April 1996 1 Ruth C. Butler...... Editor Kim Nagorski...... Assistant Editor Tess Galvin ...... Assistant Editor Lisa Politz...... Editorial Assistant Randy Wax...... Art Director Mary R. Hopkins...... Circulation Manager Mary E. May...... Assistant Circulation Manager Connie Belcher...... Advertising Manager Spencer L. Davis ...... Publishing Consultant

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Ceramics Monthly {ISSN 0009-0328) is published monthly except July and August by the American Ceramic Society, 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $24, two years $44, three years $60. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines: Printed information on standards and procedures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; Informa­ tion Access Company, 362 Lakeside Drive, For­ est City, California 94404; and from daai (design and applied arts index), Design Documentation, Woodlands, Stone Cross, Mayfield, East Sussex, TN20 6EJ, England. These services are also avail­ able through your local library. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $5 each, postpaid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested.

Copyright © 1996 The American Ceramic Society All rights reserved

2 CERAMICS MONTHLY April 1996 3 4 CERAMICS MONTHLY Volume 44, Number 4 • April 1996 Feature Articles

North American Free Clay Agreement ...... 33 Summer Workshops 1996 ...... 34 Echizen Stoneware 800Years of Japanese Tradition by Virginia Hillhouse ...... 39 Smoke-Fired Pottery by Jane Perryman ...... 42 Frank Philipps Frank Philipps An ex-Marine and police Rollin’ the Dice by Glenn Daly ...... 46 officer, Oregon potter Frank Philipps Korea’s International Ceramics Workshop by Patty Wouters ...... 50 wanted control of his life when he decided to work with clay full time: “Brother, when Side Firing you take on pottery, you’re in direct control Where the Life Is by Dick Lehman ...... 53 of your life—or you’re out of control!” Valuable Offerings Turn to page 46 for more on his work. The Ceramic Sculpture of Indira Freitas-Johnson by Deborah McWatters Padgett ...... 58 Smoke-Fired Pottery After bisque firing her coil-built vessels, British potter Jane Shifting Focus Perryman patterns the surfaces with smoke From Vessels to Tile Murals by Joan Weissman...... 61 resisted by masking tape and crank clay slurry. The pots are laid on several inches of Functional/Sculptural Concerns by David Cuzick ...... 64 wood shavings in a simple stacked-brick 25 Years at Frog Hollow by RachelEsch andKirt Zimmer ...... 67 Jdln for smoking, which takes 2-4 hours. “By penetrating into the surface, the smoke firing creates patterns of great intensity, which become part of the form. ” A step-by- Up Front step explanation of the process begins on page 42. Gary Erickson ...... 14 Liz Quackenbush and Diane NEA Update ...... 14 Rosenmiller ...... 22 Justin Novak ...... 14 From Southern Spain to Southwestern Canada Catalogs on CD-ROM ...... 16 by Frangoise Melville...... 22 Cindi Morrison ...... 16 Heather Sussman ...... 24 Brian Northum ...... 16 Ticket to Tokyo by David Jones ... 24 A “Dream” Kiln in Pennsylvania MaryLou Higgins ...... 30 by Kathy Dobash Kantner ...... 16 Royal Ontario Museum Opens Peter Kuentzel ...... 20 New Galleries ...... 30 Contained and Uncontained ...... 20 Jun Kaneko ...... 30

Korea’s International Ceramics Workshop Patty Wouters (left) andLenore Vanderkooi were two of six Western participants work­ Departments ing alongside six Korean ceramists at last Ceramics in Multimedia Exhibitions ...... 83 summer’s JINRO International Ceramic Letters ...... 8 Art workshop in Seoul; for more on their Call for Entries Fairs, Festivals and Sales ...... 86 experiences, turn to page 50. National Exhibitions ...... 70 Workshops ...... 88 Regional Exhibitions ...... 70 International Events ...... 90 Fairs, Festivals and Sales ...... 72 The cover Indiana potter Dick Lehman Questions ...... 96 set out to fulfill his dream of achieving Suggestions ...... 76 Classified Advertising ...... 102 wood-firing effects while working within Calendar Comment: his gas-kiln limitations; the result is pots Conferences ...... 80 Sacrifice to the Art Gods “that are process-driven, but that are always International Conferences ...... 80 by Carla Tilghman ...... 104 just a little out of control”; see page 53. Solo Exhibitions ...... 80 Photo: Steve Echols. Group Ceramics Exhibitions ...... 81 Index to Advertisers ...... 104

April 1996

If you do not know where to obtain radon is not found within “living envoys,” but in Letters testing kits, call (800) 92-RADON. The kitsthe work itself. We die; our work lives on. will be sent to you with simple instructions May we hope, pray and challenge our­ for performing the tests. They are then sent selves to create pottery that lives and breathes Radon Alert to a lab and the lab will notify you of the as we do. I’m sharing my experience with CM so radon levels. Depending on what they are, Wendy Chambers, Morgantown, W. Va. that other potters can avoid what has hap­ you will have to decide whether or not to pened to me. I was diagnosed with lung have the situation remedied. When choosing University Clay cancer in June 1995. By the time I was diag­ a contractor to do this work, make sure he is As a potter with 25 years experience in the nosed, it was in both lungs and had spread toapproved by the Environmental Protection American university system, I found many of the lymph nodes in my neck. There were Agency. A lot of contractors don’t know Chris Staley’s statements [February 1996 virtually no symptoms, other than some what they’re doing. CM] inaccurate and untrue. shortness of breath. 2. If your radon levels test above normal, Let me point out a few areas that we differ Since I had not smoked in over 19 years, Iplease have a chest X-ray immediately, espe­ in opinion. Staley starts by trying to validate was appalled. But the doctors said that they cially if you smoke. The combination of the his thesis by quoting Bernard Leach. Leach see more and more cases where the individu­ two can be incredibly more lethal than each did write in A Potters Book: “So far as pottery als have not smoked in 20 or 25 years. I one separately. is concerned, school training is a doubtful found this very hard to accept, and began Radon is a radioactive element. The method in any case.” This statement about doing some digging on my own. I discovered danger is real. I have heard and still hear the English school system was written at that the type of lung cancer I have is caused people joke about it or deny that it even Dartington Hall in 1937. It was not directed by only two things: smoking and radon. exists. Well, it does—and it’s not just in the at the American university of the ’90s. More and more cases of nonsmoking lung northeast. New York, Pennsylvania and Let’s move on to Staley’s comment that cancer are being attributed to radon. I pur­ Florida also have high-risk radon levels. I “one of the most significant questions a sued the radon issue and had my basement don’t know about the rest of the country. So potter must address when making pots is (where my studio is located) tested. The please, for your own good, just do this simplewhere do I want my pots to end up?” I don’t levels were high. Here, in the state of New little test. It might save your life. believe it for one minute. That’s a question Hampshire, the legal level is 4; my levels were Lynn Hugo, Nashua, N. H. asked by a vessel maker. Potters know where between 18 and 22. Although basements are their pots are going. They are asking, “How primarily where radon is found, ground-level In Defense of Pressing can I make better pots and enough of them floors can also be contaminated. I am writing in defense of all potters who to make a living?” This probably would not have caused use a hydraulic press as a means of duplicat­ Proceeding on, we read that the tenure cancer in someone who spent little time in ing their products. I have been pressing some system has something to do with the lack of the basement. But I, like so many other of my forms for four years. These represent commitment to functional pottery by the struggling potters, had nowhere else to work.only part of my pottery line and are mostly faculty. Get a grip, Chris. There are as many I have learned that radon, in a dust-free oval and rectangular baking dishes that can­ avenues to promotion and tenure as faculty. environment, can stick to walls and floors. In not be thrown on the wheel. Pressing is a Potters who are truly committed to their a dusty environment, however, it can bond to very misunderstood method of producing path of expression just may have to be a little the dust particles, become airborne and be pottery items. It is not, as the uninformed more ingenious. You, too, can be an indi­ inhaled directly into the lungs with the dust. seem to think, a magic way to produce your vidual within a community of scholars and I spent an average of 6 to 8 hours a day, 4 or pottery while out playing golf. It takes many make pots. 5 days a week, in the basement. In addition hours of precision work to create a quality The craft of functional pottery does to my pottery studio, I had an exercise bike form for the press. After the item is pressed, require a great deal. It requires that the maker and weights in the basement where I worked there is still much hand trimming needed be in touch with who he is and communicate out every day. Needless to say, I did not before it is ready for the usual 12 steps re­ through “head, heart and hand.” think it necessary to wear a dust mask while quired to finish high-quality pottery. The number of university clay programs potting, and certainly not while exercising. I To me, pressing is no different than a that have wide boundaries and accept func­ spent my days in a cloud of radon dust. photographer who shoots one shot and has tionalism are numerous. The fact that you The radon problem has been taken care ofhundreds of copies made. Or the painter whodon’t know many is indeed unfortunate. in the basement, though a little late for me. Itcreates one painting and has hundreds of Chris, you just don’t hang with the potters. is not a particularly complicated or expensive prints made. Or the jeweler who creates one What’s really important is that you make thing to fix. And I now wear a dust mask quality piece and has hundreds of castings Penn State a place where the potter, doing whenever I’m down there working. I would done. Or a potter using slip-casting molds repetitive throwing, has a place to grow and urge all potters out there who are working from original designs. The point being: after improve. That’s all any of us can do. To try like moles in the basements of the world to pressing, the potter still has all the finish to open the eyes and minds of those closed to do the following: work to do, whereas many of the other dupli­the beauty of pots is a waste of studio time. 1. Have your basement tested for radon.cating craftspeople simply make a phone call Do it by making great pots; and to make This test is inexpensive and will tell you and order up what they need. great pots, you have to make a lot more than whether you need to proceed further. Since I would urge those who discriminate you can imagine. many states do not even address a legal radon against and criticize press users to become Elmer Taylor, Denton, Tex. level, I suggest you use New Hampshire’s (4).better informed, as we are all “craftspeople.” Bob Neher, Walla Walla, Wash. Artspeak Challenge Share your thoughts with other readers. All letters While reading Michael Stoy’s comment must be signed, but names will be withheld on Pottery That Lives and Breathes in the December 1995 issue, I found myself request. Mail to The Editor, Ceramics Monthly, In regard to Kevin Hluch’s “Transcend­ chuckling out loud and thinking “How true!” Post Office Box 12788, Columbus, Ohio 43212- ing Tradition” (March 1996): Then I read the sour response in the follow­ 0788; or fax to (614) 488-4561. The essential nature of wood-fired pottery ing issue by Rick Berman. Where’s this guy’s

8 CERAMICS MONTHLY

Letters “artspeak” and forego the psychobabble host one every two years. We also organize synthesizer. workshops on a regular basis and are plan­ Todd Gamer, Glasgow, Scotland ning a three-day workshop with Richard sense of humor? Could he not notice a Zakin in May 1996. tongue firmly planted in cheek? Clay Connection George Brown, Merrifield, Va. I do, however, challenge anyone to talk We were delighted to see the Up Front about their work, influences and inspirations,article, “A Potter’s Weekend in the Blue Natural Modifications and not use what Stoy calls psychobabble. Ridge Mountains” in the February issue of After reading Mike Sisson’s remarks about “Serious art” or not, what you would end up CM. We feel the review is accurate. How­ the rats that chewed holes in his pot, I real­ with would be a flat technical description ever, we were surprised not to see any men­ ized there must be a great number of potters without much insight as to how the artist tion of the event’s sponsor, the Clay who have seen their work modified, for good arrived at the end result. Connection. We are a group of potters in theor bad, by creatures of the natural world. That being said, I do plead guilty to Virginia, Maryland and Washington, D.C. Some of these modifications can be very flowering up the language a bit too much area, with a membership of over 130. We interesting and beautiful in a mysterious way. when I sit down to write. Thanks to Stoy’s have an active agenda. The Blue Ridge event One such event happened while I was firing poke in the ribs, I’ll be more careful with mywas our first clay conference and we plan to my updraft kiln and a bird flew downward into the top vent and landed right in the middle of a plate. The bird was immediately fluxed into the glaze and created a rather lovely, ghostly imprint on the plate. Frank La Rosa, Del Mar, Calif.

Taxes, Letters and Criticism Thanks for the “Shopping for Bargains at the Tax Fair” in the February ’96 issue! The Letters column is becoming as im­ portant as such articles. Linda K. Sawyer sure opened herself up for a barrage of criticism with her narrow-visioned comment. I can understand someone becoming so enthused about something to the point of expecting everyone else to believe it’s the end-all. Hope­ fully, she’s reading the criticisms with a more open mind than when she wrote the article. Duncan Wilson, Espanola, N.M.

Stay the Course This intrepid magazine steers a very sane course through the troubled waters of the contemporary ceramics world. Rock on! Frank Edge, Leverett, Mass.

I consider myself an artist/potter and I like being exposed to both ends of the ce­ ramic spectrum in one magazine. Please continue to blend articles on both “ceramics artists” and “production potters” (and every­ thing that falls between). Norman Hailey, Abilene, Tex.

Weatherproofing In the February issue, J. A. asked the technical staff about making ceramic sculp­ ture that would be weatherproof. In his response, W. Lowell Baker suggested firing “the work to a high-enough temperature so that the clay is vitrified,” but failed to explain that a high temperature doesn’t necessarily mean vitrification. I had a piece fired to Cone 9 disintegrate over one mild winter. I believe the tile industry standard for a frost-free clay body is 3% or less absorption. To test for absorption, weigh a piece of the fired clay you want to test, boil it for 6 hours, wipe off the excess water and weigh it again immediately. The difference will give you the

10 CERAMICS MONTHLY April 1996 11 Letters articles and talking to other ceramists. If conference in 1981 inspired me to live with anybody has additional or conflicting infor­ and make pots with the Quezadas in Mata mation on this subject, I would love to see it. Ortiz for a graduate-school project. I have I think it is a subject of importance to many been visiting the potters in the village annu­ percent of absorption. Another freezelthaw ceramics artists. ally since then. test is to repeatedly boil, then put in your ShelNeymark, Embudo, N.M. Without many distractions, and a steady freezer a finished piece and see what happens. trickle of collectors coming, the pottery It was also suggested to avoid using a glazeNoble Lives tradition has grown significantly, empower­ that crazes. It is my understanding that if a Thank you for Bill Gilbert’s article on ing community and individual stability and clay body is sufficiently nonabsorbent, crazedMata Ortiz (December 1995). It had been prosperity—a relative term. glazes will not spall off in the freeze-thaw 15 years since CM published its first article By perfecting their craft into art, they do cycle. I have seen many terra-cotta-covered on Juan Quezada of Mata Ortiz, Mexico live more noble lives. The genius of these buildings in such cold wet climates as Chi­ (September 1980). That article and the potters has attracted the scholarly attention of cago and New York with intact crazed sur­ introduction of the Quezadas and the pottersacademia, as well as the loving devotion of faces that are over 70 years old. of Juan Mata Ortiz at the NCECA [National individuals who recognize and testify to what These are things I have gleaned from Council on Education for the Ceramic Arts] has been called “the miracle of Mata Ortiz.” Beth Thomas, Galveston, Tex.

Expanding Interests I enjoy the magazine as a whole. I want to know anything I can about all types of ce­ ramics. Potters who write to criticize CM obviously don’t desire to expand their par­ ticular interests. Thanks for only listening to them. Keep up the grand work in all fields. Sandy Sabelman, Lindrith, N.M.

Earthier Vision I like the recent earthier trend in CM. We’ll know that ceramics has really been humanized again when we can photograph our work away from backgrounds of infinite gray paper, which conjure up eco-disaster visions of vast clear cuts. Jim Danisch, Petrolia, Calif.

Top Pick At one time or another, I think I have read most of the ceramics magazines. I have found that Ceramics Monthly is by far the best; the articles are informative and interest­ ing, the photos are of excellent quality, and I enjoy the New Books section. Thanks for a great magazine. Rita Cook, Alamogordo, N.M.

Walking a Tight Line Last year, CM again succeeded in walking that tight line between the superb and schlockdome. Some issues were fantastic, gripping me from cover to index. Others sparked little interest, save a photo here and a comment there. Like ceramic sex for the eyes, this magazine is always uplifting and inspir­ ing even in its mundaneness. Keep up the quality work. Michael Hough, Weiser, Idaho

In Appreciation We very much appreciate personal inter­ views with artists that express in their own words their insights and attitudes—how they approach their daily life—their inward think­ ing about what their art means to themselves over time. Di and Hal Holmes, Redington Beach, Fla.

12 CERAMICS MONTHLY April 1996 13 six-month residencies in Japan for artists in any medium; the Up Front application deadline is June 14. For further information, contact Japan/U.S. Friendship Commission, 1120 Vermont Avenue, Northwest, Suite 925, Washington, D.C. 20005; Gary Erickson telephone (202) 275-7712; fax (202) 275-7413; or E-mail Earthenware sculpture by Minnesota artist Gary Erickson was [email protected] featured in “Abstract Energies and Rhythms,” a three-person A similar residency is offered through the U.S./Canada/ exhibition at the Bloomington Art Center through February 24. Mexico Creative Artists’ Residencies program. It supports U.S. Erickson is inspired by organic forms and the human figure, as artists for five-week residencies in either Canada or Mexico. As a part of the residency, artists must participate in such activities as master classes, lectures/demonstrations and workshops. The application deadline for 1997 residencies is June 14, 1996. Contact International Partnerships Office, Partnerships, Plan­ ning and Stabilization, 1100 Pennsylvania Avenue, Northwest, Room 726, Washington, D.C. 20506; telephone (202) 682- 5422; fax (202) 682-5602; or E-mail [email protected]

Justin Novak “Science Without Logic,” an exhibition of ceramic sculpture by New York artist Justin Novak, was on view recently at Synchronicity Space in New York City. Focusing on the march of progress and the side effects that go with it, the exhibition considered the connection between economics, chemistry and consumer psychology. “My work in clay is essentially a form of intensive therapy,” Novak stated. “It is the product of an ongoing struggle to remain calm and self-composed in the sea of stress, toxicity and disposable consumer products that we know as late-20th- century human civilization....The content of the work repre-

Gary Erickson’s “Remolino—Remolino,” 26 inches in height, earthenware; at the Bloomington (Minnesota) Art well as the sensual energy found in Latin American salsa music and dance; his main interest is to reveal life-force energy through the various shapes, colors and textures of his work. NEA Update Although it has been forced to discontinue many of its pro­ grams (including fellowships for individual artists) because of budget reductions, the National Endowment for the Arts does offer several of possible interest to ceramists through its Interna­ tional Partnerships Office. The first, ArtsLink, which encour­ ages artistic exchange with the newly independent states in Central and Eastern Europe, the former Soviet Union and the Baltics, offers two types of support: ArtsLink Collaborative Projects provides funding for U.S. artists to work on mutually beneficial projects with artists in these states; and ArtsLink Residencies supports U.S. arts organizations that host a visiting artist or arts manager for a five-week residency. The application deadline for Collaborative Projects was March 18; however, there is still time to meet the June 3 deadline for ArtsLink Justin Novak’s “The Hand that Feeds You,” 15 inches Residencies. Contact CEC International Partners, 12 West 31st in height; at Synchronicity Space, New York City. Street, New York, New York 10001-4415; telephone (212) 643- 1985, fax (212) 643-1996, or [email protected] sents an effort to process the waves of corporate-sponsored The United States/Japan Creative Artists’ Program provides sewage that I am subjected to on a daily basis, and to distill that experience down to a single image that captures the essence of You are invited to send news and photos about people, places or life in the Infomercial Age...I mean Information Age.” events of interest. We will be pleased to consider them for publica­ For his satirical critique of our consumer society, Novak uses tion in this column. Mail submissions to Up Front, Ceramics surreal, grotesquely distorted figures. “The element of humor is Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. indispensable to my work, and it keeps it from becoming too

14 CERAMICS MONTHLY April 1996 15 Up Front Brian Northum “Cold Stones and Warm Autumn Leaves,” an exhibition of vessels by Fort Worth potter Brian Northum, was on view somber and heavy-handed, or overly didactic,” he noted. “The recently at the Amy Graves Ryan Gallery of McMurry Univer­ intent is to create work that is disarmingly humorous and sity in Abilene, Texas. The works on view included slab-built aesthetically engaging, yet disquieting enough to encourage reflection.”

Catalogs on CD-ROM Exhibition catalogs on CD-ROM just may be all that’s available in the future—given the escalating costs of producing printed catalogs and the multimedia advantages of the CD format. One of the first to forego paper in favor of an electronic catalog was the Mint Museum of Art in Charlotte, North Carolina, for its “Kingdoms of the Sun: Masterworks of Ancient Andean and Spanish Colonial Art” exhibition. It is the museum’s first CD- ROM catalog in a planned series that will illustrate the perma­ nent collections. “Through CD-ROMs, and eventually via the Internet, we are offering access to our collection to an ever-growing number of people,” noted Bruce Evans, president and CEO of the mu­ seum. “Interactive access lets people learn in a nonlinear fash­ ion, a way that’s perhaps better suited to our current hectic lives than the linearity of the written word.” The catalog consists of 18 sections, complete with sound effects, original music, image enlargement capability and optional narration of the printed text; viewers can easily move through any of the chapters to learn about everything from the art of the Valdivian people of Ecuador (illustrated by numerous images of pottery) to the wealth and power of the New World Viceroyalties. It is available for $35 at the Mint Museum Shop or by telephoning (704) 337-2038.

Cindi Morrison Baltimore, Maryland, artist Cindi Morrison recently completed a three-month artist-in-residence program at John Michael Kohler Arts Center in Sheboygan, Wisconsin, during which she

Brian Northum’s “Stoneware Box,” 7 inches in height; at McMurry University, Abilene, Texas.

boxes with gold-leaf interiors; wheel-thrown, majolica-decorated plates and bowls; and high-fired coffee bowls. In conjunction with the exhibition, Northum conducted a workshop on constructing boxes from soft, textured slabs, and applying slips and stains for “weathered” surfaces. “My work is influenced by historical crafts from many different cultures, [including] Japanese, Korean, Mesoamerican, British and Chinese,” he explained.

A “Dream” Kiln in Pennsylvania by Kathy Dobash Kantner It all began in the spring of 1991, when Karl Beamer, associate professor of art at Bloomsburg University in Mainville, Pennsyl­ vania, visited Shiho Kanzaki, master potter, author and Bud­ dhist priest, in Shigaraki, Japan. Upon Beamer’s arrival late in the night, Kanzaki was in the last hours of firing his anagama. Cindi Morrison’s “Fisher of Men,” 15 inches in height, cast whiteware and mixed media (fishing line and paint); at John During the visit, the two men discussed the possibility of Michael Kohler Arts Center, Sheboygan, Wisconsin. fulfilling Kanzaki’s dream of building a similar kiln in the United States. cast and constructed 15 clay and mixed-media sculptures. Three Two years later, Kanzaki traveled to Mainville to build the of these pieces were selected for the center’s permanent collec­ “dream” kiln on Beamer’s farm. The terms of the arrangement tion by director Ruth DeYoung Kohler. were simply to make the impossible possible. Before the project

16 CERAMICS MONTHLY April 1996 17 Up Front burg University graduate student), Kanzaki was able to begin building. The kiln was completed in just 2 months and under­ went a successful 10-day firing. In the following 2 years, Beamer could begin, however, suitable alternatives had to be found for and his students fired the kiln 3 more times. the Japanese clays, refractories and firewood that Kanzaki used. Late last year, Kanzaki returned to Mainville to do another With advice from New Jersey potter Peter Callas (who has been ten-day firing. This time, though, there was a simultaneous working with anagamas for 17 years) and help from 2 Japanese firing of Callas’ kiln, with Peter Voulkos and Toshiko Takaezu. assistants, as well as Beamer and Allan Stackhouse (a Blooms- Works made by the three during wortahops at Callas’ studio were fired in both kilns. It was through Beamer that Voulkos and Kanzaki first met. When Beamer learned that Voulkos and Callas were traveling to Japan for workshops and an exhibition, he contacted Kanzaki, who extended his hospitality to the two. Then, when Kanzaki learned of the workshops scheduled at Callas’ studio, he offered to come to the United States to do a group firing. Hours before the opening of the kiln, people from Pennsyl­ vania, Indiana, New Jersey and New York, as well as Japan, arrived at Bloomsburg University. The university’s president and other administrators, faculty members, students from area

Karl Beamer anagama-fired stoneware vase, approximately 8 inches in height.

Toshiko Takaezu and Karl Beamer examining the anagama-fired pots.

universities, and Japanese collectors (who had flown in to have first selections from the firing) gathered around the kiln. After a brief Buddhist ceremony, the sealed kiln door was opened. One by one, visitors were invited to view and photo­ graph the works through the small fire mouth before they were removed from the kiln. The pieces were unloaded and displayed on plywood sheets on the hillside near the kiln. For the rest of Toshiko Takaezu vessel, approximately 12 inches the afternoon, guests, educators, neighbors and friends discussed in height, fired in the Bloomsburg anagama. the work with the artists. Continued

18 CERAMICS MONTHLY April 1996 19 Up Front Earlier, while tending the fire alone with Beamer, Kanzaki’s first-year apprentice, Norimichi Kosumi, had commented: “When I was a student at the university in Japan, I studied American ceramics. When I looked through the books and saw photos of works by these American artists, I was amazed at the beauty. At that time, I never dreamed that two years later I would be firing their work in the United States, in a place called Bloomsburg.”

Peter Kuentzel “Dwellings,” an exhibition of raku-fired sculpture by Florida artist Peter Kuentzel, was featured recently at Barbara Gillman Gallery in Miami Beach. “Ever since the first people sought

Shiho Kanzaki vase, approximately 9 inches in height, thrown and altered, wood fired in an anagama.

Peter Kuentzel’s “XOX,” 16 inches in height, raku; at Barbara Gillman Gallery, Miami Beach. shelter under a ledge or in a cave, humans have developed and refined their habitats,” Kuentzel commented. “My curiosity was prodded with explorations of various Anasazi ruins in the southwestern United States,” he continued. “From images of mud dwellings in Africa, homes carved into stone cliffs in Asia, to the architecture of Eero Saarinen, Jorn Utzon and Frank Gehry, I am intrigued with the human use of space. All of these thoughts lead to sculpture that explores volumes, planes, surfaces and colors, where I hope to provoke myself to construct further dwellings.”

Contained and Uncontained “Contained and Uncontained: 4 Clay Artists,” an exhibition featuring sculpture and vessels by Syd Carpenter (Philadelphia), Martha Jactaon-Jarvis (Washington, D.C.), Magdalene Shiho Kanzaki describing the best way to clean Odundo (London, England) and James C. Watkins (Lubbock, debris from anagama-fired ware. Texas), was on view through March 17 at the African American Museum in Dallas. The results reflected the particular season, weather, struggle For his latest work, Watkins used animal and architectonic and mood during the ten days of firing. Ginny Beamer, Karl’s imagery. “I want the forms to conjure up a primal instinct for wife, remarked, “It is not about the work in the Idln. That is ritual display—ceremonial posturing,” he stated. “I use bird and secondary. It is about the union of two cultures.” snake imagery to create an interplay between technique and

20 CERAMICS MONTHLY April 1996 21 Up FrOIlt ritual symbolism. I am affected by the search for an equilibrium between material and texture, between color and form.” Carpenter’s influences include folk medicine, proverbs and ceremonies. “The images provided by folk medicines are engag­ ing because of the implication of faith in the power of the mundane,” she explained. “A bottle or broom, stones and mud assume transcendent identities when bound together by the knowing hand.” Her wall piece “Broom Lore,” for instance, refers both to clandestine marriage ceremonies (“jumping the broom”) among slaves in the South and to European superstition, in which brooms were associated with accused “witches,” often indepen­ dent women.

Liz Quackenbush and Diane Rosenmiller An exhibition of solo and collaborative works by Liz Quack­ enbush (Strafford, Vermont) and Diane Rosenmiller (York, Pennsylvania) was presented recently at Pewabic Pottery in Detroit, Michigan. Quackenbush decorates her low-fire sculp-

James C. Watkins’ “Ritual Display,” 27 inches in height, raku fired; at the African American Museum, Dallas.

Liz Quackenbush and Diane Rosenmiller collaborative ewer, 6½ inches in height; at Pewabic Pottery, Detroit, Michigan.

tural and functional works with majolica and luster glazes, while Rosenmiller accents her manipulated thrown forms with both matt and glossy soda-fired glazes. For the collaborative pieces, Quackenbush applied majolica patterns to Rosenmiller’s teapot and ewer forms.

