. Contact Di- Alaska, Sitka Theresa Tile Works, 439 N. Fourth Ave., Tucson 85705; ane Dennis, Idyllwild Arts, PO Box 38, Idyllwild 92549; “Throwing...Developing Personal Style...Looking In- [email protected]; www.santatheresatileworks.com; (520) [email protected]; www.idyllwildarts.org; (951) side,” hands-on wheel-throwing with Steven Hill (August 623-1856. 659-2171, ext. 2365. summer workshops 2008

Jasmin McCracken works on a portrait during a Tip Toland workshop at Haystack Mountain School of Crafts, Deer Isle, Maine.

4–8); fee: $395 if paid by May 31; $445 if paid after Arkansas, Eureka Springs California, Mendocino May 31. Intermediate through professional. Contact “Hand Building with Slab Clay,” decoration and pit-firing “Paperclay Encounter” with Chris Rodi (June 4–8). Jamie Autrey, University of Alaska Southeast, 1332 with Mark Rademacher (June 2–6); fee: $275; materi- “Clay, Creativity and Beyond” with Richard Garriott- Seward Ave., Sitka 99835; [email protected]; als fee, $50. “Colored Clays” with Susan Siegele and Stejskal (June 11–15). “Image Transfer Techniques,” www.uas.alaska.edu/sitka/art-in-sitka.html; (800) Michael Haley (June 23–27); fee: $275; materials fee, monoprinting, screening, stenciling, embossing and 478-6653. $20. “Wood-Raku-Pit-Fired/Wheel Throwing and Hand- relief printing on clay with Paul Andrew Wandless (June building Ceramics” with Laura Waters and Jim Wallace Arizona, Flagstaff 18–22). “Objects and Ideas” with Sally Brogden (June (June 23, 25, 28, August 1); fee: $430, includes firings. 25–29). “Dynamic Jauntiness” with Annie Chrietzberg “Ceramic Mural Project” with Don Bendel (July 7–12). Skill levels vary. “Ceramic Effigy Pots,” handbuilding (July 9–13); fee: $425, includes clay. “Finials as Fun,” “Slipping, Slicing and Stacking,” throwing and slip decora- and firing with Terry Russell (August 4–8); fee: $275; tion with Tony Winchester (July 14–18); fee: $300, includes design and fabrication of large sculpture with Donna materials fee, $25. Contact Sabina Miller, Eureka Springs Billick (July 16–20). “Making Pots Meaningful” with materials and bisque firing. “Throwing and Smoking,” School of the Arts, 15751 Hwy. 62 W., Eureka Springs throwing and raku firing with Joni Pevarnik (July 21–25). Chris Staley (July 23–27). “Garden Vessels and Earthly 72632; [email protected]; www.esartschool.org; Delights” with Ellen Sachtschale (July 30–August 3). Fee (unless noted): $250, includes materials and firings. (479) 253-5384. All skill levels. Contact Ellen Tibbetts, Coconino Com- “Berning Sculptures and Vessels,” alternative throw- munity College, 2800 S. Lone Tree Rd., Flagstaff 86001; Arkansas, Mountain View ing techniques and handbuilding with Kelly Berning and Trent Berning (August 6–10). “Basic Alternative [email protected]; (928) 226-4220. “Slip Decorating” with Judi Munn (June 21); fee: $55. Contact Melody Miller, Ozark Folk Center, PO Box Raku” with Eduardo Lazo (August 13–17). “Advanced “Wood Fire Workshop,” throwing, handbuilding, glazes 500, Mountain View 72560; [email protected]; Alternative Raku” with Eduardo Lazo (August 20–24). and clay bodies with Jason Hess (July 21–August 4); www.ozarkfolkcenter.com; (870) 269-3851. “Porcelain Slip Construction” with Geraldine Wallace fee: $800, includes wood, all clay and glaze materials. (August 27–31). Fee (unless noted above): $375, includes Participants may bring bisqueware. Beginning through California, Idyllwild clay. Skill levels vary. Contact Linn Bottorf, Mendocino advanced. For more information, e-mail Jason Hess after “Hot Clay: Six Workshops,” first week, “Figurative Ce- Art Center, 45200 Little Lake St., Mendocino 95460; April 15. Contact Jason Hess, Northern Arizona University, ramics” with Esther Shimazu, “Alternative Raku” with [email protected]; www.mendocinoartcenter.org; PO Box 6020, Flagstaff 86011; [email protected]; Eduardo Lazo and “Keeping the Lid On” with Ingrid (800) 653-3328. (928) 699-8984. Lilligren and Terry Rothrock, second week, “Pouring Vessels” with Richard Burkett, “Kichwa/ Ecuador Pot- California, Nevada City Arizona, Prescott tery” with Estela Dagua and “Tile Extravaganza” with “Glazes: Mixing and Dipping,” hands-on glaze mixing for “Ceramics with Attitude,” handbuilding functional Ingrid Lilligren and Terry Rothrock (June 22–27, June beginners (August 2–3); fee: $145, includes materials.

Ceramics Monthly April 2008 48 “What Makes a Glaze? Altering Recipes and Line Blends” Colorado, Fort Collins 80541; [email protected]; www.ancientarts.org; (August 4–8); fee: $300, includes materials and firings. “Ancient Culture through Pottery,” handforming, (970) 222-2322. Instructor: Chic Lotz. Skill levels vary. Contact Chic Lotz, , decorating, corrugating and trench-kiln Colorado, Pagosa Springs Mud Hut Ceramics Center, PO Box 556, North San Juan firing (using only native materials that were available 95960; [email protected]; www.potterypoet.com; to Ancestral Pueblo Indian potters) with Gregory S. “Anasazi Pottery at Chimney Rock Archaeological Area,” (530) 288-3200. Wood (June 2–5); fee: $150, includes materials and handforming, burnishing, decorating and trench-kiln firing (using only native materials that were available California, Ojai firings. Additional $90 for 2 graduate credits through Adam State College. All skill levels. Instruction in Eng- to Ancestral Pueblo potters) with Gregory S. Wood “Wheel Throwing for Adults” with Shevon Sullivan lish and Spanish. Contact Gregory S. Wood, Ancient (August 1–3); fee: $150, includes materials, firings and and Stephanie Raser (May 23, 24, 25 and June 8); fee: Arts, Adams State College, PO Box 27, Masonville, CO archaeological tour. Additional $90 for 2 graduate credits $495/one session; $550/two sessions. “Luster Glazes,” 80541; [email protected]; www.ancientarts.org; through Adams State College. All skill levels. Instruction in theory, glazing and firing with Myra Toth (June 12–15); (970) 222-2322. English and Spanish. Contact Gregory S. Wood, Ancient contact for fee information. “Adult Handbuilding,” slab Arts, Adams State College, PO Box 27, Masonville, CO construction, glazing and firing with Shevon Sullivan and Colorado, Grand Junction 80541; [email protected]; www.ancientarts.org; Stephanie Raser (June 28, 29–July 13); fee: $240/one ses- “Functional Pots: Aesthetics of Form and Function” (970) 222-2322. sion; $325/two sessions, includes materials and meals. All demonstration, throw- skill levels. Contact Janat Dundas, Beatrice Wood Center ing, altering a variety for the Arts, 8560 Ojai-Santa Paula Rd., Ojai 93023; of forms, slips, glazing [email protected]; www.beatricewood.com; and firings with Peg (805) 646-3381. Malloy (July 25–27); fee: California, San Marcos $175; members, $150, includes one meal. All “The Raku Process,” hands-on forming, surface treatment, skill levels. Contact glazing and firing with Steven Branfman (May 28–June 1); Terry Shepherd or Ca- fee: $385; CASD members, $365, includes materials and mille Silverman, The Art firings. Contact Jackson Gray, CASD, Inc., PO Box 22524, Center, 1803 N. 7th St., San Diego 92192; [email protected]; Grand Junction 81501; www.clayartistsofsandiego.org; (858) 270-3828. [email protected]; California, Santa Cruz www.gjartcenter.org; (970) 243-7337, ext. 1. “Large Pots for Beginning and Intermediate Students,” handbuilding and throwing, stressing Japanese and Ko- Colorado, La Veta rean techniques with George Dymesich (August 1–3); fee: “Majolica Tile Painting” $180, includes firing. Contact George Dymesich, Santa with Donna Rozman Cruz Adult School, 7475 Oak Ridge Rd., Aptos, CA 95003; (July 1 or 2); fee: $49. [email protected]; (831) 475-5614. “Plates A Go-Go,” ma- jolica technique with California, Walnut Creek Donna Rozman (July 3); “Carved Vessels” with Lynne Meade (July 20). “Carv- fee: $70. “Alternative ing and Decorative Surface Treatments” with Cynthia Firing Using Smoke” Siegel (August 18–22). “Ocarina’s” with Terri Sugg with Elizabeth James (August 23–24). Contact Walnut Creek Civic Arts, PO (July 31–August 1, 7); Box 8039, Walnut Creek 94596; www.arts-ed.org; fee: $120. Contact Pi- (925) 943-5846. non Hill Pottery, Clay summer workshops 2008 Colorado, Arvada Studio and Gallery, PO Box 713, La Veta 81055; “Assembled and Altered,” hands-on and demonstration www.pinonhillpottery. throwing with Blair Meerfeld (June 28–29). “Handbuild- com; (719) 742-0213. ing: Form+Surface+Spirit,” hands-on and demonstration handbuilding with Tom Kerrigan (July 12–13). “Animal Sculpture” with Cassandra Sharon; or “The Simple Cup,” hands-on and demonstration throwing with Megan Ratchford (July 16–August 13); fee: $120, includes materials and firings. “Tradition and Innovation,” dem- onstration and throwing with Takashi Nakazato (August 2–3). “Mold Making” with Katie Caron (August 16–17); fee: $160, includes some materials. Fee (unless noted above): $160, includes materials and firings. Skill levels vary. Contact Bebe Alexander, Arvada Center for the Arts and Humanities, 6901 Wadsworth Blvd., Arvada 80003; [email protected]; www.arvadacenter.org; (720) 898-7239. Workshop participants prepare native clay for Colorado, Bayfield handbuilding at an Anasazi Pottery workshop at “Raven Ridge Pottery Workshop,” Anasazi and Mimbres Mesa Verde National Park, Colorado. handbuilding, slipping, yucca brush painting and trench- kiln firing with Clint Swink (August 1–9); fee: $1650, includes materials, firings, lodging, airport transfer Colorado, Snowmass Village and meals. All skill levels. Contact Clint Swink, Swink “Handbuilt Pots: Form, Function and Context,” hand- Art, 688 Raven Ridge, Bayfield 81122; [email protected]; building, template and pattern making, soda firing www.swinkart.com; (970) 563-4624. and low-fire glazes with Mark Pharis (June 9–20); fee: $765; studio fee, $135. “Ceramic Head Constructions,” Colorado, Chimney Rock Archaeological Site handbuilding, coil, slab and pinch construction, glazing, “Puebloan Pottery Workshop,” replicate Pueblo III slips, stains and firing with Stan Welsh (June 16–27); fee: Mesa Verde, black-on-white pottery with Greg Wood $795; studio fee, $135. “Sculpture Foundations: Ideas and (August 1–3); fee: $150, includes all material, firings Solutions,” handbuilding, connecting carving and welding and archaeological ruins tour. Contact Livia Lynch, with Nathan Lynch (June 30–July 4); fee: $600; studio Chimney Rock Interpretive Assoc., PO Box 1662, Pa- Colorado, Mesa Verde fee, $75. “Slab and Coil: Handbuilding Fundamentals,” gosa Springs 81147; [email protected]; “Anasazi Pottery at Mesa Verde National Park,” with Sam Harvey and Jill Oberman (June 30–July 11); www.chimneyrockco.org; (970) 264-2287. handforming, burnishing, decorating, corrugating and fee: $845; studio fee, $135. Skill levels vary. All include trench-kiln firing (using only native materials that were studio fee. Contact Doug Ellis, Anderson Ranch Arts Colorado, Denver available to Ancestral Pueblo Indian potters) with Gregory Center, 5263 Owl Creek Rd., Snowmass Village 81623; “Moldmaking and Slip Casting” with Jonathan Kaplan S. Wood (June 16–21); fee: $395, includes materials, [email protected]; www.andersonranch.org; (July 12–13); fee: $200, includes materials. Contact firings, campsite, t-shirt and trips to archaeological sites (970) 923-3181, ext. 201. Jonathan Kaplan, Ceramic Design Group, 3520 Brighton and museums. Additional $135 for 3 graduate credits Blvd., Denver 80216; [email protected]; through Adams State College. All skill levels. Instruction in Colorado, Telluride [email protected]; (303) 295-0717; or English and Spanish. Contact Gregory S. Wood, Ancient “Finding Your Groove on the Wheel,” throwing, hand- (303) 909-5488. Arts, Adams State College, PO Box 27, Masonville, CO building and reduction kiln firing with Kent Harris (June

Ceramics Monthly April 2008 49 9–12, 14–15); fee: $600, includes clay, glaze and firings. Georgia, Watkinsville Annie Chrietzberg (July 19–20); fee: TBD. “Ceramics,” “Dynamic Ceramics,” throwing and handbuilding with “Adding Character to Your Work,” handbuilding throwing and glazing with Larry Spears (August 8–10); Annie Chrietzberg (August 23–24); fee: $250, includes and throwing with Judith Duff (August 30–31); fee: fee: TBD. Skill levels vary. Contact Megan Perry, - clay, glaze and firings. Skill levels vary. Contact Jennifer $135. Contact Cindy Farley, Oconee Cultural Arts napolis Art Center, 820 East 67th St., Indianapolis 46220; Heflin, Ah Haa School for the Arts, PO Box 1590, Tel- Foundation (OCAF), 34 School St., Watkinsville 30677; [email protected]; www.indplsartcenter.org; luride 81435; [email protected]; www.ahhaa.org; [email protected]; www.ocaf.com; (706) 769-4564. (317) 255-2464. (970) 728-3886. Idaho, Ketchum Connecticut, Brookfield “Decals for Ceramics, Glass and Enamel Silk Screen “Electric Kilns” with Jeff Zamek; or “Cone 6 Clay and “Architecturally Inspired Pots,” throwing with Dan Ander- Printing Made Easy,” hands-on with Rimas VisGirda Glazes” with Jeff Zamek (June 7); fee: $75. “Glaze Ap- son (July 18–20); fee: $225. Contact Julie Singer, Boulder (June 16–21); fee: $270 for no credit, includes materi- plication” with Angela Fina (June 8); fee: $165. “Raku Mountain Clayworks, PO Box 3725, Ketchum 83340; als and firings. Instruction in English and Lithuanian. Firing” with Barbara Allen (June 21–22); fee: $240. [email protected]; www.bouldermtnclay.com; “Amaco: Glazing, Handbuilding, Throwing and Kiln Fire “Discover the Potter’s Wheel” with Chris Alexiades (June (208) 726 4484. Exploration for Teachers and Students,” hands-on with 28–29); fee: $240. “Clay Diana Faris (June 23–27). Intensive,” throwing, “Gamble’s Clay Adven- spinning, thinning, alter- tures,” hands-on with ing and trimming with David Gamble (July 28–Au- Kristin Muller (August gust 1). Fee/session: $1005 4–8); fee: $450. Skill levels for 3 credit hours; $502.50 vary. Contact Heather Las- for two credits, includes kowski, Brookfield Craft firings and some materi- summer workshops 2008 Center, 286 Whisconier als. All skill levels. Contact Rd., Brookfield 06770; Katherine Fries, University heather@brookfieldcraft- of Indianapolis, Dept. of center.com; www.brook- Art and Design, 1400 E. fieldcraftcenter.org; (203) Hanna Ave., Indianapolis 775-4526. 46227; [email protected]; Connecticut, Canton www.uindy.edu; (317) 788-3253. “The Five Days of Fire,” glazing and firing (June Indiana, New Harmony 16–20); fee: $495, in- “UE New Harmony Ceram- cludes some materials ics Workshop,” throwing, and glaze. “Patterned handbuilding, glazing, kiln Porcelain and Pots,” design and firing with Les throwing, stamping, Miley (June 23–July 25); fee: molding and carving $500, non-credit; UE tuition with Matt Towers (June for 3 credits also available. 28–29). “Handbuilt Intermediate/advanced. Sculptural Vessels” with Contact Les Miley, New Har- John Rohlfing (July 12– mony Ceramics Workshop, 13). “Fire and Smoke,” University of Evansville, glazing and firing (July 1212 Plaza Dr., Evansville 26–28); fee: $295. 47715; (812) 476-1555; “Crystalline Glazes,” [email protected]. throwing, assembling, Iowa, Okoboji glazing and firing (Au- “Coilbuilding, Wheel Work gust 2, 24). “Throwing and More,” with Rimas Gigantic Pots,” throwing, VisGirda (August 4–8); hands-on and unique fee: $215, includes ma- techniques with Paul terials, glazes, firings and Chaleff (August 16–17); teacher re-certification fee: $245. Instructor credit. Instruction in Eng- (unless noted above): A workshop participant models a fox at the Beth Cavener Stichter workshop at Hummingbird, Jacksonville, Oregon. lish and Lithuanian. All Tim Scull. Fee (unless skill levels. Contact Katie noted above): $225. Skill levels vary. Contact Tim Scull, Illinois, Lake Forest Meyer, Pearson Lakes Art Center, 2201 Highway 71, Canton Clay Works, 150 Cherry Brook Rd., Canton “Two Day Workshop,” handbuilding, throwing and Okoboji 51355; [email protected]; www.lakesart.org; 06019; (860) 693-1000; [email protected]; decoration with Liz Smith (August 2–3); fee: $115. (712) 332-7013. www.cantonclayworks.com. Contact Kate Biderbost, Stirling Hall, 60 East Old Mill Louisiana, Monroe Georgia, Decatur Rd., Lake Forest 60045; [email protected]; (847) 615-7480. “Crystalline Porcelain,” throwing, glazing and firing with “Figure Stories,” hands-on sculpture with Cynthia Donald R. Holloway (July 14–19); fee: $250, includes Consentino (June 6–8). “Water-Based ,” Illinois, Sandwich materials, firings, some meals and a Crystalline Porcelain hands-on china painting, stamping and screening with “Pouring Vessels: Functional Stoneware/Single Firing” Photography class. Advanced. Contact Donald R. Hol- Paul Lewing (July 25–27); fee includes china paints (June 1–13); fee: $2525 (one-week only, $1550), includes loway, Crosscraft Originals, 18 Jana Dr., Monroe 71203; and multiple firings. “Elegant and Intimate,” hands-on lodging, meals, firings and materials. “Journey: Beyond [email protected]; (318) 343-9220. slab construction and surface decoration with Liz Zlot Chicago” (July 20–27); fee: $2130, includes lodging, Summerfield (August 1–3). “Enriching the Figure,” meals, firings, materials, 11 follow-up critiques and final Maine, Deer Isle demonstrations with Adrian Arleo (August 16–17); fee: exhibition at Center Street Clay. “Covered Jars: Functional “When is a Cup Not a Cup,” throwing and handbuilding $135, includes breakfast and snacks. Fee (unless noted Stoneware/Single Firing” (August 17–23); fee: $1550, with Anne Hirondelle (June 1–13). “From Slime to the above): $295, includes materials, breakfast and snacks. All includes 24-hour studio access, lodging, meals, firings Sublime,” mold making with Benjamin Schulman (June skill levels. Contact Luba Sharapan, MudFire Clayworks, and materials. Instructor: Steven Hill. Skill levels vary. 15–27). “Multiple Meanings,” throwing, handbuilding, 175 Laredo Dr., Decatur 30030; [email protected]; Contact Kim Miner, Center Street Clay, 218 West Cen- mold making, slips and glazes with George Bowes (June www.mudfire.com; (404) 377-8033. ter St., Sandwich 60548; [email protected]; 29–July 11). “Informing Forms,” stoneware and porcelain, www.centerstreetclay.com; (815) 570-2030. throwing, handbuilding, slips and glaze for high-fire Georgia, Roswell Illinois, Sugar Grove reduction and salt-firing with Jack Troy (July 20–August “The Human Head,” handbuilding and low-fire surfaces 1). “Intricacies of Form and Function,” throwing, hand- “Master Class: The Art of Understanding Craft” with with Tom Bartel (June 2–6); fee: $385. “Form and Fin- building, mold making, slips and glazes and salt-firing with Matt Long (June 9–14); fee: $275, includes 25 lbs. ish,” demonstration, throwing and high-fire surfaces Sanam Emami (August 3–15). “Coils Run Amok” with of clay. Intermediate through professional. Contact with Susan Filley (August 2–3); fee: $130. “Focus on Chris Gustin (August 17–29). “Thinking Through Pots,” Doug Jeppesen, Waubonsee Community College, the Figure,” handbuilding and low-fire surface with manipulating wheel-thrown elements into new pieces Route 47 at Waubonsee Dr., Sugar Grove, 60554; Debra Fritts (August 11–15); fee: $330, includes eve- with Sequoia Miller (August 31–September 6); fee: $380. [email protected]; (630) 466-7900, ext. 2505; ning studio access and 25 lbs. of clay. All skill levels. http://artdept.waubonsee.edu/ceramics/index.htm. Fee/session (unless noted): $710. Skill levels vary. Contact Contact Debra Fritts, Roswell Art Center West, 1355 Candy Haskell, Haystack Mountain School of Crafts, PO Woodstock Rd., Roswell 30075; [email protected]; Indiana, Indianapolis Box 518, Deer Isle 04627; [email protected]; www.roswellclaycollective.com; (770) 641 3990. “Pots, Glorious Pots!,” functional and sculptural work with www.haystack-mtn.org; (207) 348-2306.

