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

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

Copyright © 1984 Professional Publications, Inc. 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. This consid­ vial and a plastic bottle of muriatic acid. eration, combined with an ever-decreasing Samples from each bag are screened and if budget, forces some difficult choices: work­ chunks of suspicious material are found, they shops or clay, blue clay body or blue glazes, are subjected to muriatic acid. If they effer­ locked door or empty room. This is not to vesce, the material is contaminated and not say that the best choices are always made, to be purchased. just that they must be made. If I have clay made commercially, I now I also wish Marcia Mattingly had prac­ insist that they test the materials, and I am ticed good journalism and given us the op­ willing to pay a small extra charge for this portunity to rebut the negative statements service. If there are problems with clays that made by Deborah Bedwell and directed at I must use, I have them screened to 50 mesh. the Towson State University ceramics area. Such procedures do not make for popu­ Daniel Brown larity. However, it is better than losing my Ceramics/Sculpture Instructor work and time, and the people whom I now Towson, Md. deal with have no objections. If potters deal with suppliers’ mediocrity by finding and refusing to purchase bad clays, Suppliers and Lime Pops perhaps things will improve. I read with interest “Living With Lime- Self-destructing sculpture is passe. Pops” (CM, Feb. 1984). The problem pre­ Frank Boyden sented by lime or other calcium bearing in­ Otis, Ore. clusions in clay is immense. If my problems and losses are even remotely similar to those Sexist Letter of other clay people in this country, then I I feel moved to reply to Randy Cook’s would estimate we lose many millions of dol­ scornful attack in the February Letters. It’s lars each year to limestone inclusions. There sexist. Many professional potters work in the is little recourse to recovery of money and no same small-scale way and under the same recourse to the recovery of time. conditions Eileen Black does, but it is mostly The problem is possible with clays fired women who have to combine their work wit! at all temperatures. I have seen popouts in childcare, running a household, and sup­ low-temperature ware as well as in stone­ porting their husband’s careers, including ware and porcelain fired to Cone 10. There moving when he has to. Eileen Black’s so is only one solution, and that is the removal lution to her problem was ingenious. A1 of the offending material from the raw clays. Please Turn to Page 5/ April 1984 9 10 Ceramics Monthly Questions Answered by the CM Technical Staff Q I apply cobalt oxide mixed with a little glaze to a bone-dry pot, of using glaze as slip, mix the cobalt with slip made from the body then bisque, glaze and fire to Cone 9-10 in oxidation. The glaze(adjusted with increments of ball clay if you have problems getting recipe is: it to fit properly). This will render the cobalt less reactive with the glaze and help reduce its strong fluxing tendency. If you still get TRANSPARENT GLAZE (Cone 9-12) boiling, craters and pinholes in the decoration, simply cut back on Whiting...... 20% the amount of cobalt carbonate in your decorating slip until the Kona F-4 Feldspar...... 27 problem disappears. English China Clay...... 20 Flint...... 33 Q A glaze I have been firing for a period of years has recently been 100% coming from the kiln with a new, sugary, crystallized quality. Can Add: Bentonite ...... 2% you explain this and suggest a cure?—J.F. CMC Gum...... 2% Provided the glaze ingredients are the same, that there has been no substantial change in the recipe’s chemical composition, it ap­ The problems that have been plaguing me lately are crawling pears that your glazes are devitrifying (wherein the glass changes around the cobalt decoration and a spotted or curdled appearanceto a crystalline state). Glazes which have large quantities of silica on the surface of the decoration itself. Can you explain the cause andare prone to this problem when cooled slowly. So try cooling faster help solve these problems?—L.E. from the time the kiln is shut off, either by leaving the damper Mixing cobalt oxide with glaze as if it were a slip for underglaze partly ajar on a fuel-burning kiln, or by removing peepholes and/ decoration is not such a good idea. The uneven appearance of your or slightly opening the door/lid on an electric kiln. Use common blue decoration can be traced in part to cobalt oxide not being sense to avoid circumstances where such procedures might be fire completely dispersed. Further, the cobalt/glaze coloring material hazards or cause cracking. Faster cooling may produce significant melts at a much lower temperature than the base glaze because color shifts, and generally colors are brighter with faster cooling. cobalt is a strong flux. Thus, this material used for decoration is significantly overfired, creating further boiling, crawling and blis­ tering around the decoration. Subscribers’ inquiries are welcome and those of general interest will The solution to your problem is to substitute \½ parts cobalt be answered in this column. Due to volume, letters may not be carbonate for each part of cobalt oxide used, because the weaker answered personally. Send questions to: Technical Staff, Ceramics carbonate will disperse much more completely. Additionally, instead Monthly, Box 12448, Columbus, Ohio 43212.

April /y$4 II

Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs,May 15 entry deadline Wilma Martin, Magnolia Park, Box 231, Mur- festivals and sales at least four months before the Moorestown, New Jersey “Clay ’84 at Per­ rells Inlet 29576; or call: (803) 651-7555. entry deadline to: The Editor, Ceramics Monthly, kins” (September 21—30) is juried from slides or April 27 entry deadline Box 12448, Columbus, Ohio 43212; or call: (614) works. Jurors: Paula Winokur and Larry Don­ Golden, Colorado “Arts on the Commons” (June 488-8236. Add one month for listings in July andahue. Commission: 20%. Awards. Work must be 9) is juried from 3 to 5 slides. Entry fee: $10; booth two months for those in August. hand-delivered. Send self-addressed, stamped en­ fee: $30 for a 1 Ox10-foot space. Send self-ad­ velope to: Clay ’84 at Perkins, Perkins Center for dressed, stamped envelope to: Foothills Art Center, the Arts, Kings Hwy. and Camden Ave., Moores­ 809 Fifteenth St., Golden 80401; or call: (303) International Exhibitions town 08057; or call: Peg Krolak, (609) 461-2051. 279-3922. April 10 entry deadline June 15 entry deadline Chicago, Illinois “Beverly Art Center Art Fair Golden, Colorado Sixth annual “North Amer­ Great Falls, Montana “Centennial Great Falls: & Festival” (June 16-17) is juried from 5 slides. ican Sculpture Exhibition” (June 3-July 3) is open A Missouri River Meeting” (November 5- Entry fee: $10. Booth fee: $17.50 for a 10x10- to residents of Canada, Mexico and the U.S.A. December 29) is open to current and former res­ foot space. Contact: Pat McGrail, Beverly Art Juried from 8x10 glossy, black-and-white, profes­ idents of Montana. Juried from slides of up to 2 Center, 2153 W. Ill St., Chicago 60643; or call: sional quality photographs of up to 3 entries. Ju­ entries. Fee: $15. Awards totaling $2500. Contact: (312) 445-3838. rors: John W. Cavanaugh and Edward J. Fraugh- Paris Gibson Square, 1400 First Ave., N., Great April 28 entry deadline ton. $6000 in awards. Fee: $12.50 per entry. Send Falls 59401; or call: (406) 727-8255. Saratoga Springs, New York Fifth annual “Craft self-addressed, stamped envelope to: The Foothills Fair at the Kool Jazz Festival” (June 30-July 1) Art Center, 809 Fifteenth St., Golden 80401; or is juried from slides. Entry fee: $5. Booth fee: $150 call: (303) 279-3922. Fairs, Festivals and Sales for an 8x10-foot space. Contact: Charles Dooley; April 9 entry deadline Craftproducers Markets, R.D. 1, Box 323, Grand Park City, Utah “15th Annual Park City Art Isle, Vermont 05458; or call: (802) 372-4747. National Exhibitions Festival” (August 4-5) is juried from 5 slides. En­ Burlington, Vermont Third annual “Church April 25 entry deadline try fee: $10. Booth fees: $150—$250. Send self- Street Festival of the Arts” (July 20-23) is juried Buffalo, New York “Created by Hand Exhi­ addressed, stamped envelope to: Festival Office, from slides. Entry fee: $5. Booth fee: $175 for an bition” (June 9-July 5) is juried from slides of 2 Kimball Art Center, Box 1880, Park City 84060; 8x10-foot space. Contact: Charles Dooley, Craft­ works. Fee: $15. Jurors: Nancy Belfer and Jack or call: (801) 649-8882. producers Markets, R.D. 1, Box 323, Grand Isle, Jauquet. Cash awards. Send self-addressed, stamped April 13 entry deadline Vermont 05458; or call: (802) 372-4747. envelope to: Brown/Dobrin, Associated Art Or­ Evanston, Illinois “Fountain Square Arts Manchester, Vermont Fifth annual “Southern ganizations Gallery, 698 Main St., Buffalo 14202. Festival” (June 30-July 1) is juried from slides. Vermont Craft Fair” (August 4-6) is juried from May 14 entry deadline $3000 in awards plus purchase prizes. Contact: slides. Entry fee:$5. Booth fee: $175 for an 8x 10- Downey, California The second annual Evanston Chamber of Commerce, 807 Davis St., foot space. Contact: Charles Dooley, Craftpro­ “American Ceramics National” (June 14-July 27) Evanston 60201; or call: (312) 328-1500. ducers Markets, R.D. 1, Box 323, Grand Isle, is juried from slides. Awards. Fee: $10. Contact: April 15 entry deadline Vermont 05458;or call: (802) 372-4747. American Ceramics National, Downey Museum Russellville, Arkansas “Arkansas Valley Arts April 30 entry deadline of Art, 10419 S. Rives Ave., Downey 90241; or and Crafts Fair and Sale” (November 9-11) is Baton Rouge, Louisiana “Craftworks Trade call: (213) 861-0419. juried from slides or photos. Fee: $25. Contact: Show” (August 3-5), in conjunction with the World’s May 15 entry deadline Lester Wright, Arkansas Valley Arts & Crafts Club, Fair in New Orleans, is juried from 6 slides, 1 of Radford, Virginia “Clay U.S.A., 1984” an­ Box 1122, Russellville 72801. display. Entry fee: $8. Booth fees: $150-$425. nual ceramic competition (June 29-July 28) is Coffeyville, Kansas “New Beginning Festival” Contact: Jennifer Martin, Craftworks, Rte. 4, Box juried from slides of up to 2 works. Juror: Val (April 27-28) is juried from 3 slides. Fee: $20-$30 688, Gonzales, Louisiana 70737; or call: (504) 673- Cushing. Awards. Fee: $10. Send self-addressed, for an 8 X 20-foot space. Contact: Earlene Wheeler, 4002. stamped envelope to: Ed Baldwin, Radford Uni­ Arts & Crafts Committee, Box 816, Coffeyville Newport News, Virginia “2nd Annual Hilton versity, Department of Fine Arts, Radford 24141; 67337; or call: (316) 251-2258. Villagefest” (May 11-12) is juried from slides or or call: (703) 731-5475.^ Muskegon, Michigan “Celebration 84 Seaway photos, 1 of display. Fee: $50 for a 10X 10-foot August 10 entry deadline Arts Fair” (June 29-July 1) is juried from 3 slides. space. Contact: Sandra Meadows, Promotional Gatlinburg, Tennessee “The Garden: New Fee: $45.'Contact: P. A. Dollslager, West Mich­ Activities Art Shows, 6 Conway Rd., Newport News Form, New Function” (October 12-December 8) igan Seaway Festival, 470 W. Western Ave., Mus­ 23606; or call: (804) 898-4210. is juried from slides. Works must relate to the gar­ kegon 49440; or call: (616) 722-6520. Occoquan, Virginia “15th Annual Occoquan den concept. Juror: Margaret Ford. Contact: Ar- Margate, New Jersey “Craft Concepts 84” Craft Show” (September 29-30) is juried from slides. rowmont, Box 567, Gatlinburg 37738; or call: (615) (June 9-13) is juried from 5 slides and resume. Fee: $100. Contact: LaVerne Carson, Occoquan 436-5860. Jurors: Albert Green, Pamela Scheinman and Paul Merchants Association, Drawer T, 404 Mill St., August 17 entry deadline Stankard. Send self-addressed, stamped envelope Occoquan 22125; or call: (703) 494-2848. Guilford, Connecticut “Of Wind, Rain and Sun” to: Craft Concepts, Jewish Community Center, May 1 entry deadline (October 7-27) is open to outdoor work (weather 501 N. Jerome Ave., Margate 08402; or call: (609) Little Rock, Arkansas “1984 Arkansas Arts, vanes, sundials, wind chimes, rain catchers, etc.). 822-1167. Crafts and Design Fair” (November 9-11) is ju­ Juried from 3 to 5 slides. Awards. Fee: $10. Send Indiana, Pennsylvania “New Growth Arts ried from slides of up to 4 works. Awards. Entry self-addressed, stamped envelope to: Wind, Guil­ Festival” (July 21-22) is juried from slides or pho­ fee: $10; registration fee: $15. Booth fees: $90-$ 130. ford Handcrafts Center, Box 221, Guilford 06437; tos. Fee: $50. Contact: Cecilia Maljan, Indiana Contact: Fair Coordinator, 3704 Woodland Heights or call: (203) 453-5947. Arts Council, Box 563, Indiana 15701; or call: Rd., Little Rock 72212; or call: (501) 224-7734. (412) 357-2787. Carbondale, Colorado “13th Annual Carbon- Sheboygan, Wisconsin “Fourteenth Annual dale Mountain Fair” (July 27-29) is juried from Regional Exhibitions Outdoor Arts Festival” (July 21-22) is juried from slides. Fee: $45 plus $10 damage deposit for a April 7 entry deadline 5 slides. $2000 in awards, plus purchase prizes. 1 Ox 10-foot space. Contact: Gay la Duckowitz, Kingston, Rhode Island “South County Art Entry fee: $5. Booth fee: $30. Contact: John Mi­ Carbondale Mountain Fair, Box 174, Carbondale Association Open Exhibition” (April 12-27) is open chael Kohler Arts Center, Box 489, Sheboygan 81623; or call: (303) 963-1680. to residents of Connecticut, Maine, Massachusetts, 53082; or call: (414) 458-6144. Rockford, Illinois “36th Annual Greenwich New Hampshire, Rhode Island and Vermont. Ju­ April 20 entry deadline Village Art Fair” (September 15-16) is juried from ried from works. Fee: $4 per entry, up to 3 entries. Dubuque, Iowa “DubuqueFest ’84 Art Fair” 4 slides. Entry fee: $5. Booth fee: $60 for a 10X15- Contact: Linda Wilke O’Malley, SCAA, Helme (May 19-20) is juried from 3 slides or color pho­ foot space. Contact: Patricia Schueller, Rockford House, Rte. 138, Kingston 02881; or call: (401) tographs. Fee: $50 for a 10x10-foot space. Send Art Association, 737 N. Main St., Rockford 61103; 783-2195. self-addressed, stamped envelope to: Dubuque or call: (815) 965-3131. May 12 entry deadline Artists Guild, 422 Loras Blvd., Dubuque 52001; Saint Joseph, Michigan “Saint Joseph’s 23rd Toledo, Ohio “66th Annual Toledo Area Art­ or call: (319) 583-6201. Annual Outdoor Art Fair” (July 7-8) is juried ists’ Exhibition” (June 17-July 8) is open to res­ April 22 entry deadline from slides. Contact: Registration Chairman, Krasl idents of northwestern Ohio and southeastern Murrells Inlet, South Carolina “12th Annual Art Center, 707 Lake Blvd., Saint Joseph 49085; Michigan. Juried from works, up to 3 entries. Fee: Murrells Inlet Outdoor Arts & Crafts Festival” or call: (616) 983-0271. $10. Contact: Toledo Museum of Art, Box 1013, (April 27-29) is juried from 2 slides or photos. Chautauqua, New York “Chautauqua Crafts Toledo 43697; or call: (419) 255-8000. Awards. Fee $60 for a 10x10-foot space. Contact: Please Turn to Page 72 April 1984 13 14 Ceramics Monthly Suggestions from our readers

Cork Hole Borer It often helps to have corks with a hole down their centers to give a tight fit around cider jar spigots, electric cords for lamp bases, etc. But commercial cork gasket stoppers come generally in one size. The owner of a store that sells such items showed me his cork hole borer which can be fabricated in a variety of sizes. I built a

similar one shown here. Make the borer from copper plumbing pipe. The cutting edge must be filed or ground at a low angle, which is easy to do on an electric grinding wheel. Clean burrs from the inside with a round file. Amazingly, my ½-inch-diameter cutter will make a clean hole in a wine bottle cork—leaving a cork tube only about Vs inch thick. —Lili Krakowski, Constableville, N.Y.

Cold Storage Certain glazes, upon standing for a time, can become very hard to remix. If you live in a cold climate, try letting them freeze solid, then thaw; they become very easy to stir after this process. —Carol Julianna, Grande Prairie, Alberta

Whistle Tip When making ceramic whistles, form clay over a plastic drinking straw and blow through it to find proper placement of the mouth­ piece for the best sound. Remove the straw when the clay is partially dry. —Polly Hurd, Sunnyvale, Calif.

Die Idea When making extruder dies, try Lexan plastic, obtained as scrap from sign makers. It can be cut, drilled and sanded as easily as Plexiglas, but is much stronger and does not require reinforced backing. —Brad Pekoe, Chesterhill, Ohio

Recycling Clay Wooden drying racks work well for recycling clay. Build four sides of a bottomless box with ½-inch-mesh hardware cloth stretched across the open bottom. To allow for air circulation, construct legs so that the bottom is up off the floor. Lay a heavy cloth on

top of the screen, place wet clay on that, and when dried to throwing consistency, peel the clay off and wedge it. The cloth is washable and eliminates the need for plaster bats. Make more than one drying box and stack them. —Robyn Langhorst, Scarborough, Me.

Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will$10 pay more if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. April 1984 15 16 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, Massachusetts, Boston April 3-28 Deborah California, San Francisco April 14-August workshops, juried fairs and other events at least Coolidge, sculpture; at Helen Shlien Gallery, 14 19 “Maya Ceramic Vases from the Late Classic seven weeks before the month of opening to: TheNewbury St. Period”; at the M. H. de Young Memorial Mu­ Editor, Ceramics Monthly, Box 12448, Columbus, April 7-May 15 David Davison, “Transforma­ seum, Golden Gate Park. Ohio 43212; or call: (614) 488-8236. Add one tions,” ceramic sculpture; at Creiger Sesen Asso­ April 21-July 30 “Japanese Ceramics from the month for listings in July and two months for thoseciates Gallery, 10 Post Office Square. Museum’s Permanent Collection,” includes more in August. Massachusetts, North Andoverthrough April than 50 works dating from 3000 B.C. to A.D. 13 Nan Smith, sculpture; at McQuade Gallery, 1900; at the Asian Art Museum of San Francisco, Merrimack College. Golden Gate Park. International Conferences Massachusetts, Salem through Pecember 4 California, Sunnyvalethrough April 14 An Massachusetts, BostonApril 5-6 The annual Hajime G. Kozuru, “Beyond Tradition”; at the exhibition by the Association of San Francisco Pot­ conference of the International Academy of Ce­ Peabody Museum of Salem, East India Square. ters; at Creative Arts Center Gallery, 550 E. Rem­ ramics. For details, consult CM February Itin­ Minnesota, Minneapolis April 2-27 Nancy ington. erary. Contact: David Davison, Ceramics De­ Monk, ceramics, glass, paintings; at By Design, California, Walnut Creek April 5-May 13 partment, Museum School, 230 The Fenway, Lumber Exchange, 10 S. Fifth St. “California Clay ’84”; at the Walnut Creek Civic Boston 02115. New Jersey, TrentonApril 2 7-June 10 Bennett Arts Gallery, 1313 Civic Dr. Canada, Alberta, Banff May 7-11 “Canadian Bean, pit-fired vessels; at the New Jersey State Colorado, DenverApril 7-May 5 “Environ­ Clay Conference ’84,” at the Banff Centre School, Museum, 205 W. State St. ments,” includes Kurt Weiser, slip-cast porcelain will address topics from education to aesthetics and New Jersey, WoodbridgeApril 13-30 Albert and earthenware vessels and platters; at Cohen criticism. Contact: Leslie Manning, The Banff Green, stoneware and porcelain; at Barron Arts Gallery, 665 S. Pearl St. Centre of Fine Arts, Box 1020, Banff, Alberta Center, 582 Rahway Ave. Colorado, Grand Junctionthrough April 8 TOL 0C0; or call: (403) 762-6211. New Mexico, Santa Fethrough April 21 Avra Sixth annual “WomanArt West”; at Western Col­ Canada, Ontario, TorontoMay 25-27 Ninth Leodas, stoneware vessels and wall reliefs; at the orado Center for the Arts, 1803 N. Seventh St. annual conference of the Ontario Potters Associa­ Art Gallery, Saint John’s College, Camino Cruz Connecticut, Greenwich through April 21 A tion, with guest speaker David Shaner. Contact: Blanca. group exhibition with Nick Bernard. April Ontario Potters Association, 140 Yorkville Ave., New York, Brooklynthrough April 26 Steven 25-May 26 A dual exhibition with Jeff Oest- Toronto M5R 1C2; or call: (416) 923-1803. Howell, low-fired vessels. April 28-June 6 Maishe reich; at the Elements, 14 Liberty Way. Dickman, stoneware vessels; at the Clay Pot, 162 D.C., Washingtonthrough June 17 “Clay for Seventh Ave. Walls; Surface Reliefs by American Artists”; at Conferences New York, New Yorkthrough April 26 Wayne the Renwick Gallery, Pennsylvania Ave. at 17th Massachusetts, BostonApril 9-12 The an­ Higby; at Greenwich House Pottery, 16 Jones St. St., NW. nual conference of the National Council on Ed­ New York, Syracusethrough April 22 “Henry April 15-May 4 Harvey Brody and Kay Nelson; ucation for the Ceramic Arts (NCECA) at Boston Varnum Poor: 1887-1970, A Retrospective Ex­ at the American Hand, 2906 M St., NW. University, Massachusetts College of Art and the hibition”; at the Everson Museum of Art, 401 Florida, Belleair through April 22 “Ceramics: School of the Museum of Fine Arts. For details, Harrison St. Southeast” juried exhibition; at the Florida Gulf consult CM January Itinerary. Contact: David North Carolina, Charlottethrough April Coast Art Center, 222 Ponce de Leon Blvd. Davison, Federal Furnace Pottery, Hardy Street, 15 Oscar Louis Bachelder, pottery produced from Florida, Miami through April 9 “Ceramic Dunstable, Massachusetts 01827. 1916 to 1935 in the Omar Khayyam Pottery; at League 34th Annual Members Exhibition,” juried Michigan, East LansingApril 13-15 “Image the Mint Museum of History, 3500 Shamrock Dr. show; at Barbara Gillman Gallery II, 3886 Bis­ and Meaning,” third annual state-of-the-arts sym­ North Carolina, Winston-SalemApril 7-May cay ne Blvd. posium at Michigan State University, will include 20 Susan E. Clellen, large sculpture; at South­ Florida, South Miami through April 30 sessions on “Hidden Meanings in Modern Art: eastern Center for Contemporary Art, 750 Mar­ “Florida Artists,” includes works by Shiiko Alex­ Zen and Post-1940 American Art,” “Meaning in guerite Dr. ander; at Netsky Gallery, 5739 Sunset Dr. Criticism,” and “Images of Persuasion.” Fee: $50. Ohio, ColumbusApril 1-30 George Smyth, Georgia, AtlantaApril 8-May 18 An exhi­ Contact: Edith Wright, MSU Lifelong Education crystalline glazes; at Helen Winnemore’s, 150 E. bition of works by gallery artists; at Gillette- Programs, 46 Kellogg Center, East Lansing 48824; Kossuth at Mohawk, German Village. Frutchey Gallery, 1925 and 1931 Peachtree Rd., or call: (517) 355-0170. Oregon, Portlandthrough April 21 Frank Northeast. New Jersey, MontclairJune 29-July 1 “Mid Boyden, ceramics and lithographs; at Contempo­ Hawaii, HonoluluApril 2-16 Bunki Bakutis, Atlantic States Craft Conference: Making Con­ rary Crafts Gallery, 3934 S.W. Corbett Ave. Gail Bakutis, Ed Higa and Bob McWilliams, “The nections,” at Montclair State College. For details, Pennsylvania, PhiladelphiaApril 6-23 Woody Shapes of Clay”; at the Amfac Center, Amfac Pla­ consult CM February Itinerary. April 6 registra­ Hughes, earthenware pottery; at the Clay Pot, 49 za, Fort Street Mall. tion deadline. Contact: Hortense Green, Crafts N. Second St. April 14-May 27 “Auspicious Spirits,” Korean Coordinator, New Jersey State Council on the Arts, Pennsylvania, PittsburghApril 2-30 Barbara folk objects; at the Honolulu Academy of Arts, 900 109 W. State St., CN 306, Trenton 08625; or call: Tipton, slip-trailed oxidation ware; at the Jennie S. Beretania St. (609) 292-6130.^ King Mellon Art Gallery, Chatham College, Illinois, Chicagothrough April 20 “Midwest/ Pennsylvania, PittsburghApril 30-May 1 The Woodland Rd. Southwest Exchange,” New Mexico ceramics; at American Ceramic Society’s annual meeting will Rhode Island, Providencethrough April 20 Lill Street Gallery, 1021 W. Lill St. focus on “History and Prehistory of Ceramic Art, Allison Newsome, sculpture; at Solomon Hatch April 19-May 5 A group exhibition with Dick Science and Technology.” Registration fee: $30. Gallery, 118 N. Main St. Studley, Egyptian paste vessels; at American Art- Contact: American Ceramic Society, 65 Ceramic April 11-25 Mary Ann Stella-Killilea, stone­ forms Gallery at Neiman-Marcus, 737 N. Mich­ Dr., Columbus, Ohio 43214; or call: (614) 268- ware vessels; at Wheeler Gallery, 228 Angell St. igan Ave. 8645. Rhode Island, Wakefield through April 25 Illinois, EdwardsvilleApril 15-May 4 “Plat­ Texas, Dallas April 6-7 A symposium in con­ Mary Ann Stella-Killilea, stoneware sculpture and ters and Related Forms” national invitational; at junction with the exhibition “The Shogun Age” vessels; at Hera Gallery, 560 Main St. Southern Illinois University Gallery. will include discussions of “The Tea Ceremony/ Illinois, Highland Parkthrough May 2 “The Ceramics” by Louise Cort, and “History of Jap­ Cup Invitational”; at Martha Schneider Gallery, anese Ceramics” by Robert Moes. Contact: Dallas Group Exhibitions 124 S. Deere Park Dr. Museum of Art, 1717 N. Harwood, Dallas 75201; Alabama, Birmingham April 13-14 “Bir­ Illinois, NapervilleApril 1-30 “Potpourri of or call: (214) 922-0220. mingham Art Connection” juried exhibition; at Michigan Potters”; at Ariel Gallery, 15 W. Jef­ Woodrow Wilson Park. ferson Ave. California, Lancaster April 7-12 “Desert West Iowa, Ames through April 29 “Women in Clay: Solo Exhibitions Juried Art Show”; at Antelope Valley College Art The Ongoing Tradition” exhibition includes “Six Arizona, ScottsdaleApril 5-28 Jeanne Otis, Gallery, 3041 W. Ave. K. Over Sixty” with Laura Andreson, Ruth Duck­ colored porcelain wall forms; at the Hand and the California, Los AngelesApril 4-28 Karen worth, Vivika Heino, Lucy Lewis, Santana Mar­ Spirit Crafts Gallery, 4222 N. Marshall Way. Koblitz, sculpture; Henry Zeringue, new work; at tinez and Beatrice Wood; and “The Continuum” Colorado, GoldenApril 1-25 Ruth Briggs, Swope Gallery, 170 S. La Brea. with Christina Bertoni, Jamie Fine, Karen Karnes, pottery; at Foothills Art Center, 809 Fifteenth St. California, Mill Valley through April 28 Sally Bowen Prange and Elsa Rady; plus historical Maine, Portland through April 21 David Maureen Daniel Ellis and Bill Ellis, vessels and works; at the Octagon Center for the Arts, Fifth Greenbaum, carved and burnished earthenware; plates; at Susan Cummins Gallery, 32B Miller and Douglas. at Maple Hill Gallery, 367 Fore St. Avenue. Please Turn to Page 64 April 1984 17