From Southern Spain to Southwestern Canada by Frangoise Melville Forty years ago, I studied painting in Saint Ives, Cornwall. It was then that I became aware of potters and pots; in particular, the Leach family and their work. I soon left England for warmer climes and ended up married to a Spaniard. We lived in an Andalusian village with a long tradition of potting and weaving inherited from the Moors during their eight-century-long occupation. When I arrived, there were half a dozen families of peasant potters working in the village of Nijar. They all raw glazed their pots, first applying a liberal coating of kaolin, then decorating Syd Carpenter’s “Broom Lore,” 39 inches in height, with slips and basic oxides (manganese, cobalt, iron and cop­ handbuilt and painted. per). Finally, the greenware was dipped in what they called

22 CERAMICS MONTHLY April 1996 23 Up Front sat on the small platform behind the splash pan and wondered why it was so hard to center a lump of clay. Eventually, after watching for hours on end one of the locals alcohol de hoja, literally, leaf alcohol. This was raw lead (galena) at his wheel, I learned how to center and throw pots off the mixed with flour and water. hump. I decorated them in the traditional manner and sold The locals would fill the lead-glazed pots with vinegar and them in my store. Soon I found I did not have sufficient time bake in the domestic oven before use, claiming this procedure for potting and selling, so I sold the store and built a workshop would dissolve all free lead, and for the 17 years that I lived in adjacent to my house. My pots were poorly thrown, but the Nijar, I did not come across any obvious signs of saturnism, decoration seemed to appeal to the many European tourists although the potters themselves suffered from arthritis and most who passed through the village. of them stuttered. They all kept cats and canaries in their I became more and more obsessed with clay, but when (for wortahops, believing they would be the first to show the effects many other reasons) my marriage broke up, I moved to Canada. For three long years, I only dreamed about making pots. At last, I moved to a house with a shed in the yard, and soon found a secondhand kick wheel and electric kiln. I decided to move onto stoneware and discovered that after three years away from clay, I was almost back at square one. However, after another four years, I am more obsessed than ever and have just managed to acquire an electric wheel. I still once-fire all my work, includ­ ing porcelain, and this summer I built a small raku kiln using a garbage can lined with ceramic fiber. I may never be an expert on the wheel—I started too late at age 45—but I will never stop trying to improve. I lmow that as long as I can move my hands, I shall continue to work with clay. It is indeed an obsession, but one that I would not be without. Heather Sussman Sculpture by Massachusetts ceramist Heather Sussman was on view recently at the Shaw Cramer Gallery in Vineyard Haven, Massachusetts. Handbuilt terra cotta with applied stains and slips, Sussman’s sculpture explores interpersonal and social issues. “How is it that people can be both compassionate and cruel, creative and destructive? Why do some children thrive in the same situation that stunts others? Who do we embrace and who do we exclude? Whiat is universal to all people and what is

Frangoise Melville applying slips to a thrown and trimmed plate in her British Columbia studio. of lead poisoning. More often than not, the cat would eat the canary, then disappear into the wild. The clay was coarse red earthenware, locally dug and pro­ cessed by the potters themselves. The men of the family, from age ten, would work at the wheel, while wives and daughters glazed and decorated. They never used a banding wheel, but would turn even large bowls around and around on their laps, showing immense skill and speed with brush and slip trailer (an old tin can with a hole in it). T he pots were fired in huge wood-burning kilns to a tem­ Heather Sussman’s “Inheritance,” 16 inches in perature anywhere between 850°C and 1000°C (1560°F and height, handbuilt terra cotta; at the Shaw Cramer 1830°F); no cones or pyrometers were used. Some pieces would Gallery, Vineyard Haven, Massachusetts. be partially reduced, others completely oxidized. And though heavy and primitive, all were highly decorative and full of life. particular to a few? These are questions I bring to my work,” After a few years of bringing up my three children in Nijar, I Sussman explained. opened a small store selling local pottery and other handmade Through multifirings, she strives “for a balance of clay and objects. Then—I don’t really know why—I had the urge to colored additives in which they seem integrated, not layered. I make my own pots instead of selling the work of others. I want the form and surface to seem like they merged together to bought an electric wheel and a small kiln, red earthenware clay, give a timeless feeling.” kaolin, and the same basic oxides used by the local potters, but abstained from using lead, replacing it with a nontoxic commer­ Ticket to Tokyo cial clear glaze. There were many mistakes—the first and the by David Jones worst being that I couldn’t even tell the back of my wheel from At 6:45 on a beautiful April morning the phone rang. “Is Boris the front and, not knowing that I needed a stool of some kind, Becker there?” asked a man with a thick German accent. “I have

24 CERAMICS MONTHLY April 1996 25 Up Front travel there to work at the factory for three months, conse­ quently dropping all other commitments for the summer. I had enough presence of mind to ask what I might be doing as a prizewinner. “You will do what you want.” That response was indicative of much of what was to follow in Japan. Certain aspects of my activities were proscribed; others were without definition or restriction. Often, though, instructions and choices had the same form, which was difficult to distinguish. I spent long hours trying to decipher simple messages. The recession had bitten deep in Japan that year. Subse­ quently, Inax awarded only two design prizes, instead of the

British potter David Jones took advantage of industrial technology to design pressed tiles. the Bernard Leach school of advanced tennis coaching—ja?” My tennis partner of long standing and incompetent mimic of foreign accents had called to urge me onto the court in just an hour’s time. Dry-pressed tiles awaiting firing. I blearily prepared myself. But just before we were due on court, the telephone rang again. “Is David Jones there?” asked a usual four. This was so the company could maintain the Japanese voice. extremely generous prize with its lavish provision of facilities Was my chum calling to reschedule, having already plucked and staff time. me from my cozy bed? Fortunately, my reply was unintelligible, The other winner, and my companion for three months, for the voice asked for me again. I pretended to hush the was Dorothy Feibelman. If I was badly prepared, indeed I had children. even forgotten that I had sent an application, then she was “Hello, David Jones. You are winner.” crystal clear. She wanted to make a bathroom; it existed per­ Such prescience over a tennis game not yet commenced? fectly in her mind and she only needed a sanitary-ware com­ “I’m sorry, who did you say you are?” pany to provide the facilities for her to work. It was Nobuo Nakamura from the Inax factory in Japan. The In May, there was a preliminary meeting in London with gist of the conversation involved my immediate acceptance to the craft studio and the design team at which subtle ground

Jones arranging the fired tiles at the Inax factory in Tokoname, Japan.

26 CERAMICS MONTHLY April 1996 27 Up Front rules were laid down. The Inax staff had brought a range of clay samples—wet and fired—that they hoped would be suitable for our respective work. From this hint, and from long and helpful telephone calls to previous design prizewinners, I ascertained that they wanted a body of work similar to that on my submit­ ted slides. In no time, I was in the air headed for Japan. Our stay there commenced with an exercise in total disorientation. We were installed for four days in an ultramodern hotel in the ultramod­ ern Shinjyuku area of Tokyo. From our sealed, air-conditioned rooms we gazed out over plazas—quite empty during the workday, but teeming with glistening shoals of white-shirted men in the rush hours at either end of the day. From this eyrie we made brief forays into the hyper-moder- nity of Inax’s showrooms, collecting tiles and test charts; we could have any that we wanted. All the selected tiles were gathered up by the entourage and boxed for delivery to our base in Tokoname. Most of my boxes contained bad designs, illus­ trating interesting techniques. There was one exception, how­ ever—a hydraulic-pressed tile based on the qualities of handmade paper. When I looked at the other tiles I had se­ lected, I realized they also had handmade (craft) qualities— textured, grooved, etc. While at the Inax factory, Jones completed four separate From Tokyo we trained to Tokoname—our home for the projects, including a series of raku-fired pots. duration. The railway track cut a deep trench through the buildings, shacks and factories that crowded in, wasting no either interrupt the production line or use the extensive R&D space, then suddenly burst upon open country—miniature rice facilities. The problem was that they wanted an instant re­ paddies and dense bamboo forest—before returning to the sponse. I would lock myself away in my study for three hours, claustrophobia of the next town. The “bullet train” lives up to then emerge with a design for production. Simultaneously, I its name. was producing a group of vessels for raku firing. I had the bones If Tokyo had been visually a more technologized experience of my exhibition finished within the fortnight, and two months than I had expected, Tokoname was Stoke-on-Trent-by-the-Sea, left in which to play. parochial and gray. I felt that I had returned to early industrial Our ever-generous hosts wanted us to have as complete a Europe. Then the sun came out and we could see that many of view as possible of the culture as well, and escorted us around the roof tiles were cobalt blue, an exoticism in functionality. the country to visit shrines and temples in Nara, festivals in My ten-week crash course in the Japanese language was Kyoto and the mountains around Takayama. The contrast of insufficient for all discourse except to say please and thank you. antique and modern is never far away in the Japanese experi­ Yet on our first day at work I realized that these words were ence. We learned that one particularly ancient-looking shrine going to stand me in good stead. was regularly rebuilt every 40 years, yet with complete adher­ After a factory tour, we settled down to our first meeting—a ence to the traditional techniques of construction. lengthy and labyrinthine affair during which we held out our Icons of Japanese life have always featured strongly in my hopes and expectations for inspection. Dorothy wanted to ceramics, and now I was able to incorporate a firsthand study of produce a bathroom—a suggestion that brought much apparent Shoji screens with the flashy grandeur of the Tokyo skyline. I jollity. After further discussion, our hosts said they would do also began to explore a sense of formal relationships—the what they could. My request was more arcane—I would like to mirroring of raked lines on a Zen stone garden with throwing meet Mr. Raku—the man after whom the technique that I use marks on a pot; the grids of wood and ironwork cutting tracer­ is named. Again, there was much discussion and an apparently ies across the surface of my bowls. optimistic conclusion. The closer I looked, the more apparent it became that one Our pattern of work soon established itself—the standard could see the bones of the old Japan poking through the skin of 12-hour day, interspersed with meetings, factory visits and food. the new. This became an important metaphor to me and a hook Styles of food, utensils, modes of cooking and presentation of a on which to hang the design work for the factory—in all senses, meal help to define a culture. We had to stop everything pre­ a response to my new environment. cisely at noon, when we were summoned to communal lunch— To me, the really challenging industrial tile that Inax pro­ the Tokoname bento, a divided lunchbox containing a variety of duced was a hydraulic-pressed, unglazed slab composed of richly cooked foods and pickled vegetables. (Delivered daily, this colored clays and aggregates, and up to 1 ½ meters square. Even example of workplace egalitarianism was eaten by all levels of better, the technical wizard behind this tile’s development— the town’s industrial workers, from boss to lathe operator.) Shige Fukuoka—was the man in charge of the Inax Design My stay at Inax was to be a complete education. All manner Prize. He gave me many scientific papers to read, so I studied of industrial techniques were shown to us, then we were sent these while they studied me. back to the studio to react. For any that I wished to try, I could The factory designers are supposed to be working on a tile

28 CERAMICS MONTHLY April 1996 29 Up Front years of Chinese history (4500 B.C.-A.D. 907), the collection ranges from early functional objects of the Stone Age to decora­ tive fashion accessories from the Tang dynasty. Also featured with raku glaze qualities, yet I never saw this project. They were content to observe (via a video camera trained on us each day), then to reinterpret our techniques and ideas in their own way, unhindered. I did ask to see this particular research—not merely out of curiosity but also with a view to reciprocating some of the enormous help and generosity of my hosts—but they were not interested; i.e., they never said no, but I was never taken to that department. We were given no goals except for the exhibition. At times, I developed a sense of panic at the open-ended nature of my interaction in the factory. I created my own agendas and created Female dancers and musicians from the second half of the havoc—at one point, I had four projects running simulta­ seventh century A.D., to approximately 10 inches in height, glazed white and cream earthenware; at the Royal Ontario neously. Fortunately, I received such outstanding support that I Museum’s T. T. Tsui Galleries of Chinese Art, Toronto. managed to complete all four, including the design and produc­ tion of a 6-foot-long table from my dry-pressed tiles. are 100 earthenware tomb figures of soldiers, musicians, ox- There are all sort of lessons to draw from such a mid-career drawn carts and attendants—the largest number on display experience. It was so far away that it allowed a perspective on outside China. the everyday work that we have come back to. For us, the participants, it is a “Beam me down, Scottie” return with Jun Kaneko pockets bulging with the riches of that culture, of new ways of Ceramic sculpture by Jun Kaneko was presented recently at worldng. I was particularly delighted to be working, for a short Klein Art Works in Chicago. Dubbed the “Fremont Project,” time at least, in a society where potters are so highly regarded. this series of works took five years to complete. Looking for a Although my friends may not agree, it was nice to be a demigod for a while—at least it makes up for not playing at Wimbledon this year.

MaryLou Higgins Stoneware vessels, candlesticks and sculptural forms by Pitts- boro, North Carolina, ceramist MaryLou Higgins were on view recently at Sheila Nussbaum Gallery in Millburn, New Jersey.

MaryLou Higgins’ “Pedestal Platter,” 9 inches in diameter, stoneware, with underglazes and gold luster; Jun Kaneko’s “Dango (94-11-4),” approximately 6 feet at Sheila Nussbaum Gallery, Millburn, New Jersey. in height, glazed stoneware, fired to Cone 6, $55,000; at Klein Art Works, Chicago. Working with monochromatic gray and cream underglazes accented with gold and platinum lusters, Higgins decorates the way to produce free-standing forms up to 11 feet in height, surfaces with introspective figures. “In my mind, faces and Kaneko spent 2½ years in research and development, then figures dance around, begging to be drawn,” she explains. “I feel another 2½ in production. that all the previous souls, which have come together to make Thirty tons of clay were used to handbuild his dangos me, are stretching out to be part of my universe.” (Japanese for dumpling). They were then decorated with slip and Cone 6 glaze. It was difficult to locate a kiln large enough Royal Ontario Museum Opens New Galleries for these works, but Kaneko found several at Mission Clay On February 17, the Royal Ontario Museum in Toronto, Products in Fremont, California, that measured 30 feet in Canada, opened a new suite of permanent galleries exhibiting diameter and 15 feet in height. In all, he fired 6 dangos measur­ over 1000 ancient Chinese artifacts. Spanning more than 5000 ing 11 feet in height and 12 that were over 6 feet high.

30 CERAMICS MONTHLY April 1996 31 32 CERAMICS MONTHLY North American Free Clay Agreement

Tiirteen artists from Canada, Mexico and the United States were invited to participate in “The North American Free Clay Agreement,” an exhibition of sculpture, vessels and wall forms at the University of Texas at El Paso. On view through January 17, the invitational was curated by Mark Alexander, director of the University Art Galleries; and Gus­ tavo Perez, guest artist from Xalapa, Veracruz, Mexico. In addition to curating the Mexican component of the exhibition, Perez conducted a workshop/ demonstration prior to the opening. The artists from Mexico who were invited to participate were Gerardo Azcunaga, Monterrey; Javier Cervantes, Xalapa, Veracruz; and Katrin Schikora, “Night,” 8½ inches in height, terra cotta with terra sigillata, Merida, Yucatan. From Canada, the par­ 1994, by Gail Busch, Corpus Christi, Texas. ticipating artists were Ed Bamiling, Banff, Alberta; Charles Breth, Nanaimo, British Columbia; Sally Michener, West Vancouver, British Columbia; and Michael Sheba, Toronto, Ontario. The U.S. artists included Gail Busch, Cor­ pus Christi, Texas; Juan Granados, Lub­ bock, Texas; Jeremy Jernegan, New Orleans, Louisiana; Brook Le Van, Claremont, California; and Robert Reedy, Winter Springs, Florida. ▲ Below: “Plato Lunar,” approximately 10 inches in length, by Katrin Schikora, Mexico.

“Black Enigma,” approximately 22 inches in height, raku, by Ed Bamiling, Canada.

April 1996 33 Summer Workshops 1996

Various types of workshops are ojfered each summer. Most are hands-on experiences; however, sessions of one- half to two days may be demonstration only—a few are strictly lectures or discussions. Skill levels are usually ranked beginning, intermediate, advanced and/or professional. While nearly all workshops are good experiences, the quality of presentation varies widely. If possible, ask others who have attended previous sessions for their feedback, then contact the organizers for specifics. Alaska, Anchorage May 28-July 1 “History and Making ofVessels” with Martin Tagseth (Tues.-Thurs.). Beginning through advanced. Fee: $282/3 credit hours, includes lab fee, materials and firing. Contact Martin Tagseth, University of Alaska- Anchorage, Arts 302, Department of Art, 3211 Provi­ dence Drive, Anchorage 99508; or telephone (907) 786-1158. Alaska, Halibut Cove June 8—9 “Sculptural Vessels,” demonstration with Anne Bob Bless and another participant simultaneously stoke the top ports of Nolan Hirondelle. Contact Annette Bellamy (907) 296- Babin’s 200-cubic-foot wood kiln in Concow, California. 2226 or Ahna Iredale (907) 235-7687.

Arizona, Flagstaff July 15—26 facilities. Registration deadline: June 1. ‘ Potters Re­ telephone (909) 659-2171, extension 365, or fax “Ten + One Anniversary Firing of the Tozan Kilns,” treat Workshop” with Kaye Like, individual (909) 659-5463. firing the noborigama, anagama and Bendel Bourry workspaces with or without instruction in basic clay box with Don Bendel, Kevin and Joanne Dekeuster, skills (July 14-28, individually scheduled); fee: $80/ California, Mendocino June 10-August 30 Margaret Josey, Don Reitz and Yukio Yamamoto. day, includes firing and lodging. Registration dead­ “Majolica Earthenware” with Cynthia Young (June Instruction in English and Japanese. All skill levels. line: June 12. “Primitive Pottery” with Kaye Like 10-14). “Alternative Ceramics/Melted Glass” with Fee: $50, includes materials and firing. Dorm accom­ (July 29-August 3); fee: $275, includes materials, Micheal Sturtz; “Clay Faces” with Beverly Mayeri modations available. Contact Don Bendel, Joel Eide firing and camping facilities. Registration deadline: (June 17-21). “Exploring Form and Surface” with or Paula Rice, Northern Arizona University, Box June 25. Skill requirements vary. Contact Kaye Like, Robbie Lobell; “Throwing Techniques for Studio 6021, Flagstaff86011; or telephone (520) 523-3471. Brandybuck Ranch, Box 266, Point Arena, Califor­ Potters” with A1 Johnsen (June 24—28). “Salt Work­ nia 95468; or telephone (707) 882-2269. shop” with Mikhail Zakin (July 1-12). “Ceramic Arizona, Sedona Summer Amulet and Fetish Workshop” with Virginia Cart­ One- to five-day workshops on handbuilding, throw­ California, Hesperia June 22—23 wright; “Innovative Handbuilding Techniques” with ing and firing. Instructors include Tom Coleman, “Earth and Ceramic Architecture” with Nader Khalili, Lana Wilson (July 15-19). “Teapot—Construction Rico Piper, Don Reitz and Harvey Sadow. Contact designing, constructing, glazing and firing houses and Dissection” with Ah Leon; “Musical Instru­ Sedona Clay Works, 45 Finley Drive, Suite A, Sedona (scale model and life size), roofed with domes and ments” with Brian Ransom (July 22-26). “Ceramic 86336; or telephone Blair Preston or Stephen Scagnelli vaults, built from adobe, bricks, extruded ceramics Drums” with Brian Ransom (July 29-August 2). (520) 282-0130. and Superadobe/sandbags (earth coils); plus design­ “Low-tech Kilnbuilding and Oil Firing” with Paul ing ancl constructing a public project at tne Hesperia Soldner (August 3-4). “Throwing and Atmospheric California, Concow June 15—25 Lake Nature Center and Museum. All skill levels. Fee: Firing” with Doug Browe and the Gang or Four “Wood-fire Workshop” with Nolan Babin, making $285, includes materials. For further information, (August 5-9). “An Ocean of Clay” with Stephen work and firing a 200-cubic-foot kiln; or participants contact Iliona Outram, Cal-Earth/Geltaftan Foun­ DeStaebler (August 12-16). “Clay and Mythology: may bring own bisqued pieces (7 days). All skill levels. dation, 10376 Shangri-La Avenue, Hesperia 92345; The Trickster” with George Kokis; “The Working Fee: $350/full session; $250/partial; includes materi­ or telephone (619) 244-0614, fax (619) 244-2201, Teapot” with Malcolm Davis (August 19-23). “Clay als, firing and lodging. Contact Nolan Babin, 13191 E-mail [email protected] on the Wall” with Kent Rothman (August 26-30). Mullen Way, Oroville, California 95965; or tele­ Contact Mendocino Art Center, P. O. Box 765, phone (916) 534-9137. California, Idyllwild Summer Mendocino 95460; or telephone (707) 937-5818. Weekend and one- and two-week workshops: “Con­ California, Gualala June 24-August 3 temporary Ceramics Workshop” with Greg Kennedy; California, Mountain Center June 25—July 14 “Mud*Masks*Metaphor” with Kaye Like, exploring “Cahuilla Pottery Weekend” with David Largo; “Hopi “Indigenous Pottery-making Workshop” with Tom personal myths through mask making (June 24-29); Tewa Pottery” with Mark Tahbo; “San Ildefonso Fresh, identifying, digging and processing local clays fee: $275, includes materials, firing and camping Pottery” with Diane Calabaza; “Zuni Pottery” with and slips, as well as tool making, vessel construction, facilities. Registration deadline: May 1. “Images in Milford and Josephine Nahohai. For further infor­ surface treatment, decorating, burnishing and firing Clay: Self-Portraits” with Kaye Like and Kim Robinson mation, contact Idyllwild Arts Summer Program (June 25-30). “Casas Grandes Pottery-making Work­ (July 8-12); fee: $275, includes firing and camping Registrar, Post Office Box 38, Idyllwild 92549; or shop” with Juan Quezada, pinching and coiling, clay

34 CERAMICS MONTHLY and pigment preparation, tool making, surface treat­ Colorado, Snowmass Village June 3-August 30 King. Registration deadline: May 1. Fee: $525. For ment and decoration, firing (July 9-14). Fee/session: “The Natural Object: Basic Handbuilding” with Eva further information, contact Nancy Lauck, 2617 $450, includes materials, lodging and meals. Contact Kwong; “Wheel Work” with Dan Anderson (June 3— North 12th Avenue, Pensacola 32503; telephone Zen Mountain Center, Post Office Box 43, Moun­ 14). “A Double Take on Nature” with Christina (904) 438-3273 or fax (904) 438-0644. tain Center 92561; or telephone (909) 659-5272. Bertoni and Jan Holcomb; “Introduction to Basic Florida, Sopchoppy June3—21 California, Petrolia July 24—31 Pottery” with Lynn Munns (June 17-28). “Clay Constructions” with John Gill; “Pots: Fun, Func­ “A Spirited Approach” with George Griffin, indi­ Handbuilding, low-temperature wood and dung firing tional and Funny Functions” with Karon and Louie vidualizing functional stoneware, single-fire oxida­ with Jim Danisch, Molly Prier and Lola Rae. All skill Doherty (July 1-12). “Earthenware: Historical Con­ tion, fast-nre wood, business as an art form (June 3— levels. Fee: $450, includes materials, firing, lodging tent, Contemporary Practice” with Walter Ostrom 7 or 17-21). Beginning and intermediate. Limited to and vegetarian meals. Registration deadline: May 1. (July 15-26). “Toward a Personal Mark: Sculpture” 4 participants. Fee: $350, includes materials, firing Contact Jim Danisch, 40,000 Mattole Road, Petrolia with Syd Carpenter and visiting artist Aaron Fink and lodging. Contact George Griffin Pottery, One 95558; telephone Lola Rae (805) 646-0902 or Molly (July 22-August 2). “People, Clay and Life” with Suncat Ridge Road, Sopchoppy 32358; or telephone Prier (415) 663-9230. Charles Garoian and Chris Staley (July 29-August 9). (904) 962-9311. California, Rancho Palos Verdes June 24—28 “Teapots with the Masters” with Ah Leon and Peter Hawaii, Honolulu May 31-June 2 Pinnell (August 5-16). “Architectural Tile and Orna­ “Raku Workshop” with Scott Young. All skill levels. “Raku Ho’olaule’a” with Robert Sunday, raku firing ment” with Cary Esser (August 12-23). “Innovative Fee: $ 175; members, $ 150; includes glazes and firing. on the beach (lecture/demonstration will be held on Clay: Pushing the Limits’ with Brad Miller and Contact Palos Verdes Art Center, 5504 West May 28-29). All skill levels. Fee: $25, includes firing Richard Notkin (August 19-30). “A Lifetime of Crestridge Road, Rancho Palos Verdes 90274; or and camping on beach. Location: Kualoa Regional Clay” with Paul Soldner and Peter Voulkos (August telephone (310) 541-2479. Park. Contact Hawaii Craftsmen, Warren Andrade, 26-30). Skill requirements vary. Fee: $465 or $525. 94-1117 Manino Place, Waipahu, Hawaii 96797; or Contact Doug Casebeer, Anderson Ranch Arts Cen­ California, Walnut Creek June 17-August 19 telephone (808) 671-8344. “Saggar Firing and Pit Firing at Ocean Beach, San ter, Post Office Box 5598, Snowmass Village 81615; Francisco” with Leslie Jensen. “Soda Firing” with or telephone (970) 923-3181. Illinois, Evanston June 9—August 31 Peter Coussoulis. “Plaster Face Molds” with Andree Colorado, Telluride August 5—11 Twelve one-week sessions on making functional pot­ Thompson. “Honing Your Throwing Skills” with “Thrown, Handbuilt and Touched” with David tery with various artists. Intermediate and advanced. Mary Law. Sessions in raku and bronze casting. Wright (August 5-6); fee: $140, includes materials. Fee: $375 per week, includes materials, firing, and Session lengths and skill requirements vary. Fee: $40- “Found Materials/Primitive Kilns” with David Wright trips to Chicago museums and galleries. Some schol­ $175. Contact Walnut Creek Civic Arts Education, (August 8-11); fee: $365, includes materials and arships available. Each session limited to 12 partici­ Post Office Box 8039, Walnut Creek 94596; or firing. Beginning through advanced. Contact Judy pants. Contact Native Soil: American Pottery Tradi­ telephone (510) 943-5846. Kohin, Ah Haa School for the Arts, P. O. Box 1590, tions, 602 Davis Street, Evanston 60201; or tele­ phone (847) 733-8006, or fax (847) 733-8042. Colorado, Carbondale August 5-16 Telluride 81435; or telephone (970) 728-3886. “Making Porcelain Pots” with Diane Kenney, em­ Connecticut, Brookfield June8—9 Illinois, Macomb June 3-August 2 phasis on form, plus reduction firing. Instruction in “Ceramic Lidded Containers” with John Jessimen. “High-fire Ceramics Workshop ’96” with Michael English and Spanish. Intermediate through profes­ Contact the Brookfield Craft Center, Post Office Box Torre, throwing, glazing and firing stoneware func­ sional. Fee: $570, includes 25 pounds of clay and 122, Route 25, Brookfield 06804; or telephone (203) tional pottery (June 3-28, evenings; July 8-August 2, firing. Contact Adele Hause, Colorado Rocky Moun­ 775-4526. mornings or evenings). All skill levels. Fee: $250, tain School, 1493 County Road 106, Carbondale includes materials. Contact High-fire Ceramics Work­ 81623; or telephone (970) 963-2562. Connecticut, Guilford June 28—30 shop ’96, c/o Michael Torre, Ceramics Instructor, “Reinterpreting Glaze” with Kathy Butterly, low- Western Illinois University Department of Art, 1 Colorado, Cortez June 22-29 firing and multifiring glazes. All skill levels. Fee: $ 140, University Circle, Macomb 61455; telephone (309) “ 12th Annual Sand Canyon Primitive Pottery Work­ includes materials and firing. Contact Registrar, 298-2102 or 298-1549, or fax (309) 298-2605. shop” with Leander Gridley and John Olsen, covers Guilford Handcraft Center, Post Office Box 589, June 17-July 19 all aspects of prehistoric pottery production in the Guilford 06437; or telephone (203) 453-5947. Indiana, New Harmony Mesa Verde region. All skill levels. Fee: $875, includes Handbuilding, throwing, glazing, Cone 06 and 6 materials, firing, lodging and meals. Contact Kristie Connecticut, Middletown August 5—9 oxidation, raku and salt firing with Les Miley (Mon., Carriker, Kelly Place, 14663 Road G, Cortez 81321; Throwing and handbuilding domestic ware with Wed., Fri.). Intermediate through professional. Con­ or telephone (800) 745-4885. Frank and Polly Ann Martin. Intermediate. Fee: tact Les Miley, University of Evansville, 1800 Lincoln $265. Contact Melissa Schilke, Wesleyan Potters, Avenue, Evansville, Indiana 47722; or telephone June 23-29 350 South Main Street, Middletown 06457; or tele­ (812) 479-2043. “Traditions in Clay: Shaping Puebloan Pottery” with phone (860) 347-5925. Paul Ermigiotti, Jody Folwell and Rose Naranjo. Kentucky, Somerset June 1—9 Beginning and intermediate. Fee: $1095, includes Florida, Pensacola June 10-15 Workshop with Meg McClorey, throwing, hand­ materials, firing, visits to prehistoric pottery collec­ “Studio Architectural Ceramics Workshop” with Peter building (June 1-2), glazing and raku firing (June 8— tions, lodging and meals. Contact Lynn Dyer, Crow Canyon Archaeological Center, 23390 County Road K, Cortez 81321; or telephone (800) 422-8975, extension 142. Colorado, Florence June 9—16 “Earth, Water, Wind and Fire” with Vern Roberts, focusing on the materials, as well as the forming, decorating and firing methods, used by Native Amer­ ican potters. Beginning through advanced. Fee: $200, includes most materials. Limited to 20 participants. Registration deadline: May 20. Contact Vern Rob­ erts, Coyote Arroyo Studios, 175313th Street, Penrose, Colorado 81240; or telephone (719) 372-6846. Colorado, Grand Junction June 14—16 Slide lecture and demonstration with Tom Coleman, throwing and altering porcelain forms, faceting, deco­ rating with slips, glazing. All skill levels. Fee: $195. Registration deadline: June 4. Limited enrollment. Contact Western Colorado Center for the Arts, 1803 North Seventh Street, Grand Junction 81501; or telephone Terry Shepherd (970) 243-7337. Colorado, Gunnison June 10—21 “Raku in the Rockies” (mornings); “Kilnbuilding Workshop” (afternoons). Instructor: A1 Caniff. Skill requirements vary. Fee per session: $325, includes firing for raku workshop. Contact Office of Continu­ ing Education, Janell Larson, Western State College of Colorado, Taylor Hall 206D, Gunnison 81231; or Participant Jim McDowell centering during a throwing workshop at Touchstone telephone (970) 943-2885. Center for Crafts in Farmington, Pennsylvania.