Ceramics Monthly April 2008 50 Maine, Monroe Contact Nancy Selvage , Ceramics Program at Harvard, 219 Massachusetts, Williamsburg “Summer Solstice Side by Side” (June 19–22); fee: Western Ave., Boston 02134; [email protected]; “Painting with Fire: Native American Firing Techniques and $400, open to all ages. “Process Immersion: The Full www.fas.harvard.edu/ceramics/; (617) 495-8680. More,” throwing, handbuilding and firing with Bob Green Cycle,” primitive, raku and stoneware firings (July (June 1–7). “Colored Clay,” handbuilding with Naomi Lin- Massachusetts, Somerville 7–14); fee: $750. “Foundation of Personal Practice” denfeld (June 13–15); fee: $490, includes materials, lodging (July 31–August 6); fee: $750. Instructor/session: “,” two-part, hands-on workshop with Gabri- and meals. “Raku Firing: Hot! Hot! Hot!” with Bob Green Squidge Liljeblad Davis. All skill levels. Contact Squidge elle Fougere (June 7–21); fee: $270; members, $135, (June 28–29); fee: $330, includes materials, lodging and Liljeblad Davis, Starflower Farm and Studios, 941 includes materials. Beginning/intermediate. Contact Lynn meals. “Wheel Time: Beginning and Intermediate Ceram- Jackson Rd., Monroe 04951; [email protected]; Gervens, Mudflat, 149 Broadway, Somerville 02145; ics,” throwing, glazing and firing with Sharon Pollock (June www.starflowerfarmstudios.com; (207) 525-3593. [email protected]; www.mudflat.org; (617) 628-0589. 22–28). “Ikebana: Flower and Clay,” handbuilding and Massachusetts, Stockbridge throwing with Denise Siska Green , Reiko Nakajima and Maine, Newcastle Atsumi Sewell (August 7–10); fee: $625, includes materi- “Large Forms, Lush Glazes,” surface and glazing with “Clay and Words: A Session for Artists Who Write” als, lodging and meals. “Handbuilding: Say It With Clay,” Bonnie Hull (June 23–27); fee: $300; materials fee, $40, with Mary Barringer (August 3–8); fee: $475, includes handbuilding, glazing and firing with Amy Schusser (August includes firings. Intermediate/advanced. Contact Cindy lodging and meals. Contact Tyler Gulden, Watershed 10–16). “The Multi-Faceted World of Clay,” throwing, Kelly, IS183 Art School, 13 Willard Hill Rd., Stockbridge Center for the Ceramic Arts, 19 Brick Hill Rd., New- handbuilding, glazing and firing with Bob Green (August 01262; e-mail [email protected]; www.is3.org; (413) 298- castle 04553; [email protected]; 17–23). Fee (unless noted above): $645, includes materials, 5252, ext. 105. www.watershedceramics.org; (207) 882-6075 lodging and meals. Beginning/intermediate. Contact Karen Totman, Snow Farm: The New England Craft Program, 5 Maryland, Annapolis Massachusetts, Truro “Capturing the Clay Moment: Wet Altering on the Clary Rd., Williamsburg 01906; [email protected]; “Creating Ceramic Tables from Design to Completion” www.snowfarm.org; (413) 268-3101. (June 28). “Garden Fountains, Bird Baths and Landscape Wheel,” throwing and altering with Aysha Pelts (June Ceramics: Large Scale Throwing and Handbuilding” 23–27); fee: $450. “Digital Imaging on Clay,” screen-print- Michigan, Kalamazoo (July 12). “Strategies for a Successful Business in Art: ing and Adobe Photoshop as tools with Warren Mather “Jeff Oestreich Workshop,” constructing forms, glazes Creating Money and Increasing your Network” (July 13). (June 30–July 4); fee: $450. “Beginning Throwing” with and firing with Jeff Oestreich (July 19–20); fee: $125. Fee/session: $100. Instructor: Jayne Shatz. Skill levels vary. Paul Wisotzky; or “Put a Lid on It! Vessels and Contain- Beginning through intermediate. Contact Brian Hirt, Contact Jayne Shatz, Jayne Shatz Pottery Studio, 452 ers,” methods for making aesthetically and/or functional Kalamazoo Institute of Arts, 314 S. Park St., Kalamazoo Laurel Valley Ct., Arnold, MD 21012; [email protected]; containers with Gay Smith (July 7–11). “Handbuilding 49007; [email protected]; www.kiarts.org; (269) www.jayneshatzpottery.com; (410) 757-6351. Sculptural Vessels,” pinching, , slab building, 349-7775. stamping, sgraffito, slips and underglazes with Sheryl Maryland, Baltimore Zacharia (July 14–18). “Making Better Pots,” throw- Michigan, Saugatuck “Animals and Humans: On and Off the Wheel,” ing and handbuilding with Mark Shapiro (July 23–25). “Altering the Wheelthrown Form,” throwing, handbuild- cutting and folding soft slabs, coiling, paddling and “Intermediate Throwing,” throwing taller, wider and ing and wood firing with Rob McClurg, Jason Briggs and pushing the clay, surface texture and drawing with thinner work with Anne Goldberg (July 28–August 1). Donovan Palmquist (June 8–21). “Site Specific Installa- Bernadette Curran and Krista Grecco (August 9–10); “Finishing Your Work in the Salt/Soda Kiln,” slips, glaz- tion,” studio approach to ceramic installation with Sadashi fee: $220; members, $200, includes clay, bisque fir- ing, wax and latex resists, stencils, stains, underglazes Inuzuka (July 6–19). “Object/Image,” handbuilding, ings and breakfast. All skill levels. Contact Mary and oxides with Anne Goldberg (August 4–7); fee: $260, throwing, screenprinting and transfer process with Israel Cloonan, Baltimore Clayworks, 5707 Smith Ave., Bal- students should brings 8–10 pieces of bisqueware to Davis (August 3–16). “Mold Making for Sculpture and timore 21209; [email protected]; class. “Clay Printing,” monoprints on wet clay with Design,” with Matthew Groves (August 5–18). Fee: www.baltimoreclayworks.org; (410) 578-1919. Mitch Lyons (August 11–15). “Off the Path, Down the $1200–2200, includes firings; materials, $150; lodging Maryland, Frederick “Throwing Large Forms” with Kevin Crowe (June 23–28); fee: $475. “Ceramic Sculpture” with summer workshops 2008 Shawn Grove (June 30–July 12); fee: $700. “Ceramic Decoration,” decoration in the forming process, carved, impressed and added decoration, slips, underglazes and overage color with Joyce Michaud (July 19–31); fee: $700, includes some materials and firings. “Mas- ters Throwing” with Joyce Mi- chaud (August 7–10); fee: $300. Skill levels vary. Contact Joyce Mi- chaud, Hood College, 401 Rose- mont Avenue, Frederick 21701; e-mail [email protected]; www.hood.edu; telephone (301) 696-3456. Maryland, Westminster “Ceramic Tile,” hands-on with Chris Foster; or “Tewa Pueblo Blackware Pottery,” hands-on with Kathy “Wan Povi” Sanchez (July 6–11). “Cherokee Pottery,” hands-on with Jane Osti; or “Life Casting,” hands-on with Ann Curtis (July 13–18). Fee/session: $270–420. Beginning through advanced. Contact Walt Michael, Common Ground on the Hill, 2 College Hill, Westminster 21102; [email protected]; www.com- mongroundonthehill.org; (410) 857-2771. Ted Saupe concentrates on a ceramic form at Santa Fe Clay, Santa Fe, New Mexico. Massachusetts, Boston “Appetizing Dishes,” presentation, demonstration and Trail” with Kevin Crowe (August 18–22). “Ceremonial and meals, $510/week. All skill levels. Contact Sarah vessel construction with Mary Roettger (June 23–30); fee: Vessels and Primitive Firings,” handbuilding and raku, pit Workneh, Ox-Bow, 36 South Wabash, 12th Fl., Chicago, $170, includes materials. “Botanical–Anatomical Cups and sagar firing with James Brunelle, Jr. (August 25–29). IL 60603; [email protected]; www.ox-bow.org; (800) and Saucers,” presentation, demonstration and vessel con- Fee (unless noted above): $355. Skill levels vary. Contact 318-3019. struction with Bonnie Seeman (July 7); fee: $85, includes Cherie Mittenthal, Truro Center for the Arts at Castle Hill, Mississippi, Natchez materials. “Soda: Spray the Glaze Through the Flames,” 10 Meetinghouse Rd., Truro 02666; [email protected]; firing with Crystal Ribich (July 22–25); fee: $225, includes www.castlehill.org; (508) 349-7511. “Composite Forms and Combining Sets,” throwing, materials and firings. Intermediate through professional. altering and combining forms with Conner Burns (June

Ceramics Monthly April 2008 51 16–21); fee: $450, includes studio access and clay. Nebraska, Omaha Nevada, Las Vegas Intermediate through professional. Contact Conner “Raku Workshop,” glazing and firing with Tom “Mastering Porcelain Form” with Tom Coleman (June Burns, Natchez Clay, 209 Franklin St., Natchez 39120; Harnack (June 21–22); fee: $185, includes glaze and 9–15); fee: $1470. “Extrusion” with Michael Sherrill [email protected]; www.natchezclay.com; (601) firings. “Glaze Workshop” with Tony Winchester (July (June 20–22); fee: $585. “Sculpting Into Porcelain Form” 446-6334. 26–27); fee: $200. “Handbuilding Workshop” with with Amy Kline (June 25–29); fee: $1200. “Soft Pots, Tom Hubbell (August 16–17); fee: $250. Contact Tom Bisque Molds and Layered Low-fire Colors” with Lisa Missouri, Ellsinore Harnack, Omaha Clay Works, 1114 Jones St., Studio Orr (July 2–6); fee: $1200. “Red Hot Reds: Learn to Fire “Functional Pots and Handbuilding,” throwing, C, Omaha 68102; [email protected]; an All-Reds Kiln in a Geil Kiln” (July 16–20); fee: $850. handbuilding, surface embellishment and firing (June www.omahaclayworks.com; (402) 346-0560. “Hands-on Workshop” with Susan Filley (July 23–27); 6–13); fee: $450; participants may bring bisqueware. fee: $1200. “Throwing Large Pots” with Ben Owens III “Surface, Form, Manipulation and Woodfiring,” throw- Nevada, Henderson (August 2–3); fee: $490. All fees listed include lodging. ing, handbuilding, glazing and firing (June 16–29); fee: “Throwing and Soda Fire Workshop,” hands-on throwing Contact Pottery West, 5026 N. Pioneer Way, Las Vegas $650. “Throwing Pots and Raku” (July 4–6); fee: $165, and firing with Matt Long (July 12–15); fee: $250, includes 89149; [email protected]; www.potterywest.com; participants may bring bisqueware. Instructor: David firings and some meals. Intermediate through profes- (702) 987-3023. Porter. All fees include materials, meals and lodging. sional. Contact Donna Potter, Mission Hills Pottery, 1028 All skill levels. Contact David Porter, Raven Center Santa Ynez Ave., Henderson 89002; [email protected]; Nevada, Tuscarora for the Arts, 514 County Rd. 418, Ellsinore 63937; (702) 461-3398. “Session #1,” throwing, raw glazing and single firing (July davidporter@ravencenter; www.ravencenter.org; (573) 12–25). “Session #2,” throwing, raw glazing and single 998-2611. Nevada, Incline Village firing (July 26–August 8). Instructors: Ben Parks, Vicie “Color and Personality on Pottery Surfaces with Majolica,” Missouri, Kansas City Mixer and Jerry Hendershot. Fee/session: $1300, includes with Linda Arbuckle (June 2–6); fee also includes glazes. lodging, glaze materials and firings. Instruction in English “Week Long Workshop,” throwing and glazing with “Throw Big or Go Home,” throwing and decorating and Polish. All skill levels. Contact Ben Parks, Tuscarora Pot- summer workshops 2008 Lynn Smiser Bower (June 8–14); fee: $650, includes 25 with Mattie Leeds (June 7–8); fee: $240, includes clay tery School, 1 Main St., Tuscarora 89834; [email protected]; lbs. of clay and firings. “Two Day Workshop,” demon- and lunches. “Teapots,” throwing and handbuilding www.tuscarorapottery.com; (775) 756-5526. stration and throwing with Nick Joerling (August 2–3); with Sam Chung (June 9–13); fee also includes clay and fee: $150. Skill levels vary. Contact Laura DeAngelis, glazes. “Crystalline Glazed Porcelain: Throwing A–Z,” New Jersey, Demarest Red Star Studios Ceramic Center and Gallery, 821 W. with Xavier Gonzalez (June 16–20); fee also includes “From the Oven to the Table: Pots for Cooking and 17th St., Kansas City 64108; [email protected]; clay, glazes and lunches. “Fast Fire Pottree,” raku and Serving,” demonstrations and hands-on exploration www.redstarstudios.org; (816) 474-7316. fast firing methods with Randy Brodnax and Don Ellis of issues of function and aesthetics with Robbie Lobell Montana, Helena (June 23–27); fee also includes clay and glazes. “Hand- (June 16–20); fee: $450; additional materials fee. “How to Fire the Small Gas Kiln” with Bea Bloom (TBD); fee: “Drawn to the Surface,” drawing and painting tech- building: Tricks of the Trade,” with Vince Pitelka (July niques on porcelain with underglazes, cobalt blue and 7–11); fee also includes clay and glazes. “Hollow Core $145, includes materials and firings; participants need to china paints with Akio Takamori and Kurt Weiser (June Ceramic Constructions,” sculpture with Bobby Scrog- bring 15–20 glazed pots. Skill levels vary. Contact Lorraine 16–27); fee $850, includes materials. “Beyond Brown: gins (July 14–18); fee also includes clay. “The Portrait Zaloom, the Art School at Old Church, 561 Piermont Glazing for the Wood Kiln,” glazing, wood, salt and soda and Asymmetrical Emotion,” figurative sculpture with Rd., Demarest 07627; [email protected]; www.tasoc.org; firing with Josh DeWeese (July 9–13); fee: $475. “To the Arthur Gonzalez (July 19–20); fee: $240, includes clay (201) 767-7160. Tonic of Any Key...,” installation and site-specific work in and lunches. “Personal Vocabulary in Form and Function,” New Jersey, Layton throwing and handbuilding with Randy Johnston (July clay with Walter McConnell and Linda Sormin (August “The Art of Pottery,” throwing, handbuilding and firing 21–25); fee also includes clay and glazes. “Lidded Pots,” 4–8); fee: $550. “Surface Enrichment and Working in with Josh DeWeese (May 30–June 3); fee: $510. “Ce- throwing with Bill van Gilder (July 28–August 1); fee Earthenware,” hands-on throwing and surface decoration ramics: The Still Life/A Center Piece,” composition and using earthenware with Ron Meyers (August 22–24); fee: also includes clay and glazes. Fees (unless noted above): throwing with Anat Shiftan (June 13–17); fee: $510. “I $320. All skill levels. Contact Steven Young Lee, Archie $495, includes firing and lunches. All skill levels. Contact am Fancy and So Can You,” plaster, altering, darting, Bray Foundation for the Ceramic Arts, 2915 Country Sheri Leigh O’Connor, Sierra Nevada College, 999 Tahoe sprigs and stamps with Kathryn Finnerty (June 20–24); Club Ave, Helena 59602; [email protected]; Blvd., Incline Village 89451; [email protected]; fee: $505. “Pinch, Pottery and Pit-firing,” throwing, www.archiebray.org; (406) 443-3502. www.sierranevada.edu/workshops; (775) 881-7588. pinch method, burnishing, terra sigillata and firing with Jimmy Clark (June 27–July 1); fee: $495. “Salt Glazes,” throwing, slips, glazes and firing with Phil Rogers (July Josh DeWeese talks about glazes with a workshop participant at Hummingbird, Jacksonville, Oregon. 4–8); fee: $515. “Sake Bottles: Abstract Clay from Plaster Molds,” molds, firing and slip casting with Jim Chaney (July 11–15); fee: $525. “Dynamic Relationships,” hand- building and modeling human and animal forms with Michael Flynn (July 18–22); fee: $500. “Open Studio with Firings Galore” with Bruce Dehnert (July 25–28); fee: $390. “Between Clay and Mind,” throwing, sculpt- ing and firing with Torbjörn Kvasbø (August 1–5); fee: $560. “Between Clay and Mind: Firing the Anagama,” throwing and wood-firing with Torbjörn Kvasbø (August 6–12); fee: $710. “Woodfiring the Two Chamber Kiln,” throwing and firings with Lynn Munns (August 22–26); fee: $530. “Potential Pottery,” throwing with Ayumi Horie (August 30–31); fee: $300. Fees include one bag of clay. Skill levels vary. Contact Registrar, Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; [email protected]; www.petersvalley.org; (973) 948-5200. New Jersey, Loveladies “Visiting Artist,” glazing, kiln design and firing with John Britt (June 23–27). “Visiting Artists,” hands-on, demonstration, handbuilding and throwing in porcelain with Bryan Hopkins (July 7–11). “Visiting Artist,” hands- on, demonstration, mold making and handbuilding in porcelain with Lindsay Feuer (August 11–15). Fee/session: $400; members, $350; additional materials fee includes firing and glazing. Intermediate through professional. Contact Theresa Boeckell-Foster, Long Beach Island Foundation of the Arts & Sciences, 120 Long Beach Blvd., Loveladies 08008; [email protected]; www.lbifoundation.org; (609) 494-1241. New Jersey, Surf City “Dare to Play,“ throwing and altering with Bernadette Curran (June 28). “Making Lively Pots,” throwing and methods of squaring, fluting and faceting with Gay Smith (July 26); fee: $75. “Form and Surface,” form, surface, molds and glazing demonstrations with Brenda Quinn (Au- gust 16). Fee (unless noted above): $60.00. All skill levels. Contact Matt Burton, m.t.burton gallery, 1819 N. Long Ceramics Monthly April 2008 52 Beach Blvd., Surf City 08008; [email protected]; New Mexico, Taos [email protected]; www.potterscouncil.org/islandclay; www.mtburtongallery.com; (609) 494-0006. “Traditional Hopi Pueblo Pottery,” ancient Southwest (866) 721-3322. Indian pottery techniques with White Swann (July New Mexico, Abiquiu New York, Cross River 14–19). “Traditional Pueblo Pottery,” ancient Acoma “New Mexico Spanish Colonial Pottery A647” with Ca- Indian pottery techniques with Deloros and Emma Lewis “Raku Firing” with David Hughes (June 22 or Au- milla Trujillo (June 23–29); fee: $275; after May 1, $375, (August 2–9). Fee/session: $525. Instruction in English gust 24). Students should bring up to eight bisqued includes some materials and firings. Instruction in English and Tewa. Beginning level. Contact Ursula Beck, Taos pots. Contact Katonah Art Center, 131 Bedford Rd., and Spanish. “Stoneware Pottery A721g,” handbuilding, Art School, PO Box 2588, Taos 87571; [email protected]; Katonah 10536; [email protected]; altering, glazing and firing with Barbara Campbell (July www.taosartschool.org; (575) 758-0350. www.katonahartcenter.com; (914) 232-4843. 7–13); fee: $295; after May 1, $395, includes materials and firings. “Stoneware Pottery A731c,” handbuilding, New York, Dix Hills New York, Katonah altering, glazing and firing with Barbara Campbell (July “Raku Beads, and Baubles” with Ruth Sachs (June “Clay Silver” with David Hughes (June 8); fee in- 14–20); fee: $295, includes materials and firings. “The 11, 17–18, 24–25); fee: $185; members, $175; materials cludes materials. Fee/session: $125. Skill levels vary. Secrets of Raku Pottery A811h” with Richard Hawley (July 28–August 3); fee: $320, includes some materi- als and firings. Beginning/intermediate. Contact Anna Maria Gonzales, Ghost Ranch, 401 Old Taos Highway, Santa Fe, NM 87505; [email protected]; www.ghostranch.org; (505) 982-8539.

“New Mexico Connection Workshop at Ghost Ranch,” hands-on image transfer, tile making and latex molds (Au- gust 29–31); fee: $100; limited to 20 participants. Contact Teresa Tunick, New Mexico Potters and Clay Artists, 131 Ridgecrest Dr., Santa Fe, NM 87505; [email protected]; www.nmpotters.org; (505) 986-8912. New Mexico, Albuquerque “Creating Personal Ceremonial Vessels,” clay digging, handbuilding, burnishing and outdoor firing (June 22–29); fee: $295, includes materials and firing. All skill levels. Contact Lia Rosen, Lia Rosen Pottery/Clay Kodesh, 4725 Trumbull Ave. SE, Albuquerque 87108; [email protected]; www.claykodesh.com; (505) 262-4801; (505) 463-5822. New Mexico, Des Moines “Micaceous Clay Pottery Workshop,” traditional process from preparing the clay to firing with Shel- den Nunez-Velarde (July 20–26); fee: $500, includes clay, lodging and meals. Beginning. Contact Gaye Brown, The Mandala Center, PO Box 158, Des Moines 88418; [email protected]; www.mandalacenter.org; (505) 278-3002. summer workshops 2008 New Mexico, Santa Fe “Porcelain Wheel Throwing Large and Small Vessels” with Heidi Loewen (June 11–12, 25–26, July 11–15, 25–29, August 15–19 or 22–26). Two-day fee: $700. Five-day fee: $1400. Instruction in English, French and some German. Intermediate through professional. Contact Heidi Loewen, Heidi Loewen Porcelain, 315 Johnson St., Santa Fe 87501; [email protected]; www.heidiloewen.com; (505) 660-4585.

