October 1994 1 Spencer L. Davis.Publisher and Acting Editor Ruth C. Butler...... Associate Editor Kim Nagorski...... Assistant Editor Tess Galvin...... Editorial Assistant Randy Wax...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver .... Assistant Circulation Manager Connie Belcher...... Advertising Manager

Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Post Office Box 12788 Columbus, Ohio 43212-0788 (614) 488-8236 FAX (614) 488-4561

Ceramics Monthly {ISSN 0009-0328) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Boulevard, Columbus, Ohio 43212-0788. Second Class post­ age paid at Columbus, Ohio. Subscription Rates: One year $22, two years $40, three years $55. Add $10 per year for subscrip­ tions outside the U.S.A. In Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Offices, Post Office Box 12788, Co­ lumbus, Ohio 43212-0788. Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), graphic illustrations and digital TIFF or EPS images are welcome and will be considered for publication. Mail submis­ sions to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines: A book­ let describing standards and procedures for sub­ mitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Additionally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) index­ ing is available through Wilsonline, 950 Univer­ sity Avenue, Bronx, New York 10452; and from Information Access Company, 362 Lakeside Drive, Forest City, California 94404. These ser­ vices are also available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sugges­ tions and Questions columns, is available for $ 1.50, postpaid, from the CeramicsMonthlyBook Department, Post Office Box 12788, Columbus, Ohio 43212-0788. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: When available, back issues are $4 each, postpaid. Write for a list. Postmaster: Send address changes to Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. Form 3579 requested.

Copyright © 1994 Professional Publications, Inc. All rights reserved

2 CERAMICS MONTHLY October 1994 3 4 CERAMICS MONTHLY Volume42, Numbers • October 1994

Feature Artides

They Call Him Lud by Laurie Schammel...... 29 ACC Columbus by Ruth Butler ...... 35 Patriciv Mateescv ...... 38 Elisabeth Anderson by Virginia Hillhouse...... 40 Bobby Silverman: An Autobiography ...... 44 Clay on the Wall by Juan Granados ...... 52 Michael MagOtO by Glen R. Brown ...... 53 They Call Him Lud High school students Bruce Cochrane...... 57 line up to enroll in ceramics classes taught by Tim Ludwig (above). His secret? A sense China Diary by Julie Brooke and Julie Thompson...... 59 of humor and respect for his students. “He’s not just our teacher,” says one pupil. “He’s our friend. He gives us the option to think for ourselves.” Turn to page 29 to Up Front learn more about Lud’s teaching style and class projects. Arrowmont Sculpture Competition by Cynthia Huff ...... 10 Elisabeth Anderson A self-taught potter, Best Graduate Schools Named ...... 10 Anderson (Albuquerque, New Mexico) began her career in clay as a collector. Now, Ceramics in Time by Rayah Redlich ...... 10 she uses tools from home—socks, table salt,Jennifer Elion ...... 12 garbage can lids—to create sawdust-smoked pots; see page 40. Ohio Faculty/Student Show by Kevin Lyles ...... 14 Lisa Naples ...... 14 Brick Heaven by Michelle Coakes ...... 16 Historical Chinese Ware in London ...... 18 High Tech/Low Tech...... 18 Holland’s Zoutgroep by Janny van der Veen ...... 18 The Domestic Object ...... 20

China Diary Above, left to right: Zhang Departments Shouzhi, a professor at the Central Acad­ emy of Arts and Design in Beijing, with Letters ...... 8 Group Ceramics Exhibitions ...... 72 Ceramics in Multimedia Exhibitions ...... 74 American ceramists Julie Thompson and New Books ...... 24 Elizabeth Woolrych. The Americans were Fairs, Festivals and Sales ...... 76 part of a group of 20 artists who visited the Call for Entries Workshops ...... 78 People’s Republic of China to “exchange International Exhibitions ...... 62 International Events ...... 81 work, ideas and techniques”; a report on National Exhibitions ...... 62 Questions ...... 92 Regional Exhibitions ...... 64 their experiences begins on page 59. Classified Advertising ...... 94 Fairs, Festivals and Sales ...... 66 Comment: The cover Bobby Silverman in his Baton Suggestions ...... 70 Rouge, Louisiana, studio. In the autobiog­ The Jury System: raphy beginning on page 44, he discusses Calendar Guilty or Not Guilty? by Susan Nowogrodzki ...... 96 the influences and experiences reflected in Conferences...... 72 his work. Photo: Tom Neff Solo Exhibitions ...... 72 Index to Advertisers ...... 96

October 1994 5

I I Letters craft shows in our area. There are some but as one that lies deep in the heart and, at unfortunate realities to this business that special creative moments, awakes from the never seem to improve. soul of talented people. There are all too many show promoters at Marta Gioviczki, Rochester, Minn. Cutting-Edge Dues all levels who have little or no understanding I see a lot of photographs on CM’s pages of craftspeople and their concerns. We need Centering showing pots and sculptural pieces that do more shows run by craftspeople for craftspeo­ Freedom of expression and speech is as it not appear very well made. Craftsmanship ple. I have done “open” shows with great should be, but there is a lot of junk out there. should always be a primary concern in clay. Avariety and quality, and have done “juried” Please strike a center position—don’t go piece that is on the cutting edge of art visu­ shows that were marginal. overboard either way. Sometimes I feel some ally, but is not well crafted, is not a success. The jurying process is subjective at best. of the work published was learned at Dippy It’s part of paying your dues as an artist, and Sometimes the jurors have little or no exper­ Dippy U. also part of the legacy we leave for the future.tise in the areas they are judging. Imagine ]. E. Porter, Oldsmar, Fla. Haddie Hadachek, Brainerd, Minn. looking at 400 slides and trying to pick quality? With competition to get into shows, Advice on Organizing Wanted Unfortunate Experience it seems that there is more emphasis on the I am almost completely self-taught in I thought CM readers would like to knowquality of the photography of the work than ceramics. After about eight years of trial and about an unfortunate experience we had on the quality of the work itself or the repu­ error, the work flow in my studio is still quite shipping work from California to a Boston tation of the artist. awkward. What I could really use is advice on gallery so that they can avoid having the same Jurying for shows is sometimes completedthe best ways to organize a working studio problem. as late as a month before the show, forcing based on others’ experiences; for example: We packaged four raku pieces in a large craftspeople who plan their show schedule the best materials, best layouts, best storage carton. Each piece was protected with bubbleearly in the year to “double book” to be systems, etc. wrap and an individual cardboard container. assured of a place to show and sell. Some­ Pamela Bresson, Newtown Square, Pa. The four containers were separated from eachtimes people juried into the show do not other and from the shipping carton by a show up without contacting show promoters.Less Mumbo-Jumbo minimum of 1 ½ inches recycled Styrofoam This list could go on and on. We need information about the work “popcorn.” We have shipped more than 60 Gary Thorson, Colfax, Wis. itself, less about all that artist mumbo-jumbo. shipments over the past ten years in this same Roger Guzlas, Chicago way with United Parcel Service (UPS). Vital Companion When we brought this shipment to our Remember always to show historical workNo Limits local shipper, he suggested we ship via Road­ in many different lights. When the muse As an amateur potter and sometime way Package System (RPS). He said that he steps out, history is the vital companion. collector, I find that Ceramics Monthly gives was using this carrier on a trial basis since Lynda Rymond, Doylestown, Pa. me a good survey of what is being done in they claimed to have a lower damage rate this field. The range of creative ideas is as­ than their competitors. I agreed to try them Inspiring Miniatures tounding and an excellent inspiration. It as well. As a fine-arts student specializing in reminds me that there truly are no limits. Our package arrived in Boston with signs miniature ceramics, I was thrilled with the feanne Virosco, Bothell, Wash. of having been badly mishandled (crushed May 1994 issue. The pictures of Andrea carton, scrape marks, etc.). One of the four Fabrega’s work were inspiring and encourag­Monthly Instruction pieces was destroyed. We submitted our ing. Her helpful hints were very timely to meI have always told the students that Ce­ claim to RPS following the appropriate in­ as a struggling beginner. The article rein­ ramics Monthly is like an additional lesson. spection procedures, but it was denied on theforced my belief in top-quality ceramic work Margaret Simonds, New York City grounds of insufficient packaging. The same in miniature. It is possible! And it’s incredibly packaging had been approved as adequate by beautiful. Thank you, Andrea Fabrega. And More on Prices and Cone 6 Glazes UPS on another occasion where there had thank you, Ceramics Monthly, for covering all On the whole I have been pleased with also been partial damage to a shipment. branches of ceramic work. CM over the years; however, I would like to When we contacted our shipper about the Tammy Owsley, Manchester, Ohio see more information on current prices and rejected claim, he informed us that he was no more Cone 6 glaze recipes. I have enjoyed the longer using RPS because there had been “tooHonest Struggle Appreciated articles on potters who are in business (pro­ much damage in spite of the promises of Keep up the good work! I really like the duction) that cover the problems they en­ their service representative.” practical success stories of small, innovative counter and methods of resolution. Vee Tuteur, Napa, Calif. studio potters who have shared their tri­ Nance Emmett, Eugene, Ore. umphs over adversity and honest struggles. Realities John Raske, Paola, Kans. Tries to Please As a functional potter for the past 20 Thanks for putting out a magazine that years, I have enjoyed Ceramics Monthly very From the Soul tries so hard to please its subscribers. Thanks much, and look forward to its arrival every I feel tremendously fortunate for having also for keeping us all up on clay. month. I also enjoy direct contact with cus­ had an opportunity to attend “The Living Susan VanDuyne, Ventnor, N.J. tomers when marketing my pots at art and Spirit of Pots” workshop led by Randy Johnston at Arrowmont School in the inspir­State-by-State Survey Share your thoughts with other readers. All letters ing setting of the Smoky Mountains. Ap­ I would like to see Ceramics Monthly must be signed, but names will be withheld on proximately 20 of us learned and grew feature current works by ceramics artists from request. Mail to The Editor, Ceramics Monthly; together as we worked. During our salt firing,each state. This would give an overall view of Post Office Box 12788, Columbus, Ohio 43212- we came close to understanding the very what is being done across the United States. 0788; or fax to (614) 488-4561. essence of ritualistic fire—not only as it is, Maxine Green, Colorado Springs, Colo.

8 CERAMICS MONTHLY October 1994 9 Up Front five graduate programs in ceramic art can be found at Alfred University, New York; Cranbrook Academy of Art, Michigan; California College of Arts and Crafts; Rhode Island School of Design; and the University of California at Davis. The schools Arrowmont Sculpture Competition were selected through a survey of deans, top administrators and by Cynthia Huff senior faculty of accredited schools in ceramics. Figurative clay sculpture captured five prizes in the national juried exhibition “Myths: New Form, New Function” at Arrow- Ceramics in Time by Rayah Redlich The traveling exhibition “Ceramics in Time” examined changing forms from era to era, culture to culture and potter to potter, thus identifying, paradoxically, those aesthetic values, meanings and cultural components unaltered through time. One of the supreme pleasures of art is to discover the uniqueness of the individual artist. In the 20th century, how­ ever, this uniqueness has been supplanted by the unceasing mass innovation of the consumer culture: the new is caught up and the old cast off; or, rather, features of the old are quoted and appropriated, and thus transformed into the new—the longed- for New. One art form that has not responded to progress in this way is ceramics. Here, worlds of art have been created from the same material (clay) and through the same process for thousands of years. Material and process link ceramists from all eras and cultures in an indissoluble bond. Despite changing fashions in shape and color, the raw materials of modern ceramics remain essentially unchanged—unlike modern sculpture, which reflects the development of industry in the 20th century and boasts a superabundance of new materials. In ceramics, the natural urge to reject the old and invent the new is internalized and expressed only gradually; it is never revolutionary and never, certainly, dictated by the myriad new Judith Condon’s “Male Figure with Angels,” 27 inches art movements that come and go. Echoes of change reverberate in height: at Arrowmont School of Arts and Crafts in in the world of ceramics, but only as a dim and transmuted Gatlinburg, Tennessee. mont School of Arts and Crafts in Gatlinburg, Tennessee. Artists were asked to submit works about old and new myths, and their shape and meaning in today’s society. After selecting 68 of the 799 entries in various media, Jane Kessler, director of Curators Forum in Charlotte, North Caro­ lina, gave a total of 12 awards. She said she was surprised by the number of artists who effectively dealt with ancient mythologi­ cal figures “by incorporating them into contemporary events or by making them active participants in current issues.” Kessler added that many of the most powerful statements were by artists “who took the challenge less literally and used the theme to joust with persistent and powerful contemporary beliefs.” The highest awards, Juror’s Awards of Recognition, went to Traditional wheel-thrown water containers by the Attalla ceramists Judith Condon, Knoxville, Tennessee; and Debra family of Gaza; and a pear-shaped jar from the Second Waddell Fritts, Roswell, Georgia. Awards of Merit were given to Israelite Period (1000-700 B.C.). clay sculpture by Duane Bastian, Adrian, Michigan; Debra Waddell Fritts; and Stephen Sanders, Memphis. response that combines with the echoes and sounds of other eras and cultures, not always those of the West. Best Graduate Schools Named “The art [of ceramics] is so fundamental, so bound up with According to “America’s Best Graduate Schools,” a new aca­ the elementary needs of civilization, that a national ethos [will demic guide published by U.S. News and World Report, the top always] find its expression in this medium,” writes Herbert Read in his book The Interpretation of Art. He continues: “Pottery is You are invited to send news and photos about people, places or pure art; it is art freed from any imitative intention. Sculpture, events of interest. We will be pleased to consider them for publica­ to which it is most nearly related, had from the first an imitative tion in this column. Mail submissions to Up Front, Ceramics intention, and is perhaps to that extent less free for the expres­ Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788. sion of the will to form than pottery; pottery is plastic art in its

