2 C eramics Monthly William C. Hunt...................................... Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo ...................... Editorial Assistant Mary Rushley.............. Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis .............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI 6, two years $30, three years $40. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. 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All rights reserved April 1984 3 4 Ceramics Monthly Ceramics Monthly Volume 32, Number 4 April 1984 Feature Articles Summer Workshops 1984 23 Swiss Ceramic Biennale by William Hunt......................................................31 Self-glazing Porcelain by Nils Lou..............................................................38 Michael Sherrill 40 Japanese Ceramic Site Works 41 Ohio Fairs 43 Peter Gourfain 53 Frank Fleming 54 Matisse’s Apollo 55 Departments Letters......................................................................... 7 Questions 11 Where to Show 13 Suggestions 15 Itinerary 17 Comment: No Custom Orders by Richard Peeler.................................................... 21 News & Retrospect 61 New Books 85 Classified Advertising 86 Index to Advertisers 88 The Cover Thrown stoneware vase, 11 inches in height, 1951, Bristol-type glaze over Albany slip, by Maija Grotell, head of the ceramics department at Cran- brook Academy of Art, Michigan, from 1938 to 1966. This work is part of the touring exhibition “Design in America: The Cranbrook Vision 1925-1950,” currently at the Met­ ropolitan Museum of Art, New York. April 1984 5 6 Ceramics Monthly Letters Conflicting Reports receive unlimited use of studio clay and glaz­ cofounders came and stayed over a five- to No one could have more pride in the ac­ es (ten). They are also permitted to custom six-year period. complishments, growth and success of Bal­ mix their own clay bodies. As students, they While we in the Towson State University timore Clayworks than I. The original group are allowed to participate in our twice-yearly ceramics area cannot and do not wish to take of potters was no different than hundreds of pottery sale. (From this, one student financed credit for starting Baltimore Clayworks, we such groups floundering around the pot shop a European trip.) I am certain that any stu­ can take credit for creating an environment of their respective art school or university. So dent, including those at Baltimore Clay­ where struggling ceramists with little money many times we find the students collecting, works, reading this description would agree can work together. In doing so, they have an waiting to have their umbilical cords cut and that, while it may not be Nirvana, it sounds opportunity, over a long period, to see how to be pushed out into the real world. This like a great opportunity. It was into this en­ the others in their group work and create. group did have the necessary determination vironment that Deborah Bedwell and the other Continued and leadership to make a move. I must point out that in this case, how­ ever, some important details were omitted in Marcia Mattingly’s report, “Baltimore Clayworks,” in the February issue. The real catalyst in forming the co-op had nothing to do with the Towson State University glaze room not being available. That was not the case. There had been student visits to Phil­ adelphia and Ken Vavrek, plus numerous suggestions to form some kind of co-op. The real catalyst came from Nina Salter, one of the original founders. A mature artist with experience in the “outside” world, Nina pro­ vided the initiative and drive to form the group and locate the facility. And certainly, other members provided important energies to the group’s success, including Jerry Roe, Volker Schoenfliess, Ric Shelley, Marlene Sokolski and Pam Worthington, some of the other original founders who deserve mentioning, as well as Arthur Valk, the Baltimore-based architect responsible for the design of the building interior. On behalf of the ceramics faculty at Tow­ son State University: Christopher Bartlett, Dan Brown, David Guillaume, Bob Pitman and myself, we commend Baltimore Clay­ works and continue to support their efforts. Best of luck. Tom Supensky Associate Professor Towson, Md. This letter is in no way intended to detract from the achievements of Baltimore Clay­ works. It is a fine organization started by a group of creative and energetic people. There was in the article, however, some information requiring clarification and correction. Most former students, myself included, tend not to give adequate credit to the teachers and institutions that give us our start, an understandable omission. It is as though we spring from the earth as trained ceramists. At this point, it might be best to describe the ceramics area that had as students the co- founders of Baltimore Clayworks. Since ap­ proximately 1970, the Towson State Uni­ versity ceramics area has provided semiprivate, lockable work/storage space to selected grad­ uate, undergraduate and nondegree students. Access to this area is seven days a week, 8 A.M. to midnight. In addition, these students April 1984 7 8 Ceramics Monthly My work has been a victim of lime for Letters years since the majority of it is raku or low- Simply put, if there were no T.S.U. ceramic fire related. I pay extremely close attention area, there would be no Baltimore day- to polished and finely regulated terra sigillata works. coated surfaces. Popouts literally destroy these Let me now clarify the published state­ and render the pieces worthless. During the ments “spilled some expensive whatever and year 1981, I lost over six months finished the (glaze) room was no longer available at work, but have since dealt with the problem. any time” and “could not make glaze tests.” I have a large refuse pit in a ravine behind Prior to the restrictions in the glaze room, my studio. As I throw lime-popped pieces persons with semiprivate studio space had down the bank, I wonder who in hell to blame. unlimited use. Several factors forced us to The answer always is the same: sloppy min­ make some changes. First and most impor­ ing, sloppy machine maintenance, sloppy tant was the reduction of an already tight purchasing by clay-making companies and budget. The second was tremendous misuse refusal on their part to check materials on a of the glaze room. We have no paid technical regular basis. Many of our suppliers, even assistants, thus continuous supervision of the those whom I consider the best, neglect or glaze room was and is not possible. Cobalt just outright refuse to check supplies. oxide was being used as a body colorant, The result of this for me has been a gen­ 10,000-gram “test batches” were being mixed, eral materials paranoia. Even though it is a scales were being stolen, raw materials were great waste of our time, we ultimately have being contaminated and the list goes on. To to deal with the problem. Unfortunately it mitigate the misuse, the following procedures becomes our responsibility. It is always hard were implemented. With an instructor’s per­ to stomach work caused by the mediocrity of mission and supervision, students were and others. still are permitted to mix glaze tests (500 I have attacked and solved the problem in grams each). Should the students wish to mix the following ways: I have switched, when their personal glaze, they furnish the mate­ advantageous, to air-floated clays. This as­ rials. Students taking the ceramics raw ma­ sures a minimal chance of having calcium terials course have greater access. While I particles larger than 70-100 mesh in the clay. recognize that these restrictions may hamper I purchase or inspect all materials myself and creativity, they remain practical solutions to check each bag. Even clays which have been an expensive problem. previously free of calcium can be badly con­ A few final thoughts: Any state institution taminated. I take with me a long-handled must, at all times, make decisions that are in spoon, an 80-mesh screen, a small clear glass the best interest of all students.