“Monoprints with Wet Clay,” monoprinting with colored clay with Mitch Lyons (June 30–July 4); fee: $550. All skill levels. Contact Mitch Lyons, Institute of American Indian Arts, PO Box 40, New London, PA 19360; [email protected]; www.mitchlyons.com; (610) 869-8652.

“The Ceramic Figure,” hands-on handbuilding and figurative sculpture with Roxanne Swentzell (June 9–13). “Baroque, Sumptuous, Encrusted, “ hands-on handbuild- ing, mold making, slip casting and glazing with Susan Beiner (June 16–20). “Madness in the Lab with Plaster Mexico City artist Maribel Portela works on a large-scale figurative sculpture at the Southwest School of Art and Pictures,” hands-on mold making, slip casting, surface and Craft, San Antonio, Texas. transfer techniques with Ian Anderson (June 23–27). “The Human Figure: Focus on the Head,” hands-on figurative fee, $10. Beginning through advanced. Contact Registrar, Contact Katonah Art Center, 131 Bedford Rd., sculpture with Tom Bartel (June 30–July 4). “The Danger Art League of Long Island, E. Deer Park Rd., Dix Hills 11746; Katonah 10536; [email protected]; www.katonahartcenter.com; (914) 232-4843. in Playing with Animals,” hands-on throwing and altering www.artleagueli.org; (631) 462-5400, ext. 222. anthropomorphic animals for functional pottery with New York, Freehold New York, Maplecrest Bernadette Curran (July 7–11). “Yellow Brick Road: “Handmade ,” hands-on designing, making, mold- “Clay for the Whole Family: Building Beautiful Birdhouses” From Here to Where?” hands-on with Adelaide Paul ing and glazing tiles with Frank Giorgini (June 7–8; or with Maureen Donovan (June 28–29); fee: $95. “Creating (July 14–18). “Permission to Play: Making Your Own June 21–22); fee/session: $225, includes materials. All Clay Whistles” with Leslie Yolen (July 5–6); fee: $95. “Easy Pots,” hands-on, developing your own style with Josh skill levels. Instruction in English and some Spanish. and Excellent Photo Transfer” with Kate Missett (July DeWeese (July 21–25). “Self Portraits, the Figure in Clay,” Contact Frank Giorgini, Giorgini Studio, 4425, Freehold, 5–7), fee: $315, includes materials. “Mastering Throwing self-portraits with Christyl Boger (July 28–August 1). “A 12431; [email protected]; www.udu.com; (518) Skills and Special Slip Decorating” with Michael Boyer Ceramic Smorgasbord,” hands-on throwing with Peter 634-2559. (July 12–14); fee: $200. “Salt Fire with Suze: Exploring Pinnell (August 4–8). “Figure and ,” figurative Intentions and Interpretations” with Suze Lindsay (July sculpture and ceramic with Beth Lo (August New York Garden City 17–22); fee: $475, includes materials. “Terrific Tile 11–15). Fee/session: $550, includes materials and firings. “Island Clay,” alternative firing methods with Denis Making: The Art of Handmade Relief Tiles” with Ben Instruction in English, French, German and Spanish. Skill Licul, Hugh McElroy, Mena Romano, Jeff Shapiro and Culbertson (July 17–21); fee: $375, includes materials. levels vary. Contact Avra Leodas, Santa Fe Clay, 1615 Bill Shillalies (June 27–29); fee: $380; members, $330; “Inspired by Nature: Creating Unique and Complex Paseo de Peralta, Santa Fe 87501; [email protected]; register before June 13, $335; members register before Vessels” with Bonnie Seeman (July 25–30); fee: $475, www.santafeclay.com; (505) 984-1122. June 13, $285. Contact Carolyn Dorr, Potters Council, includes materials. “Altering Forms for Functional Pot- Ceramics Monthly April 2008 53 includes materials and bisque firing. “Exploring the Teapot Form,” throwing and altering teapots with Fong Choo (July 12–13); fee: $200. “Out-of-Round: Discovering New Shapes and Forms in Clay,” hands-on throwing and altering with Laura Ross (August 4–8); fee: $395, includes breakfast. “Outdoor Animals: Sculpture for your Garden,” handbuilding, clay and large scale sculpture with Susan Halls (August 22–24); fee: $270, includes breakfast. Skill levels vary. Contact Leigh Taylor Mickelson, Clay Art Center, 40 Beech St., Port Chester 10573; [email protected]; www.clayartcenter.org; (914) 937-2047. New York, Rosendale “Printing on Clay,” hands-on silkscreening on green- ware and wet clay, decals and firing with Jen Rose (July 28–August 1); fee: $715. Beginning/intermediate. Con- tact Mary Beth Wehrung, Women’s Studio Workshop, PO Box 489, Rosendale 12472; [email protected]; www.wsworkshop.org; (845) 658-9133. New York, Utica summer workshops 2008 “Salt Fired Porcelain and Stoneware,” hands-on, throw- ing, glazing and firing (June 7–14); fee: $485, includes firings. “Wood Firing: Firing the PrattMWP Anagama,” throwing and firing (July 5–13); fee: $535. Instructor: Bryan McGrath. Intermediate/advanced. Accommoda- tions available. Contact Bryan McGrath, Pratt MWP, 310 Genesee St., Utica 13502; [email protected]; www.mwpai.org; (315) 797-0000, ext. 2176. New York, Water Mill “Shino Firing,” firing with Malcolm Davis (July 18–20); fee: $350; members, $275, includes materials and firings. ”Master of the Art,” throwing demonstration with Sam Taylor (August 1–2); fee: $275; members, $200. Inter- mediate through professional. Contact Nancy Robbins, The Clay Art Guild of the Hamptons, PO Box 564, 41 Old Mill Road, Watermill 11976; [email protected]; www.hamptonsclayart.org; (631) 726-2547. New York, White Plains “All Fired Up: Ceramic Institute for Teachers,” special speakers, panel discussions, hands-on and information on firing and glazing with NYU professor, Judith Schwartz (July 7–11); New York State residents fee: $388.75, includes two credits through Westchester Art Work- shop/SUNY Westchester Community College, materials and firings. Beginning. Contact Lisa Santalis, Westchester Art Workshop, 196 Central Ave., White Plains 10606; [email protected]; (914) 606-7511. North Carolina, Asheville “Combining Techniques,” combining wheel, slabs, press molds and unique glaze application with Susan O’Brien (June 2–6). “Exploration of Form and Function,” slip and Angus Graham turns a pot in the clay studio at Haystack Mountain School of Crafts, Deer Isle, Maine. wax resist application, glazing, brush making and soda ters: No Glaze Fire” with Ellen Shankin (August 1–5); fee: lishment,” handbuilding with Erin Furimsky; or “Ornately firing with McKenzie Smith (June 9–13); fee: $495. “Sculp- $475, includes materials. “Porcelain Beads and Pendants” Functional: Form and Surface,” throwing and altering tural Inspirations: Where to Begin?,” fast pace building with Maureen Donovan (August 9); fee: $50. “Flashing with Kristen Kieffer (August 1–3). Fee/session: $305, techniques, small clay and wire objects and surface treat- and Fuming: Fire, Salt and Raku” with Randy Brodnax includes materials and firings. Intermediate/advanced. ments with Jill Allen (June 16–20). “Inspired by Nature,” (August 8–13); fee: $490, includes materials. “Sensuous Contact Adam Welch, Greenwich House Pottery, 16 wheel throwing, handbuilding, kohiki slip and altering Surface” with Susan Beecher (August 15–19); fee $360, Jones St., New York 10014; [email protected]; techniques with Akira Satake (June 23–27). “Imaginative includes material. “Porcelain and Soda Fire” with Bruce www.greenwichhousepottery.org; (212) 242-4106. Figures in Clay,” texture, glazes, layered surfaces with Dehnert (August 21–26); fee: $375, includes materials. Janis Mars Wunderlich (July 7–11). “Where Form and New York, Old Forge Skill levels vary. Contact Fran Imperiale, Sugar Maples Surface Meet,” handbuilding with Holly Walker (July “Decorate Your Own Pottery” with Kelly Barone (July Center for Creative Arts, Rte. 40, Maplecrest 12454; 14–18). “Making Sets and Composite Forms, “ throwing 22–24; or August 11–13); fee: $35/team; members, www.sugarmaples.org; [email protected]; and slab with Conner Burns (July 21–25). “Handbuilding $25/team. Workshop open to parent/grandparent/friend (518) 263-2073. Personal Forms,” coil, pinch, molds, form and surface and child, eight years and up. Beginning skill level. Contact development with Meredith Brickell (July 28–August 1); New York, Middlesex Barbara Getty, Arts Center/Old Forge, 3260 State Route fee: $550, includes twenty-five pounds of clay, firing, “Japanese Throwing and Trimming Techniques” hands-on 28, Old Forge 13420; [email protected]; only twelve students accepted. “Form and Surface for throwing and trimming with Steve Merritt (August 2–3); www.artscenteroldforge.org; (315) 369-6411. Soda Firing” with Gertrude Graham Smith (August 4–8); fee: $200, includes materials and firing. “Summer Intern- New York, Otego fee: $495. “Exploring Narrative and the Figure in Under ship in Production Pottery,” production pottery, clay and “August Clay Workshop,” handbuilding, throwing, glaz- Twelve Inches” with Tip Toland (August 11–15). Fee (un- glaze making, throwing, handbuilding, surface decoration ing and firing (July 28–August 24); fee: $1200, includes less noted above): $485, includes twenty-five pounds of and kiln loading with Annie Schliffer (June 1–September materials and some meals. “Raku Workshop” (August clay and firing. Skill levels vary. Contact Director, Odyssey 15); fee: $600/month, includes materials, firing, lodging 11–12, 18–19); fee: $155, includes materials and firing Center for Ceramic Arts, 236 Clingman Ave., Asheville and meals. Scholarships available. Skill levels vary. Contact for 8 pieces. Extra pieces: $5 each. Instructor/session: 28801; [email protected]; (828) 285-0210; Annie Schliffer, Rochester Folk Art Guild, 1445 Upper Hill Elizabeth Nields. All skill levels. Accommodations extra. www.highwaterclays.com. Rd., Middlesex 14507; [email protected]; www.rfag.org; Contact Elizabeth Nields, Elizabeth Nields Clay Workshop, North Carolina, Bakersville (585) 554-5463. 429 Chicken Farm Rd., Otego 13825; [email protected]; “Pine Root Pottery Wood Firing Workshop” with Mark (607) 783-2476. New York, New York Peters (June 1–7); fee: $600, includes materials for “Handbuilding Pots, Designing Form: Pitchers and Ewers,” New York, Port Chester firing. All skill levels. Contact Erin Peters, Pine Root handbuilding with Sam Chung; or “Surface and Color: A “How to Think in Clay: A Workshop for K-6 Art Teachers,” Pottery, 1108 Pine Root Branch Rd., Bakersville 28705; Focus on Terra Sigillata and Slip,” throwing and slips with pairing clay and curriculum for children, handbuilding for [email protected]; www.pinerootpottery.com; Stephen Robison (July 25–27). “Form and Surface Embel- teachers with Roberta Shapiro (July 28–29); fee: $180, (828) 688-1332. Ceramics Monthly April 2008 54 North Carolina, Brasstown ing,” with Bill Hunt (June 16–20). “Salt Firing,” glazing by Human Hands,” handbuilding, throwing, pinch, “Beginning Wheel Throwing” with Brant Barnes (June and firing with Joe Molinaro (June 23–27); participants coil, paddling, carving and burnishing with Jennifer 1–7). “Wheel Throwing, Press Molds and More” with Tali may bring bisque ware for glazing and firing. “Techniques Hill (August 10–16). Fee/session: $705, includes clay, Waterman (June 8–14). “Wild and Expressive Figurative in Form” with Susan Filley (June 30–July 4). “Sculpting glazes, firing, lodging and meals. All skill levels. Contact Clay Sculpture” with Barb Doll (June 22–28). “Southern and Drawing Elements of Nature” with Kate Sprengnether John Kinyon, Creative Arts Community, 15209 S.E. Folk Traditions in Clay” with Rodney Leftwich (June (July 7–11). Fee/session (unless noted above): $460–670; Gladstone St., Portland, OR 97236; [email protected]; 29–July 5). “Smoke, Fire and Color” with Susie Duncan non-credit, undergraduate or graduate credit. Skill levels www.creativeartscommunity.org; (503) 760-5837. (July 13–19). “Understanding Pottery (Intergenerational)” vary. Contact Joyce Ponder, CraftSummer­ 2008, Miami Oregon, Gresham with Martha Sullivan (July 20–26). “Raku, Salku, and University, Oxford 45056; [email protected]; “Summer Intensive Refresher,” throwing, slip decoration the Potter’s Wheel” with Rick Berman (August 3–9). www.craftsummer.org; (513) 529-7395. and soda firing with Stephen Mickey (June 23–July 3); “Throwing and Decorating High-fired Porcelain” with Doug Dacey (August 10–16). “Woodfire” with Peter Rose (August 17–24); fee: $700. “Raku, , Horsehair and Decoration for Experienced Potters” with Charlie and Linda Riggs (August 31–September 6). Fee (unless noted above): $478. Lodging and meals available for an additional fee. Contact John C. Campbell Folk School, One Folk Rd., Brasstown 28902; www.folkschool.org; (800) 365-5724. North Carolina, Charlotte “Handbuilt Raku” with Andrew Linton (May 31–June 14); fee: $90, includes firings, glaze and clay. Beginning through advanced. Contact Andrew Linton, Pottery Central, 4843 Monroe Rd., Charlotte, 28205; e-mail [email protected]; www.potterycentral.com; (704) 537-4477. North Carolina, Little Switzerland “Wildacres Art Workshops: Clay Studio,” hands-on, demonstrations, handbuilding, throwing, glazing and raku firing with Annette Sidner and Lynn Merhige (July 13–19, July 20–26); fee: $650/session, includes firings, lodging, meals and some materials. All skill levels. Contact Diane Zorn, Ringling College of Art and Design, 2700 North Tamiami Trail, Sarasota, FL 34234; [email protected]; www.ringling.edu/cssp; (941) 955-8866. North Carolina, Penland “Baskets, Boxes and More,” handbuilding with Sang Roberson; or “Majolica Color and Narrative Workshop,” handbuilding, throwing and majolica with Matthias Ostermann (May 25–June 6). “Corporal: Of, Related To, or Affecting the Body,” figurative sculpture with Cristina summer workshops 2008 Córdova; or “The Naturalistic Figure,” figurative sculpture with Arthur González (June 8–20). “Ceramic Installa- tion Across Time,” with Kristine Michael; or “Evocative Pots: Context and Content,” throwing, wood and salt firing with Mark Shapiro (June 22–July 4). “Combined Techniques: New Images,” handbuilding, throwing, mold making, multiple clays and firing with Paul Dresang and Matt Wilt; or “Surrealist ,” with Laura Jean McLaughlin (July 6–18). “Relief Sculpture: Clay as Process,” unfired clay and resin reliefs with Kelly Phelps and Kyle Phelps; or “Thrown Porcelain and Beautiful Glazes” with Angela Fina (July 20–August 20); fee: $940. “Bouncing Ideas Around the Room,” throwing with Gloria Kosco and Lisa Naples; or “Sculptural Bowls: Interior Spaces,” handbuilding with Jerilyn Virden (August 10–22). “Figure Sculpture in Clay,” with Kyu Yamamoto; or “Innovative Clay,” throwing and altering functional forms with Triesch Voelker and Lana Wilson (August 24–30); fee: $425. Fee (unless noted above): $688. Skill levels vary. Contact Susan Feagan, Penland School of Crafts, PO Box 37, Penland 28765; [email protected]; www.penland.org; (828) 765-2359. Ohio, Cleveland “Tile: Wetware Decorating Extravaganza” (August 1–3); fee: $275, includes materials, firings and lunch. Top: Rosemarie Greedy places a bag over Phil Roger’s head during a throwing contest at the Kelowna Clay “Tile: Making It, Getting It On and Taking It Outside” Festival, Kelowna, British Columbia, Canada. Bottom: Workshop participants watch a demonstration by Kevin (August 3–10); fee: $675, includes materials, firings and Crowe at Mud and Fire Potters, Little Meadows, Pennsylvania. lunch. Instructor: Angelica Pozo. All skill levels. Contact Angelica Pozo, Earthen Angel Ceramics, 1193 Holmden Ave., Cleveland 44109; [email protected]; Ohio, Westerville fee: $200 for three college credits, includes glazes, slips www.angelicapozo.com; (216) 241-6936. “Sex Pots: Otterbein Summer Ceramic Institute,” hand- and firings. Contact Stephen Mickey, Mt. Hood Com- building with Tom Kerrigan, Eva Kwong and Jim Bowling munity College, 26000 SE Stark St., Gresham 97030; Ohio, Kent (June 16–27); fee: $650, undergraduate credit, $1500; [email protected]; (503) 491-7149. “Kent Blossom Art in Ceramics,” hand-on, demonstration graduate credit, $1575; lab fee, $30, includes clay, Oregon, Jacksonville and firing with Kirk Mangus (June 16–22). Contact Kirk glazes and firings. Intermediate through professional. “Small Heads,” handbuilding sculpture with Beverly Mangus, Kent State University, PO Box 5190, Kent 44242; Contact Jim Bowling, Otterbein College, 33 Collegeview Mayeri (June 27–29). “Handbuilding with Slabs: Incor- [email protected]; www.kent.edu; (330) 672-2192. Rd., Westerville 43081; [email protected]; (614) porating Decoration in the Making Stage” with Dennis 823-1268. Ohio, Oxford Meiners (July 11–13). “Glaze Re-formulation Intensive” “Raku and Alternative Firing Techniques,” with Charles Oregon, Corbett with Jim Robinson, Bonnie Morgan and Dennis Meiners and Linda Riggs (June 13–15); fee: $260–$446; partici- “New Raku,” handbuilding, throwing, glazing and wax (July 14–18); fee: $500, includes some materials, three pants should bring bisque ware to fire. “Beginning Throw- resist with Jill Allen (August 3–9). “Ceramics: Made firings and meals. “Non-Fired Finishes and Structuresfor Ceramics Monthly April 2008 55 Sculpture” with Leslie Lee (July 25–27). “Make It Fancy,” 28–29); fee: $200, includes materials and lunch. All skill Techniques” soft slab construction, multi-level stamps, throwing, altering and surface decoration with Kathryn levels. Contact Neil Patterson and Sandi Pierantozzi, bas-relief and sprigging with Lana Wilson and Margaret Finnerty (August 1–3). Fee/session (unless noted above): Neighborhood Potters, 2034 Fairmount Ave., Philadelphia Bohls (July 14–18). “Beginning Handbuilding: Hollow- $305, includes some materials and meals. Skill levels vary. 19130; [email protected]; www.sandiandneil.com; Built Forms,” handbuilding and surface texture with Contact Leslie Lee, Hummingbird, 8150 Upper Applegate (215) 236-1617. Melody Tiemann (July 21–25). “Figurative Sculpture,” Rd., Jacksonville 97530; [email protected]; (541) handbuilding, coil method and carving on leather-hard Pennsylvania, Reading 899-7045; www.hummingbirdsouthernoregon.com. clay with Donna Polseno (July 28–August 1). Fee/session: “Ceramics for Teachers” with Karen Palcho (June 13–15); $400. Skill levels vary. Contact Gail Gentry, Appalachian Oregon, Portland fee: TBD. Contact Margaret Upham, GoggleWorks Cen- Center for Craft, 1560 Craft Center Dr., Smithville 37166; “Image Transfer Techniques” with Paul Andrew Wandless ter for the Arts, 201 Washington St., Reading, 19601; [email protected]; www.tntech.edu/craftcenter; (615) (July 17–18). Contact Georgies Ceramic and Clay Co., e-mail [email protected]; www.goggleworks.org; 597-6801. (610) 374-4600. Texas, Fort Worth Tennessee, Gatlinburg “LMRA Pottery Club Workshop,” greenware and surface enhancements with V Chin, Gary Huntoon, “Pots and Possibili- Bridgete Hauser and Jim Bob Salazar (June 20–22); ties” with Nick Joerling fee: $125. Contact Orbry Chamblee, 1819 E. Lake (June 1–7). “Small-scale Dr., Weatherford, TX 76087; [email protected]; Figures and Objects,” handbuilding, slips, www.lmrapotterystudio.com; (817) 223-6600. terra sigillata, colored Texas, San Antonio glazes and firings with “Ornately Functional: Forms and Surface,” hands-on summer workshops 2008 Michaelene Walsh (June throwing, handbuilding and stamped and slip trail 8–14). “Form, Utility and surfaces with Kristen Kieffer (July 18–20); fee: $220, Design” with Jane Shel- includes clay. Contact Dennis W. Smith, Southwest lenbarger (June 15–21). School of Art and Craft, 300 Augusta St., San Antonio “Firing the Anagama and 78205; [email protected]; www.swschool.org; (210) Wood Soda Kilns” with 224-1848, ext. 318. Jason Hess and Daniel Murphy (June 22–July 5); Utah, Park City fee: $825. “Ergonomics “Monoprints with Wet Clay,” printing with clay with and Design of Pottery” Mitch Lyons (June 20–24); fee: $550. All skill levels. with Sam Chung (July Contact Mitch Lyons, Spiro Arts, PO Box 40, New London 6–12). “The Language 19360; [email protected]; www.mitchlyons.com; of Molds” with Andrew (610) 869-8652. Takashi Nakazato giving a demonstration at The Arvada Center for the Arts and Martin (July 13–19). Humanities, Arvada, Colorado. “Parts and Pieces: Wheel Vermont, Bradford 756 NE Lombard, Portland 97211; [email protected]; Thrown Sculptures,” throwing, altering and assembling “Teapots and Teasets in the Pond Farm Tradition,” www.georgies.com; (503) 283-1353. with Virginia Scotchie (July 27–August 2). “Composite throwing, handbuilding and firing with Bruce Murray Form, Functional Objects” with Bruce Cochrane (August and Steven Daniel (August 11–22); fee: $650, includes “The Intimate Object CE701,” construction techniques, 3–9). Fee/session (unless noted above): $440. Skill levels materials and firings. Intermediate/advanced. Contact low-fire surfaces, slips, terra sigillata, stains and glazes vary. Contact Kim Newman, Arrowmont School of Arts & Bruce Murray, Bruce Murray Studio, 3458 South Rd., with Jill Allen (June 9–13); fee: $390, includes materials Crafts, 556 Parkway, Gatlinburg 37738; (865) 436-5860; PO Box 706, Bradford 05033; [email protected]; and firing. “Investigating Form and Surface with Majolica [email protected]; www.arrowmont.org. www.brucemurraypotter.com; (802) 222-5798. Glazing,” low-fire red clay and majolica glazing with Tennessee, Smithville Linda Arbuckle (July 16–20); fee: $490. Skill levels vary. Vermont, Shelburne Contact Sara Black, Oregon College of Art and Craft, “Telling Stories with Text and Found Object,” ceramic “Pottery Aesthetics and Techniques,“ with Todd 8245 SW Barnes Rd., Portland 97225; [email protected]; letterforms, stamps, inscriptions, plaster molds and Piker (June 7); fee: $140; members, $130, includes www.ocac.edu; (503) 297-5544. decals with Holly Hanessian (June 2–6). “Ceramics: materials. Intermediate through professional. Con- Ideas for Developing Forms and Surfaces,” handbuild- tact Joyce E. Huff, Shelburne Art Center, PO Box 52, Pennsylvania, Farmington ing, wheel throwing, surface texture and glazing with Shelburne 05482; [email protected]; “Finding Your Voice: Developing Your Own Style With Sandra Blain (June 9–13); fee includes firing, glazes and www.shelburneartcenter.org; (802) 985-3648. Clay,” demonstration and discussion with Yoko Sekino- slips. “Pots: Ideas and Making,” functional pots with Bove (June 1–7). “Beginning to Intermediate Wheel Linda Christianson (June 16–20). “Coil, Score and Slip: Vermont, Waitsfield Throwing Pottery” with Joe Sendek (June 8–14). “Small Handbuilding Functional Pottery,” coil and slab techniques “Raku Firing: Tips and Techniques for Great Results,” Scale Sculpture and Handbuilding” with Laura Jean with Gail Kendall (July 7–11). “Innovative Handbuilding with Luke Iannuzzi (June 23–24); fee: $200, includes McLaughlin (June 15–21). “Pots That Pour and More” Workshop participant at La Fratta art house, Marsciano, Italy. with Jason Bohnert (June 22–28). “Altered Clay and Mixed Media,” wheel-thrown and handbuilt forms with Robert “Boomer” Moore (July 6–12). “Allure of Altered Pots” with Susan Beecher (July 13–19). “Wood Fire: Out of the Frying Pan into the Fire” with Jim Dugan (July 20–26). “Plates and Bowls and Cups: A Fresh Look,” throwing, handbuilding and molds with Rick Hensley (July 27–August 2). “Wheel Thrown Pottery” with Valda Cox (August 3–9, 10–16). “Trapping Carbon at Touchstone,” Shino glazes with Malcolm Davis (August 18–25); fee: $825, includes materials and firings. “Personal Style for the Wood Kiln” with Shane Mickey (August 26–31). Fee (unless noted above): $495, includes materials and firings. Skill levels vary. Contact Touchstone Center for Crafts, 1049 Wharton Furnace Rd., Farmington 15437; [email protected]; www.touchstonecrafts.com; (724) 329-1370. Pennsylvania, Little Meadows “A Taste for Tea,” hands-on throwing (July 19–20); fee: $275, includes materials and lunches. “Wood- firing,” hands-on (July 26–27); fee: $165, includes firings and snacks. Instructor: Kevin Crowe. Skill levels vary. Contact Archie Johnson and Ruth Cohen, MUDANDFIREPOTTERS, 1552 Bowbridge Rd., Little Meadows 18830; e-mail [email protected]; www.mudandfirepotters.com; (570)623-3335. Pennsylvania, Little Meadows “It’s Pouring Pots!,” handbuilding teapots, pitchers and various small pouring pots with Sandi Pierantozzi (June