April 1996 35 9). Beginning and intermediate. Fee: $150, includes tact Hazel Mae Rotimi, Minor Miracles African Michigan, Onekama July 15—19 materials ana firing. Contact Meg McClorey, Fire Pottery, 52 Cleveland Street, Apartment 4, Gloucester “Southwest-style Ceramics” with Carol Vaughan, and Clay Pottery, 2535 Pumphouse Road, Somerset 01930; or telephone (508) 281-6578. pinching, coil and slab building, decorating with 42501; or telephone (606) 678-2527, leave message. Massachusetts, Housatonic June 1—August 31 colored slips, burnishing and pit firing. Fee: $130. Maine, Camden June 16-22 Contact Ann Smith, The Old Farm Store, 8011 First One-month workshops on Japanese throwing and St., Onekama 49675; or telephone (616) 889-5512. “Raku Workshop” with Ellen Berry. Fee: $750. Con­ trimming techniques, with emphasis on production; tact Ellen Berry, 4848 Melvin Heights, Camden each session includes firing a wood-burning kiln. All Michigan, Oxford July 28—August 2 04843; or telephone (207) 236-8000. skill levels. Contact the Great Barrington Pottery, Handbuilding and throwing with Gerry Williams. Route 41, Housatonic 01236; or telephone (413) Fee: $400, includes camping facilities and meals. Maine, Deer Isle June 2-August 30 274-6259. Contact the Imagine/RENDER Group, 2691 Noble “Session 1” with James Lawton, investigating lidded Road, Oxford 48370; or telephone (810) 628-4842. vessels (June 2—14). “Session 2” with William Parry, Massachusetts, Truro July 1-August 30 clay manipulation and working toward forming a “Throwing” with Chris Parris (July 1-19, Mon., Michigan, Saugatuck June 30-July 13 visual bank of personal forms (June 16-28). “Session Wed., Fri.); fee: $290. “Handbuilding” with Chris “Raku” with Robert McClurg (June 30-July 6 or July 3” with Nancy Selvin, integrating color and clay, Parris and Mary Stackhouse (July 2-11, Tues. and 7—13). Beginning through advanced. Fee: $304, in­ including processes for wet, dry, bisque and multi­ Thurs.); fee: $145. “Combining Thrown Forms” cludes materials and firing. Room and board: $348. fired work (June 30—July 12). “Session 4” with Cynthia with Woody Hughes (July 22-25); fee: $180. “Ex­ Location: Ox-Bow. Contact Rae Ulrich, School of Bringle, improving throwing skills and developing truded and Slab Forms/Smokeless Raku” with Jerry the jArt Institute of Chicago, 37 S. Wabash, Chicago, ideas, firing in various ways (July 14—August 2). Caplan (July29-August2); fee: $185. “Throwing for Illinois 60603; or telephone (800) 844-6578. “Session 5” with Ellen Shankin, techniques and ideas for altering pots (August 4—16). “Session 6” with John Minnesota, Duluth July 14—27 and Suzanne Stephenson, exploring the symbiotic “Pueblo Pottery” with Nora Naranjo-Morse, prepar­ relationship of color and form in low-temperature ing and coiling micaceous and Santa Clara clays, plus ceramics (August 18-30). Skill requirements vary. pit firing, time and weather permitting (July 14—20). Fee per two-week session: $480, includes firing. Con­ “Ebu: Traditional Nigerian Pottery” with Winnie tact Stuart Kestenbaum, Director, Haystack Moun­ Owens-Hart, exploring West African methods of tain School of Crafts, Post Office Box 518, Dow handbuilding, finishing, firing (July 21-27). All skill Road, Deer Isle 04627; or telephone (207) 348-2306. levels. Fee/session: $414, includes materials and firing. Room and board available. Contact Registrar, Split Maine, Kennebunkport June 24—August 9 Rock Arts Program-University of Minnesota, 306 “Raku Building Workshop” with Henry Gernhardt, Wesbrook Hall, 77 Pleasant St., SE, Minneapolis, making, glazing, firing and building raku kiln (June Minnesota 55455; or telephone (612) 624-6800, fax 24—29). “Pit-firing Workshop” with Diane Giardi, (612) 625-2568, E-mail [email protected] handbuilding sculptural forms, experimenting with Montana, Helena June 24—July 6 surfaces, sawdust/seaweed firings (July 15-19). “Wheel Throwing” with Jack Troy, developing personal forms “Wood-fire Workshop” with Torbjorn Kvasbo. Fee: (August 5-9). Fee per session: $250. Contact Diane $400. Limited to 15 participants. Contact Archie Giardi, Heartwood School of j\rt, Post Office Box Bray Foundation for the Ceramic Arts, 2915 Country 1100, Kennebunkport 04046; or telephone (207) Club Avenue, Helena 59601; or telephone (406) 967-8444. 443-3502. Montana, Whitehall-Bozeman July 8—15 Maine, Monroe July 14—September 2 “Indigenous Ceramics” with Michael Peed, digging, Weekly and weekend workshops for women, with processing, handforming techniques, plus various Squidje Liljeblad Davis. All skill levels. Fee: $585 per firing methods, from bonfires to enclosed kilns dug weekly session/$225 per weekend session, includes into a clay bank. All skill levels. Contact Michael materials, lodging and meals. Contact Starflower Peed, School of Art, Montana State University, Pottery, RR1 Box 1360, Monroe 04951; or telephone Hazel Mae Rotimi smoothing the rim Bozeman, Montana 59717; or telephone (406) 994- (207) 525-3593. of a coil-built pot; her workshops in 4501 weekdays. Maine, Newcastle June 16-August 16 Gloucester, Massachusetts, focus Nevada, Incline Village June 3—August 2 Two-week residencies (June 16-28, June 30-July 12, on African techniques. Weekly workshops on throwing, handbuilding, glaz­ July 14—26 or August 4-16); fee: $700, includes clay, ing, decoration, large-scale sculpture. All skill levels. lodging and meals. Financial assistance available. Production and Raku” with Joy Morauski (August 5— Fee: $290, includes materials. Lodging: $ 150. Con­ Intermediate through professional. For further infor­ 9); fee: $ 175. “Sgraffito and High-Fire Surfaces” with tact Ken Rowe, Sierra Nevada College, Post Office mation, contact Lynn Gipson, Watershed Center for Chris Parris (August 12-14); fee: $135, includes Box 4269, Incline Village 89450; or telephone (800) Ceramic Arts, RR 2, Box 845, Newcastle 04553; or materials and firing. “Raku” with Phil Homes (Au­ 332-8666. telephone (207) 882-6075. gust 15—16); fee: $120, includes materials and firing. “Development of Form” with Mikhail Zakin (August Nevada, Tuscarora June 17—August 11 June 8—July 31 Maryland, Frederick 19-23); fee: $175. “Surface Exploration and Embel­ Throwing, handbuilding, raw glazing and oil firing “Clay for Teachers Workshop,” clay projects for lishment” (August 26-30); fee: $200, includes some with Ben Parks and Dennis Parks (June 17-30, July elementary and junior-high teachers (June 8). “Ad­ materials and firing. Skill requirements vary. Fees 1-14, July 15-28 and/or July 29-August 11). Fee: vanced Techniques in Handbuilding” with Joyce include firing, unless noted above. Contact Mary $790/2 weeks, includes materials, firing, lodging and Michaud (June 24-July 31, Mon. and Wed., 1-4 Stackhouse, Castle Hill, Box 756, Truro 02666; or meals. Contact Dennis Parks, Tuscarora Pottery P.M.). “Beginning and Advanced Wheel” with Joyce telephone (508) 349-7511. School, Box 7, Tuscarora 89834; or telephone (702) Michaud (June 24-July 31, Mon. and Wed., 9 A.M- 756-6598. 12 P.M.). “Dynamics of Design” with J. Michaud Massachusetts, Williamsburg June 15—August 13 New Jersey, Belvidere July 27-August 4 (June 28-29). “Hood Pottery Camp,” handbuilding “Pots and Pottery Forms: Handbuilding on the Wheel” A session with Peter Voulkos and Paul Soldner (July for 6-8- and 9-12-year-olds (July 9, 11-12, 16-17 with Chris Gustin; “Sculpture: Portraits and Self- and 19). Instructor: Carol Spicer. “Advanced Throw­ 27-28). A session wi th Peter Voulkos and Rudy Autio Portraits” with Pamela Blotner (June 15-17); fee: (August 3-4). Fee: $125/1 day; $200/2 days. Contact ing Workshop” (July25-28). Contact Joyce Michaud, $235 and $225, respectively. “High School Pro­ Peter Callas Studio, 1 Orchard Street, Belvidere 07823; Hood College, 401 Rosemont Ave., Frederick 21701; gram,” ceramics is one of eight courses offered; lim­ telephone (908) 475-8907, or fax (908) 475-8956. telephone (301) 696-3460 or (301) 698-0929. ited to eight participants per class (June 23-July 13 Massachusetts, Boston June 10—August 3 and/or July 15-August 4); fee: $1845 per 3-week New Jersey, Layton June 1-August 24 Throwing, handbuilding, glazing, raku, soda vapor session; $3475 for full 6 weeks; includes lodging and “Painting and Form” with Edward S. Eberle (June 1- and reduction firing (once a week for 3 hours). meals. “Tiles: for Large Installations or Small Projects” 3); fee: $205, includes materials. “Wheel-thrown Instructors: Warren Mather, Shawn Panepinto, with Sandy Farrell (August 10-13); fee: $255. Con­ Utilitarian Ware (A Japanese Approach)” with Tony Makoto Yabe, plus visiting artist. Beginning through tact Karen Totman-Gale, Horizons, 108 North Main Marsh (June 8-13); fee: $330, includes materials. advanced. Contact Shawn Panepinto, RadclifFe Col­ Street-C, Sunderland, Massachusetts 01375; or tele­ “Designing Tiles and Mosaics” with Adam Zayas lege Ceramics Studio, 219 Western Avenue, Boston phone (413) 665-0300, fax (413) 665-4141. (June 22-24); fee: $215, includes materials. “Func­ 02134; or telephone (617) 495-8680. tional Pots: Mostly Vases” with Greg Pitts (June 29- Michigan, Detroit July 23—26 July 6); fee: $405, includes materials and firing. Massachusetts, Gloucester Summer “Handuilding Workshop for Teachers” with Mag­ “Adobe” with Ron Fondaw (July 13-20); fee: $405, Six interrelated but independent outdoor workshops dalene Odundo. Fee: $125, includes materials. Con­ includes materials. “Pots: Beyond Process” with Bobby on African clay digging, preparation, handbuilding, tact Stephanie James, Detroit Insitute of Arts, 5200 Silverman (August 3-10); fee: $400, includes materi­ decoration and firing techniques with Hazel Mae Woodward Avenue, Detroit 48202; or telephone als and firing. “Developing a Personal Dialogue: Rotimi (alternate weekends, June-October). Con­ (313) 833-4249. Ceramic Sculpture” with Ron Kovatch (August 17-

36 CERAMICS MONTHLY Participants at Nancee Meeker’s raku workshop in Rhinecliff, Meeker then pulls the pieces from the car and places them New York, roll out the kiln car for postfiring reduction. on prepared beds of combustibles.

24); fee: $395, includes materials and firing. Skill and firing. “Functional Vessels: Throwing and Alter­ fee. All skill levels. Contact the Pottery Court, 210 requirements vary. For further information, contact ing” with Mary Law (July 8-12); fee: $330, includes Howell Street, Bellmore 11710; or telephone (516) Jennifer Brooks, Peters Valley Craft Center, 19 Kuhn materials and firing. “Demonstration and Conversa­ 785-6247. Road, Layton 07851; or telephone (201) 948-5200, tion with Toshiko Takaezu” (July 20-21); fee: $120. fax (201) 948-0011. “Revitalizing the Work: Asking Good Questions” New York, Clayton July 8—August 23 with Wayne Higby (August 3-4); fee: $ 120, includes “Large-scale Clay Sculpture” with Kevin Mulcahy June 24—August 30 New Jersey, Loveladies materials. “Mold Making and Slip Casting” with (July 8-12 or July 15-19); fee: $165, includes mate­ “Raku Workshop” with Edward Camp (June 24- Allan Walter (August 5-9); fee: $330, includes mate­ rials and firing. “Morning Pottery” with Mark Lyons July 5). “Saggar-nre Workshop” with Edward Camp rials. “Earthenware: Throwing and Assembling” with (July 22-26 or July 29-August 2); fee: $150, includes (July 8-19). “Glaze Experimentation” with Edward Woody Hughes (August 12-16); fee: $330, includes materials and firing. “Raku” with Inyo Bayer (August Camp (July 22-26). “Majolica on Pots and Tiles” materials and firing. “Tile Commissions: From Cre­ 5-9); fee: $225, includes materials and firing. “Col­ with Joyce Nagata; participants should bring clay ation to Installation” with George Mason (August ored Clay Bodies” with Richard Zakin (August 14— tools and watercolor brushes (July 29-August 9). 19-23); fee: $325, includes materials and firing. 16); fee: $145, includes materials. “Slip Decoration” “The Clay Narrative” (August 12-16). “Throwing Instruction in English and Spanish. Skill require­ with Wayne Cardinalli (August 19-23); fee: $225, and Altering Workshop” with Neil Patterson (August ments vary. Contact Avra Leodas, Santa Fe Clay, includes materials and firing. Skill requirements vary. 19-23). “Clay as Sculpture” with Mark Davies (Au­ 1615 Paseo de Peralta, Santa Fe 87501; or telephone Members receive 15% discount on fees. Contact Lisa gust 26-30). All skill levels. Fee: $95; members, $80; (505) 984-1122. L. LaRue, Thousand Islands Craft School and Textile includes materials. For further information, contact Museum, 314 John Street, Clayton 13624; or tele­ Meg Mathews or Tracey Lehman, Long Beach Island July 1-14 phone (315) 686-4123. Foundation of the Arts and Sciences, 120 Long Beach Handbuilding with local micaceous clay, decorating, Boulevard, Loveladies 08008; or telephone (609) firing and burnishing pots in the Jicarilla Apache New York, Highland Lake August 4—11 494-1241. tradition with Felipe Ortega. All skill levels. Fee: “Getting Fired Up,” wood, raku and sawdust firing $1200, includes some materials, firing, field trips, with Bill Shillalies. Fee: $550, includes firing, meals New Mexico, Abiquiu June 6-9 lodging and meals. Contact Marion Jefferson, Asso­ and lodging. Location: Koinonia. Telephone Bill Throwing functional and sculptural works, using ciate Chair, Department of Art and Art History, Shillalies (516) 796-4498. found materials, making tools and brushes, with University of Miami, Post Office Box 248106, Coral David L. Bradley. All skill levels. Fee: $95. Contact Gables, Florida 33124-4410; telephone (305) 284- New York, Middlesex Summer Penne Roberts, New Mexico Potters Association, 2542, or fax (305) 284-2115. Apprenticeship programs in a production pottery, 4530 Bermuda, Northeast, Albuquerque, New Mexico clay and glaze making, throwing, handbuilding, sur­ 87111; or telephone (505) 293-3107. July 8-19 face decoration, loading kilns. Beginning and inter­ Handbuilding, throwing and sculpting with Susan mediate. For further information, contact Annie June 17—August 19 York. All skill levels. Limited to 8 participants. Fee: Schilffer, Rochester Folk Art Guild Pottery, 1445 “Raku Kilnbuilding and Firing” with Jim Kempes, $250/one week; $475/two weeks. For further infor­ Upper Hill Road, Middlesex 14507; telephone (716) and Earl and Sylvia Deaver (June 17-24). Beginning mation, contact Susan York, Santa Fe Clay School, 554-3539 or 554-5463. and intermediate. “Adventures with Crystalline 1215 Lujan Street, Santa Fe 87505; or telephone Glazes” with Jim Kempes and Joe Mann (August 12- (505) 471-5490. New York, New York June 3—July 11 19). Intermediate and advanced. Fee: $460, includes “Intermediate Throwing” with Neil Tetkowski (June materials, firing, lodging and meals. Contact Regis­ New Mexico, Silver City June 3—July 3 3—July 10, Mon. and Wed.). “Beginning Throwing” trar, Ghost Ranch, HC-77-Box 11, Abiquiu 87510- “Clay I: Handbuilding Introduction, Raku.” “Ad­ with Bonnie Cooper (June 4—July 11, Tues. and 9601; or telephone (505) 685-4333. vanced Clay: Throwing and Handbuilding.” Instruc­ Thurs.). “Throwing for the Saggar Kiln” with Annorte tor: Claude W. Smith III. Beginning through ad­ Zondek; instruction in English and German (June 4— New Mexico, Albuquerque June 10—16 vanced. Fee: $138, includes 3 credit hours. Lab fee: July 11, Tues. and Thurs.). “Tile Workshop” with “When Clay Sings,” traditional pottery making with $20-$50, includes clay, materials, firing. Contact Frank Giorgini (June 6-July 11, Thurs.). “Clay, Lia Lynn Rosen. Fee: $325, includes materials and Claude W. Smith III, Western New Mexico Univer­ Color and Form” with Janice Farley (June 10-26, field trips. Registration deadline: May 1. Contact Lia sity, Box 640, Silver City 88062; telephone (505) Mon. and Wed.). Skill requirements vary. Fee: $402, Lynn Rosen, Yetzirah Pottery, 1703 Anderson Place, 538-6501 or 538-6616. includes materials and firing. For further informa­ Southeast, Albuquerque 87108; or telephone (505) tion, contact Deborah Goletz, Ceramic Technician, 262-4801. New Mexico, Taos June 23—August 3 Parsons School of Design, Product Design Depart­ “Mask Making” with Bernadette Track (June 23- ment, 2 West 13th Street, New York 10003; or New Mexico, La Madera Summer 29). “CookWare” with Jeri Track (July 7-13). “Sto­ telephone (212) 989-2769. Weekly sessions on digging and processing clay, rytellers” with Native American potters from Taos handforming pots, burnishing and firing with cow Pueblo. “Traditional Pottery” with Sharon Dryflower June 27-July 28 dung or pine bark in the Jicarilla Apache tradition. Reyna (July 28-August 3). All sessions include dig­ “Throwing” with Linda Christianson (June 27-July Instructor: Felipe Ortega. Fee: $390, includes field ging, handbuilding and pit firing micaceous clay. 1). “Throwing” with Woody Hughes; “Handbuild­ trips, lodging and meals. Contact Owl Peak Pottery Beginning and intermediate. Fee: $375, includes ing Porcelain” with Ann Agee (July 10-14). Hand­ and Studio, Post Office Box 682, La Madera 87539; materials and firing. Contact Judith Krull, Taos Insti­ building large-scale sculpture with Arnold Zimmer­ or telephone (505) 583-2345. tute of Arts, 5280 NDCBV, Taos 87571; or telephone man in his studio (July 10-21); fee: $560, includes (505) 758-2793, E-mail [email protected] or online materials and registration. “17th-Century English New Mexico, Santa Fe June 17—August 23 http: //www. taosnet. com/tia Slipware Pottery” with Irma Starr (July 17-21). “The Figure as Metaphor” with Stan Welsh (June 17- “Handbuilding and Tile Making” with Annabeth 21); fee: $330, includes materials and firing. “The New York, Bellmore June 8—15 Rosen; “Thrown and Altered Wheel Forms Using Skin of the Form, the Shape of the Surface” with Mary “Primitive Clay Whistle Workshop” with Rick Aliperti Porcelain” with Larry Bush (July 24-28). Skill re­ Barringer (June 24-28); fee: $325, includes materials (June 8, 9 and 15), fee: $75; optional $10 materials quirements vary. Fee (unless noted above): $315,

April 1996 37 includes materials and registration. For further infor­ Ferst and Jill Kovachick. Fee: $130 and up, includes Norman Schulman; “Teapots: Handbuilt” with mation, contact Victoria Thorson, Greenwich House some materials and firing. For further information, Chuck Hindes and Norman Schulman (July 7-19). Pottery, 16 Jones Street, New York 10014; or tele­ contact Marianne Needham, Administrative Coordi­ “Throwing Plates” with David R. MacDonald; “Build­ phone (212) 242-4106. nator, Skidmore College, North Broadway, Saratoga ing Forms” with Yih-Wen Kuo (July 21-August 6); Springs 12866; or telephone (581) 584-5000, exten­ fee/session: $630. “Pots” with Michael Simon; “Speak­ July 13-27 sion 2372. ing in Tongues” with Triesch Voelker and Gina “Surface Decoration” with Sara Patterson (Satur­ Bobrowski (August 11-23). “Single-fired Functional days). Beginning through advanced. Fee: $200, in­ New York, Southampton July 22—26 Stoneware” with Steven Hill; “Drawing on Clay” cludes materials and firing. Contact M. Simonds, “Primitive Pottery: Raku Firing” with Evan Rosenthal. with Joe Bova (August 25—31); fee/session: $265. Earthworks Pottery, 1705 First Avenue, New York Beginning and intermediate. Fee: $427, includes Skill requirements vary. Fee (unless noted above): 10128; or telephone (212) 534-9711. materials, firing and 1 undergraduate college credit. $490. Contact Dana Moore, Penland School of Crafts, Contact Carla Caglioti, Summer Director, South­ Penland Road, Penland 28765; or telephone (704) New York, Oakdale August5—16 ampton College of Long Island University, 239 765-2359. “Handbuilding with the Wheel, Low-fire Solutions” Montauk Highway, Southampton 11968; or tele­ with Woody Hughes (August 5-9). “Mold Making” phone (516) 287-8349. Ohio, Athens June 17—28 with Ellen Goldin (August 12-16). Fee/session: $250. Tile mural, glaze painting/drawing from studies on Each workshop limited to 12 participants. Contact New York, West Nyack June 30 paper, plus bookbinding with tile cover. Instructor: Dowling Institute, Dowling College, Idle Hour Blvd., “Raku Firing Workshop” with Rosemary Aiello, glaz­ Joe Bova. Intermediate and advanced. Fees vary. Oakdale 11769; or telephone (516) 244-3420. ing and firing bisqued pieces. Intermediate through Contact Janet McCumber, Ohio University School professional. Fee: $65, includes firing. Contact Petra of Art, Athens 45701; or telephone (614) 593-4289. New York, Oneonta June 30—July 20 Ludwig, Rockland Center for the Arts, 27 South “Studio Arts Workshop” with Milly D’Angelo; open Greenbush Road, West Nyack 10994; or telephone Ohio, Kent June 1—20 to high-school students only. Ceramics is one of six (914) 358-0877. “Escapades in Creation” with Kirk Mangus and visit­ courses offered. Intermediate. Fee: $1020, includes ing artists Jim Melchert and Patti Warashina, empha­ lodging and meals. For further information, contact North Carolina, Brasstown June 9—August 31 sizing throwing, handbuilding, sculpture, plus vari­ Nancy Brandow, Hartwick College Office of Special “Throwing Large Forms” with Leon Nichols (June 9- ous firing techniques like salt and wood. All skill Programs, West Street, Oneonta 13820; or telephone 15). “Beginning to Throw” with Don Davis (June levels. Fees vary. Contact Kirk Mangus or Becky (607) 431-4415. 16-22). “New Techniques in Handbuilding” with Summers, Kent State University, School of Art, Kent Barbara Joiner (June 30-July 6). A session with 44242; telephone (216) 672-2192 or ceramics studio New York, Otego July 29—August 20 Barbara Joiner (July 12-14); fee: $130. “Colorful 672-3360. “August Clay Workshop” with Elizabeth Nields, Containers: Sculptural and Utilitarian” with Susie sculpting from a live model, plus all aspects of produc­ Duncan (July 14—20). “Pots Is Pots,” mixed-media Ohio, Middletown July 13—14 tion, from making clay to stacking and firing a kiln to approach to handbuilding and throwing with Michael Lecture and demonstration with Paul Soldner. Ad­ showing your work (July 29-August 11); fee: $635, Pitts (July21-27). “Raku” with Steven Forbes-deSoule vanced registration required. Contact Middletown includes materials and lunch. “Raku Workshop” with (July 28-August 3). “Throwing and Decorating” Fine Arts Center, Post Office Box 441, Middletown Elizabeth Nields, making (August 12-13), glazing with Nancy Darrell (August 4-10). “Clay Basics” 45042; or telephone (513) 424-2416. and firing (August 19-20); fee: $125, includes mate­ with Bob Owens (August 11-17). “Textures, Tex­ rials and firing for 8 pots; additional pots, $5 each. tures, Textures” with Harry Hearne (August 25-31). Ohio, Oxford June 17-July 19 Contact Elizabeth Nields Pottery, RD 1, Box 300, Skill requirements vary. Fee (unless noted above): “Beginning Throwing on the Potter’s Wheel” with Otego 13825; or telephone (607) 783-2476. $232. Contact John C. Campbell Folk School, Route Jed Dowlin (June 17-21). “Ceramics: The Drinking 1, Box 14A, Brasstown 28902; or telephone (800) Vessel” with William Brouillard (June 24—28). “Fig­ New York, Rhinecliff June 7-August 4 365-5724 or (704) 837-2775. ure Modeling in Clay” with Carol Keller (June 24— “Primitive Firing Intensives” with Bob Green and 28). “Handmade Tiles” with Beth Starbuck (July 1- Nancee Meeker, working with terra sigillatas, stone North Carolina, Cullowhee June 3—14 5). “Soda Fire” with Lee Rexrode (July 8-12). “Ce­ burnishing, stacking and firing a saggar kiln, raku and Throwing and altering stoneware forms with Nick ramics: Form, Surface, Content” with Nina Borgia- pit firing, plus individual throwing instruction (June Joerling. All skill levels. Fees vary. Contact Joan Byrd, Aberle (July 15-19). Contact Joyce Ponder, Rowan 7-9, July 12—14, or August 2-4). Instruction in Department of Art, Western Carolina University, Hall, Miami University, Oxford 45056; or telephone English, some French and Spanish. All skill levels. Cullowhee 28723; or telephone (704) 227-7210. (513) 529-7395. Fee: $250, includes materials and firing. Contact Nancee Meeker, 169 Kelly Street at Russell Avenue, North Carolina, Penland May 26-August 31 Oregon, Corbet August 4—17 Rhinecliff 12574; or telephone (914) 876-3119, fax “Form and Fire” with Mary A. Roehm; “Tea-Off” “Raku” with Judy Teufel (first 5-day week). “Ceramic (914) 876-3118. with Karon and Louie Doherty (May 26-June 7). Sculpture” with Leslie Lee (second 5-day week). All “Low-Fire: Form, Surface, Color” with Linda skill levels. Fee: $500, includes lab fee, firing, lodging New York, Saratoga Springs May 27-August 2 Arbuckle; “Handbuilding, Color and Behaving Cre­ and meals. Contact Diane Trapp, Creative Art Com­ Two sessions from beginning to independent study in atively” with Steve Howell (June 9-21). “The Clay munity, Post Office Box 4958, Portland, Oregon throwing, handbuilding, glazing, slip casting, kiln Figure” with Tim Taunton; “Relief Sculptures in 97208; or telephone (503) 236-4109. design, and saggar, raku and pit firing. Instructors: Clay” with Peter Gourfain (June 23-July 5). “Tea­ Regis Brodie, Joyce A. Caputo, Cookie Coyne, Leslie pots: Thrown and Altered” with Ron Meyers and Oregon, Portland June 10-21 “Throw and Throw Away” with Cynthia Bringle, throwing, with individual instruction as well as group Linda Sikora and student Sam Chung discuss the joining of thrown parts during a projects, focusing on developing ideas and the rela­ workshop at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. tionship between form and space (June 10-14). Inter­ mediate. “Site-specific Architectural Ceramics” with Robert Harrison, designing and building on-site sculp­ ture (June 17-21). Beginning. Fee/session: $310, includes materials and firing. Contact Shirl Lipkin, Oregon School of Arts and Crafts, 8245 Southwest Barnes Road, Portland 97225; or telephone (503) 297-5544, fax (503) 297-9651. Pennsylvania, Farmington June 10—August 24 “Raku: Surface Treatments and Designs” with Andy Smith (June 10-15); fee: $200, includes materials. “Wheel-thrown Ceramics for Teens” with Linda Honsperger (June 17-22); fee: $190, includes mate­ rials. “Sculpting from a Model” with Myrleen Harrison (June 24—29); fee: $200, includes materials. “Large- scale Functional Pots” with Kevin Crowe (July 8-13); fee: $200, includes materials. “Pinch Pots and Pit Firing” with Jimmy Clark (July 15-20); fee: $200, includes materials. “Paintings in Clay” with Cate Fetterman (July 22-27); fee: $195, includes materi­ als. “Colored Clay: Handbuilding on the Wheel” with Mitch Lyons (July 29-August 3); fee: $195, includes materials. “Form and Texture: Pots on the Wheel and Handbuilt” with Neil Patterson and Sandi Pierantozzi (August 5-10); fee: $295, includes mate- Please turn to page 98

38 CERAMICS MONTHLY Echizen Stoneware 800 Years of Japanese Tradition

by Virginia Hillhouse

With coils of clay as thick as earliest kilns made to fire his arm, Juroemon Fujita be­ Echizen ware were tube kilns, gins to build a pot. His move­ some reaching a length of ap­ ments choreographed by proximately 50 feet and a centuries of potters, he circles width of 11 feet. These ana- smoothly around the piece, gama or one-chambered kilns, rhythmically tapping, pulling made large to hold the prod­ and shaping the rich, dark ucts of several families, ap­ clay. Then he waits. If tem­ peared about the year 1100. perature and humidity are Even larger kilns (one ex­ right, he will add the next coil cavated behemoth measures in four or five hours. The jar almost 90x18 feet) were built will be ready for firing seven in the 14th and 15 th centu­ to ten days later. ries. Noborigama or multi- Designated a master of tra­ chambered climbing kilns ditional industrial arts by the were also constructed, some Japanese Ministry of Interna­ with as many as 20 cham­ tional Trade and Industry, bers. The Japanese, with their Fujita was demonstrating at penchant for descriptive the University of Montevallo names, saw the humped tops near Birmingham, Alabama, of these chambers stretching as part of the activities sur­ up the mountains and called rounding the exhibition Stoneware jar, 10% inches in height, with unusual blue and them dragon kilns. “Echizen: Eight Hundred cream natural ash glaze, 1336-1573. The early Echizen ware is Years of Japanese Stoneware.” generally sturdy and plain, Organized by Dr. Donald A. standing slightly askew, some­ Wood, curator of Asian Art at the Bir­ needs. Besides the obvious vessels needed times with evident flaws such as bits of mingham Museum of Art, it traced the by a farming community (food storage an exploded pot embedded in the sur­ work of potters from a single area in and seed-sprouting jars), pots were made face. The glaze is accidental, the result of Japan. Included were 76 objects, ranging to hold medicine, dyes, oil, water and fly ash from the wood fuel settling on from utilitarian vessels to sculptural works tea leaves. Braziers, sake bottles, flower the shoulders and dripping down the of art and dating from the Heian period basins, funeral urns and grave markers bodies of pots. Colors flowing down the (794-1185) to 1994. Besides the Bir­ were all part of life’s necessities. fronts of jars range from a common mingham venue, the exhibition had trav­ Over 200 kiln sites dot the hills in an brown to green to the rare cream and eled during 1995 to the Minneapolis area covering about 7 square miles. The blue, and are given fanciful names such Institute of Art and the New Jersey State as «candy 1 and 55 straw. 1 CC 55 Museum in Trenton. By the 15th century, the Echizen pot­ The common thread that connects ters were using applied glazes and look­ the crude vessels of the old Echizen era ing for markets outside their immediate to the carefully crafted pots of today is region. Large storage jars and ship’s sake the clay. Each work is fashioned with bottles were common. Sometimes the clay dug from the hills and under rice functional and the frivolous were com­ paddies in this coastal area of western bined, as in a hand warmer shaped as Japan. This clays natural plasticity makes Hotei, the Buddhist god of wealth. Glow­ it excellent for the traditional handbuild­ ing coals placed in his open bag became ing method, although many of todays his treasures. potters choose to work with the wheel. At the end of the second World War, Though the site has yielded evidence six families practiced the traditional of pottery making from ancient times, Echizen coil-building method. But by Echizen ware refers to the stoneware first 1960, only one man carried on the tradi­ known in the 11th and 12th centuries. Hand warmer as figure of Hotei, tion—Juroemon Fujita, an eighth-gen­ 14½ inches wide, wood-fired These early pots were made by farmers stoneware, 1615-1868. eration potter determined not to let a during the winter to meet their families’ tradition die. Convinced by Fujita of the

April 1996 39 PHOTOS: DONALD A. WOOD, COURTESY OF BIRMINGHAM MUSEUM ART

Oil-spot-glazed stoneware plate, 16% inches in diameter, 1992, by Morikazu Kimura (born in 1921).

“Chink in the Wind,” 31 1 /s inches in height, stoneware and wood, 1989, by Yutaka Nakamura (born in 1948).