10 CERAMICS MONTHLY October 1994 11 Up Front In the works of Nina Zoran from Tel Aviv and others, we find echoes of ancient myths. These objects have an acknowl­ edged yearning for the ritual aspect of past ceramic art. This most abstract essence...at once the simplest and the most approach is not an attempt to resurrect that ritual past, but difficult of all arts. It is the simplest because it is the most rather a sensitivity to—a positive remembrance of—things past, elemental; it is the most difficult because it is the most abstract.” things in danger of disappearing from our modern world. Where clay is the main artistic material (or content), form is The art of ceramics often expresses itself doubly, not only in intrinsically bound to the essence of the pot, now as ever. three-dimensional form, but also in two-dimensional surface Potters like the Attalla family of Gaza preserve with quiet decoration. In the latter, color is preeminent, with different colors having different associa­ tions. Twentieth-century Ameri­ can pottery offers a good example of the use of decoration; here, ceramists have associated themselves with different schools of art, and the pot serves as a land of canvas, with the decora­ tion becoming all-important. Israel Shmueli, a potter from Petach Tikva who focuses on decoration, has said of his work: “The cup represents the best possible example of useful pottery. It is still widely used today, and needs no feelings of Nina Zoran’s “Ritual Table with Bird and Hidden Flower,” porcelain; and copy of an Iron Period kernos (“trick” bowl). nostalgia to justify its existence— after all, it lies at the very center of the Israeli instant coffee ritual. fidelity an ancient tradition of form passed from one generation It is an object experienced close up, by seeing and touching. to another for hundreds of years. They are the champions and When decorating cups, I feel a special kind of freedom. The guardians of traditional Middle Eastern pottery. surfaces of the cup can depict really turbulent scenes without Technological advances have had no bearing on the design interfering with use. Painted images, geometric forms, as well as and production of ritual objects. The exhibition contains several the things you cant predict—the unique quality of a glaze or clay—for me, these are the raw materials of decoration.” Sponsored by Omanut La am (Ministry of Education and Culture), the American-Israel Cultural Foundation and Hista- drut, “Ceramics in Time” appeared at Bet Kahane in Jerusalem. Jennifer Elion A retrospective exhibition of 35 works by Canadian artist Jennifer Elion, who died last year of breast cancer, was presented at the Ontario Crafts Council in Toronto. When constructing her monumental markers, female torsos, bowls and rectangular boxes with drawers that she called reliquaries, Elion was prima­ rily concerned with form and how it evoked the spiritual and/or Israel Shmueli’s “Three Cups,” stoneware; and “Flask (cup),” from the Middle Canaanite Period (2000 B.C.). clay objects used for cult purposes—probably as idols or for altar or burial offerings. They are fetishes believed to house spirits and to have magical influence, linked to the myths of “sacred legends” with their latent symbolic meanings. In his book The Jealous Potter, Claude Levi-Strauss writes: “Mythic thought operates whenever the mind asks itself what signification is.” It is difficult, however, to identify ancient myths passed from era to era through functional objects such as bottles, vessels and flasks. These objects are so familiar that it does not occur to most of us to ask what their signification is; moreover, if we do ask this, we find no clear answer, having lost any conscious connection to our mythical origins. The oil pitcher, symbol of Hanukkah, is recognized as a central mythi­ Jennifer Elion’s “Sanctuary 2,” slab-built, burnished cal object, but who knows what lies behind the surface of other earthenware, 10½ inches in height; at the Ontario Crafts common ceramic forms? Council in Toronto, Canada.

12 CERAMICS MONTHLY

Up Front contemplative. “Every contact my hand makes with a piece as I am forming it leaves a mark,” she noted in her journal. “The whole work is an accumulation of marks, an accretion of feelings and thoughts....It is a piling up, which marks a stage in my development and that of the world.”

Ohio Faculty/Student Show by Kevin Lyles Recently, the faculty and graduate students of the ceramics program at Ohio University (Athens) exhibited at the Esther Allen Greer Museum on the campus of the University of Rio Grande in southern Ohio. The university of Rio Grande is a small school with around 2000 students. For the last 150 years, southern Ohio has been crucial to clay production and ceramic ware for the central United States. This

Phyllis Kloda untitled vessel, 8½ inches in height, earthenware with polychrome glazes.

utilizing hundreds of slip-cast tortoise shells and porcelain masks. Joe Bova exhibited two of his whimsical works using animal imagery. Graduate students Phyllis Kloda, Annie Baugh, Mark Tomczak and Barbara Chadwick also work sculpturally. Brad Schwieger exhibited huge platters and a soda-fired teapot form, emphasizing his ability to create luscious surfaces with the glaze and firing. Also working with traditional forms were Matt Wilt and Patrick Houston. The surfaces on Wilt’s pots were achieved with reduction cooling glaze techniques, while Houston fires much of his work with wood.

Lisa Naples A juried exhibition featuring functional earthenware by Penn­ sylvania artist Lisa Naples was presented recently at Samuel S. Fleisher Art Memorial in Philadelphia. The second in a four-

Matt Wilt’s “Industrial Vessel,” 16 inches in height, reduction-cooled stoneware; at Esther Allen Greer Museum, University of Rio Grande, Ohio. came about because of the natural deposits of clay. In the past, this region was the home of Roseville Pottery, Rookwood Pottery, Mosaic Tile Company and others. Today, Cedar Heights Clay, Logan Tile and many others associated with ceramics still make their home in this area. Just as there is diversity in ceramic manufacturing, so is there diversity among Ohio colleges and in this exhibition of works in clay. The ceramics faculty at Ohio University includes such nationally recognized names as Joe Bova, Brad Schwieger and Chuck McWeeny. Last spring there were six graduate students in residency in ceramics with a wide range of abilities and interests. This program, as was apparent in this group of work, tries hard to foster this diversity. Lisa Naples’ teapot, 10 inches in height, slab-built Among the 39 works exhibited were many sculptures. earthenware, with white slip and colored, transparent These included an installation piece by Chuck McWeeny, glazes; at Samuel S. Fleisher Art Memorial, Philadelphia.

14 CERAMICS MONTHLY October 1994 15 Up Front Joe Molinaro, who teaches ceramics at E.K.U., and I decided on a joint venture. E.K.U. provided Joe and his students with a university flatbed truck and two workers. My students bor­ part series, the exhibition was part of the annual “Challenge” rowed several trucks from parents and employers. We set out to competition. From 368 applicants, 12 artists were selected to meet the E.K.U. team on a gray September day. present their work in 1 of 4 three-person exhibitions. Reflecting the infinite variations in nature, Naples’ slab-built forms, decorated with white slip and transparent glazes in various colors, contain organic references, particularly plant life. Brick Heaven by Michelle Coakes In the 1960s, the economy was healthy and the steel factories of the U.S. were at peak production. Much of the coke (a kiln- refined form of coal) needed to make steel was provided by mines in western Kentucky. But times changed, and the de­ mand for coke fell in the late 1970s and early 1980s. In Dawson Springs, Kentuclcy, stands a ghostly reminder of the past—more than 100 coke kilns. No longer used to produce coke, they have become a source of refractory brick for area potters and schools. I first heard about these kilns on my way to a job at Western Kentucky University (W.K.U.) in Bowling Green. Driving north from Florida, I stopped in Georgia to visit the potter Geoff A cross section of the kiln floor shows the layers Pickett outside Athens. Geoff had previously been a resident of hard- and softbrick. potter at Berea College, and had recently built a kiln of softbrick recovered from the Dawson Springs site. He was kind enough The mine and the abandoned kilns create a strange, some­ to give me a map, along with the name and telephone number what eerie environment. I kept hearing the students whispering of a contact person at the company that owned the land. The about “concentration camps.” Good-sized pine trees grow on Magic Coal Company still mines coal, but has long since top of the kilns, attesting to the years they’ve stood cold and stopped producing coke. empty. But ashes still remain inside, and we would have been After settling into the new job and later negotiating for space wise to take masks along. in the sculpture courtyard for a kiln, I started to investigate the We set about our task as soon as we had notified the man­ idea of salvaging some brick. I contacted Magic Coal several agement that we had arrived. We were very much aware that times and eventually worked out an arrangement whereby the they didn’t have to let us on the property, and that there was brick would be donated to W.K.U. and our cross-state rival probably some concern on their part over safety and liability. Eastern Kentucky University (E.K.U.). Normally, the company (On our second trip in March 1994, the management asked sells the used bricks for 25^ each, but because the owners everyone to sign a liability waiver, which we gladly did.) daughter goes to W.K.U. and the contribution was tax deduct­ Joe and I encouraged our students to work cooperatively, but ible, they were free for the taking for us. they kept gravitating back to working separately, so we let them be. Realistically, only one or two Salvaged bricks were piled outside the chambers of coke kilns at Magic the Coal people can work in a coke kiln Company in Dawson Springs, Kentucky. chamber at a time; each measures approximately 6 feet tall by 5 feet wide by 20 feet deep. An incredible assortment of bricks was used in these kilns. During our first visit, we were especially interested in recovering softbrick. The floors of the kilns were constructed with several layers of different brick types. Working down from the interior, we first encountered floor tiles approximately 12 inches square. Directly below the floor were brick channels that ran the length of the chamber; they were mortared together and a chore to get past. Below these channels were three layers of hardbrick, then three layers of the softbrick we were after. Continued

16 CERAMICS MONTHLY October 1994 17 Up Front the loop handle facilitated attachment to a bird cage. Such feeders were for use at the imperial court and were produced at the imperial kilns in Jingdezhen in Jiangzi province. After spending 5-6 hours at the site, the students were exhausted and covered from head to toe in coal dust. We said High Tech/Low Tech good-bye to the E.K.U. crew and drove the 2½ hours back to “High Tech/Low Tech: The Science and Art of Ceramics,” an exhibition of industrial products and studio work by Roseline DeLisle, Larry Lubow, Harrison McIntosh and Gregory Rob­ erts, was on view recently at the Beckstrand Gallery of the Palos Verdes Art Center in Rancho Palos Verdes, California. “Creativity manifests itself in many forms,” notes cocurator Leonard Rubenstein in the accompanying catalog. “This exhibition contrasts two disciplines utilizing one basic mate­ rial—ceramics. One is represented by technology and industry; the other by art and the individual....When practiced with integrity in both areas, the common denominator is elegance. “Many artists think of elegance in an aesthetic sense. How­ ever, members of the scientific community frequently use the term elegant’ to describe theories that explain a concept with unusual clarity and brevity. They are primarily concerned with problem solving, not aesthetics. Students at Western Kentucky University formed a chain to unload salvaged bricks into the courtyard “While the studio potter utilizes clay in its natural composite where a wood-burning kiln was to be constructed. form, the engineer separates and distills the primary elements of compounds into finely ground, purified powders. He often Bowling Green, opting to wait until the following day to enhances the surviving elements, such as silica, with nitrogen unload the bricks. I notified the W.K.U. administration of the total number of bricks we had recovered, calculating their cost if purchased new and if we had paid the company’s usual 25 £ apiece charge. In turn, the school sent an acknowledgment to the Magic Coal Company for the donation. When, taking advantage of spring break, a few of my students and I ventured out to Dawson Springs again, we were in search of hardbrick, and much better prepared. We took along masks, brooms, gloves and sack lunches. We now have a good assortment of bricks and are ready to begin construction of a cross-draft, wood-burning Jdln. Additionally, I plan to build a raku kiln, as well as a small fast- firing salt kiln. Though I don’t want to wear out our welcome, we may yet schedule a third trip to recover more arch brick. Historical Chinese Ware in London “Yuan and Early Ming Blue and White Porcelain,” an exhibi­ tion of 26 rare Chinese pieces dating from around 1340 to Roseline DeLisle’s “Octet #1” and a Patriot missile nose 1435, was on view recently at Eskenazi in London. Shown cone, each approximately 38 inches in height; exhibited from the exhibition is a Ming-dynasty bird feeder, Xuande side by side in “High Tech/Low Tech” at the Palos Verdes period (1426-1435), encircled by a three-clawed dragon relief; (California) Art Center.

gas, producing a pure silicon nitride capable of withstanding incredible heat and pressure. In some instances, this can be modified with other inorganic elements to obtain special qualities needed for specific applications. “Imagine the confusion of archaeologists eons from now as they unearth shards of nose cones, hip replacements, porcelain pots, sculpture and engine blocks. Although film, tapes, build­ ings and other transitory materials will erode and disintegrate over the centuries, some ceramic creations will, as in the past, survive to yield clues about our civilization.”