Ceramics Monthly April 2008 56 summer workshops 2008 Workshop participants sculpt from a live model during Judy Fox’s “Understanding Form Through Portraiture” workshop at Santa Fe Clay, Santa Fe, New Mexico.

glazes, firings and some meals. Discounted lodging Jim Keller (July 16–20); fee: $205; members, $165. bell, Robbie Lobell Pottery, 640 Patmore Rd., Coupeville available. Beginning through advanced. Contact Luke “Intergenerational ,” handbuilding and 98239; [email protected]; www.robbielobell.com; Iannuzzi, The Naked Potter, 1460 Main St., Waitsfield sculptural techniques with Jayn Avery (July 7–11); fee: (360) 678-1414. 05673; [email protected]; www.nakedpotter.org; $410; members, $375. “High Fire,” throwing, glazing Washington, Seattle (800) 496-8878. and firing with Steve Mitchell (July 7–13); fee: $560; members, $525. “Intergenerational Masks,” with “Functional Pots: Clearly Conceived” with Mark Shapiro Virginia, Alexandria Tammy Parks (July 14–16); fee: $260; members, $225. (May 30–June 2); fee: $300, includes materials and bisque “Studying Pottery with a Japanese Master,” hands-on, “Pin and Paddle,” techniques of slab-constructed work firings. “Handbuilding and Stencil Cutting Workshop” handbuilding, throwing and firing with Ken Matsu- with Daniel Marinelli (July 18–20); fee: $260; members, with Allan Winkler (August 2–3); fee: $200, includes ma- zaki (June 20–22); fee: $185. Instruction in English and $225. “Altering Functional Pots,” throwing with Sarah terials and lunch. Contact Peter Olsen, Seward Park Clay Japanese. Contact Dale Marhanka, The Art League McCarthy (July 21–25); fee: $410; members, $375. Studio, 5900 Lake Washington Blvd. S., Seattle 98118; School, 305 Madison Street, Alexandria 22314; “Intro to Wheel Thrown Pottery” with Emily Reason [email protected]; www.sewardparkart.org; [email protected]; www.theartleague.org; (July 28–30); fee: $260; members, $225. “Top it Off,” (206) 722-6342. (703) 683-5358; or (703) 683-2323. functional, refined and interesting lids with Emily Reason Washington, Tacoma (July 31–August 3); fee: $335; members, $300. “Pottery “Yixing Teapots” with Dave Straney (June 22); fee: “Summer Raku Extravaganza,” hands-on, demonstration, $85, includes clay and firings. Contact Gail Adkis- in the Kitchen,” handbuilding with Jayn Avery (August throwing demo, foil sagger, traditional and naked raku son, Creative Clay Studios, 5704E General Wash- 4–8); fee: $410; members, $375. “Majolica,” handbuild- with Dave and Boni Deal, Paul Antone and Joe Brecha. (July ington Dr., Alexandria 22312; [email protected]; ing and glazing with Mary Dashiell (August 11–15); fee: 12); fee: $105, includes materials, firings and meals. All skill www.creativeclaypottery.com; (703) 750-9480. $410; members, $375. “Majolica II,” handbuilding levels. Instruction in English and Spanish. Contact Joseph and glazing with Mary Dashiell (August 16–17); fee: Brecha, Clay Art Center, 2636 Pioneer Way E., Tacoma “Teapots: A 3-D Jigsaw Puzzle” with Melanie $180; members, $150. Skill levels vary. Contact Chris 98404; [email protected]; www.clayartcenter.net; Brown (June 21–22); fee: $185. Contact Eliza- Shackelford, Jacksonville Center, 220 Parkway Ln. S., (253) 922-5342; or (800) 952-8030. beth Kendall, Lee Arts Center, 5722 Lee High- Suite 1, Floyd 24091; [email protected]; way, Alexandria 22207; [email protected]; www.jacksonvillecenter.org; (540) 745-2784. Wisconsin, Appleton www.arlingtonarts.org/leearts.htm; (703) 228-0558. “China Mending and Restoration Classes: Lawrence Virginia, Gainesville University,” ethics and scruples in ceramic restoration, Virginia, Amherst “Big Traditions,” handbuilding with Winnie Owens- fixing old repairs, joining breaks, filling chips modeling “Weekend Throwing” with Kevin Crowe (June 14–15); Hart (June 7); fee: $110, includes 20 lbs. of clay. and casting missing parts and synthetic glaze, color and fee: $300, includes materials, lodging and meals. “RakUnity,” hands-on firing and demonstrations design with Gerlinde Kornmesser (July 7–14; or 14–21); Limited to four participants. Contact Kevin Crowe, Tye with Reggie “Yazid” Pointer (June 14); fee: $120, fee: $1600, includes materials, lodging and meals. Begin- River Pottery, 1289 Falling Rock Dr., Amherst 24521; includes materials and firing. All skill levels. Contact ning/intermediate. Contact Gerlinde Kornmesser, Law- [email protected]; www.kevincrowepottery.com; Winnie Owens-Hart, ILE AMO Research Center, PO rence University, 1705 Glenview Rd., Glenview, IL 60025; (434) 263-4065. Box 361, Gainesville 20156; [email protected]; [email protected]; www.gkrestoration.com; http://home.earthlink.net/~wowenshart; telephone (847) 724-3509. Virginia, Floyd (703) 754-1307. “Integenerational Handbuilding,” pinch, coil and Wisconsin, Dodgeville slab building with Elisa DiFeo (June 9–13); fee: $180; Washington, Coupeville “Communing with Clay Session 1” with Don Hunt and members, $150. “Intergenerational Wheel Throwing,” “Around the Kiln and In the Studio: Create Your Own Geof Herman (June 15–20). “Communing with Clay with Elisa DiFeo (June 9–13); fee: $205; members, $175. Workshop!” throwing and soda/wood firing with Robbie Session 2” with Don Hunt and Phil Lyons (June 22–27). “Kids Camp Ceramic” with Aven Tanner (July 16–20); Lobell (TBD by workshop participants); fee: $150–$250/ “Professional Studio,” open studio with Dave Dahlquist, fee: $205; members, $165. “Kids Camp Clay” with day. Beginning through advanced. Contact Robbie Lo- Linda Leighton, Randall Carlson and Tom Philibaum (July Ceramics Monthly April 2008 57 6–11); fee: $495, includes lodging and meals. “Making with Porcelain” with Victor Greenway (August 22–24); 30–July 11); fee: CAN$800 (US$790), includes firings and Mud Pies Family Camp” (July 18–20); fee: $150/adult; fee: $280, includes materials. “Colorful Raku Techniques” lunch. ”Alternative Raku Technique,” soluble metals, $75/children under 12, includes lodging and meals. with Steve Mattison (August 25–28); fee: $352, includes wax decoration and organic material with Joe Brecha “Wisconsin Woodfire Workshop” with David Smith materials. “Making Multiple Molds,” plaster and slip (July 5–6); fee: CAN$165 (US$163), includes firings and (August 1–3); fee: $200, includes lodging and meals. casting with Sasha Wardell (August 25–28); fee: $200, lunch. “Masks,” handbuilding with Bob Kingsmill; fee: “Communing with Clay Session 3” with Don Hunt and includes materials. Instruction in English and French. CAN$145 (US$143), includes lunch; or “Organic Forms,” Andrée Valley (August 17–22). Fee (unless noted above): Skill levels vary. Contact Atelier Cirkel, Prins Kavelhof wheel thrown and slab components with Conner Burns; $395, includes lodging and firings. Skill levels vary. Contact 35, Brasschaat 2930; [email protected]; fee: CAN$145 (US$143), includes lunch (July 5–6). “Firing Angie Burnett, Bethel Horizons, 312 Wisconsin Ave., www.ateliercirkel.be; (32) 3 633 05 89. Techniques/Surface Treatments” with Randy Brodnax; fee: Madison, WI 53703; [email protected]; CAN$415 (US$410); or “Handbuilding Using Molds” www.bethel-madison.org; (608) 257-3577. Canada, Alberta, Red Deer with Vincent Massey; or “Illuminate,” throwing and “Series Summer School of the Arts 2008,” five day handbuilding porcelain with Sandra Black; fee: CAN$395 Wisconsin, Fish Creek workshops including throwing, handbuilding, slip (US$390), includes lunch; or “Raku Sculpture,” hand- “Introduction to Pottery,” throwing and raku firing with casting, glazing and firing with Kathy Triplett, Missy building figurative sculpture with Billy Ray Mangham; John Hansen (June 9–13); fee: $275, includes materials McCormick, Dan Gardner, Jim Etzkorn, Bob Kingsmill, fee: CAN$415 (US$410), includes firings and lunch; and firings. “The Magic of Hand Forming and or “Unusual Color Effects” with Gary Holt; fee the Mystery of the Flame,” handbuilding, CAN$415 (US$410), includes firings and lunch surface decoration and pit firing with John (July 7–11). Fee (unless noted above): CAN$375 Dietrich and Diane McNeil (June 16–21); fee: (US$371), includes lunch. Skill levels vary. Contact $200, includes materials and firings. “Intimate Meira Mathison, Metchosin International School Vessels: Pots to Live With,” throwing altered of Art, 650 Pearson College Dr., Victoria, British and assembled vessels with Jeff Noska (July Columbia V9C 4H7; [email protected]; summer workshops 2008 7–9); fee: $375, includes materials and bisque www.missa.ca; (250) 391-2420. firing. “Handbuilt Figurative Sculpture and Vessel Forms in Clay,” handbuilding sculpture Canada, Ontario, Brockville and vessel forms with Barbara Rienhart (July “Pottery: Tableware,” glazing, firing and 14–16); fee: $375, includes materials and bisque decorating with Darlene Keffer (July 14–18); fee: firing. “Handbuilding 101: Pull, Pinch, Roll and CAN$238.50 (US$236); materials fee, CAN$55 Throw” with David Aurelius (July 21–23); fee: (US$56). “Pottery Decoration: Intermediate,” $275, includes materials and firings. “Lidded airbrushing, resist, sgraffito and sponge paint- Pots Inspired by Architecture,” throwing ing with Darlene Keffer (July 21–25); fee: with Niel Hora (July 28–August 1); fee: $295, CAN$238.50 (US$236); materials fee, $50. “Raku includes materials and firings. “Handbuilt Gar- Workshop” with Christina McCarthy (August den Sculptures” with Patrick Robinson (August 5–7); fee: CAN$143.10 (US$142); students should 4–6); fee includes bisque firing. “Vessels with bring 1–12 bisque fired pieces. Skill levels vary. Handles,” throwing with Niel Hora (August Contact William Leroux, St. Lawrence College, 18–20); fee includes bisque firing. “Beauty Summer School of the Arts, 2288 Parkedale Ave., in the Everyday: Exploring Culinary Forms in Brockville, Ontario K6V 5X3; [email protected]; Pottery,” throwing with Prisca Benson-Fittshur www.sl.on.ca; (613) 345-0660, ext. 3167. (August 21–23); fee includes bisque firing. Canada, Ontario, North Bay “Large Scale Pots,” throwing with Bill Gossman Handbuilding Clay Sculpture” with Peter Sloan (August 25–27). “Raw Glazing” with Bill Gos- (June 30–July 4). “Studio Practice: Pottery 1,” sman (August 28–30); fee includes firing. Fee throwing and firing with Cyndy Giesler (July (unless noted above): $325, includes materials. 7–18); fee: CAN$667.10 (US$659), includes clay Skill levels vary. Contact Cathy Hoke-Gonzalez, and firings. “Raku Firing” with Zsuzsa Mones- Peninsula Art School, 3900 County F, Fish tory (July 21–25). Fee (unless noted above): Creek 54212; [email protected]; CAN$277.85 (US$275), includes clay. Skill www.peninsulaartschool.com; tel (920) levels vary. Contact Linda Topolie, Canadore 868-3455. College, 100 College Dr., North Bay, On- Wisconsin, Herbster tario P1B 8G2; [email protected]; “The Best Little Woodfire Workshop 2008,” www.canadorec.on.ca/artsperience; (705) 474- handbuilding, throwing and firing 24 ft. Steven Hill giving a demonstration at the Springfield 7600, ext. 5600. Museum of Art, Springfield, Ohio. anagama kiln with Mike Weber (July 7–23); Canada, Quebec, Montreal fee: $495, includes 250 lbs. of clay, firings and Kevin Stafford, Meira Mathison, Randy Brodnax, “Introduction to Glaze Development” with Olaf de camping. All skill levels. Contact Mike Weber, 16000 Kathy Koop, Barbara VanSickle and Tom Kerrigan (July Winter (June 3–17); fee: CAN$125 (US$123), includes Weber Rd., Herbster 54844; [email protected]; 7–August 8); fee: $525–$575. All skill levels. Contact materials. “Decorative Ceramics,” wheel throwing www.weberwoodfire.com; (877) 281-4654; or (715) Linda Cullen-Saik, Red Deer College, PO Box 5005, Red with Olaf de Winter (July 2–28). “Raku,” handbuild- 774-3707. Deer, Alberta T4N 5H5; [email protected]; ing, wheel throwing and firing with Francine Walker www.rdc.ab.ca/continuingeducation/visual_arts; (403) (July 3–August 9). Fee (unless noted above): CAN$250 Wisconsin, McNaughton 342-3130. “Artists and Potters of Prehistory” (June 18–22); fee: $395, (US$247), includes materials and firings. Skill levels vary. includes some materials, firings and meals. “Fastfiring Canada, British Columbia, Kelowna Contact Eva Lapka, Visual Arts Centre, 350 Victoria Ave., with Wood,” hands-on, glazing and firing (July 11–13); “Kelowna Clay Festival: Demonstration Workshops,” Montreal, Quebec H3Z 2N4; [email protected]; fee: $250, includes glaze materials, firings and some throwing, altering, image transfer techniques, surface www.visualartscentre.ca; (514) 488-9558. meals. Instructor: Joan Molloy Slack. All skill levels. embellishments and handbuilding with Tony Clennell, China, Jiangxi, Jingdezhen Contact Joan Slack, Riverrun Center for the Arts, 6938 James Hibbert, Jim Robison, Lorel Sternig and Paul Andrew “Ceramic Brush Making and Decoration” with Jiansheng Bridge Rd., McNaughton 54543; [email protected]; Wandless (August 8–9). “Kelowna Clay Festival: Hands-on Li and Hehau Li (June 15–30); fee: $600, include materials, www.riverrunarts.com; (715) 277-4224. Workshops,” handbuilding, surface treatment and image lodging and meals. Instruction in English and Chinese. transfer techniques with Paul Andrew Wandless and Jim Wyoming, Buffalo Intermediate level. Contact Jackson Li, Jingdezhen Robison (August 11–12). Fee: CAN$175 (US$173) before Sanbao Ceramic Art Institute, PO Box 1000, Jingdezhen “Wheel Throwing, Altered Forms and Majolica Glazing May 31; after May 31, CAN$195 (US$193). All skill levels. City, Jiangxi 333001; [email protected]; Techniques” with Diane Kenney (June 21–22); fee: $150; Contact Lynda Jones, Kelowna Clay Festival, PO Box 195, www.chinaclayart.com; (86) 798-8483665. register before May 9, $120. All skill levels. Contact Falkland, British Columbia V0E 1W0; [email protected]; Potters’ Depot LLC, 75 E. Benteen St., Buffalo 82834; www.kelownaclayfestival.com; (250) 379-2797. Croatia, Dalmatia, Split [email protected]; (307) 684-4555. “Antistress Pottery,” handbuilding, throwing and painting Canada, British Columbia, Victoria with Vendi Borovic and Frane Ribarovic (July 1–August International Workshops “Aesthetics of Ceramic Form,” throwing and hand- 31); fee: $1199, includes materials, lodging and two trips building with Les Manning (June 6–13); fee: CAN$500 with meals. “Colors of Clay,” handbuilding and glazing (US$494). “Figurative Sculpture,“ with Patrick Keenan with Vendi Borovic (July 1–August 31); fee: $999, includes Belgium, Brasschaat (near Antwerp) (June 9–13). “Special Effect Glazes,” crystalline and low materials, firings and lodgings. Beginning/intermediate. “Throwing Large Vessels” with Thierry Fouquet (July 1–4); temperature reduction glazes with Gordon Hutchens (June Contact Vendi Borovic, ‘Tajne Zanata’ Association, Fra Luje fee: $300, includes materials. Instruction in English and 9–13); fee: CAN$415 (US$410), includes firings. “Archi- Maruna 3, Split, Dalmatia 21000; [email protected]; French. “Japanese Ceramics,” throwing and handbuilding tectural Ceramics,” handbuilding with Grace Nickel; or www.petielement.hr; 00 385 21 321 082. with Rizü Takaheshi (July 8–10); fee: $235, includes materi- “Making Lively Pots: Altering on the Wheel” with Gay als. Instruction in English and French. “Italian Majolica” Smith (June 30–July 4); or “China Painting” with Paul Denmark, Skælskør with Marino Moretti (August 22–24); fee: $275, includes Lewing (June 30–July 4); fee: CAN$405 (US$400), includes “Centering,“ throwing with Ayumi Horie and Victoria materials. Instruction in English and Italian. “Throwing firing and lunch. “Master Glaze” with Robin Hopper (June Christen (June 14–15); fee: $230. “Figures in Transi-