20 CERAMICS MONTHLY Comment No Custom Orders by Richard Peeler

Rule number one is “It’s always velopment time. You can easily commit something.” Number two is “Everything $300 worth of effort to a pot which is comes in bunches.” Number three is sold for SI5. I generally lose my shirt “Nothing is as easy as it looks.” Number on custom orders. four is “Everything takes much longer People (customers) seem to have gran­ than you think it will.” And so on . . . diose notions about size. They always I was playing my dulcimer the other want something bigger than the things day. Mine is tuned to the key of C, which we make. I’ve never had a request to do means I have no half notes. I was trying something smaller. To make a standard to play a Russian folk song, originally object “just a little bit bigger” may re­ written in a minor key, when my wife quire twice as much clay, more trim­ Marj said: “I wish you had sharps and ming, different glazing methods, etc. It flats.” “Why?” I asked. “You need them may be twice as difficult to make, while to play that song,” she responded. “You’re the risk factor may triple. doing the best you can, but you just don’t Peter Voulkos says something like, “It’s have what it takes.” That’s the story of my job to create and make the forms. my life, I thought. I’m doing the best I It’s the gallery’s job to sell what I make.” can with what I have. Life is a Bran­ I agree with this principle. It’s a little denburg Concerto and I’m out there with irritating to have a customer or sales­ my dulcimer. person designing the things to be made We have several handmade signs post­ with your hands. ed in our display room. One says, “Don’t However, I think it is good to try new buy it if you don’t love it; leave it for things occasionally, even those you ini­ someone else.” One of our very few re­ tially feel should not be done. This often grets is that probably most of the ceram­ expands your thinking and skills. Cus­ ic objects we sell will be given as gifts. tomers do have some good ideas; but al­ Our concern is that the recipient will most always this “hot idea” is something not like the pot, will not know what to they have seen elsewhere. I think that do with it, won’t relate to it and won’t most artist/craftspeople like to be orig­ use it. On the other hand, if a person inal and have little enthusiasm for re­ likes the pot well enough to buy it for producing another’s design. himself, we know it will be used fondly. I worry about design. The local church, Another sign says, “No custom or­ for which I had already done some work, ders.” We have a price list for 70 stan­ approached me to make a quart pitcher dard items; all have been designed, de­ for communion wine in the sanctuary. I veloped, worked out so that we can mulled over the problem off and on for produce them efficiently at a cost allow­ several months. The pitcher wanted to ing wholesale at 50% of suggested retail. look like it belonged in a church sanc­ We make rather frequent exceptions to tuary, that particular sanctuary, not in this policy, but never get it right the first a kitchen, so I couldn’t make my normal, time. There is always an experimental everyday form. Also it wanted to look period involved. Sometimes when trying dignified, but comfortable, not preten­ things essentially designed by the cus­ tious, probably not highly decorated. I tomer, I won’t sign the results. Then I never arrived at a suitable design. can deny that I made them. Or I can Then after about a year, a young pot­ claim them later if time is kind. But the * ter who lives in this county told me, “I point is that custom orders usually take just delivered a pitcher to the church.” a lot of uncompensated design and de­ Please Turn to Page 62 April 1984 21 22 C eramics Monthly Mixing bodies at Skidmore College summer program, New York. Summer Workshops 1984 This marks the twenty-sixth year Ceramics Monthly has compiled its special listing of workshops for ceramics. We hope its timely appearance will be of help to those planning summer vacation activities. Because enrollments are limitedwe suggest you make reservations early

Arizona, Mesa “Mexican Palanganas Pottery” with Juan Quezada. Also of­ 16-17), and “Porcelain: Throwing & Slab-forming Tech­ June-July fered are 1-, 2-, 3- and 4-week sessions on “Rice Hull Ash niques” with Tony Marsh (August 20-24). Live-in accom­ The City of Mesa, Cultural Activities Department, is offering and Other Flashing Techniques in Wood Firing” with Paul modations and scholarships available. Contact: Ceramics, 4- to 8-week sessions on throwing, handbuilding, glaze for­ Chaleff, “Color in Oxidation” with Jeanne Otis, “Youth Ce­ Mendocino Art Center, Box 765, Mendocino 95460; or call: mulation, clay printing, low-fire clays, ceramic jewelry, tile ramics” with Jan Peterson, “Advanced Ceramics” with Susan (707) 937-5818 or 937-0946. making and decoration. For all skill levels. Instructor: Mar­ Peterson, “Ceramics Studio Management” with Taag Peter­ garet Chipman. Live-in accommodations available. Fees: $6-$30. son, and “Building and Firing the Anagama and Fast Freddy California, Oakland Contact: Cultural Activities Department, 155 N. Center, Mesa Kilns” with Katsuyuki Sakazume and Fred Olsen. For be­ August_ 12-18 85201; or call: (602) 834-2053. ginning through advanced students and professionals. Fees: “Sculpting Porcelain Figures for Miniature Settings,” with $80-$160 per week, plus $20 for materials. Live-in accom­ Marty Saunders at Mills College, will include kiln firing and California, Berkeley modations and camping available. Contact: Idyllwild School china painting. Fee: $950, includes room and board. Contact: June 2-July 8 of Music and the Arts, Box 38CM, Idyllwild 92349; or call: Robert S. Freeman, G.U.I.L.D., 1530 Morstein Rd., Frazer, ASUC Studio is offering: “Low Fire Decoration” with Susan (714) 659-2171. Pennsylvania 19355; or call: (215) 644-6869. Drell (June 2, 9 and 16), fee: $40; and “Raku Workshop” with Skip Esquierdo (June 24, July 8), fee: $70. Contact: California, Lone Pine California, Richmond ASUC Studio, Lower Level Student Union, Lower Sproul July 23-28 July 21 Plaza, University of California, Berkeley 94720. “Eastern Sierra Primitive Fire Workshop” will cover digging The Richmond Art Center is offering “Sewer Pipe Demon­ and processing clay, handbuilding and pit firing in the Sierra stration,” a hands-on session with Jerry Caplan. For all skill California, Fremont Nevada Mountains. Instructors: Drew Wickman and Chris levels. Fee: $20. Contact: Erika Clark, Richmond Art Center, July 22-28 Yates. Fee: $160, includes room, board and materials. June 1 Civic Center Plaza, Richmond 94804; or call: (415) 231-2163. “Pipe Sculpture Workshop,” at Mission Clay Products, will application deadline. Contact: Drew Wickman, Independence involve working with large extrusions of industrial clay. In­ Pottery, Star Route 1, Box 20, Independence, California 93526; California, Ridgecrest structor: Jerry Caplan. Fee: $175, includes materials and fir­ or call: (619) 878-2012. July 2-20 ing. Participants will be selected from slides; May 28 entry “Self-Sufficiency Workshop” with Harry Davis, will cover ge­ deadline. Contact: Pipe Sculpture Workshops, 5812 Fifth Ave., California, Mendocino ology, equipment and kiln furniture building, clay and glaze Pittsburgh, Pennsylvania 15232; or call: (412) 661-0179. June 11-August 24 testing. For advanced students. Camping facilities available. The Mendocino Art Center is offering “Wood-fired Ceramics” Contact: Paul Meyers, c/o Cerro Coso College, Ridgecrest California, Idyllwild with David Shaner (June 11-22), “Terra Sigillata Salt at 93555; or call: (619) 375-5001, ext. 365. June 24-September 15 Cone 1” with Kurt Weiser (June 25-July 6), “The Stoneware Idyllwild School of Music and the Arts is planning 1- and 2- Vessel—Forming & Firing” with Betsy Tanzer (July 9-20), California, Santa Ana week sessions on “San Ildefonso Pueblo Pottery” with Blue “Salt-fired Ceramics” with Jack Troy (July 23-August 3), July 9-13 Corn, “Acoma Pueblo Pottery” with Lucy Lewis, Emma “The Primitive Aesthetic: Clay Construction & Pit-firing Santa Ana College’s “Clayplus Low Fire Workshop” will ex­ Mitchell and Delores Lewis Garcia, “San Ildefonso Pueblo Techniques” with Richard Deutsch (August 6-10), “Structure plore constructing with clay slabs and nonclay materials; plus (Tewa) Pottery” with Adam and Santana Martinez, and & Form in Ceramic Sculpture” with Daniel Rhodes (August raku, sawdust and localized smoke firing, and Cone 016-013

April 1984 23 80 Audubon St., New Haven 06511; or call: (203) 562-4927. Connecticut, Willimantic June 25-July 6 Eastern Connecticut State University is offering a session on throwing, handbuilding and decorating techniques, kiln stack­ ing and electric firing. For intermediate through advanced students. Instructor: Peter Sabin. Camping and live-in accom­ modations available. Fee: $205-$235. Contact: School of Con­ tinuing Education, Eastern Connecticut State University, Wil­ limantic 06226; or call: (203) 456-2231, ext. 252. D.C., Washington June 18-July 21 Corcoran School of Art is planning a session on handbuilding, throwing, glazing, and reduction, pit and raku firing. For beginning through advanced students. Instructors: Pamela Skewes-Cox and Bill Suworoff. Contact: Ceramics Depart­ ment, Corcoran School of Art, 17th and New York Ave., Wash­ ington 20006; or call: (202) 628-9484. Georgia, Atlanta June 16 Claywork is offering “Teapots and the Electric Kiln” with Rick Berman. Fee: $25. Contact: Claywork, 1131 Euclid Ave., NE, Atlanta 30307. Georgia, Rabun Gap August 5-11 and 12-18 “Teapots and the Electric Kiln” with Rick Berman. For in­ termediate through advanced students. Fee: $275 for one week, $500 for both. Live-in accommodations available. Contact: The Hambidge Center, Box 33, Rabun Gap 30568; or call: (404) 746-5718. Georgia, Rising Fawn June 4-July 13 Rising Fawn Pottery is offering 2-, 4- or 6-week sessions with emphasis on wheel throwing. For beginning students through professionals. Fee: $100 per week. Contact: Charles Counts, Rte. 2, Pottery Workshop, Rising Fawn 30738; or call: (404) 657-4444. Hawaii, Honolulu June 9-24 “Raku Ho’olaule’a” with Blue Corn (June 9, 13 and 16); at Kakahi YWCA. Includes “Firing on the Beach” at Kualoa Beach Park (June 23-24). Fee: $85. Contact: Hawaii Crafts­ man, Box 22145, Honolulu 96822. Moravian Tile Works apprentices and staff at Doylestozvn, Pennsylvania. Idaho, Sun Valley June 18-August 17 glazes and lusters. For all skill levels. Instructors: Jerry Cap- “Large-Scale Sculptural Concerns” with Tony Hepburn (July Sun Valley is offering ceramics sessions with Jean Biagini, lan and Patrick S. Crabb. Fee: $90. Contact: Patrick S. Crabb, 16-20), fee: $200; “Handbuilt Constructions” with Andrea Christo, Dan Doak, Jun Kaneko, Gayle Prunhuber, Jim Santa Ana College, 17th and Bristol Sts., Santa Ana 92706; and John Gill (July 16-27), fee: $275; “Taking Chances” with Romberg and Joe Soldate. For advanced students and profes­ or call: (714) 667-3195. Jun Kaneko (July 23-27), fee: $200; “Low-Fire Salt” with sionals. Camping facilities available. Fee: $850, plus clay and Paul Soldner (July 30-August 3), fee: $200; “Architectonics firing. Contact: Ceramics, Sun Valley Art Center, Box 656, California, Santa Cruz in Clay” with Kris Cox (July 30-August 10), fee: $275; Sun Valley 83353; or call: (208) 622-3539. June 18-July 13 “Monumental Vessels” with William Daley (August 6-17), The University of California in Santa Cruz is offering two fee: $275; “Vessel Aesthetics” with Wayne Higby (August Illinois, Edwardsville 2-week sessions with A1 Johnsen. For beginning through ad­ 13-24), fee: $275; and “Porcelain Aesthetics/Production” with July 16- August 10 vanced students and professionals. Camping and live-in ac­ Catharine Hiersoux (August 20-24), fee: $175. For beginning Southern Illinois University at Edwardsville is offering a commodations available. Fee: $265 each. Contact: Adrienne through advanced students and professionals. Materials extra; workshop with Daniel Anderson and Hee Sun Lee, who will Van Gelder, University of California Extension, Santa Cruz bring tools. Area accommodations available. Contact: Ander­ demonstrate traditional Korean inlay and carving techniques. 95064; or call (408) 429-2971. son Ranch Arts Center, Box 2410, Aspen 81612. For students at all levels. Camping facilities available. Contact: Daniel Anderson, Ceramics, Department of Art and Design, California, Santa Monica Colorado, Monte Vista Box 74, S.I.U., Edwardsville 62026; or call: (618) 692-3071. August 25-26 May 28-July 6 The Clayhouse is offering a session with Bennett Bean. Con­ Phillips University is planning two sessions at its Colorado Indiana, Evansville tact: Orien Pagan, 23814 Twin Pines, Diamond Bar, Cali­ Field Camp: “Primitive Ceramics I” for beginners (May June 4-15 fornia 91765; or call: (213) 828-7071 or (714) 595-3446. 28-June 15) with Paul Denny and Nan and Jim McKinnell; University of Evansville is offering “Kiln Construction Work­ and “Primitive Ceramics II” for advanced students (June shop” for a propane-fired, sprung-arch kiln (June 4-8); and California, Walnut Creek 18-July 6) with Paul Denny and Ron DuBois. Live-in ac­ “Salt Glaze and Raku Workshop” (June 11 -July *15). In­ June 18- August 11 commodations available. Fee: $300, plus room and board. structor: Les Miley. For all skill levels. Camping and live-in Walnut Creek Civic Arts Education is offering several sessions Contact: Paul Denny, Art Department, Phillips University, accommodations available. Fee: $50. Contact: Les Miley, Art on throwing, handbuilding, raku and salt glazing. For all skill Box 2000, Enid, Oklahoma 73702; or call: (405) 237-4433, Department, University of Evansville, Box 320, Evansville levels. Instructors: Peter Coussoulis, Skip Esquierdo, Gary ext. 393 or 262. 47702; or call: (812) 479-2043. Holt, Karen C. McKeen and Andree Thompson. Contact: Mark McKinnon, Walnut Creek Civic Arts, 1313 Civic Drive, Connecticut, Brookfield Indiana, Goshen Walnut Creek 94596; or call: (415) 943-5846. Summer June 4-15 Brookfield Craft Center is offering week-long and weekend “Raku Workshop,” two 1-week sessions with Marvin Bartel. Colorado, Arvada sessions on all clay techniques. Fees: $170 per week; $85 week­ Fee: $50 each. Contact: Marvin Bartel, Goshen College, Go­ June 18-August 11 ends. Contact: Brookfield Craft Center, Box 122, Brookfield shen 46526; or call: (219) 533-3161, or 533-0171. Arvada Center for the Arts is planning a series of workshops 06804; or call: (203) 775-4526- on functional pottery, salt glazing, mold making, surface dec­ Indiana, Indianapolis oration and raku. Instructors: Kathy Andrews, Rolf Dahl, Connecticut, Guilford June 6-15 Kevin Ford, Katherine Holt, Kathy Kearns, Carol Kliger, Jeff June 11-July 30 Herron School of Art is planning a series of 3-day workshops Oestreich, Bob Smith and Ted Vogel. Contact: Arvada Center Guilford Handcrafts is offering “Planters and Handbuilt Ves­ covering materials and techniques for photographic decals. for the Arts, 6901 Wadsworth Blvd., Arvada 80003; or call: sels,” focusing on decorating unglazed terra-cotta planters with Instructor: Mark Richardson. Live-in accommodations avail­ (303) 431-3080. slips and terra sigillata, with Anita Griffith (June 11-15); able. Contact: Mark Richardson, Herron School of Art, 1701 fee: $42, plus materials. Also a session on handforming and N. Pennsylvania St., Indianapolis 46202; or call: (317) 923- Colorado, Aspen decorating tiles, with Alice Chittenden (July 9-30); fee: $38, 3651. June 18-August 24 plus materials. For all student levels. Contact: Fernn Hub­ Anderson Ranch is offering “Refined Porcelain” with Marge bard, Guilford Handcrafts, Box 221, Route 77, Guilford 06437. Indiana, Lafayette Levy (June 18-22), fee: $175; “Basic Pots” with Michelle September 8 Gilman (June 18—29), fee: $175; “Art of/from Casting” with Connecticut, New Haven “Potter’s Guild of Indiana Warren MacKenzie Workshop”; at Richard T. Notkin (June 25-29), fee; $175; “Outer Limits June-July the Greater Lafayette Museum of Art. For all skill levels. Fee: of Handbuilding” with Judith Salomon (July 2—13), fee: $275; Creative Arts Workshop is offering 6-week pottery sessions $10 for members of the Potter’s Guild of Indiana, $15 for “Illuminated Clay” with Allen Kluber (July 2-13), fee: $275; for students at all levels. Contact: Creative Arts Workshop, nonmembers. Contact: Audrey Rossmann, 1208 Wiley Dr.,