Holland’s Zoutgroep Blue-and-white porcelain bird feeder, approximately by Janny van der Veen 3 inches long, Ming dynasty, Xuande period (1426-1435); The members of the Zoutgroep (Salt Club) at Pieter Brueghel at Eskenazi in London. Institute in Veghel, Netherlands, are professionals and amateurs

18 CERAMICS MONTHLY October 1994 19 Up Front like raku or pit, are tried. That evening, after the members have a meal together, the kiln reaches temperature, reduction takes place, then the gas is shut off. who work on their own but fire the schools salt kiln together. On Sunday, when the kiln temperature is lower than 100°C Their gas-burning, steel-shelled, refractory-fiber kiln was built (212°F), the door is opened, then each object is unloaded and by Jan van Houdt, a potter and retired school director, and shown around to everyone—the moment all have waited for. Wim Poos, a retired welder who is interested in kilnbuilding The group is kept together by Nirdosh Petra van Heesbeen, a because his wife Frieda is a potter. The firing chamber’s inside potter and teacher with enthusiasm that inspires us all. The 30 members differ in many ways, but they share a love of salt glazing, and are very curious about each others results. Usually these are wonderful, but as everyone who is familiar with salt glazing knows, disasters can happen—the firing can change beautiful work into horrible failures. The opposite is also true— salt glazing can produce a piece much more beautiful than expected. This is the thrill that keeps us going.

The Domestic Object On view recently at the Fuller Museum of Art in Brockton, Massachusetts, was a traveling exhibition of 110 objects in clay , fiber, glass, metal and wood that were designed for or are appropriate to a domestic setting. Among the ceramic works

Janny van der Veen sculpture, approximately 18 inches in height, slab built, salt glazed. Van der Veen is a member of the Dutch Zoutgroep (Salt Club), which fires a salt kiln on weekends. measurements are 1 meter (3.28 feet) high, and 1.2 meters (3.94 feet) wide and deep. The wheeled door is separate from the kiln, which makes loading and unloading easy. Firing and reduction take about eight hours. The Zoutgroep firings take place once a month. On Friday night, members glaze their ware. On Saturday, the kiln is loaded, then fired by Jan. While the kiln fires, members discuss the previous month’s results: successes, disasters, technical problems and experiments. Sometimes other methods of firing,

Zoutgroep leader Nirdosh Petra van Heesbeen.

Joy Hanken’s “Fishstick Candlestick,” 12 inches in height, handbuilt, with stains, underglazes and glazes; at Fuller Museum of Art, Brockton, Massachusetts.

shown in “The Domestic Object” were handbuilt candlesticks by Joy Hanken, Boston. Juried by metalsmith/potter John Heller, glass artist Thomas Patti and dealer Sylvia Ullman, the exhibition opened at the Berkshire Museum in Pittsfield, Massachusetts, then appeared at the Worcester Center for Crafts in Worcester, Massachusetts, before concluding its tour at the Fuller Museum.

20 CERAMICS MONTHLY October 1994 21 22 CERAMICS MONTHLY October 1994 23 and by various individuals in different de­ New Books partments, the works comprise “more a series of collections than a single collection,” notes Oliver Watson, cura­ Crafting as a Business tor of ceramics, in his by Wendy Rosen introduction to this Intended for those artists just beginning cataloglbook. “The their careers as well as for those who are more representation of pot­ experienced, this book guides the reader ters and their pots is through various aspects of establishing and irregularly distributed maintaining a successful business. “The in­ across the years. Luck­ formation provided is not meant to be a ily, the museum has cover-to-cover read like a novel,” states the been well served in the past by its curators. author, “but rather a manual designed as a The collection is not the rag-bag it may have support system for those everyday business threatened to be. questions and problems.” “Its great strength is its diversity—a The first step to success, Rosen believes, isstrength which no other collection possesses, ” the development of a business plan: “Before he adds. “It represents a great range of potters you dismiss this step as bureaucratic and from the leading figures to now-forgotten unnecessary, realize ‘one pot’ potters; it has a great range of styles that the time you in­ from classic stonewares to unglazed coil pots; vest implementing it shows a wide range of functions from the plan is less costly tableware to funlsy sculpture.” than the money you Catalog entries are alphabetical. Each in­ will lose jumping into cludes a brief biography, as well as a list of a business with your articles/books written by and about the pot­ eyes closed!” ter. For each work shown, a technical descrip­ Worksheets are tion, the size of the piece, a description of the provided to calculate mark, the year of acquisition, the source from such start-up factors as overhead costs, pric­ which the pot was obtained, and the price are ing and marketing needs. The author also all given. Some entries even have remark describes how to target customers, interpret made by the artist about the piece, such as trends and develop your product. She then those by Dan Arbeid, who said of his vase, “I gives tips on maintaining your business— remember it looked beautiful with cornflow­ through networldng, creating a proper im­ ers in it, but I wish I had it back now to alter age, getting juried into shows, marketing, etc.that terrible rim.” 288 pages, including an One of the best marketing tools, accord­ appendix on potters’ marks, bibliography ing to Rosen, is a postcard. Having postcards and index. 122 color and 618 black-and- printed “may be the most important first white photographs. $29.99, plus $3.50 ship­ investment for your business—they can serve ping. Chronicle Books, 275 Fifth Street, San as business cards or invitations to your studio,Francisco, California 94103. an exhibition or an upcoming fair.” Other marketing tools, such as press releases and Collector’s Encyclopedia of Colorado newsletters, are also discussed. Pottery The final section furnishes addresses and Identification and Values telephone numbers for various resources: edu­by Carol and Jim Carlton cational opportunities, crafts suppliers, guilds A guide to the various potteries estab­ and organizations, retail and wholesale showslished in Colorado during the first part of the and fairs, galleries, and legal and accounting 20th century, this book provides brief histo­ organizations for craftspeople. 192 pages, ries on each, as well as various markings and including index. 78 black-and-white photo­ current prices for their graphs. $19.95, softcover. The Rosen Group, works. Many compa­ 3000 Chestnut Avenue, Suite300, Baltimore, nies were started by Maryland 21211; (410) 889-2933. potters who, having heard of the quality Studio Pottery and abundance of Twentieth Century British Ceramics in the clay in Colorado, left Victoria and Albert Museum Collection the already well-es­ Since the beginning of the 20th century, tablished factories in more than 700 works by almost 200 studio Ohio. potters have been acquired by the Victoria One of these men and Albert Museum in London. Having was John J. Herold, who left Ohio for been collected over such a long period of timeColorado’s drier climate because of lung ail-

24 CERAMICS MONTHLY October 1994 25 New Books making process, with detailed, easily under­ presses and extruders; surface decoration on stood explanations and corresponding “how­unfired and bisqued tiles; firing tiles; mosaics; to” photos. For inspiration, the book is also and installation. Giorgini cautions those filled with photos of tilework by artists past artists intent on in­ ments. He established his pottery in 1910 with the financial support of Adolph Coors, and present. “Because I’m used to working stalling their work Sr., who already had a successful brewery with students whose experience and skill themselves: “Good in­ company in Golden, Colorado. Although levels range from expert to nonexistent, I’ve stallation can make Herold only worked at the pottery for two tried to use the same teaching methods here— mediocre tiles look years, it remained the Herold Pottery Com­ and to cover the same techniques—as I do in great, and poor instal­ pany until 1920, when it legally became the my classroom,” Giorgini says. “It’s therefore lation will make great Coors Porcelain Company. Until Prohibi­ my hope that this book will be both a practi­ tiles look mediocre.... tion in 1914, the pottery was of little impor­ cal introduction for the novice and a valuable Tile setting is an art in tance to the Coors. At that point, the family resource for the professional ceramist.” itself, one that has de­ worked to make it a solid business, and it is After an introductory chapter by Joseph veloped over generations; you’re not likely to still in operation today. Taylor, president of the Tile Heritage Foun­ learn this highly specialized skill overnight.” In addition to the 15 potteries discussed, dation, on the history of tiles, Giorgini beginsThat said, he does illustrate “a relatively the book provides short biographies on six with an explanation of what is needed to startsimple proj ect”—the installation of a grouted- studio potters (Tabor Utley, Gene Hopkins, working with tiles, and how to decide which tile tabletop. 144 pages, including indexes, James and Nan McKinnel, and Margaret and tools and materials are right for you. He thenlist of resources, metric conversion chart, and Duane Johnson). 168 pages. 375 color and goes on to discuss the production of flat appendixes on temperature equivalents for tiles—from making and transporting a slab 16 black-and-white photographs. $24.95, cone-firing ranges, flow chart of decorating plus $3.25 shipping. Carltons, 8115 South to calculating shrinkage, cutting tile shapes techniques, slip and glaze recipes, and Cone Syracuse Street, Englewood, Colorado 80112. and drying the tiles. In his experience, the 10 reduction firing instructions. 300 color best drying method for producing very flat photos and 22 illustrations. $24.95 Handmade Tiles tiles “is to place rows of freshly cut tiles (US$34.95 in Canada), plus $4.50 shipping. between layers of ½-inch thick sheetrock or Lark Books, 50 College Street, Asheville, North Designing, Making, Decorating wallboard and then stack the boards in three Carolina 28801; distributed by Sterling Pub­ by Frank Giorgini or four layers.” lishing Company, 387 Park Avenue, South, Intended for beginners, as well as for more Subsequent chapters include making tile New York, New York 10016. Also available advanced ceramists and collectors, this book models for open-face press molds; maldng from Tile Heritage Foundation, Post Office Box guides the reader through each step of the tile-and using press molds; carved plaster blocks, 1850, Healdsburg, California 95448.