40 CERAMICS MONTHLY historical significance of Echizen ware, the Japanese government founded Pot­ tery Village. Today, the village has a Ce­ ramics Research Center, a museum of historic and contemporary pottery, a sculpture garden, tea pavilions for the tea ceremony, sales galleries and an an­ nual pottery festival. More than 65 pot­ ters have taken advantage of the gov­ ernment’s offer to purchase land at a reasonable price and have established their homes and studios in the area. The early potters are known only by symbolic markings, most likely their way of identifying their works among the hundreds fired in the communal kilns. Today, the potters are known by name, each working in his or her own studio, firing separate kilns with gas, oil and electricity as well as wood. Small, single- chamber kilns, for the most part, have replaced the historical giants. These through-draft kilns generally lasted for 40 firings, but with 2 firings per year, replacement was not frequent. Now in his seventies, Fujita has passed Jar, 12 inches in diameter, charcoal-flashed stoneware, 1992, on the coil-building technique to over a by Yoshio Maeda (born in 1941). dozen students. His glaze is the tradi­ tional accidental one, yet it is obvious from the more even flow that Fujita has learned to control the ash deposits in his kiln to a far greater degree than his pre­ decessors. Other potters are experimenting with new techniques. For example, Yoshio Maedas stoneware jar undulates with light and dark bands of color created by placing pieces of charcoal in strategic spots in the kiln. His success rate? Fif­ teen to twenty percent. Morikazu Kimura uses an iron glaze to produce “oil spot” or “hare’s fur” mark­ ings. Kimura moved to the Echizen area in 1977; however, he has been a potter since the 1930s. In developing his glaze palette, he has collected minerals through­ out the world, and now houses several tons, carefully labeled and categorized, in his studio. Besides his one-chambered kiln, Kimura also fires a small version of the historic dragon kiln. The variety of objects created in Echizen today is endless. An old Japa­ nese proverb is quoted in the exhibition catalog: “One arrow is easily broken, but three arrows bundled together are not.” Though they number more than three, the Echizen potters have certainly Ash-glazed stoneware jar, 11% inches in height, 1992, strengthened and expanded the tradi­ by Juroemon Fujita (born in 1922). tion that was almost lost 30 years ago. A

April 1996 41 PHOTOS: JAMES AUSTIN, FRAN EVELEGH

The technology that enables us to use marked by smoke express qualities of soft­ B.C.) in their black-topped, burnished high temperatures separates the potter ness, sensuality and earthiness that glazed redware. The contrast of red and black from much of the joy and spontaneity of work cannot convey. Tactile senses are was achieved by carefully stacking pots so low-temperature smoking processes. Dur­ stimulated and satiated by touching and that one part of the pot was exposed to ing the last decade, a growing awareness holding these pots, and one experiences a the reduction, while another part of it and interest in “primitive techniques” have feeling of timelessness through their asso­ was shielded by a second pot placed over occurred partly as a reaction against the ciations with ancient pottery. the top of it so it would remain oxidized. ever-increasing sophistication surround­ Some of the earliest examples of pot­ Contemporary studio potters have ing ldln technology and computerization, tery using reduced and oxidized areas to drawn inspiration from primitive firing and partly against the preoccupation with express color contrasts are from the pre- techniques that are still used in many high-fired stoneware and porcelain influ­ dynastic Egyptian potters (circa 3500 parts of the world today, including India, enced by the Leach tradition. It should be Pakistan, Africa, South America, North emphasized that “primitive” does not im­ America, and Papua, New Guinea. Firing ply coarse or unrefined; on the contrary, is carried out without kilns, in the open potters working with these firing tech­ or in pits, using locally available fuels, niques need to develop a high level of such as agricultural waste and animal skill, sensitivity and patience to achieve dung. The resulting pots, which have de­ successful results. veloped over the centuries, display a high Smoke firing is based on the fact that level of craftsmanship and aesthetics, har­ when there is insufficient oxygen, the fuel, monizing form, surface and function. needing oxygen to burn, will combine I went to Hornsey College of Art in with the oxides in the clay and leave a London in the late 1960s, planning to carbonaceous black surface. Several terms specialize in textiles, but found myself in are used to describe the process. Some the Industrial Ceramics program, which potters refer to it as “carbonizing” and concentrated on slip casting and mold others as “blackening”; i.e., producing making. To say it was the wrong course blackware. for me is a gross understatement; when I Like others with an aversion to the graduated, I felt as if all creativity had glazing process, the discovery of burnish­ been knocked out of me. The most excit­ ing and smoke firing was a revelation to Jane Perryman smoothing the rim of a ing aspect of art school was the “sit-in” of me ten years ago, and I have never looked coil-built vessel to be smoke fired at her ’68, which I was very much involved in, back. The polished surfaces of pots richly studio in Cambridge, England. but left-wing politics with its attendant

42 CERAMICS MONTHLY Perryman’s vessels are constructed from flattened coils; For flared forms, a template is sometimes used the edges are scored and slipped to assure good joins. to establish the curve.

Small coils are added to strengthen each join, then pushed in When leather hard, the form is refined and thinned firmly with a tool to ensure no air is trapped. by scraping with a metal rib.

A smooth slip is brushed onto the surface to cover the coarse After a bisque firing, masking-tape patterns are applied, clay, then burnished with a spoon. then covered with coarse slurry, which will resist the smoke.

ideologies meant choosing a career in Europees Keramisch Werkcentrum in and bought a ceramic fiber kiln. I have teaching rather than “making art objects Holland, an international center for pot­ always been a “late starter,” and at this for elitist consumption.” I taught full time ters to develop their work with unlimited stage, 12 years after leaving art school, I in secondary schools for several years be­ resources. The time was spent exploring was still searching for my own way of fore feeling the need to make pots again. sculptural themes with slip-cast porcelain working. When a friend showed me a Joining a pottery cooperative was rather and experimenting with reduction glazes. burnished sawdust-fired pot, I felt an im­ like beginning again; I decided to teach This was followed by two years develop­ mediate affinity with it; here was a way to myself to throw and handbuild. ing ideas in America. achieve a tactile surface of depth and great In 1979, a British Council Scholar­ Returning to Cambridge (where I still richness without glaze. I loved the soft ship enabled me to spend a year at the live), I was able to set up my own studio, quality created by low firing, and knew I

April 1996 43 had at last found my way. This experience to draw and study. For several years, I particularly intrigued by a group of was reinforced by watching Siddig incorporated a strongly defined shoulder women potters who coil built tandoori El’Nigoumi [see the January 1989 issue into my bowls and vases—a direct refer­ ovens, by the beauty of the repetitive of CM] demonstrating his carbonizing ence to these Celtic pots. rhythms of coiling married with a com­ techniques with newspaper at the South Since I began smoke firing, my work plete economy of movement. It took 18 Wales Potters’ Festival in 1983. has been vessel orientated, mostly bowls, months to absorb this experience and So began many years of adjusting clays vases and jugs. For many years, I used translate it into my work by deciding to and firing techniques through trial and combinations of handbuilding methods— concentrate solely on coiling to create the error, with the attendant disappointments coiling, press molding and slab building— form in one rather than several sections. and jubilations. Gradually, I moved away constructing the form in several sections This means the forms have become sim­ from slip casting and into handbuilding. and often completing it by adding a foot. pler and the defined shoulder has been I began looldng at low-fired pots from My first trip to India, at the beginning replaced by a more organic curve. the archaeological and anthropological of 1990, was the catalyst to change. While My love of pattern is expressed by the departments at museums. Forms became studying yoga at the Iyengar Yoga Insti­ decoration influenced by African textiles influenced by early British and French tute in Pune, I discovered a colony of and carving, especially the raffia-pile tex­ Celtic pots from the British Museum in potters living and working beside a busy tiles of the Congo (now Zaire). By pen­ London, which I returned to many times roadway in the center of the city. I was etrating into the surface, the smoke firing

In a stacked brick kiln, the pot is surrounded During the firing (about three hours), the shavings by wood shavings. burn away, leaving a residue of ash.

The tape either burns away or lifts up, opening the masked areas to smoke; the resist slurry is removed by scraping, revealing lighter, unsmoked areas.

44 CERAMICS MONTHLY Flared vase, 13½ inches in diameter, coil-built T Material and porcelain, slipped and burnished, bisqued, masked and smoke fired.

creates patterns of great intensity, which against the smoke. The tape will either Pots are laid on several inches of shav­ become part of the form. I keep a sketch­ burn away or lift up from the surface, ings, then surrounded by and covered book for trying out new shapes and pat­ allowing these areas to absorb smoke. with additional densely packed shavings. terns, but as the process of handbuilding A simple brick construction forms the The kiln is set alight, covered with a sheet is slow, new forms tend to evolve slowly kiln; it can be adjusted to accommodate of metal and left for 2-4 hours. Some­ and often unconsciously. the size and number of pots easily. Fuel is times I fire in a metal trash can with Pots are made from a mixture of 2 mostly coarse wood shavings because they newspaper, which can be finished as parts T Material (coarse stoneware) and 1 burn faster than sawdust, and that is im­ quickly as 10-15 minutes. Some pots need part porcelain. I begin with a flat base portant as I live in the center of Cam­ several firings to achieve satisfactory re­ and often use a cardboard template as a bridge. Over the years, I have learned that sults; some pots are never satisfactory and rough guide. “Coils” are in fact rolled by I can achieve adequate carbonization with can be re-oxidized and smoked again. hand and then flattened to about ½ inch; less fuel. After the firing, the slurry is cleaned they are built up carefully, with score away. Sometimes it falls off easily; other marks and slurry in between to secure a times it is removed with a scalpel. A coat good bond. Thin coils of clay are pushed of beeswax will seal the surface. in between the larger coils to ensure they The excitement and anticipation sur­ are joined together well. This takes a long rounding the risks and unpredictability time, but I rarely get cracks around the are important aspects of smoke firing. coiling lines. When leather hard, the shape Results can give great joy or great disap­ is refined through scraping and beating, pointment, and it is this element of not and lastly sponged. A ball clay slip (5 quite being in control, of letting go of parts Hymod SMD Ball Clay with 1 part preconceptions, that is so appealing. Af­ clay body) is colored with oxides or com­ ter many hours of slow, controlled mak­ mercial stains and brushed on in several ing, it is a liberating feeling to “give” the layers. WTien the pot is sufficiently dry, I pot to the fire, to be directly involved burnish with a spoon and pebble, then with the firing, to see the flames, and to polish with a plastic-covered pad. see and smell the smoke. Although the Bisque firing is to around 980°C technique is simple, success depends on (1800°F). The surface is then patterned Smoke-fired vase, coil built, slipped and many years of experimentation and ob­ burnished, approximately 13 inches in with masking tape and covered with a height, by Jane Perryman. servation, of trial-and-error and the accep­ crank clay slurry, which will act as a resist tance of failure as a tool for learning. A

April 1996 45 Frank Philipps Rollin' the Dice by Glenn Daly

Frank Philipps used to ride a 1200cc speed up, not slow down. Openings my mouth, listen up and look at what Harley for the Oakland Police Depart­ are done at high speeds and rims are was going on there. ment back in the days when Huey New­ finished at slow speeds.” “I studied with her for four sum­ ton and the Black Panthers made cops During his four-year apprenticeship mers. I’d go down there and work for believe that they wore bull’s-eyes for with Connors, Philipps learned to pro­ six weeks. There’d be 25 students from badges. But the stress of police work duce small items for the shop (mugs, all over the world. It was a totally pri­ and the tumultuous politics of the time bowls, small planters and cups) and to vate school. She didn’t want funding took their inevitable toll. So in 1972, handle all the facets of production, from from the state. It freed her of that influ­ Philipps quit the force and moved his wedging clay to firing the finished pieces. ence. She taught pottery techniques, but, family to Ashland, Oregon, to a home Connors also introduced Philipps to the while she was doing that, she was teach­ on a hillside with a gully out back where writing of Marguerite Wildenhain, lend­ ing a lifestyle, too. It was how to live an the deer and the raccoon play. Living ing him The Invisible Core. Impressed ethical life, if you will. And that’s what on the GI Bill and the tips his wife with Wildenhain’s words, he decided to most people are missing when they go (Nancy) earned as a waitress, he en­ learn her techniques and spent the sum­ through the educational process: how rolled in education courses at what was mer of 1975 studying at Pond Farm to live a moral life, a life with purpose then Southern Oregon College. near Guerneville, California. and direction. It doesn’t matter what Education, however, wasn’t Philipps’ “I went there with the understand­ your occupation is, so long as you have calling: elementary had too many chil­ ing that I was going to meet someone direction and purpose and a good moral dren; secondary had too many teenag­ very stern and firm and opinionated. foundation. ers; art classes were incomplete. “I Well, she was opinionated, as we all are, “I figured it out one time. It cost wanted to do something with my but she had earned her opinions. But, $230 for six weeks, which worked out hands,” he explains, “but I wanted some­ when we shook hands, she gave me the to about a buck and a quarter an hour thing intellectually stimulating along warmest greeting I can ever remember. for instruction from a master potter.” with it.” As an elective, he registered for It was like meeting my grandmother. Wildenhain had studied at the Bauhaus a pottery class. She was open and friendly—not a drill under two masters: Max Krahan, whose “I knew the lab assistant,” Philipps instructor, by any degree—and I was family had been potters for at least three recalls. “He was throwing the first time old enough to know that I should shut generations; and master sculptor Ger­ I walked into his class, and I was hard Marks. Thus, Philipps reasons mesmerized. Then one night I went that “Marguerite’s throwing tech­ to his house for dinner. The center­ niques go back at least 200 years.” piece was made of clay, the can- His time spent as an apprentice dleholders were clay, the food and causes him to question the necessity wine were served in clay. It was just of college as a learning place for craft. fascinating.” He says, “Craft is an accumulation Determined to explore the me­ of knowledge and an assimilation of dium further, Philipps walked into experiences, like anything. You go to John Connors’ studio/gallery and masters and you want to be informed; found his new calling. “I’d never seen and they show you. You watch, you anything like it. His work was beau­ listen, you discuss and talk; but tiful, done by someone who knew mainly you work. And the college what he was doing, who had direc­ experience is verbal and broken; the tion and purpose. It took me almost validity isn’t there. It’s a nice place to a year to convince him that I’d make introduce students to the material, a good apprentice. but they aren’t shown how to make a “I built eight kick wheels in trade living or dedicate their lives to the for a class that John was offering that process. first summer. The point was to learn “I believe in apprenticeship. You on a kick wheel because certain physi­ work your way through it, dealing cal operations require certain speeds with masters on a daily basis to fully and the tendency when you get in Frank Philipps loading his 24-cubic-foot see the trials that are involved in trouble on an electric wheel is to kiln for a Cone 10 reduction firing. years of work. Because that’s what

46 CERAMICS MONTHLY you’re training for—not for one piece— you’re training for years of work at some­ thing that you love. You receive your predecessors’ knowledge and you add to it your expression, but in order to add your expression you have to know the language first. “Language is for writers, but there’s language to clay, too. You start with the letter CA,’ the first form, and so on through a series of forms. After that, you form words with your pots. You learn the vocabulary, and not just what the words are, but how to put them together into sentences, paragraphs, so that with the accumulation of this lan­ guage you can write a book. And there’s no way that you can have a vocabulary with a couple of hours of practice a week. You can’t learn a foreign language that way. You can’t learn anything that way. It’s like building a lab and then expecting scientists to come from it— like the facility will generate the profes­ sor. It doesn’t work that way.” Philipps had lettered in baseball, foot­ ball and swimming at Oak Hills High School in Cincinnati, placing third in the state in the 100-yard freestyle. After graduation, he accepted a swimming Pitcher, 10 inches in height, 1 ½-quart capacity, wheel-thrown scholarship to Miami University, but stoneware, with brushed slips, incising and Cone 10 glaze. flunked out after six months. “My Dad woke me up in the middle of the morn­ ing,” he recalls. “This was in February. I Diem regime.” In 1964 and ’65, he job with the Livermore Police Depart­ was on semester break. He never put his managed a swimming pool at Camp ment for a year, then went to the Oak­ hands on me in his whole life, never Pendleton and during his off-duty hours land PD; he worked two years as a spanked me, nothing like that, never studied philosophy at the Nathaniel patrolman and the remainder as a mo­ even threatened. He woke me out of a Brandon Institute. Economist Alan torcycle officer. Perhaps it was those peri­ dead sleep, picked me up by the front Greenspan was on the teaching staff at patetic years as a Marine and police of my pajamas, shook me and said, ‘You the time. officer that gave him a taste for the know, you even flunked swimming.’” Philipps was reassigned to a combat lifestyle of a studio potter who chooses They both agreed that military disci­ unit overseas, and was training for jungle gallery connections carefully. pline might help him sort things out. In fighting when he was notified that his In the beginning, it wasn’t easy. “I 1962, Philipps entered a four-year con­ father had died. While on compassion­ began selling my pots at the Saturday tract with the Marines and was assigned ate leave for the funeral, his unit shipped Market in Portland because there were to “one of those well-traveled battal­ out to Vietnam; thus, he spent the three two days of selling and I could stay with ions—Okinawa, Hong Kong, through remaining months of his enlistment at my in-laws for free. I’d clear maybe $300 the Panama Canal during the Cuban Treasure Island instead of Chu Lai. on a good weekend. It seemed like a Missile Crisis, off the coast of South After discharge, he took a great-books fortune at the time.” Since then, he’s Vietnam when the Buddhist monks tutorial course at Chabot College. With traveled throughout the western states were burning themselves to protest the his Marine Corps background, he got a to sell at art and craft fairs.

April 1996 47 Stoneware platter, 14 inches in diameter, decorated with layered slips and incising, fired to Cone 10 in reduction.

“I do love doing the fairs because of whether it would really work. There’s at the wheel again because, to me, it’s the communication. Nancy and I do an objective reality to it: ‘Does a teapot the most fun thing to do.” them together and, frequently, she’s sell­ drip or not?’ Philipps used to throw 6 tons of clay ing my work while I’m out gabbing “I was told by Marguerite that if you a year, but now is down to 5. “There are with other artists, potters especially. I’m approach the problem of clay with sin­ probably people who throw more clay,” interested in their work and their craft; cerity, sincerity will show, and the people he says, “but you’re regulated by what I’m interested in their struggles and how who buy your work will see it. They see you do to the pieces. If you spend more they’ve resolved them. I almost forget that dedication, the pursuit of the truth time decorating, you spend less time that I’m there to talk to customers. of that object, and they respond. That’s throwing, and in the last few years I’ve “I get psyched up during the shows, one of the things that sustains you. It’s a been decorating more.” then on the way back in the car, I start communication process, not an isola­ Eight years ago, he re-injured his thinking of all the things that I can tion process. And unless you can com­ back. “It was a high-school football in­ make the next time I’m at the wheel. municate with people on an artistic basis, jury that had given me problems over And I think of how to address my pub­ you’re just talking to yourself. the years, exacerbated by picking up lic a little better—a new object that “I love to throw,” he says. “I always motorcycles, aggravated by closed angles somebody has suggested, a new design. feel brand new when I sit down at the and turning involved in the making of I really like the feedback when people wheel—like I’m starting over. I’ll throw pots.” He was laid up for six weeks and ask for something specific. I start think­ for a period of months, then I’ll go off it frightened him enough to examine ing about how it could be designed, to sell, but it’s always a joy to sit down his throwing position.

48 CERAMICS MONTHLY “Throwing centers around the angle brother, when you take on pottery, you’re his schedule to 7 a year. In their place, of the hips—if you sit with your Imees in direct control of your life—or you’re he has leased a storefront on the plaza above your waistline, you’ve got an acute out of control! I sell 95% of my work in downtown Ashland. His wife and angle of less than 90°. I wanted that myself, directly. I get some ideas from son, a commercial artist, work in the angle at 130°. I’ve raised my wheel 15 the people that I sell to; other ideas shop, while Frank continues to work in inches and canted the seat about 25°, come to me as I’m at the wheel and I the studio. then I rest my knees against a padded work from there. “I want other people to loiow that it bar. As a result, my hips stay open, “I take a form and set a half dozen of is quite possible, with good training, to leaving less pressure on my lower back them up and decide which one of those be able to make a living at pottery— and my weight is picked up by my I like, then I make a dozen of those and and it’s quite a nice way to make a thigh muscles—switching it from the decorate them all differently, to see living. The point in starting this process back of the body to the front like a which decorations are more successful. over 20 years ago was to be able to work computer stool does.” The purpose of working in series is to at home with my wife and children He also used to wedge a lot of clay at investigate form and function. around me while my children were a time; now he wedges only enough for “Like a scientific inquiry, the meth­ growing. During high school, my 30 minutes work, which forces him to ods are trial-and-error and imagination; daughter would come out to the studio get up and move around. and lots of times, ideas don’t come until after class, and sit and talk with me And he continues to swim, waking I’m tired—the ah-ha experience. I find about her day. My son still comes out at five most mornings to open the pool saturation and exhaustion major factors and talks about his art. Mostly, I just at Southern Oregon State College, in discovery. That’s part of the fun of it, listen. That’s fun. You get to know a lot swimming a couple of miles every other finding out what works and what about your children that way.” day to stay in shape and to help prevent doesn’t: what forms look best, which Are there risks? “Sure,” he says. “You a recurrence of the back problem. glazes work, what slips work with which take a chance; you throw the dice out Asked about the course his career glazes—not all decorations fit a pot.” there. What else have you got? If you has taken, he says, “Most of all, I wanted Recently, Philipps has cut back on don’t take a chance on yourself, what to be in direct control of my life. And, shows. From a high of 15, he’s trimmed are you saying about yourself?” ▲

Goblets, approximately 6 inches in height, wheel-thrown and assembled stoneware, with brushed slips and Cone 10 glaze, by Frank Philipps, Ashland, Oregon.

April 1996 49 Korea's International Ceramics Workshop by Patty Wouters

The JINRO International Ceramic Art The three-week workshop took place (JICA) workshop that takes place each at the ceramics department of EWHA summer in Seoul, Korea, under the di­ Womens University—a green, tranquil rection of professor Shin Sang-Ho, is a refuge in the hectic city of Seoul. The successful meeting between Eastern and first two weeks were devoted to mak­ Western ceramists. Organized by Hong- ing, and the last to firing. The partici­ Ik and EWHA universities, the work­ pants felt the time pressure and worked shop is sponsored by JINRO, a company daily from 8 or 9 A.M. until 10 P.M. that produces soft drinks and beer. The toward an exhibition at the Chosonilbo main purpose is to provide a forum for Gallery in Seoul. the exchange of information and ideas Meanwhile, the workshop received a among participants and the Korean ce­ lot of media attention, which brought ramics community at large. many interested students, teachers and Last summer, six Korean and six other ceramics artists to the EWHA stu­ Western ceramists were invited to par­ dios. There was a lot of sharing of tech­ ticipate. Most of the Korean partici­ niques and ideas, much of it done with Wheel-thrown and handbuilt sculpture pants had studied or worked abroad, approximately 22 inches in height, by gestures and visuals, since language was and currently teach at 1 of the 20 uni­ Vince Palacios, Lakewood, California. often difficult. versities in Seoul. Some of the Western In conjunction with the workshop, participants also teach. Janet Koplos, senior editor of the maga-

“Nature/Structure,” multimedia installation, by Janet Williams, Marquette, Nebraska.

50 CERAMICS MONTHLY “A Monologue, approximately 39 inches “Eve,” approximately 32 inches in in height, by Youngsil Han, Seoul. height, by Yoonsun Im, Seoul.

“A Man with Black Stripes” approximately 7 feet in height, by Kyungjoo Park, Seoul.

“A Sacrificial Offering,” approximately 25 inches in length, by Aldo Rontini, Faenza, Italy.

April 1996 51 zine Art in America, was in­ On the last day of the vited to give a lecture about workshop, I built and fired a “Art Criticism and Ceram­ slurry-coated paper kiln to­ ics” at the EWHA University gether with the Korean par­ Museum. According to her, ticipants; because it was the it is the task of the art critic rainy season, we worked un­ to judge whether the mes­ der an improvised shelter. sage of a piece of art is clear This was a new experience and to make it more acces­ for them. They had little sible for a broader public knowledge of other primi­ through commentary. About Glazed stoneware basket vases with bamboo handles tive firing techniques (pit, functional and decorative ce­ to approximately 24 inches in height, by Lenore sawdust and saggar) as well. ramics, she said only techni­ Vanderkooi, Nashville, Tennessee. In all, the workshop was a cal aspects can be discussed; welcome opportunity for therefore, they are less exciting for the Thanks to excellent translation work, Korean ceramists to experiment with art critic. However, Koplos regrets that the question-and-answer period follow­ popular Western techniques, as well as many contemporary ceramists switch ing the lecture turned out to be a lively for Western artists to become acquainted from functional to conceptual art. debate. with Korean ceramic art. A

“Offering Grails,” up to approximately 12 inches in height, by Patty Wouters, Brasschaat, Belgium.

52 CERAMICS MONTHLY Side Firing Where the Life Is by Dick Lehman

Flattened bottle with altered foot, 7 inches in height, wheel-thrown porcelain, fired on its side, by Dick Lehman, Goshen, Indiana.

Having just spent two days in Hiro­ owed rock and yet somehow survived slant and color of the sun across the rice shima may be the explanation for it the nuclear blast). Perhaps this intensely paddies, the incessant pestering of in­ all—seeing the still-skeletal remains of emotional experience magnified the sig­ sects in the stale, still, humid air, the buildings at the Peace Park; the two nificance of what was to happen next. ghosting swirl of dust behind his car as angels, peasant women who appeared I had come to Japan to visit potters Kunihiko Takahara came into the train out of nowhere and asked in English if I working with wood firing, and wel­ station to pick me up—all these insig­ wanted to pray; the hope-filled moun­ comed an invitation to visit a potter nificant details are indelibly printed on tain of folded paper cranes; the human working in the Bizen tradition as a re­ my memory of that day, just as perma­ shadows on rock; piles of coins fused prieve from the intensity of the previ­ nently as the shadow on the rock. solid; bottles melted as if fired in my ous days. But I discovered that emotions The taste of the tea and sweets also lain; and hearing the stories from the and cognition, so stretched, do not eas­ remains with me. So, too, does Hibakusha (those who were within ily return to their previous condition. Takaharas reticence and indecision and meters of the coins and bottles and shad­ The rhythm of the train wheels, the irritation: What to do with this West­

April 1996 53 erner? A friend of a friend idea what time it was when I had called in this favor. It returned to Hiroshima. was clear that he remained My ruminations on Taka- unconvinced that I even was hara-san’s indictment were a potter. Only when I complex and consuming. I fingered the clay, testing its was partly flattered that a pot­ plasticity, did I sense a spark ter of his stature should show jump the gap. Did I wish to pleasure at some of my work. throw some? Of course! Fi­ I felt a little indignant that nally, as I brought up the cone he might suggest what I of three-year-old Bizen clay, I should do. And I was hooked, heard the flick of the ciga­ or at least baited by the idea rette lighter, saw the swirl of that it might be possible to smoke that covered the right spend more time doing what side of his face, heard the ex­ I really wanted to do. halation of relief, noticed the Of course, I was doing acknowledging pout. His what I wanted, for the most head nodded slowly. Later, I part. But the conversation learned that he had spoken helped me, in a way that none softly to himself: “Oh, so he other had, identify the false is a potter.” or imagined limitations With his relief came an within which I operate, and invitation to extend my stay, consider how to more fully and to visit the studio of his pursue my dreams and pas­ brother, ShojiTakahara, with sion within the limitations whom he had apprenticed for Side-fired pots are stilted on one-time-use tripods and loaded that really do exist. ten years. There was a ca­ along with standard ware for the Cone 9 reduction firing. Was it my Hiroshima-in­ sual, direct air about his duced receptivity that al­ brothers place. More tea and sweets. A don’t you make only this kind of work? lowed me to hear these questions, which chance to look at finished pots, exhibi­ Here is where the life is.” for most of us are within easy reach at tion catalogs, the kiln. Conversation I offered the elder sensei my reasons, any time? I expect so. I believe that that about the pottery of Native Americans among which was the fact that “I love experience encouraged me to think ensued. More tea. My legs fell asleep, wood firing. If I could, I would only about what is important, what is worth­ sitting as we were at a low table. fire with wood. But I simply cannot live while, what is “where the life is.” I am Then came the conversation that may up to all the commitments that I have grateful that these two experiences were have changed forever the way I think already made, Wearn a living by mak­ so closely tethered in time, and pleased about vision, passion and imitations. ing and selling only wood-fired pots in that the questions have remained, in­ Given an opportunity to show the elder northern Indiana.” cessant and pestering, but in a friendly Takahara my work, I brought out some His rebuttal was direct, but almost sort of way. pieces and some photographs. He was indifferent. “Well,” he said, mention­ To more fully pursue my dreams and surprisingly direct in his response, defy­ ing another American potter by name, passion implies that I know what they ing the polite, noncommittal responses “he lives in a place very much like you are—no small task since these are the that convention would have required. do, and he dots it.” very elements that are at the heart of He voiced his appreciation for my wood- I don’t remember much of anything evolution and change. As I began to fired pots—not so for my production else about the rest of that day. I recall more seriously contemplate Takahara’s ware. Despite the complexities of trans­ little about how I got to the train sta­ query, I first thought that full-time wood lated conversation, I understood him to tion. (I know I did because I have a firing was the answer. My little cross- say emphatically: “These are nice. Why photograph of myself there.) I have no draft, wood-burning kiln produced pots,

54 CERAMICS MONTHLY Side-fired bottle, 9 inches in height, wheel-thrown and flattened porcelain, with carbon-trapping glaze showing copper red “fingers” and “dragonfly eye.”