24 Ceramics Monthly w. Lafayette 47906; or call: (317) 743-9457. Terry; “Clay in the Classroom” with Carol Temkin; and “Elec­ University of Michigan, 2000 Bonisteel Blvd., Ann Arbor tric Kiln Repair and Troubleshooting” with Tim Shaw. Con­ 48109; or call: (313) 764-0397. Indiana, Richmond tact: The Potters Shop, 34 Lincoln St., Newton Highlands June 17-23 02161; or call: (617) 965-3959. Michigan, Ypsilanti Elderhostel’s “Creative Experience with Clay,” at Earlham June 4-22 College, Indiana University East, will focus on handbuilding, Massachusetts, Truro Eastern Michigan University is offering “Raku” with John low-fire techniques, and sawdust and raku firing. For begin­ July 2-27 Loree. Contact: Eastern Michigan University, Ypsilanti 48197. ning and intermediate students. Fee: $190, includes materials The School of Sculpture is offering a session on handbuilding and lodging. Contact: Eldershostel, 100 Boylston St., Suite and simple mold making. For beginning and advanced stu­ Missouri, Saint Louis 200, Boston, Massachusetts 02116; or call: (617) 426-8056. dents. Instructor: Joyce Johnson. Camping facilities available. June 11-August 17 Contact: School of Sculpture, Box 201, Truro, 02666; or call: Craft Alliance is planning 1- and 8-week sessions on hand­ Kansas, Pittsburg (617) 487-1750, or 487-1058. building, throwing, surface decoration and firing techniques. June 5-28 For beginning through advanced students. Instructors: Elaine Pittsburg State University is offering a “Ceramics Workshop” Massachusetts, Truro Alt, Susan Bostwick, Robert McNeely and Leslie Wood. Con­ with James Reed. For beginning through advanced students. July 2-August 31 tact: Carol Huston, Craft Alliance Education Center Director, Fees: $83.25 for residents, $178.50 for nonresidents. Live-in Truro Center for the Arts is planning “Kilnbuilding” with 6640 Delmar, Saint Louis 63130; or call: (314) 725-1177. accommodations available. Contact: Continuing Education Of­ Katy McFadden (July 2-7), fee: $115; “Using Ancient Pro­ fice, Pittsburg State University, Pittsburg 66762; or call: (316) cesses” with Necee Regis (July 9-13), fee: $95; “What Is a Montana, Helena 231-7000, ext. 280. Teapot?” with Mary Roehm (July 16-20), fee: $95; “Glaze August 11-12 Technology” with Tom Spleth (July 23-27), fee: $130; “More Archie Bray Foundation is offering a session with Jenny Lind Kentucky, New Haven Incredible Raku” with Randy Williams (July 30-August 3),and Alan Walter on handbuilding, throwing and glazing. For July 23-August 5 fee: $115; “Wood Ash Glazed Porcelain” with Tom Kendall all skill levels. Contact: Archie Bray Foundation, 2915 Coun­ Big Lick Pottery plans a session on pinching and throwing (August 6—10), fee: $95; “Porcelain/Production and Altered” try Club Ave., Helena 59601; or call: (406) 443-3502. techniques, surface decoration, gathering and processing clay with Byron Temple (August 13-17), fee: $160; “Clay Con­ and glaze materials, and stoneware, raku and pit firing. For struction and the Human Figure” with Katy McFadden (Au­ Montana, Missoula professional potters and students at all levels. Instructors: Sar­ gust 20-24), fee: $85; “Handbuilding Large Pieces” with Anne June 15-August 31 ah Frederick, Mike Imes and Ron Knight. Housing and camping Lord (August 27-31), fee: $85. For beginning through ad­ Grimmstone Pottery is offering 2- to 4-week sessions on hand­ facilities with cooperative kitchen available. Contact: Mike vanced students (except for the Byron Temple workshop which building, throwing, clay prospecting from Yellowstone to Gla­ Imes, Big Lick Pottery, Box 328, New Haven 40051. requires experience). Camping facilities available. Contact: cier National Parks, glazes from frits, photographing ceramics, Truro Center for the Arts, Box 756, Truro 02666; or call: wood firing, tours to regional potteries and ghost towns. For Maine, Deer Isle (617) 349-3714. all skill levels. Camping and live-in accommodations available. June 10- August 17 Fee: $95, plus clay and food. Contact: Douglas Grimm, Castle Haystack Mountain School of Crafts is offering 2- and 3- Massachusetts, Worcester Grimm on the Rattlesnake, 2524 Sycamore, Rte. 7, Missoula week sessions in ceramics for students at all levels. Instructors: July 59802; or call: (406) 543-7970. James Lawton (June 10-22), Catharine Hiersoux (June Worcester Craft Center is offering a 5-week session on wheel 24-July 13), Harvey Goldman (July 15-27), Jan deRooden throwing and glaze technology with Lee Rexrode. For ad­ Nevada, Tuscarora (July 29-August 17) and Jeff Oestreich (August 19-September vanced students and professionals. Fees: $70 for members; $95 July 1-August 11 7). Live-in accommodations available. Fee: $125 per week. nonmembers; plus $15 for materials. Contact: Worcester Craft Tuscarora Pottery School is offering several 2-week sessions Contact: Haystack Mountain School of Crafts, Deer Isle 04627; Center, 25 Sagamore Rd., Worcester 01605; or call: (617) 753- on raw glazing, single firing and firing with oil. For advanced or call: (207) 348-6946. 8183. students and professionals. Instructor: Dennis Parks. Fee: $455 per session, includes room, board and materials. Contact: Julie Maine, Kents Hill Michigan, Ann Arbor Parks, Box 7, Tuscarora 89834; or call: (702) Tuscarora 6598. July 1-August 12 June 27-July 10 Kents Hill School is offering “Horizons: The New England “Attack the Tyranny of the Circle; Explore the Use of Color New Jersey, Loveladies Craft Program,” two 3-week or one 6-week sessions on throw­ in Plates and Cups” with Juta Savage. For all skill levels. June 25-August 24 ing, handbuilding, glazing, and oxidation/reduction, pit and Live-in accommodations available. Contact: School of Art, Long Beach Island Foundation of the Arts and Sciences is raku firing. For high-school students. Instructor: Mark Kuzio. Fee: $1085, includes lodging and meals. Contact: Jane Sin- auer, 374 Old Montague Rd., Amherst, Massachusetts 01002; Toshiko Takaezu throwing at Skidmore College, Neu> York. or call: (413) 549-4841. Maine, Monroe August 4-25 Star Flower Forge & Pottery is offering “Introduction to Clay” with Squidge Davis (August 4-11 or 18-25). Fee: $250, in­ cludes materials, meals and lodging. Camping also available. Contact: Star Flower Forge & Pottery, Box 1360, Brooks, Maine 04921; or call: (207) 525-3593. Massachusetts, Boston August 6-10 Art Institute of Boston is offering a session on handbuilding and raku firing techniques, with Mary Kaye; for beginning students. Fee: $225, plus materials. Contact: Mary Kaye, The Art Institute of Boston, 700 Beacon St., Boston 02215; or call: (617) 262-1223. Massachusetts, Cambridge June 11 -August 5 Radcliffe Pottery offers an open studio in stoneware and por­ celain throwing and handbuilding, glazing, and gas reduction, sodium vapor and raku firing. Instructors: Warren Mather, Shawn Panepinto and Makoto Yabe. For beginning through advanced students. Contact: Radcliffe Pottery Summer Studio, Office of the Arts, 10 Garden St., Cambridge 02138; or call: (617) 495-8676 or 495-8680. Massachusetts, Cambridge June 11-29 and August 6-24 “Intensive Wheel Throwing” with Earl Constantine and Lynn Gervens. For beginning and intermediate students. Fee: $120 for each 3-week session, includes materials. Contact: Mudflat Pottery, 25 First St., Cambridge 02141; or call: (617) 876-3877. Massachusetts, Housatonic June 1-August 31 The Great Barrington Pottery will offer three 1-month work­ shops on Japanese throwing and turning techniques with em­ phasis on production; includes firing a wood-burning kiln. Instructor: Richard Bennett. For beginning through advanced students and professional potters. Contact: The Great Bar­ rington Pottery, Housatonic 01236; or call: (413) 274-6259. Massachusetts, Newton Highlands June 15-August 15 The Potters Shop is offering several sessions: “Raku” with Steve Branfman; “Lusters” with John Heller; “Intensive Throwing Workshop” with Daisy Brand and Makoto Yabe; “Pottery as a Profession,” seminar with Ralph and Sandy

April 1984 25 New York, Greenvale and Salt Glazing,” with emphasis on throwing, handbuilding, July 30-August 10 slip decoration, wood-fire aesthetics and kiln design. Instruc­ Long Island University plans “Salt: Concept and Process” for tor: Jeff Jewell. Live-in accommodations available. Contact: advanced students and professionals. Instructor: Nancy Bald­ Teachers College, Columbia University, Box 78, New York win. Live-in accommodations available. Contact: C. W. Post 10027; or call: (212) 678-3360. Crafts Center of Long Island University, Greenvale 11548; or call: (516) 299-2203. New York, New York June 11 -July 19 New York, Lake Peekskill “Exploring Porcelain” with Jim Makins and Connie Fenic- July 21-22 chia. For all skill levels. Contact: Janet Bryant, 92nd Street “Wood and Salt Workshop,” a hands-on session with Roger Y, 1395 Lexington Ave., New York 10128; or call: (212) 427- Baumann. For beginning through advanced students. Contact: 6000, ext. 172. Westchester Art Workshop, Westchester County Center, White Plains, New York 10607; or call: (914) 683-3986. New York, New York June 18-21 New York, Lake Placid “Extruded, Altered and Assembled,” slip-decorated earthen­ June 17-August 10 ware, with Carl Culbreth. For all skill levels. Fee: $120. Live- “Parsons at Lake Placid” summer program includes several in accommodations available. Contact: Bob Barry, West Side 1- or 2-week sessions for all instruction levels. Fee: $160 per YMCA, 5 W. 63 St., New York 10023; or call: (212) 787- week. Live-in accommodations available. Contact: Office of 4400. Special Programs, Parsons School of Design, 66 Fifth Avenue, New York, New York New York, New York 10011; or call: (212) 741-8975. June 25-August 30 New York, Malden Bridge Earthworks Pottery is offering a once-a-week session on hand­ July 21-August 5 building human and animal forms. Instructor: Ailene Fields. Malden Bridge Arts Center is offering “Raku ’84,” several For beginning through advanced students. Fee: $140. Contact: week-long or weekend sessions exploring low-fire sculpture Earthworks Pottery, 255 E. 74 St., New York 10021; or call: techniques. Instructors: Michael Lancaster and Barbra Har- (212) 650-9337. nack. Live-in accommodations available. Fees: $15 per week­ New York, New York end; $35 per week. Contact: The Malden Bridge Arts Center, July 5-August 3 Summer ’84, School of Art, Malden Bridge 12115; or call: Greenwich House Pottery is planning sessions on handbuild­ (518) 766-3616. ing with Sylvia Netzer and Susan B. Wood. Contact: Green­ wich House Pottery, 16 Jones St., New York 10014; or call: New York, New York (212) 242-4106. Coil and throw techniques by Greek master potter at June-July Margarites, Crete. Parsons School of Design is offering “Ceramic Sculpture New York, Oswego Workshop” with Carl Culbreth, 4 sessions; “Introduction to June 25-July 6 Throwing” with Robert Barry, 12 sessions; “Intermediate Ce­ The State University of New York is offering “Intensive Work­ offering “Clay and Drawing—The Slab as Canvas” with Vicki ramics” with Daniel Mehlman, 12 sessions; “Beginning Ce­ shop on the Electric Kiln,” covering formulation of clay bodies Lederman (June 25-July 6); “The Raku Experience” with ramics” with Augustin De Andino, 12 sessions; and “Work­ and glazes, firing, kiln theory and maintenance. Instructor: Connie Bracci-Mclndoe (July 9-27); “Handbuilding Tech­ shop in Earthenware” with Raul Acero, 7 sessions. Contact: Richard Zakin. Live-in accommodations available. Fee: $450. niques in Porcelain” with Paula Winokur (July 24); and “High- Clay, Fiber, Metal Design, Parsons School of Design, 66 Fifth Contact: Jim Howard, Institutes and Workshops, 609 Culkin Fire Functional Ceramics” with Jane G. Grannis (July Ave., New York 10011; or call: (212) 741-8668 or 741-5795. Hall, SUNY, Oswego 13126; or call: (315) 341-4138, or 341- 30-August 24). For all skill levels. Contact: Long Beach Island 2270. Foundation of Arts and Sciences, 120 Long Beach Blvd., Love- New York, New York ladies 08008; or call: (609) 494-8156 or 494-1241. June-August New York, Otego Fireworks Shop is planning three 4-week sessions on slab- August 6-31 New Jersey, Millville and coil-building techniques. Instructor: Joy Johnson. Fee: Elizabeth Nields is offering independent study on clay sculp­ June 5-7 $75 for 4 weeks, includes clay, glaze, tools and firing. Contact: ture, handbuilt and wheel-thrown pottery, experimentation The Barn Studio of Art is offering a session with Nancy Witt Fireworks Shop, 151 West 25 St., New York 10001; or call: with clay and glazes, and firing electric, gas and raku kilns. Mulick on throwing, slip texturing and glazing with an air­ (212) 924-5479. For all skill levels. Fee: $525, includes materials. Area ac­ brush. For beginning through advanced students and profes­ commodations and camping available. Contact: Elizabeth Nields, sionals. Fee: $40. Contact: The Barn Studio of Art, 814 Whit­ New York, New York Box 300, R.D. 1, Otego 13825. aker Ave., Millville 08332; or call: (609) 825-5028. June 1-August 30 Craft Students League YWCA is offering “Mold Making for New York, Rochester New Jersey, Morristown Ceramics,” with Rose Krebs (June 1, 2 and 9). Fees: $75 for July 30-August 31 July 2-July 26 YWCA members, $85 for nonmembers. Also a session on The School for American Craftsmen, Rochester Institute of Earth & Fire Pottery plans a 4-week session on throwing and throwing and glazing functional and nonfunctional forms, with Technology, is planning a 5-week ceramics session. Live-in handbuilding; for beginning through advanced students. Arthur Gerace (August 20-30). Fees: $150 for YWCA mem­ accommodations available. Contact: Rochester Institute of Camping and live-in accommodations available. Fee: $90, plus bers, $160 for nonmembers. Contact: Craft Students League Technology, 1 Lomb Memorial Drive, Rochester 14623; or firing charge. Contact: Earth & Fire Pottery Studio, Box 5, YWCA, 610 Lexington Ave.,New York 10022; or call: (212) call: (716) 262-6274. Morristown 07960; or call: (201) 455-9368. 755-4500. New York, Saratoga Springs New York, Albany New York, New York May 30-August 16 June 7-Augusl 26 July 9-28 Skidmore College is offering two 6-week sessions with Ted L’Esperance Tile Works is offering “The Art of Handmade Teachers College, Columbia University, is offering “Wood Fire De Muro. For beginning through advanced students and Tile” with Linda Ellett in a 6-week course (June 7-July 19), fee: $70; and an intensive weekend session (August 25-26), fee: $30. Contact: The Studio Building, 240 Sheridan Ave., Paul Soldner discusses raku newspaper reduction with students at Anderson Ranch, Aspen, Colorado. Albany 12210; or call: (518) 434-1620 or 465-5586. New York, Albany June 25-21 “Ceramic Compendium ’84: Albany’s Finest” includes visits with area ceramists and studio work time. Contact: Reed Ash­ er, Albany Ceramic Institute, 305 Hamilton St., Albany 12210; or call: (518) 463-2946. New York, Alfred June 24-August 2 “Alfred Summer School in Ceramic Art” program includes sessions in all areas for professionals and students at all levels. Instructors: Wayne Higby, Mary Law and Kirk Mangus. Vis­ iting artists: Bruce Cochrane and Judy Moonelis. Live-in ac­ commodations available. Fee: $840. Contact: Lewis Butler, Alfred Summer School, Box 1155, Alfred 14802; or call: (607) 871-2141. New York, Clayton July 13-August 10 Thousand Islands Craft School is offering “Ceramic Wall Pieces,” with Richard Zakin (July 13-15), fee: $45; “Cone 6 Oxidation-Reduction,” with Arthur Sennett (July 16-27), fee: $125; “Raku,” with John Smolenski (July 30-August 3), fee: $75; and “Sculpture,” with Holly Silverthorne (August 6-10), fee: $75. For beginning through advanced students. Camping facilities available. Contact: Thousand Islands Craft School, 314 John St., Clayton 13624; or call: (315) 686-4123.

26 CERAMICS MONTHLY lain-Color Inlay Process,” with Curt Benzie (July 9-20); “Low Temperature Glazes-Cone 04-3,” with Richard Zakin (July 23-29). Live-in accommodations available. Fee: $125 per week. Contact: Peter Dahoda, CraftSummer, Rowan Hall, Miami University, Oxford 45056; or call: (513) 529-7395. Oregon, Portland June 11-July 14 Oregon School of Arts and Crafts is offering “Saggar Firing and Brush Painting on Porcelain,” with John Takehara (June 11-12); and “Earthenware/Salt,” with Kurt Weiser (July 13-14). Fees for each session: $48 for members of the Oregon School of Arts and Crafts, $60 for nonmembers; plus mate­ rials. Contact: Andrea Nebel, Oregon School of Arts and Crafts, 8245 S.W. Barnes Rd., Portland 97225; or call: (503) 297- 5544. Oregon, Portland July 14-August 8 Multnomah Art Center is offering “Clay-A-Rama: Hot Dirt by Six Ceramic Artists,” including “Slip Techniques” with Ann Fleming (July 14); “Non-Utilitarian Forms” with Pat­ rick Horsley (July 20); “Colored Clay” with Maria Simon (July 23-24); “Clay Construction & Surface Design” with Margaret Ford (July 30-August 1); “Synergy: 20 Potters/3 Days/1000 Pots” with Michael Zametkin and Richard Row­ land (August 6-8). For all skill levels. Contact: Multnomah Art Center, 7688 S.W. Capitol Hwy., Portland 97219; or call: (503) 248-4444. Pennsylvania, Doylestown June 4-August 24 “Moravian Tile Works Workshop in Tile” is an apprenticeship program on the production of tiles and mosaics as they were made between 1898 and 1930. For advanced students; par­ Jerry Caplan’s Pipe Sculpture Workshop at Logan Clay Products, Logan, Ohio. ticipants selected from slides. Instructor: Mandy Sallada. Con­ tact: Moravian Pottery and Tile Works, Swamp Rd., Doyles­ town 18901; or call: (215) 345-6722. professionals. Fee: $130 for 12 weeks, plus materials. Contact: “Salt Kiln Building, Throwing and Handbuilding” with Ron Summer Six Art Program, Skidmore College, Saratoga Springs Slagle and Ken Sedberry (June 18-July 6); “Stoneware/Por­ Pennsylvania, Philadelphia 12866; or call: (518) 584-5000, ext. 372. celain Charcoal Firing with Ice Reduction at White Heat” June 25-August 3 with Philip Cornelius (July 9-27); “Porcelain/Wheel Throw­ Temple University, Tyler School of Art, is offering “Clay as New York, Syracuse ing” with Chris Staley (July 30-August 10); “Wheel Throw - Canvas,” emphasizing handbuilding and mixed-media tech­ May 21 -June 29 ing/Handbuilding” with Chuck Hmdes (August 13-31); and niques, with Deborah Horrell. For beginning through ad­ Syracuse University is offering a session on production and “Wood Firing/Porcelain” with Mary Roehm (September 3-21). vanced students. Fee: $285. Contact: Temple University, Tyler nontraditional salt-glazing techniques. For beginning and ad­ For all skill levels. Fee: $110 per week. Live-in accommo­ School of Art, Beech and Penrose, Philadelphia 19126; or call: vanced students. Instructor: Bryan McGrath. Live-in accom­ dations available. Contact: Penland School of Crafts, Penland (215) 224-7575. modations available. Contact: Art Department, Smith Hall, 28765; or call: (704) 765-2359. Syracuse University, Syracuse 13210; or call: (315) 423-4613. Pennsylvania, Philadelphia North Carolina, Raleigh August 20-31 New York, Unionville June 4-August 30 “Judy Moonelis Sculpture Workshop.” Fee: $300, plus $50 June-August The Pullen Park Arts Center is offering several 6-week ses­ for indoor accommodations and camping. Contact: Marie Unionville Art Works is offering several weekend sessions on sions for beginning and intermediate students on throwing, Rennich, Cheltenham Art Centre, 439 Ashbourne Rd., Phil­ throwing, handbuilding, sculpture and glaze technology. In­ handbuilding and Cone 6 oxidation clay and glazes. Instruc­ adelphia 19012. structor: Donald O. Mavros. For beginning through advanced tors: Lyn C. Johnson and Randy Hinson. Contact: Pullen students and professionals. Live-in accommodations available. Park Arts Center, 105 Pullen Rd., Raleigh 27607; or call: Pennsylvania, Tyler State Park Contact: Unionville Art Works, Box 547, Unionville 10988; (919) 755-6126. June 2-10 or call: (914) 726-3501. The Pennsylvania Guild of Craftsmen is planning “Byron Ohio, Cleveland Temple: Clay and Work Values” (June 2-3), “Design and New York, West Nyack June 11-29 Construction of Inexpensive Portable Raku Kiln” with Jeff June-August The Cleveland Institute of Art is offering a session on throw­ Kleckner (June 7-8) and “Raku . .. How Do You Do?” with Rockland Center for the Arts is offering 6-week sessions on ing, glazing and firing at the new factory facility. Instructor: H. R. Casilli (June 9-10). For all skill levels. Fees: $50 each. throwing and handbuilding. For beginning through advanced William Brouillard. Fee: $360, plus clay. Contact: The Cleve­ Live-in accommodations and camping available. Contact: students. Also “Raku Firing” with Rosemary Aiello (June 1) land Institute of Art, 11141 East Blvd., Cleveland 44106; or Pennsylvania Guild of Craftsmen Workshops, Box 189, Reed­ and “Combining Nylon with Clay” with Dorothy Greenwald call: (216) 229-0928. ers, Pennsylvania 18352; or call: (717) 629-5672. (June 7-8). Contact: Rockland Center for the Arts, 27 S. Greenbush Rd., West Nyack 10994; or call: (914) 358-0877. Ohio, Columbus Pennsylvania, Uniontown May 21-July 27 June 9-July 18 North Carolina, Brasstown Columbus College of Art and Design is planning a 10-week Touchstone Center for Crafts is offering “Slip Trailing on July 8-September 1 session on clay sculpture and murals, plus porcelain, neriage, Stoneware” with Jeff Diehl (June 9-14), “Porcelain” with The John C. Campbell Folk School is planning several 2- nerikomi and millefiore. Instructors: Curtis Benzie and Ban Velda Cox (June 25-30), “Functional Stoneware” with Mike week sessions on throwing, handbuilding, glazing, decorating, Kajitani. Also: “Documental Clay Sculpture and Inlaying,” Thiedeman (July 6-11) and “Unconventional Approaches from tools and firing. For beginning through intermediate students. with Hideto Satonaka (June 6-7). Contact: Victoria S. Nutter, Pit Firing to Xerox” with Dale Huffman (July 13-18). Fees: Instructors: Lee Davis, Marcia Bugg and Ruth Trent. Live- Columbus College of Art and Design, 47 N. Washington Ave., $65-$ 100, plus materials. Live-in accommodations and camp­ in accommodations available. Fee: $90 for one week; $170 for Columbus 43215; or call: (614) 224-9101, ext. 270. ing available. Contact: Pioneer Crafts Council, Box 2141, two; plus materials. Contact: Laura Sprung, John C. Camp­ Uniontown 15401; or call: (412) 438-2811. bell Folk School, Route 1, Brasstown 28902; or call: (704) Ohio, Columbus 837-2775. June 25-July 20 Rhode Island, Providence Ohio State University is planning “Clay Workshop V” with June 25-August 3 North Carolina, Cullowhee Christine Federighi (June 25-29), Graham Marks (July 2-6) Rhode Island School of Design is offering “Summer Clay” for June 18-29 and David Middlebrook (July 9-20). For intermediate through students at all levels. Instructors: John Gill, Clary Illian, Jac­ Western Carolina University is offering “Raku Workshop” advanced students. Fee: $230. Live-in accommodations avail­ quelyn Rice and Christopher Staley. Live-in accommodations with Bill Buchanan. For beginning through advanced stu­ able. Contact: Mike Chipperfield, Art Department, 128 N. available. Fee: $450. Contact: Rhode Island School of Design, dents. Live-in accommodations available. Contact: Bill Bu­ Oval Mall, Ohio State University, Columbus 43210; or call: Continuing Education, Dept. CL, 2 College St., Providence chanan, Western Carolina University, Cullowhee 28723; or (614) 422-6058 or 422-5072. 02903; or call: (401) 331-3511, ext. 281. call: (704) 227-7210. Ohio, Logan Tennessee, Gatlinburg North Carolina, Murfreesboro June 17-23 June 4-August 17 June 4-July 6 “Pipe Sculpture Workshop,” at Logan Clay Products, will Arrowmont School of Arts and Crafts is offering “Porcelain,” Chowan College is offering a session emphasizing throwing involve working with large extrusions of industrial clay. In­ with Suzanne Stephenson (June 4-8); “Anagama Wood-Fir- production pottery for beginning students. Instructor: Doug structor: Jerry Caplan. Fee: $175, includes materials and fir­ ing Techniques,” with Jack Troy (June 11-22); “Clay-Color Eubank. Fee: $612, includes lodging and meals. Contact: B. ing. Participants will be selected from slides; May 28 entry and Pattern,” with Jeanne Otis (June 25-29); “Wheel Thrown Franklin Lowe, Jr., Chowan College, Murfreesboro 27855; deadline. Contact: Pipe Sculpture Workshops, 5812 Fifth Ave., Pottery,” with David Nelson (July 2-13); “Porcelain,” with or call: (919) 398-4101. Pittsburgh, Pennsylvania 15232; or call: (412) 661-0179. Wayne Bates (July 23-August 3); “Raku,” with Harvey Sa- dow (August 6—10); “Handbuilding and Decoration,” with North Carolina, Penland Ohio, Oxford Margaret Ford (August 13-17); and “Production Tech­ June 4-September 21 June 25-July 29 niques,” with Tom and Ginny Marsh (August 13-17). For Penland School of Crafts summer sessions will include “Util­ Miami University is planning “Pueblo Pottery Making and beginning through advanced students. Fee: $110 per week. itarian Wheel Throwing” with Ron Meyers (June 4-15); Firing,” with Barbara Gonzales (June 25-27); “Porce­ Live-in accommodations available. Contact: Arrowmont School