26 CERAMICS MONTHLY October 1994 27 28 CERAMICS MONTHLY Tim Ludwig surrounded by (clockwise from bottom center) daughter Meagan, and students Clay McDonough, Kassie Walker, Jeff Beekman, Kerri Kingeisen, Sean Lyman and John Holliday. They Call Him Lud by Laurie Schammel a yellowed, clay-splattered poster themselves where they will need to work. away, he makes a sound with his mouth hangs on the wall in Tim Ludwig’s high- Several voluntarily begin wiping down like a ducks quack. He spins around, school ceramics classroom: “A good pot, clay-covered countertops and tables. points at Allison and bellows “Well, like a person, reveals itself gradually What would their parents give to be a excuuuuuse youuuuu!” The class erupts through continual contact over long fly on these walls? in laughter. Even Allison cracks a smile. periods of time.” Thousands of students Ludwig, wearing Levi’s, a bright T- This is one of Ludwigs tried and true have pinched, rolled, coiled and thrown shirt and surfer sandals, closes the door panaceas, but it never gets old. pots under the spell of that Warren to the hallway and walks to the middle “That’s better,” he says, almost to MacKenzie quote and the teacher who of the room. His still-blond wavy hair himself as he makes his way around the believes it. Most of them undergo a styled in the current “do” frames his room to help the next student with change during the 18 weeks spent in bespectacled face, belying his 48 years. work or with life. Ludwigs class at Spruce Creek High His appearance makes him unobtrusive “I had one girl in class who was so School. Some become potters for life; in a roomful of teenagers who notice rude, it took me 18 weeks to teach her others never touch wet clay again, but these things but never admit it. The that she couldn’t go through life that they all gain the understanding that art “Lud Show” is about to begin. way or everyone would just hate her,” and life are inseparable, that a good pot “Listen up, boys and girls and any­ he recalls. “At the end of the year she can represent a person. thing else I might have missed,” Ludwig gave me a note that said, ‘Thank you, Ludwig (“Lud,” as past and present says loudly, before announcing a guest. Mr. Ludwig. I don’t think I’m so rude students call him) gets through to kids The students giggle. One girl mutters anymore.’ with his own brand of humor mixed something to her neighbor and they “I’m a kid person,” Ludwig admits. with mutual respect. He is drill ser­ both roll their eyes. “I can play with them and tease them geant, surfer dude, sage, stand-up comic, “Are we buddies again, Allison?” he and do weird things. That’s very enter­ surrogate parent and artist wrapped up asks her. taining for them. Everything is very in a loud shirt. “I don’t know,” she says coolly, loosey-goosey and they like that. And I The bell rings and 20 or so students munching from a bag of cheese puffs like it, too. snake their way through the equipment- and checking her fingernails. “It disrupts what they think life’s packed classroom to a table or a potter’s “Well, you let me know when we about, and it makes them think a little wheel. They take the initiative and place are,” Ludwig says. As he begins to walk bit more. Maybe they’ll pay more atten-

October 1994 29 tion to things around them, One day, he“loaded them then tie it into their work.” all on a bus and took them Ludwigs ceramics pro­ to the St. Johns River. We gram at this secondary school dug our own clay from the in Port Orange, Florida, just river banks, made a bunch south of Daytona Beach, is of pinch pots and fired them better equipped than many over an open fire. We university programs. He was brought some clay back to hired when the school opened school and started making in 1975, so he was able to pots. It was so spontaneous plan the space and procure and the kids loved it. They the equipment needed to run almost burned the school- a proper ceramics program. house down. They thought Students who get an early that was really neat.” start in Ludwig’s program Ludwig’s previous clay might spend four years seri­ experience was limited to a ously working in clay before Donna Willis, a second-year student, asks Ludwig to mixed-medialook class at Stetson entering college. More than at a vase she is slab building to fulfill a project requirement.University. His U.F. major one has been disappointed had been printmaking and when forced to make mugs lithography. in college Ceramics 101 after throwing “So while I was teaching the kids intricate teapots in Ludwigs class. about pots, I was learning about pots. I “A lot of kids say that they want to try to avoid showing them how to do be a pottery teacher after taking my things, but still I want them to see what class,” he says, “but I had to work very people have done with clay and how hard for what we have here at Spruce expressive they’ve been,” he says. “I want Creek. Its not the normal situation.” them to feel the impact that a piece of Ludwig came into the ceramics world pottery can have. I always talk to them through the back door. After complet­ about the favorite cup thing: How Mom ing a bachelors degree in fine arts from or Dad has a favorite cup, and how the University of Florida (U.F.) in 1968, upset they would be if it got broken. he needed a job to support himself and This little clay object, this little materi­ his wife. He was offered a job teaching alistic thing can mean so much. That’s elementary art at South and North an important fact of life that a student Ridgewood Elementary Schools in can connect with.” Daytona Beach. He had never thought He interrupts his conversation and about becoming a teacher, but the offer yells across the room to a boy coiling a was enticing. The pay was $6400 a year, long piece of rolled clay around the lid and he jumped at it. “We were living on of a half-finished jar. “Hey! Does your nothing, and that was a lot of money to mother know you left the house wear­ me at the time.” ing that shirt? Man, that is one By 1970, he was teaching art at uuuuuugly shirt!” Daytona’s Mainland High School. He Third-year student Jerry Lo trimming The startled boy looks down at him­ sensed the students were frustrated with lids for condiments jars commissioned self, then at Ludwig. They are wearing traditional painting and drawing so he by a local delicatessen. the same orange and yellow striped shirt. decided to try something a little uncon­ Again the class bursts into laughter. ventional. “He’s the funniest teacher I’ve ever

30 CERAMICS MONTHLY had,” Amity Boye says qui­ mold project that requires etly. “He always tells really Nine years ago, Ludwig and his students built a 36-cubic-foot students to disguise their pots comy jokes wood-burning kiln that fires to Cone 10 in 14 hours.so that the original mold “But he’s not just our shapes cannot be deter­ teacher,” she adds, looking around to Effie Pappas looks up from the lid­ mined. More esoteric projects required be certain Ludwig cant hear. “Hes our ded jar upon which she is carefully ap­ in a recent Ludwig class included a tea­ friend. He gives us the option to think plying streaks and lines of colored slips. pot that had to resemble a vegetable, for ourselves. Other teachers tell us what “You don’t just learn about pots in this fruit or plant, and a “collaborative cup” to think.” class,” she says. “You learn about your­ where each student started a basic cup “I tell them that whatever they do to self from the way you make pots. And shape then passed it on to a neighbor their pots, that’s what they are,” Ludwig when you break a pot, it’s like you break for completion. says. “If they copy, that’s what they are. a piece of you.” Occasionally, there will be a project If they are technical and precise, that’s The students are assigned various on a grander scale that requires the co­ what they are. Nobody is going to projects to be completed during the se­ operation of many students of different change what they are. That’s why I con­ mester. Some are specific vessel forms, skill levels. Every year, for example, they stantly stress this honesty thing to the such as pitchers, vases, bowls and tea­ participate in the “Empty Bowls” kids. I tell them, ‘Don’t worry about pots. Others are more ambiguous, such project, a national program for which what you do; just be honest about what as the slab project that usually leads to potters make bowls, then local restau­ you’re doing.’” some large geometric shape, or a drape- rants donate soup to fill the bowls to

The 40-cubic-foot, gas-fueled salt kiln is fired every two weeks, reaching Cone 10 in 9-10 hours. The placement of the burners at the back of the salt kiln (on either side of the chimney) provided for safe distance from kiln-loading teenagers.

October 1994 31 raise money to help the faithfully every two weeks, homeless. reaching Cone 8-10 in about Another large project re­ nine or ten hours. cently undertaken by the Spruce Creek is also fortu­ students was a commission nate enough to have a 36-cu- from a local delicatessen bic-foot, wood-fired kiln. Built owner whose daughter was by Ludwig and his students one of Ludwigs students. during the 1985-86 school He needed 200 jar lids to year with the help of former replace the chipped and Florida potter George Lowe, cracked ones that were cov­ it fires to Cone 10-12 in about ering his table jars of mus­ 14 hours. During the first tard and relish, plus he couple of firings, the students ordered 48 new lidded jars. Wood-fired, slab-built sculpture, 8 inches in height, stoneware experienced a few problems, The money raised bought with Avery Slip and stain, by Shalimar Kinsey. but they quickly learned that art books, videos and a new clay mixer the loading and the placement of the to replace the schools old mortar mixer, pots in the kiln were essential to the which frequently deposited metal success of the firing. scrapings into the clay. Ludwig teaches a full school year Three years ago, during the summer, and offers a short summer program on Ludwig and his students designed and his own time for students who want to constructed a gas-fired salt kiln. After learn more or who need to make up gathering information from potters work, but he still finds time to create throughout the United States who were his own art as well. His vigorous flash- using such kilns, they decided to adjust fired vessels and low-temperature salt- a common design in an attempt to avoid fired “parodies of pots”—watering cans possible hazardous situations (such as that don’t water, for example—have been burns and back injuries) in a school featured at the Daytona Beach Museum environment. of Art, the Harris House Gallery at the Although some of the potters using Atlantic Center for the Arts in New a two-burner Big Bertha system said Smyrna Beach, and the Albertson/ they were not fully convinced of its Peterson Gallery in Winter Park, Florida. success, Ludwig and his students be­ Ludwig says working in his home lieved that bringing the burners in pottery studio has helped him grow as a through the back of the kiln on either teacher because he is enthusiastic about side of the chimney—rather than from making pots and “students pick up on the front or sides—would provide a that. I wanted to make sure that what­ more natural draft while maintaining a ever I was doing at home, I was still safe distance between kiln-loading teen­ carrying it back to the classroom. agers and red-hot burners. They also “The kids understand I’m being hon­ included a short bag wall against the est about what I want them to do be­ side walls—in addition to the normal cause I go home and practice what I bag wall positioned between the firebox preach. I think they sometimes have and the ware chamber—to prevent the Wheel-thrown and altered stoneware trouble believing teachers when teach­ vase, 11 inches in height, salt glazed, salt from deteriorating the hardbrick. by Chad Allman. ers don’t practice what they preach. The result is a 40-cubic-foot, down­ That’s not to say those aren’t good teach­ draft, sprung-arch kiln that performs ers. What makes a good teacher? Did

32 CERAMICS MONTHLY he/she get you the informa­ Gretchen took his class last tion? Did you learn that in­ year to experience it from formation? Were you then the outside. “So many stu­ able to apply that informa­ dents have stayed in touch tion? If a teacher can do that, and come to the house over then maybe that’s a good the years I think she wanted teacher. But I think they have to see what it was like. But I to go beyond that. A teacher don’t think she has a future has to be a role model. So in pottery,” he laughs. I’m a role model. I’m a fa­ Last year, his peers voted ther figure. I think it’s im­ him Teacher of the Year— portant that what I say that the award of which he is I do and say is really what I most proud. “The best part do and say.” was walking through the Ludwig is a real father halls and being congratu­ Salt-glazed vessel sculpture, 14 inches in height, figure to his own two daugh­ wheel-thrown stoneware, by Lisa Kaufman. lated by students who ters, Gretchen and Meagan. weren’t even mine.”

Recipes

White Terra Sigillata Avery Slip Masson Blue Glaze Kentucky Ball Clay (OM4)...... 20% (Cone 06-10) (Cone 7-10, reduction) Water...... 80 Nepheline Syenite...... 20 % Dolomite...... 15% 100% Avery Kaolin ...... 80 Whiting...... 10 Add: Calgon...... 1 % 100% Custer Feldspar...... 50 The following recipes are suitable for Flint...... 15 Orange Terra Sigillata the wood or salt kilns: Edgar Plastic Kaolin...... 10 Calvert Clay...... 20 % 100 % Water...... 80 Shino Glaze Binns’ Rutile Glaze 100% (Cone 7—10, reduction) (Cone 7—10, reduction) Add: Calgon ...... 1% Soda Ash...... 3.33% Whiting...... 24% These slips are applied to green or Spodumene...... 12.52 Kona F-4 Feldspar ...... 14.50 Nepheline Syenite...... 61 bisqued ware. Edgar Plastic Kaolin ...... 15 Nepheline Syenite...... 50.06 100% Creamy White Slip Ball Clay...... 16.68 (Cone 06-10) Edgar Plastic Kaolin ...... 2.91 Add: Rutile ...... 5% Feldspar...... 5% 100 .00% Transparent Gray Glaze Ball Clay...... 75 (Cone 7-10, reduction) Kaolin...... 10 Gerstley Borate...... 9 % Flint...... 10 Whiting...... 19 100% Custer Feldspar...... 51 Ball Clay...... 15 Flint...... 6 100%

October 1994 33 It used to be that kids would pass the ing at least another 10 years and I sure as 30 or so reasons why the teacher has word to their up-and-coming high- as hell don’t want to sit for that long to stay in a classroom all day. But Tim schooler siblings that Ludwigs ceramics and not progress. It would be unfair to Ludwig is proof that there are still great classes were the smart scheduling choice the students and to me. teachers. And he is remembered not by to make. And with each September, the “This guy at a conference said that just one or two “pets,” but by almost children of the children he taught early all a teacher needs is one good student. every kid whose neophyte palms in his career are appearing almost as The other side of that coin is that all a touched clay for the first and possibly frequently. student needs is one good teacher,” the last time in Lud’s class. “I’m working a lot harder than I’ve Ludwig observes. “And I don’t think I know because I was one of those ever worked. After 24 years of teaching, anybody becomes a teacher because it kids. And although I haven’t made you’d think I’d have this thing down. looks like a neat job. They become good something from clay for a dozen years, But I do not. I want to learn so much teachers because they had a good I remember him for the respect he had more, because I’m so involved in my teacher.” for the kids and for the clay, and how work. I’m excited about it, and I want I wish we all could remember at least his smart-aleck classroom antics were my students to be excited about it. I one special teacher from our high-school just his way to connect and bring us all think that’s one of the keys to my suc­ days. Someone who treated us with the together in the same place. A place cess with them. I’m going to be teach­ same respect he or she demanded, not where people are like good pots. ▲

Slab-built bottle, 8 inches in height, stoneware Saggar-fired spouted vessel, 14 inches with Avery Slip and red iron oxide stain, salt glazed, in height, slab-built stoneware, by Laurel Lacour. by Effie Pappas.