Ceramics Monthly April 2008 58 tion” (June 28–29); fee: $230, includes lunch. “The includes materials and firing. Skill levels vary. Instruction 50052 Certaldo (); [email protected]; Joy of the Table,” Karatsu techniques with Nakazatu in English and Italian. Contact Luca Leandri, La Fratta art- www.lameridiana.fi.it; (39) 0571 660084. Takashi (August 25–29); fee: $440. Skill levels vary. house, Voc. Fratta 157, Marsciano 06055; [email protected]; Contact Priscilla Mouritzen, Guldagergaard International www.lafratta.it; (39) 075 8785111. Italy, Tuscany, Chiusdino Ceramic Research Center, Heilmannsvej 31 A, Skælskør “Wood-Fired Terracotta in Italy,” rapid handbuilding 4230; [email protected]; www.ceramic.dk; (45) Italy, Tuscany techniques, found engobes, terra sigillata and low-tem- 5819 0016. “Ceramics and Sculpture at Studio Giambo Artist’s perature wood firing with Don Davis (July 3–17); fee: House,” handbuilding (June 8–14, 15–21, July 13–19, 20– $2500–$2700, includes materials, firing, lodging and England, Suffolk, Ipswich 26); fee: C450 (US$667), includes materials, firings and some meals. All skill levels. Contact Don R. Davis, East Ten- “Deborah Baynes Pottery Studio,” hands-on throwing meals. Beginning through advanced. Instruction in English nessee State University, 1117 Cedar Place, Johnson City, and wood-fired raku with Deborah Baynes (July 6–12, and Italian. Contact Silvia Fossati, Studio Giambo, Flor- TN 37604; [email protected]; www.spannocchia.com; 13–19, 27–August 2, August 3–9, 17–23, 24–30); ence Italy; [email protected]; www.studiogiambo.it; (423) 439 7864. fee/session: £495 (US$985), includes materials, firings, (39) 328 9026437. lodging and meals. All skill levels. Contact Deborah Mexico, Chihuahua, Mata Ortiz Baynes Pottery Studio, Nether Hall, Main Rd., Shotley, Italy, Tuscany, Certaldo “Mata Ortiz: Hands On,” handbuilding, decorating and Ipswich, Suffolk 1P9 1PW; [email protected]; “Soda Fired Utilitarian Pottery,” throwing with Michael firing with Jose and Susy Martinez and Jorge Corona www.potterycourses.net; (44) 1473 788 300. Connelly (June 8–22); fee: $3000, includes materials, (July 15–24); fee: $900, includes materials, firings, lodg- firings, lodging, meals and side trips. “Throwing Tech- ing, meals and transportation from Tucson, Arizona. All England, Worcestershire, Tenbury Wells niques,” throwing, stoneware and raku firing with Pietro skill levels. Instruction in English and Spanish. Contact Weekend and weekly pottery-making sessions with Maddalena (July13–26); fee: $2100, includes materials, Peter Chartrand, PO Box 1043, Bisbee, AZ 85603; Martin Homer (weekends in June; one-week sessions firings, lodging and lunches. “Smoke Firing,” throwing, [email protected]; www.mataortizcontact.com; July to August); fee: £256–£545 (US$405–US$1084), handbuilding and firing with Luca Tripaldi (July 27–August (520) 249-8093. includes materials, firing and lodging. Instruction 2); fee: $1200. “Play the Clay,” handbuilding an Udu in English and some French. All skill levels. Contact Drum with Frank Giorgini (August 3–16); fee: $2100, Spain, Alicante, Agost Tina Homer, Martin Homer Pottery, Lower Aston includes materials, firing, lodging, lunches and drum “Engobes and Colors for Ceramics,” demonstration, House, Aston Bank, Tenbury Wells, Worcester- session. “Invention with Clay,” throwing, handbuilding glazing and firing with Manolo Sales Maza (August TBD); shire WR15 8LW; [email protected]; with David Gary Wright (August 17–30); fee: $3000, fee: C7000 (US$10,368), includes materials and firing. All www.homerpottery.co.uk; (44) 1584 781 404. includes materials, firings, lodging, meals and side skill levels. Instruction in Spanish. Contact José Rodriguez- trips. Skill levels vary. Instruction in English and Italian. Manzaneque Escribano, Museo de Alfareria de Agost, France, Midi-pyreness, Cordes sur Ciel Contact Pietro Maddalena, La Meridiana, International c/Teuleria 11, Agost, Alicante 03698; [email protected]; “Raku Course,” raku, throwing and handbuilding with School of Ceramic Art in Tuscany, Loc. Bagnano, 135, www.museoagost.com; (34) 96 569 1199. Frank Theunissen (June 1–7); fee: C425 (US$629). “Goldsmithing,” ceramics working with gold and silver with Marc de Roeper (July 6–12); fee: C525 (US$778). Kari Radasch works on a handle at Santa Fe Clay, Santa Fe, New Mexico. “Throwing, Firing and Decoration” with Thomas-Jan and Katrin König (July 13–19); fee: C490 (US$726). “From Denmark,” throwing, decoration with slips and woodfiring with Nina Lund and Jean-Francois Thierion (July 20–26); fee: C490 (US$726). Instruction in English, French, Dutch and German. Skill levels vary. Fees include materials, lodging and meals. Contact Frank Theunis- sen, LaCéramique, La Plaine, Cordes sur Ciel 81170; [email protected]; www.laceramique.com; (33) 5 63 53 72 97.

Germany, Bayern, Frauenau summer workshops 2008 “Sculpture Modeling and Casting” with Sándor Dudás (July 12–25); fee: C590 (US$8740); students, C510 (US$755), includes basic materials. “Ceramic Sculp- ture: Symmetry and Dynamics” with Zsuzsa Füzesi Heierli (August 6–22); fee: C610 (US$904); students, C530 (US$785), includes basic materials and firings. Instruction in Hungarian, German, Yugoslavia and some English. Beginning through advanced. Contact Uta Spies, Bild-Werk Frauenau, Moosaustraße 18a, Frauenau, Bayern 94032; [email protected]; www.bild-werk-frauenau.de; 49 99 261 80895. Guatemala, Totonicapaan “Guatemalan and Mayan Pottery Traditions,” hand and wheel techniques for creating story figurines, whistle jugs, and functional dinnerware of local clay with Juan Lucas and Celestina Batz de Menchú (June 20–28); fee: $2700, includes transportation from Kentucky, lodging, meals, materials, side trips to Mayan ruins at Zaculeu and Totoni- capaan market day, tour guide and full-time interpreter. All skill levels. Instruction in English, Spanish, Maya-Quiche. Contact Don Boklage, Open Ground, 681 Roye Ln., Har- rodsburg, KY 40330; [email protected]; www.openground.info; (859) 375-2411. Ireland, Lismore, Co. Waterford “Salt Glaze Workshop,” throwing and firing (June 22–28). “Salt Glaze Workshop,” throwing, decorating and firing (July 20–26). “Fast Fire Wood Workshop,” throwing and firing with Marcus O’Mahony and Mike Dodd (August 11–16); fee: C680 (US$1007), includes materials, firings and lunches. Instructor (unless noted above): Marcus O’Mahony. Fee (unless noted above): C580 (US$859), in- cludes materials, firings and lunches.Instruction in English and German. Intermediate through professional. Contact Marcus O’Mahony, Glencairn Pottery, Glencairn, Lismore, Co. Waterford, Ireland; [email protected]; www.marcusomahony.com; (353) 58 56694. Italy, Marsciano “Raku Pottery Course” with Luca Leandri (July 25–27); fee: C250 (US$370), includes materials and firing. “Raku Pottery Course” (August 14–17); fee: C300 (US$444), Ceramics Monthly April 2008 59 call for entries Deadlines for Exhibitions, Fairs and Festivals Submit online at www.ceramicsmonthly.org international exhibitions [email protected]; www.spacesgallery.org; James Mitchell, Gallery Director, 4401 N. Raven- (216) 621-2314. swood, Chicago 60640; [email protected]; May 15 entry deadline www.lillstreet.com. April 1 entry deadline New York, Poughkeepsie “National Cup Show” July 7 entry deadline New York, New York “The Coexistence of (June 21–August 10), open to all media. Juried Silence and Dynamism” (May 31–June 21), South Carolina, Rock Hill “19th Annual Juried from digital and slides. Fee: $30 for three entries; Competition” (August 20–September 21). Juried open to all media. Juried from digital. Fee: $5 each for additional entries. Juror: Leslie Ferrin, $45 for three entries; $5 each for additional from digital or high-quality photographs. Fee: co-owner of Ferrin Gallery. Contact Barrett Clay $30 for one entry, $5 for additional entries. entries. Contact Rhonda Schaller Studio, Works, Art Studios and Galleries, 485 Main St., 547 W. 27th Street, Suite 529; New York Contact Arts Council of York County, 121 E. Main Poughkeepsie 12601; [email protected]; St., Rock Hill 29732; [email protected]; 10001; [email protected]; www.barrettartcenter.org; (845) 471-2550. http://rhondaschallerchelsea.com; tel (212) www.yorkcountyarts.org; (803) 328-2787. 967-1338. June 1 entry deadline July 15 entry deadline April 15 entry deadline New York, New York “14th Annual Interna- Colorado, Estes Park “12th Annual Lines into tional Exhibition” (July 17–August 13), open Shapes” (September 19–October 4), open to all New York, Huntington “Alpan International to all media. Juried from digital and slides. media. Juried from digital or slides. Fee: $13/entry. 2008” (August 30–September 26), open to all Fee: $30 for three entries. Juror: Chakaia For prospectus, visit www.artcenterofestes.com; media. Juried from digital, slides or prints. Fee: Booker. Contact SOHO20 Chelsea Gallery, or send SASE to Art Center of Estes Park, PO Box $30 for three entries; $5 each for additional 511 W. 25th St., Suite 605; New York 10001; 3635, Estes Park 80517; (970) 586-5882. entries. Juror: Phyllis Braff, president of the http://soho20gallery.com/juried.htm. September 19 entry deadline International Association of Art Critics. Contact New York, New York “Stories We Tell Our- Alpan Gallery, 2 W. Carver St., Huntington 11743; Pennsylvania, Wayne “Craft Forms 2008” selves” (July 12–August 2), open to all media. [email protected]; www.alpangallery.org; (December 5–January 22, 2009), open to con- Juried from digital. Fee: $45 for three entries; (631) 423-4433. temporary craft. Juried from digital and slides. $5 each for additional entries. Contact Rhonda Fee: $40; online submission, $30. Contact Wayne May 2 entry deadline Schaller Studio, 547 W. 27th St., Suite 529; New Art Center, 413 Maplewood Ave., Wayne 19087; South Carolina, Rock Hill “30 Small Works” York 10001; [email protected]; www.wayneart.org; www.craftforms.com. (June 19–July 18). Juried from digital. Fee: $30 for http://rhondaschallerchelsea.com; tel (212) two entries; $25 for student entries. Contact Gal- 967-1338. united states exhibitions lery Up, 201 E. Main St., 2nd Fl., Rock Hill 29730; June 2 entry deadline [email protected]; www.galleryup.com; (803) Illinois, Chicago “1st Annual Lillstreet Inter- 980-5355. national” (September 1–October 1), open to April 1 entry deadline May 12 entry deadline functional porcelain. Juried from digital. Fee: $30 Colorado, Carbondale “Carbondale Clay Ohio, Cleveland Open Call for Exhibition for three entries. Juror: Sam Chung, Assistant National IV: National Juried Exhibition” Proposals for 2009/2010. Fee: $10. Contact Professor of Ceramics, Arizona State University. (June 2–30). Juried from slides. Fee: $30 for Spaces, 2220 Superior Via, Cleveland 44113; For prospectus, send SASE to Lillstreet Art Center, three entries. Juror: Jeff Oestreich. Contact

Ceramics Monthly April 2008 60 Ceramics Monthly April 2008 61 call for entries

Carbondale Clay Center, 135 Main St., Car- 13–June 7). Fee: $20. Juror: Ted Vogel, Assis- May 5 entry deadline bondale 81623; [email protected]; tant Professor in Art, Lewis and Clark College. New Orleans, Louisiana “Hybrids and www.carbondaleclay.org; (970) 963-2529. Contact Anderson Turner, Director of Galler- Other Sorts” (June 7–29). Jurors: Melissa April 5 entry deadline ies, Kent State University, School of Art, PO Roberts and Kurt Schlough. Contact BECA New York, New York “26th Annual Juried Box 5190, Kent 44242; [email protected]; Gallery, 527 Saint Joseph St., New Or- Exhibition” (July 10–August 2), open to all http://dept.kent.edu/art/galleries; tel (330) leans 70130; [email protected]; media. Juried from digital or slides. Fee: $40 672-1379. http://becagallery.typepad.com; tel (504) 566- for three images; $5 each for additional images. April 26 entry deadline 8999. Juror: Joan Young, Associate Curator, Solomon New York, New York “2008 National Juried May 16 entry deadline R. Guggenheim Museum. For application, visit Competition” (June 18–July 12), open to all Illinois, Chicago “The Secret” (June 27–Au- www.pleiadesgallery.com. Contact Pleiades Gal- media. Juror: Esther Adler, Curatorial Assistant, gust 28), open to works that embody or in- lery, 530 W. 25 St., 4th Fl., New York 10001; Dept. of Drawings, The Museum of Modern Art. corporate a secret in all craft media. Contact (646) 230-0056. Contact Phoenix Gallery, 210 Eleventh Ave., 902, Woman Made Gallery, 685 N. Milwaukee Ave., April 15 entry deadline New York 10001; [email protected]; Chicago 60622; [email protected]; Kent, Ohio “8th Annual Cup Show” (May www.phoenix-gallery.com. www.womanmade.org; (312) 738-0400. June 1 entry deadline Maryland, Largo “Juried Sculpture Exhibi- tion” (August 24–October 9). Juror: Kristen Hileman, Associate Curator of Contemporary Art, Hirshhorn Museum and Sculpture Garden. Contact Marlboro Gallery, Attn: Sarah Weg- ner, Prince George’s Community College, 301 Largo Rd., Largo 20774; [email protected]; www.academic.pgcc.edu/artandmusic. July 11 entry deadline Illinois, Chicago “Object of Desire” (September 5–November 13), open to all craft media. Con- tact Woman Made Gallery, 685 N. Milwaukee Ave., Chicago 60622; [email protected]; www.womanmade.org; (312) 738-0400. August 1 entry deadline Montana, Missoula “Soda National IV” (No- vember 7–28). Juried from digital or slides. Fee: $30 for three entries. Juror: Jim Koudelka. For prospectus, send SASE to Hannah Fisher, The Clay Studio of Missoula, 1106 Hawthorne Unit A, Mis- soula 59802; [email protected]; www.theclaystudioofmissoula.org. December 31 entry deadline Missouri, St. Louis Call for Solo/Collaborative Installation Artists Proposals. For more informa- tion, e-mail [email protected]. Contact Craft Alliance, Exhibitions Coordinator, 6640 Del- mar Blvd., St. Louis 63130; www.craftalliance.org; (314) 725-1177, ext. 323.

regional exhibitions

April 11 entry deadline Rhode Island, Kingston “Earthworks: Open Juried Clay Annual” (April 17–May 10), open to New England residents. Juried from hand- delivered work. Fee: $15/entry. Contact South County Art Association, 2587 Kingstown Rd., Kingston 02881; [email protected]; www.southcountyart.org; (410) 783-2195. June 1 entry deadline Texas, Houston “3rd Annual ClayHouston Festival” (December 5–7), open to artists within a 150 mile radius of Houston, TX. Juror: Lisa Orr. Contact ClayHouston, PO Box 667401, Houston 77401; [email protected]; www.clayhouston.org. June 15 entry deadline Colorado, La Veta “Clay Continuum III” (July 29–August 23), open to artists residing in Southern Colorado and Northern New Mexico. Juried from digital and slides. Fee: $25. Contact Clay Continuum, Attn: Polly’s Pottery, 1849 County Rd. 521, Walsenburg, CO 81080; [email protected]. continued Ceramics Monthly April 2008 62 EXTRUDER, MOLD RELEASENEW & TILE: FORMING TECHNIQUES

Beyond the world of pinch and coil constructions and wheel- thrown pots lies a vast array of opportunities for the ceramic artist. In Extruder, Mold & Tile: Forming Techniques you’ll discover a wealth of information, techniques, and inspiration on topics that span the usual to the unusual as well as the functional to the sculptural.

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Ceramics Monthly April 2008 63 call for entries

July 3 entry deadline 6704 N. Trumbull Ave., Lincolnwood, IL 60712; New Jersey, Montclair “Spring Brookdale Park Kentucky, Lexington “KY7 Biennial” (Octo- www.skokienet.org; (847) 677-8163. Fine Art and Crafts Show” (June 14–15), open ber 18–December 21), open to residents of New Jersey, Cranford “Spring Nomahegan Park to all arts and crafts. Juried from slides/photos IL, IN, KY, MO, OH, TN, VA and WV. Juried Fine Art and Crafts Show” (May 31–June 1), open of work, plus one of booth. Booth fee: $325 from digital and slides. Contact Lexington Art to all arts and crafts. Juried from slides/photos for 10×12-foot space. Contact Rose Squared League, 209 Castlewood Dr., Lexington 40505; of work, plus one of booth. Booth fee: $325 for Productions, Inc., 12 Galaxy Ct., Hillsborough, www.lexingtonartleague.org; (859) 254-7024. 10×12-foot space. Contact Rose Squared Produc- NJ 08844; www.rosesquared.com; tel (908) tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; 874-5247. fairs and festivals www.rosesquared.com; (908) 874-5247. September 1 entry deadline New Jersey, Verona “Fine Arts and Crafts at New Jersey, Cranford “Fall Nomahegan Park Verona Park” (May 17–18), open to all arts and Fine Art and Crafts Show” (October 4–5), open April 15 entry deadline crafts. Juried from slides/photos of work, plus to all arts and crafts. Juried from slides/photos New Mexico, Santa Fe “Girls Inc. of Santa Fe: one of booth. Booth fee: $325 for 10×12-foot of work, plus one of booth. Booth fee: $325 36th Annual Arts and Craft Show” (August 2–3). space. Contact Rose Squared Productions, for 10×12-foot space. Contact Rose Squared Contact Kelly Fowler, [email protected]; Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; Productions, Inc., 12 Galaxy Ct., Hillsborough, www.girlsincofsantafe.org; (505) 982-2042. www.rosesquared.com; (908) 874-5247. NJ 08844; www.rosesquared.com; tel (908) Washington, Bellevue “Bellevue Arts Mu- May 30 entry deadline 874-5247. seum ArtFair” (July 25–27). Apply online at New Jersey, Upper Montclair “Fine Art and Massachusetts, Lowell “The Lowell Folk www.zapplication.org. Contact Bellevue Arts Crafts at Anderson Park” (September 20–21), Festival: Art in the Courtyard” (July 25–27), Museum, 510 Bellevue Way NE, Bellevue 98004; open to all arts and crafts. Juried from slides/ open to art and fine craft. Juried form digital www.bellevuearts.org. photos of work, plus one of booth. Booth fee: or website. Application fee: $20. Booth fee: April 30 entry deadline $325 for 10×12-foot space. Contact Rose $175. Contact The Brush Art Gallery, Attn: Art Squared Productions, Inc., 12 Galaxy Ct., Hill- Spain, Argentona “International Ceramic and in the Courtyard, 256 Market St., Lowell 01852; sborough, NJ 08844; www.rosesquared.com; Pottery Fair” (August 3–6). Contact Museu del [email protected]. (908) 874-5247. Cantir, Pl. de l’Esglesia, 9, 08310 Argentona; June 1 entry deadline October 1 entry deadline [email protected]; www.museucantir.org; 34 93 797 2152; or 34 93 797 2732. Colorado, Manitou Springs “Commonwheel New Jersey, Montclair “Fall Brookdale Park Fine Artists 34th Annual Labor Day Arts and Art and Crafts Show” (October 18–19), open to May 1 entry deadline Crafts Festival” (August 30–September 1), all arts and crafts. Juried from slides/photos of Illinois, Skokie “Skokie Art Guild 47th Annual Art open to fine arts and craft. Juried from slides. work, plus one of booth. Booth fee: $325 for Fair ‘08” (July 12–13). Juried from slides or photos. Contact Commonwheel, 102 Canon Ave., 10×12-foot space. Contact Rose Squared Produc- Fee: $125; members, $100. For prospectus, e-mail Manitou 80829; [email protected]; tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; [email protected]. Contact Skokie Art Guild, www.commonwheel.com; (719) 577-7700. www.rosesquared.com; (908) 874-5247.