April 1996 55 in 24-hour firings, that were children and extended fam­ kissed by the flow of ash, ex­ ily, my employees—not to pressing drama and surprise. mention to the mortgage and These pieces also had, due to the bank. It soon became the brevity of the firing, a clear that buying land, mov­ toasty warm quality that was ing, building an anagama, restful, soothing and quiet. and generally uprooting all However, very soon some­ we had worked toward dur­ one “upped the ante” in my ing the last 20 years would quest: at Pennsylvania potter present real obstacles, and Jack Troys invitation, I had were indeed real limitations. the first of several experiences But it got worse (my vi­ wood firing anagama-style sion, that is). As I examined kilns. The exuberance of the a wonderful catalog that my four-day firings; the altered friend Jyotaro Inoue sent to shapes propelled by the pyro- me from the exhibition com­ plasticity of the clay; the ex­ memorating the full open­ pressions of kinetic energy ing of the Aichi Prefectural exuded by the ash runs, drips Ceramic Museum, I found and pools—all these new ex­ myself for months returning periences convinced me that again and again to the pho­ pursuit of my dream would tos of magnificent wood- inescapably lead to my own Squared porcelain jar, 9 inches in height, with carbon-trap fired pots that had fallen over anagama-style kiln. glaze and ash; both jar and lid were side fired. during their firings. Not only The apex of this new ex­ did they have the passionate perience came in two stages: the first a significantly shorter version of an ana­ flame patterns and misshapen pyro- arrived one afternoon when Troy di­ gama, which might be described as one plastic bulges, but they had a curvilin­ rected me to a cabinet where he stored giant firebox. Nearly all his pots exhibit ear ash drip documenting the fall of the his “keepers”—pots that, as he says, that two-sidedness that we often associ­ piece, and the scars and attachments “have not yet become a commodity.” ate with “firebox pots.” Ten days of recording their final resting places. There I found a small bottle that had firing with pine produces pots with I was near despair. My aesthetic vi­ been wood fired on its side. It had likely amazing complexity of surface. sion was becoming increasingly more been placed far forward in the kiln, but But sadly, as I gained more insight specific and rarefied, and I had begun behind a larger piece. The flame eddy into the qualities and methodology of to wonder if it bordered on the tenuous from the larger piece had deposited huge “where the life is,” my own personal and out-of-touch. And irrespective of amounts of ash on the bottle, which limitations became more focused. I how out-of-touch it was or wasn’t, the had melted sufficiently to send count­ found myself doubting that my neigh­ means to get there seemed out of reach. less intermingling rivulets of ash-glass bors would join me in a quest to make Fortunately, it was about this time cascading to the bottom side, there meet­ ours the first subdivision in America to that I came across an article written by ing and forming a huge glass-drip that boast an anagama. As I considered the Kota Shino; it told the story of Shiro hung down like a cluster of ripe grapes. commitments I had made to my cus­ Otani, another potter from Shigaraki, After the firing, when the pot was tomers of 20 years, I had to acknowl­ who could not afford to own and oper­ righted, this “dragonfly eye” drip of glass edge the fact that—in spite of my ate his own kiln, and was forced to protruded horizontally into space, seem­ changing aesthetic vision—they were make do with third-rate locations in ing to defy gravity. still going to be counting on me for other peoples kilns. Those locations were The second stage arrived with my some continuity in style. Also, I had far behind the coveted spots in the introduction to the work of Shigaraki made (and wanted to keep) commit­ firebox that produced the thick coating potter Shiho Kanzaki, who works with ments to my spouse and her career, our of unmelted wood ash, or greenish glaze

56 CERAMICS MONTHLY formed from melting ash, eye at the “bottom” side. In which had come to charac­ addition to using only one terize Shigaraki ware. Un­ glaze for this side-firing pro­ daunted, Otani determined to cess, I have further attempted work within his limitations. to work within limitations The result of his efforts was, by moving, more recently, as Shino put it, pots that “cap­ to the use of only one clay tured popular attention and body (porcelain). started a new trend. This was These “sideways” pots are the debut of flame-color usually fired right alongside Shigaraki with its underfired the usual casseroles, pitchers rosy flush.” and pie plates in regular Taking heart from this ex­ Cone 9 glaze firings, which ample, I set out to ask myself allows me to continue to ex­ how I might work within my plore the concept’s potential own limitations (no anaga- in every firing. ma, no ten-day firings, no The results achieved by firing accidents with pots side firing may be process- plopping over onto their driven, but they are always sides), to make pots that em­ just a little out of control— bodied some of the qualities and often just a little more and characteristics of the pots intoxicating than they would I most admired. I had no as­ Wheel-thrown and flattened porcelain bottle, 7 inches be if all the variables were to piration to become a trendset­ in height, side fired to Cone 9 in reduction. be under my control. I con­ ter, but I wondered aloud, “Is sider the process of produc­ it possible to work within the constraints With these things in mind, it seemed ing this side-fired ware to be as much of my production pottery setting, firing a natural progression to attempt to ad­ an act of receiving, as an act of mak­ mainly Cone 9 reduction-glazed ware, dress Takaharas challenge by side firing ing—as well as a partial answer to to make pots that are empowered by Cone 9 glazed ware. The pots are dipped Takaharas challenge. the characteristics of those that have in a single carbon-trapping glaze: Yes, I have found myself wondering nourished and invigorated me and that how these pots and this process will Carbon-Trap Glaze still have an integrity all their own?” “wear” over the course of time. How (Cone 9, reduction) It was a challenging and complex will they be received by others? How Soda Ash...... 16% question. Working within my limita­ will I feel about them as time passes? I Kona F-4 Feldspar...... 9 tions had to do with more than just also wonder where the path may lead. Nepheline Syenite...... 39 money, location, job security and Cone What might other facets of discovery Cedar Heights Redart...... 6 9 glaze firings. It meant first taking stock look like? What will these pots look like Edgar Plastic Kaolin...... 17 of some of the ways I have tended to in 5 or 10 or 20 years? Kentucky Ball Clay (OM 4)...... 13 approach the clay. One of the things I One of the wonders and delights of % “discovered” was that I have for years 100 this medium is that continuing discov­ been firing pots on their sides in a vari­ They are then set on their sides on eries are awaiting all who approach it ety of settings: almost all my pit, saggar one-time-use tripods. Sieved additions with curiosity and integrity. I hope that and raku firings have had pots on their of ashes, fluxes and/or colorants com­ for me, in 20 years, the questions re­ sides. Additionally, for all the crystalline plete the preparation for firing. As tem­ main as interesting, the discoveries at glazes that I have done over the years, I peratures escalate, the added fluxes cause least as occasional, and the answers just have gotten used to the necessity of rivulets of glaze to move from the “top” as elusive as they are now. And I hope making a separate, one-time-use pedes­ side, surrounding the pot with “fingers” that I will still be on the quest for “where tal or tripod to facilitate the firing. of glass that may meet as a dragonfly the life is.” A

April 1996 57 Valuable Offerings The Ceramic Sculpture of Indira Freitas-Johnson by Deborah McWatters Padgett

In the complex, sometimes niques at Folk Universitet sumptuous, sometimes jar­ in Lund. Ultimately, she ring, machinelike ceramic and her family returned to sculpture of Indira Freitas- the United States, and she Johnson, “A Delicate Bal­ abandoned her career in ad­ ance” could serve as an apt vertising design after the title, not only for a particu­ birth of a second son. lar work, but for the multi­ She had always loved to country, multirole life that draw, and explored two-di- she lives. Born in Bombay, mensional work in paint be­ the second of six daughters fore making a move toward in a family without sons, to ceramics. Working in her a father who was an artist kitchen studios in Sweden and a mother whose career and the U.S., she came to as a social worker strongly embrace clay as her domi­ impacted the lives of Indian nant medium. She was par­ women and children, she ticularly appreciative of its followed in her fathers foot­ sensual, tied-to-the-earth steps by studying advertis­ qualities and its applicabil­ ing design at Sir J. J. Insti­ ity to her chosen iconogra­ tute of Applied Art. Defying phy: the cross-legged the repressive norms im­ Buddha, the female torso, posed on Indian women, she the hands as vehicles for ac­ steadfastly pursued a life that tion, and the feet as sym­ would combine an intellec­ bols of a path toward tual and artistic career with spiritual growth, balance the nurturing, domestic role and personal freedom. that is often the only life She now works with a available to women in her raku clay body, hand form­ native land. ing coils that, when rolled Freitas-Johnson left India thick and flattened, are in 1965 and came to the about ¾ inch thick and 4 United States to pursue a inches wide. This technique master of fine arts degree at allows her to build forms the School of the Art Insti­ quickly. She can then ma­ tute of Chicago. While a nipulate the form to achieve student there, she met her the desired effect. Once the future husband. After mar­ piece is complete, it is cov­ rying, she lived in India, ered tightly with plastic and where her first son was born, allowed to dry very slowly and pursued her career in for several weeks. Fully dry advertising design. pieces are fired slowly to In 1970, she traveled to Cone 5. Lund, Sweden, to take ad­ Delicate Balance,” 40½ inches in length, 1991, Usually, the fired pieces vantage of a work opportu­ by Indira Freitas-Johnson, Evanston, Illinois. are colored with acrylic nity for her husband. It was paints. Freitas-Johnson uses there, in the kitchen of a small apart­ work with clay. She is largely self- paint, rather than glaze, because she ment, that Freitas-Johnson began to taught, but did study ceramic tech- likes the certainty and precision that

58 CERAMICS MONTHLY paint brings to the woman, artist and surface, as opposed mother has been to struggling with hers for more than the variables inher­ two decades. The ent in traditional memory and im­ glaze application agery of India— and firing. colors, patterns, From the begin­ forms and philos­ ning, her daywork ophies regarding has been about personal freedom support, shelter, and peace—are ar­ strength and a path ticulated. “Renewal,’ 48 inches square, acrylic-painted ceramic hands, through the circle with acorns and oak leaves, 1995. Much of her of a life that is ever work is a reaction changing, ever the or response against same. The current work speaks She includes symbols of a life lived violence and toward peace. She has strongly of wisdom gained through hanging in the balance between a be­ been strongly affected by the ethnic action and process. It also speaks of loved, if repressive, homeland and her violence here in the U.S. and her acceptance without acquiescence. current home, where freedom as a homeland. In an effort to effect the

“Valuable Offer,” 28 inches in length, handbuilt from a raku body, once fired to Cone 5, brushed with acrylics, 1994.

April 1996 59 possibility of peace, she ings are said to bring har­ started the Shanti (Peace) mony and protection into Foundation, through which the house. she collaborates with her In her work, Freitas- parents and sisters, both in Johnson often uses images the United States and in In­ and materials pertinent to dia, on projects where art is Indira Freitas-Johnson carving the eyes on a head gardening and nurturing to used to help people under­ to be incorporated into a new sculpture. make a point about the life stand varying cultures. cycle and the process of Titles like “Suspended growth. “Valuable Offer” Movement” and “Renewal” presents the lotus blossom, begin to reveal her message a nearly universal symbol of the importance of action for peace and harmony, and process. Unlike many held aloft with great care contemporary artists, she by a hand in the colors of willingly provides clues to muddy earth and water, the meaning and origin of representative of the begin­ her work through titles that nings of life. She again allow us to imagine a sort makes her point of unity/ of narrative. It is the blend­ disparity by naming the ing of incongruous images, piece with words common faceless figures, anthropo­ to the ethic of the present- morphic vessels and ma­ day, get-rich-quick society. chines that create the The work attempts the mes­ complexity and mystery in sage or environment that Freitas-Johnson’s work. We says there is unity, whole­ must “read” into the work, ness, “epiphany” to be applying our experience to gained in walking the the clues and possibilities paths—even those of two she offers. or more homelands, cul­ For a recent exhibition tural and spiritual systems. at MC Gallery in Minne­ Her work speaks about the apolis, she chose installation life of a woman in a tug-of- as a vehicle to convey ac­ war between earthbound, tion and process. To sur­ sensual (sexual, reproduc­ round, absorb and embrace tive) life, about what so the participant, she com­ many women feel about bined natural elements like growth, change and entrap­ leaves, acorns and sticks ment. The work says there with human-formed images exists time and space for the of technology. The installa­ ultimate confluence of these tion harkened back to a tra­ paths in the circle that is dition practiced, still, by forever shifting, changing, women in Indian villages. splitting apart and coming Each morning the women together again, the circle draw diagrams with rice that symbolizes life and mo­ “Suspended Movement,” 46 inches in height, paste on the thresholds of clay and mixed media, 1992. tion, balance and shared their homes. These draw­ human experience. A

60 CERAMICS MONTHLY Shifting Focus From Vessels to Tile Murals by Joan Weissman

K)r over 20 years, I made a career of initially was floral or animal, it was my ing advantage of the texture of my can­ producing functional, but not produc­ later geometric and abstract pieces that vas worktable, which gave the vessels tion, pottery. Over the past few years, were exhibited most widely through the the look of a finely woven cloth. however, I have shifted focus from in­ 1980s. I worked with a slab roller and These pieces were sold through fairs laid colored porcelain vessels to large- variously sized rolling pins—first pre­ around the U.S. For me, local or na­ scale tile murals. The simultaneous move paring a thin slab of porcelain, then tional fairs were never completely satis­ from three-dimensional to two-dimen­ applying colors and patterns. Using a factory. Although I always made sales sional form, and my decreasing exhibi­ palette of about 20 colored clays—stains and took orders, the amount was never tions in galleries in favor of an emphasis and oxides were mixed by hand into the enough to justify the expense and anxi­ on public and private commissions, have wet clay—I cut, sliced, marbleized and ety of set-up, packing and travel. happened gradually. But only now can layered the porcelain into a complex My work also was represented by I see the relationship of both and how and integrated surface. The slabs were several regional galleries: in Los Ange­ my working style has evolved. then folded and wrapped around asym­ les, San Francisco and New York, as For many years, I concentrated on metrical blocks of foam rubber, or well as cities in my home state of New inlaying refined and detailed patterns smoothed over bisque molds to form Mexico. But there are drawbacks to for colored porcelain teapots, vases, plat­ the angular shapes of the finished pieces. showing artwork mostly through gal­ ters and bowls. Although the imagery I usually left the surfaces unglazed, tak­ leries—most significant is the lack of

“Bear Canyon Mural,”120 square feet of glazed stoneware tiles depicting the history of local cultural and ethnic groups, installed at Bear Canyon Senior Center in Albuquerque, New Mexico.

April 1996 61 opportunity to know your buyers and the amount of toxic materials I might I have always found that when I collectors. I have always enjoyed the be absorbing through my skin as I mixed moved into a new phase with my ce­ public and collaborative components of the colors in my clay. And perhaps most ramics, I could not return to something being involved with my art in the com­ importantly, I began to relish the time I had been making previously, just to munity—teaching through the New spent painting and drawing as I pre­ fill a gallery order. If it were a bad batch Mexico artist-in-residence program and pared the images for the mural. of clay that caused all my cylinders to a similar program with senior citizens. crack, or a favorite color that just stopped These experiences led to my first major performing, it was a signal for me to commission from the City of Albuquer­ take a step in another direction. As I Slab-built vase, 18 inches in height, que One Percent for Art Program; it porcelain with inlaid colored clay, clear grew accustomed to the working was for a large outdoor mural at a se­ glazed on the interior, fired to Cone 10. rhythms of the textured and glazed nior citizens’ center. The original intent stoneware, I gradually eliminated the was for me to create a large-scale piece colored porcelain from my repertoire in colored porcelain, but I made a ma­ except when I was teaching or making a jor break from that technique by choos­ special piece for myself. I also lost pa­ ing to use a method in which I could tience with building complicated forms, involve some of my elderly students. I and concentrated on the flatter surfaces also wanted the images to be pictorial of tiles and textiles. and visually accessible to the users of Although the two media (clay and the building. For both these reasons, I fiber) might seem to conflict, in reality, made stoneware tiles with images in­ it turned out to be advantageous to cised and pressed in low relief, then have the flexibility. For instance, I re­ glazed with transparent colors to high­ ceived another percent-for-art commis­ light the textural detail. Because of con­ sion for a long-term project—geometric struction delays, the mural was com­ glazed tiles for the “Nob Hill Gate­ pleted leisurely in two years. ways,” a pair of steel, concrete and neon While working on this project, I arches spanning and commemorating found it difficult to continue my porce­ Route 66 in Albuquerque. As I im­ lains. Partly, it was a matter of concen­ mersed myself in that project, plus a tration; the inlay technique is labor venture into rugs, a cohesive pattern intensive and needs constant attention. began to emerge: I was concentrating, Also, I was becoming concerned about in both media, on working directly with architects and designers on projects cre­ ated and adapted for specific sites. I now work with designers for projects in “Futures,” tile murals and honorary tiles inset in 6- and 7-foot-tall stucco columns, both tile and textile for hotels, corpo­ at the Futures for Children headquarters in Albuquerque. rate offices and homes, and my one-of- a-kind rugs are sold through wholesale showrooms. I enjoy playing with scale, texture and color as I use related imag­ ery in widely differing materials. Unlike many artists, I welcome the structure and cooperative focus neces­ sary for site-specific work. I find the contact with architects and clients to be stimulating, and a challenge to move in new directions as the need arises. Re­ cently, I finished two commissions that had to include tiles honoring the major donors. One of these projects was for Futures for Children, a nonprofit orga­ nization that works with Native Ameri­ can children; it incorporates various images representing life substances in the Americas—corn, earth, water and cactus, glazed in the saturated colors of the New Mexico landscape. The tiles wqre installed on stucco columns rising out of an Anasazi-style garden.

62 CERAMICS MONTHLY Of late, I have begun to feel nostal­ to make vessels. Yet, the move toward pieces with my own hands (in clay), gia for handbuilding, and have begun a architecture has expanded my outlook, and the collaboration with industry and series of platters whose simple contours and the only drawback I see is the con­ manufacturing (in fiber). There are will again serve as canvases for painting fusion in my studio between yarn many opportunities for interaction be­ in slip and glaze. “Once a potter, always samples and clay scraps. I look forward tween art and design, and I enjoy ex­ a potter,” and there is always the desire equally to the enjoyment of creating ploring both approaches. ▲

Tile plaque, 18 inches in height, slab-built and incised terra cotta, with low-fire glazes, 1995, Joan Weissman.

April 1996 63 Functional/Sculptural Concerns by David Cuzick

I make ceramic art and I make func­ tional pottery. Clearly, each is subject to different considerations. In the case of the latter, it is more than function that I seek, yet it is function that is of primary importance. A cup, for example, must feel good in the hand, and to the fingers and the lips as well. I also consider the form, the weight, the foot and the size of the handle. These considerations are all integrated parts of the cup; therefore, what works well on one cup may not work on a larger, smaller or differently shaped cup. Beyond function—any competent potter can make a functional cup—what is it that pleases us about a good func­ tional piece? It is more than the fact that it works well. Melmac works well, and it bounces too. The nuances—the charac­ ter of the clay and glaze, the random quality of the fire, the impression left by the fingers—are what, in the correct com­ bination, make for a special cup. This combination doesn’t happen every time even for the best potters and seems to rarely happen for uninspired potters. I started making functional ware in 1972; that is, I started to learn to throw at that time. After a few years, I was earning a living making pots. In the be­ ginning, I wanted to make fast pots, with little or no trimming, extruded handles and very little decoration. I wanted to make lots of pots and sell them as fast as possible. While I still see some value in this approach, I felt that the quality of my pots was being com­ promised by these shortcuts, and went back to basics. I now trim nearly all of my pots, pull all the handles and do “Blue Devil of Manhattan,” 30 inches in height, handbuilt earthenware, fired to Cone 05, brushed with acrylics, $1500. considerable surface decoration. I want each pot to be special. I’ll charge a little more to make up the difference it takes able to travel the distance, have a reason­ metal oxidizes, scales, works well with in time to produce an individual pot. I able chance of making it without break­ the figure and is not easily broken. do not repeat the same form endlessly, ing. Because of this, I might not The sculptures are made twice a year though some forms and certainly styles incorporate delicate clay appendages. For after the functional pottery sales held at are repeated. I enjoy working in this eclec­ example, I used to make the hair for my my studio in June and December. I use a tic manner and never get bored. figures from clay; it was wild, stringy and low-fire talc body and bisque to Cone Similar considerations are brought away from the head. I liked the look, but 05. The parts are assembled over a into play when making sculpture. Artists it made it almost impossible to transport threaded metal rod running from the don’t call it function, but certainly a ma­ the pieces without some hair breaking base through the body and into the head. jor concern is practicality. If I am going off. I now use wire or nails inserted in The rod is glued to these parts and held to send a sculpture to a show, it has to be the greenware and fire to Cone 05. The to the underside of the base with a large

64 CERAMICS MONTHLY Stoneware teapot, 11 inches in height, with copper red glaze, fired to Cone 10 in reduction, $75.

April 1996 65 think that the same process often occurs in the forming and decorating of func­ tional ware when ideas seem to spring from nowhere without much effort. I see an entirely different process oc­ curring when a potter is working on rote production, making the same piece in exactly the same way time after time. The creative process has been minimized or even deleted altogether. Of course, some very wonderful subtle nuances can be achieved by repetition, but this occurs when the door to change is open, and the potter is allowed or wants to pass through the door. Often in production work these subtleties are “machined” out of the work and all traces of the potters hand are removed to render each piece exactly like all the other pieces in a series. Neither good art nor good craft is understood in the same way by every­ one, or even necessarily seen as the artist intended. Each person brings his/her own life experiences to a piece, and sees the work filtered through these experiences. In regard to functional ware, most people do not have the same knowledge to draw from as a potter. They may like a piece because of the shape, or they may like the color (especially if it’s blue). The pot­ ter, on the other hand, may like the way the glaze trapped carbon, the way the foot was trimmed or the slight irregulari­ ties in the lip. A sculpture, too, has the potential to be understood on many lev­ els, emotionally as well as intellectually. That emotional contact is so important, whether the object is sculptural or func­ tional; it is how the artist connects through the work with the patron. A

“When,” 22 inches in height, earthenware, with terra sigillata and acrylics, $1000.

washer and nut. They are then painted tell a story. I am interested in the juxta­ with acrylics and fanned with a torch. position of objects in unnatural situa­ This is done outdoors, while wearing a tions and of unrealistic sizes creating mask, because of the fumes. The heating illusions, shock and innuendo. Clearly, I causes textural changes in the surface am not attempting to recreate reality, and color of the acrylics. These changes but in presenting a story, which is de­ can be controlled by the amount of heat picted through objects used as metaphors applied, the thiclmess of the acrylics and and is open to interpretation by the per­ the dampness of the medium when the son viewing the work. heat is applied. The ideas for these metaphorical ob­ Generally, my sculptures are figurative, jects and figurative gestures are not three-dimensional narratives, not simply achieved by direct thinldng (left brain, depicting a figure, but creating a scene that is), but are arrived at indirectly, in­ where the figure, the base and the pieces tuitively, even unconsciously. They are surrounding the figure all combine to revealed much as a dream is exposed. I David Cusick, Spring Valley, California.

66 CERAMICS MONTHLY 25 Years at Frog Hollow by Rachel Esch and Kirt Zimmer

The Vermont State Craft Center at Frog Hollow provides a year- round program of classes and workshops for adults and children.

This year, the Vermont State Craft Center at Frog Hollow celebrates its 25th birthday. To research the history of the organization, Middle bury College student Rachel Esch interviewed those who played major roles over the years. The result was over 60 pages of related stories, edited portions of which appear here.—Ed.

In early 1971, Frog Alley in Mid­ suburbia and mainstream professions to speak of. However, a number of dlebury, Vermont, offered only three in favor of the “simpler” life. Many of people were trying to figure out how to main attractions: an old, abandoned these young people ended up settling in make the town grow, while preserving mill; an overstuffed second-hand shop; Vermont. Potter Richard Wissler was the character of the downtown area. and an infamous bar called the Alibi. one of them. At the same time, a survey of stu­ Depending on your age and sensibili­ “At my graduate school there were dents at Middlebury High School re­ ties, the area was either a social hot spot guys spending $4000 and $5000 send­ vealed that they felt “there was too much for locals or the seedy side of town. ing out resumes, looking for that O- intellectualizing about problems in our The paper mill had existed since fficial job for which they would need a society, and not enough doing.” Many 1872, and was reconstructed a number diploma, and I decided, T don’t want of those students also expressed an un­ of times after various fires. At other one of those damn official jobs anyway. fulfilled need to work with their hands. times, the building housed a woodwork­ I want to go home and make pots!”’ In response, Allen and Linda Johnson ing company, a machine shop and a Wissler and his mother (no pun in­ were the first to envision a craft center. handmade pipe shop. tended) bought the mill building, and Wissler remembers the original pitch: The late ’60s and early ’70s marked set up a pottery studio. At the time, “Johnson said, ‘Hey! Why don’t we the period of the “back to the land” Middlebury had a number of empty do a whole craft center thing. You sell movement, when young adults shunned storefronts, and little tourism business me the building, and you redesign the

April 1996 67 building and choose what crafts you want. Choose the craftsmen. Everybody teaches; everybody is available to the public; and we sell our stuff! What do you think of that?’ And I said, ‘Hey, sounds like a pretty good idea for a fellow who just dropped out of gradu­ ate school.’” “We look back on it now and realize how farsighted Johnson was,” said former director Nancy Hileman. “He could see, at that time, how pernicious the whole drug development was. He met with town government members and came to a consensus that a cultural center would help combat some of the negative culture.” Again, the mill was sold, this time to Johnson. The Burlington Free Press printed an article at the time (1971) that quoted him as saying, “If our cen­ ter can make it possible for professional craftsmen to earn their living by teach­ ing and practicing their craft in our community, we will be able to attract and keep talented professionals who Soy pot, 5½ inches high, wheel-thrown and carved porcelain would otherwise be forced to live and 1995, by Middlebury resident potter Mary Louise Carter. work in metropolitan areas. If we are able to keep teaching craftsmen in the Middlebury area, we will be creating a learning opportunity that otherwise might not exist in this community.” A major renovation of the dilapi­ dated old mill building followed. The clutter of woodworking tools, clamps and old wagon parts was cleared out, and three resident craftspeople set up shop—potter Dick Wissler, jeweler Clarice Schecter and metal worker Pe­ ter Laffin. Gallery and studio spaces were com­ bined, either partially or completely. On one side, visitors might see a metal worker surrounded by sparks, and on another, a view of the rushing Otter Creek Falls. Wissler was “cranking out ceramic beasts,” his trademark product for the time period, and craft classes were begun. The attitude? Definitely informal. “If somebody came in and said, ‘Let’s have a course on Hoopty-Hoop,”’ Wissler remembers, “we’d find some­ Glazed stoneware pitcher, 7 inches in height, 1995, by Middlebury pottery instructor Kathy Clarke. body that did Hoopty-Hoop and see if

68 CERAMICS MONTHLY their idealism and view their craft as a business. “Things had to move on,” said Tricia Hayes, who was director of the craft center at that time. “You had to make progress....These craftspeople were no longer in their 20s; they were getting into their 30s, and it was time to get serious.” At the same time, the government of Vermont was beginning to recognize the importance of crafts to the state’s economic expansion. Frog Hollow was granted the honorary title of “Vermont State Craft Center,” which helped in terms of marketing, but did not equate Sarah Cowperthwaite, a resident potter at the Manchester facility, teaching a children’s class. to any funding from the state. Frog Hollow was the nation’s first state craft center, and still serves today as a model they wanted to give a course. If we courses in ceramics, macrame, marble for other state craft centers. could generate interest between the pub­ carving, painting, batik, weaving, silk In the late 1970s, then-director lic and the craftsmen, if somebody screening and block printing. Summer Judith Versweyveld began the master- wanted to learn what somebody else and evening classes were added for chil­ level programs, which brought world- knew, and enough people signed up— dren and adults. renowned craftspeople to teach at Frog we’d do it.” But Johnson’s craft center concept Hollow. It also brought in students from The first education coordinator at went even further. He wanted to pro­ all over the country, and continues to the nonprofit craft center was Rena vide craftspeople some assistance in mar­ do so today. Diana, who pitched the idea of a keting their work, so a gallery space was In 1988, the craft center introduced children’s program for area schools. created to showcase the work of Frog yet another education program—a day Many art curriculums at the time were Hollow craftspeople. Subsequent com­ camp for children ages 6-10 called minimal, but Diana convinced the missions from sales helped support the Camp Frog Hollow. Four years later, schools of the potential benefits. Soon, education programs. the center also began participating in some 600 children from five area schools “It was very helpful in selling my Voices of Youth, a program that com­ were attending Frog Hollow craft classes. work,” said Bob Deeble, Frog Hollow’s bines pottery instruction and therapy “The schools had to arrange and pay second resident potter, “because there for youth at risk. for the bus transportation, and it was weren’t many places to see handmade The ’90s saw major expansion with during the school day, but we provided crafts at that time.” the opening of new gallery and studio the instruction and all the materials free,” From the start, the idea was to ex­ spaces in Burlington and Manchester, Diana recalled. “The teachers weren’t hibit the best crafts Vermont had to Vermont. Programs like Camp Frog paid. They volunteered, though some offer. “The intention was to keep the Hollow and “release time” classes from of them had a small stipend because quality of the work at a high enough local schools were expanded to cover they were professional artists. But most caliber such that we would eventually even more of Vermont. Now the craft of them were amateur artists in the com­ get a reputation for being serious pur­ center not only represents 300-plus Ver­ munity who were really excited about veyors of good artwork,” said Wissler. mont artists, but provides craft instruc­ doing this.” As Johnson moved on to other tion to the greater part of the state. Even a number of local senior citi­ projects and slowly weaned Frog Hol­ To the people who founded Frog zens decided to help out, and found low from his financial altruism, the or­ Hollow, it might not seem like 25 years themselves inspired by the creative en­ ganization was forced to find new have gone by. Even though the organi­ vironment. “I think we were all touched sources of funding for its programs, and zation is now much larger and less by everything everyone was doing, and gallery sales picked up the slack. rough-around-the-edges than in 1971, felt like, ‘Well, if the kids could do it, To some craftspeople, who were in­ there remains a certain down-to-earth then we could, too,”’ remembered spired by creativity and not the financial spirit. “I’m really proud of it,” said Diana. “We all learned.” issues of a structured organization, the founder Men Johnson late last year. “I By October of 1971, the craft center new direction was disappointing. Some think it was one of the major achieve­ was offering four- and eight-week left, but those who stayed began to shed ments of my life.” ▲

April 1996 69 Call for Entries Juried from a maximum of 3 slides. Entry fee: $20. Juror: Janet Koplos, senior editor, Art in America. Application Deadline for Exhibitions, Awards: $1000. Contact the Holter Museum of Fairs, Festivals and Sales Art, 12 East Lawrence Street, Helena 59601; or telephone (406) 442-6400, fax (406) 442-2404. June 14 entry deadline New Haven, Connecticut “The Celebration of National Exhibitions American Crafts” (November 9-December 24). Juried from slides. For prospectus, send SASE to April 15 entry deadline i the Celebration, Creative Arts Workshop, 80 Port Chester, New York Three solo exhibitions Audubon Street, New Haven 06510. (Fall). Juried from 20 slides and resume. 40% Roswell, Georgia “Wot Pots” (July 12-August commission. Send SASE to Marc Leuthold, Clay 16). Juried from slides. Entry fee: $20 for up to 3 Art Center, 40 Beech Street, Port Chester 10573. works. For prospectus, send SASE to the Potters April 30 entry deadline Guild, 603 Atlanta Street, Roswell 30075; or Philadelphia, Pennsylvania “Invitational Artist telephone (770) 641-1663. Series” (3 solo exhibitions chosen for 1996-97 Middlebury, Vermont*In the Adirondack and season). Juried from slides. No entry fee. For Rustic Tradition” (September 20-November 4). information/application, send SASE to the Clay Juried from 3-6 slides. For application, send SASE Studio,^139 North Second Street, Philadelphia to Vermont State Craft Center, Frog Hollow, 1 19106; for information only, telephone (215) Mill Street, Middlebury 05753; or telephone (802) 925-3453. 388-3177. May 1 entry deadline June 20 entry deadline Berea, Kentucky “Beadwork: Beyond Bound­ Florence, Alabama “Kennedy-Douglass Cen­ aries” (October 1-November 16), open to indi­ ter for the Arts 1996 Monarch National Ceramic vidual beads, bead-constructed work and works Competition” (September 9-October 18), open that incorporate beads. Juried from 5 slides and to artists residing in the United States, Canada resume. Entry fee: $10. Send SASE to Contempo­ and Mexico. Juried from slides. Fee: $ 15 for up to rary Artifacts Gallery, 128 North Broadway, Berea 3 works. Awards: almost $5000. For further infor­ 40403; or telephone (606) 986-1096. mation, contact Kennedy-Douglass Center for May 4 entry deadline the Arts, Ceramic Competition, 217 East Pensacola, Florida “Animania” (July 1-August Tuscaloosa Street, Florence 35630. 3), open to works portraying domestic or wild June 30 entry deadline animals. Juried from slides. Juror: Casey Sheppard, Manchester, Vermont “Ancient Origins” (Sep­ regional coordinator, International Art Exchange/ tember 13-October 31). Juried from slides. For president, First City Arts Alliance. Fee: $30 for up prospectus, send SASE to Candace Forsyth, Ver­ to 3 entries ($10 will be donated to wildlife- mont State Craft Center, Frog Hollow, Post Of­ preservation organizations). Send two SASEs to fice Box 816, Manchester 05254; or telephone SOHO Gallery, 23 Palafox Place, Pensacola 32501; (802) 362-3321. or telephone (904) 435-7646. August 5 entry deadline May 6 entry deadline Elkins Park, Pennsylvania “Body Builders” Creedmoor, North Carolina*Cedar Creek Gal­ (October 5-November 9), open to figurative lery National Teapot Show III” (July 26-Septem- clayworks. Juried from up to 6 slides. Entry fee: ber 15), open to any media. Juried from up to 2 $10. For prospectus, send SASE to Body Builders, slides per entry. Fee: $20 for up to 3 entries. Gallery 500, Elkins Park 19027; or telephone Awards: 4 (minimum) $1000 awards of excel­ (215) 572-1203. lence, plus purchase awards. For prospectus, send August 9 entry deadline SASE to Cedar Creek Gallery, 1150 Fleming Road, Pensacola, Florida “Body Language” (October Creedmoor 27522; or telephone (919) 528-1041. 1-November 2), open to works including the May 10 entry deadline human figure either alone or in a social setting. Middletown, Ohio “Miami Valley Annual Juried from slides. Juror: Karen Valdez, director, Crossroads in Clay Competition” (June 28-July Visual Arts Gallery at Okaloosa Walton Commu­ 25). Juried from slides. Fee: $10 for each slide or nity College. Fee: $25 for up to 3 entries. Send two $25 for three. Juror: Bob Shay, dean, Herron SASEs to SOHO Gallery, 23 Palafox Place, Pensacola School of Art. Awards: $2500. Contact the 32501; or telephone (904) 435-7646. Middletown Fine Arts Center, P. O. Box 441, September 27 entry deadline Middletown 45042; or telephone (513) 424-2416. Eugene, Oregon “Le Petit IV Small Format June 5 entry deadline Competition” (November-December). Juried Denton, Texas “Ceramics USA 1996” (August from slides. Entry fee: $6. Awards: $2200. For 29-September 27). Juried from slides. Juror: Don prospectus, send SASE to Alder Gallery, 55W Reitz. Fee: $20 for up to 3 entries. Awards. For Broadway, Eugene 97401; or telephone (541) prospectus, send #10 SASE to Ceramics USA 1996, 342-6411. University of North Texas Gallery, Post Office Box 5098, Denton 76203-0098; or telephone Regional Exhibitions (903) 784-2354. June 7 entry deadline May 3 entry deadline Helena, Montana “ANA 25” (August 16-Oc- Kingston, Rhode Island “24th Annual Rhode tober 27), open to artists working in any media. Island Earthworks Exhibit” (May 9-25), open to current and former Rhode Island residents or Send announcements of juried exhibitions, fairs, fes­ students. Juried from actual work. Juror: Woody tivals and sales at least four months before the event’s Hughes. Fee: $5 per entry; up to 6 entries. Cash entry deadline (add one month for listings in July and awards. For prospectus, send SASE to Earthworks, two months for those in August) to Call for Entries, South County Art Association, 2587 Kingstown Ceramics Monthly, P. O. Box 12788, Columbus, Road, Kingston 02881. Ohio 43212-0788; or telephone (614) 488-8236. Bellevue, Washington “Fifth Pacific Northwest Fax (614) 488-4561. Regional exhibitions must be Annual” (July 26-September 8), open to artists open to more than one state. residing in Alaska, Idaho, Montana, Oregon,