34 CERAMICS MONTHLY Wheel-thrown porcelain casserole with wax-resisted glaze decoration, 9 inches in height, $90 (retail), by David Nelson, Asheville, North Carolina. ACC Columbus by Ruth Butler

WW W hen all was said and done (back The buyers who did come to Co­ new to ACC events. One of our pri­ home in their studios, vans unpacked lumbus were “extremely aggressive” mary goals in moving the wholesale por­ and orders totaled), most of the exhibi­ though, spending “a phenomenal $3000 tion of West Springfield to Columbus tors at the new American Craft Council apiece,” according to ACC statistics. Sales was to put crafts producers in touch (ACC) wholesale fair in Columbus were projected to top $7,500,000, just with new buyers, and it seems to be agreed that it had been “slower than we 7% below the 1993 total at West Spring­ working.” wanted, but better than expected.” Dur­ field. With these figures, JoAnn Brown, Another important factor in relocat­ ing the four-day show, morale had suf­ director of American Craft Enterprises, ing to Columbus was comfort. Exhibi­ fered as the possibility of low attendance ACCs marketing arm, was “comfort­ tors and buyers alike appreciated the became a reality. Some exhibitors re­ able saying that Columbus held its own facilities at the new convention center, mained optimistic, reasoning that the as a successful introductory event. It and praised the local hotels, restaurants buyers might come on Sunday, taking takes time to build a market. It took ten and entertainment (a nearby riverfront advantage of round-trip airline tickets years for Baltimore to become our high­ arts festival featured live performances with a Saturday overnight stay, or on est grossing wholesale event. I am con­ well into the evening). Monday, driving in on the day their fident that within the next five years Chicago potter Mary Head described shops were closed. But in the end, at­ Columbus will be giving Baltimore a the facilities as “outstanding—easy ac­ tendance was only about 2500, just over run for both prestige and sales. One of cess into the building, helpful person­ half of what the shows previous venue the most gratifying things for us was nel, simple parking.” The one drawback in West Springfield, Massachusetts, typi­ the large number of new buyers. Over for her was the shows duration. “Four cally drew. 20% of our preregistered buyers were days for only wholesale was just too

October 1994 35 Cone 6 stoneware vase, 14 inches in height, $125 (retail), by Antanas Ulevicius, Chicago.

“Floating Girl with Flowers,” 6 inches high, terra cotta with vitreous engobes, $55 (wholesale), by Mary Head, Chicago.

long. The pace and energy of ders than I had anticipated. I the show were too slow. The came away encouraged and atmosphere lacked a certain looking forward to the 1995 spark, and there was very little Columbus show.” sense of anticipation or ex­ Coco Schoenberg, Tena- citement. This can be deadly. fly, New Jersey, had mixed By the end of the show, I had feelings about the Columbus filled my schedule up to De­ fair. Having done ACC fairs cember, but if I could have for several years, she was done this in two days it would bothered more by what’s hap­ have been better. Im glad to pening in the field than the know there will be a retail location of the fair. “My ini­ show after the wholesale show tial impression was that the next year.” Slab- and coil-built stoneware vessels, to 22 inches in height,facility was an open, airy, Nancy Utterback, Erie, $250-$800 (retail), by Coco Schoenberg, Tenafly, New Jersey. clean and interesting struc­ Colorado, was particularly ture, ideal for a crafts fair. happy with the new locale. “I was first didn’t sense the same kind of hurried The city itself was open, safe-feeling, struck by the leisurely pace and friendly panic that had accompanied all the pre­ interesting and an appropriate location atmosphere that marked Columbus. vious shows I had done. In spite of this for a trade show for buyers coming from People were helpful and informative. I casual approach, I wrote even more or­ all parts of the country.

36 CERAMICS MONTHLY “Untitled Teapot V,” 13 inches long, Cone 7 stoneware and porcelain, $290 (retail), by Kostas Ulevicius, Chicago.

Salt-glazed stoneware box, approximately 10 inches in height, by Nancy Utterback, Erie, Colorado.

“Personally, my expectations were not this cost effective, nor am I sure that I ments about quality by explaining that extravagant, as it was a first-year show. would want to churn out such numbers “this was the first wholesale-only event However, for a fair of this size, we would and be competitive with someone who ACC has ever done. Many of the artists have to see many more buyers. On the uses methods more conducive to meet­ who show at our wholesale/retail fairs other hand, many of my galleries had ing such production demands. As a pro­ do one-of-a-kind rather than produc­ not yet received their orders from Balti­ fessor from Brown who taught a “great tion work. This limits their appeal to more, so they were not prepared to re­ issues” class was fond of asking, ‘Where many wholesale buyers and they rely on order. Perhaps a later date would remedy are we marching?’ This is a question we the retail portion of our events for the this problem.” need to ask ourselves continuously, not bulk of their sales. Obviously, these art­ For Schoenberg, “the show raised a necessarily the ACC. I do believe the ists are not going to show at a whole- number of questions in terms of the fair has potential to be successful. I’m sale-only event. We don’t think there direction that the ACC market is going. just not sure what that means in terms was any lack of quality at Columbus. It I make mini to large one-of-a-kind of the direction the field is taking.” just looked like what it was—a whole­ handbuilt vessels with no assistance. Other exhibitors (and some buyers) sale craft market. Next year, when we Since it is a long show (4 days) and 11 questioned the overall quality at the fair. add a separate retail show in Columbus, hours away by van, it is an expensive One West Coast buyer said bluntly that we expect that many artists will elect to week away from my studio (including it didn’t measure up to the usual ACC do both events, which should increase booth fee, hotel, gas and food). Consid­ fair, but that she had seen some won­ the variety of work at the wholesale ering the time that goes into the mak­ derful work in Columbus and was glad show. And after this great beginning, ing of each piece, I’m not sure I could she’d come. we are really looking forward to Co­ create the production required to make JoAnn Brown fielded negative com­ lumbus in 1995.” A

October 1994 37 Patriciv Mateescv

Life-size ceramic portrait, cast in a plaster mold taken from a slip-veiled mold of a clay original.

Twelve ceramic portrait heads by Rumanian immigrant Patriciv Mateescv were exhibited recently at the Rumanian Embassy in New York City. Mateescv first came to the U.S. in 1973 to attend the “International Ceramic Symposium” in Memphis; six years later he immigrated to California, and now lives in New Jersey. The series began as “aggressively modeled” faces, but as Mateescv worked on them, he “remembered the eroded faces of Gothic sculptures, which only add to the spirituality of medieval cathe-

38 CERAMICS MONTHLY Cast portrait, accented with colored slips, life size, by Patriciv Mateescv, Dayton, New Jersey. Portrait with “eroded” features reminiscent of Gothic sculptures, slip cast, life size.

drals.” To soften the portraits’ features, in the manner of those eroded sculptures, he made plaster molds of his originals; inside these molds he cast a “veil” of slip, then made new plaster molds of this revised interior space. The “eroded” images cast in the resulting molds were then finished with colored slips. “My erosions were realized through a collaboration between myself and the liquid clay, a natural element with a finer texture and a more subtle, more powerful presence than either my thought or my art,” Mateescv commented. “Each new work is as indepen­ dent as breathing.” A

October 1994 39 Elisabeth Anderson by Virginia Hillhouse

On a recent trip to New Mexico, my learning the language.” However, it was sculpture clay,” explained Anderson. She first stop was in front of a sawdust- when friends took her to see the mingei then puts the two pieces together with smoked pot by Elisabeth Anderson. Its or folk-craft artists that she was truly shredded newspaper stuffed inside, seals classical form intentionally askew, the hooked on pottery. the edges, wraps the entire piece in plas­ bowl was standing alone in a case at the “In Mashiko (100 miles north of tic and suspends it in a sling above the Albuquerque International Airport. The Tokyo) at the magnificent compound worktable. At this point, she may tex­ colors echoed the gray-green and sand of Shoji Hamada, we watched as ture the clay with a piece of lava. shades of the land, and the pink hues of Hamada’s son removed his fathers pieces The following day, she opens the the adobe homes and nearby Sangre de from the kiln. He allowed us to select pot, removes its paper contents and be­ Cristo mountains. whatever object we wanted, and I chose gins shaping—this is when the salad Determined to meet the artist, I two teacups with a bamboo design, the spoons (“they have nice curves”) and launched an informal, if circuitous, bamboo seeming to blow in the wind.” big, sturdy paddles from a cookware search and found her at home. Ander­ Anderson also discovered Kyushu, store come into play. Then, using a sand- son discusses her pots with the fervor of one of Japans southern islands, where filled sock, she pushes, flattens and con­ an explorer on the brink of discovering pottery making is still a way of life for tours the surface. Sometimes, the final new territory; the unknown fuels her the descendants of Koreans who settled touch before leaving the pot to harden enthusiasm. Experiments and modifi­ there in the 16th century. In the tradi­ is attaching the neck, a cylinder thrown cations in raku firing give a protean tional mingei way, Kyushu potters work on the wheel. A bisque firing follows. quality to her work. communally, none receiving recognition Living in the southwest, Anderson Trained in the sciences (her major over another. Anderson admired the has felt the strong presence of Native was anthropology), she is a self-taught asymmetry and strong shapes of their American pottery, and once tried bur­ potter, though self-teaching better de­ pots, adding several to her collection. nishing smaller pots with a stone as her scribes her continual quest. Any formal A few years later, a sabbatical took pueblo counterparts do. But “after five ceramics education has been in work­ the family to Australia, where “out of minutes, it was drudgery,” she noted. shops, primarily at Colorado’s Ander­ sheer boredom, I decided to take a clay Consequendy, she found her own way— son Ranch. workshop,” recalled Anderson. “From coating each pot with lots of slip, then “I began my career in clay as a col­ then on, I never let go.” Once back in rubbing it with a paper towel for 20-30 lector,” Anderson recalled. And, indeed, Albuquerque, she acquired her own pot­ minutes. “It gives a wet look, like river for the first 10 years of the more than tery equipment. rocks under water. In the finished pot, I 30 that she has been active in the pot­ Anderson’s most successful pieces are strive to recreate the soft, satin sheen of tery world, she never made a pot. the result of her propensity to experi­ a wet pot.” In 1962, Anderson moved with her ment. A survey of her tools—salad To ready the pot for final firing, she husband and three children to Hiro­ spoons, paddles, garbage can lid, paper may cover the surface with table salt shima; she admits now that she was not towels, table salt—suggests that home (adhered with wax resist). Or she may prepared for the impact of Japanese cul­ has been her best laboratory. add designs with randomly wrapped ture. “I became enmeshed in the envi­ “I begin by cutting, with my garbage wire or torn paper towels dipped in clay ronment, living in a Japanese house and can lid as a guide, two disks of Cone 10 slip. Then comes the stage that gives her

40 CERAMICS MONTHLY Above: Sawdust-fired vessel with forged silver, 13 inches in diameter, Cone 10 sculpture clay, with burnished slip and table salt (in wax resist). Right: Slab-built pot, 20 inches in diameter, wrapped with paper towels dipped in slip, coated with table salt, filled with damp sawdust (from a horse stall), then fired between 1200°F and 1800°F.

October 1994 41 Low-fire-salt vase, 22 inches in height, slab built, slipped Vase with copper wire, 21 inches in height, sculpture clay and burnished, wrapped with wire, filled with damp sawdust. with burnished slip and table salt, filled with sawdust, low fired.

Slab-built bowl with burnished slip and salt, 18 inches wide, sawdust smoked, by Elisabeth Anderson, Albuquerque, New Mexico.