April 1984 27 of Arts and Crafts, Box 567, Gatlinburg 37738; or call: (615) 436-5860. Tennessee, Murfreesboro June 4-22 Middle Tennessee State University is offering “Raku: the Dec­ orative Vessel”; includes throwing, handbuilding, glazing, dec­ orating and kilnbuilding. For intermediate and advanced stu­ dents. Instructor: Peter MacDougall. Live-in accommodations available. Contact: Art Department, Middle Tennessee State University, Murfreesboro 37132; or call: (615) 898-2455 or 898-2453. Tennessee, Smithville June 18-August 10 Appalachian Center for Crafts is offering “Small Ceramic Works,” with Chris Unterseher (June 18-29); “Decals on Ceramic Surfaces,” with Victor Spinski (July 2-6); “Clay Sculpture,” with Tony Hepburn (July 9-13); “Models and Molds for City Production,” with Charles Nalle (July 16-27); “Low-fire Work Involving Slabs and Painting,” with David Furman (July 30-August 3); and “Low-fire Surface Deco­ ration Techniques,” with Michael Peed and David Dunlap (August 6-10). Camping and live-in accommodations avail­ able. Fee: $100 per week, plus materials. Contact: Appala­ chian Center for Crafts, Box 347 A-l, Route 3, Smithville 37166; or call: (615) 597-6801. Texas, Lubbock July 15-August 3 Texas Tech University Center is planning a session on throw­ ing, handbuilding, raku and stoneware firings. Instructors: Sara Waters and James C. Watkins. For beginning through advanced students and professionals. Live-in accommodations Facilities at Kohler Company for the Arts/Industry Residency program, Sheboygan, Wisconsin. available. Contact: Sara Waters, Texas Tech University, Art Department, Box 4720, Lubbock 79409;orcall: (806) 742-3826. eludes clay; bring own tools. Contact: Elizabeth Campbell, newspaper. Instructor: Gene Suzanne Weppner. For all stu­ Vermont, Ludlow Box 462, Entiat 98822; or call: (509) 784-1823. dent levels. Fee: $60. Contact: Jackson Hole Art Association, June 23-September 8 Box 1248, Jackson 83001; or call: (307) 733-6379. Fletcher Farm Craft School is offering “Ceramic Tiles” with Washington, Seattle Margaret Lyon (June 23), fee: $35, includes lunch; “Ceramic June 16- August 17 Tiles Function/Design” with Margaret Lyon (July 5-6 and Pottery Northwest is planning sessions with Robert Sperry International 9-13), fee: $150; “Business of Production Pottery” with Jayne (June 16-17), Margaret Ford (July 14) and Jack Troy (Au­ Shatz (July 16-20), fee: $150; “Ceramic Mural” with Jayne gust 5-17). Contact: Jean Griffith, Pottery Northwest, 226 Shatz (August 27-31), fee: $150; and “Ancient Processes” with First Ave., N., Seattle 98109; or call: (206) 285-4421. Belgium, Rochehaut Necee Regis (September 4-8), fee: $125. For all skill levels. July 2-August 31 Live-in accommodations and camping available. Send self- West Virginia, Elkins Maison Artisanale at Champ de Fluhaut/Rochehaut (Bouil­ addressed, stamped envelope to: Doris G. MacLeod, Saxton’s July 15-28 lon) will offer sessions on handbuilding, throwing, glazing, River Rd., Bellows Falls, Vermont 05101; or call (802) 463- Augusta Heritage Arts Workshop is offering an intensive ses­ kilnbuilding and firing. Instructors: Denise Frankinet and Laure 3330. sion on basic throwing to advanced firing procedures for stone­ Brebant. Camping and live-in accommodations available. Fee: ware pottery. For beginning through advanced students and BF600 (approximately $11.50) per day. Contact: Denise Vermont, Plainfield professionals. Instructor: Duke Miecznikowski. Fee: $280. Frankinet, Route de Poupehan 62, 6849 Rochehaut; or call: July 9-13 Camping and live-in accommodations available. Contact: Au­ (061) 46 64 80. “A Clay Symposium” will focus on options for producing din- gusta Heritage Arts Workshop, Davis & Elkins College, Elk­ nerware multiples; includes mold making, throwing, decals, ins 26241; or call: (304) 636-1903. Canada, Alberta, Banff low-fire decoration and nontraditional ceramic processes. For June 25-August 3 experienced potters. Instructors: Diane Tetrault and Charlotte Wisconsin, Drummond The Banff Centre School of Arts is offering nonacademic Potok. Live-in accommodations available. Fee: $250. Contact: June 10-16 workshops for individual study and to promote technical and Ellen Codling, Admissions, Goddard College, Plainfield 05667; University of Wisconsin, River Falls, is planning live-in ses­ theoretical expertise for advanced students and professionals. or call: (802) 454-8311. sions at Pigeon Lake Field Station near Drummond, including Candidates should submit resume, slides and letters of rec­ “Primitive Claywork and Firing” with Kurt Wild, and “Studio ommendation. Instructors: Leslie Manning and Angelika Washington, Entiat Clay: Throwing, Raku Firing and Kilnbuilding” with Doug Wanke. Live-in accommodations available. Contact: The Reg­ June 10-15 Johnson; for all levels. Fees for each session: $124.34 for res­ istrar, Visual Arts, The Banff Centre, Box 1020, Banff, Al­ “Third Annual Raku Workshop,” with Zeljko Kujundzic, at idents; $257.66 for nonresidents. Contact: Paul Klemm, Pi­ berta T0L 0C0; or call: (403) 762-6100. the “studio” on the Columbia River. For beginning through geon Lake Field Station, University of Wisconsin, River Falls advanced students. Camping facilities available. Fee: $75, in- 54022; or call: (715) 425-3877. Canada, Alberta, Calgary June 4-22 Wisconsin, Madison The University of Calgary is planning “Murals and Foun­ Peter Voulkos throwing demo at Anderson Ranch, June 18-August 10 tains—Construction and Surface Decoration,” a hands-on ses­ Aspen, Colorado. The University of Wisconsin is offering a session with Bruce sion for professional and skilled avocational ceramists. Limited Breckenridge, emphasizing primitive and raku firings. In­ enrollment. Participants will be screened from 6 slides or pho­ cludes clay and glaze formulations, and under- and overglaze tos and resume. Instructor: Karen Park. Fee: Can$150 (ap­ techniques. Visiting lecturers. For beginning through ad­ proximately $123). Live-in accommodations available. Con­ vanced students. Live-in accommodations available. Contact: tact: Vic Brosz, Department of Art, The University of Calgary, Summer Session Office, 432 N. Murray St., Madison 53706; 2500 University Dr., NW, Calgary, Alberta T2N 1N4; or or call: (608) 262-2115. call: (403) 284-5314. Wisconsin, Sheboygan Canada, Alberta, Red Deer Summer July 9-August 3 “Arts/Industry Residency” at Kohler Company is an oppor­ Red Deer College is offering 1-week sessions: “Introduction tunity for artists to work in an industrial environment. Factory to Pottery” with Gary Williams; “Basic Wheel Throwing” personnel available for consultation. Candidates should submit with Dave Settles; “Chinese Historical Techniques: Sung to slides, resume, references and a proposal for project. Paid Ming” with Winnie Yang-Kuo; “Traditional Raku Tech­ expenses, travel and materials, plus an honorarium. Contact: niques” with Elizabeth Molds; “Kilnbuilding” with Chuck Arts/Industry Program, John Michael Kohler Arts Center, Wissinger (2 weeks); “A Studio Workshop for Career Ceram­ Box 489, Sheboygan 53082; or call: (414) 458-6144. ists” with William Hunt; and “Advanced Wheel Throwing” with Naburo Kubo. Camping and live-in accommodations Wisconsin, Whitewater available. Contact: Continuing Education Department, Red July 9-August 3 Deer College, Red Deer, Alberta T4N 5H5; or call: (403) University of Wisconsin, Whitewater, is offering a throwing 342-3219 or 342-3244. and handbuilding session with Charles Olson. Live-in accom­ modations available. Contact: Art Department, University of Canada, Ontario, Manitoulin Island Wisconsin, Whitewater 53190; or call: (414) 472-1318. June 1-21 Manitoulin Pottery School and Northern Crafts Gallery are Wyoming, Jackson offering a session on prospecting and preparing local clays, June 29-July 2 throwing and handbuilding, pit, smoke and wood firings with Jackson Hole Art Association’s “Clay: Pottery Techniques Jose Antonio Garcia; “Return to Earthenware” with Bruce Ancient and New” will cover terra sigillata and slip decoration, Cochrane; and “Mask Making—The Right Brain Approach” burnishing and firing in an electric kiln with sawdust and with Brenda May Renwick. Contact: Manitoulin Pottery School,

28 Ceramics Monthly R.D. 1, Techkummah, Manitoulin Island, Ontario POP 2C0; Camping facilities available. Fees: £39 (approximately $60) molding and decorating. For all skill levels. Fee: £159 (ap­ or call: (705) 859-3045. per weekend, £65 (approximately $97) per week; includes proximately $232) per week, includes accommodations. Con­ lunch. Contact: Dove Workshops Pottery, Barton Rd., Butt­ tact: Tina Homer, Lower Aston House, Knighton-on-Teme, Canada, Ontario, Mississauga leigh, Nr. Glastonbury, Somerset; or call: Baltonsborough (0458) Tenbury Wells, Worcestershire; or call: Newnham Bridge (0584) July 2-27 50385. 79404. Sheridan College is offering “Decorative Techniques in Por­ celain” (July 2-13); for advanced students. Instructor: Harlan England, Somerset, Queen Camel France, Anthy House. Fee: Can$160 (approximately $130), plus materials. July 2-September 15 June 9-September 16 Also “Raku” (July 20-29) throwing, decorating, smoking, Douglas Phillips’s summer workshops will cover throwing Lieke Schooneman is planning several 1-week sessions, at her kilnbuilding and burner design; for intermediate students. In­ stoneware and porcelain, wood firing and raw glazing. In­ Lake Geneva studio, on handbuilding and glaze technology structor: Anne Cummings. Fee: Can$80 (approximately $65), structors: David Leach, John Maltby, Takeshi Yasuda, Nigel with emphasis on murals. Instructors: Lieke Schooneman and plus materials. Contact: Sheridan College, Mississauga Con­ Wood and Douglas Phillips. Camping and live-in accommo­ Candice Dufresne. Up to 6 students per session; English spo­ tinuing Education, Brampton Campus, McLaughlin Rd., Box dations available. Fee: £90 (approximately $131) per week, ken. Fee: $250 per week, includes materials, lodging and 7500, Brampton, Ontario L6V 1G6; or call: (416) 459-7533, includes materials. Contact: Douglas Phillips, Ridge Pottery, transportation from airport. Contact: Lieke Schooneman, 33 ext. 220. Queen Camel, Nr. Yeovil, Somerset; or call: Marston Magna Les Savoyances, 74200 Anthy. (0935) 850753. Canada, Ontario, North Bay France, Betschdorf July 9-27 England, Suffolk, Eye Summer Canadore College is offering “Handbuilding Clay Sculpture” Summer Christian Krumeich is offering sessions on stoneware pottery; with Dzintars Mezulis (July 9-13); “Porcelain” with Paula Robin Welch offers ceramics instruction for all levels at his maximum 3 participants each. Live-in accommodations avail­ Murray (July 9-13); “Production Pottery” with Steve Irvine 15th-century farmhouse and barn. Live-in accommodations able. Contact: Christian Krumeich, 23 rue des Potiers, 67660 (July 16-20); and “Decorative Porcelain” with Keith Camp­ available. Contact: Robin Welch, Stradbroke, Eye, Suffolk Betschdorf; or call: (88) 54-40-56. bell (July 23-27). For all student levels. Camping and live- 1P21 5JP. in accommodations available. Contact: Artsperience/Cana- France, Cereste dore College, Box 5001, North Bay, Ontario P1B 8K9; or England, Suffolk, Ipswich August call: (705) 474-7600. Summer Atelier de la Tour d’Embarbe is offering 1- or 2-week sessions Alan Baxter Pottery Workshop is offering week-long sessions on handbuilding and throwing for beginning through ad­ Canada, Ontario, Wiarton for beginning through advanced students. Fee: £170 (approx­ vanced students. Instructor: Henda Lea. Camping and live- May 28-June 22 imately $250), includes lodging and meals. Contact: The White in accommodations available. Fee: approximately $100 per Gleason Brook Pottery is planning a session on building a House Studio, Somersham, Ipswich, Suffolk; or call: Ipswich week. Contact: Poterie La Tour d’Embarbe, 04110 Cereste; two-chamber climbing kiln, throwing and firing. Instructor: (0473) 831256. or call: (90) 86-39-42. Linda Christianson. For advanced students and professionals. Camping and live-in accommodations available. Contact: Tony England, W. Sussex, Chichester France, Nogent-le-Roi and Gayle Clennell, Gleason Brook Pottery, Wiarton, Ontario August 11-31 July N0H 2T0; or call: (519) 534-2935. West Dean College is planning a session on wheelwork and Le Cheval a l’Envers is offering 2-week sessions on throwing handbuilding with Alan Foxley (August 11-19). Fee: £211 with Japanese techniques for beginning students. Instructors: Canada, Quebec, Ayer’s Cliff (approximately $265). Also a general pottery workshop, in­ Philippe Dubuc and Diana Berrier. Live-in accommodations June-August cluding a raku firing, with Alison Sandeman (August 26-31). available. Fee: F1000 (approximately $125) per week. Max­ Rozynska Pottery is offering five 2-week sessions on throwing, Fee: £132 (approximately $165). Full board included. For imum 6 students per session; English spoken. Contact: Diana handbuilding, glazing, kiln stacking and firing. For all student beginning through advanced students. Contact: West Dean Berrier or Philippe Dubuc, 20 rue des Remparts, Coulombs levels. Fee: Can$515 (approximately $419) for two weeks, College, West Dean, Chichester, W. Sussex PO18 OQZ; or 28210, Nogent-le-Roi; or call: (37) 43-48-29 or 43-37-35. includes lodging and meals. Contact: Rozynska Pottery, Way’s call: Singleton (0243) 63301. Mills, R.D. 1, Ayer’s Cliff, Quebec JOB ICO; or call: (819) France, Paris 838-4321. England, Worcestershire, Tenbury Wells My July-September Atelier des Brikezolces is offering 5-day sessions on hand­ Denmark, Copenhagen Martin Homer Pottery is offering 1- or 2-week sessions on building, throwing, and glaze decoration, using black, red and August 19-31 throwing, making handles and spouts, handbuilding, press white clay. For beginning through advanced students. Fee: “Design in Scandinavia,” a seminar on arts and crafts and industrial design touring Finland, Sweden and Denmark, will include lectures, visits to exhibitions, workshops, industries, Student throwing at “Summer in Greece Program ” Rethymnon, Crete. showrooms and museums; conducted in English. Application deadline: June 15; limited participation. Fee: Dkr8500 (ap­ proximately $910), includes meals, lodging and transportation during seminar. Contact: Det Danske Selskab, Kultorvet 2, DK-1175 Copenhagen K; or call: (45-1) 13 54 48. England, Berkshire, Maidenhead July-August Kingsbury Pottery is planning week-long sessions on stone­ ware and porcelain with emphasis on throwing, handbuilding and decorating. Instructor: Renee Rubinstein. For beginning through advanced students and professionals. Fee: £120 (ap­ proximately $174) per week, includes accommodations. Con­ tact: Kingsbury Pottery, 4 Boyn Hill Rd., Maidenhead, Berk­ shire SL6 4JB; or call: Maidenhead (0628) 27984. England, Essex, White Roding July-August White Roding Pottery is offering weekly sessions on throwing, handbuilding, decorating and firing including wood-fired raku, bonfire and sawdust. For beginning through advanced students and professionals. Instructors: Deborah Baynes, Martin and Julia Vella. Fee: £145 (approximately $215) per week, in­ cludes accommodations. Contact: White Roding Pottery, White Roding, Nr. Dunmow, Essex; or call: White Roding (0279) 76326. England, Kent, Maidstone Summer John Solly Pottery is planning week-long workshops on throwing and press molding earthenware, and slip trailing decoration. For students at all levels; 10 students per session. Camping facilities available. Fee: £65 (approximately $95) per week. Contact: John Solly Pottery, 36 London Rd., Maidstone ME16 8QL, Kent; or call: Maidstone (0622) 54623. England, Norfolk, Marham June-August The Clock House Pottery School is offering weekly sessions with Alva and Daphne Llewellyn. Fee: £135 (approximately $197) per week, includes meals and lodging. Send self-ad- dressed, stamped envelope to: The Clock House, Marham, Nr. King’s Lynn, Norfolk PE33 9HS. England, Somerset, Buttleigh June-August Dove Workshops Pottery is offering weekend and 1-week ses­ sions on clay preparation, throwing, handbuilding, glazing techniques, raku and single firing. Instructor: Paul Stubbs.