70 CERAMICS MONTHLY

Call for Entries DEC Competition, Lubbock Fine Arts Center, April 12 entry deadline 2600 Avenue P, Lubbock 79405; telephone (806) Albuquerque, New Mexico “24th Annual South­ 767-2686 or fax (806) 767-0732. west Arts Festival” (November 7-10). Juried from 5 slides. Entry fee: $20. Booth fee: $300-$350. Washington and British Columbia. Juried from Fairs, Festivals and Sales For prospectus, contact Southwest Arts Festival, slides. Juror: Michael Crane, senior curator, 525 San Pedro, Northeast, Suite 107, Albuquer­ Bellevue Art Museum. Awards: $7000. For pro­ April 5 entry deadline que 87108; or telephone (505) 262-2448. spectus, send SASE to Pacific Northwest Annual, Spokane, Washington “14th Annual Inland April 15 entry deadline Bellevue Art Museum, 301 Bellevue Square, Craft Warnings” (October 25-27). Juried from 5 Chicago, Illinois “Chicago’s New East Side Bellevue 98004. slides and resume. No entry fee. Send SASE to G. ArtWorks” (August 15-17). Juried from 4 slides. June 8 entry deadline Freuen, Inland Craft Warnings, 15205 Shady Entry fee: $15. Booth fee: $225 fora 10x12-foot Huntsville, Alabama “The Red Clay Survey” Slope Rd., Spokane 99208; fax (509) 466-5218. space; $250 for a corner. For further information, (September 8-November 17), open to artists re­ April 8 entry deadline contact Chicago’s New East Side ArtWorks, 200 siding in Alabama, Arkansas, Florida, Georgia, Chautauqua, New York “Crafts Festivals ’96” North Michigan Avenue, Suite 300, Chicago Kentucky, Louisiana, Mississippi, North Caro­ (July 12-14 and/or August 9-11). Juried from 3 60601; telephone (312) 551-9290 or fax (312) lina, South Carolina, Tennessee or Virginia. Ju­ slides of work plus 1 of booth. Entry fee: $10 per 541-1271. ried from up to 3 slides. Entry fee: $25. Awards: show. Booth fee: $150 per show. For prospectus, Billings, Montana “Summerfair” (July 20—21). over $7500. Juror: Lois Tarlow, artist/teacher/art send business-size SASE to Devon Taylor, Festivals J uried from 3 slides of work plus 1 of booth. Entry critic. For further information, contact the Hunts­ Director, Chautauqua Crafts Alliance, Post Of­ fee: $10. Booth fee: $190. For further informa­ ville Museum of Art, Attention: Red Clay Survey, fice Box 89, Mayville, New York 14757-0089. tion, contact the Yellowstone Art Center, 401 700 Monroe Street, Huntsville 35801; or tele­ April 10 entry deadline North 27th Street, Billings 59101; or telephone phone (205) 535-4350. San Francisco, California “Contemporary (406) 256-6804. June 23 entry deadline Crafts Market” (September 28-29). Juried from 5 April 19 entry deadline Southport, North Carolina “16th Annual July slides or photos. Entry fee: $15 (for up to 2 Coeur d'Alene, Idaho “Art on the Green” (Au­ 4th Exhibition” (June 26-August 2). Juried from shows—see below); booth fee: $205-$738. Send gust 2-4). Juried from up to 3 slides. Booth fee: hand-delivered actual work. Awards: over $2700. SASE to Roy Helms &: Associates, Roy Helms or $90 for a 1 Ox 10-foot space. Minibooth fee: $ 1 for For prospectus, send SASE to Franklin Square Chris Andrews, Directors, 1142 Auahi Street, artists of high-school age or younger. For further Gallery, Post Office Box 10035, Southport 28461. Suite 2820, Honolulu, Hawaii 96814; or tele­ information, contact Citizens’ Council for the September 13 entry deadline phone (808) 422-7362, fax (808) 423-1688. Arts, Attention: Booth Screening, Post Office Box Lubbock, Texas“\ 1th Annual December Com­ Santa Monica, California “Contemporary 901, Coeur d’Alene 83816-0901; telephone (208) petition” (November 18-December 31), open to Crafts Market” (November 1-3). Juried from 5 667-9346. artists residing in Arizona, Arkansas, Colorado, slides or photos. Entry fee: $15 (for up to 2 April 24 entry deadline Louisiana, New Mexico, Oklahoma or Texas. shows—see above). Booth fee: $298-$894. Send Lafayette, Louisiana “Lafayette Art Associa­ Juried from slides. Entry fee: $15 for 3 works; $5 SASE to Roy Helms & Associates, Roy Helms or tion Nouveau Expo ’96” (November 8-10), fine- each additional entry. Juror: Frances Colpitt, arts Chris Andrews, Directors, 1142 Auahi Street, art market. Juried from slides. Fee: $15 for up to critic/associate professor, University of Texas, San Suite 2820, Honolulu, Hawaii 96814; or tele­ 5 entries. Booth fee: $200. Cash awards. For Antonio. For prospectus, send SASE to Attention: phone (808) 422-7362, fax (808) 423-1688. prospectus, send #10 SASE to Nouveau Expo ’96,

72 CERAMICS MONTHLY

Call for Entries phone (804) 353-0094, fax (804) 353-8018. May 15 entry deadline May 3 entry deadline Boston, Massachusetts “Crafts at the Castle” Silverton, Colorado “Fourth Annual Blair Street (December 5-8). Juried from 5 slides. Entry fee: Arts and Crafts Festival” (July 19-21). Juried $25. Contact CATC, Family Service of Greater 412 Travis, Lafayette 70503; or telephone/fax from slides. For application, contact Blair Street Boston, 34½ Beacon Street, Boston 02108; or (318) 269-0363. Festival, Post Office Box 63, Silverton 81433; telephone (617) 523-6400, extension 5508. May 1 entry deadline telephone (970) 387-5439 or (800) 752-4494. June 1 entry deadline Columbus, Indiana “Chautauqua of the Arts” Tampa Bay, Florida “ACC Craft Fair Tampa Manitou Springs, Colorado “Pikes Peak or Pot: (September 21-22). Juried from 3 slides of work Bay” (December 6—8). Juried from slides. Fee: Sixth Annual Clayfest and Mudball” (June 15), plus 1 of display. Entry fee: $10. Booth fee: $125 $20. Contact American Craft Enterprises, 21 South throwing and handbuilding competitions for for a 10x10-foot space; $250 for a double space; Eltings Comer Road, Highland, New York 12528; amateurs—professionals, plus a sales area. Awards. $175 for an end or special location. For further telephone (800) 836-3470 or fax (914) 883-6130. Send SASE to Clayfest, 20 Ruxton Ave., Manitou information, contact Dixie McDonough, Execu­ Charlotte, North Carolina “ACC Craft Fair Springs 80829; or telephone (719) 685-5795. tive Director, Chautauqua of the Arts, 1119 West Charlotte” (December 13-15). Juried from slides. Mason City, Iowa “MacNider Museum Out­ Main Street, Madison, Indiana 47250; or tele­ Fee: $20. Contact American Craft Enterprises, 21 door Art Market” (August 21). Juried from 5 phone (812) 265-5080. South Eltings Corner Road, Highland, New York slides. Entry fee: $25. Seven cash awards. Contact Herkimer, New York “21st Annual Herkimer 12528; telephone (800) 836-3470 or fax (914) the MacNider Museum, 303 Second St., SE, County Arts and Crafts Fair” (November 9-10). 883-6130. Mason City 50401; or telephone (515) 421 -3666. Juried from 5 slides. Entry fee: $5. Booth fee: May 5 entry deadline MountKisco, New Yor£“Eighth Annual NWCA $120 for a 10x6-foot indoor space. No commis­ Iowa City, Iowa “Arts Iowa City Festival Crafts Fair” (October 18-20). Juried from resume sion. Awards. Contact HCC Foundation Arts and ArtsFair” (June 15). Juried from 3 slides. Entry and 5 slides. Fee: $10. For application, contact Crafts Fair, Jackie Shaul, Reservoir Road, Her­ fee: $15. Booth fee: $40 for a 10x10-foot space. Northern Westchester Center for the Arts, 272 kimer 13350; or telephone (315) 866-0300, ex­ Cash awards. Send SASE to Arts Iowa City, 129 North Bedford Road, Mount Kisco 10549; or tension 259. East Washington, Iowa City 52240; or telephone telephone (914) 241-6922. Bowling Green, Ohio “Black Swamp Arts Fes­ Dianne Kaufman (319) 337-7447. June 15 entry deadline tival” (September 7-8). Juried from 4 slides of May 9 entry deadline Manitou Springs, Colorado “Commonwheel work plus 1 of booth (optional). Entry fee: $10. Huntington, New York “29th Annual Village Artists 22nd Annual Labor Day Weekend Arts Booth fee: $65. Contact Black Swamp Arts Festi­ Green Fine Art/Craft Festival” (June 22-23). and Crafts Festival” (August 31-September 2). val, Visual Arts Committee, 525 Ridge Street, Juried from slides. For prospectus, send SASE to Juried from slides. Contact Commonwheel Fairs, Suite 124, Bowling Green 43402. the Huntington Art League, 330 Cuba Hill Road, Post Office Box 42, Manitou Springs 80829; or Richmond, Virginia “32nd Annual Hand Huntington 11743; or telephone (516) 368-0018. telephone (719) 685-1008. Workshop Craft and Design Show” (November May 10 entry deadline Saint Louis, Missouri “Historic Shaw Art Fair” 8-10). Juried from 5 slides. Entry fee: $15. Booth Williamsburg, Virginia “An Occasion for the (October 12-13). Juried from slides. Entry fee: fee: $275 for a 10x1 0-foot space; $410 for a Arts” (October 6). Juried from slides. Entry fee: $10; $5 for each additional category (limit 3). 10x15; $550 for a 10x20; corner, extra $75. For $10. Booth fee: $85. Awards: $1600. Send SASE to Booth fee: $ 150. Send SASE to Historic Shaw Art application, contact the Hand Workshop, 1812 AOFTA, Post Office Box 1520, Williamsburg Fair, 2211 South 39th Street, Saint Louis 63110; West Main Street, Richmond 23220; or tele­ 23187. or telephone (314) 771-3101.

74 CERAMICS MONTHLY April 1996 75 Suggestions A single curved tine can be sharpened and used as is. Others can be ground to form From Readers points, rounds or flats suitable for a variety of trimming needs. You can even fit these tine trimmers with That’s Why They Call Them Bats wooden dowel handles. Just cut a slot in one Recently, I was throwing a series of tall end of the dowel, insert the nonworking end slender cylinders. With each successive cylin­ of the tine, and secure with epoxy.—Frank der, I tried to throw taller and thinner. When La Rosa, Del Mar, Calif. it came to the point where the cylinder was beginning to slump, I quickly removed the Glazing “Ornery” Shapes bat from the wheel head, inverted it and Having always had problems balancing balanced it on the edge of a worktable with a “ornery” shapes on sticks when pouring glaze bucket of clay on the top edge to hold it in over top, I was glad to find a solution in the place. I was then able to straighten the cylin­ form of ½-inch hardware cloth. A piece of it der hanging from the bat. set over the drip pan holds the pot steadily; it This led to the idea of manipulating wheel-cannot slip or tip, and cleanup is easy. thrown cylinders on bats hung upside down A word of caution, though: Hardware from a rack, similar to the kind used for winecloth will rust after a while (a long while) so glasses. I mounted my bat rack beneath the porcelain potters may want to give it a pre­ ceiling beam and have to stand on a chair to liminary coating of polyurethane.—Lili use it, but it’s out of the way. Krakowski, Constableville, N. Y. I simply screwed two 8-inch-long pieces of lxl-inch stock to an 8-inch-long piece of Inexpensive Sculpture Tools For an inexpensive addition to your sculp­ ture toolbox, buy a packet of home-repair needles (intended for sewing upholstery, can­ vas, etc.). Wrap the center of each with a narrow strip of duct tape (for grip) and you have an array of double-ended tools for detail work.—Suzanne Hershey, Rocky Flill, Conn.

Sculpture Support Sculptural work with appendages that extend into space often needs support while drying. While many artists use clay props, I’ve found elastic polyester works better when the appendages are high up on a tall piece. It plywood, leaving a ½-inch space between the often can be easily tied around another more two 1-inch strips to form a groove; this is onestable part of the piece and the tension ad­ side of the rack. The process was then re­ justed to give the appendage just the right peated to form the other side. Next, the two amount of support. And because it is elastic, sides were attached (with screws) to an 8x14-it continues to support the appendage as the inch plywood backing, spaced just far enoughclay shrinks.—James Budde, Boise, Idaho apart to allow a bat to slide into the grooves. The plywood backing was then screwed to Miscellaneous Equipment Source the ceiling beam. Auctions of items used at restaurants and If you decide to give this a try, remember grocery stores are good sources of miscella­ not to let the cylinder hang so long that it neous equipment for the studio. There usu­ dries completely and falls. Conversely, very ally are boxes of “junk”—often plastic wet cylinders can stretch and break.—Peter containers with lids, pastry doodads, biscuit Sheremeta, San Jose, Calif. cutters, stirring spoons, mixing bowls, etc.— that go for a dollar or two. I’ve also purchased, Splash Pan Siphon for less than $5, stand-alone shelving that is T o facilitate cleaning the splash pan of myeasy to disassemble and transport. wheel, I periodically siphon water out with a My best auction buy was 12 plastic shop­ kitchen (turkey) baster.—-Jan White, Nags ping totes, brand new, for $20. They’re sturdy, Head, N. C. have strong handles, hold plenty of small to medium ware, stack up when not in use and Pot Trimmers from Leaf Rakes are light-years beyond cardboard boxes. Save those old grass and leaf rakes. The Usually, a good scrubbing and a coat of steel tines can be refashioned into perfect paint are all that will be needed to make your trimming tools without much modification. bargains serviceable. Be careful when bidding

76 CERAMICS MONTHLY April 1996 77 Suggestions

on plasticware, though; occasionally, noth­ ing short of incineration will get the grease off.—Patricia Underwood, Birmingham, Ala.

Moving Slabs Fifteen years ago, I was looking for some way to move my handrolled slabs out of the way until they were leather hard. I found two 24-inch printer’s mats. They are rubber on one side and canvas on the other, and still show no signs of wear.—June Luques, Westminster, Md.

Squeegee Clean Replace those dust-raising brooms in your studio with efficient rubber squeegees. I have three for different uses on the finished con­ crete floor of my work space. The biggest one is 24 inches wide and is pushed away rather than pulled toward the user; it’s great for heavy-traffic areas. The next size is 12 inches wide and is ideal for getting around wheels and equipment. The smallest has an 8-inch blade, doesn’t have a long handle and is used for collecting sweepings into a dustpan. Available at most hardware stores, these squeegees were designed for water removal and window cleaning, but are a healthful, dust-reducing addition to any studio.—Van Moore, College Park, Md.

Hollowing Tool To hollow out sculpture, try using a melon bailer (available at most grocery or kitchen stores). They are sturdy and often come with differently sized scoops at each end. Works wonders.—Gail Trunick, Burgh ill, Ohio

Matching Reorders When my customers began calling me for reorders, I had to come up with an easy reference system, so I bought some ruled 4x6-inch index cards and a filebox. I now write all pertinent information about a piece (size, glaze, cone, price, etc.) on the ruled side of a card, then tape a snapshot or draw a picture on the reverse side. This is especially useful when trying to match decorated ware.—Mary Lynn Torchia, Richmond, Va.

Dollars for Your Ideas Ceramics Monthly pays $10for each sugges­ tion published; submissions are welcome indi­ vidually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788; or fax to (614) 488-4561. Sorry, but we cant ac­ knowledge or return unused items.

78 CERAMICS MONTHLY April 1996 79 Ontario Clay and Glass Association Annual Con­ Calendar ference” will include workshop with John Leach, Events to Attend—Conferences, raku workshop and exhibition. Fee: Can$270 (approximately US$ 190); members, Can$215 (ap­ Exhibitions, Workshops, /wi' proximately US$152). Contact Fusion, Gardener Cottage, 225 Confederation Drive, Scarborough, Ontario M1G 1B2; or telephone (416) 438-8946, fax (416) 438-0192. Conferences Canada, Ontario, Toronto April24-27“Robert Adam and the Georgian Era,” sixth annual Deco­ California, Davis ylpnl 11-13 “Seventh Annual rative Arts Institute, will include lectures and California Conference for the Advancement of study workshops. Fee: Can$325 (approximately Ceramic Art” will include a presentation by Peter US$230); members/seniors, Can$275 (approxi­ Voulkos; plus lectures, panel discussions, slide mately US$195); students, Can$l60 (approxi­ presentations and demonstrations. Contact John mately US$115). Contact the Royal Ontario Natsoulas Gallery, 140 F Street, Davis 95616; or Museum, (416) 586-8080. telephone (916) 756-3938. Finland, Helsinki June 12—14“Networks in Ce­ California, San Francisco April 27 “The Impact ramics ’96” will include speakers Marie-Therese of the Japanese Folk Art Movement on Twenti­ Coullery, secretary general, International Acad­ eth-century American Ceramics” will include a emy of Ceramics, Switzerland; David Hamilton, panel discussion with Rudy Autio, Warren Mac- professor/course director, Royal College of Art, Kenzie and Paul Soldner moderated by James United Kingdom; Susan Peterson, potter/educa- Melchert; and another panel with Mark Hewitt, tor/author, United States; Rudolf Staffel, ceram- Douglass Rankin, Will Ruggles and Willi Single­ ist/professor emeritus, United States; Piet Stock­ ton moderated by Gerry Williams. Also includes mans, artist/designer, Belgium; Adriaan van Spanje lectures by Leila Philip, potter/author of The Road and Xavier Toubes, general director and artistic Through Miyama, and Nicole Rousmaniere. Lo­ director, European Ceramics Work Centre, Neth­ cation: Asian Art Museum. Fee: $45; Asian Art erlands. Fee: FIM 2300 (approximately US$540); Museum, Society for Asian Art or Museum Soci­ participant presenting paper, FIM 1400 (approxi­ ety members, $40; students, $15. To register or mately US$330); student, FIM 750 (approxi­ for further information, telephone the Society for mately US$175). For further information, con­ Asian Art (415) 387-5675 or fax (415) 387-5737. tact Conference Secretariat, University of Art and Georgia, Atlanta April 17-19 “Southern Life and Design Helsinki UIAH, Hameentie 135 C, FIN- Southern Style: Plain to Fancy, 1835-1935” will 00560 Helsinki; or telephone Pirkko Makki, sec­ include lecture by John Burrison, English profes­ retary general, (75) 630-539; or Harriet Lemberg, sor, Georgia State University: “Form Follows press and marketing secretary, (75) 630-519. Fax Function: Uses of Southern Folk Pottery.” In­ (75) 630-537; E-mail [email protected] cludes other lectures; plus tours; mint julep party; Taiwan, Taipei November 20—30 “First Annual quilting, cooking and blacksmithing demonstra­ Yixing Symposium for Western Potters 1996,” tions. Fee: $250 for full program; $200 for day­ directed by Ah Leon, will include demonstrations; time events; tickets for morning or afternoon discussions; lectures; hands-on sessions; visits to programs can be purchased separately. For infor­ ancient kiln, purple sand clay tunnel, factories and mation/reservations, telephone (404) 814-4000. museums. Speakers include Terese Tse Barthol­ Illinois, Chicago May 24-26“ Asian Ceramics— omew and Richard Notkin. Limited to 20 partici­ Functions and Forms” will include 17 speakers pants selected by 3-5 slides of teapots and resume. lecturing on the broad topics of the importance of Participants pay airfare only. Registration dead­ food and drink, effect of religion and ritual, and line: May 30. To apply, send slides (with one the influence of collecting and connoisseurship. labeled “donation” for the Yixing factory’s perma­ Contact the Field Museum, Roosevelt Road at nent collection) and resume to Purple Sands Lake Shore Drive, Chicago 60605-2496; or tele­ Magazine/Ah Leon, No. 78-1, Sec. 1 Hsing-sheng phone (312) 922-9410. S. Rd. 104, Taipei. For further information, con­ Missouri, Kansas City April 10—13 Symposium tact Carolyn Broadwell (707) 252-4789 or E-mail including slide lectures/demonstrations by Euro­ [email protected] pean ceramists Eugenis Cidinskas, Valda Podkalne, Giancarto Scapin and Hendrik Schink, ranging Solo Exhibitions from architectural applications to mold making and contemporary porcelain. Fee: $50 for full Arizona, Scottsdale April 1-30Edward S. Eberle, program; $35 for Saturday demonstration; $20 drawings and porcelain. Janel Jacobson, porce­ per evening/slide lecture. Telephone the Kansas lain. May 1-31 Farraday Newsome Sredl, ma­ City Clay Guild (816) 561-1686. jolica; at Joanne Rapp Gallery: The Hand and the Spirit, 4229 North Marshall Way. International Conferences Arizona, Sun City April 4—May 5 Mitch Lyons, clay monoprints; at Sun Cities Art Museum, Australia, Canberra July 6-9 “International Con­ 17425 North 115th Avenue. nections,” national ceramics conference, will in­ Arizona, Tempe through May 5Akio Takamori, clude discussion forums, master classes, demon­ “Master’s Touch”; at Tempe Arts Center, Mill strations, exhibitions. International artists wel­ Avenue and First Street. come. Contact Anita McIntyre, ANU School of California, Los Angeles through April2£TDarlene Art, Ceramics Workshop, Baldessin Crescent, Nguyen-Ely, mixed-media sculpture; at SITE Acton, ACT 2601; telephone (62) 49 58 21. Gallery, Roosevelt Building, 719 W. Seventh St. Canada, Ontario, Ottawa May 10-12 “Fusion: through April 27 Beatrice Wood; at Frank Lloyd Gallery, 170 South La Brea. Send announcements of conferences, exhibitions, ju­ California, San Francisco through April 6 Richard ried fairs, workshops and other events at least two Shaw, sculpture; at Braunstein/Quay Gallery, 250 months before the month of opening (add one month Sutter Street. for listings in July; two months for those in August) to April 4—27 Beverly Mayeri, new work. May 2— Calendar, Ceramics Monthly, Post Office Box 12788, June 1 Michael Lucero, “Reclamation Series”; at Columbus, Ohio 43212-0788; or telephone (614) Dorothy Weiss Gallery, 256 Sutter Street. 488-8236. Fax announcements to (614) 488-4561. Florida, Belleair through April 7 Carlos Alves; at

80 CERAMICS MONTHLY Florida Gulf Coast Art Center, 222 Ponce de Leon Boulevard. Illinois, Chicago April 26-May 25 Martha Rosenfeld, stoneware sculpture; at Vale Craft Gallery, 230 West Superior Street. Maine, Kennebunk May 1-June 2Makoto Yabe, pottery; at Mary Flynn Woodman Gallery, 4 Dane Street. Maryland, Baltimore through April 7Jo Schneider, large-scale figurative sculpture in clay and copper; at Baltimore Clayworks, 5706 Smith Avenue. Maryland, Frederick through May 1 John Thies. May 3-22 Ruth Tudball; at the Hood College Library. Massachusetts, Lexington April2—28]o2in Carcia, vessels; at Depot Square Gallery, 1837 Massachu­ setts Avenue. Michigan, Pontiac April 6-May 5 John Wood­ ward. May 10-June 1 Daniel Rhodes; at Shaw Guido Gallery, 7 North Saginaw Street. New Jersey, Newark April 3-June 30 Magdalene Odundo, “Ceramic Gestures”; at the Newark Museum, 49 Washington Street. New Jersey, Trenton through June 30 “Fulper Pottery and Watercolors by John O. W. Kugler”; at the New Jersey State Museum, 205 W. State St. New York, New York through May 30 Jolyon Hofsted; at Images Gallery, 580 Broadway. through June 9 “The Art of Peter Voulkos”; at the American Craft Museum, 40 West 53rd Street. April 25-May 25 Richard Milette. May 30-June 27John Chalke; at Nancy Margolis Gallery, 560 Broadway, Suite 302. May 7-June 22 Yoshiroh Kimura, “Seiji Celadon: Turquoise of Heaven”; at Gallery Dai Ichi Arts, New York Gallery Building, 24 West 57th Street. New York, Piermont April 20-May 5 Rosemary Aiello; at Piermont Fine Arts Gallery, 218 Ash St. North Carolina, Asheville through April 73 Kathy Triplett, “A stone, a tealeaf & a door...”; at Blue Spiral 1, 38 Biltmore Avenue. North Carolina, Charlotte through June ^Michael Lucero retrospective; at the Mint Museum of Art, 2730 Randolph Road. North Carolina, Durham through April 24 Yves Paquette, sculptural installation; at the Durham Art Guild, CCB Gallery of the Durham Art Coun­ cil Building, 120 Morris Street. Oklahoma, T ulsa through April 7T oshiko T akaezu retrospective; at the Philbrook Museum of Art, 2727 South Rockford Road. Pennsylvania, Philadelphia April3-28 Etta Win- igrad; at Muse Gallery, 60 North Second Street. April 5-28 Janice Strawder, artist-in-residence. Jimmy Clark, pinch pots; at the Clay Studio, 139 North Second Street. Tennessee, Cookeville April 1-30 David Rhine; at Tennessee Technological University’s Appala­ chian Center for Crafts, off Highway 1-40, exit 273. Texas, Corpus Christi through June 2 William Wilhelmi, “The Clay’s the Thing,” 25-year retro­ spective; at the Art Museum of South T exas, 1902 North Shoreline Drive. Virginia, Norfolk through April 7#Gary Schlappal; at Norfolk Art Center, 125 College Place.

Group Ceramics Exhibitions California, Davis April 6-May 7i?“Tenth Annual Thirty Ceramic Sculptors”; at John Natsoulas Gallery, 140 F Street. April 12-May 11 “1996 California Clay Compe­ tition”; at the Artery, 207 G Street. California, La Jolla April5—May 4 “Current Clay V: A Southern California Juried Exhibition of Ceramic Works”; at Gallery Eight, 7464 Girard Avenue. California, Lincoln May 18-June 15 “Feats of

April 1996 81 Calendar Colorado, Colorado Springs through April 17 Kansas, Baldwin City April2-28 “The 1996 Inter­ “American Figurative Clay,” with works by Wesley national Orton Cone Box Show”; at Holt-Russell Anderegg, Gina Bobrowski, Karon and Louie Gallery, Parmenter Hall, Baker University. Doherty, Arthur Gonzalez, Mary Munoz, Ronna Massachusetts, Ipswich April 1—30 “Studio Pot­ Clay IX”; at Gladding McBean terra-cotta fac­ L. Neuenschwander, Ann Perrigo, Bill Stewart, tery.” May 10-31 “In and Around the Garden”; at tory; reservations required, (916) 645-9713. Diane Sullivan, Triesh Voelker and Janis Mars Ocmulgee Pottery and Gallery, 317 High Street— California, Mendocino through April 10 “New Wunderlich; at the Colorado College, Worner Route 1A. Visions in Clay,” works by Mark Boguski, Nicki Campus Center, 14 East Cache La Poudre Street. Massachusetts, Lexington May 7—25 “Clay Me­ Jackson, Gina Lawson, Paul Meyers, Brad Miller, D.C., Washington through early 1997“Japanese nagerie”; at Parsons Gallery, Lexington Arts and Ben Parks and Conrad Snyder; at Mendocino Art Ceramics from Seto and Mino”; at the Freer Crafts Society, 130 Waltham Street. Center, 45200 Little Lake Street. Gallery, Smithsonian Institution. Massachusetts, Newton May 1—31 “Here’s to U,” California, Riverside through April 26“ California Georgia, Macon April 14-June 2 “Revolution in juried exhibition of cups; at Infinity Gallery, 341 Collegiate Ceramics Competition”; at the River­ Clay: The Marer Collection of Contemporary Watertown Street. side Community College Art Gallery, A. G. Paul Ceramics”; at the Museum of Arts and Sciences, Michigan, Detroit through April 30 “The Artful Quadrangle, Terracina. 4182 Forsyth Road. Cup: Form and Function”; at Pewabic Pottery, California, Santa Ana through April 21 “Interna­ Hawaii, Honolulu through June 18 “Tomb Trea­ 10125 East Jefferson. tional Cup Invitational.” Exhibition of works by sures from China: Buried Art of Ancient Xi’an”; at Michigan, Flint April 12-May 4 “Clay Invita­ Rancho Santiago College students; at Daniel the Honolulu Academy of the Arts, 900 South tional—Ten Michigan Potters,” with works by Arvizu Art Gallery, 215 North Broadway Street. Beretania Street. Guy Adamec, Thom Bohnert, John Gargano, John Glick, Craig Hinshaw, John Mrozik, Tom Phardel, David Smallidge, Sally Thielen and Michelle Tock-York; at Buckham Fine Arts Project/Gallery, 137½ West Second Street. Minnesota, Minneapolis April 14-June 1 “The Mimbres Tradition: New Uses for an Old Art”; at Ancient Traditions Gallery, 1010 Nicollet Mall. April 14—June 16“^X oTouch the Past: The Painted Pottery of the Mimbres People”; at Weisman Art Museum, University of Minnesota. Minnesota, Saint Paul through May 10 “From Hips to Spaceships,” science and design in ad­ vanced ceramics; at the Northern Clay Center, 2375 University Avenue, West. Montana, Helena through April 7 “Re/casting Characters: Contemporary Figurative Ceramics,” works by Joe Batt, Brad Borst, Charles Breth, Monica Van den Dool and Lila Fayler; at Holter Museum of Art, 12 East Lawrence Street. New Jersey, Newark through Spring 1997 “The Printed Pot: Transfer-Printed Ceramics, 1750-1990”; at the Newark Museum, 49 Wash­ ington Street. New Mexico, Roswell April 6-May 19 “1995 Clay National,” National Council on Education for the Ceramic Arts (NCECA) touring exhibition; at Roswell Museum, 100 West 11th Street. New York, Alfred through June ^“Alfred Teaches Ceramics 1900-1996,” works by the 17 Alfred faculty members who have taught ceramics at the New York State College of Ceramics. “Teaching Tools: The Museum Collection at Alfred”; at the Museum of Ceramic Art at Alfred, New York State College of Ceramics at Alfred University, Harder Hall, Fifth Floor. New York, New York through April 7York Stoneware from the Collections of the New-York Historical Society”; at the New-York Historical Society, 170 Central Park West. through April20Bizen-style pottery by Abe Anjin and Karatsu-style pottery by Sajiro Tanaka; at Gallery Dai Ichi Arts, New York Gallery Building, 24 West 57th Street. April 10-May ^“Artists on Their Own”; at Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones Street. New York, Rochester through April 5 “Decades: RIT School for American Crafts Ceramic Alumni Exhibition”; at the Rochester Institute of Tech­ nology City Center Main Gallery. North Carolina, Asheville April 7-June2“Twenty Years of Excellence in Clay”; at the Folk Art Center, Blue Ridge Parkway. North Carolina, Charlotte through July 21 “North Carolina Crystalline Ceramics”; at the Mint Mu­ seum of Art, Bridges and Levine galleries, 2730 Randolph Road. North Carolina, Seagrove April 1-30 Stoneware by Richard Aerni and Hank Goodman, raku by Kerry Gonzalez and Charlie Riggs, and porcelain