42 CERAMICS MONTHLY pots their subtle colors. Each is filled large pots, Anderson realized there was is not round calls for lots of hand fitting with damp, used sawdust (shoveled from no way she could physically lift the red- and hard work, but she only enhances a neighbors horse stall), and fired be­ hot pots from the kiln for postfiring the piece,” said Anderson, who gives tween 1200°F and 1800°F. “It varies reduction. So she took the risk of trying Warner total freedom. because I’m terrible about peeking,” she a one-step procedure with the combus­ Anderson’s daughter-in-law Diane admitted. The pot is removed only when tible sawdust inside instead of outside Egbert, a California jeweler, also adds cool enough to handle. Half the saw­ the pot. “The first time I tried, I was metal (copper or bronze wire) to her dust will have burned; the rest is ash. blown away by the colors. I have con­ pots. “The binding with wire adds to Her kiln resembles a 2-foot cube. tinued to develop and refine this firing the tension I am creating and the cop­ (However, she can add rows of bricks to technique,” she said, “but I fancy the per reminds me of the veins that run the top for larger pots.) There is a hinged horse urine is the magic potion. through rocks,” explained Anderson. door—good for easy removal as well as “Experimenting is what keeps me In addition to her sculptural pots, peeking. “I seem to have the best luck going,” observed Anderson. Sometimes Anderson is currently making wall with this size,” she said, “but I am still her experiments include working with pieces. They too reflect the rock forma­ learning the secrets of this kiln and how other artists. tions and natural shapes that she ad­ to take advantage of them.” A friendship begun in Australia be­ mires. “Pieces I am doing now look Anderson’s method of smoking was tween Anderson and Pamela Warner, more and more like rocks. It is ironic “developed accidentally. I can’t claim an who works in hand-forged sterling sil­ and amusing to me that I’m taking clay invention,” she insisted. Commissioned ver, has continued in the U.S. since (originally rock) and putting it back in several years ago to make a number of 1978. “Gluing the silver onto a pot that its original shape.” ▲

Working with a Cone 10 sculpture clay, Anderson begins by rolling out a slab on top of a cloth sling, then uses a garbage can lid as a guide to cut out a disk. Still on the cloth, the disk is gently shaped in a slump mold. A second disk is attached along the edges to the first, with the hollow between them stuffed with shredded newspaper. The next day, the newspaper is removed, and the pot is shaped by paddling with wooden spoons and a sand-filled sock.

October 1994 43 Bobby Silverman An Autobiography

Now that he is working in Louisiana, Bobby Silverman has incorported local flora and fauna into his ideas about form and surface.

My artistic journey began on the wheel in high school in adults, I kept busy by investigating the strange beauty of my Woodstock, Vermont. Since then, it has taken me to so many surroundings—Persian rugs, Chinese vases, silver and brass varied places—Japan, Arizona, Montana and Louisiana, candlesticks, and carved wooden chairs. The search provided among them. Along the way, I’ve relished the stream of an outlet for my curiosity and stimulated my imagination. objects, people and experiences that have influenced my Over the years, I’ve identified my heritage and the experi­ work. For me, the exploration never ceases. ences I had as a child as among the predominant influences I loved exploring even before I discovered my passion for on my work. I grew up in a large, traditional Jewish family making pots. As a youngster, when I traveled from my home that had emigrated from Russia to New York. The men were in the suburbs of Long Island to my grandparents place in butchers, and the women were housewives who had a deep Brooklyn, I imagined that I was taking a trip to a foreign love for the arts. I can remember the fascination I had as a country. The language, smells, clothing and objects that I child with the many religious and decorative objects that encountered there took me on a journey to a place of an­ adorned my grandparents’ and cousins’ houses. Complex other, much older time. Uninterested in the conversation of and detailed, they were often inspired by natural organic

44 CERAMICS MONTHLY Ewer, 10V 4 inches in height, porcelain, with Larry’s Bronze Glaze, fired to Cone 11 in reduction.

forms—leaves, flowers and fruit. Collectively, an entire room decorative objects, I recently have developed a strong interest of these objects left me dazzled and puzzled. Call it the in those objects used on special occasions. Some of my Eastern European/Oriental “chotchka aesthetic.” fondest childhood memories are of meals when the family I was attracted to the contrasting ideas—an object could was crowded around an elaborately set dining-room table on at once be physical and visceral, as well as refined and elegant. one of the Jewish holidays. The beauty of that setting was The functional nature of many of these items also seemed enhanced by being able to touch and use those normally curious. Some, like a bowl of glass fruit, were purely orna­ inaccessible pieces. mental. But others, such as silver candlesticks, were used on My travels and numerous places of residence have helped special occasions. me examine and understand my background and culture. While my own work has long dealt with ideas concerning Having fallen in love with ceramics in high school, I spent

October 1994 45 When making a relief-decorated ewer, After excess clay is cut away, the Silverman begins by pressing a variety impressions are placed upside down of shapes in plaster molds. in molds used to form the body.

To develop a background, small Once the two halves have dried textured slabs are arranged “face to a stiff leather-hard consistency, down” over the impressions. they are removed from the molds.

The halves are joined, then a Finally, a lid is made from a pulled spout and handle pluscoil textured by rolling it over a slab-built neck are added. expanded metal.

An assortment of plaster press molds was made from seashells, and plastic animals and bugs.

CERAMICS MONTHLY Soda-fired vase, 14 inches in height, porcelain with Flashing Slip and Bobby’s Blue Glaze.

my junior year of college in Japan, where I was an apprentice ceramics, and determined I would combine my desire to to an important folk potter. In addition to gaining a new work as a ceramics artist along with teaching. appreciation for Oriental ceramics, I also learned of the While teaching at the Massachusetts College of Art in discipline and time necessary to develop the skills required Boston and establishing my first independent studio in Provi­ for a successful career. dence, I broadened my knowledge of the technical aspects of After that experience, I studied at the Kansas City Art clay and glaze through considerable experimentation, careful Institute, where my work benefited enormously from the documentation and classroom preparation. But some ele­ encouragement and knowledge of George Timock, Victor ments were missing. I longed to be in an environment where Babu and Ken Ferguson. With their support, I went on to I could give and receive support from peers. I also wanted to Alfred University; there I received a master of fine arts in concentrate more on my artistic development and less on the

October 1994 47 Porcelain vase, 17 inches in height, with Hamada Green Glaze, soda fired to Cone 10.

rigors of urban living. And I didn’t like the limitations im­ true articulation of my ideas. I defined and refined the core of posed by access to an electric kiln alone. So, like many others my daywork, which by this point was enhanced by so many before me, I loaded up the truck and headed west. other aesthetic considerations, and substantially improved Moving to Helena, Montana, I my ability to be a constructive critic of spent a year and a half working at the Ceramics is about using objects in my own work. At the same time, I Archie Bray Foundation. During this addition to looking at them. continued my emphasis on utilizing time, I led a quiet and introspective glazes in new and interesting ways. life. The remote location enabled me to concentrate my And Montana provided such a stark contrast to the complex efforts and mature as an artist. Ceramics is very process lifestyle of the East Coast that I could more objectively oriented, and it was here that I got beyond the process to the understand and appreciate my roots.

48 CERAMICS MONTHLY Vase, 16 inches in height, porcelain, with Cone 10 reduction glazes, salt fired.

Currently, I am living in Baton Rouge, teaching at Louisi­ art unique: function. There are many negative attitudes within ana State University and continuing to investigate the ideas the nations artistic community that are prompted by this about form and surface that I have brought with me to the issue, and students in many quarters do not get support for South. I also derive tremendous satisfaction out of helping making functional pots. I have gone through phases of my others grow and articulate their vision. There are lessons I work that emphasized function more or less, but I have never take care to impart, yet I am careful to listen. Rather than abandoned it when creating platters, ewers, cups, vases and telling my students what to think, I like to help them learn bowls. Instead, I’ve often asked myself how the use of an how to think. object relates to its form and imagery. Ceramics is about I find here that the fundamental question of “What is using objects in addition to looking at them. Function, I art?” is posed constantly by the element that makes ceramic explain to my students, makes the idea of a pot whole.

October 1994 49 Salt-fired porcelain ewer, approximately 11 inches in height, with Satin Matt White and Rob’s Green glazes.

As a teacher, I seek to convey my sense of enthusiasm them into the shows and galleries that will ensure them of the about the ceramics process and the joy one can experience fame they seek. Instead, I encourage students to look within from being an artist. A big part of my job is to help students for inspiration. Art, if it is honest and comes from necessity, understand who they are so they can reflect their roots and has the potential to change lives. When people pause and identities in their work. I also try to pass along lessons I’ve reflect on a beautiful object, that inspiration often carries learned about commitment and discipline and quality, about over into other aspects of life. doing the best that they can despite setbacks. As I ask questions of my students, I stay fresh by asking Finally, I emphasize honesty. Many students seem to make them of myself as well. My own artistic journey is continuing decisions about their work out of the desire to follow a in a new physical environment. I’ve found that the dense and popular trend or because they believe a certain style will get lush vegetation of Cajun Country has a strong influence on

50 CERAMICS MONTHLY Recipes Hamada Green Glaze Rob’s Green Glaze (Cone 10) (Cone 10) Porcelain Body Barium Carbonate...... 24.20 % Barium Carbonate...... 9.26% (Cone 10-12) Whiting...... 10.20 Gerstley Borate...... 4.63 Custer Feldspar...... 50 parts Custer Feldspar...... 59.85 Whiting...... 16.67 Helmar Kaolin...... 100 Ball Clay...... 5.75 Cornwall Stone...... 69.44 Flint...... 15 100.00 % 100.00 % 165 parts Add: Zinc Oxide ...... 9.24 % Add: Copper Carbonate...... 9.26 % Copper Carbonate...... 3.07 % Bentonite...... 1.85 % This body is good in reduction, salt, Red Iron Oxide...... 2.91 % soda and especially wood at Cone 12. Rutile...... 2.30 % Hamada Base Glaze Larry’s Bronze Glaze (Cone 10) (Cone 11, reduction) Bobby’s Blue Glaze Barium Carbonate...... 25.30 % Ball Clay...... 7 % (Cone 10) Whiting...... 10.78 Cedar Heights Redart...... 86 Barium Carbonate...... 35% Custer Feldspar...... 62.71 Flint...... 7 Whiting...... 7 Edgar Plastic Kaolin...... 1.21 100% Custer Feldspar...... 45 100.00 % Add: Cobalt Carbonate...... 14% Grolleg Kaolin...... 6 Add: Zinc Oxide...... 9.68% Copper Carbonate...... 14 % Flint ...... 7 Copper Carbonate...... 2.20 % Manganese Dioxide...... 64 % 100% Red Iron Oxide...... 2.20 % Add: Copper Carbonate...... 4 % Rutile...... 2.20% Flashing Slip The following four glazes are used in (Cone 10) Denny’s Blue Glaze the salt kiln: Nepheline Syenite...... 10 % (Cone 10) Avery Kaolin ...... 80 Satin Matt White Glaze Barium Carbonate...... 25 % XX Sagger Clay...... 10 (Cone 10) Nepheline Syenite...... 75 100% Barium Carbonate...... 7.69 % 100 % Flashing Slip works best in the soda Whiting...... 15.39 Add: Copper Carbonate...... 5 % kiln, as do the next two glazes: Kona F-4 Feldspar ...... 38.46 Nepheline Syenite...... 23.07 Edgar Plastic Kaolin...... 15.39 100.00% Add: Zinc Oxide ...... 7.69 % This “white” glaze will pick up fugitive copper and turn pink in color.

Porcelain platter, 30 inches wide, fired with wood to Cone 12, by Bobby Silverman, Baton Rouge, Louisiana.

Some vases begin as thickly thrown cylinders that have been carved/faceted with a taut wire.

the texture of my work. It is a hauntingly beautiful landscape, objects, fond memories have inspired me to pursue a related alive with alligators, snakes, nutria, egrets and lizards, where body of functional work, particularly precious objects that you might like to go canoeing, provided you don’t fall over­ can be used on holidays and special occasions. And I’m using board. It is the right environment to create some pieces that glazes that make reference to other decorative art forms, evoke both horror and beauty (the “beauty in the beast”), yet giving my pots a sense of history. As a wise person in another that is not the sole direction of my work. place and time once said, “Discovery is finding something While my ceramic art has long focused on decorative new in something old.” A

October 1994 51 “Icon,” 8 inches high, porcelain with gold luster, designed for display in a corner, by Marek Cecula, New York City.