April 1984 29 by Jenifer Jones and Janet and Nigel Konstam. For beginning through advanced students. Live-in accommodations available. Contact: J. Jones, 4 Tideswell Rd., London SW15 6LJ, Eng­ land; or J. Konstam, Via S. Michele 16, 53031 Casone d’Elsa, Siena. Italy, Tuscany June 18-September 15 The School of Vision is offering 1- to 3-week sessions, in the medieval city of Tuscany, Viterbo, on local forming and firing methods, including throwing, handbuilding, burnishing and sawdust and raku firing. Instructors: Rudolf Kotokraks, Mar- di Wood and Carolyn Means. Live-in accommodations avail­ able. Contact Mardi Wood, 26 Alta Way, Corte Madera, Cal­ ifornia 94926; or call: (415) 924-0578; or Carolyn Means, Pier 9 Embarcadero, San Francisco, California 94111; or call: (415) 397-0185. Japan, Tokyo July 25-August 29 Parsons School of Design is planning a workshop with Jap­ anese craft masters in Tokyo, Kyoto and Inbe (Bizen), in­ cluding visits to hillside kiln sites. Fee: $3400, includes air fare, ground transportation and lodgings. Contact: Office of Special Programs, Parsons School of Design, 66 Fifth Ave., New York, New York 10011; or call: (212) 741-8975. Mexico, Guanajuato, San Miguel de Allende June 11-August 30 Stoneware—Art and Design will offer sessions on throwing and handbuilding with Nancy Sclight. Fee: $100 per month. Contact: Nancy Sclight, Aparicio 4, San Miguel de Allende, Guanajuato; or call: (465) 2-18-66. Mexico, Oaxaca July A 2-week workshop at Dona Rosa Pottery in Oaxaca will Ban Kajilani demonstrates colored clay sculpture at the Columbus College of Art and Design, Ohio. include tours to archaeological sites, village markets and mu­ seums. Contact: Mort Cohn, 1 Marchant Gardens, Kensing­ ton, California 94707; or call: (415) 527-1674. F2000 (approximately $250), includes materials and firing. France, Saint Ambroix Instructor: Iule Amado-Fischgrund. Contact: Atelier des Bri- July 2-September 8 Scotland, Caithness kezolces, 21 rue Liancourt, 75014 Paris; or call: (13) 21-59- Mas Cassac Poterie is offering 2-week sessions with emphasis Summer 38. on throwing and glazing, for beginning through advanced stu­ Lyth Ceramic Workshop is offering 1-, 2- and 3-week sessions dents; maximum 11 participants each session. Fee: F2800 on handbuilding, extruding, throwing and glazing stoneware, France, Paris (approximately $350), includes materials, firing, lodging, meals porcelain and raku bodies. For beginning through advanced July-September and insurance. Contact: Michel and Francoise Simonot, Mas students. Instructor: Alan Bain. Fee: £100 (approximately $160) Atelier Annie Fourmanoir is offering sessions on throwing and Cassac, Allegre, 30500 Saint Ambroix; or call: (66) 85-65-65. per week, includes lodging and meals. Contact: Schoniad Bain, handbuilding stoneware and porcelain, plus glaze technology. Lyth Ceramic Workshop, Lyth by Wick, Caithness; or call: For all skill levels. Contact: Annie Fourmanoir, 37 Blvd. Saint- Greece, Crete, Rethymon 095-584-339. Jacques, 75014 Paris; or call: (13)25-34-58, or (15)81-28-67. July 6-August 20 “Summer in Greece,” a study program on handbuilding and Spain, Cadiz, Conil France, Paris throwing earthenware, local traditional techniques for deco­ July-August July 1-30 ration with underglazes, slips and engobes, sculpture and art La Tacita is offering several 15-day sessions on throwing, Atelier 6, Paris American Academy, is offering a “Summer in history of Crete; includes tours to pottery towns, museums glazes, raku, wood, gas and electric firing. Camping and live- France” ceramics workshop. Fee: F7500 (approximately $935). and archaeological sites. For all student levels. Instructors: in accommodations available. Instructor: Jose Luis Aragon. Contact: Atelier 6, Paris American Academy, 9 rue des Ur- Louis Trakis and Joan Aruz. Fee: $1360, plus air fare; early Fees: Pts20000 (approximately $150) to Pts25000 (approxi­ sulines, Paris 5e.; or call: (13) 25-35-09. deposit required. Contact: Louis Trakis, Manhattanville Col­ mately $185), includes materials. Contact: La Tacita, Ce- lege, Purchase, New York 10577; or call (914) 649-2200, ext. ramica, El Colorado, Conil, Cadiz. France, Poilly-sur-Serein 331 or 337. July 1-September 1 Le Moulin de Poilly is offering 1- to 3-week ceramics sessions Holland, Oosterwolde (Fochteloo) Spain, Madrid for beginning through advanced students and professionals. June 18-July 13 June 25-July 20 Instructors: Phillip Gearheart and Hester Tjebbes. Individual Kees Hoogendam is offering workshops on “Primitive Pottery” Lucette Godard is offering sessions on “Glaze Technology and instruction in French, Dutch or English. Contact: Le Moulin, (June 18-22); “Raku” (June 25-29); “Reduction Stoneware” Theory” (June 25-July 6); and “Clay Bodies” (July 9-20). Poilly-sur-Serein, 89310; or call: (86) 75-92-46. (July 2-6); and “Salt Glazing” (July 9-13). Fee: f41 (ap­ Fee: Ptsl5000 (approximately $109). Contact: Lucette Go­ proximately $42). Live-in accommodations available. Contact: dard, Taller de Ceramica, Calle Virgen de Lourdes 8, Madrid France, Saint-Amand-en-Puisaye Kees Hoogendam, De Knolle 3 A, 8431 RJ Oosterwolde (Foch­ 27; or call: (91) 405 5745, or 457 3533. June-August teloo); or call: 05160-8238. Wales, Pembrokeshire, Wolfcastle Le Centre National d’Initiation, de Formation et de Perfec- Summer tionnement de la Poterie et du Gres, is offering 3-day to 3- Ireland, Limerick Wolfcastle Pottery is offering weekly workshops on throwing. week sessions for all skill levels. Live-in accommodations avail­ July 2-27 Instructors: Philip and Madeleine Cunningham. Camping and able. Contact: C.N.I.F.O.P., Route de Saint Sauveur, 58310 The School of Art and Design’s “West of Ireland Summer live-in accommodations available. Fee: £120 (approximately Saint-Amand-en-Puisaye; or call: (86) 39-60-17. School ’84” will include two 2-week sessions on handbuilding, $175), includes meals. Contact: Wolfcastle Pottery, Wolfcastle, throwing, glaze technology and kilnbuilding for beginning Pembrokeshire, Nr. Haverfordwest; or call: (04 37) 87609. Charles Counts sprays clay murals at Rising Fawn through advanced students. Instructors: Jim Dennison, Val Dennison and Mike Goddard. Contact: Jim Dennison, West Pottery, Georgia. of Ireland Summer School ’84, School of Art and Design, Susan Peterson decorating at Idyllwild School of Music George’s Quay, Limerick; or call: Limerick 45341 or 44196. and the Arts summer workshop, California. Italy, Cortona June 11-August 20 The University of Georgia’s Study Abroad Program includes a ceramics session with Joe Bova for beginning through ad­ vanced students. Fee: $3100. Contact: Director, UGA Study Abroad Program, University of Georgia, Visual Arts Bldg., Athens, Georgia 30602; or call: (404) 542-7011. Italy, Faenza July Emidio Galassi is offering a 20-day workshop on ceramic techniques for advanced students and professionals. Camping facilities available. Contact: Emidio Galassi, Via Borgo Si­ rocco 12, Faenza 48018; or call: (546) 66-16-55. Italy, Siena August 18-31 A 2-week session on handbuilding and raku will be conducted

30 CERAMICS MONTHLY Photos: William Hunt, Marlen Perez Swiss CeramicBiennale to mind images of Heidi, yodeling, choc­ yodeling, Heidi, of images mind to T lt cw o slip-trailed or cows olate ware: the kind of stereotypes so depress- so stereotypes of kind the ware: nl iacrt ad ilaig when misleading and inaccurate ingly nl srrsd o id n artistically an find to surprised antly pleas­ be might Switzerland of environs applied tomostnationalities. omte t wrig n vrey of variety a in working to committed ceramists, of community diverse healthy, ewr. h dvriy s understand­ is communication diversity The informal network. an sem­ of strong a blance with and styles personal ih vrey f ilcs sm written, some dialects, of variety a with con­ loose Switzerland’s of light in able hogot h cnos n aon the around and world. cantons the throughout the in Geneva of centers cultural cipal light prin­ the this between only not in emanates and interesting more network becomes communication The not). some languages major (four existence Babel Tower of and (states) cantons of federation ot ad uih n h nrh bt also but north, the in Zurich and south “Plans,” approximately20inchesinwidth,earthenwareandporcelain,reductionfired,bySetsukoNagasawa,Geneva. he hs ptes oe itne rm the from distance some potters Thus,

mention

f ws crmc brings ceramics Swiss of orr vacui horror visits upon them the scourge of Japanese of scourge the them upon visits also but stylistically, up-to-date being of best, however, when working within their within working when however, best, benefits the them allows which formed, n Aeia sye—w ms notice­ most styles—two American and w taiin. u tee rdtos are traditions these But traditions. own museum in Winterthur (near Zurich). museum inWinterthur identified, be can ceramics in eclecticism do Swiss The influences. outside able ai Benl, ed t h Gewerbe- the at held Biennale, ramic Ce­ National Swiss recent the at Swiss seen as a that productive and broad so de a hv ifune te uy with jury the influenced have may edge growing the on concentration whose ists, ceram­ young coin, the of side On other the standards. without overall to performance up living past really of basis on the in way their find standing long of ers h iavrety iue vle o mass of values diluted inadvertently the novelty, miss the mark as well. Such are Such well. as mark the miss novelty, f ia atss mn o wo sil feel still whom of many artists, vital variety of a are pool talent Swiss the of dle shows with group juries. But in the mid­ the in But juries. group with shows ws crmss em ahr el in­ well rather seem ceramists Swiss As in most national shows, some lead­ some shows, national most in As form of myopia they call isolation, whose isolation, call they myopia of form ok ely eevs nentoa atten­ international deserves really a work to due complex inferiority certain a in Te et f hs icue Jean- include these of best The tion. far too little international exposure. These exposure. international little too far with ceramists Lotscher—all Markus and Favre Aline jurors with along Nagasawa, Ruth Langsch, Elisabeth Fran- Froesch, £oise Schmutz-Pietoff, Irmelin Daniel Gelzer, Grivel, Yves Crousaz, de Claude keeping stylesfreshthroughouttheworld. f nprto, ed h sm txs look texts, same the read inspiration, of in regionalism of value demon­ great the and strate ceramics, with contend that international to in work force a their is Switzerland through prove artists Setsuko and Nadler Sabine Monnier, aube nprto—u on neigh­ own most inspiration—our that in valuable particularly can and it found, wherever be inspiration searching quality of out methods various our tinue con­ all we that hope can one But dards. stan­ same the accept or pots same the at borhood. May we never all seek the same sources same the seek all never we May a reviewby W illiam April 1984 H unt 31 “Object,” 6 inches in height, inlaid colored porcelain, mold trailed, wood/gas fired to Cone 9, by Yves Grivel, Geneva. Top Handbuilt sculpture, 35 inches in height, fumed stoneware, by Jacques Kaufmann, Geneva. Left “Standard,” 24 inches in height, handbuilt clay, fired to Cone 1, with branches and feathers, flexible metal base, by Elisabeth Langsch, Zurich. Right Vase, 9 inches in height, thrown porcelain, with stoneware slab addition, fired to Cone 10, by Francoise Foresch, Travers.

32 CERAMICS MONTHLY April 1984 33 Basin, 19 inches in diameter, thrown stoneware, with iron and cobalt-nickel decoration, glazed, fired to Cone 10 in reduction, by Jean-Claude de Crousaz, Bernex.

Earthenware bowl, 18 inches in diameter, thrown, with slip-trailed decoration, by Irmelin Schmutz-Pietoff, Goldiwil.

34 CERAMICS MONTHLY “Fragment ” 12 inches in height, handbuilt/cast porcelain, with colored porcelain slips, fired to Cone 03, by Sabine Nadler, Zurich. April 1984 35 Wheel-thrown stoneware vase, 7 inches in height, hay ash glaze with iron and copper, fired to Cone 10 in oxidation, by Verena Meier, Lanzenhausern Left “Walking,” 13 inches in height, handbuilt stoneware, with impressed surface, slip, dusty rose flashing from low-temperature salt glazing, by Aline Favre, Geneva.

Wheel-thrown bowl, 14 inches in diameter, Bizen-like unglazed stoneware, wood fired, by Markus Lotscher, Zollikon.

36 CERAMICS MONTHLY Contemporary traditional-style earthenware plate, 12V2 inches in diameter, thrown, with slips, slip-trailed decoration, by Daniel Gelzer, Bern. The inscription is a nursery rhyme: “The bear, the bear, where does he come from? The beast, the beast, what does it want here?” Left Installation, life-size, very thin porcelain cutouts on flexible metal rod bases, by Ruth Monnier, Zurich. Exhibited in a small, darkened space, these works were strongly lit so that their shadows became important to viewing the work itself.

April 1984 37 Self-glazing Porcelain byN ils Lou

POTTING holds many fascinations, in­ Significant color was produced be­ cluding the potential for the unexpected. cause the water collected colloidal iron One warm summer afternoon I was pre­ while the pot was soaking, and evapo­ paring salt water to spray into a kiln at ration moved it to the surface along with red heat. While mixing the brine, I no­ the sodium. Therefore any sodium so­ ticed a porcelain bowl nearby. It had lution should work. been bisqued, but not glazed. I plunked Believe it or not, unadulterated salt is it into the salt water, not consciously difficult to find. For instance, common considering any ultimate possibility—just table salt contains sodium chloride, po­ the idea of soaking the porous body with tassium iodide, dextrose and sodium al- salt. It remained in the bucket for several umino-silicate (which may cause bloat­ hours, forgotten until it was time to clean ing in pots). up. The bowl was almost dumped with Bicarbonate of soda, washing soda and the water, but I salvaged it in time, shook soda ash were tried with varying results. off the excess water and set it aside to Goblet, 5 inches in height, brine-soaked Sodium bicarbonate proved unsatisfac­ dry. bowl, stoneware base, reduction fired. tory as the amount of soluble sodium Weeks later enough pots had accu­ released was minimal. Washing soda is mulated to load the kiln for another fir­ basically sodium carbonate and very ing, but not quite a full load. I looked most part unsatisfactory. The fluxing of similar to soda ash. So I have now chosen for more pots to glaze and spotted the relatively high percentages of iron and soda ash as the principal source of so­ salted bowl, now thoroughly dry, but the other metallic oxides caused bloating and dium because it is much less expensive, surface had spalled considerably, split­ distorted surfaces. Better results might produces a strong fluxing action and ting portions of the lip in separated lay­ be obtained at lower temperatures. At doesn’t develop the crystals which cause ers. The salt had migrated to the surface high temperatures, the iron content should spalling as does NaCl. If texture is de­ as the brine had evaporated, forming a be small—less than 0.05%. sired, then brine can be used, as salt has visible film as it crystallized on and un­ So far, my experience is with just a the ability to really deteriorate the pot der the surface. Could that texture be few porcelains and each has its own po­ over a period of time. captured? Or would the pot just melt tential. In addition to orange, I have de­ Usually ware for soaking is bisque from the saturation of sodium on the veloped a range of subtle hues—tans, fired at Cone 08 to 06, placed in a fairly surface? greens, grays and even a celadon. For a saturated solution of soda ash (approx­ I remembered reading an article by strong orange, the following porcelain imately 12 cups soda ash to 3 gallons of Tom Turner (Ceramics Monthly, Feb­ body works well: water), and dried for about one week. ruary 1974) in which he suggested the During the subsequent Cone 10 firing, possibility of self-salting porcelain, with East Creek Porcelain Body 1 medium reduction is required from a glazing capability similar to Egyptian (Cone 10) 1850°F on. paste. This pot was porcelain and thus Sodium soaking individual pots and could be high fired. Would it self-glaze? Custer Feldspar ...... 20.0% firing them with normally glazed ware It was worth trying, especially since I Grolleg Kaolin ...... 60.0 seems to allow salting without affecting was ready to fire. I wiped the foot and Flint (140 mesh)...... 12.0 adjacent pots or the kiln. I have also had loaded it on a kiln-washed scrap shelf. Flint (320) mesh...... 8.0 interesting results from placing a so- The firing was a normal Cone 10 re­ 100.0% dium-soaked bisqued pot on a bisqued duction load of stoneware and porcelain. Add: Bentonite ...... 5.0% base, glazed with one of the following After cooling, the car was pulled out, Pyrax...... 0.2% Cone 10 recipes: and I spied the bowl—a strong orange Veegum T...... 0.3% color with some white spots where it had All early testing was with brine made Perfect Celadon Glaze flaked while drying. As a hue, this or­ from rock salt; however, later experi­ (Cone 10, reduction) ange seemed some sort of firing anomaly. ments included other sources of sodium. Could it be repeated? A shard sample (which had been soaked Talc...... 1.8% I threw test pots with every variety of in rock salt brine) was sent to Federal Whiting ...... 14.9 clay on hand, bisqued and soaked them Testing Laboratories in Seattle for anal­ Custer Feldspar ...... 35.7 all in brine. Another firing yielded more ysis with a plasma spectrometer. The Kaolin ...... 8.9 orange pots and other colors as well. But results of the test, in addition to alumina Flint ...... 38.7 stoneware, with so much more iron than and silica, were: 0.09% calcium; 0.11% 100.0% porcelain, didn’t react well to this pro­ chrome (a possible colorant); 2.52% iron Add: Bentonite ...... 1.0% cess. Results from experiments with a (an obvious colorant); 0.12% lead; and Red Iron Oxide...... 0.5% variety of stoneware bodies were for the 0.34% zinc. Yellow Ocher ...... 0.1% 38 CERAMICS MONTHLY Photos: Jim Piper from porcelainorwhitestoneware,soakedinasaturatedsolution ofsodaashandwater. Bowl, strtd opr at ti gae in glaze where blue/purple this strong yields matt, reduction copper saturated A Bentonite Add: ln ...... 9.3 Flint ...... Nepheline Syenite hc, n gen hr ti; oxidation thin; where produces ajade green matt. green and thick, Barium Carbonate Ball Clay (Cone 10,oxidationorreduction) 6 inchesindiameter,reductionfiredtoCone10,byNilsLou.Best self-glazing resultsareobtained Copper Oxide ...... Positive BlueGlaze ...... 1.1% ...... 43.7 4.4% 10.9 36.1% 100 . 0 % oats and smoked with the lid loosely shut. loosely lid the with smoked and oats f ak es n prls Ohr were Others purples. and reds dark of variety a producing 05-04, Cone to cally re­ or oxidation either in results good along withtheware.) fired waster a with charred oats the have firing low quality, vitrified a develops n cnanr af ild ih charred with filled half container a in placed heat, red at kiln the from plucked electri­ fired were brine in soaked and bisqued pots some example, For duction. (To avoid too much cracking, it helps to helps it cracking, much too avoid (To wtot irfcto) a as produce also can vitrification) (without hl hg frn sdu-okd ware sodium-soaked firing high While unexpected development of a strong, true strong, a of development unexpected resides inWillamina, Oregon. author The orange atCone10isonlyone. The possibilities. of number great a to the in put be can pot the result, ticular Cone or the before pots nitrate the on copper sodium more nitrate, silver of tions 50 frn. n i I o’ lk a par­ a like don’t I if And firing. 05-04 stoneware kilnandfiredtoCone 10. solu­ additional brushing or spraying

The self-glazing aspect opens the door the opens aspect self-glazing The from result effects unusual Sometimes eai ats Nl Lou Nils artist Ceramic April 1984 39

Michael Sherrill

A lmost ten years ago, Michael Sherrill Modified commercial glazes and stu- set up a studio in the downstairs of his dio-mixed slips and glazes are applied home near Hendersonville, North Car­ with brushes, hair coloring bottles (for olina, and began producing salt-glazed trailing) or airbrushed over liquid latex ware. The business soon became estab­ resist and stencils. The following un­ lished and supported his growing family, derglaze slip is sprayed on bisqueware: but like many full-time potters, Michael found little time to experiment or di­ Under glaze Slip versify. Although he had always had an Frit 25 (Pemco) ...... 50% interest in raku colors and textures, there Grolleg Kaolin ...... 50 was continual pressure not to do raku 100% and instead to maintain a large volume Add: Any Mason Stain...... 50% of tried-and-true ware that sold at rea­ Then the pot is coated with the fol­ sonable prices. lowing glaze: Yet two years ago Michael was able to solve his personal dilemma by hiring Fat White Raku Glaze another potter part time. Also added were Gerstley Borate...... 38% two apprentices, who mix and prepare Frit 25 (Pemco) ...... 38 clay, help with loading and firing kilns, Nepheline Syenite...... 11 plus make many of the pottery’s stan­ Kaolin ...... 3 dard objects. At present, lamp bases and Kentucky Ball Clay (OM 4). . . . 5 decorators’ accessories sold through fur­ Flint...... 5 niture retailers provide the steady in­ 100% come Michael needs and at the same Add: Tin Oxide...... 1% time free him to develop his own clay art. A basic white, this recipe was formu­ In this work, Michael takes advan­ lated to produce a stiff melt (for vertical tage of new technologies while drawing forms) at raku temperatures. from nature. Explaining that he doesn’t Michael fires raku to 1750°F. For want to make “art about art,” Michael fumed effects, a slip made of equal parts commented: “I want my style to be based Kentucky ball clay and copper carbonate on the reality of the world I live in, rath­ (with enough red iron oxide to color the er than being a projection of what we wet slip) is applied to bisqueware, left are taught ‘art’ is supposed to be. Mo­ unglazed. When the pot is pulled red zart and Beethoven were wonderful hot from the firing, a solution of 1 rounded composers, but some people think it end­ tablespoon stannous chloride mixed in a ed there. I also have heard that no one bottle with 6 to 8 ounces of warm water will top the Far East in ceramics. All is sprayed with a hand-held atomizer artists should reach as high as they can, directly onto the slightly cooled ware and not settle for the mood of the day. (approximately 1000-1300°F). The so­ Actually, I am more influenced by musiclution works best if mixed fresh each and literature than by visual arts.” time. Many of the patterns on Michael’s Sometimes straight copper carbonate raku vessels, exhibited recently at West­ is brushed on the foot of a bisqued form. ern Carolina University in Cullowhee, Contact with the flame (reduction) turns North Carolina, are symbolic of various it metallic. “life forces.” To create a patina on a spherical shape, His raku forms are thrown from the the pot (hot from the kiln) is turned up­ side down on a pad of moistened news­ following clay body: paper, then dry paper is placed over it. Michael prefers using newspaper to re­ Raku Body duce ware because the residue cleans away easily. Michael Sherrill and daughter in his studio. Talc ...... 15% Finally, some of his raku pots are ac­ A. P. Green Fireclay...... 20 cented with handles made from grape Top Raku-fired covered jar, wheel thrown, Georgia Kaolin (6 Tile) ...... 20 and honeysuckle vines collected in 10 inches in height, altered, with grape Kentucky Ball Clay (OM 4). . . . 15 neighboring woods. Others incorporate vine handle wrapped in silk thread. XX Saggar Clay...... 15 handles cut and carved from white oak, Above center Covered jar, 15 inches in Silica Sand...... 15 walnut and cherry, as well as olive, pur­ height, thrown, incised, altered, partially 100% ple heart, Padouk and ebony. glazed, raku fired, white oak handle. 40 CERAMICS MONTHLY Japanese Ceramic Site Works

CONTEMPORARY Japanese ceramics of modular, constructivist, or unfired clay the avant-garde were presented recently technology. at the Museum of Art and History in Exhibitions such as this bear certain Geneva, Switzerland. Artists in the show risks for sponsors, particularly when the were selected by Marie-Therese Coul- works on display didn’t exist prior to lery, Charles Goerg, Setsuko Nagasawa installation. Thus, it is significant to note (a Japanese ceramist working in Swit­ that the Japan Foundation and Canon zerland) and Hendel Teicher, who trav­ (Tokyo) were major benefactors in pro­ eled to Japan using the intercultural ducing the exhibition and its catalog re­ contacts of Setsuko Nagasawa and a spectively. “Installation,” mixed-media work of straw, committee of museum and academic plastic sheet, unfired clay, by Setsuko professionals in Japan. Following studio Nagasawa. The work uses clay shrinkage visits, arrangements were made for those as a variable element—a string outline on selected to come to Geneva and produce the wall indicates the preshrinkage position works on site in the museum. of the slab. Of the 25 artists featured in this show, seven work with ceramic materials. Each presented one grand-scale work, using

“Kawara,” sculptural site work made of traditional Japanese roof tiles (extruded, smoked clay), by Shiro Hayami. Photos: Jacques Pugin and courtesy of the exhibition organizers

April 1984 41 Right “Copy 1980-82 ” mixed- media installation, by Kimiyo Mishima. Walls and ceiling of the gallery were covered in paper posters with an image printed in reverse. Everything on the floor is clay, including a replica of the poster with a right-reading image. Below “Kido,” 9 feet in length, fired clay chunks, with gold luster, by Kosho Itoh.

42 Ceramics Monthly Sales totals were up again for the Winterfair was held the first weekend artists’ reports was over $117,000. Of three pre-Christmas fairs presented by in December. While attendance re­ the 113 booths, 27 sold ceramics; the high Ohio Designer Craftsmen in Medina mained the same as last year, total sales per-booth figure for clay was $2800. (near Cleveland), Cincinnati and Co­ were $908,490, up more than $120,000. Nevertheless, scheduling conflicts with lumbus. The average per exhibitor was $2753 the site preclude the continuation of this The fifth annual Cincinnati Crafts Af­ (up 23%). As usual, the 73 ceramists show in the future. fair, held Thanksgiving weekend, drew fared slightly better with a sales average Images shown in this article were made a 30% larger crowd and across-the-show of $2784; the top figure for a clay booth from the actual slides chosen by fair ju­ sales totaled $211,700. For the 31 (of was $10,200. rors, and from supplemental slides re­ 151 crafts participants) ceramics exhib­ Sales more than doubled at the quested from the ceramists. Works were itors, receipts averaged $1203, with the youngest event, the Northern Ohio Win­ selected to reflect the level of photog­ top seller reporting $3200. terfair in Medina held the last weekend raphy and variety of ceramics currently In Columbus the seventh annual in October. The estimated total based on being accepted at competitive fairs. April 1984 43 Casserole, 11 inches in diameter, thrown stoneware, with wax resist glaze "Dawn Menagerie” handbuilt porcelain decoration, by Carol and Lee Rosenbloom, Cast porcelain coffee set, approximately 14 plate, 18 inches in length, by Sharon Raleigh, North Carolina. inches in width, by Peter Saenger, Newark, Hubbard, Ypsilanti, Michigan. Delaware.