82 CERAMICS MONTHLY by Don Davis and Loren Lukens; at Tom Gray Art Museum, Landmark Building A, Fort Mason. Show”; at Iowa Artisans Gallery, 117 E. College St. Pottery, 1480 Fork Creek Mill Road. April 10—August 11 “Mingei: Two Centuries of Kansas, Topeka through April 28“ Topeka Com­ Ohio, Grove City through April 20“ Teacup, Mug Japanese Folk Art”; at the Asian Art Museum of petition 20”; at Gallery of Fine Arts, Topeka and and Stein”; at Coffee Break, 4046 Knapp Ave. San Francisco, Golden Gate Park. Shawnee County Public Library, 1515 S.W. Tenth. Ohio, Wooster through April 13 “24th Annual Colorado, Greeley May 8—10 “National Greeley Kansas, Wichita through April 7“Art Show at the Functional Ceramics Exhibition”; at the Wayne Art Exhibition”; at Bank One, Seventh Street and Dog Show”; at the Foyer Gallery, Century II Center for the Arts, 237 South Walnut Street. Ninth Avenue. Convention Center. Pennsylvania, Ephrata April29—May Ij?“Fourth D.C., Washington May 12 through 1997“Puja: April 5—7 “Art Show at the Dog Show”; at the Annual Strictly Functional Pottery National”; at Expressions of Hindu Devotion,” exhibition of Kansas Coliseum. the Market House Craft Center, Artworks at 125 works, including terra cotta; at Arthur M. Kentucky, Louisville through April 6Two-person Doneckers, 100 North State Street. Sackler Gallery, Smithsonian Institution, 1050 exhibition with ceramics by Halena Cline; at Pennsylvania, Erie through May 11 “On/Off the Independence Avenue, Southwest. Kentucky Art and Craft Gallery, 609 W. Main St. Wall”; at Potscape Gallery, 3901 West 26th Street. Florida, Tampa April 5-May 23 “National Open Louisiana, Lafayette through April 12 “Lafayette Pennsylvania, Jenkintown through April 13 “Clay Juried Exhibition”; at Artists Unlimited, Channel Art Association 1996 National Juried Competi­ on the Walls,” with works by Jill Bonovitz, Steven District, 223 North 12th Street. tion of Two- and Three-Dimensional Art”; at the Donegan, Suzanne Driscoll, David Gamber, Lori Georgia, Atlanta through May 4 “Spotlight ’95”; Lafayette Art Gallery, 700 Lee Avenue. Haggart, Emily Paulier, Dina Schmit, Dale at the Atlanta International Museum of Art and Massachusetts, Duxbury April 12—September 8 Shuffler, Ken Vavrek and Paula Winokur; at Design, 285 Peachtree Center Avenue. “Kindred Spirits: The Eloquence of Function in Abington Art Center, 515 Meetinghouse Road. Iowa, Iowa City April 16-May 31 “The Home American Shaker and J apanese Arts of Daily Life”; Pennsylvania, Orefield through April 6“Vcm\sy\- vania Clay and the California Fire”; at Artzon Cooperative Art Gallery, 7564 Kernsville Road. Rhode Island, Kingston May 9-25 “24th Annual Rhode Island Earthworks Exhibit”; at the South County Art Association, Helme House, 2587 Kingstown Road. Texas, Denton April 15-May 10 “First National Pump Bottle Exhibition”; at the University of North Texas, School of Visual Arts. Texas, San Angelo April 18-June 1 “Eleventh Annual San Angelo National Ceramic Competi­ tion”; at the San Angelo Museum of Fine Arts, 704 Burgess Street. Vermont, Montpelier through April 30 “Crea­ tures in Clay.” through May 31 Exhibition of work by Sara Mills and Michel Viala; at the Vermont Clay Studio, 24 Main Street. Virginia, Alexandria through April 21 “A Celebra­ tion of 50 Years.” April 23-May 28 “Playing with Fire,” works by Ceramic Guild members; at Tor­ pedo Factory Art Center, 105 North Union Street. Virginia, Arlington through May 4 “Message in a Bottle: Contemporary Pictorial Pots”; at the El­ lipse Arts Center, 4350 North Fairfax Drive.

Ceramics in Multimedia Exhibitions Arizona, Scottsdale through April 10 Exhibition including ceramics by Harrison Begay, Hubert Candelario, Linda Tafoya Oyenque and Russell Sanchez; at Gallery 10, 7045 Third Ave. Arizona, Tucson through April 27 Three-person exhibition with ceramics by Donna Anderegg and Wesley Anderegg; at Obsidian Gallery, Saint Philips Plaza, 4340 North Campbell Avenue, Suite 90. Arkansas, Little Rock through April/^“Regional Craft Biennial”; at the Decorative Arts Museum, MacArthur Park, Ninth and Commerce. Arkansas, Springdale May 1—31 “14th Annual Women’s National Juried Art Exhibition”; at the Art Center of the Ozarks. California, La Jolla April 6-May 12 “It’s About Time”; at Gallery Alexander, 7850 Girard Ave. California, Los Angeles April 20-May 25 “Hot Tea”; at del Mano Gallery, 11981 San Vicente Boulevard. California, Palm Springs through April 14 “Palm Springs Desert Museum Artists Council Annual Juried Exhibition”; at the Palm Springs Desert Museum, 101 Museum Drive. California, Palo Alto through April 21 “The Es­ sential Object”; at the Palo Alto Cultural Center, 1313 Newell Road. California, Sacramento May 31-]uly 11 “70th Kingsley Juried Art Exhibition”; at Crocker Art Museum, 216 O Street. California, San Francisco through May 26“S mall Wonders”; at the San Francisco Craft and Folk

April 1996 83 Calendar

at the Art Complex Museum, 189 Alden Street. Massachusetts, Springfield April 3—June 1 “The White House Collection of American Crafts”; at the Museum of Fine Arts, corner of State and Chestnut streets. Michigan, Detroit April 19-May 19 “Humans Need Figurative Art”; at Swann Gallery, 1250 Library Street. April 19-June 1 Four-person exhibition including ceramics by Karen Benson; at A. C. T. Gallery, 29 East Grand River. Minnesota, Saint Paul May 9—June 30 “FOCUS on 1995 Award Winners,” including ceramics by Chris and Sue Holmquist; at Craft Connection Gallery, 1692 Grand Avenue. Missouri, Kansas City through May 19 “Made in America: Ten Centuries of American Art”; at the Nelson-Atkins Museum of Art, 4525 Oak St. Missouri, Saint Louis through April 12 “Be­ yond...Two Dimensions”; at Art St. Louis, St. Louis Design Center, Seventh Floor Gallery. Missouri, Warrensburg April 1-18 “Central’s Art Department Faculty Show”; at Central Missouri State University, Art Center Gallery, 217 Clark. New Jersey, Newark through June 30 “Cooking for the Gods: The Art of Home Ritual in Bengal”; at the Newark Museum, 49 Washington Street. New York, Albany through May 23 “The 1995 New York State Biennial.” through September 6 “Ways We Collect: From the Collections,” in­ cludes early New York ceramics; at the New York State Museum, Madison Avenue. New York, Brooklyn through July 14 “Converg­ ing Cultures: Art and Identity in Spanish America”; at the Brooklyn Museum, 200 Eastern Parkway. New York, New York through June 9 “The Ce­ ramic Studio,” reproduction of a ceramist’s stu­ dio, including works-in-progress and equipment; at the American Craft Museum, 40 W. 53rd St. New York, Staten Island through May 5 “Staten Island Biennial Juried Craft Exhibition,” with ceramics by Don Cheek, George Graf, Larry B. Percy and Tal Shofman-Schejter; at Staten Island Institute of Arts and Sciences, 7 5 Stuyvesant Place. Ohio, Columbus April 14-June 9 “The Best of 1996”; at the Ohio Craft Museum, 1665 West Fifth Avenue. Ohio, Mansfield through April 7 “Annual All- Ohio Juried Art Exhibition 1996”; at Pearl Conard Art Gallery, the Ohio State University at Mansfield, 1680 University Drive. Oklahoma, Tulsa April 14—June 2 “Elvis + Marilyn: 2 X Immortal”; at the Philbrook Mu­ seum of Art, 2727 South Rockford Road. Oregon, Corvallis through April 5 “Women’s Vision”; at Corvallis Arts Center, 700 Southwest Madison. Pennsylvania, Elkins Park April 13—June 1 “New Art/Northwest,” including ceramics by Jim Kraft; at Gallery 500, Church and Old York roads. Pennsylvania, Radnor April 5—28 “Why Art Is Necessary”; at Chilton Publishing Company, Chilton Way. Tennessee, Chattanooga through August 31 “ 1995-1996 Sculpture Exhibit”; at River Gallery, 400 East Second Street. Tennessee, Cookeville April 1—30 “Collect All Six!” works by six craftspeople in the Emerging Professional Artists Program, including ceramics by William C. Thompson; at Tennessee Techno­ logical University’s Appalachian Center for Crafts, off Highway 1-40, exit 273. Tennessee, Nashville May 4-June 16 “The Best of Tennessee Crafts”; at Parthenon Gallery, Cen­ tennial Park. Continued

84 CERAMICS MONTHLY April 1996 85 Calendar

Utah, Cedar City April 4-26“Traditional Mate­ rials—N ew Expressions”; at B raith waite F ine Arts Gallery, Southern Utah University, 351 West Center. Virginia, Norfolk April26—June30“&Kn Center 6th Annual Mid-Atlantic Art Exhibition”; at d’Art Center, 125 College Place. Virginia, Richmond through April 6 “Virginia Commonwealth University Senior Students Show: Wood, Clay, Glass, Metals, Fibers”; at the Hand Workshop, Virginia Center for the Craft Arts, 1812 West Main Street.

Fairs, Festivals and Sales Alabama, Birmingham April 26-28 “13th An­ nual Magic City Art Connection”; at Linn Park, adjacent to the Birmingham Museum of Art. California, Pasadena May 10-12 “Contempo­ rary Crafts Market”; at the Pasadena Center Exhi­ bition Hall, 300 East Green Street. Connecticut, Greenwich May 4—5 “Second An­ nual American Crafts at Greenwich”; at Roger Sherman Baldwin Park. D.C., Washington April 25-28 “14th Annual Smithsonian Craft Show”; at the National Build­ ing Museum, Fourth and F streets, Northwest. Florida, Gainesville April 13-14 “27th Annual Santa Fe Community College Spring Arts Festi­ val”; downtown. Maryland, Gaithersburg April 12— 7^“Sugarloaf s 21 st Annual Spring Gaithersburg Crafts Festival”; at the Montgomery County Fairgrounds. Maryland, Ocean City May 2-5“Springfest ’96”; at the Inlet Parking Lot, downtown. Maryland, Timonium April 26—28 “Sugarloaf s 19th Annual Spring Timonium Crafts Festival”; at the Maryland State Fairgrounds. Massachusetts, Lexington May 10—11 “Pottery Sale,” works by the Ceramics Guild; at Lexington Arts and Crafts Society, 130 Waltham Street. Michigan, Birmingham June 1—2 “Art Birming­ ham ’96”; downtown. Michigan, Novi April 19-21 “Sugarloaf s Second Annual Spring Novi Art Fair”; at the Novi Expo Center. Minnesota, Saint Paul April 12-14 “ACC Craft Fair Saint Paul”; at Saint Paul Civic Center. New Jersey, Somerset May 17—19 “Sugarloaf s Third Annual Spring Somerset Crafts Festival”; at the Garden State Exhibit Center. New York, Greenwich May 10-12 “The Seventh Annual Adirondack Mountain Craft Fair”; at Washington County Fairgrounds. New York, Long Island April 12-14 “12th An­ nual Spring Fling Crafts Festival”; at the Nassau Coliseum. New York, New York through April 7 “Sixth Annual Seconds Sale”; at TriBeCa Potters, 443 Greenwich Street, second floor. Oregon, Portland April 26—28 “Oregon Potters Association Ceramic Showcase”; at the Oregon Convention Center, Exhibit Hall A, 111 North­ east Martin Luther King Jr. Boulevard. South Carolina, Greenville May 3—5“Coca-Cola River Place Festival”; along the banks of the Reedy River District. Texas, San Antonio April 20-21 “Fiesta Arts Fair”; at Southwest Craft Center, 300 Augusta. Virginia, Arlington April 13 “Second Annual BOWL-A-RAMA,” contests of skill and endurance with guest judge Ron Meyers. Fee: $15, includes lunch and souvenir. Contact the Lee Arts Center, 5722 Lee Highway, Arlington 22207; or tele­ phone (703) 358-5256. Continued

86 CERAMICS MONTHLY April 1996 87 Calendar building Workshop” with Ben Owen III, build­ ing, loading and firing a wood-burning ground­ hog kiln. Participants should bring bisqueware. Fee: $600, includes materials, firing, lodging and Virginia, Manassas May 3-5 “Sugarloaf s First one meal per day. Registration deadline: April 8. Annual Spring Manassas Crafts Festival”; at the Contact the Hambidge Center, Post Office Box Prince William County Fairgrounds. 339, Rabun Gap 30568; telephone (706) 746- Wisconsin, Stevens Point April I^“24th Annual 5718 or fax (706) 746-9933. Festival of the Arts”; at the Fine Arts Building, Kentucky, Midway April 19 “Art or Process,” Interior Courtyard, University of Wisconsin- slide presentation with Andrea Gill. For further Stevens Point. information, contact Steve Davis-Rosenbaum, Midway College, (606) 846-5415. Workshops Maine, Portland April27or June 15 “ Raku Work­ shop”; fee: $35. May 18 “Slip Trailing, the Possi­ Arizona, Sedona May 18-19 Lecture/demonstra­ bilities” with Ken Henderson. Fee: $35. Contact tion of throwing, glazing and firing techniques Portland Pottery, 118 Washington Avenue, Port­ with Tom Coleman. Fee: $100. Limited space. land 04101; telephone (207) 772-4334. Contact Sedona Clay Works, 45 Finley Dr., Ste. Maryland, Baltimore April 13—14 “Wood Fir­ A, Sedona 86336; telephone (520) 282-0130. ing” with McKenzie Smith. Fee: $70. April 27 California, Mendocino April 13-14 “Wheel “Clay as First Language: Invoking the Muse” with Throwing” with Mark Gordon. April 20—21 poet Kendra Kopelke and potter Ebby Malmgren. “Color, Form and the Figure” with Catherine Fee: $30. April28 “Raku Workshop” with Sarah Merrill. April 27—28 “Journey to the Goddess” Barnes. Fee: $55. May 18-19A session with Scott with Gillian Hodge. May 4-5 “Kilnbuilding” Tubby, producing saggar-fired pots. Fee: $75; with Kent Rothman. May 18-19 “Handbuilding members, $70. Contact Baltimore Clayworks, with Porcelain” with Karen Sullivan. Fee: $95; 5706 Smith Avenue, Baltimore 21209; or tele­ members, $75. For further information, contact phone (410) 578-1919. Mendocino Art Center, 45200 Little Lake Street, Maryland, Frederick April 17,20-21 and28K\\n Post Office Box 765, Mendocino 95460; or tele­ loading, firing, unloading with John Thies. Par­ phone (707) 937-5818. ticipants should bring a minimum of 10 bisqued California, Ridgecrest May 3—4 “Tile Making, pieces. Fee: $215. May 17—19 “Soda-fire Work­ Glazing and Marketing” with Paul Lewing. Con­ shop” with Ruth Tudball. Fee: $85. Contact tact Paul Meyers, Cerro Coso Community Col­ Joyce Michaud, Hood College Art Dept., 401 lege, 3000 College Heights Boulevard, Ridgecrest Rosemont Ave., Frederick 21701; telephone (301) 93555; or telephone (619) 375-5001, extension 698-0929 or (301) 696-3460. Or, telephone John 238, or E-mail [email protected] Thies for his workshop, (301) 898-3128. California, San Francisco May 10-12“An Over­ Massachusetts, Williamsburg^4pnl27-25?“Work- view of Crafts Marketing” with Judy Stone. Fee: ing with Colored Clays: A Japanese Approach to $75 before April 29; $85 after. Sponsored by the the Vessel” with Debbie Freed.May 11—13 “Clay: Women’s Building, Women’s Initiative for Self- Surfaces, Textures, Saggar Firing” with Elizabeth Employment and Alumnae Resources. Preregis­ MacDonald. Contact Horizons, 108 North Main tration recommended. For further information or Street, Sunderland, Massachusetts 01375; or tele­ to register, telephone (415) 821-6480. phone (413) 665-0300. California, Sonoma April 20—21 A session with Michigan, Kalamazoo May 20-24 “Single-fired Don Reitz. Fee: $65; $40, 1 day only; $10, lecture Ceramics” with Steven Hill. Fee: $200; members, only. Contact Pottery at the Center, Sonoma $ 180; includes materials and firing. Contact Tom Community Center, 276 East Napa Street, Kendall, Kalamazoo Institute of Art, 314 South Sonoma 95476; or telephone (707) 938-4626, fax Park Street, Kalamazoo 49007; or telephone (616) (707) 938-4792. 349-7775. California, Walnut Creek May 11 “Soda Solu­ Michigan, Oxford May 17-19S\\de lecture (May tions” with RuthanneTudball. Fee: $40, includes 17) and hands-on workshop with Karen Orsillo, potluck lunch. Contact Walnut Creek Civic Arts handbuilding colored clay. Fee: $190, includes Education, Post Office Box 8039, Walnut Creek camping and meals. Contact the Imagine/REN- 94596; or telephone (510) 943-5846. DER Group, 2691 Noble Road, Oxford 48370; or Colorado, Boulder April 12—13 “Tile Making,” telephone (810) 628-4842. lecture (April 12) and workshop (12-13) with Minnesota, Saint Paul May 1 A conversation Cary Esser. Workshop fee: $45 (lecture is free). between ceramist Randy Johnston and his father, Sponsored by the Boulder Potters Guild. Contact a retired ceramics engineer, about the similarities Caroline Douglas, 1527 North Street, Boulder and differences in their approaches to the creative 80304; or telephone (303) 447-0110. process. Location: Science Museum auditorium, Connecticut, Brookfield April 13—14 “Raw Ma­ Tenth and Cedar. Fee: $5; Northern Clay Center terials and Glazes for Ceramics,” slide lecture and or Science Museum members, $4. Contact the demonstration with Jeff Zamek. April 27—28 Northern Clay Center (612) 642-1735, or the “High-fire Glaze Workshop” with Stephen Science Museum (612) 221-9444. Rodriguez. May 11-12 “Pottery Workshop” with Montana, Great Falls April 13-14 Demonstra­ Byron Temple. Contact Brookfield Craft Center, tion of throwing and altering with Diane Post Office Box 122, Route 25, Brookfield 06804; Rosenmiller. Fee: $70. Contact Great Falls Pot­ or telephone (203) 775-4526. tery Company, 2600 First Avenue, North, Great Connecticut, Guilford May 4, 11, 18, June 1, 8 Falls 59401; or telephone (406) 453-6538. and 15 “Clay Sculpture” with Dodie Marchese. Montana, Helena April20—21 “Figurative Hand­ Fee: $128. Contact the Guilford Handcraft Cen­ building” with Brad Borst and Monica Van den ter, Post Office Box 589, 411 Church Street, Dool. Fee: $125. Limited to 15 participants. Guilford 06437; or telephone (203) 453-5947. Contact Archie Bray Foundation, 2915 Country Connecticut, Middletown May 18—19 Lecture Club Avenue, Helena 59601; telephone (406) and demonstration with John Leach. Fee: $125. 443-3502 or fax (406) 443-0934. Contact Melissa Schilke, Wesleyan Potters, 350 New Mexico, Acoma April 20-27 Workshop South Main Street, Middletown 06457; or tele­ with Nancee Meeker plus Emma Lewis Mitchell phone (860) 347-5925. and Dolores Lewis Garcia. Contact Horizons, Georgia, Rabun Gap April 22-May 5 “Kiln- 108 N. Main St., Box421-C, Sunderland, Massa-

CERAMICS MONTHLY chusetts 01375; or telephone (413) 665-0300. New Mexico, Santa Fe April 20—21 “Drawing and Painting on Porcelain,” hands-on session with Tina Davila. Fee: $90. Contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; or telephone (505) 984-1122. North Carolina, Asheville May 31-June 1 A session with John Leach. Fee: $95, includes con­ tinental breakfast and lunch each day. Contact Odyssey Center for the Ceramic Arts, Highwater Clays, Post Office Box 18284, Asheville 28814; or telephone (704) 252-6033. June 1 “Clay Day,” ceramists demonstrate throw­ ing, handbuilding, raku firing, etc., plus visitors have opportunity to glaze and raku fire a pot. Location: Folk Art Center of the Southern High­ land Craft Guild. Contact the Folk Art Center, Post Office Box 9545, Asheville 28815; or tele­ phone (704) 298-7928. North Carolina, Brasstown April 14—20 “Hand­ building and Slab Construction” with Judy Robkin. May 3-11 “Wood Firing Porcelain and Stoneware” with Marcia Bugg. Fee: $362. May 19—25 “Earthenware Encounter” with Mary Dashiell. May 26-June 1 “Textured Press Mold­ ing” with John Ransmeier. Fee (unless noted above): $232. Contact John C. Campbell Folk School, Route 1, Box 14A, Brasstown 28902; (800) 365-5724. North Carolina, Winston-Salem April 12—14 “New Technologies” focusing on computer appli­ cations for artists. Sessions include “Computers and Ceramics” with Richard Burkett, “Digital Imaging” with photographer John Lund, and “CD-ROM Possibilities for Artists and Crafts­ men” with metalsmith Bob Mitchell. Fee: $85- $150. Preregistration required. Contact New Technologies, Sawtooth Center for Visual Art, 226 North Marshall Street, Winston-Salem 27101; or telephone (910) 723-7395. Ohio, Columbus April 27—28 “Midwest Craft Conference,” includes workshop with Cynthia Bringle. For registration information, send SASE to Ohio Designer Craftsmen, 1665 West Fifth Avenue, Columbus 43212; or telephone (614) 486-4402. Ohio, Logan May 19-25“Pipe Sculpture Work­ shop” with Jerry L. Caplan, working with sewer- pipe extrusions. Intermediate through professional. Fee: $300, includes materials and firing. To apply, send slides and SASE by May 1 to Jerry L. Caplan, Director/Instructor, Pipe Sculpture Workshop, 5819 Alder Street, Pittsburgh, Pennsylvania 15232; or telephone (412) 661-0179. Ohio, Wooster April 11—13 Workshops with Joe Bennion and Sandi Pierantozzi. For further infor­ mation, contact Phyllis Blair Clark, 102 Oakmont Court, Wooster 44691. Oklahoma, Norman April27—28Demonstration of throwing, trimming and finishing, glazing and decorating with Sarah Jaeger. Fee: $44, includes registration. Contact the Firehouse Art Center, 444 South Flood, Norman 73069; or telephone (405) 329-4523. Oklahoma, Oklahoma City April 12-14 “Func­ tional Ware Workshop” with Lyn Munns. Fee: $100; limited to 10 participants. May 11 “Kinetic Clay Workshop” with Tom Parshall. Fee: $40; limited to 12 participants. Contact City Arts Center, 3000 Pershing Boulevard, Oklahoma City 73107-6202; or telephone (405) 951-0000, fax (405) 951-0003. Pennsylvania, Bushkill April20—21 “Raku Firing Made Easy” with Rod Meyer. Location: Pennsyl­ vania Crafts Gallery. For further information, contact Pennsylvania Guild of Craftsmen, Post Office Box 108,State College, Pennsylvania 16804- 0108; telephone (814) 231-0565. Pennsylvania, Doylestown September 3—Novem-

April 1996 89 Calendar

ber 23 “Moravian Pottery and Tile Works Ap­ prentice Workshops,” forming and reproduction techniques, including tile/mosaic making, mold work, glaze application, saggar firing and cement installation. Limited to three participants. To apply, send ten slides of recent work, resume, artist’s statement, cover letter detailing expecta­ tions of the experience and two letters of recom­ mendation. Application deadline: June 3. Con­ tact the Apprentice Program, Moravian Pottery and Tile Works, 130 Swamp Road, Doylestown 18901. Pennsylvania, Harrisburg April 27 “Clay: Cre­ ativity, Content and Construction” with Joshua Green, demonstration and slide lecture on throw­ ing and handbuilding techniques. Fee: $30; lec­ ture only, $5. Registration deadline: April 22. Limited enrollment. Send SASE to Kim Bowie, Art Association of Harrisburg, 21 North Front Street, Harrisburg 17101. Rhode Island, Kingston April ^“Handbuilding/ Working with Extrusions” with Hayne Bayless. May 5 “Throwing/Altered Forms” with Woody Hughes. Fee per session: $40; members,' $35. Contact South County Art Association, 2587 Kingstown Road, Kingston 02881; or telephone (401) 783-2195. Vermont, Bristol May 10-12 “Throwing Giant Pots” with Robert Compton. Intermediate. Fee: $320, includes materials and meals. For further information, contact Robert Compton Pottery, RD 3, Box 3600, Bristol 05443; or telephone (802) 453-3778. Vermont, Montpelier May 31 Demonstration with Sara Mills and Michel Viala. Contact the Vermont Clay Studio, 24 Main Street, Montpe­ lier 05602; or telephone (802) 223-4220. Virginia, Arlington April 12 Panel discussion with Mary Lou Deal, Steven Glass and Ron Meyers. Contact the Ellipse Arts Center, 4350 North Fairfax Drive, Arlington 22203; or telephone (703) 358-7710. April23—28 “Functional Stoneware in the ’90s— Single Firing” with Steven Hill. Fee: $275. May 17-18 Slide lecture and demonstration with Randy Johnston. Fee: $50. Contact the Lee Arts Center, 5722 Lee Highway, Arlington 22207; or telephone (703) 358-5256.

International Events Australia, Queensland, South Brisbane through May 2 “Contemporary Ceramics from the Collec­ tion.” April 4—June 23 “Gwyn Hanssen Pigott: A 20-Year Survey”; at Queensland Art Gallery, Queensland Cultural Centre, South Bank. Belgium, AndenneMay 26—27 “Fifth Interna­ tional Biennial Ceramic Festival”; at Artecerame, rue de Halliot, 2. Belgium, Houtave May 1-June 30 Exhibition of ceramic sculpture by Karel Pauzer and Hana Purkrabkova; at Gallery de Roeschaert, Kerkhof- straat 12. Canada, Alberta, Banff May 25—26 “Explora­ tions in Raku” with Ed Bamiling. Beginning and intermediate. Fee: Can$l40 (approximately US$ 100), includes firing. Contact Registrar, Banff Centre for the Arts, Box 1020, Banff T0L 0C0; or telephone (403) 762-6180. Canada, B.C., Victoria May 25-26 “Fired Up! Contemporary Works in Clay” by 14 British Columbia potters, plus teapot exhibition; at Metchosin Community Hall, 4401 William Head Road. Canada, Ontario, Toronto through September 8

90 CERAMICS MONTHLY April 1996 91 Calendar

“White Gold: The Discovery of Meissen Porce­ lain”; at George R. Gardiner Museum of Ceramic Art, Royal Ontario Museum, 100 Queen’s Park. April 4—27“Of Gardens,” exhibition of ceramics by M. Ackermann-Karsh, K. Pavey, T. Pellettier andj. Smith, A. Torma. May 2—June 1 Exhibition of sculpture by Susan Low-Beer; at Prime Gallery, 52 McCaul Street. April 18-21 Exhibition of sculpture, plates, vases by Louis Mathe; at the Civic Garden Centre, 777 Lawrence Avenue, East. May 10-12 “Thirteenth Annual Spring Show and Sale”; at Woodlawn Pottery Studio, 80 Woodlawn Avenue, East. Canada, Ontario, Waterloo through May 20 “White on White: Contemporary Canadian Ce­ ramics,” exhibition of works by 19 artists; at Canadian Clay and Glass Gallery, 25 Caroline Street, North. September27-29“Workshop ’96,” throwing and assembling large functional stoneware vessels with Takeshi Yasuda. Fee: before June 1, Can$110 (approximately US$78); after June 1, Can$125 (approximately US$88). Contact Canadian Clay and Glass Gallery, 25 Caroline Street, North, Waterloo N2L 2Y5; telephone (519) 746-1882, or fax (519) 746-6396. Canada, Quebec, Westmount May 9-25 Exhibi­ tion of sculpture by Claire Salzberg; at the Visual Arts Centre, 350 Victoria Avenue. England, Cambridge April9-13 “Handbuilding/ Smoke Firing” with Jane Perryman. Contact Jane Perryman, 102 Sturton St., Cambridge CB1 2QF. England, Chichester April 7-12 “Pottery Gen­ eral—Handbuilding and Throwing” with Alison Sandeman. April 14-19 “Pots for Plants” with Gordon Cooke. For further information, contact West Dean College, West Dean, Chichester, West Sussex PO18 0QZ; or telephone (243) 811-301; fax (243) 811-343. England, London through April 25 Exhibition of ceramics by Gordon Baldwin; at Galerie Besson, 15 Royal Arcade, 28 Old Bond Street. April 16-May 12 Exhibition of ceramics by Gabriele Koch; at Crafts Council Shop at the Victoria &C Albert Museum, South Kensington. May .9 Auction of “Fine European Sculpture and Works of Art of the 18th and 19th Centuries and Sevres Biscuit Porcelain.” May 22 Auction of “Important Early European Works of Art, Sculp­ ture and Maiolica”; at Bonhams, Montpelier Street. May 23-August 31 “Empire of the Sultans: Otto­ man Art from the Khalili Collection”; at Brunei Gallery, Thornhaugh Street, Russell Square, Uni­ versity ofLondon. England, Oxford through April 17 Two-person exhibition with porcelain by Sarah Jane Selwood. April 22-May 22 “The Gardeners Guide to Pot­ ting,” with ceramics by Rupert Blamire, Marion Brandis, Steve Dixon, Jonathan Garratt, Cleo Mussi, Peter Stoodley, Mariette Voke, Sarah Walton and Jon Williams; at Oxford Gallery, 23 High Street. England, Wimborne Minster through April 21 Exhibition of ceramics by Will Levi Marshall; at Walford Mill Craft Center. France, Chatillon sur Chalaronne (near Lyon) April 17—24 Handbuilding, throwing, slip cast­ ing, modeling plaster, glazing, painting on china with Dominique Marhem. Instruction in French. Beginning through advanced. Contact Peter Rabiet, CEDTE/Workshop, Noblette St., 51600 La Cheppe, France; or telephone (26) 66 92 81. France, Dunkerque through April 30 “The Raw and the Cooked: New Work in Clay in Britain”;

92 CERAMICS MONTHLY April 1996 93 Calendar

at Musee d’Art Contemporain, Jardin des Sculp­ tures. France, Nancay through May 2 “Les Artistes Per­ manents de la Galerie”; at Galerie Capazza, Grenier de Villatre. France, Strassbourgylprzl-/une “A European River in the Civilization of the 20th Century,” includ­ ing ceramics by Herman Makkink; at Musee d’Art Moderne et Contemporain. Germany, Dusseldorf through April 14 “Friihes Meissener Porzellan und die Ostasiatischen Vor- bilder aus der Porzellan-Sammlung im Zwinger, Dresden”; at Hetjens-Museum, Schulstrasse 4. Germany, Stuttgart through May 12 “Exhibition of sculpture by Robert Sturm; at Wiirttem- bergisches Landesmuseum Stuttgart, Altes Schloss, Schillerplatz 6. Hong Kong, Central April9-25 “Children’s Clay Festival,” exhibition of works by 5- to 14-year- olds. June 6-14“The New Teapot,” exhibition of ceramics by Peter Chan; at the Pottery Workshop, the Fringe, 2 Lower Albert Road. Italy, Milano May 4-12 “Internazionale dell’Anti- quariato”; at Fiera Milano. Netherlands, Delft through April 28 Exhibition of porcelain by Erik Jan Kwakkel. May 11—June 22 “Tien jaar Terra Keramiek”; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer April 14—May 75 Exhibi­ tion of stoneware by Keisuke Ueno and Ragnhild Stuberg. May 19-June22Wood-fued ceramics by Eric Astoul, Thiebaut Chague, Jan Kollwitz, Torbjorn Kvasbo, Herve Rousseau, Patrick Sargent and Seung-Ho Yang; at Loes and Reinier Interna­ tional Ceramics, Korte Assenstraat 15. Netherlands, Dordrecht May-JuneExhibition of ceramics by Paul Amey; at Galerie Pictura. Netherlands, Leiden through May 28“ Orientatie Hedendaagse Indonesische en Nederlandse Kunst,” with ceramics by Andar Manik; at Stedelijk Museum de Lakenhal, Oude Singel 28-32. Netherlands, Oosterbeek through April 14 “10 Years Amphora: Highlights of European Deco­ rated Porcelain,” works by Arne Ase, J enny Beavan, Maria Bofill, Mieke Everaet, Judith Hodos, Pavel Knapek, Johan van Loon, Bodil Manz, Ursula Scheid and Sasha Wardell. April21-May 7,9Exhi­ bition of dishes and sculptures by Peter Krijnen; at Galerie Amphora, Van Oudenallenstraat 3. Netherlands, Oosterwolde May 27-31 “Raku Workshop” with Kees Hoogendam. Fee: FI 475 (approximately US$300), includes materials, firing, lodging and meals. For further informa­ tion, contact Kees Hoogendam, de Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or telephone (51) 658-8238. Netherlands, Schiedam May—June 15 “4 Bra- ziliaanse kunstenaars,” works by Celia Cymbalista, Carmela Gross, Ester Grinspun and Georgia Kyriakakis; at Stedelijk Museum, Hoogstraat 112. Norway, Fredrikstad through April 70“N ewYork, New York: Clay”; at Ostfold Art Center. Norway, Oslo through April 14 Exhibition of trompe l’oeil sculptural teapots by Ah-Leon; at Format Kunsthandverk, Vestbaneplassen 1. Scotland, Glasgow April 6-30 Exhibition of ce­ ramics by Judith Gilmour. May 4—June 7“Zoo,” exhibition of ceramics inspired by animals; at t. Garner Gallery, 4 Parnie Street. Switzerland, Zurich April4-July 7^“Chinese Art in Zurich,” includes new archaeological finds; at Museum Rietberg, Gablerstrasse 15. Wales, Aberdeen April 13—June 15 Morgen Hall tableware, “The Breakfast, Lunch and Dinner Party”; at James Dun’s House.