Ceramics Monthly April 2008 64 SURFACE RELEASENEW DECORATION: FINISHING TECHNIQUES

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Ceramics Monthly April 2008 65 book review A Theory of Craft: Function turns out, according to Risatti, that craft has been and Aesthetic Expression marginalized not just by philosophers, academics by Howard Risatti and art historians (right up to H. W. Janson), but Book Review by Matthew Kangas by industrial designers and architects whose take- The next time someone brings up the art vs. craft over of manufactured everyday objects has tended issue at a kiln-opening party, it would make discussion to strand craft in a netherworld of cozy function, a lot more interesting if everyone had read Howard earthy materials and backbreaking labor. Risatti’s new book, A Theory of Craft: Function and A Theory of Craft is a book worth waiting for Aesthetic Expression ahead of time. Otherwise, such (better late than never); one that chronicles the conversations will forever remain tired retreads of misunderstandings, prejudices and bigotry against old, received ideas—and go nowhere. In fact, without the crafts from the 16th century to the present and having read the book—which is sure to be discussed argues that such giant philosophers as Immanuel Kant for years to come—anyone seriously into the state were wrong, wrong, wrong—and why. Any book of the crafts and their relation to the art world will that takes on Kant, Hegel, Descartes, Heidegger and from now on be considered out of the loop. Teachers Marcel Duchamp can’t be all bad. Risatti’s writing is so must read and assign it. A Theory of Craft is destined forthright and sensible that one wants to take in every to become required reading for undergraduate and word, line by line, right up to his final conclusions graduate courses in art and craft history. about why we need craft art (it unites the eye, hand No doubt about it, though, this is a difficult read. and body to the natural world) and why perhaps the Risatti’s style is clear and fluent; it’s just that these are special-case pleading for craft may be correct. complicated ideas and not instantly understandable A Theory of Craft is divided into four sections: even if you have already read many of the books Risatti “Practical-Functional Arts and the Uniqueness of cites. It’s true, as the author points out, that craft Craft;” “Craft and Fine Art;” “Issues of Craft and De- (e.g, what is craft? What is art?) to exploding accepted has never had a thorough philosophical defense and, sign;” and “Aesthetic Objects and Aesthetic Images,” shibboleths (if it’s functional, it can’t be art), along with without one, is in danger, more than ever, of being with each part subdivided into separate chapters. A helpful illustrations of historical and contemporary dismissed or discarded from serious discussions. It lot of ground is covered, from defining basic words examples to bolster Risatti’s points. continued The Extruder Book

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Ceramics Monthly April 2008 66 Ceramics Monthly April 2008 67 book review

Early on, Risatti admits that “our main concern optical subject matter and fine craft adds to that (including ceramists) have appropriated sculptural [is] craft’s possible status as art,” and patiently the tactile allure of materials and residual function labels as a back door into the art world with dubious makes the case that it can be art, but that, just as as Risatti holds, there is no real reason why craft results. (At least it got them in.) all paintings and sculptures are not automatically can’t be art. Not surprisingly, however, he brings up Ceramics are discussed at length, both as ex- art if they do not communicate meaning, so, not further categorical barriers within the craft world. amples and counter-examples of Risatti’s case. Peter all objects made of craft materials are, not only not Art critic and craft-friendly curator John Perreault Voulkos and Jim Leedy are seen as towering figures automatically art, many are not even what he calls has made the case that fine craft may be art, but it who reflected critic and Craft Horizons editor Rose “craft objects,” “critical objects of craft,” or “fine should not be classified as sculpture. And Risatti Slivka’s position that function in craft art takes on craft.” It is the presence of expressive power in any reinforces this view by claiming that, because jewelry a metaphorical or symbolic role rather than a real handmade object that renders it art. is so dependent upon the body, it cannot become and practical one. As a result, obliterating function If fine art generates meaning through expressive sculpture either. He reminds us that many artists was a crucial early step for clay artists entering the fine art world. (And it should be remembered that they were the first craft artists to do so.) A perennial critical bugbear, the artist’s intentions are another area of discussion. This is a complex issue, too. Risatti insists that unless an intention toward meaning is evident to the viewer, no aesthetic meaning is possible. At the same time, he concedes the existence of (but rejects) strong arguments against using inten- tion as a gauge for art status. To me, the qualities that carry aesthetic expression must be self-evident in the object without any written statements or recourse to elaborate social context. After all, despite a 352-page book, there is still something profoundly nonverbal about the interchange between artwork and viewer. As Risatti notes, “It is mistaken to believe that we can do without the object and simply accept what the artist tells us is his or her intention.” University art and art history departments, to the delight of this reader, are also hauled over the coals for maintaining and reinforcing strict, condescending hierarchies of art and craft. Tracing such confusions from Leonardo to Clement Greenberg, Risatti dis- mantles each objection case by case to construct his own theory. He suggests changing Descartes’ dictum, “I think, therefore, I am” to “I make, therefore, I am.” In the case of Kant, who argued that “purposefulness” precludes any meaning (and, therefore, art status), the author laments that the older philosopher, who grew up in East Prussia, “couldn’t have imagined craft as a concerted form of individual expression as it has existed for many centuries in non-Western societies and as it developed in the contemporary Studio Craft movement in the 20th century.” Elsewhere, amid many other nuggets of wisdom, Risatti observes that “the artist’s or critic’s words can only orient the viewer’s attention to the work; they can never replace the work itself.” Ultimately, Risatti celebrates the expressive handmade object. Now we all have a book that articulates once and for all why that way of making art is so important for the kind of world in which we live today. 352 pages including notes, bibliography and index. Hardcover, $39.95. ISBN 978-0-88078-3135-9-1. Published by University of North Carolina Press, 116 S. Boundary St., Chapel Hill, NC 27514; http://uncpress.unc.edu/; or tel (919) 966-3561. Ceramics Monthly April 2008 68 Ceramics Monthly April 2008 69 calendar Conferences, Exhibitions, Workshops, Fairs submit listings at www.ceramicsmonthly.org

conferences by Liz Lescault”; at Waverly Street Gallery, 4800 group ceramics exhibitions East-West Hwy. Maine, Deer Isle July 13–17 “The Language Maryland, Westminster through April 4 Arizona, Tempe through April 27 “A Human of Craft,” includes lectures and panel discus- Cynthia Aldrich, “Bearing Witness: Women as Impulse: Figuration from the Diane and Sandy sions with Paulus Berensohn, Akiko Busch, Victims of War”; at Scott Gallery, Carroll Com- Besser Collection”; at Arizona State University Charles Garoian, Janet Koplos, John McQueen, munity College, 1601 Washington Rd. Art Museum, Tenth St. and Mill Ave. Margo Mensing, Warren Seelig and Kim Staf- Massachusetts, Boston May 10–June 9 California, Claremont through April 6 ford. Fee: $310. Contact Haystack Mountain “Ceramics by Sung Jae Choi”; at Pucker Gallery, “Ceramic Annual 2008: 64th Scripps Ceramic School of Crafts, PO Box 518, Deer Isle 04627; 171 Newbury St. Annual”; at Ruth Chandler Williamson Gallery, www.haystack-mtn.org. Massachusetts, Cummington through April Scripps College, 11th and Columbia Sts. New York, New York May 29–June 8 “SOFA 5 “Cynthia Consentino: Exquisite Corpse”; at California, Davis April 4–May 4 Charlene New York 2008,” includes exhibiting galleries Ferrin Gallery, 54 Main St. Reinhart and Carol Wedemeyer. April 25–June and lecture by Akio Takamori. Fee: $40; one-day Massachusetts, Northampton May 24–June 1 “ACGA Juried Ceramic Exhibit”; at Pence pass, $25. Contact SOFA; [email protected]; 29 “Tom White: Wood, Salt and Soda”; at The Gallery, 212 D St. www.sofaexpo.com; (773) 506-8860. Artisan Gallery, 162 Main St. April 25–June 1 “Exploring the Surface,” Pennsylvania, Philadelphia April 23–27 Michigan, Ann Arbor April 1–30 Beth works by members of the Associaton of Clay and “American Art Pottery Association Annual Ogden, “Invisible Woman”; at Clay Gallery, Glass Artists of California; at the Association of Conference,” includes presentations, exhibi- 355 S. Main St. Clay and Glass Artists, 212 D St. tions, book signings and bus tours. Contact Michigan, Detroit through May 9 “Anat April 25–June 6 “19th Annual California Clay AAPA, 1519 W. Clifton Blvd., Lakewood, OH Shiftan: Recent Works of Still Life”; at Pewabic Competition”; at the Artery, 207 G St. 44107; [email protected]; www.aapa.info; Pottery, 10125 E. Jefferson Ave. California, El Cajon April 7–24 “Viewpoint: (216) 221-3537. Minnesota, Minneapolis through April 4 Ceramics 2008”; at Grossmont College, Hyde Tennessee, Gatlinburg September 10–13 Kelly Connole, “Where the Sky Meets the Earth”; Art Gallery, 8800 Grossmont College Dr. “Utilitarian Clay V: Celebrate the Object National at Augsburg College, Christensen Center Art California, Pomona through May 3 “Into Symposium.” Contact Arrowmont School of Arts Gallery, 2211 Riverside Ave. the Woods: A Fiery Tale,” works by Fred Olsen, and Crafts, 556 Parkway, Gatlinburg 37738; Missouri, Kansas City May 1–31 Christa Peter Callas, Jeff Shapiro, Chris Gustin, Takao [email protected]; www.arrowmont.org; Assad, “Actual Objects in a Virtual World”; at Okazaki, Catharine Hiersoux and John Balistreri. (865) 436-5860. Red Star Studios, 821 W. 17th St. May 17–July 12 “Pueblo Clay: America’s First Virginia, Sweet Briar May 30–June 1 Missouri, Sedalia through May 25 “Walter Pottery”; at AMOCA, 340 S. Garey Ave. “Community of Fire,” includes panels and McConnell: Itinerant Edens”; at Daum Museum April 12–May 24 “Fred’s Friends,” works by presentations with Svend Beyer, Robert Comp- of Contemporary Art, 3201 W. 16th St. Conrad Calimpong, Philip Cornelius, Patricia ton, Kevin Crowe, Stephen Driver, Victoria Montana, Helena April 11–May 11 “Paul Ferber, Nina Hole, Carol Anne Klimek, Julia Nema, Hansen, Mark Hewitt, Micki Schloesingk and Maseyk Farewell Exhibition.” May 15–June 1 Jon Pacini, Don Ryan, Vincent Suez and Richard Jack Troy. Fee: $395; after March, $425. Con- “Jennifer Allen Farewell Exhibition”; at Archie White; at Armstrong’s, 150 E. 3rd St. tact Kevin Crowe; [email protected]; Bray Foundation for the Ceramic Arts, 2915 Florida, West Palm Beach through April 5 www.kevincrowepottery.com; (434) 263-4065. Country Club Ave. “Mad Hatter’s Tea Party Exhibition”; at Armory Montana, Missoula April 4–29 Jack Troy; at Art Center, 1700 Parker Ave. solo exhibitions The Clay Studio of Missoula, 1106 Hawthorne Georgia, Decatur April 5–May 3 “Line and Unit A. Color,” works by Diana Fayt, Julia Galloway, An- Arizona, Scottsdale April 3–17 “LuAnn New Mexico, Santa Fe May 2–June 1 “Frac- nette Gates, Cara Gilbert, Jay Jensen, Courtney Tafoya: The Red and the Black”; at King Galleries Shard: New Works in Clay by Patrick Crabb”; at Martin, Courtney Murphy, Kelly Sullivan and of Scottsdale, 7100 Main, #1. Patina Gallery, 131 W. Palace Ave. Liz Zlot Summerfield; at MudFire Clayworks, Arizona, Tempe through August 2 “Synthetic New York, Port Chester May 3–24 ”Joe 175 Laredo Dr. Reality: Susan Beiner”; at Arizona State University Pintz: Sense of Place”; at Clay Art Center, 40 Illinois, Oak Park through April 16 “Seeded,” Art Museum, 10th St. and Mill Ave. Beech St. works by Conner McKissack, Brian Taylor, Kari Radasch, Ted Neal, Michael T. Schmidt and Pat California, Davis through April 18 Linda Oregon, Portland April 10–June 23 “Genera- Coughlin; at Terra Incognito, 246 Chicago Ave. FitzGibbon; at Pence Gallery, 212 D St. tions: Ken Shores”; at Museum of Contemporary Maryland, Baltimore through April 18 California, Pasadena through April 12 Sierra Craft, 724 Northwest Davis St. “Terra Incognita: Unknown Land”; at Baltimore Pecheur, “Dig: An Imagined Archeo-logism”; at Pennsylvania, Philadelphia April 4–27 Clayworks, 5707 Smith Ave. Xiem Clay Center, 1563 N. Lake Ave. Maren Kloppman. April 25–June 1 Heather Massachusetts, Cambridge through June California, San Francisco through April 5 Mae Erickson, “The Industrial Hand: Tableware 30 “A Taste of Power: 18th Century German Nina Lyons, “Narratives”; at Sculpturesite Gal- Design.” May 23–June 29 “Shu Mei Chan: New Porcelain for the Table”; at Harvard University lery, 201 3rd St. Work”; at The Clay Studio, 139 N. 2nd St. Art Museums, Busch-Reisinger Museum, 32 D.C., Washington May 16–June 18 Hyun Pennsylvania, Pittsburgh through April 25 Quincy St. Kyung Yoon; at Cross Mackenzie Ceramic Arts, Marlene Boyle, “SPEAK OUT”; at Gallery on 43rd Massachusetts, Lexington through April 1054 31st St. St., 187 43rd St. 21 “Ceramics in New England: 1700–2008”; Florida, St. Petersburg through May 10 Jun through May 31 “Ceramic Explosion: The at Lexington Arts and Crafts Society, 130 Kaneko; at The Arts Center, 719 Central Ave. Work of Martin Klimas”; at The Andy Warhol Waltham St. April 25–May 10 Vai Alandikar, “Mantra”; Museum, 117 Sandusky St. Massachusetts, Northampton April at Tim Salen Gallery, St. Petersburg Clay Co., Pennsylvania, Washington through April 6 11–May 18 “Porcelain Now: The Alfred Con- 420 22nd St. Ilena Finocchi, “Shadows of Collected Memo- nection,” works by Andy Shaw, Kristen Kieffer Illinois, Chicago through May 3 Dennis Lee ries”; at Olin Art Gallery, Washington and Jef- and Albion Stafford; at The Artisan Gallery, Mitchell, “Human Nature”; at Dubhe Carreño ferson College, 285 E. Wheeling St. 162 Main St. Gallery, 1841 S. Halstead St. Texas, Lufkin through May 30 David Hendley, Michigan, Detroit May 16–June 6 “Six Illinois, LaGrange through April 10 Fong “Pots and Process”; at Museum of East Texas, Ceramic Artists: Pioneers of the German Studio Choo, “Recent Work”; at Terra Incognito, 35 S. 503 N. 2nd St. Craft Movement,” works by Beate Kuhn, Georg LaGrange Rd. Washington, Bellevue through April 19 Hohlt, Ursula and Karl Scheid and Gotlind and Illinois, Oak Park April 19–May 21 “Lynn “Eden Revisited: The Ceramic Art of Kurt Gerald Weigel; at Pewabic Pottery, 10125 E. Smiser Bowers: Embellishing Form and Sur- Weiser”; at Bellevue Arts Museum, 510 Bel- Jefferson Ave. face”; at Terra Incognito Studios and Gallery, levue Way NE. Minnesota, Minneapolis through April 27 246 Chicago Ave. Wyoming, Buffalo May 9–August 9 Victoria “Exquisite Pots: Six Degrees of Collaboration,” Maryland, Bethesda May 6–June 7 “Beauty Christen; at Margo’s Pottery and Fine Craft, 1 works by Maren Kloppmann, Andrew Martin, and the Beast: Ceramic Vessels and Sculptures Main St. Margaret Bohls, Andy Brayman, Sam Chung Ceramics Monthly April 2008 70 Ceramics Monthly April 2008 71 calendar group exhibitions and Deb Schwartzkopf. “Bountiful Visions: Juliane Shibata and Eva Kwong”; at Northern Clay Center, 2424 Franklin Ave. E. Missouri, Kansas City April 3–26 “Kicking Ash: Women Potters Who Woodfire”; at Red Star Studios, 821 W. 17th St. Montana, Helena April 11–May 11 “2007 Figurative Sculptural Exhibition”; at Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave. Montana, Red Lodge through April 25 “16 Hands,” works by Silvie Granatelli, Richard Hensley, Donna Polseno, Ellen Shankin, Stacy Snyder and Brad Warstler; at Red Lodge Clay Center, 123 S. Broadway. New Jersey, Clinton April 6–June 15 “Un- common Clay,” works by Bennett Bean, Ruth Borgenicht, Jim Jansma, Ka Kwong Hui, Taesik Song and Mikhail Zakin; at Hunterdon Museum of Art, 7 Lower Center St. New Jersey, Lincroft June 8 “Thompson Park Creative Arts Center Spring Exhibit”; at Thomp- son Park Creative Arts Center, Monmouth County Park System, 805 Newman Springs Rd. New Mexico, Santa Fe through April 12 “Cats.” through April 21 “Summer Workshop Artists’ Preview,” works by Ian Anderson, Tom Bartel, Susan Beiner, Bernadette Curran, Josh De- Weese, Beth Lo, Adelaide Paul, Peter Pinnell and Roxanne Swentzell. April 18–May 17 “Emerg- ing Talent,” works by Naomi Cleary, Myung- Jin Kim, Vince Palacios, Shoko Teruyama and Kensuke Yamada; at Santa Fe Clay, 1615 Paseo de Peralta. New York, Cazenovia April 25–May 31 “Into the Garden,” works by Nora Jean Creahan, Tijana Djordjevic, Ed Feldman, Randal Jones and Shawn O’Connor; at Chameleon Gallery, 53 Albany St. New York, New York through May 10 “Made in Clay Benefit Exhibition.”May 22–June 21 “An- nual Members Showcase”; at Greenwich House Pottery, Jane Hartsook Gallery, 16 Jones St. New York, Port Chester through April 5 “Liv- ing Sculpture: Ikebana and Clay Collaborations,” works by Keiko Ashida, Beth Herod, Michiko Nickerson, Kiyomi Noda and Yoko Michiko. through April 26 “Flower Power.” April 10–26 “Rising Stars: Clay Art Center Annual Student Show”; at Clay Art Center, 40 Beech St. North Carolina, Bakersville May 24–July 24 “Potters of the Roan: Works in Triplicate”; at Crimson Laurel Gallery, 23 Crimson Laurel Way. North Carolina, Charlotte through April 20 “Made in China: Export Porcelain from the Leo and Doris Hodroff Collection”; at Mint Museum of Art, 2730 Randolph Rd. North Carolina, Durham through April 20 “Sculpture Exhibit,” works by Sarah White, Holly Fischer and Caroly van Duyn; at Claymakers, 705 Foster St. North Carolina, Seagrove April 4–26 “Go- ing, Going, Gone to Pots!” May 2–August 30 “Contemporary Pottery from North Carolina’s American Indian Communities”; at North Caro- lina Pottery Center, 250 E. Ave. Ohio, Rocky River through May 5 Kevin Snipes and Kelly Palmer; at River Gallery, 19046 Old Detroit Rd. Pennsylvania, Philadelphia through June 1 “Colonial Philadelphia Porcelain: The Art of Bonnin and Morris.” through July 27 “Turned and Thrown: English Pottery, 1660–1820”; at Philadelphia Museum of Art, 26th St. and the Benjamin Franklin Pkwy. continued Ceramics Monthly April 2008 72 Ceramics Monthly April 2008 73 calendar group exhibitions

April 4–27 “Speaking Low: Surfaces in Horie and Kari Radasch; at Sweetwater Center through May 31 “Black Clay in PA: A Dialogue Earthenware.” May 2–18 “Small Favors: Benefit for the Arts, 200 Broad St. In Flux,” works by Sharif Bey, Syd Carpenter, Exhibition and Sales”; at The Clay Studio, 139 through April 19 “Tacitly Tactile”; at Gallerie Michael Clemens, Justin Coleman, Vanessa N. 2nd St. Chiz, 5831 Ellsworth Ave. German, Marica Jackson, Mary Martin, Malcolm Pennsylvania, Pittsburgh through April 13 through April 26 “Japanese Threads”; at Mobutu Smith and Paul Andrew Wandless; at “Earth and Fire”; at Pittsburgh Center for the Morgan Contemporary Glass Gallery, 5833 209/9 Gallery (of the August Wilson Center), Arts, 6300 Fifth Ave. Ellsworth Ave. 9th St., Liberty at Penn Ave. through April 7 “The Frank Ross Legacy through April 25 “Between Surface and through April 5 “Suggestion/Submission,” Exhibition.” March 18–22 “Table of Elements”; Self”; at MCG @ 800 Penn Ave. Gallery, 800 works by Ian F. Thomas and Jeffrey A. Schwarz; at Manchester Craftsmen’s Guild, 1815 Met- Penn Ave. at 707 Penn Gallery, 707 Penn Ave. ropolitan St. through April 19 “Brit by Brit,” works by Rod through April 26 “Friends in Clay,” works through April 5 “Clay and Print”; at Artists Bugg and Steve Dixon; at Robert Morris University by Elvira Peake, Kirk Mangus, Eva Kwong and Image Resource, 518 Foreland St. Gallery, 600 5th Ave. James Simon; at The Clay Place Gallery, One through April 4 “Juicy Terra-cotta,” works through April 25 “From the Ground Up”; at Walnut St. by Helen Otterson, Elizabeth Coleman, Ayumi Gallery on 43rd St., 187 43rd St. through May 3 “Two for the Show,” works by Regis Brodie and Bill Strickland; James Gallery, 413 South Main St. through June 7 “Voices, 2008 NCECA Invita- tional Exhibition”; at Society for Contemporary Craft, 2100 Smallman St. through May 3 “Clay and Flowers”; at Drew Mathieson Center for Horticultural Technology, 1650 Metropolitan St. through April 12 “Erudite Lunacy.” “Ranch Hands”; at 3rd Street Gallery, 220 3rd St. through April 25 “Keystone Connections, Pennsylvania artists: Jessica Broad, Bernadette Curran, Jim Dugan, Tina Gebhart, Ryan Kelly and Lars Westby”; at Hawk Studios and Gallery, 5208 Butler St. through April 26 “Object(ions)”; at Michael Berger Gallery, 415 Gettysburg St. through May 18 “Out of Madness—Seven Potters Follow Ohr.” “Pots by the River: Treasures from the Waynesburg University Collection.” “Women with Wood – Three Generations”; at McGuinn Gallery, Heinz History Center, 1212 Smallman St. Rhode Island, Kingston April 17–May 10 “Earthworks Open Juried Clay Annual”; at South County Art Association, 2587 Kingstown Rd. Texas, Dallas April 4–6 “The First Annual Dallas Pottery Invitational”; at The Janette Ken- nedy Gallery, 1409 S. Lamar. Virginia, Richmond through June 29 “Ce- ramic Portraits: Selections from the Georganna Yeager Johns Collection of Charac- ter Jugs”; at Lora Robins Gallery of Design from Nature, University of Richmond Museums.