For its first national exhibition solely dedicated to ceramics, Eastern Washington University in Cheney, Washington, called Clay on the Wall for slide entries of wall-mounted works. This call drew more by Juan Granados than 900 entries from across the country; of these, 37 were selected to appear in “Clay on the Wall.” Even though representing diverse styles, the exhibition conveyed a sense of unity through the selected works’ energy and strength. Some demanded immediate attention, while others were more subtle, seeming to allow casual inspection but later compelling viewers to return for another look. Greg Roberts’ “Eclipse,” which was purchased for the university’s permanent collection, was among those that de­ manded repeated viewings. Created from Corningware clay extruded through a catalytic-converter die (in Roberts’ words, “a fancy Play-Doh machine”), the 13-inch-diameter spher­ oid tapers in toward its central hole. When you are directly in front, you see the work in a straightforward manner; but once you move your line of vision in any direction, you immediately notice a deep, illusionistic vanishing point that moves as you move. Sharing similar qualities is a wall sculpture by Marek Cecula. “Icon” is composed of two off-white boxes encasing a gold-lustered teapot. When viewing this piece, a positive/ negative, convex/concave image emerges and reverses. In all, the exhibition offered a diversity of dynamic expres­ sions, including experimental, abstract, figurative, geometric, “Eclipse,” 13 inches in diameter, extruded Corningware clay,humorous, narrative and sociopolitical forms by emerging by Greg Roberts, San Francisco. and established artists. ▲

52 CERAMICS MONTHLY Michael Magoto by Glen R. Brown

Texas artist Michael Magoto builds large-scale architectonic vessels with extruded coils.

“The combination of vessel forms and achievement of art status, of existence content. The vessel holds liquid or food, architectural decoration is subversive,” as aesthetic object, came only with the while architecture enframes the human says Michael Magoto. “It allows me to vessels separation from life. body. Nourishment and shelter, the two take a critical stand against a historical For Magoto, this denial of the every­ most basic human needs, are thus inti­ method that has tended to separate art day, functional aspects of vessels has mately bound to the historical develop­ into distinct disciplines.” In the past, he repressed the tradition of ceramics, has ment of ceramics and architecture, explains, this kind of divisionary prac­ obscured the vessels lineage. “In order respectively. tice—central to modernism—proved to to counter this denial,” he explains, “I The 33-year-old Magoto, who re­ have mixed consequences for ceramics. try to compress various artistic tradi­ cently received an M.FA. from Texas By liberating ceramics from the role of tions in my work.” Tech University, directs his attention to mere utilitarian carrier of aesthetic ele­ He points out, for example, that ce­ the specific ways in which human im­ ments—painting or sculpture—one ramics and architecture can be viewed peratives are played out in art practice. could treat the vessel as an aesthetic as parallel arts in that their traditional “Production is one way in which I ex­ object in its own right. Consequently, forms relate to utilitarian concerns. In plore the analogy between vessels and certain “pure” ceramic forms could be general, both ceramics and architecture architecture,” he says. “My pots are coil identified as “high art.” This benefit are designed for containment; the coun­ built; they rise from the base up, paral­ carried a large price, however; the terpart to their form is a very literal leling the construction of buildings.”

October 1994 53 These heavy, monumental shapes convey a sense of solidity and perma­ nence that one might associate with massive architectural forms, such as the Roman rotunda or basilica. In some cases, Magoto stresses the structural and functional similarities between the ba- sin-shaped vessel and the architectural dome by attaching slip-cast capitals or cornices on the interior just below the vessels rim. This causes the viewer’s per­ ception (when looking down into the basin) to become inverted, as though one were looking upward into a dome. The illusionistic transfer of weight that German masonry stains are used to develop imagery reminiscent of classical occurs with this shift in perspective can architectural elements. be truly disorienting. The connections to architecture are even more evident in the next stage of production when Magoto uses German masonry stain to embellish the surfaces of his vessels with images of classical architectural elements. “I learned to use Keim Granital, a type of masonry stain, when I was painting large-scale murals designed by Richard Haas,” Magoto explains. “Unlike paint, the masonry stain—which is made from potassium silicate—undergoes a chemical reaction and actually becomes part of the surface to which it is applied. This has a lot of advantages. For example, the surface re­ mains permeable to water, so there’s no danger of cracking. It also won’t burn, and it even prevents mold from grow­ ing. It occurred to me when I was paint­ To stress the structural and functional similarities between the basin-shaped vesseling buildings that the stuff might work and the architectural dome, Magoto attaches slip-cast capitals or cornices. well on ceramics, so I tried it and found that I was right.” The masonry stain is particularly ef­ fective for Magoto’s purposes, since its chalky opacity is evocative of fresco painting, the most common method of decorating architectural surfaces from antiquity through the Renaissance. “My colors, too,” says Magoto, “suggest a historical citation.” The pervasive use of ultramarine blue is reminiscent of quattrocento illusionis­ tic frescoes, such as Giotto’s cycle in the Arena Chapel in Padua. “My reds,” he adds, “refer to the rich, baked color of brick, while black and white dramati­ cally embody the contrasts of Renais­ sance tile floors.” And occasionally, gold leaf is incorporated in reference to the tesserae of Byzantine dome mosaics. Coil-built earthenware vessel, 18 inches in diameter, with masonry stains The historicism of Magoto’s work in colors suggesting frescoes and historical architecture citations. reveals his deep concern for the tradi-

54 CERAMICS MONTHLY Wall platter, 21 inches in diameter, earthenware, brushed with masonry stains, rimmed with gold leaf “in reference to the tesserae of Byzantine dome mosaics.”

tions of vessel forms. “In part, ” he says, rhythm relate the exposed coils of the must be viewed as mere two-dimen­ “function dictates form. If you look at vessel to the regular spacing of the sional surface decoration. Consequently, early Chinese bronze vessels from the painted columns; the distance from the their function is undermined; they ap­ Shang and Zhou dynasties, for example, neck to the base of the vessel harmo­ pear flat and uninhabitable. If, on the you can tell which ones were made to nizes with the proportions of the illu- other hand, one concentrates on the carry water up from a well. But beyond sionary archways. imagery with its open archways and that, there is an aesthetic sense that per­ In order to dramatize further the oculi, the vessels form appears frag­ vades the piece that weds function with bond between utilitarian and aesthetic mented and incapable of containment. style. Its a matter of some kind of coa­ elements in his work, he employs a subtle Linear perspective illusionistically dis­ lescence between the utilitarian demands strategy of playing one against the other integrates the vessels surface. and the aesthetic sensibilities of a par­ through the combination of parallel art While Magotos works rely heavily ticular culture.” forms. “The joining of vessel form and for their effect on the ambiguous read­ For Magoto, it is the classical sensi­ architectural image produces a paradox,” ings they accommodate, the tension be­ bility of the Renaissance that most of­ Magoto observes. tween vessel form and imagery is ten links the imagery and the physical In order to retain the integrity of the ultimately resolved through the artists form of his works. Symmetry and vessels form, the architectural elements subtle betrayal of the imagery as inca­

October 1994 55 Earthenware vase, 31 inches in height, coil built, brushed with masonry stains, by Michael Magoto, Albany, Texas.

pable of functioning as architecture. On category separable from objects, the typi­ the profile of the vessel form is crucial. close examination, the images are found cal art history survey text pays little Surface decoration can only comple­ to be structural impossibilities; they are attention to ceramic form. Instead, a ment the form and enhance its pres­ conceived only in a two-dimensional bias toward painting—and representa­ ence. This is above all what I try to space without gravity. Lintels, for ex­ tion in general—leads to a concentra­ convey to my students—that the vessel ample, are connected not above the capi­ tion on surfaces. Sculpture, which is has a presence.” tals of the supporting columns, but usually nonutilitarian, tends to be less This presence, emphasized by the precisely at their weakest point midway affected by this bias, but the images bases that are attached to many of between columns. In many of the arches from a Greek krater or a Mayan vase, Magotos pieces as inverted and com­ there has been a deliberate omission of for example, are frequently treated as pressed versions of the vessel body, is all the keystone. For Magoto, these details though they were rendered flat. This the more remarkable for having derived are built-in assurances that the surface practice tends to ignore the dynamic not from the purely aesthetic properties will remain decorative, that function between decoration and the functional of form but rather from a deep respect will belong to the vessels form alone. aspects of ceramic form. for the vessels lineage in function. His concern for the aesthetic quali­ “There’s no way to guard against this ties of the functional vessel is tied to his tendency completely,” says Magoto, “but The author Glen Brown is an assistant criticism of traditional art history. Due for me it is clearly detrimental to the professor of art at Texas Tech University in to the tendency to focus on “style” as a aesthetic peculiar to ceramics. I feel that Lubbock.

56 CERAMICS MONTHLY Bruce Cochrane

solo exhibition of new work by Canadian potter Bruce Cochrane [see “Expressive, Utilitarian Earthenware” in the November 1990 CM] was featured recently at Prime Gallery in Toronto. On view were a variety of serving pieces, including complex covered jars, fruit bowls, teapots, platters and cruet sets. Made during the past two years, all were wheel thrown from porcelain or red earthenware, altered and assembled. The porcelain vessels were then glazed and fired in reduction, wood fired or residual salt fired. Earthenware forms were surfaced with terra sigillata or ma­ jolica glazes. “Condiment Dish,” approximately 10 inches wide, thrown and assembled porcelain, wood fired, Can$350 (US$253).

“Cruet Set,” approximately 7 inches in height, wood-fired porcelain, Can$400 (US$289).

October 1994 57 “Cruet Set,” approximately 7 inches in height, wheel-thrown, altered and assembled porcelain, wood fired, Can$350 (US$253).

“Tea Set,” wood-fired porcelain, Can$650 (US$470) for set with six cups and saucers, by Bruce Cochrane, Mississauga, Ontario.

58 CERAMICS MONTHLY China Diary by Julie Brooke and Julie Thompson

wW W hen our group of 20 embarked At lunch in the foreign students’ din­ tion almost doubled the expected length on a journey to Beijing, Peoples Re­ ing room, we met two students from of the lectures. public of China, our purpose was to Africa (one from Gabon, one from Next, John Conrad talked about ce­ exchange work, ideas and techniques Burundi), an Italian woman and a Swiss ramics education in California. There with Chinese potters. Had the trip lasted man. Tuition, room and board for a was an envious murmur from the Chi­ many weeks instead of only three, it year was only $2000. But if you’re ready nese students when he mentioned the would still not have been sufficient to to apply, be advised that a working average cost of attending a junior col­ reveal all the wonders of Chinese ce­ knowledge of Mandarin is required. lege in San Diego. (They didn’t realize ramics and the interesting implications This was our first Chinese meal: big that figure didn’t cover the enormous of our tremendous cultural differences. round tables with lazy susans holding cost of living there.) Our visit began at the Central Acad­ 10-15 dishes, beer (safer than water) This marked the end of our first day, emy of Arts and Design in Beijing. We and a lemon-lime soda. The food ranged and with it came two realizations: first, were welcomed and introduced to the from the almost familiar to the extraor­ instead of doing workshop-type dem­ faculty, and offered endless cups of tea. dinarily unfamiliar—krill soup? On the onstrations, we would have to do slide The reception room, though in a brand- way back to the lecture hall, we saw presentations in the lecture hall, and new building, had the feel of classy students with thermoses in wire holders demonstrations in the separate class­ 1950s design with its modular furni­ and their lunches in tin bowls. room building another day; second, be­ ture, subdued colors, square forms. Next Jet lag caught up with us that after­ cause the Chinese lectures (with came a tour of the facility: the academy noon as we listened to Yang Yong Shan translation) were taking almost twice as has a good collection of historical ce­ lecture on Chinese contemporary folk long as scheduled, our slide presenta­ ramic, textile and folk art nicely dis­ pottery. His subject and slides were fas­ tions would have to be much briefer played in glass cases. At the time, we cinating but it took a good deal of con­ than planned to fit in, and some of our didn’t appreciate how unusual it was to trol not to snore. Sleepiness was only demonstrations would need to run si­ see things so well displayed: many of part of the problem though—transla­ multaneously. Also, we had to rewrite the museums we saw later held beauti­ ful treasures in dusty cases with no light­ Yixing-style “Snail” teapot by Zhang ing. This was true even at the newest Shouzhi, a professor at the Central museums; for example, the Provincial Academy of Arts and Design in Beijing. Museum in Xian, and the Guan Kiln Museum outside Hangzhou. Everything we were shown in an older ceramics classroom building was familiar, yet very Chinese and very dif­ ferent. In one room, we were surprised to see a periodic table in Chinese above a table filled with familiar-looking crys­ talline glaze tests; and in another, a gi­ gantic folk pot served as a slop bucket. We also saw a room full of student pots that were to be sent to an exhibition in Hong Kong; they could have been stu­ dent pots from anywhere. Only the simi­ larity was surprising. During lectures, the students were present in some number and extremely curious, but we never saw any of them working, which gave us a feeling of un­ reality—there was certainly none of the usual ceramics studio bustle we are ac­ customed to.