Top Overall attendance at the three Ohio Designer Craftsmen pre-Christmas fairs showed an increase, as did sales, which were just over $1.2 million. The top ceramics booth sold $10,200.

Overleaf Stoneware platter, 18 inches in diameter, wheel thrown, with slip trailing, by Richard Aerni and Mike Frasca, Cincinnati.

44 CERAMICS MONTHLY Raku-fired vessel, 8V2 inches in height, Bottom “Burger Heaven ,” 11 inches in with post-firing application of gold leaf and length, handbuilt low-fire clay, with glaze, enamel (paint), by Robert Carlson and luster, by Scott Schleh, Mansfield, Ohio. Marilee Hall, Princeton, Wisconsin. Porcelain vase, 12 inches in “Fish,” earthenware plate, approximately height, thrown, altered, with 10 inches in diameter, with white slip, crystalline glaze, by Jerry sgraffito, by Aka Pereyma, Troy, Ohio. Davis, Dayton, Ohio.

April 1984 45 Above Casserole, 10 inches in diameter, thrown porcelain, with slips, ash glaze, reduction fired to Cone 11, by Heyward Cutting, Staunton, Virginia.

Right Stoneware teapot,10 inches in height, thrown, faceted, with press-molded spout, rutile glaze, by James Sankowski, Ballston Lake, New York.

“Great Blue Heron Plate ,”6 V2 inches in diameter, carved porcelain with celadon glaze, by Betty Talbott, Westerville, Ohio.

Porcelain teapot, 11 inches in height, thrown, extruded handles and spout, with slip, glaze, oxidation fired to Cone8, by Robert Zacher, Lindside, West Virginia.

46 CERAMICS MONTHLY Photos: Bob Barrett, Ron Forth, Eric Hoffhines, Raymond McCoy, courtesy of the artists and Ohio Designer Craftsmen April 1984 47 Bottom Earrings, the largest V /2 inches in height, handbuilt colored porcelain, oxidation fired, with gold luster, by Curt and Suzan Benzie, Columbus.

Vase, 8 inches in height, porcelain, with underglaze slips and crayons, by Kathleen Keenan, Souderton, Pennsylvania.

“Flora,” earthenware plate, approximately 10 inches in diameter, with under glaze and slip decoration, by Aka Pereyma.

Raku-fired globes, to6 inches in height, with trailed slip, by Nell Devitt, Bloomfield, Indiana.

48 CERAMICS MONTHLY Above Cast porcelain sugar and creamer on tray, approximately 9 inches in length, by Peter Saenger.

Far left Stoneware teapot, 9 inches in height, with vine handle, by Brad Pekoe, Chesterhill, Ohio.

Left Wheel-thrown porcelain vase,6 inches in height, handbuilt additions, crystalline glaze, by Jerry Davis.

April 1984 49 50 Ceramics Monthly Stoneware pitcher, 9 inches in height, fired Wheel-thrown porcelain vase, 15 inches in to Cone11 reduction, by Lynnelle Crosby height, celadon glaze, by Leslie Jay Pekoe, Chesterhill, Ohio. Orenstein, Chicago.

Left Wheel-thrown platter, 20 inches in diameter, stoneware, wood-ash glaze, by Richard Aerni and Mike Frasca.

Below Seasoning bowl,6 inches square, with spoons, pinched stoneware, ash glaze, by Mike Imes, New Haven, Kentucky.

April 1984 51 Above Three-quart casserole, wheel- thrown stoneware, 13 inches in diameter, faceted, by James Sankowski.

Left “Sunflower Plate,” 16 inches in diameter, wheel-thrown porcelain, carved, with Cone 10 celadon glaze, by Betty Talbott.

52 CERAMICS MONTHLY Peter Gourfain Photos: Petka/Noble and courtesy of Hamilton Gallery

Top “Untitled, Ohio Pot Series, No. 1,” handbuilt earthenware, 40 inches in height.

Above *Untitled, Ohio Pot Series, No. 4,” earthenware, 40 inches in height, handbuilt, with handbuilt additions, slip decoration.

Right “Untitled, Ohio Pot Series, No. 9,” handbuilt earthenware, 41 inches in height, with handbuilt additions, brown and white slips, by Peter Gourfain, Brooklyn. Monumental black-and-white slip- human condition. Figures protrude from decorated earthenware urns made by the surface, and wild-eyed faces with Brooklyn artist Peter Gourfain were ex­ toothy mouths agape—spewing hands hibited recently in “The New Sculpture” grasping artists’ brushes, a saw, a gun— at Hamilton Gallery in New York City. depict man, as arts writer Ted Castle Previously known for minimalist paint­ noted, “doing all the things that people ing and structural sculpture, the artist do and a number of things they do not now expresses social and political com­ actually do but which we recognize as mentary with cartoonlike imagery of the true to life.” April 1984 53 Photos: courtesy of Morgan Gallery Frank Fleming bears and birds whose attitudes and poses and attitudes whose birds and bears “A ny e a fly xli, ntd curator noted explain,” fully can he only endowed almost anthropomorphically involved animate, have works handbuilt Frank’s years, several “For Art year. last of late Museum Huntsville the at by sented sculptures porcelain 18 of hibition to the‘Hot’Dog.” goats, dogs, typically creatures: rag-tag pre­ was Birmingham, Fleming, Frank xet re Rbi hs en updated been has Rabbit stories, Br’er Harris’s except Chandler Joel in acters rc Hls “n fel ascae their associates freely “One Hiles. Bruce f efcmuiain Tees ut no just There’s self-communication. of rn cmetd “ts aial a form a basically “it’s commented, Frank proaiis wt toe f h char­ the of those with ‘personalities’ a I a su dw m fnais and fantasies, my down shut can I way 54 labama I cetn tee ats figures,” fantasy these creating “In CERAMICS MONTHLY , h Hat f ii, a ex­ an Dixie,” of Heart the a, h Kna Ct at elr who dealer art City Kansas the Mor­ gan, Jim friend his of memory in made pres­ the of some of me relieves work the h frt Hat f ii Hr Plate” Hero Dixie of “Heart first the ey eee en, Fak xlie. “I explained. Frank being,” serene very bird feathers. On the inner surface a heart a surface inner the On feathers. bird sures.” ae f ly etes ak Alabama marks feathers on amapofSouthernstates. clay of made red- and pears figs, roll okra, a banner, chinaberries, Tide vines, Kudzu sym­ Southern bols: traditionally several are Bordering him. “discovered” says Frank envy abird’sabilitytofly.” a is bird “The feather. actual an with it et i Faks ok ad ah por­ each and work, Frank’s in ments ean ete i dtie b impressing by detailed is feather celain h pae eis n h ehbto was exhibition the in series plate The id ad etes r cmo ele­ common are feathers and Birds prxmtl 2 ice i diameter, in inches 20 approximately handbuilt, unglazedporcelain. handbuilt porcelain,20inchesindiameter. Below Bluebird ofHappinessSpreadsHisWings,” " Alabama, theHeartofDixie,Where Hat f ii Hr Plate,” Hero Dixie of "Heart

Matisse’s Apollo Photo: courtesy of the Toledo Museum Art

“Apollo * ceramic tile mural, 14 feet in width, by Henri Matisse, 1953. The mural was executed in collaboration with Spanish ceramist Jose Artigas.

“A pollo ,” a $500,000 ceramic mural ers and stained glass. The cut-out shapes gouache paints. Matisse drew the face by French artist Henri Matisse (1869— could be rearranged freely so that he could and wrote his initials in black on the 1954), was installed recently as the cen­ concentrate on the interaction of a rel­ glazed, white tiles before firing. He then terpiece of ground-floor renovation at the atively small number of strong colors and divided the design into 16 unequal sec­ Toledo Museum of Art. A focal point the spaces between them. “Apollo” was tions to form physically manageable for visitors entering the Grove Place en­ the third of four paper cut-outs Matisse panels. trance, the llXl4-foot mural was pro­ made while considering the design for a The mural sections were assembled duced in 1953, following a pasted paper ceramic mural commissioned by a Los by the Charles Cox Studio at Juan-les- composition of forms the artist had cut Angeles couple. Pins, near Nice where Matisse lived. Each from paper colored with opaque gouache According to museum curator Wil­ panel consists of steel-framed concrete pigments. liam Hutton, Matisse closely supervised covered with plaster into which the tiles In his later work (when he was con­ each step in the process of transposing were set. A thin layer of fine-grained fined to a wheelchair or to bed) Matisse the design from paper cut-out to mural. marble and lime stucco was added to used such cut-outs as design maquettes The colored tiles were made by Spanish conceal the tile edges and form a bril­ for a variety of projects, including mural ceramist Jose Artigas, who also devel­ liant white background for the clear- paintings, stage designs, tapestries, post­ oped exact glaze equivalents for the glazed tiles. April 1984 55 56 CERAMICS MONTHLY Letters may chew gum an hour every day but yourboys built our own house and since then we teeth will never get any bigger. Ligaments have done a lot of physical labor, building Continued from Page 9 are somewhere in between these two—they up our farm. That first summer I suffered though I don’t know her, I’ve seen her work are able to respond to demand, but very, very terribly from carpal tunnel syndrome, and and it is that of a serious functional potter. slowly. If you were born on a farm and used every summer since. But every year it became Furthermore, knowledge is never old or your muscles as you grew up, then the lig­ a bit less and I can hardly remember any “used up.” When we’re lucky it gets shared. aments automatically adjusted themselves. But pain during the summer of 1983. I never Lisa Young if one starts using muscles later on in life, really considered surgery. Working in the Greensboro, N.C. the ligaments are not able to adjust them­ kitchen myself I know what goes into the selves to the increased size of the muscles— stew. Every medical procedure carries a risk. I am a “basement potter” and proud of it. not easily anyway. As a result not only theOf course, if a person can no longer make a In fact I live in a duplex in suburbia, too. muscles but also nerves and blood vessels may living because of the pain, then he would be As a single parent of two smallish children become cramped. willing to take a risk; but otherwise I would I find my setup convenient and cost effective. In 1977 my wife and I and three teenage Continued Am I therefore any less a ceramic person, less creative? And what’s wrong with gran­ ola, anyway? I’d love to write more but I must prepare some pots for shipping. Ann Goldman Holman, Wise. The overt sexism in Randy Cook’s letter (February CM) was an insult to all female potters. Rereading “Mail-Order Market­ ing,” I found the article to be useful, well- written, informative and definitely aimed at professionals—those who earn their living through pottery. Nowhere in the article could I find any reference to the author’s physical build, marital status or what she eats for breakfast. As to whether or not to “recycle knowledge used up 20 years ago,” I say yes! The articles in CM on Kanjiro Kawai, Bernard Leach, Shoji Hamada, etc., demonstrate agreement with the idea that there is much to be gained from looking at the ideas of our predecessors. Lisa Wright Millerton, N.Y. Varooom, Varooom In response to Ernestine McDonald’s sug­ gestion (February) about [using your car as] a slab roller, I have a van and an old pick­ up—which do you suggest? The van has Firestone tires and the pickup has Uniroyal. Is that important? Must you have a paved driveway? Mine is a shell road; will that work as well? Does one drive in forward or reverse, and how fast? On second thought, I could place it in the street; the city buses and dump trucks would do a great job, but the motorcycles and skaters would interfere. Do you need muslin or percale sheets? Is a stick shift better than automatic transmission? Ernestine, you opened a whole new can of worms. I cannot believe CM paid $10 for that idea unless they wanted to spread a little humor among readers. Lorraine Deaton Houston Think Twice about CTS Surgery I am married to a potter. I am also a gen­ eral practitioner (M.D.). Allow me to add some comments to the ongoing discussion about carpal tunnel syndrome. Muscles become thicker when exercised. Teeth do not. You April 1984 57 58 CERAMICS MONTHLY than we have previously. Too bad for this. them, and much less potters’ philosophy. Letters It’s called reality, not choice. Jan Marie Koehn think twice. If you’re awakened by pain at Henry Small Decatur, Ga. night, here is a quick fix: Breathe in and out Miami ten times against the pressure of a half-closed I’d love to see a detailed article on brick windpipe, slowly. That pumps blood in and Subscribers’ Comments making—preindustrial and current. In 1908 out, and around. If that does not help, get Articles and pictorials of historical concern there were 68 clay products industries in Or­ out of bed, move around and use the muscles are needed today. We see a great deal of the egon. Today there are three brick manufac­ of your arm until the pain has gone, then try new; and with a better knowledge of what turers operating part time. to get back to sleep again. has passed, or what has already been estab­ How are bricks stacked for firing? What Nick Dormaar lished, the modern developments in pottery is a typical layout of the courses in a scove 150 Mile House, B.C. and ceramic sculpture can be more fully ap­ kiln? How far apart are the bricks? What preciated. This could be a major contribution are the dimensions of the fireboxes? Fads on the Wane? of CM. Nancy Ingram It is the consensus of my many potter friends De Witt Smith Medford, Ore. that the day of funky, freaky pottery is past Watkinsville, Ga. As a therapist and potter I am interested and that the fad of raku is on the wane. in creative expression and ego development. Those of us who are still surviving healthily Will the last potter in Japan please bring As potters we manipulate clay but often are are hoping for sound, usable ideas and prac­ your wheel? not in touch with where that urge to ma­ tices oriented toward the development of our David B. Garner nipulate comes from and how we could use art. We would be interested in methods in Seagrove, N.C. it to develop truly individualized creative regard to limited-edition sculpture. expression. The gap between craft and art Frank A. Graf I would like the editors and writers to be can be bridged with this kind of insight. Salisbury, Mass. more subjective (especially the editors), and Marianne Tebbens to present less generalized abstract opinions, Broomall, Pa. Enjoying Reality in fact, none at all. Where are the artist/potters who have got­ Sandy Brown ten bored with doing the so-called art festi­ South Molton, Devon, England Share your thoughts with other readers. All vals and shows? I suspect, like myself, they letters must be signed, but names will be are doing other creative things. The bummer My specific reason for subscribing to Ce­ withheld on request. Address: The Editor, is that they (we) are making more money ramics Monthly is for stimulation of ideas Ceramics Monthly, Box 12448, Columbus, and enjoying ourselves to a greater extent and new techniques. I want pictures, lots of Ohio 43212.

April 1984 59 60 Ceramics Monthly News & Retrospect Beth Changstrom ing, salt glazing and raku. Also surveyed were Among the wood-fired objects by 11 other “Pastoral Pottery,” often decorated with materials topics: glaze recipes, porcelain, potters featured in the exhibition were col­ images of plants growing on her farm near stoneware and earthenware. Subscribers vot­ laborative works by Douglass Rankin and Penngrove, California, was presented by Beth ed on their interest in current exhibitions, Will Ruggles, Burnsville, North Carolina. Changstrom at the Indianapolis Museum of business information, profiles of colleges and Their ware is fired in a three-chamber climb­ Art through March 31. “Basically I’m paint­ universities, profiles of potters/ceramic ing kiln, resulting in relatively light ash accu- ing on porcelain,” Beth commented. “I love sculptors, equipment, teaching, aesthetics, making objects, but the functionality is not ceramic history and criticism. terribly important to me. It’s just a vessel The results of the survey indicate that while reference. I get more involved with an object interest varies across these subject areas, sub­ you can pick up and handle than I do with scribers found all of the survey topics inter­ big canvases.” esting and worthy of coverage in Ceramics Fired initially to Cone 10, the forms are Monthly. But strongest interest was ex­ subsequently glaze fired at lower tempera­ pressed in process categories, with academic tures to insure color control. For even ap­ subjects receiving the lowest responses. Wood/Fire “Each wood firing is different. The wood, the stack, the weather, the time of year all affect how the kiln fires and the final results,” observed Hanover, New York, ceramist Mary Roehm, who curated the exhibition “Wood/ Fire” shown at Lill Street Gallery in Chica-

13-inch stoneware jar by Rankin and Ruggles mulation. “This enhances our forms and dec­ oration; heavy ash would obscure them,” they noted. “We also use a light salt to accent ash flashing, vary the clay and slip colors, and seal the stoneware body. All the pots go into 20-inch “Rainbow Cat 2,” with airbrushed imagery the kiln treated in the same way: raw clay plication of pigments Beth prefers using an decorated with white and black slip. At the airbrush, although it can be frustrating. “You unloading, though, we have a wide variety want to use your colors thick enough to pro­ of color tones, both within each chamber and vide a good layered application. You don’t between the three chambers. This is due to want a little pinky wash, you want pink. But more or less ash, salt and heat, and varied red is the only real pigment which gives you atmospheric conditions (reduction, neutral, a lot of trouble—because the copper is so oxidation). One clay and two slips go a long coarse it plugs the holes right up. I clean my way.” airbrush bottles with a violin E string. I mix the powdered stains about 50:50 with a por­ Sylvia Netzer celain slip, and then I put a little frit in to Spiral sculpture, exploring tension be­ flux it so that it will stick on the piece. When tween surface and form, by ceramic artist it plugs up the airbrush hole, the E string Mary Roehm with wood-fired kiln Sylvia Netzer, was exhibited at the Green­ just shoots it right through.” go through February 24. Mary’s work is por­ wich House Pottery’s Jane Hartsook Gallery celain and she finds wood firing “quite stress­ in New York City through February 11. Subscribers’ Preferences ful. The fire pushes and pulls at the porcelain Ceramics Monthly continually surveys itsso the form itself holds the marks of the fire, subscribers through questionnaires provided not just the surface decoration. The thin walls at the time of subscription renewal, and we and irregular lips are highlighted by the thought you might be interested in the most flashing, holding on to the ash, making it part current results (January 1984): of the piece.” Topics receiving a subscriber’s interest rate exceeding 50% were glaze recipes (64%), You are invited to send news and photo­ stoneware (62%), profiles of potters/ceramic graphs about people, places or events of 29-inch porcelain spiral with soda flashing sculptors (62%), porcelain (52%) and throw­ interest. We will be pleased to consider Though nonspecific, the pinched and twisted ing (51%). Least preferred topics were pro­ them for publication in this column. Mail porcelain forms refer to organic shapes such files of colleges and universities (19%), teach­ submissions to: News and Retrospect, as shells, bones, flowers or the twist of DNA’s ing (21%) and criticism (24%). Ceramics Monthly, Box 12448, Colum­ double helix. Residual soda firing to Cone 9 In all, subscribers were asked about their bus, Ohio 43212. yielded orange, pink and silver flashing. interest in processes: throwing, handbuild- Continued April 1984 61 Comment Continued from Page 21 “Oh you did,” I exclaimed. “They asked me to make one but I wrestled with the design for a year and never managed to come up with anything. I’d be interested in knowing how you solved that prob­ lem.” “Well,” he said, “I just made my regular pitcher and put a cross on the side. They were very pleased.” How simple! Why hadn’t I thought of that? I have designed several communion sets. I should have color photos of every­ thing I’ve done, but I’ve neglected to do that. As Peter Voulkos says, “I’ve had fun wrestling with the materials, but when the piece is finished I want it to go out. I don’t care to ever see it again.” That’s the way I feel. I get my kicks from the work, the process, and I don’t care to have the things hanging around. Anyhow, I have the minister or priest look around the display room for exist­ ing forms and glazes similar to what he has in mind. Then, if he is somewhat unsure, I give him a checklist of adjec­ tives that might describe the appearance or feeling he wants: formal, elegant, or­ nate, simple, dignified, earth tones, handmade, gold, silver, elaborate, dec­ orated, plain, shiny, matt, colorful, earthy. So, depending on what he checks off, I’m given a clue as to how to proceed. Warren MacKenzie has said that probably less than 1% of the total pop­ ulation has any appreciation for what he does. Many years of experience have verified this notion to us. But even 1% or less is a lot of people, enough patrons to support a lot of potters. If this 1% or less is correct, then there must be 99% out there who could care less, who don’t relate to what you do at all. One old gal, standing in the exact center of our display room, looking at everything in general and nothing in particular, exclaimed in a loud, dis­ gruntled voice, “I wouldn’t have this stuff in my house.” A conclusion probably shared by many more inhibited souls. I thought about titling our recent show “Sculpture, Pottery and Other Exotic Works of Ceramic Art Our Relatives Wouldn’t Have in Their Homes.” But I dismissed the thought as being too cyn­ ical. Few people get much respect from their families or hometowns. The author Since leaving teaching 12 years ago, Richard Peeler has main­ tained a studio in Reelsville, Indiana. 62 Ceramics Monthly News & Retrospect Currently, Sylvia teaches ceramics at Greenwich House and New York’s City Col­ lege. Photo: David Lubarsky.

Judy Axelrod Decorated red earthenware vessels by Judy Axelrod (Merion Station, Pennsylvania) were presented recently in a solo exhibition at Clay Studio Gallery in Philadelphia. Stressing

14-inch earthenware platter bright color and bold pattern, the artist ap­ plies imagery influenced by her interest in Southwest Indian and Early American folk

Judy Axelrod's majolica platter art. Although some forms were trailed with underglaze and then clear glazed, the 14-inch and 18-inch platters shown above were dec­ orated over a white tin glaze (majolica); all were fired at Cone 04. Photo: D. Silva.