ceramics in multimedia exhibitions

Arizona, Tucson through May 3 “ Mary Fisch- er, Susan Gutt, Talya Baharal and Terri Logan,” including ceramics by Mary Fischer; at Obsidian Gallery, 4320 N. Campbell Ave. #130. California, Santa Ana May 18–October 12 “Terra-cotta Warriors: Guardians of China’s First Emperor”; at Bowers Museum, 2002 N. Main St. Florida, Naples through October 31 “In- ternational Inspirations,” including ceramics by Margaret Chevalier, Alexandra McCurdy, Gabrielle Nappo and Richard W. Rosen; at Rosen Studios, N. Line Plaze, 2172 J&C Blvd. Illinois, Urbana through April 5 “Flesh and Blood: Drawings by Ron Kovatch and Ceramic Sculpture by Jacob Foran”; at Cinema Gallery, 120 W. Main St. Kentucky, Louisville through May 24 “Made to Deceive: The Art of Trompe L’œil,” including ceramics by Cynthia Consentino, Paul Dresang, Mika Negishi Laidlaw and Victor

Ceramics Monthly April 2008 74 calendar multimedia exhibitions

Spinski; at Kentucky Museum of Art and Craft, Massachusetts, Amherst, Northampton, 710-708 Camino Lejo. 715 W. Main St. Shelburne Falls April 26–27 “Asparagus Val- New York, New York March 27–April 30 Massachusetts, Brockton through May 4 ley Pottery Trail.” For more information, visit “Made in Clay: Annual Benefit Sale”; at Greenwich “The Society of Arts and Crafts Winners 1994– www.asparagusvalleypotterytrail.com. House Pottery, 16 Jones St. 2006”; at Fuller Craft Museum, 455 Oak St. Michigan, Novi April 18–20 “Sugarloaf Art May 2–4 “Incised Imagery: 8th Annual Pueblo Minnesota, Minneapolis through May 25 Fair”; at Rock Financial Showplace. Pottery in New York City”; at Hotel Beacon, 75th “Arts of Japan: The John C. Weber Collection”; at New Jersey, Morristown April 11–13 and Broadway. Minneapolis Institute of Art, 2400 3rd Ave. S. “Spring Crafts at Morristown”; at Morristown North Carolina, Creedmoor April 4–6, New Mexico, Santa Fe through May 11 Armory, 430 Western Ave. 12–13 “40th Annual Spring Pottery and Glass “Flower Power: A Subversive Botanical Exhibi- New Mexico, Santa Fe April 26–27 “Ninth Festival”; at Cedar Creek Gallery, 1150 Flem- tion”; at New Mexico Museum of Art, Santa Fe’s Contemporary Clay Fair”; at New Mexico Pot- ing Rd. Plaza at 107 W. Palace Ave. ters and Clay Artists Association, 1616 Old Oregon, Portland April 25–27 “Ceramic New York, New York through April 18 “Jo- Pecos Trail. Showcase 2008”; at Oregon Convention Center, siah Wedgewood and His Circle”; at The UBS May 24–25 “Native Treasures: Indian Arts 777 NE Martin Luther King Jr. Blvd. For more Art Gallery, 1285 Ave. of the Americas between Festival”; at Museum of Indian Arts and Culture, information, visit www.ceramicshowcase.com. 51st and 52nd Sts. through July 6 “: The Continuing Curve, 1730–2008”; at Cooper-Hewitt, National Design Museum, 2 E. 91st St. North Carolina, Ashville through April Throwing & Handbuilding: 26 Greg Decker and Debra Fritts, including ceramics by Debra Fritts; at Blue Spiral 1, 38 Biltmore Ave. Forming techniques North Carolina, Charlotte through April 20 “Made in China”; at Mint Museum of Art, 2730 Randolph Rd. North Carolina, Charlottesville April 4–26 DISCOVER challenging, complex and unique techniques “Along the Garden Path,” works by John Grant and Nan Rothwell; at McGuffey Art Center, 201 by some of the foremost studio artists working today. Second St. NW. North Carolina, Hendersonville through May 9 “Blue Ridge Residencies”; at Center for Craft, Creativity and Design, 1181 Broyles Rd. Each of the 23 Pennsylvania, Philadelphia through April 27 “Borgenicht and Pontz: Collaboration Link- featured artists ing Metal and Clay”; at Crane Arts Bldg., 1400 N. American St. reveals practical Texas, Denton April 10–May 29 “Visual Arts Society of Texas: 40th Annual Visual Arts techniques, and Exhibition”; at Meadows Gallery, Center for the Visual Arts, 400 E. Hickory. shares insightful Texas, Houston through May 4 “Craft in America: Expanding Traditions”; at Houston Cen- information you ter for Contemporary Craft, 4848 Main St. Wisconsin, Sheboygan through April 26 can use in your “Whispering Walls: The Work of Laura Pickett Calfee and Giselle Hicks,” including ceramics own work at by Giselle Hicks; at John Michael Kohler Arts Center, 608 New York Ave. your own pace.

fairs, festivals and sales

Arizona, Tucson April 25–27 “Tucson Fur- Only niture, Art and Decor Market”; at Tucson Expo Center, 3750 E. Irvington Rd. Colorado, Boulder May 1–4 “Boulder Pot- $29.95 ters’ Guild Spring Sale”; at Boulder County Fairgrounds. For more information, visit www.boulderpottersguild.com. D.C., Washington April 10–13 “26th Annual Smithsonian Craft Show”; at National Building Museum, 401 F St., NW. April 11–13 “James Renwick Alliance Spring Craft Weekend.” For more information, visit www.jra.org. FREE Shipping when you order online Georgia, Macon April 18–27 “Fired Works”; (US Only) at Central City Park, downtown Macon. For more information, visit www.maconarts.org. Maryland, Gaithersburg April 4–6 “Sugar- ceramicartsdaily.org/books loaf Crafts Festival”; at the Montgomery County Fairgrounds. Maryland, Timonium April 25–27 “Sug- 866-721-3322 arloaf Crafts Festival”; at the Maryland State Fairgrounds. Ceramics Monthly April 2008 75 calendar fairs, festivals and sales

Pennsylvania, Kutztown June 28–July 6 “The Kutztown Folk Festival”; at Kutztown Fairgrounds, Rt. 222. For more information, visit www.kutztownfestival.com/information/news. Pennsylvania, Langhorne April 26–27 “American Art Pottery Association Annual Show and Sale”; at Sheraton Bucks County Hotel. For more information, visit www.aapa.com. Texas, Lubbock April 17–20 “Lubbock Arts Festival”; at Lubbock Memorial Civic Center, 1501 MacDavis Ln. Virginia, Chantilly May 2–4 “Sugarloaf Crafts Festival”; at Dulles Expo Center, 4368 Brookfield Corporate Dr. Washington, Stanwood May 9–11 “10th Annual Camano Island Studio Tour.” For more information, visit www.camanoarts.org.

workshops

Alabama, Montgomery April 5–6 Demon- stration Workshop with Conner Burns. Free of charge; pre-registration required. Contact Sue Jensen, Auburn University Montgomery, 7400 E. Dr., Montgomery 36117; [email protected]; (334) 244-3361. Arizona, Phoenix April 19–20 Pa- perclay Workshop with Graham Hay. Fee: $200. For more information, visit www.desertdragonpottery.com. Contact Mishy Katz, Desert Dragon Pottery, 25037 N. 17th Ave., Phoenix 85085; [email protected]; (602) 690-6956. Arizona, Prescott April 11–13 “PMC Certification Class.” Fee: $425. April 26–27 “Raku and Aluminum Foil Saggar.” Fee: $100. May 10–11 “Handbuilding” with Lana Wilson. Fee: $125. May 12–18 “Handbuilding and Coiling Intensive.” Fee: $650. Instructor (un- less noted above): Karen vanBarneveld-Price. Contact Karen vanBarneveld-Price; VanPrice Studio, 2057 Heavenly Place, Prescott 86303; [email protected]; www.vanprice.com; (928) 443-9723. Arizona, Tucson April 21–22 “Graham Hay: Paperclay Revolution.” Fee: $175. Contact Jean Robinson, ArtiFacts, 38090 South Loma Serena Drive, Tucson, Ari- zona 85739; [email protected]; www.artifactstudio.blogspot.com; telephone (520) 825-7807. Arkansas, Fayetteville April 12–13 “Hand- building” with Lana Wilson. Fee: $195. Contact Flat Rock Clay Supplies and Studio, 2002 S. School Ave., Fayetteville 72701; www.flatrockclay.com; (479) 521-3181. Arkansas, Mountain View April 12–15 “Creating Pots for a Wood-Burning Kiln” with Judi Munn. Fee: $200; additional material fee based on clay use. April 16–20 “Firing a Wood- Burning Groundhog Kiln” with John Perry and Judi Munn. Fee: $265. Contact Ozark Folk Center, PO Box 500, Mountain View 72560; [email protected]; (870) 269-3851. California, Mendocino April 5–6 “Pinch- n-Pull” with Scott Parady. April 12–13 “Create Ceramic Instruments” with Ernesto Hernandez- Olmos. April 19–20 “Clay Forms as Tools” with Susan Clusener. May 3–4 “Figures in Paperclay” with Gregg Jabs. May 10–11 “Creative Extruding” with William Shinn. May 17–18 “Cut Loose with Clay” with Melanie Knox. May 24–26 “Wood-Fire Seduction” with Nicolas Blake Schwartz. Fee: $250. Fee (unless noted above): $175. Contact Ceramics Monthly April 2008 76 Ceramics Monthly April 2008 77 calendar workshops

Mendocino Art Center, 45200 Little Lake St., PO Box 765, Mendocino 95460; [email protected]; www.mendocinoartcenter.org; (800) 653-3328. California, Ojai May 16–18 “A Weekend with Matt Long.” Fee: $200. Contact Dusti, Massarella’s Firehouse Pottery, Gallery and Clay School, 109 S. Montgomery St., Ojai 93023; [email protected]; www.firehouse-pottery.com; (805) 646-9453. May 17–18 “Raku at Beatrice Wood’s Studio” with Mike McNutt and Shevon Sullivan. Fee: $325; one session, $240. Contact Janat Dundas, Bea- trice Wood Center for the Arts, 8560 Ojai-Santa Paula Rd., Ojai 93023; [email protected]; www.beatricewood.com; (805) 646-3381. California, San Diego May 28–June 1 “The Raku Process: Forming, Surface, Glaz- ing and Firing” with Steven Branfman. Fee: $385; CASD members, $365; $30 discount if fee is paid in full by April 1. Contact Jackson Gray, Clay Artists of San Diego, PO Box 22524, San Diego 92192; [email protected]; www.clayartistsofsandiego.org; (858) 270-3828. California, Torrance April 26 “Ceramic Mas- ter Workshop” with Greg Riley. Class number: 1902.201. Fee: $45; residents, $35. Contact (310) 618-2720. Colorado, Carbondale April 26–27 Work- shop with Lisa Orr. Fee: $225. May 2–4 “Foil Saggar and Naked Raku” with Joe Brecha. Fee: $175. Contact Lauren Kearns, Carbondale Clay Center, 135 Main St., Car- bondale 81623; [email protected]; www.carbondaleclay.org; (970) 963-2529. Colorado, Grand Junction May 3–4 “Process in Carving and Throwing Porcelain Clay” with Tom and Elaine Coleman. Fee: $275; members, $250. Contact The Art Center, 1803 N. 7th St., Grand Junction 81501; csilverman@gjartcenter. org; (970) 243-7337, ext. 6. Connecticut, Kent May 3–4 “The Expressive Pot” with Jack Troy. Contact Nancy Magnus- son, 365 Jeff Miller Rd., Tolland, MA 01034; [email protected]; (860) 309-8267. Georgia, Decatur April 12–13 “Attention to Detail” with Jeff Oestreich. May 3–4 “Raku Spectacular” with Steven Branfman. Fee: $245. May 16 “Sculptural Teapots and Handbuilding” with Richard Notkin. May 17–18 “A Plethora of Handbuilding Techniques” with Richard Notkin. Fee (unless noted above): $135. Contact MudFire Clayworks, 175 Laredo Dr., Decatur 30030; [email protected]; (404) 377-8033. Georgia, Macon April 26 “Bringing the Ce- ramic Surface to Life” with Andy Nasisse. Fee; $75. Contact Heather Davis, Macon Arts, 486 First St., Macon 31201; [email protected]; www.maconarts.org; (478) 743-6940. Illinois, Oak Park April 19–20 “Embel- lishing Form and Surface” with Lynn Smiser Bowers. Fee: $150. For more information, visit www.terraincognitostudios.com. Contact Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park 60302; [email protected]; (708) 383-6228. Indiana, Indianapolis April 1–12 “Sur- face and Design” with Deb Weinstein. Fee: $125. Contact Brickyard Ceramics and Crafts, 6060 Guion Rd., Indianapolis 46254; www.brickyardceramics.org; (800) 677-3289. Maryland, Frederick April 17–20 “Mas- ters’ Throwing II” with Joyce Michaud. Fee: $300. April 12–13 “Eastern and Western Techniques in Trimming” with Kristin Muller. Ceramics Monthly April 2008 78 Ceramics Monthly April 2008 79 calendar workshops

Fee: $175. Contact Hood College, Ceram- ics Program, 401 Rosemont Ave., Frederick 21701; www.hood.edu/academic/art; (301) 696-3456. Massachusetts, Boston April 4 “Clay: Social Reform Workshop: The Paul Revere Pottery and Sara Galner.” Fee: $75; Harvard students and faculty, free. April 13 “Extravagance and Drama” with Kristen Kieffer, Nicole Peters and Gala Sorki- na. Fee: $75; Harvard students and faculty, free. Contact Ceramics Program, Office for the Arts at Harvard, 219 Western Ave., Boston 02134; [email protected]/ceramics/workshops; www.fas.harvard.edu/ceramics/workshops/; (617) 495-8680. Massachusetts, Worcester April 5 “Down to Earth: Creating Clay Artwork Inspired by Nature” with Katherine Lewis. Fee: $48; mem- ber, $45. Contact Caitlin O’Connor, Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; [email protected]; www.worcestercraftcenter.org; (508) 753-8183. Minnesota, Luverne April 26–27 Raku Work- shop with Charlie and Linda Riggs. Fee: $165. Con- tact Jerry Deuschle; [email protected]; (507) 283-8477. Missouri, Kansas City April 5–6 “Paying Attention to Detail” with Charity Davis-Wo- odard. May 3–4 “Form Forum” with Christa Asaad. Fee/session: $125. Contact Red Star Studios Ceramic Center, 821 W. 17th St., Kansas City 64108; [email protected]; www.redstarstudios.org; (816) 474-7316. Montana, Helena May 19–23 “Soda Kiln De- sign and Construction” with Donovan Palmquist. Fee: $450. Contact Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena 59602; [email protected]; www.archiebray.org; (406) 443-3502. Nevada, Las Vegas April 19–20 “Func- tional Pots: Handbuilding Forms with Slabs” with Sam Chung. Fee: $490, includes lodging. May 3–4 “Handbuilding the Human Form” with Patti Warashina. Fee: $490, includes lodging. May 26–31 “Function, Sculpture and Market- ing” with Bill van Gilder. Fee: $1270, includes lodging. Contact Pottery West, 5026 N. Pioneer Way, Las Vegas 89149; [email protected]; www.potterywest.com; (702) 987-3023. New Jersey, Demarest May 31 “Raku Firing” with David Hughes. Fee: $115. Contact Lorraine Zaloom, The Art School at Old Church, 561 Piermont Rd., Demarest 07627; [email protected]; www.tasoc.org; (201) 767-7160. New Jersey, Layton May 17–18 “Mud Glori- ous Mud” with Adam Welch. Fee: $285. May 24–26 “Flash Firing and Multi-fired Raku” with Harvey Sadow. Fee: $325. Contact Registrar, Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; [email protected]; www.petersvalley.org; (973) 948-5200. New Jersey, Lincroft April 12, 19 “Two-day Building Tower Pots” with John Fossa. Fee: $65. May 3 “Parent and Child Ceramics: Mother’s Day Vases.” Fee: $24. May 7, 14 “Precious Metal Clay: Dangling Bracelets.” May 17, 24 “Precious Metal Clay: Initial Necklace.” Fee: $90. Contact Thomp- son Park Creative Arts Center, Monmouth County Park System, 805 Newman Springs Rd., Lincroft 07738; www.monmouthcountyparks.com; (732) 842-4000, ext. 4253. New Mexico, Santa Fe April 12–13 “Con- temporary Approaches to Traditional Japanese Decoration” with Betsy Williams. May 17–18 Ceramics Monthly April 2008 80 ISl ANd C l AY

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Ceramics Monthly April 2008 81 calendar workshops

“Paper Clay for Sculpture” with Judy Nelson- Moore. Fee/session: $215. Contact Santa Fe Clay, 1615 Paseo De Peralta, Santa Fe 87501; [email protected]; www.santafeclay.com; (505) 984-1122. New York, Cross River April 27 or May 18 “Raku Firing” with David Hughes. Fee: $125. Contact Katonah Art Center, 131 Bedford Rd., Ka- tonah 10536; [email protected]; www.katonahartcenter.com; (914) 232-4843. New York, Katonah May 4 “Clay Silver” with David Hughes. Fee: $125. Contact Ka- tonah Art Center, 131 Bedford Rd., Katonah 10536; [email protected]; www.katonahartcenter.com; (914) 232-4843. New York, New York May 19 “Mosaics” with Eddie Dominguez. Fee: $400. Contact 92nd St. Y, Lexington Ave. at 92nd St., New York 10128; www.92y.org; (212) 415-5565. New York, Port Chester April 5–6 “The Pa- perclay Revolution” with Graham Hay. Fee: $200. May 3–4 “Down to Earth” with Joseph Pintz. Fee: $180. Contact Clay Art Center, 40 Beech St., Port Chester 10573; [email protected]; www.clayartcenter.org; (914) 937-2047. North Carolina, Asheville April 4–6 “Handbuilt Functional Pots” with Liz Zlot Summerfield. Fee: $275. Contact Odyssey Center for Ceramic Arts, 236 Clingman Ave., Asheville 28801; [email protected]; www.highwaterclays.com; (828) 285-0210. North Carolina, Charlotte May 3 ”Gas Kiln 101” with Andrew Linton. Fee: $50. Contact Andrew Linton, Pottery Central, 4843 Monroe Rd., Charlotte 28205; [email protected]; www.potterycentral.com; (704) 537-4477. Ohio, Cleveland April 12–13 “Paperclay” with Graham Hay. Fee: $210. Contact Orange Art Center, 31500 Chagrin Blvd., Pepper Pike, OH 44124; www.orangeartcenter.org; (216) 831-5130. Oregon, Portland April 5–6 “Painterly Pots: A Gestural Approach to Form and Surface” with Ron Meyers. Fee: $175. Contact Oregon College of Art and Craft, 8245 SW Barnes Rd., Portland 97225; www.ocac.edu; (503) 297-5544. Pennsylvania, Philadelphia May 17–18 “In- vestigating Form and Surface with Majolica” with Linda Arbuckle. Contact The Clay Studio, 139 N. 2nd St., Philadelphia 19106; [email protected]; www.theclaystudio.org. Rhode Island, Kingston April 13 Demonstra- tion and slide lecture with Diane Rosenmiller. Fee: $55. Contact South County Art Asso- ciation, 2587 Kingstown Rd., Kingston 02881; [email protected]; www.southcountyart.org; (401) 783-2195. Virginia, Amherst April 12–13 “Weekend Throwing Workshops” with Kevin Crowe. Fee: $300, includes lodging, meals and materials. Con- tact Kevin Crowe, Tye River Pottery, 1289 Falling Rock Dr., Amherst 24521; [email protected]; www.kevincrowepottery.com; (434) 263-4065. Virginia, Arlington April 12–13 “Pots/Pos- sibilities” with Nick Joerling. April 19–20 “Image Transfer Techniques for Clay” with Paul Andrew Wandless. May 17–18 “Expanding Possibilities with Clay” with Lisa Clague. Fee/session: $185. Contact Lee Arts Center, 5722 Lee Highway, Arling- ton 22207; www.arlingtonarts.org/leearts.htm; (703) 228-0558. Virginia, Berryville May 16–24 “Wood Firing in the Country with Mizue” with Mizue Croswell. Fee: $170. Contact Gail Adkisson, Ceramics Monthly April 2008 82 calendar workshops

Creative Clay Studios, 5704E General Washing- ton Dr., Alexandria 22312; [email protected]; www.creativeclaypottery.com; (703) 750-9480. Virginia, Floyd April 12–13 “Raku” with Steve Mitchell. Fee: $180; members, $150. April 22–May 8 “Wheel Throwing Series” with McCabe Coolidge. Fee: $145; members, $120. May 10–17 “Pots for the Garden” with Dandee Pattee. Fee: $100; members, $80. Contact Chris Shackelford, The Jack- sonville Center, 220 Parkway Lane S., Suite 1, Floyd 24091; [email protected]; http://jacksonvillecenter.org; telephone (540) 745-2784. West Virginia, Huntington May 2–4 “The Process is Everything: Working with Ed Eberle.” Fee: $225; members, $195; teachers, $165; stu- dents, $120. Contact Brad Boston, Huntington Museum of Art, 2033 McCoy Rd., Huntington 25701; [email protected]; www.hmoa.org; (304) 529-2701. West Virginia, Shannondale April 12– 16 “Salt Firing” with Marianne Cordy- ack. Contact Gail Adkisson, Creative Clay Studios, 5704E General Washington Dr., Alexandria 22312; [email protected]; www.creativeclaypottery.com; telephone (703) 750-9480. Wisconsin, Fish Creek May 19–23 “Tilemaking” with Jeanne Aurelius. Fee: $300. Contact Cathy Hoke-Gonzales, Pen- insula Art School, 3900 County F, Fish Creek 54212; [email protected]; www.peninsulaartschool.com; telephone (920) 868-3455.