94 CERAMICS MONTHLY April 1996 95 Questions Answered by the CM Technical Staff

Q I am looking for a transparent glaze for low temperatures that does not craze. Any sugges­ tions?—A.H. Finding a craze-free glaze recipe is depen­ dent on the underlying clay body, as crazing is typically caused by differences in contraction between the body and glaze during cooling. For anyone to suggest a possible solution to your crazing problem would require some informa­ tion about the clay body you currently use. I have developed the following recipes for my wheel-thrown and assembled vessels: Woody’s Earthenware Body (Cone 06-04) Talc...... 10.0% Cedar Heights Goldart...... 20.0 Cedar Heights Redart ...... 55.0 Kentucky Ball Clay (OM 4) ...... 15-0 100.0% Add: Barium Carbonate...... 0.5% The barium carbonate addition is to prevent soluble salt scumming.

Woody’s Clear Base Glaze (Cone 05-04) Gerstley Borate...... 26 % Lithium Carbonate...... 4 Frit 3124 (Ferro)...... 30 Nepheline Syenite...... 20 Edgar Plastic Kaolin...... 10 Flint (325 mesh) ...... 10 100 %

Color variations are possible with oxide, car­ bonate or stain additions. The clear glaze is applied thinly (I prefer to brush, but dipping is possible) after a Cone 06 bisque firing. Glaze firing is to Cone 04 in the ldln sitter or witness Cone 05 flat. Try testing this recipe on your clay body. If crazing is still a problem, you could substitute a finer mesh flint. You could also increase the amount of flint by small increments. Several other recipe possibilities that could serve as a starting point for further experimen­ tation were included in the list of glazes pub­ lished on pages 71-80 in the June/July/August 1993 issue of CM. Woody Hughes Potter/Adjunct Professor, Dowling College Wading River, New York

Subscribers’ questions are welcome and those of gen­ eral interest will be answered in this column. Due to volume, letters may not be answered personally. Ad­ dress the Technical Staff, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788.

96 CERAMICS MONTHLY April 1996 97 All skill levels. Fees vary. Contact Lisa Ehrich, Summer Workshops Brookhaven College, 3939 Valley View Ln., Farmers Continued from page 38 Branch, Texas 75234; or telephone (214) 620-4730. Vermont, Bristol June 7—July 14 rials. “Wheel-thrown Pottery” with Valda Cox (Au­ “Experiencing the Fire” with Robert Compton, firing gust 12-17 or 19-24); fee: $240, includes materials. salt, raku, sawdust, pit and multichambered wood Skill requirements vary. Contact Karen Evans, Regis­ kilns (June 7-10); fee: $450, includes materials and trar, Touchstone, RD 1, Box 60, Farmington 15437; meals. “Throwing Giant Pots” with Robert Compton or telephone (412) 329-1370, fax (412) 329-1371. (July 12-14); fee: $320, includes materials and meals. Intermediate. Contact Robert Compton Pottery, Tennessee, Gatlinburg June 3—August 9 RD 3, Box 3600, Bristol 05443; or telephone (802) “Functional Stoneware in the ’90s/Single Firing” 453-3778. with Steven Hill (June 3—7). “The Pot Beyond the Wheel” with Michael Sherrill (June 10-14). “Clay: Vermont, Middlebury June 7—9 Images of the ‘Home,’ Memory, the Souvenir” with “Handbuilt Pottery Forms” with John Gill. Interme­ Mary Jo Boles (June 17-21). “Innovative Cone 6 diate and advanced. Fee: $195, includes materials. Ceramics” with Pete Pinnell and Lana Wilson (June Contact Mary Louise Carter, Vermont State Craft 24-July 5). “Does It Pour?” with Suze Lindsay (July Center at Frog Hollow, 1 Mill Street, Middlebury 8-12). “Combining Throwing and Handbuilding” 05753; or telephone (802) 388-3177. with Lucy Breslin; “Ceramic Work for the Anagama” with Paul Chaleff (July 15-26). “Salt Firing: Re­ Virginia, The Plains June 8—9 sponding to the Process” with Brad Schwieger (July “Raku” with Rick Berman. Contact the Tin Barn 29-August 2). “The Glazed Surface” with Peter Pottery/Newquist Studio, 6292 Lee St., P. O. Box Beasecker (August 5-9). Skill requirements vary. Fee: 230, The Plains 22171; telephone (540) 253-5997. $200 per week; plus $ 100 processing charge. Contact JoAnn Carver, Arrowmont School of Arts and Crafts, Washington, Bellingham July 8—26 Post Office Box 567, Gatlinburg 37738; or telephone Intensive five-credit workshop with Patrick Mc­ (423) 436-5860. Cormick. Beginning through advanced. Contact Tennessee, Sewanee Summer Patrick McCormick, Western Washington Univer­ sity, High Street, Bellingham 98225; or telephone Individual study at a production pottery. Beginning (360) 650-3660. and intermediate. Contact Hallelujah Pottery, Peter Goubeaud, Sewanee Highway, Sewanee 37375; or Washington, Wenatchee June 20—22 telephone (615) 598-0141. Saggar firing in a gas kiln with Ruth E. Allan. All skill Tennessee, Smithville June 10-July 26 levels. Fee: $97, includes materials, firing and registra­ “Functional Pottery” wi th Linda Christianson; “Sculp­ tion. Contact Ruth E. Allan, Wenatchee Valley Col­ tural Pottery” with Jack Earl (June 10-14). “Demon­ lege, Post Office Box 2111, Wenatchee 98807; or stration and Clay Secrets,” lecture/demonstration telephone (509) 662-6991. with Paul Soldner (June 15-16); fee: $125. “Ancient Clay: Exploring in Handbuilding, Decoration and West Virginia, Elkins July 14—26 Firing” with Vince Pitelka; “Pots for the Table” with “Mud and Fire” with Jeff Diehl, throwing, hand­ John Neely (June 17-21). “Form and Surface in building, decorating, raku and pit firing. All skill Colored Clay” with Vince Pitelka; “Raku” with Bill levels. Fee: $610, includes materials and firing. Con­ Thompson (July 15-19). “Large and Small Pots for tact Augusta Heritage Center, Davis & Elkins Col­ Raku” with Harry Hearne (July 22-26). Beginner lege, 100 Campus Drive, Elkins 26241; or telephone through advanced. Fee/session (unless otherwise (304) 637-1209. noted): $195, includes firing. Contact IleneJ. Qualls, Workshop Coordinator, Appalachian Center for West Virginia, Glenville June 3—August 2 Crafts, 1560 Craft Center Drive, Smithville 37166; Workshops with Charles Scott, emphasizing throw­ or telephone (615) 597-6801. ing, decorating and glazing (June 3-July 2 or July 3— August 2). Beginning through advanced. Contact Texas, Dallas May 30—June 13 Charles Scott, Department of Art, Glenville State Throwing, handbuilding, firing in wood and salt College, 200 High Street, Glenville 26351; or tele­ kilns with Lisa Ehrich and guest artist Jeff Oestreich. phone (304) 462-7361, extension 186 or 189.

Instructor Vern Roberts tending primitive kilns at the “Earth, Water, Wind and Fire” Native American pottery workshop in Florence, Colorado.

98 CERAMICS MONTHLY Wisconsin, Appleton June 16-July 28 Canada, B.C., Vancouver July 2-August 9 “China Mending and Restoration” with Gerlinde “Introductory Studio: Wheel Throwing 1 ” with Linda Kornmesser, removing stains and old repairs, bond­ Sikora (July 2-19, Mon.-Fri.). “Introductory Studio: ing, filling chips, modeling and casting replacement Wheel Throwing 2” with Linda Sikora (July 22- parts, glazing, airbrushing and drilling (June 16-23, August 9, Mon.-Fri.). “Ceramics Special Topics: July 7-14 or 21-28). Fee: $950, includes materials, Inlay and Collage” with Neil Forrest (July 22-August firing, campus housing and meals. Location: Lawrence 9, Mon.-Fri.). Intermediate. Fee: Can$356 (approxi­ University. Send SASE to Gerlinde Kornmesser, 1804½ mately US$250), includes materials and firing. For Glenview Road, Glenview, Illinois 60025; or tele­ further information, contact Isabel Scott or Sally phone (708) 724-3059. Michener, Emily Carr Institute of Art and Design, 1399 Johnston Street, Vancouver V6H 3R9; or tele­ International Workshops phone (604) 844-3800. Canada, B.C., Victoria July1—12 Belize A ugust 3—10 “Glaze and Color Development” with Robin Hop­ “Mayan Pottery Workshop.” For further informa­ per; “Throwing and Raku” with Steven Forbes-deSoule tion, contact Pacifico Clayworks, Box 131, Tome, (July 1-12). Plus: “Raku” with Walter Dexter; “Tra­ New Mexico 87060; or telephone Jan (505) 866- ditional Japanese Pottery” with Noboru Kubo (July 0582. 6—7). Intermediate. Fee: Can$525 (approximately US$380), includes materials and firing. ContactMeira Canada, Alberta, Banff June 15—July 20 Mathison, Metchosin International School of Art, “Clay, Myth and Fairy Tales” with George Kokis, RR 1, Pearson College, Victoria V9B 5T7; or tele­ giving materials from personal lives form through clay phone (604) 391-2420. Canada, Ontario, Haliburton/u/y 1—August 17 “Pottery-Beginners” with Barbara Joy Peel (July 1-6). “Pottery II” with Barbara Joy Peel (July 8-13). “Pot­ tery: Form and Function” with Jan Phelan (July 15- 19); fee: Can$l40.13 (approximately US$100), in­ cludes firing. “Pottery: The Decorated Form” with Jan Phelan (July 22-27). “Handbuilding Clay Sculp­ ture” with Dzintars Mezulis (July 29-August 2). “Pottery: Handbuilding Functional Pieces” with Wendy Walgate (July 29-August 3). “Clay Relief Sculpture” with Richard Gill (August 5-9); fee: Can$l40.13. “Raku: Special Effects I” with Michael Sheba; participants must bring 16 bisqued pieces (August 5-10). “Raku: Special Effects II” with Michael Sheba; prerequisite: Raku I (August 12-17). Skill requirements vary. Fee (unless noted above): Can$ 159.30 (approximately US $ 115), includes firing. Contact Shelley Schell, Haliburton School of Fine Arts, Box 839, Haliburton K0M ISO; or telephone (705) 457-1680. Canada, Ontario, North Bay June 3—August 9 “Wood Firing” with Jane Agnew (June 3-26, Mon. and Wed.); fee: Can$171 (approximately US$120), At Sarah Walton’s workshop in includes materials and firing. “Raku” with Judy Lowry Selmeston, England, drying large, (July 1-5). “Studio Pottery” with Jim Louie, throw­ thick-walled pots is accelerated by ing, handbuilding, some mold making (July 8-12). “Understanding Cone 6 Glazes” with Ron Roy; building a fire inside. “Handbuilding Clay Sculpture” with Dzintars Mezulis (July 15-19). “Mold Making” with Peter Sloan (July (J une 15-16); fee: Can$ 140 (approximately US$ 100), 20,21,27,28); fee: Can$l 10 (approximately US$80), includes firing. “Rockies Raku” with Ed Bamiling includes materials. “Portrait Sculpture in Terra Cotta” (July 13-20); fee: Can$495 (approximately US$350). with Christopher Rees (July 22-26). “Salt Glazing” Beginning through advanced. Contact Office of the with Sam Moligian (July 22-August 2); fee: Can$300 Registrar, Banff Centre for the Arts, Box 1020, Banff (approximately US$210), includes materials and fir­ T0L 0C0; or telephone (403) 762-6180, E-mail ing. “Figure Sculpture-Clay” with Christopher Rees, [email protected] sculpting from a live model (July 29-August 2); fee: Can$ 161 (approximately US$ 115), includes materi­ August 16—17 als. “Oversize Throwing” with Jane Agnew (August “Giant Greek Pithoi Jars” workshop with Nikos 5—9). Skill requirements vary. Fee (unless noted above): Kavgalakis, in conjunction with the “Greek/Cana­ Can$151 (approximately US$110). Contact Keith dian Intercultural Ceramics Symposium” at the Banff Campbell, Director, Artsperience, Canadore Col­ Centre for the Arts. Fee: Can$160.50 (approximately lege, 100 College Dr., North Bay PI B 8K9; telephone US$115). Registration deadline: July 1. Limited ac­ (705) 474-7601, ext. 5385, fax (705) 494-7462, or commodations are available at the Banff Centre: E-mail [email protected] Can$40 (approximately US$30) per day, double occupancy; Can$66 (approximately US$50) per day, Canada, Ontario, Oakville July 2—26 single. For further information, contact Glenys “Decorated Form” with Deborah Black (July 2-5); Marshall-Inman, Post Office Box 971, Bragg Creek, fee: Can$221 (approximately US$155), includes ma­ .Alberta T0L 0K0; or telephone (403) 931-3566, fax terials and firing. “Glaze Composition and Alteration (403) 931-3115. with Computer Accuracy” with Ron Roy (July 8-12); fee: Can$217 (approximately US$155), includes ma­ Canada, Alberta, Red Deer July 1-August 2 terials. “Handbuilding with Found Objects” with Five-day workshops in throwing, modeling, mold Wendy Walgate (July 15-19); fee: Can$219 (ap­ making, low-relief decoration, creative glazing, clay proximately US$155), includes materials and firing. printing, etc. Instructors: Jim Etzkorn, Kathryn “Stoneware and Porcelain: Throwing and Glaze Deco­ Finnerty, Brian Gartside, Evelyn Grant, Trudy Golley, rating” with Scott Barnim (July 22-26); fee: Can$216 Noboru Kubo, Mitch Lyons, Diane Sullivan, Garry (approximately US$155), includes materials. Skill Williams, Chuck Wissinger. Beginning through ad­ requirements vary. Contact Jo-Ann Shaw, Sheridan vanced. Fee/session: Can$225 (approximately College, 1430 Trafalgar Road, Oakville L6H 2L1; or US$160), includes firing. Contact Anne Brodie, Red telephone (905) 815-4024. Deer College, P. O. Box 5005, Red Deer T4N 5H5; or telephone (403) 342-3130, fax (403) 347-0399, England, Cambridge July 29—August 9 E-mail [email protected] “Handbuilding/Smoke Firing” with Jane Perryman

April 1996 99 Summer Workshops skilllevels. Fee:£135-£317 (approximately US$200- US$470), includes materials, firing, lodging, meals and transportation from train station. For further information, contact Tina Homer, Martin Homer Pottery, Lower Aston House, Aston Bank, Tenbury (July 29-August 2 or August 5-9). For further infor­ Wells, Worcestershire WR15 8LW; or telephone mation, contact Jane Perryman, 102 Sturton Street, Newnham Bridge (584) 781404. Cambridge CB1 2QF. England, Uxbridge July 1-August 2 England, Chichester June 9—August 23 “Sculpture: Terra-cotta Modeling from Life” with Jo General pottery workshop with Alison Sandeman, Miller (July 1-5); fee: £195 (approximately US$290), including glazing and firing (June 9-14). Pottery for includes materials and firing. “Garden and Patio beginners with Alison Sandeman, including raku Pottery” with George Wilson (July 1-5). “Throwing” firing (June 21-23). Pottery workshop with Alison with Brian Dewbury (July 8-12). “Mold Making and Sandeman, including raku and stoneware glaze firings Slip Casting” with David Cowley Quly 15-19). “Un­ (August 3-9); fee: £427 (approximately US$635), derstanding Glazes and Materials” with Harry includes firing, lodging and meals. Handbuilding Horlock-Stringer (July 22-27); fee: £201 (approxi­ ceramics in stoneware and porcelain, smoke firings, mately US$300), includes materials and firing. “Sur­ with Gordon Cooke (August 10-16); fee: £427. face Pattern and Decorative Techniques” with Paula Sculptural ceramics inspired by the human figure, Gray (July 29-August 2). All skill levels. Fee (unless animals and birds with Tessa Fuchs (August 17—23); noted above): £165 (approximately US$245), in- fee: £427. Skill requirements vary. Contact Heather Way, West Dean College, West Dean, Chichester, West Sussex PO18 OQZ; or telephone (243) 811301, fax (243) 811343. England, Ipswich Summer Weekly sessions in which participants can design their own experience, choosing from such processes as handbuilding, throwing, slip decorating, glazing, kiln design, pit firing, marketing, etc. Instructors: Alan and Patt Baxter. All skill levels. Fee: £255 (approxi­ mately US$380), includes materials, firing, lodging, meals, and transportation to and from train station. Contact Alan Baxter Pottery Workshop, The White House, Somersham, Ipswich, Suffolk IP8 4QA; or telephone (473) 831256. July 7—August 25 Weekly sessions on handbuilding, throwing, glazing, decorating, pit firing and wood-fired raku with Deborah Baynes. All skill levels. Fee: £270 (approxi­ mately US$400), includes materials, firing, lodging and meals. Contact Deborah Baynes Pottery Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; or telephone (473) 788300, fax (473) 787055. England, Ross-on-Wye July 22—August 3 “Working with Colored Clay and Soda Vapor” with A participant glazes a bowl during Jack Doherty (July 22-27 or July 29-August 3). a workshop with Rob Reedy at Intermediate through professional. Fee: US$320, in­ cludes materials, firing and meals. For further infor­ Arrowmont School of Arts and mation, contact Jack Doherty Summer Workshops, Crafts in Gatlinburg, Tennessee. Hook’s Cottage, Lea Bailey, Ross-on-Wye HR9 5TY; telephone/fax (989) 750644. eludes materials and firing. For further information, England, Rye Summer contact Christine Garner, Brunei University Arts Five-day sessions on slipware and high-fired earthen­ Centre, Uxbridge, Middlesex UB8 3PH; telephone ware with John Solly. All skill levels. Fee: £165 (895) 273482, or fax (895) 203250. (approximately US$245), includes materials, firing and meals. For further information, contact John France, Allegre Summer Solly Pottery, Goldspur Cottage, Flackley Ash, One- or two-week sessions on throwing, glazing, Peasmarsh, Rye, East Sussex TN31 6YH; or tele­ firing, stoneware and raku with Michel Simonot. phone (797) 230276. Beginning and intermediate. Instruction in French and English. Fee: Fr 2600 (approximately US$505) per 1 week; Fr 4700 (approximately US$910) per 2 England, Selmeston August 19—24 weeks; includes materials, firing, lodging and meals. “Salt-glaze Workshop” with Sarah Walton. All skill Contact Michel Simonot, Mas Cassac, F-30500 levels (participants can return 3 weeks later to unload Allegre; telephone (66) 24 85 65, or fax (66) 24 80 55. the kiln). Fee: £250 (approximately US$375), in­ cludes materials and firing. For further information, France, Angers August 24—31 contact Sarah Walton, ‘Keeper’s,’ Bo-Peep Lane, Sculpture, modeling, mosaics, earthenware and china Selmeston, near Polegate, East Sussex BN26 6UH; with Francois Jaillette and Henry Murail. Instruction telephone (323) 811284 or 811517. in French. Beginning through advanced. For further information, contact John Desmars, Workshop England, Southsea August CEDTE, 64 Moulin Soline, 44115 Basse-Goulaine, “Ceramic Restoration” with Mary Rose Wrangham France; or telephone (40) 06 02 07. (Mon.-Fri.). Beginning and professional. Fee: £300 (approximately US$445) per week, includes lodging France, Lyon July 23-30 and meals. For further information, contact Mary Handbuilding, glazing, painting on china, kiln de­ Rose Wrangham, Studio 304, 13 Gloucester Mews, sign, pit firing with Dominique Marhem. Instruction Southsea, Hants. P05 4EB; or telephone (705) in French. Beginning and intermediate. Contact 829863, fax (705) 871490. Andrew Gaillard, 9 Agadir, 69600 Oullins, France; or telephone (78) 50 08 97. England, Tenbury Wells Summer Weekly and weekend workshops on all aspects of Greece, Samos June 24—July 12 pottery making, emphasis on throwing, with Martin Throwing, handbuilding, terra sigillata, underglazes, Homer. Instruction in English and some French. All raku and majolica glazes, tile making. Instructor:

100 CERAMICS MONTHLY Roxie Thomas. Beginning and intermediate. Fee: Brueghel, Middegaal 23-25, 5461 XB Veghel; or US$1790, includes materials, firing and lodging. telephone (41) 336-5675. Contact Susan Trovas, Art School of the Aegean, 838 Tennessee Lane, Sarasota, Florida 34234; or tele­ Netherlands, Waverveen August 5—24 phone (941) 351-5597. Throwing; handbuilding; glazing; pit, raku, wood and gas firing with Susanne Gast and Hanneke Oort Italy, Faenza June 17-July 14 (August 5-10) or Hanneke Oort (August 19-24). “Sculpture Workshop” with Emidio Galassi and Instruction in Dutch and English. All skill levels. Fee: Josune Ruiz de Infante (June 17-23, June 30-July 6 fl 550 (approximately US$345), includes materials, or July 8-14). Instruction in Italian, Spanish and firing, lodging and meals. Contact Hanneke Oort, English. Contact Emidio Galassi, Arte Aperto, Via Poeldijk 8, 3646 AW Waverveen; telephone (29) Castellina 4, 48018 Faenza; or telephone/fax (54) 728-3707 or fax (29) 727-2995. 668-0398. Spain, Agost May 30-June 27 Italy, Firenze Summer Throwing, handbuilding, raku and sawdust firing, Two-week workshops on handbuilding, throwing, plus firing a small version of 3-story kiln (May 30- glazing, decoration, smoke-firing techniques (begin­ June 13 or May 30-June 27). Instruction in English, ning June 30). Instructors: John Colbeck, Pietro German and Spanish. All skill levels. Fee: US$2085/ Maddalena and Jane Perryman. Instruction in Italian, 2 weeks; US$2660/4 weeks, includes materials, firing, English and German. All skill levels. Fee: 500,000 lira airfare, field trips and lodging. Contact Marcia Selsor, (approximately US$335), includes materials, firing, Montana State University-Billings, 1500 North 30th lodging and 1 meal. For further information, contact Street, Billings, Montana 59101; telephone (406) Pietro Maddalena, La Meridiana Pottery, Loc Bagna- 259-7244 or (406) 657-2324. Or contact ARTIS, no 40-50052 Certaldo (Firenze); or telephone (57) Robert Renfrow, 833 East Holaway Drive, Tucson, 166-0084. Arizona 85716; telephone (800) 232-6893. Mexico, Oaxaca region July 2-12 Spain, Conil Summer “From the Zapotec Tradition and Beyond” with Workshops with Jose Luis Aragon. Instruction in Anita Griffith. For further information, contact Ho­ Spanish, French and English. All skill levels. Fee: rizons, 108-P North Main Street, Sunderland, Mas­ 4000 pesetas (approximately US$30) per day, in­ sachusetts 01375; telephone (413) 665-0300, or fax cludes materials and firing. For further information, (413) 665-4141. contact Jose Luis Aragon, La Tacita, El Colorado, Conil, Cadiz; or telephone (56) 44 59 12. Netherlands, Oosterwolde July 22-August 30 “Primitive and Traditional Pottery” (July 22-26); Wales, Rhayader May 27-August 10 “Reduction Stoneware and Porcelain” (August 12- “Throwing” with Phil Rogers, with some glazing and 16 or August 26-30) with Kees Hoogendam. Begin­ reduction firing (May 27-June 1, June 3-8, July 29- ning through advanced. Fee: fl 475 (approximately August 3, or August 5-10). Beginning through ad­ US$300), includes materials, firing, lodging and meals. vanced. Fee: £215 (approximately US$320), includes For further information, contact Kees Hoogendam, materials, firing and lunch. Contact Phil Rogers, de Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or Marston Pottery, Lower Cefn Faes, Rhayader, Powys telephone (51) 658-8238. LD6 5LT; or telephone (59) 781-0875. Netherlands, Veghel June 30-August 24 Wales, Wolfscastle Summer Salt-glazed stoneware and porcelain, plus paperkiln Weekly workshops on throwing and handbuilding firings with Jon van de Rotteur (June 30-July 6). with Philip and Madeleine Cunningham. Fee: £60 Raku and naked raku with Carla Teer (July 7-13). per day (approximately US$90), includes lunch. Ac­ Salt-glazed stoneware and porcelain with Gert de Rijk commodations available. For further information, (August 18-24). Instruction in Dutch, English and contact Wolfscastle Pottery, ‘Lordship,’ Wolfscastle, German. Skill requirements vary. Fee: US$200, in­ Haverfordwest, Pembrokeshire SA62 5LZ; telephone cludes firing. Contact Pivan Melis, Instituut Pieter (43) 774-1609.

A participant quenching a pot during “Raku Ho’olaule’a” on the beach in Honolulu, Hawaii.

April 1996 101 102 CERAMICS MONTHLY April 1996 103 my companions have crashed. I’m waiting conflagration, or that may rise like the Comment out the night shift. We haven’t really phoenix) remains strong in my mind. cranked the kiln up yet, so my job entails I have always been blessed by the art Sacrifice to the Art Gods throwing some wood in now and then, gods. They look after me when no one else keeping the fire steady, restrained. Time seems to be. When bills aren’t getting paid, by Carla Tilghman for reflection, and I am back to “WTiy am or I’m falling on my head, or my life is I here?” The answer seems to be “propitia­ coming apart, the art gods are there, mak­ tion.” Sacrifice to the art gods. Appease­ ing my art work in spite of me. All the I know that there is rhyme and reason to ment of their appetites. Service in the hope “oops,” “crap” and “what?” mistakes seem this, but like all tedious work, it is difficult of divine glories to come. The work of the to actually work out for the best. The to call to mind exactly all the reasons. I’m priest to prepare the temple. processing technique that I screwed up sitting in a wood kiln, taking apart the As we loaded the kiln, I was struck by turned into a whole new technique that grate, scooping up ashes, trying to breathe the imagery: Jon crouched in the kiln, has been very successful. The porcelain through a mask, hunched that refused to shape the way over for seemingly hours. Its I have always been blessed by the art gods. They look after I had intended ended up with hot; I’m grumpy and dusty. I its own delightful and pleas­ have spent the afternoon glaz­ me when no one else seems to be. When bills arent getting ing shape. ing pots and I don’t feel great paid,... or my life is coming apart, the art gods are there So, at 4 A.M., with the about most of them. It doesn’t , coyotes howling in the back­ seem that there is a god-pot making my art work in spite of me. ground, a gentle rain falling among them. And I’m faced and the fire too hot to stand with the tiring all-night first-night stint of Larry and Jim handing pots to Kathy and near, I think that I’ve come nearer to the firing this damn kiln. me. Ever careful, we passed the pots, sculp­ reason for the bending, scooping, back­ Why on earth am I doing this? Am I tures, wall hangings, to Jon. We were like breaking, time-consuming work of the last crazy? Have I finally breathed in too much acolytes handing the sacrifices to the priest­ several days. It is not glorious work, or clay and glaze dust? I’m not sure that I’ll esses, who in turn bear them to the temple clean, and perhaps it is not even noticed, come up with a good answer. There are and the priest. Mind you, not one of us but I will continue to do it all, in thanks the cliches: the comradeship of the firing, looks like we belong in a temple. No one for past gifts, and in hopes that the dedica­ the hope for awesome pots, the joy of is chanting or wearing a long robe. Dirty tion is deemed worthy of future blessings. legitimized pyromania. All are true on some jokes and political satire are more likely to level, yet not the answer. be heard. But the temple image (and the The author Clay and fiber artist Carla Tilgh­ It is now four in the morning and all sacrifices that may be consumed in the man is also a paramedic in Lawrence, Kansas.

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104 CERAMICS MONTHLY