Jamaica’s Ma Lou Just outside of Kingston lives a 70-year- old potter known as Ma Lou, who learned to work with clay from her mother over 60 years ago. Since Ma Lou’s daughter is also a potter, the tradition, which started many generations past in Africa, is continuing. Ma Lou handbuilds a variety of utilitarian forms from cups and saucers to cooking stoves. Her most popular pot is the round-bottom cooking vessel called a yabba. The clay she handbuilds is quite porous (with a large amount of sand added) which enables these pots to be used over an open flame without cracking. Sitting on burlap bags spread over the ground, Ma Lou begins forming a pot by pressing 2 or 3 pounds of clay into a shard bottom. Depending on the ware being made, she chooses from piles of shards stacked near- Continued April 1984 63 through April 28 An exhibition of works by Ma- April 6-May 1 Tina Forbes, earthenware bas Itinerary rek Cecula, Kendra Davison, Chris Richard and reliefs, stoneware bowls and platters; and Nancy Continued from Page 17 Shellie Zimmerman; at the Society of Arts and Rourke, slip-decorated stoneware casseroles and Crafts, 175 Newbury St. plates; at the Wheelock College Gallery, 35 Pil­ Iowa, Iowa Citythrough May 6 “Medieval and through May 30 “Ban Chiang: Discovery of a grim Rd. Renaissance Ceramics from the Kassebaum Col­ Lost Bronze Age”; at the Museum of Sciences, Massachusetts, Cambridge through April lection,” 60 examples of glazed earthenware; at Science Park. 28 Elaine Bolz, bird and fish containers; Carol the University of Iowa Museum of Art, Riverside through June 3 “Directions in Contemporary Clamer, geometric forms; Richard MacKenzie- Drive. American Ceramics,” approximately 50 works by Childs, figurative sculptural vessels; Victoria Kansas, Topeka April 1-30 “Topeka Crafts 15 artists; at the Museum of Fine Arts, 465 Hunt­ MacKenzie-Childs, inlaid earthenware; Rebecca Competition 8,” regional juried exhibition; at To­ ington Ave. Rupp, cups and trays; and Delia Seigenthaler, peka Public Library Gallery of Fine Arts, 1515 April 3-May 18 “New England Regional Clay earthenware; at Ten Arrow, 10 Arrow St. W. Tenth St. Juried Exhibition”; at the Boston Visual Artists April 2-30 Karen Aqua and Jeanee Redmond, Massachusetts, Boston through April 14 Union, 77 N. Washington St. “Yours for the Taking,” animated film and the art­ “Massachusetts Clay,” works by Harriet Goodwin, April 5-15 “The National Council on Education work used in the film, plus vessels in clay envi­ John Heller, Thomas Hoadley, Judy Motzkin, Dick for the Ceramic Arts Juried Members Exhibi­ ronments; and Lisa Crafts, “Objects de Plankton,” Studley and Robert Woo; at Signature, Dock Square, tion”; at the Boston Museum School of Fine Arts neckpieces; at Mobilia, 348 Huron Ave. gallery, 230 The Fenway. April 6-May 7 “Under Fire,” ceramics by Wayne North St. Barron, Steven Branfman, Jamie Fine, Nancy Matzell, Jill Solomon, Sandy and Ralph Terry, and David Weiner; at the Baak Gallery, 59 Church Street. Massachusetts, Hyannis through April 14 “Massachusetts Clay,” works by Harriet Goodwin, John Heller, Thomas Hoadley, Judy Motzkin, Dick Studley and Robert Woo; at Signature, the Village Market Place, Stevens St. Massachusetts, Lexingtonthrough April 21 “The Ninth Annual Exhibit in Clay,” sculpture and functional works in stoneware, porcelain and raku; at Philip Parsons Gallery, 130 Waltham St. through September 9 “Unearthing New Eng­ land’s Past: The Ceramic Evidence,” shards and whole objects from the 17th to 19th centuries found in archaeological excavations; at the Museum of Our National Heritage, 33 Marret Rd. Massachusetts, Milton through April 22 “The Manner of Making Porcelain: The Dimsdale Gouaches,” 24 paintings illustrating porcelain production; at the China Trade Museum, 215 Ad­ ams St. Massachusetts, Worcester through May 8 “Creatures in Architecture in Central Europe and Central New England,” includes ceramics by Su­ san Fisher; at the Worcester Craft Center, 25 Sag­ amore Rd. Missouri, Kansas CityApril 27-May 26 A dual exhibition with Patti Warashina, sculpture; at Morgan Gallery 1616 Westport Rd. Missouri, Saint Louisthrough May 20 “By Heart and Hand: American Folk Art from Mis­ souri Collections,” includes slip- or sgraffito-dec- orated redware and stoneware; at the Saint Louis Art Museum, Forest Park. New Hampshire, Manchester through April 26 “Third New Hampshire Crafts Biennial” ju­ ried exhibition; at the Manchester Institute of Arts and Sciences, 148 Concord St. New Jersey, NewarkApril 27-February 28, 1985 “American Art Pottery,” over 200 objects made between 1880 and 1940; at the Newark Mu­ seum, 49 Washington St. New Jersey, Trentonthrough April 15 “The Diversions of Keramos”; at the New Jersey State Museum, 205 W. State St. New York, New Yorkthrough April 7 Ted Randall, large-scale vessels; and Nancy Selvin, teabowls; at Elements Gallery, 90 Hudson St. through April 8 Jamie Davis, vessels; Thomas Hubert, low-fired sculpture; Bruce Lenore, raku vessel forms; and Scott McDowell, porce­ lain. April 10-May 13 Olga Bravo, Patricia Fahie and Lisa Waters, earthenware vessels; at Convergence Gallery, 484 Broome St. through May 12 “Silk Roads/China Ships,” ap­ proximately 400 objects illustrating 2000 years of commerce between Asia and the West; at the American Museum of Natural History, Central Park W. at 79th St. through September 5 “New Yorkers’ Taste: Chinese Export Porcelain, 1750-1865,” ware cus­ tom-made for prominent New York families; at the Museum of the City of New York, Fifth Ave. at 103rd St. April 18-June 17 “Design in America: The Continued 64 CERAMICS MONTHLY News & Retrospect by. While adding clay with one hand, she constantly rotates the pot with the other—a technique related to coiling and throwing. At

Ma Lou adding clay to form on pot-shard support this point, the pot is a symmetrical cylinder with walls about 1 inch thick. Once the form has reached the desired height, she begins working on the inside, pushing outward with a small section of dried gourd. After the walls have been stretched to the required shape and thickness, they are smoothed with a stick, then a piece of leather. One by one, pots are set aside to dry until leather hard, then burnished. After drying

Traditional Jamaican ware is burnished completely, the forms are brought to an area in the front yard where the firing will take place. This is a time of great excitement in Continued April 1984 65 Pennsylvania, Philadelphia through May Texas, San Marcosthrough April 13 Robert Itinerary 13 “Dutch Tiles,” approximately 1500 tiles from Lyon and W. Steve Rucker, sculpture; at the 1570 to 1850; at the Philadelphia Museum of Art, Southwest Texas State University Gallery. Cranbrook Vision, 1925-1950”; at the Metropol­ Parkway at 26th St. Vermont, Middleburythrough May 5 “Studio itan Museum of Art. Rhode Island, KingstonApril 12-27 “South Potter,” works by Richard Aerni, Cynthia Bringle, New York, Rochesterthrough April 28 “In- County Art Association Open Exhibition,” juried Frank Boyden, Tom and Elaine Coleman, Mi­ trospectives” national juried exhibition of works show; at the South County Art Association, Helme chael Frasca, John Glick, Randy Johnson, Jenny by women artists; at Pyramid Arts Center, 163 House, 1319 Kinstown Rd. Lind, Todd Piker and David Shaner; at Vermont Saint Paul St. Rhode Island, Newport April 6-May State Craft Center at Frog Hollow. Ohio, Clevelandthrough April 5 A dual ex­ 21 “Raku and Smoke North America” juried Virginia, AlexandriaApril 29-May 26 The hibition with John Gill, ceramic ewers; at DBR competition; at the Newport Art Museum, 76 16th biennial “Creative Crafts Council Exhibi­ Gallery, 13225 Shaker Square. Bellevue Ave. tion,” regional juried show; at the Athenaeum. through June 3 “Highlights of the Rococo: Nor- Rhode Island, Providencethrough April Virginia, Charlottesvillethrough April 20 web Ceramics and Related Arts”; at the Cleveland 15 “Innovations in Clay and Glass 1984” invi­ “Dynamic Dimensions,” includes Gene Klein- Museum of Art, 11150 East Blvd. tational exhibition; at Bannister Gallery, Rhode smith, platters and sculpture; at Gallery II R.S.VP., Ohio, ColumbusApril 1-28 “The Best of Island College, 600 Mt. Pleasant Ave. 218 W. Main St. 1984” juried exhibition of recent works by Ohio through June 24 Chris Gustin, Andrew Lord, Washington, SeattleApril 5-29 A dual ex­ craftspeople; at Columbus Cultural Arts Center, Philip Maberry, Mark Pharis, Adrian Saxe, Ian hibition with Margaret Ford; at Foster/White 139 W. Main St. Symons and Arnie Zimmerman, “RISD Clay In­ Gallery, 311½ Occidental Ave., S. Ohio, Cuyahoga FallsApril 1-30 “Fiber and vitational”; at the Museum of Art, Rhode Island April 16-May 5 “Contemporary Mexican Ce­ Clay National ’84” juried exhibition; at the Cuy­ School of Design, 224 Benefit St. ramics”; at Pottery Northwest, 226 First Avenue ahoga Valley Art Center, 1886 Front St. Tennessee, Gatlinburg through April 21 North. Ohio, ToledoApril 29-May 20 “Ceramic “Surface Enrichment: Color and Pattern” invita­ Wyoming, CasperApril 3-29 “Tenth Annual Students’ Exhibition”; at the School of Design tional exhibition, includes work by Curt and Suz- All-Wyoming Crafts Show,” regional juried com­ Gallery, Toledo Museum of Art. an Benzie, Rick Foris, Susan Icove and Karen petition; at the Nicolaysen Art Museum, 104 Ran­ Ohio, WoosterApril 4-May 7 “Functional Koblitz; at Arrowmont School of Arts and Crafts. cho Rd. Ceramics 1984”; at the College of Wooster Art Tennessee, Murfreesboro through April 6 Museum, University St. “Currents ’84” biennial crafts competition; at the Oregon, PendletonApril 2-27 A dual exhi­ Art Barn Gallery, Middle Tennessee State Uni­ Fairs, Festivals and Sales bition with Robert Gary Bloom; at Empire Gal­ versity. Arkansas, Mountain View April 20-22 “Ar­ lery, 31 S.W. Emigrant. Texas, Dallas through May 27 “The Shogun kansas Folk Festival”; at the Ozark Foothills Craft Oregon, PortlandApril 26-May 26 A three- Age,” Tokugawa artifacts; at the Dallas Museum Guild fairgrounds, 2½ miles north of Mountain person exhibition with Kurt Weiser; at Contem­ of Art, 1717 N. Harwood. View. porary Crafts Gallery, 3934 S.W Corbett Ave. Texas, Houstonthrough July 9 “Treasures Maryland, GaithersburgApril 13-15 “Ninth April 27-29 “Ceramic Showcase ’84” by the Or­ from the Shanghai Museum: 6000 Years of Chinese Annual Spring Arts and Crafts Fair”; at the Mont­ egon Potters Cooperative; at the Western Forestry Art” (see CM January features); at the Museum gomery County Fairgrounds. Center, 4033 S.W. Canyon Rd. of Fine Arts, 1001 Bissonnet. New Jersey, WayneApril 13-15 “Super Crafts Pennsylvania, Bethlehem through April April 2-30 “Eight Years of Archway,” featuring at William Paterson College”; at W.P.C. arena. 28 “Soup Soup Beautiful Soup” juried exhibition works by former gallery artists; at Archway Gal­ New York, New YorkApril 6 and 27 “The of tureens; at Flistoric Bethlehem, 501 Main St. lery, 2517 University. Continued

66 CERAMICS MONTHLY News & Retrospect help of some light fanning, the palm leaves begin to burn fiercely. which other family members, from the After about two hours the wood is reduced youngest to the oldest, lend a hand. to coals and the iron-red pots can be removed. Ma Lou purchases wood from the local The children begin probing the mound with sawmill for $3 a load (approximately one the long wooden poles used to withdraw pots cord) plus another $3 for delivery. The bot­ one by one. When the ware has cooled ad­ tom row of pots is placed on a layer of sticks equately, similar forms are stacked together arranged on the ground to allow heat to trav­ in a shed, where they will remain until sent el under the ware as well as around the top to Kingston to be sold. and sides. This will also ensure a more even Pottery is Ma Lou’s life; she makes no fire and thus help prevent any cracking due claims about art or craft. She spends up to to variation between hot and cold spots. Ap­ ten hours a day, six days a week making and proximately six dozen pots are stacked in a firing pots. Her work once served the needs space about 6 feet square and 3 feet high. of the people around her; however, now she Wood is laid neatly around and across the speaks of a deep concern that the pots are top of the stack, enclosing the ware com- not used much anymore. In the past it was necessary for everyone to use pots daily for cooking and storage. But she realizes that the majority of people living in the city have modern facilities and are thus no longer in need of the “dirt pot” as she calls her tra­ ditional folk pottery. During unsettled times in an underdevel­ oped country, many new influences challenge the older values and traditions. Today’s folk potter in Jamaica is constantly challenged by an aesthetic governed primarily by tourism. Work made for the tourist is in many ways winning out over the traditional utilitarian ware. Ma Lou only hopes there will continue to be a market for her work regardless of the changes in times and attitudes. Text: Joseph Molinaro.

Bruce Lenore A one-man show of raku work by Rhode Island ceramist Bruce Lenore was exhibited recently at Solomon-Hatch Gallery in Prov­ idence. “I am presenting an animated ge-

Stacked ware is fired with wood in the open pletely. Then dry palm leaves, which help the fire burn fast and hot in the early stages, are added at 10- to 12-inch intervals on the

Donkey dung and palm leaves kindle wood scraps 25-inch “Bob” raku-fired slab vessel mound. Finally golf-ball-size chunks of don­ ometry in the format of the container,” Bruce key dung are spread around the base of the commented, “drawing images from a variety mound. When red-hot coals are placed on of sources to create a form—a blank—then top of the dung, it immediately begins to smoke using the surface treatment to provide clues and burn. In a matter of minutes, with the Continued April 1984 67 ramics, Box 765, Mendocino 95460; or call: (707) 30 participants. April 7-8 Marvin Bjurlin, “Coil Itinerary 937-5818 or 937-0946. Throwing and Double-Walled Vessels.” April California, Santa Ana April 7 “Form and 28-29 Pat Doran and Joe Davidson, “Com­ Fourth International Clay Film Festival” at Function” with Brad Schwieger. May 5 “Tech­ puters for Craftspeople.” Fee: $20. Maximum stu­ Greenwich House, 27 Barrow St., will present on niques in Fiberslip and Earthenware” with Jim dents: 12. May 5-6 Laurie Klein, “The Cre­ April 6: “Big Ware,” a film about George Curtis Danisch. Contact: Patrick S. Crabb, Santa Ana ative Balancing of Goals.” Fee: $75 for Craft Center of Littlethorp, England; “Maria of the Pueblos,” College, Art Department, 17th and Bristol Sts.; or members, $85 for nonmembers. May 19 Judy Maria Martinez; and “Discovering the Moche,” call: (714) 667-3195. Glattstein, “Forms and Patterns in Nature.” Fee: pre-Columbian Peruvian civilization. On April 27: California, Santa Cruz April 28-29 “Teapot $35 for Craft Center members; $45 for nonmem­ “Bindapur: A Colony of 700 Potters,” Indian pot­ Workshop,” techniques for form and function. Fee: bers. Contact: Brookfield Craft Center, Box 122, tery; “Ladi Kwali, Abuja, 1959,” Nigerian tra­ $85, includes clay. Contact: Adrianne Van Gelder, Brookfield 06804; or call: (203) 775-4526. ditional pottery; and “Mud and Water Man,” Mi­ University of California, Extension Office, Santa Illinois, Edwardsville April 16-17 Demon­ chael Cardew. Tickets: $5. For further information Cruz 95064; or call: (408) 429-2971. stration and slide lecture by Chris Gustin, in con­ contact: Andra Ellis, 52 Gansevoort St., New York California, Santa MonicaApril 28-29 Paula junction with “Platters and Related Forms” ex­ 10014; or Greenwich House Pottery, 16 Jones St., Winokur, a session on porcelain handbuilding and hibition. Open to the public. For further infor­ New York 10014. decorating; at the Clayhouse, 2909 Santa Monica mation contact: Dan Anderson, Art Department, New York, White Plains April 28-29 “West­ Blvd. Contact: Orien Pagan, 23814 Twin Pines, Southern Illinois University, Edwardsville 62026; chester Art Workshop 6th Annual Craft Fair”; at Diamond Bar, California 91765; or call: (213) 828- or call: (618) 692-3071 or 692-3146. Westchester County Center Building, Tarrytown 7071 or (714) 595-3446. Illinois, Kampsville April 15-21 “Ancient Rd. and Central Ave. California, Walnut Creek April 7 “Salt Glaze Lifeways: Ceramics” with John White. Partici­ Pennsylvania, Elkins Park April 7-11 Workshop” with Eunice Prieto. April 14-15 “Por­ pants will replicate ancient ceramic artifacts uti­ “Distinctive Crafts,” a juried multimedia show; at celain Decoration Workshop” with Juta Savage lizing natural resources; oriented toward under­ Congregation Adath Jeshurun, York and Ash­ and Kuzuye Suyematsu.May 6 “Clay Cinema- standing archaeological records. Fee: $335. Contact: bourne Rds. Fest.” May 12-13 “Clay and Plaster Sculpture Admissions Office, Center for American Archae­ South Carolina, ColumbiaApril 7-8 Fourth Workshop” with John Toki. Contact: Walnut Creek ology, Box 1499, Evanston, Illinois 60204; or call annual “Sandhills Festival”; at the Sesquicenten- Civic Arts Education, 1313 Civic Dr., Walnut Creek collect: (312) 492-5300. nial State Park. 94596; or call: (415) 943-5846. Illinois, Palos HillsApril 7 William Farrell, Tennessee, KnoxvilleApril 13-15 “Dogwood Colorado, CortezMay 10-15 “Primitive Pot­ wheel throwing demonstration and slide lecture. Crafts Fair”; at West Town Mall. tery” with Bruce Bradley. Participants will studyFee: $20, includes lunch. Contact: Moraine Valley Texas, Dallas April 6-8 “ACC Craft Fair at Anasazi ceramics, collect and process local clay, Community College, 10900 S. 88 Ave., 1300 Bldg., Dallas”; at Market Hall, Dallas Market Center, and reproduce primitive forms. Fee: $275. Con­ Palos Hills 60465; or call: (312) 974-4300. 2100 Stemmons Freeway. tact: Admissions Office, Center for American Ar­ Iowa, Des MoinesMay 14-June 1 “Kiln- Texas, GalvestonApril 14-15 The “Galves­ chaeology, Box 1499, Evanston, Illinois 60204; or building/Salt Glaze Workshop,” with Rimas ton Rainbow Festival”; at the Strand. call collect: (312) 492-5300. VisGirda, involves constructing a 30-cubic-foot, Colorado, DenverApril 7-8 Kurt Weiser downdraft, gas-fired, atmospheric burner, salt kiln. workshop in conjunction with the exhibition “En­ For advanced students and professionals. Contact: Workshops vironments.” Contact: Cohen Gallery, 665 S. Pearl Art Department, Drake University, Des Moines California, MendocinoMay 19-20 Sandra St., Denver 80209; or call: (303) 431-3080. 50311; or call: Rimas VisGirda, (515) 271-3186. Johnstone, “Salt-Fired Ceramics.” Fee: $45. Con­ Connecticut, BrookfieldApril 6 Cynthia Brin- Massachusetts, WorcesterApril 28-29 Bar- tact: Tony Marsh, Mendocino Art Center, Ce­ gle, “Special Workshop for Potters.” Maximum: Continued

68 Ceramics Monthly News & Retrospect year later he moved to Teresopolis where he built a new kiln and continued research with and contradictions as to its meaning. The pieces are raku fired, with the crazing, ghosts and reduced areas adding the element of chance to temper my efforts at control.” Anne Shattuck A solo exhibition of salt-glazed porcelain baskets byAnne Shattuck (Kingston, New York) was presented recently at Surround­ ings gallery in the Soho district, New York City. By concentrating on the single format, “ideas were defined and redefined,” Anne ex­ plained. The baskets ranged in size from 8 Vicco to 36 inches in height and were usually dec­ local materials. After moving again in 1979, orated with blue, green and/or yellow glazes. he built a Japanese-style kiln to fire with wood. Jacqueline Guillermain Unglazed porcelain wall reliefs were among the sculptures by French artist Jac­ queline Guillermain recently featured at Galerie Fahrenheit in Paris. Shown from the

13-inch blue and yellow porcelain basket Shown from the exhibition, this thrown and altered form is 13 inches in height, with blue and yellow glazes, salt fired. Photo: Ralph Porcelain wall relief Gabriner. exhibition is “Bourses” (purses), approxi­ mately 2 feet in height, handbuilt white por­ Brazil’s Vicco celain, suspended with rope. Sculpture and functional objects byVicco (Vicente de Paulo Cordeiro), one of Brazil’s Ceramic Spectrum in Toronto few artists working in stoneware, was ex­ Quebec potter Robin Hopper believes that hibited at the Museu de Arte de Sao Paulo a great wealth of glaze color and textural effects can be achieved with a minimum of effort if certain basic properties of the in­ gredients are first understood. “The Ceramic

Wood-fired stoneware, approximately 30 inches high 6-inch porcelain bowl by Roseline Delisle, Quebec late last year. Vicco began working with clay Spectrum,” an exhibition he curated for the in 1975 with a group of artists who estab­ Crafts Gallery in Toronto, illustrates this idea lished an experimental studio in Cunha. A Continued April 1984 69 League, 610 Lexington Ave., New York 10022; or Contact: Phyllis Blair Clark, The College of Itinerary call: (212) 755-4500. Wooster, Wooster 44691; or call: (216) 263-2388. May 19 A participatory workshop with Rina Pe- Rhode Island, Newport April 6-7 “Raku bara Knutson, “Slab Construction,” demonstration leg on constructing clay baskets from extruded coils, Workshop” with Paul Soldner. April 15 “Raku and hands-on experience. Fee: $55 for members; using traditional basket-weaving techniques. Con­ Technique and Variations,” a slide lecture by Jay $65, nonmembers. Contact: Worcester Craft Cen­ tact: Greenwich House Pottery, 16 Jones St., New Lacouture. May 3 “Raku: A Personal Ap­ ter, 25 Sagamore Rd., Worcester 01605. York 10014; or call: (212) 242-4106. proach,” a slide lecture by Rick Hirsch. Contact: Michigan, Ann ArborMay 2-June 22 “A New York, Scarsdale April 29 Mikhail Zak­ The Newport Art Museum, 76 Bellevue Ave., Sculpture Approach to Containers and Other in, “Raku,” a hands-on session; 4 medium-sized, Newport 02840. Forms” with Ann Christenson. For all skill levels. bisqued forms required. Maximum: 8 partici­ Virginia, Virginia BeachApril 6-8 “Hand­ Live-in accommodations available. Contact: School pants. Fee: $40. Contact: YM-YWHA of Mid- building and Throwing Workshop” with Doug of Art, University of Michigan, 2000 Bonisteel Westchester, 999 Wilmot Rd., Scarsdale 10583; or Eubank. Contact: Ceramic Designers Association, Blvd., Ann Arbor 48109; or call: (313) 764-0397. call: (914) 472-3300. 1403 Dove Dr., Virginia Beach 23454; or call: New Jersey, Demarest May 19-20 Dutch North Carolina, BrasstownApril 15-21 A (804) 393-0829. potter Jaan Mobach, slide lecture and demon­ session on handbuilding and throwing with Mar­ stration on throwing big pots; at the Old Church cia Bugg. For people over 60 years of age. April Cultural Center. Contact: Adriana Chilton, 46 29-May 12 Traditional European techniques of International Events Church Lane, Scarsdale, New York 10583; or call: throwing with Charles Counts. May 13-26 Canada, Manitoba, Winnipegthrough April (914) 472-4912. Throwing and glazing with Bill Gordy. Contact: 15 “Reflections on Three Plains: Contemporary New Mexico, Albuquerque April 14-15 The John C. Campbell Folk School, Route 1, Crafts”; at the Winnipeg Art Gallery, 300 Me­ “Nader Khalili: Fired Houses,” a hands-on model Brasstown 28902; or call: (704) 837-2775. morial Blvd. construction session, utilizing arches, vaults and North Carolina, RaleighMay 11-12 Dutch Canada, Ontario, BramptonApril 1-24 A domes. Fee: $100, includes all materials. Contact: potter Jaan Mobach, slide lecture and demon­ dual exhibition with Keith Campbell, porcelain; Steven Haines, Star Route, Box 278E, Tijeras, stration on throwing big pots; at the North Car­ at the City of Brampton Public Library and Art New Mexico 87059; or call: (505) 281-3821. olina State University Craft Center. Contact: A- Gallery, 150 Central Park Dr. New York, New YorkApril 8 Elisa D’Arrigo, driana Chilton, 46 Church Lane, Scarsdale, New Canada, Ontario, TorontoApril 18-22 “Treatment of Ceramic Form Surfaces.” May 4 York 10583; or call: (914) 472-4912. “Canadian Craft Show: 5th Annual Winter’s End or 6 Bill Van Gilder, “Depressed Plate and Mold North Dakota, Grand ForksApril 24 “Wheel- Show and Sale”; at Queen Elizabeth Building. System.” May 11 and 18 Barbara Beck, “Por­ Altered Forms” with Linda Christianson. Open to England, HerefordSiire, LedburyApril 28- celain and Paper Workshop.” Contact: Janet Bryant, the public. Contact: Nancy Monsebroten, c/o May 12 Mike Francis, decorated pots; and An­ 92nd Street Y, 1395 Lexington Ave., New York Memorial Union, University of North Dakota, Box drew McGarva, planters; at Collection, 13 The 10128; or call: (212) 427-6000, ext. 172. 8136, Grand Forks 58202; or call: (701) 777-3979. Southend. April 21 “Handbuilding Ceramic Forms,” a Ohio, Oberlin April 7-8 “Clay Mosaic Work­ England, LondonApril 4-14 “Out of Clay: demonstration and lecture with Elsbeth Woody. shop.” Fee: $24, includes materials. Contact: Fire- Ceramics and Related Works” by Glenda Cahil- Fees: $5 for YWCA members, $7 for nonmem­ lands Association for the Visual Arts, 80 S. Main lane, Nick Collins, John Kidd, Larry Knee, Ra­ bers. May 12 “Glaze Techniques for Firing in St., Oberlin 44074; or call: (216) 774-7158. chael Mellors, Ann Turner, Ray Walker and Kate an Electric Kiln,” with Arthur Gerace, will in­ Ohio, WoosterApril 5-7 “Functional Ce­ Wickham; at Seven Dials Gallery, 56 Earlham St. clude glaze on glaze, wax resist, mishima and Ori­ ramics Workshop,” with panelists Val Cushing, France, Nancay through April 23 “X Vu Par,” ental brush techniques. Fee: $40 for YWCA mem­ Tim Mather and Barbara Diduk, will include 250 works by 80 artists; at Galerie Sophie et Ger­ bers, $50 for nonmembers. Contact: Craft Students demonstrations, discussions and slide lectures. ard Capazza, Grenier de Villatre.