international events

Australia, Adelaide April 5–May 25 “Por- celain,” works by Robin Best, Kirsten Coelho, Gwyn Hanssen Pigott, Ann Linnemann, Bruce Nuske, Prue Venables and Gerry Wedd; at Jam Factory, 19 Morphett St. Australia, New South Wales, Mittagong April 18–21 “Sturt Woodfire 2008.” Contact Sturt Woodfire 2008, PO Box 34, Mittagong NSW 2575; [email protected]; 61 2 4860 2080. Belgium, Brussels through April 12 “Love Your Figure,” including works by Louise Hinds- gavl, Steen Ipsen, Gitte Jungersen, Clemence van Lunen, Hanneke Giezen and Marieke Pauwels; at Puls Contemporary Ceramics, Kasteleinsplein 4, pl. Châtelain. Canada, Alberta, Calgary April 15–20 Marty Shuter; at Alberta College of Art and Design, 1407–14 Ave. NW. Canada, Ontario, Toronto May 23–25 “The Fusion Conference,” includes pre-conference workshops and presentations by Matt Long and Rachelle Chinnery. Contact The Ontario Clay and Glass Association, 1444 Queen St. E., To- ronto, ON M4L 1E1; [email protected]; www.clayandglass.on.ca; (416) 438-8946. Denmark, Skælskør March 31–April 4 “Experimental Studio” with Karen Harsbo and Neil Brownsword. Fee: 2300 DKr (US$456). May 5–11 “Experimental Woodfire” with Robert Sanderson. Fee: 2300 DKr (US$456). Contact International Ceramic Research Center-Guld- agergaard, Heilmannsvej 31A, Skælskør DK- 4230; [email protected]; www.ceramic.dk; 45 5819 0016. England, Leeds through April 30 Jane Black- Ceramics Monthly April 2008 83 calendar international events man; at the Craft Centre & Design Gallery, City Art Gallery, The Headrow. England, London through April 17 Yasuhisa Kohyama. April 23–May 22 Jennifer Lee; at Gal- erie Besson, 15 Royal Arcade, 28 Old Bond St. England, West Country May 25– June 6 “Pottery and Tour of UK SW.” For more information, visit www.portmoodytravel.com. Contact Alan or Gillian McMillan, Port Moody Travel, 2214 St. George Street, Port Moody, British Co- lumbia, V3H 2G2 Canada; [email protected]; [email protected]; (604) 937-7696. England, Worcester April 5–June 1 “Kiln to Table”; at The Gallery at Bevere, Bevere Ln. France, Giroussens through April 13 “Bes- tiaire”; at Maison de la Céramique, place Lucie Bouniol. France, La Borne April 5–May 12 Éric Astoul. May 17–June 23 Maria Bosch; at Centre de Créa- tion Céramique, 18250 Henrichemont. France, Midi-pyrenees, Cordes sur Ciel April 27–May 3 “Spring Course: Assuncion.” May 11–17 “Pentacost.” Fee/session: C425 (US$632).Instructor: Frank Theunissen. Contact Frank Theunissen, La Céramique, La Plaine, Cordes sur Ciel 81170; [email protected]; www.laceramique.com; (33) 5 63 53 72 97 France, Vallauris April 5 “Ceramic Workshop Raku-I 2008.” May 24 “Ceramic Workshop Raku-I 2008.” Contact A.I.R. Vallauris, Place Lisnard, 1 BD des Deux Vallons, Vallauris 06220; www.air-vallauris.org; (33) 4 93 64 65 50; (33) 6 16 58 39 56. Italy, Florence through June 8 “China: At the Court of the Emperors–Unknown Masterpieces from Han Tradition to Tang Elegance”; at Palazzo Strozzi, Piazza Strozzi. Italy, Florence, Certaldo May 11–24 “Ar- chitectural Ceramics” with Marcia Selsor. Fee: $3000. August 31–September 13 “Salt Firing” with Jane Hamlyn and Pietro Maddalena. Fee: $2100. Contact Pietro Maddalena, La Me- ridiana, International School of Ceramic Art in Tuscany, Loc. Bagnano, 135, Certaldo 50052; [email protected]; www.lameridiana.fi.it; (39) 0571 660084. Italy, Fondi May 25–June 1 “Medieval Town– Italian Workshop,” includes day trips to Rome and Vietri. Fee: $1015/week, includes lodging, most meals and materials. For more in- formation, visit www.workshophostel.com. Con- tact Workshop Hostel, PO Box 2003, Newport Beach, CA 92659; [email protected]; (714) 600-9535. Italy, Marsciano May 1–4 “Wheel Throw- ing” with Luca Leandri. Fee: C300 (US$446). May 23–25 “Workshop on Raku.” Fee: C250 (US$372). Contact Luca Leandri, La Fratta art-house, Voc. Fratta 157, Marsciano 06055; [email protected]; www.lafratta.it; (39) 075 8785111. Italy, Tuscany July 3–17 “Wood Fired Terra-cotta in Italy” with Don Davis. Fee: $2700. Contact Don Davis, Associate Pro- fessor, Dept. of Art and Design, ETSU; [email protected]; [email protected]; www.dondavispottery.com; (423) 439-7864; (423) 207-1228. Jamaica, Falmouth April 25–May 3 “Work- ing in Jamaica: Ceramic Vessels and Pottery” with John Neely, Alleghany Meadows, Doug Casebeer and David Pinto. Fee: $2850 for single tuition. Contact Doug Ellis, Anderson Ranch Arts Center, 5263 Owl Creek Rd., Snowmass Ceramics Monthly April 2008 84 calendar international events

Village, CO 81615; [email protected]; www.andersonranch.org; www.jamaicaclay.com; (970) 923-3181. Laos and Angkor Wat, Cambodia February 2009 “Village Pottery Experience,” includes work and fire with village potters. Limit of 12 persons. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; (250) 537-4906. Morocco, Marakesh, Ouarazate, Zagora, Merzouga and Casablanca November 8–27 “Ceramics and Cultural Excursion,” includes Berber traditional pottery, adobe architecture and tile art in Southern Morroco. Limit of 12 persons. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; (250) 537-4906. Myanmar (Burma), Mandalay, Bagan, Inle Lake, Yagon January–February 2009 “Burma: Ceramics and Cultural Excursion,” includes pottery making and firing in traditional villages, cultural and historical tours. Limit of 12 persons. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; (250) 537-4906. Netherlands, Amsterdam April 26–May 18 Paul Bastiaansen “Porcelain”; at Galerie Carla Koch, Veemkade 500. Netherlands, Deventer through April 26 Jordi Marcet and Rosa Vila-Abadal. April 13–May 10 Petri Voet, “Earth.” May 4–31 Richard God- frey; at Loes and Reinier International Ceramics, Korte Assenstraat 15. Netherlands, Leeuwarden through April 7 “Turkish and Dutch Ceramics.” through May 4 Johan van Loon, “A Life’s Work 05.” through August 31 “Expressionist in Art Nouveau: Henri Breetvelt.” through September 28 “Arnie Zim- merman: Inner City”; at Princessehof Ceramic Museum, Grote Kerkstraat 11. Philippines, Iloilo City through April 24 “35 Years On”; at University of the Philippines, Visayas Art Gallery. Republic of China, Beijing, Xian, Yix- ing, Suzhou and Shanghai May 13–27 “Ceramic Art Tour of China” with Xiaosheng Bi. Fee: $3600. Contact Hood College, Ceram- ics Program, 401 Rosemont Ave., Frederick, MD 21701; www.hood.edu/academic/art; (301) 696-3456. Spain, Zaragoza May 15–18 “Cerco 08: International Contemporary Ceramics Fair.” For more information, visit www.cerco.es. Switzerland, Geneva through May 4 “The Arts of Ancient Viêt Nam”; at Collections Baur, Musée des Art d’Extrême-Orient, 8 rue Munier-Romilly. Turkey, Istanbul, Cappadocia and Ankara Soldner Clay Mixers September 18–October 9 “Turkey Ceramics by Muddy Elbow Manufacturing Excursion,” includes hands-on workshops EASY.Aslowly revolving including handbuilding, colored porcelain and concrete tub forces clay through decals with Mehmet Kutlu and Erdogan Gulec. a stationary plough bar, turning, September 22–26 Workshop with Mehmet Kutlu. blending and spatulating the Limit of 12 persons. Contact Denys James, Dis- mixture to a throwing covery Art Travel, 182 Welbury Dr., Salt Spring consistency in minutes Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; call or email for a demo video (250) 537-4906. 310 W. 4th • Newton, KS • 67114 Wales, Cardiff through April 20 “Dining In.” Phone/Fax (316) 281-9132 April 25–June 15 “Coast2Coast”; at The Makers [email protected] soldnerequipment.com Guild in Wales, Craft in the Bay, The Flourish, Lloyd George Ave. Ceramics Monthly April 2008 85 classified advertising Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Per- Wanted: High Metallic Glazes. John Conrad sonals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the is researching, seeking information and photos first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! on high metallic content ceramic glazes for an See www.ceramicsmonthly.org/classifieds.asp for details. upcoming book. As example – a high amount of metallic(s) added to a base glaze that is more than normal metallics and percent and Buy/Sell Events up amounts: Bismuth – 10%, Cerium – 10%, Chrome – 08%, Cobalt – 08%, Copper – 12%, Bailey MSV-25T Deairing Mixer Pugmill. Used Tom Turner’s Pottery School. For details, see Iron – 15%, etc to Zirconium – 15%. He would once. Please e-mail [email protected]; or call www.tomturnerporcelain.com; or call (828) like to contact ceramists about this project. Fal- 707-778-8425. 689-9430. con Co., PO Box 22569, San Diego, CA 92192; [email protected].

Magazines for sale: Studio Potter: #1–18; “Revealing Glazes Workshop” by Ian Currie of Ceramic Arts and Perception: #8–32; Ameri- Queensland, Australia will be given at Dan Finch Extend your academic training in a profes- can Ceramics: #1–14. $8 each, postage Pottery, Bailey, NC, April 5-6. This is a hands sional studio environment. Instruction, materials, included. Ceramics Monthly: back to the 50’s. on workshop and all materials are provided. firings, techniques, philosophy and opportunity $5 each, postage included. (520) 323-2293; Ian will teach his very effective grid method of to sell your work at Eckels Pottery and Fine [email protected]. developing glazes. His two books will also be Craft Gallery in Bayfield, WI. Openings starting available. Saturday dinner provided. For more in spring 2008. For more information, e-mail info, contact [email protected]; or go to [email protected]; or call (715) 779- Mitchfield clay for sale (also known as Auman www.danfinch.com. 6517. Pond) from historical Seagrove, North Carolina. Shipping available to any area. Minimum 4-ton load. Contact Arthur at Kim’s Pottery Clay (336) Ceramic Intensive with Jim Connell. May Publications/Videos 873-7317; (336) 963-5143; (336) 963-5149. 17 & 18 at Evanston Art Center, Evanston, IL. Slide/Lecture/Demo. Artist’s Reception May 17th. Contact Judy or Larry at (847) 475-5300. PotteryVideos.com – DVD’s with Robin Hop- KILN SHELVES-15 Advancer 14x28. NEW. $190 per, Gordon Hutchens and Graham Sheehan. each. Please call (207) 363-7561. Video Workshops for Potters at all levels of ex- Opportunities perience. Choose from 21 titles. (800) 668-8040; [email protected]. Bailey Shuttle Pro 40 Deluxe gas kiln, 3 yrs. old, with U.V. Safety System, High Limit Sys- Pottery West in Las Vegas, Nevada. Pottery tem, Air Manifold System, Flat Roof System for classes: 6 weeks of classes and open studio time, Tom Turner’s 2-day workshop, 4-disc DVD set. increased loading space, Combustion Hood, $150. Attend as many classes as you’d like during To order, see www.tomturnerporcelain.com; or plus all venting $19,500/bo. Located near Keene, the 6 weeks. Studio fees, $25, includes 25 lb of call (828) 689-9430. NH. Contact Sharon (603) 847-9629, or e-mail clay, glazes and firing (Cone 10 gas reduction). [email protected]. For information and directions, call Amy Kline at (702) 987-3023; www.potterywest.com. Real Estate Employment Kent, Ohio “8th Annual Cup Show” May 13- Ceramic arts mecca 30 minutes from Archie Bray Highland Pottery in Northern Vermont has an June 7. Juror: Ted Vogel, Assistant Professor Foundation, near Helena, MT. Property includes opening for an apprentice/assistant to learn and in Art, Lewis & Clark College. Entry deadline studios, kiln sheds, office and 2000 sq. ft. home help with all aspects of our wood-fired pottery April 15. Fee $20. For prospectus, contact and greenhouse heated with geothermal springs. business. The position is for those looking to Anderson Turner, Director of Galleries, Kent 136 acres. For more info, visit our website at learn the technical and business skills to make State University, School of Art, PO BOX 5190, www.outlandish.us and click on Harpfarm; or your way as a potter, and is an unpaid position. Kent, Ohio 44242-0001; [email protected]; call (406) 443-1313 for brochure. Full use of studio, materials and an off-site dept.kent.edu/art/galleries; (330) 672-1379. housing allowance is included along with a paid position at the Vermont Gift Barn, our gal- For Sale: Five-year, established gallery in tour- lery in Burlington Vermont. A two year minimum Resident Artist/Studio Tech. position available ist area, three story home overlooking the North commitment is required. (802) 849-2300; or June 2008 at the Carbondale Clay Center. Teach- Georgia mountains with equipped pottery studio. [email protected]. ing opportunity available. Must be community- For info, e-mail: [email protected]; oriented person with a passion for ceramics. or call (706) 455-2541. Visit our website at www.carbondaleclay.org; or Mudd Pies Ceramics Studio and Belluomini e-mail [email protected]. Gallery located in Scottsdale, Arizona, is look- Rentals ing for individuals skilled in teaching beginning and intermediate throwing classes, and individu- Mid-Coastal Maine Potter’s Retreat. Beauti- als skilled in producing a variety of functional ful ceramics studio/living space on 110 acres. Studio Space Available – Muddy’s Studio is a 5400 pottery forms on a part-time basis. Experience Woods trails, swimming pond, private lessons sq. ft. premier ceramic studio in Orange County, in glazing and firing gas kilns is a plus. Please and critiques/group workshops. Nearby ocean California Monthly memberships available. Call contact Jennifer Belluomini at (480) 941-5565; and sailboat. www.starflowerfarmstudios.com; (714) 641-4077, or e-mail [email protected]; or [email protected]. (207) 525-3593. www.muddysstudio.com.

Ceramics Monthly April 2008 86 Services Custom Mold Making—Increase your produc- Craft & Folk Art Tours. SW Balkans, Romania tivity and profits with quality slip-casting molds Winter Festival, Chiapas (Mexico), Morocco, Master Kiln Builders. 26+ years experience de- of your popular designs! Petro Mold Co. offers South Africa, Central Asia, Burma, India. Small, signing and building beautiful, safe, custom kilns a complete range of mold-making services, personalized groups. CRAFT WORLD TOURS, for universities, colleges, high schools, art centers including sculpting and 3-D models, master and 6776CM Warboys, Byron, NY 14422; (585) 548- and private clients. Soda/salt kilns, wood kilns, case molds, and production mold manufactur- 2667; www.craftworldtours.com. raku kilns, stoneware kilns, sculpture burnout ing to thousands of satisfied customers. Visit kilns, car kilns and specialty electric kilns. Com- www.custommolds.net or call (800) 404-5521 Tuscany Workshop: May 25th – June 7th. Focus petitive prices. Donovan. Phone/fax (612) 250- to get started. will be on drinking vessels. No throwing skills 6208. Design services, molds, models, tooling required. This two week course also includes for slip casting, jiggering, hydraulic pressing. Travel trips to local beauty spots, special dinners, wine Samples and small production quantities. Ceram- OVERSEAS CERAMIC WORKSHOPS & TOURS tasting, cooking classes and more. For more ic Design Group, Jonathan Kaplan; (303)909- —Turkey, Istanbul and Cappadocia: Sept. 19 info contact [email protected] or visit 5488; www.jonathankaplanceramics.com. - Oct. 9, 2008 Workshops with Mehmet Kutlu www.danfinch.com. and Erdogan Gulec. MOROCCO Nov.8-27, 2008 Accept credit cards in your ceramics retail/ Berber traditional pottery, adobe architecture, tile wholesale/home-based/Internet and craft-show art in Southern Morocco. BURMA, Myanmar: Jan Tour of “Ceramic China”, May 28- June 12, 2008. business. No application fee. No monthly /Feb 2009 Ancient ; Mandalay; Yangon; Beijing, Xi’an, Jingdezhen, Yixing and Shanghai. minimum. No lease requirement. Retriever/First Inle Lake; Bagan temples. LAOS & ANGKOR WAT, $3,850, air tickets, transportation, hotels, meals of Omaha Merchant Processing. Please call Feb. 2009. OAXACA, MEXICO, Nov. 2009. Small, and admissions are all included. Tel. 800-689- (888) 549-6424. culturally sensitive groups using local translators 2529. www.ChineseClayArt.com and experts. Discovery Art Travel, Denys James, Ceramics Consulting Services offers techni- Canada; (250) 537-4906; www.denysjames.com, cal information and practical advice on clay/ [email protected]. We’re online! There is always something new hap- glaze/kiln faults and corrections, slip casting, pening at www.ceramicartsdaily.org. Updated clay body/glaze formulas, salt glazing, product Ghana: 3-week indigenous clay and cultural daily, our website includes tips and techniques for design. Call or write for details. Jeff Zamek, 6 structured tour. Lodging and studio facilities the studio, artist profi les, archives of past content, Glendale Woods Dr., Southampton, MA 01073; offered. Independent project proposals wel- as well as resources for fi nding ceramic activities (413) 527-7337; e-mail [email protected]; or come. www.studiomateceramics.com; e-mail and opportunities near you. And don’t forget to www.fixpots.com. [email protected]. sign up for the newsletter and your free gift!

Ceramics Monthly April 2008 87 Comment wherefore teapot? by Lori Keenan Watts Poet Robert Frost famously said, “Writing free the history or function. Nobody makes baking Even among functional potters, one often verse is like playing tennis with the net down.” dishes purely to explore sculptural ideas. If you meets the attitude that “no one is going to use it, I have sometimes had a similar thought about can’t bake in it, it isn’t a baking dish. anyway,” as an excuse for failing to be attentive sculptural teapots. I once gave a beginning class I am aware that I sound like a killjoy and a to utilitarian details. A potter who would never a teapot assignment, and was expounding on curmudgeon, not to mention sanctimonious. I make a sharp-lipped drinking vessel might put ergonomics, thermal expansion and the me- can’t honestly say I’ve never made a teapot that a large, mug-style back-attached handle on a full chanics of good spouts. Some students looked was, shall we say, “functionally challenged,” size teapot, because it looks nice, and is an easier bleakly at their partially constructed projects, just for the fun of putting shapes together. handle to create. That’s going to be uncomfort- until one piped up, “Well, nothing in the as- What I question is the addition of a spout ably heavy to lift when full. The assumption signment says it has to be functional.” onto a sculpture that could be complete in its that the item will never be used for its nominal “That’s right,” I replied. “But if it’s nonfunc- concept without one, just so it can be called a purpose frees the maker of such considerations, tional, decide that now, and make it obvious. teapot. This opens up exhibition opportunities but is ultimately a lazy choice. No fair firing it, and then, when it pours badly, at the many shows that are exclusive to the Thankfully, there are no clay police. Potters declaring that it’s a sculpture.” teapot form, as well as perhaps boosting sales, must hold themselves to high standards, or there If a teapot isn’t made to brew or pour tea, as collectors of unique “teapots” abound. But is no one to do so at all. All of this is to call how do we judge it? By the way it inhabits what does the spout contribute to the idea? upon potters to be their own inner professors. space; by what thoughts it evokes? But in that With its addition, the artist has referenced For those who enjoyed an academic education case, why is it a teapot at all? Of this once-so- an enormous history and called up myriad complete with group critiques, hark back to functional form, there are probably as many associations. Are they related to the concept those days. At any moment, look at the item you made and sold that are not intended for use that the sculpture was brought forth to con- are making, right now, be it teapot, sculpture, as otherwise. Some of these logically borrow vey? Do they further it, or distract from it? A mug, vase or ashtray. Try to hear the feedback the teapot form as a reference to its history, to minimal spout, just enough to qualify, is even your erstwhile colleagues might offer. And if it domesticity, to containment, to the motion of more distracting, in a way. It’s there, but it doesn’t need a spout, functionally or conceptu- liquid. One can certainly think of valid reasons obviously doesn’t work; the thoughtful viewer ally, don’t add one. to utilize the form. Many, however, have a gets hung up on the reason for its being there spout, a handle and lid, but don’t pour, and at all, and is led down a path away from the the author Lori Keenan Watts maintains Fine Mess pursue themes that are not remotely related to intent of the work. Pottery with her husband in Augusta, Maine.

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