70 CERAMICS MONTHLY News & Retrospect with approaches to color by 38 Canadian ceramists. Since emigrating from England in 1968, Robin perhaps has become best known for his agate ware, with its marbled, faceted sur­ faces. He assembled this show “to expose a lot of different views of color to a public who did not know it could happen.” Arranged along one wall were panels of glaze test tiles, part of a series of nearly 15,000 tests done by Robin’s assistant Veronica Stewart as re­ search for his book The Ceramic Spectrum. They show the effect various oxides, opaci- fiers, fluxes, kiln temperatures, atmospheres, etc. have on the fired surface. Robin says, “These panels are, I suppose, my personal statement against the overworked, minimal potter’s palette of the recent past, when I asked myself: ‘Is there life after temmoku, celadon and high alumina matt?’ ” Text: Su­ san Eckenwalder. Alex Combs Thirteen totemic forms by Alaskan ceram­ ist Alex Combs, Halibut Cove, were installed recently at the entryway of the Cook Inlet Pre-Trial Facility. The large, multisection

I'otemic work commissioned by Alaska works were commissioned through Alaska’s Percent for Art Program which provides for public building construction plans to include designs proposed by state artists. Alexandra McCurdy Slip-decorated white stoneware vessels by Alexandra McCurdy, Halifax, Nova Scotia, were featured recently at the Pagurian Gal­ lery in Toronto. “The artist spent consider- Please Turn to Page 75 April 1984 71 Where to Show Continued from Page 13 Festivals ’84” (July 6-8 and August 10-12) is ju­ ried from 4 slides. Entry fee: $5. Booth fee: $70 per show. Send self-addressed, stamped envelope to: Donald D. Dowling, Chautauqua Crafts Fes­ tivals ’84, R.D. 2, Portage Hill Rd., Westfield, New York 14787. Croton-on-Hudson, New York “10th Annual Croton Craft Fair” (September 15-16) is juried from 4 slides of work, 1 of display. Fee: $70 for a 12x12-foot space. Contact: Monya Brown, 33 Lexington Dr., Croton-on-Hudson 10520; or call: (914) 271-5302. Newport, Rhode Island “Newport ’84 Arts & Crafts Expo” (July 13-15) is juried from 5 slides. Entry fee: $10. Booth fee: $200 for a 10X 10-foot space. Contact: Brian McCartney, Mil Produc­ tions, Box 93, Vernon, Connecticut 06066; or call: (203) 871-7914. Roanoke, Virginia “14th Annual Roanoke Craft Festival” (November 16-18) is juried from 5 slides. Entry fee: $5. Booth fees: $70-$140. Contact: Roanoke Museum of Fine Arts, Center in the Square, 1 Market Square, Roanoke 24011; or call: (703) 342-8945. May 4 entry deadline Syracuse, New York “The 14th Annual Downtown Syracuse Arts & Crafts Festival” (July 13-15) is juried from 5 slides. Entry fee: $5. Booth fee: $55. No commission. Awards. For further in­ formation contact: Downtown Committee of Syr­ acuse, 1900 State Tower Bldg., Syracuse 13202; or call: (315) 422-8284. May 15 entry deadline Lafayette, Indiana “Lafayesta ’84” (Septem­ ber 1-2) is juried from 4 slides. Awards. Fee: $35. Send self-addressed, stamped envelope to: Sue Pashke, 101 S. Ninth St., Lafayette 47901; or call: (317) 742-1128. May 25 entry deadline Fort Wayne, Indiana “Three Rivers Festival Arts and Crafts Show” (July 7-8) is juried from 5 slides or photographs. Fee: $25. Contact: Abby Brooks, 3525 S. Wayne, Fort Wayne 46807. May 26 entry deadline Marietta, Ohio “Indian Summer Arts & Crafts Festival” (September 14-16) is juried from 5 slides. Fee: $60 for a 10x10-foot space. Contact: Susan Kern, Indian Summer Festival, Box 266, Marietta 45750; or call: (614) 374-7146. June 1 entry deadline Huntsville, Alabama “Huntsville Autumn- fair” (September 8-9) is juried from 3 slides of work and 1 of display. Fee: $100. Contact: S & S Promotions, 1724 Traver Rd., Ann Arbor, Mich­ igan 48105; or call: (313) 665-5649 or 485-4492. Sapphire, North Carolina “High Country Art and Craft Show” (June 29-July 1) is juried from slides or photos. Fee: $65. Send self-addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. Scaly Mountain, North Carolina “High Country Art and Craft Show” (July 6-8) is juried from slides or photos. Fee: $65. Send self-ad­ dressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. Richmond, Virginia “9th Annual Richmond Craft Fair” (November 8-11) is juried from 5 slides. $6000 in awards. Fee: $10. Contact: Jan Detter, Hand Workshop, 1001 E. Clay St., Richmond 23219; or call: (804) 649-0674. LaCrosse, Wisconsin “9th Annual Great Riv­ er Traditional Music and Crafts Festival” (Sep­ tember 1-2) is juried from slides. $2000 in awards. Entry fee: $5. Booth fee: $25. Contact: GRTM&C Festival, Crafts Committee, Pump House, 119 King St., LaCrosse 54601; or call: (608) 785-1434. June 8 entry deadline Bloomington, Indiana “4th Street Festival of the Arts and Crafts” (September 1-2) is juried 72 Ceramics Monthly from 4 slides. Fee: $45. Contact: 4th Street Com­ mittee, Box 1257, Bloomington 47402. June 15 entry deadline Sapphire, North Carolina “High Country Art and Craft Show” (July 20-22) is juried from slides or photos. Fee: $65. Send self-addressed, stamped, business envelope to: Virginia Smith, High Coun­ try Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. June 16 entry deadline Saratoga Springs, New York Ninth annual “Adirondack Green Mountain Craft Fair” (Sep­ tember 14-16) is juried from slides. Entry fee: $5. Booth fee: $150. For further information contact: Charles Dooley, Craftproducers Markets, R.D. 1, Box 323, Grand Isle, Vermont 05458; or call: (802) 372-4747. Killington, Vermont “The Killington Foliage Craft Fair” (September 28-30) is juried from slides. Entry fee: $5. Booth fee: $175 for an 8 x 10-foot space. Contact: Charles Dooley, Craftproducers Markets, R.D. 1, Box 323, Grand Isle, Vermont 05458; or call: (802) 372-4747. June 30 entry deadline Minneapolis, Minnesota “Second Annual Minnesota Christmas Craft Sale” (November 22-25) is juried from 5 to 10 photos or slides. For further information contact: Ron Mark or Wilma Wernick, Minnesota Christmas Craft Sale, 3112 Hennepin Ave., S, Minneapolis 55408; or call: (612) 824-5827. July 1 entry deadline Nag’s Head, North Carolina “Compass Rose Art and Craft Fair” (August 3-4) is juried from 6 slides. Fee: $65. For further information send self-addressed, stamped envelope to Jan Mann, Rte. 1, Box 195-A, Godwin, North Carolina 28344; or call: (919) 567-2978. Scaly Mountain, North Carolina “High Country Art and Craft Show” (August 3-5) is juried from slides or photos. Fee: $65. Send self- addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. July 6 entry deadline Denver, Colorado “Foothills Festival” (August 11-12) is juried from slides. Contact: Joyce He- pokoski, Washington Heights Community Center, 6375 W. First Ave., Lakewood, Colorado 80226; or call: (303) 237-7407. July 15 entry deadline Asheville, North Carolina “High Country Summerfest Art and Craft Show” (August 9-11) is juried from slides or photos. Fee: $85. Contact; Betty Kdan, 40 Hyannis Drive, Asheville 28804; or call: (704) 253-6893. Sapphire, North Carolina “High Country Art and Craft Show” (August 17-19) is juried from slides or photos. Fee: $65. Send self-addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. August 1 entry deadline Cashiers, North Carolina “High Country Art and Craft Show” (August 31-September 2) is ju­ ried from slides or photos. Fee: $65. Send self- addressed, stamped, business envelope to: Virginia Smith, High Country Crafters, 29 Haywood St., Asheville, North Carolina 28801; or call: (704) 254-0070. August 10 entry deadline New York, New York “13th Annual WBAI Holiday Crafts Fair” (December 6-9) is juried from 5 slides. Entry fee: $12. Booth fee: $410. Contact: Matthew Alperin, WBAI Crafts Fair, Box 889, Times Square Station, New York 10108; or call: (212) 279-0707. August 11 entry deadline Suffern, New York “Rockland Holiday Craft Marketplace” (December 15-16) is juried from 5 slides. Entry fee: $5; booth fees: $175-$200 for a 10x 10-foot space. Send self-addressed, stamped envelope to: Scott and Neil Rubinstein, Quail Hol­ low Events, Box 825, Woodstock, New York 12498; or call: (914) 679-8087. April 1984 73 74 Ceramics Monthly News & Retrospect Continued from Page 71 able time and energy researching motifs and techniques at the Nova Scotia Museum in Halifax to transpose historically accurate de­ signs from quilting, stitchery, embroidery, rughooking and Micmac Indian quillwork onto the surfaces of her clay forms,” observed

Press-molded container with Micmac patterns Ontario ceramist Ann Mortimer. “The pre­ cision of her work is exemplified by one’s ability to follow the stitch motifs from the interior of the form to the exterior, as if the needle had perforated the clay and drawn the slip through.” The detailed patterns are achieved through a variety of techniques: For sponge decora­ tion Alexandra cuts a common household sponge (with a stiff, pot-scrubbing side) into squares. On each square’s sponge side the design is outlined with a marker. Then she burns out the pattern with a red-hot knife (taking care not to inhale fumes). When slip trailing, she prefers using, sew­ ing machine oil bottles which are plastic, pli­ able, have screw-on tops as well as small nozzle openings. “I have about six, constantly filled with different colors of slip. I cover them with damp sponges and plastic to keep the slip from drying out. I also find that it

Pink and gray trailed slip on 7-inch container is better to spend a whole day with one color combination to avoid constant washing of brushes, sponges and bottles.” Oxide-colored slips for inlaid decoration are mixed with 10-15% kaolin to avoid shrinkage away from the body of the pot. “This gives a smooth, well-integrated, crack- free result,” Alexandra explained. “For stenciling, I use newsprint. It is much cheaper than rice paper and more accessible. Cut the newsprint into a pattern, soak it in Continued April 1984 75 76 CERAMICS MONTHLY News & Retrospect water and apply it to leather-hard ware, then cover with colored slips as desired. When the paper starts to lift slightly at the edges, peel it off, leaving a negative space to decorate.” By drawing sgraffito patterns when the slip is very wet, the result is a softer line than when the slip is drier. After bisquing, the slip-decorated ware is simply covered with a thin, transparent glaze and fired to Cone 5 in oxidation. Photos: Cas- tle- Beveridge. Richard Fox “Stoneware Vessels—Poetic Metaphors in Clay,” an exhibition of clay with mixed me­ dia work by Oregon artist Richard Fox, was featured at Jackie Chalkley Gallery in

Richard Fox combining clay and wood elements Washington, D.C., through February 4. The closed vessel and cup forms were embellished within a variety of natural materials to

12-inch-diameter pot with wood, slate, fiber express the artist’s view toward nature, .. to squeeze a vision of order out of the chaos.” Barbara Takiguchi Two distinctly different directions emerged in a recent showing of porcelain objects at the American Hand in Washington, D.C., by San Francisco artist Barbara Takiguchi. In developing these new forms, Barbara wanted the “functional work [to be] more Continued April 1984 77 78 CERAMICS MONTHLY News & Retrospect functional and nonfunctional work more nonfunctional.” Though based on different intentions, the forms share certain characteristics. All were cast whole or in parts, and later altered for desired effects. The color range is dominated by pastels: pinks, lavenders and tans gener­ ally applied with an airbrush. “Flap boxes” and “folded cubes” are, as their names imply, outgrowths of the artist’s explorations with paper, specifically origami construction. The forms suggest folded box­ es, but no function is apparent, nor is one

6-inch, slip-cast porcelain boxes intended. They evoke images of the exquisite wrappings for which the Japanese are known, perhaps packaging for a rare confection from a Kyoto shop. This allusion is further en­ hanced by the addition of reed ties which appear to bind the flaps. The surfaces also make reference to paper: Semimatt glaze has the tactile quality of vellum, while delicate impressing with small symbols (clearly drawn from Eastern imagery) is reminiscent of handmade paper. Other objects were designed specifically for table use. Her teabowls have been com­ bined with square and rectangular plates to form place settings, or grouped on rectan­ gular or trapezoidal trays as tea sets. The

Airbrushed porcelain tea set by Barbara Takiguchi carefully chosen individual elements of the sets relate to one another only loosely. In a like manner, the pots brought together for a Japanese tea ceremony often have little in common with one another, being chosen for both their individuality and for the effect of their juxtaposition. Text: Richard Murphy; photos: Lee Fatherree. Anne Currier White earthenware sculpture by Anne Currier, faculty artist at the University of Colorado in Boulder, was featured at Carson Continued April 1984 79 80 CERAMICS MONTHLY News & Retrospect Sapiro Gallery in Denver through January 20. In these slab-constructed geometric works, the artist strives for “a sense of the contin- uousness of forms which are concurrently

19-inch-long “Aqua Underlay,”glazed earthenware singular and interdependent as they pass through and around each other, alluding to a logical disruption of orbital and gyroscopic movement and perspective.” Earthenware Invitational “Earthenware: Red, White and Black,” an exhibition featuring 20 contemporary ceram­ ists, was presented recently at the Crafts- market Gallery in Northampton, Massachu-

16-inch woven red earthenware basket setts. Among the objects shown was this un­ glazed oval basket, 16 inches in length, woven red earthenware, fired to Cone 1 in oxida­ tion, by Jim and Shirley Parmentier, Fly Creek, New York. Jeff* Wilson Combining effects from low-fire salt and raku reduction, wheel-thrown ware by Jeff Wilson (Bigfork, Montana) was presented at Lodestone in Boulder, Colorado, through February 19. Forms, such as this bowl, 16

Low-fire salt and raku “Bull Bowl inches in diameter, were coated with terra sigillata (from porcelain or Helmar kaolin) Continued April 1984 81 82 Ceramics Monthly News & Retrospect and decorated with equal parts iron and cop­ per stain. In the kiln, shards and pieces of shelving were leaned against the ware (the bowl was fired on its side) and teaspoonsful of rock salt were sprinkled on them. Pulled from the kiln at Cone 06-05, the forms were smoked in newspaper. Salt, flashed onto the surface during the firing, produced variations in color; where it met the iron and copper stain, black became orange. Photo: Marshall Noice. Wisconsin Invitational The University of Wisconsin-Whitewa- ter’s “15th Annual Ceramics Invitational” focused on artists whose work involves vessels as a starting point for abstracted/sculptural

22-inch vase by John Donoghue form and surface. Among the objects pre­ sented was this intricately patterned earthen­ ware vase byJohn Donoghue, Saint Louis. Moving In Academe Ceramic artist James Melchert, who served as director of the National Endowment for the Arts Visual Arts Program from 1976 to 1981, will be leaving his current position as chairman of the art department at the Uni­ versity of California, Berkeley, to become di­ rector of the American Academy in Rome effective June 1. Sherman E. Lee, the former director of the Cleveland Museum of Art who is largely re­ sponsible for its collection of Oriental ce­ ramics, has joined the faculty at the Univer­ sity of North Carolina, Chapel Hill, to teach courses on the history of Oriental art. Wally Mason Fragmented intersections characterize the ceramic work of Wally Mason, Burlington, Vermont, exhibited recently in one-man shows at the University of South Florida, Tampa, Please Turn to Page 87 April 1984 83 84 Ceramics Monthly New Books Shino by Ryoji Kuroda Twelfth in the “Famous Ceramics of Japan” series, this large-format volume discusses the history and production of the tea ceremony ware known as Shino. Introduced during the Momoyama period (1573-1615), the style is characterized by its thick, white feldspathic glaze (feldspar with ash, clay and some salt) and spontaneous iron/manganese decora­ tion. Due to variation in firing and decorative processes, types of ware include plain Shino, Shino crimson, red Shino, gray Shino, mar­ bled Shino and picture Shino. The latter is “drawn with lively lines depicting the every­ day scenery surrounding the potters,” notes the author, “the bridges over the streams at Kuguri, a cypress fence and dew-covered path leading to its brushwood gate, a grove of trees in flower, even the mountain road they trav­ eled day after day.” Days of firing with red pine in a semiunderground kiln yielded a great deal of variety. Today those Shino tea- bowls with a reddish tinge are the most prized. “The cost of just one fine Shino teabowl is the same as that of a fine house. Even the pieces of contemporary masters [such as liv­ ing national treasure Toyozo Arakawa] have become so valuable as to be practically unob­ tainable.” 43 pages including plate notes and map of kiln sites. 69 color plates; 11 black- and-white photographs. $18.95. Kodansha International/USA, 10 East 53 Street, New York City 10022. William De Morgan Tiles by Jon Catleugh A 19th-century English potter working out­ side industry, William De Morgan became famous for his tiles decorated with patterns of leaves, flowers, birds, animals and ships. Installed in private homes and public build­ ings, they “were expensive when compared with commercial printed tiles, but he was adamant that maintaining the quality of his work and his principles was more important than commercial success,” notes the author, a trustee of the De Morgan Foundation. A one-page essay in the book by contemporary British potter Alan Caiger-Smith states: “The majority of tiles were made in the Persian faience technique. Designs were line draw­ ings carefully filled in with tones of various colors. Paper [painted with pigments] was placed face down over the slip-coated tile, then the back of the paper was brushed with glaze and sodium silicate. In the firing the paper was reduced to a film of ash which was easily incorporated into the glaze.” 184 pages including glossary, bibliography, list of relevant collections open to the public, marks and index. 250 black-and-white illustrations; 24 color plates. $25.50. Van Nostrand Rein­ hold Company, Inc., 135 West 50 Street, New York City 10020. April 1984 85 86 CERAMICS MONTHLY News & Retrospect ments seen in New Mexico, Arizona and Mexico, were featured in a recent solo ex­ Continued from Page 83 hibition of new work by Thomas Kerrigan at Convergence Gallery in New York City (Duluth) at By Design in Minneapolis. Forms, and at American Hand Gallery in Washing- such as this anthropomorphic basket, 17 in-

261A-inch whiteware wall form ton, D.C. Previously, Wally had investigated the fragmentation of actual space for site- Polychrome earthenware basket specific installations in which glazed terra­ ches in height, were built by pinching small cotta forms were placed in ordered and ran­ wads of clay together. “The advantage of this dom positions. The current work has evolved method of construction,” Tom explained, “is over several years of working with the same that the form develops slowly which allows mold-derived circular shape—developing the for close integration of decisions with the illusion of space in a manner similar to a building process.” Some of the works were painter approaching a stretched canvas. Shown painted with slips and terra sigillata when from the exhibition are an oval wall form leather hard. After bisquing to Cone 01, most (top), 26½ inches in height, slip-cast white- were accented with bright commercial glazes, ware, with shards, underglazes and glaze then fired to Cone 07 in an electric kiln. pencil; and this 23-inch tondo, terra cotta, Paul Lewing Porcelain platters, bowls and tiles with re­ alistic scenes of the Pacific Northwest by Washington studio ceramist Paul Lewing were exhibited recently at Kindred Gallery in Se-

23-inch terra-cotta tondo with shards, underglazes and glaze pencil. These concave wall forms have boundaries and surfaces broken and intersected by low- fire glaze biomorphic shapes, Prismacolor geometries, glazed shards and slab additions. 16-inch porcelain “Glacier Point Platter” Text: Thom McLaughlin;photo: Lightworks, attle. The oxide and glaze drawings were Inc. brushed, sprayed and/or stenciled on the thrown forms and tile compositions, then fired to Cone 10. “I was a painter before I was a Thomas Kerrigan potter,” Paul commented, “and while func­ Earthenware vessels, inspired by his Lake tional form is essential to me, the surface Superior environment and architectural ele- Continued I News & Retrospect treatment has become increasingly impor­ tant. For years I’ve also been trying to push the limits of color at this temperature.” Antoine de Vinck “Idoles,” an exhibition of stoneware fig­ ures by Belgian artistAntoine de Vinck, was featured recently at La Main in Brussels. What interests Antoine in his work is the process—the fact that others have used it at other times, in other civilizations. He wants

Stoneware “Idole,” approximately 10 inches high to reach back to a common vocabulary that can be read and perceived by everyone.

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