October 1994 59 our lectures in the simplest terms pos­ showed us how a Han-dynasty sculp­ sible to accommodate the capabilities ture of a monkey was handbuilt, ex­ of the translator. As a result, we stayed A side gate to the Forbidden City, with plaining that the technique had been in up until 1 A.M. Friday morning, revis­ ceramic figures along the peak of the use from the Han to Tang dynasty, but ing, rescheduling and culling slides. glazed tile roof. had been “lost” a long time. That seemed At 9 A.M., Robin Hopper started strange to us, as it appeared that anyone things off with his slide lecture. The develop designs for Yixing teapots. At playing with a coil of clay could dupli­ feeling that the translator was not con­ that time, he had no interest in them, cate the monkey. This demonstration veying his ideas faithfully obviously per­ but grew to love them. Now Zhang is told us more than we realized at the turbed him. The Chinese professors in one of the foremost designers of Yixing time about how relatively little “playing the audience occasionally helped out teapots and has received several presti­ with clay” goes on in China. As a potter when they would recognize a slide or a gious international awards. (Later in Yi­ in China, you are an artisan rather than technique that was not being accurately xing, we saw bad street copies of his an artist, simply a technician assigned translated. Hoppers presentation was “Snail” teapot with all its marvelous to work with clay. followed by an overview of contempo­ curves flattened and deadened.) That weekend, on our way to the rary American ceramics, starting with Zhang explained that the need for Forbidden City, we stopped in Tianan­ Julie Thompson discussing “Inlaid Col­ teapots first arose during the Ming dy­ men Square to see the Museum of Chi­ ored Porcelain.” Elizabeth Woolrych fol­ nasty when the method of tea making nese History, a large, dark building with lowed, lecturing on “Low- and changed. Prior to that, a kind of soup displays that impressed us at the time, High-fired Colored Slip Decoration.” had been made using powdered tea, but were later eclipsed by some seen at Jeannette Brent then spoke on “Low- which was stewed with water and ladled newer museums. When you go to the and High-fire Saggar with Porcelain.” into drinking bowls. In Ming times, the Forbidden City, as everyone does, make Next, we showed slides of works by San custom changed to steeping leaves of sure you ask to see the three Halls of Diego Potters’ Guild members, includ­ tea (as we still do), and suddenly there Ceramics, which are not on the stan­ ing one or two of the guild itself, plus was a need for a teapot in which to dard tour. The collection is far out of works by other San Diego potters. We steep and from which to pour the tea. the way, down cobbled lanes, and dis­ finished up five minutes early with a Since then, these whimsical teapots have short slide show on the different effects not only been revered and collected, of oil-drip reduction on crystalline glazes but also used every day. by Julie Brooke. After our morning of The second lecturer, Jin Bao Sheng, slide lectures, there seemed to be a tan­ is a direct descendant of the last em­ gible feeling of excitement about/an- peror; his specialty, quite reasonably, was ticipation for the demonstrations that imperial ware. He started off by saying were to follow on Monday. that ceramics was a sign of human civi­ Friday afternoon, we listened to two lization—that it represented the crys­ excellent Chinese lectures: Zhang tallization of human wisdom and the Shouzhi spoke about “Zisha (Purple summary of human philosophy. We Sand Clay): The Art of YixingTeapots”; didn’t have a chance to talk to ordinary then Jin Bao Sheng spoke on “Chinese people to judge whether this is a widely Traditional Ceramic Techniques.” Pro­ held view, but to us as potters, it cer­ fessor Zhang showed us a wider variety tainly rang true. of form than we had ever seen in Yixing With slides, Jin illustrated the his­ teapots. His own pots were sleek with tory of Chinese production techniques, beautiful flowing lines. He explained, most of which were familiar to us, almost apologetically, his personal pref­ though the pots were not—several were erence for overhead handles, as on his from the Imperial Palace Mansion. He exquisite “Snail” teapot. During the Cul­ tural Revolution, he had been sent to Low-fired yellow-glazed tilework the countryside to feed ducks. When he around this doorway signifies returned to ceramics, he was ordered to an imperial building.

60 CERAMICS MONTHLY (never look at the tires) and into the cabin. The friendly stewardess helped us stow our luggage—by stacking it neatly in front of the emergency exit. Despite extreme apprehension, we ar­ rived safely in Xian at dusk and were “Nine Dragon Wall,” high-relief met by our local guide. He was a chatty glazed tile mural in the ex-high-school teacher, but very hard to Forbidden City. understand. He crooned Chinese pop tunes to us and was keen to persuade us played in dusty display cases, but it is in to touch the clay (just as we do here) to go to the disco party that night. well worth the search. and examine the tools. I presented the Xian is a dusty, smoggy city. We could When we arrived at the academy on tools and stains to the professors, then feel the air affecting our lungs—a tight­ Monday morning, we were shown into posed for many pictures, quite pinned ness that develops into a “China cough,” a damp cavelike clay storage room with in by students.” which seems to afflict any tourist who mountainous piles of unwedged clay— Brent showed how she prepares pots stays in that country very long. The some dark grayish blue and some brown for saggar firing by wrapping them in extent of the air pollution surprised us. in color. Our translator had not yet seaweed (carried all the way from Cali­ We were expecting more rural, fresh-air arrived and there was considerable con­ fornia) and sprinkling them with cop­ surroundings. But even small cities have fusion. Not knowing what was expected per, while Woolrych braved the unfa­ a million people, and they all burn coal. of us, we began wedging. This galva­ miliar clay and threw a few pots to It was also harvest time, and every nized the students into action; they took demonstrate decorating with colored slip available surface was used to dry crops. over the wedging and showed us up­ on wet clay. She found the academy Loose romaine-lettuce-like greens were stairs to the demonstration rooms. The clay unusually short and unplastic in draped over ropes. The yards of houses plan was for Robin Hopper to demon­ comparison to what she uses here. were covered with drying grain. The strate slip combing and mocha diffu­ In the afternoon, Ted Saito demon­ highway was too tempting a flat area to sion first, followed by simultaneous strated and showed a video on decorat­ ignore just because it was a public thor­ demos by Jeannette Brent, Elizabeth ing with low-fire colors. Following that, oughfare. In some places half the road Woolrych and Julie Thompson. we heard an interesting lecture on the was taken up with drying produce— Thompsons experience typifies the creation of ceramic murals by an older leaving traffic only one lane to drive on. enthusiasm of students and staff alike: gentleman, the first dean of the acad­ At the Qin mausoleum, which had “Before my demo started, while I was emy, Chu Da Nian. He was accorded a been buried for 2000 years before it was setting up and Robin was demonstrat­ tremendous amount of respect by stu­ accidentally discovered in 1974, we ing in the next room, I found myself dents and staff alike. shuddered at the thought of artists and facing a smiling row of Chinese profes­ That evening, we hosted a farewell artisans being buried alive to keep it a sors securing themselves front-row seats. banquet at the GuangHua Hotel. Chu secret. Inside, the display took our breath During my demo, the students crowded Da Nian, 12 ceramics professors and 3 away, as Julie Thompson vividly recalled: in very tightly—so tightly that I had translators joined us. A great deal of “Years ago, I saw an exhibit of Chinese trouble moving. I had to shove back to food was eaten, vast quantities of wine art that included a few Xian warriors, so get enough room to demonstrate. I was consumed and many loquacious toasts I thought I knew what to expect. Wrong! showered with questions: Why did I proposed. We learned the meaning of Seeing a few soldiers did nothing to use this particular clay? Where did it gan bei (bottoms up) and enjoyed see­ prepare me for seeing rank after rank of come from? What were the stains and ing the professors “let their hair down” soldiers and horses—2000 of them in how were they made? They were par­ for the first time. an airplane-hangar-sized hall. That was ticularly fascinated by my making loaves On then to Xian, by our least favor­ only a third of the estimated 6000 in of patterned clay, especially when I used ite mode of transport in China—the Vault 1 alone. Then, after you’ve started a gun extruder to make checkerboards. elderly, dilapidated Russian airplane. We to adjust a bit, you realize that this huge There were so many questions; a weeks trooped a considerable distance across collection of sculpture was so old that it worth of workshops would have been the tarmac (like something out of was buried and forgotten. So ancient, more appropriate. Everyone crowded Casablanca), up the wobbly stairway Please turn to page 84

October 1994 61 October 10 entry deadline Call for Entries Mesa, Arizona “17th Annual Vahki Exhibi­ Application Deadline for Exhibitions, tion” (January 3-February 4, 1995). Juried from up to 4 slides. Entry fee: $20. Awards: $ 1500. For Fairs, Festivals and Sales prospectus, contact 17th Annual Vahki, Galeria Mesa, Post Office Box 1466, Mesa 85211-1466; or telephone (602) 644-2242. International Exhibitions October 30 entry deadline Brookfield, Connecticut* 18th Annual Holiday October 14 entry deadline Craft Exhibition and Sale” (November 18-De- Warrensburg, Missouri“Tenth Annual Greater cember 24). Juried from 5-10 slides, prints or Midwest International” (January 23-February 26, product sheets. No entry fee. Send SASE to Holi­ 1995). Juried from up to 2 slides per entry. Fee: day Craft Exhibition and Sale, Brookfield Craft $20 for up to 3 entries; $25 for 4-5. Awards: four Center, P. O. Box 122, Rte. 25, Brookfield06804; totaling $1600 and additional exhibition con­ telephone (203) 775-4526, fax (203) 740-7815. tracts for the Director’s GMI Invitational Exhibi­ Norman, Oklahoma “Christmas Gift Gallery” tion. Send business-sized SASE by October 7 to (November 26-December 30). Juried from 4 Billi R. S. Rothove, Gallery Director, Central slides or photos, resume and artist’s statement. Missouri State University, Art Center Gallery, Send SASE to Firehouse Art Center Christmas Warrensburg 64093; or telephone (816) 543- Committee, 444 South Flood, Norman 73069; or 4498. telephone (405) 329-4523. November 1 entry deadline November 12 entry deadline Bellingham, Washington “International Creche Milwaukee, Wisconsin “Teapots” (February 19- Competition” (November 24-December 31). April 30, 1995). Juried from slides. For prospec­ Juried from works. Over $5000 in awards. For tus, send business-sized SASE to Joan Houlehen, A. application, send legal-size SASE to International Houberbocken, Post Office Box 196, Cudahy, Creche Festival Association, 3000-A Sylvan Street, Wisconsin 53110; or telephone (414) 276-6002. Bellingham 98226; or telephone (206) 734-9757, November 14 entry deadline or fax (206) 734-9830. Mesa, Arizona “Reality Check” (February 14- World Wide Web “Virtual Ceramics Exhibi­ March 11, 1995), open to works exploring con­ tion” (permanent); accessed via computer mo­ temporary realism. Juried from up to 4 slides. dem. Juried from up to 2 slides per work; up to 2 Entry fee: $20. For prospectus, contact Reality entries. For entry form, contact Joe Molinaro, Art Check, Galeria Mesa, Post Office Box 1466, Mesa Dept., Eastern Kentucky University, Richmond, 85211-1466; or telephone (602) 644-2242. Kentucky 40475; or telephone (606) 622-1634. November 15 entry deadline November 26 entry deadline New Haven, Connecticut “Women in the Vi­ Faenza, Italy “49th International Ceramic Art sual Arts—1995 Exhibition” (March 3-25,1995), Competition” (September-October 1995). Ju­ open to women artists 18 and over. Juried from ried from 3 slides. Awards: Premio Faenza, pur­ slides. Fee: $15 for 3 slides. For prospectus, send chase award of 25,000,000 lire (approximately SASE to Women in the Visual Arts 1995, Erector US$ 16,000); plus purchase prizes worth 6,000,000 Square Gallery, 315 Peck Street, New Haven lire (approximately US$3900); and a purchase 06513; or telephone (203) 865-5055. award of2,500,000 lire (approximately US$1600) November 21 entry deadline to an artist age 35 or under. Contact the Compe­ New York, New York “Artists on Their Own” tition Organization Office, Via Risorgimento, 3, (January 18-February 11, 1995), open to emerg­ 48018 Faenza; or telephone (54) 662-1111, or fax ing or unrecognized ceramists. Juror: Michael (54) 662-1554. Lucero. Juried from up to 8 slides and resume. December 1 entry deadline Entry fee: $15. Send SASE to Greenwich House Auckland, New Zealand “Fletcher Challenge Pottery, 16 Jones Street, New York 10014, Atten­ Ceramics Award” (Summer 1995). Juried from tion: AOTO; or telephone (212) 242-4106. up to 3 slides per work. Awards: Premier, November 25 entry deadline NZ$10,000 (approximately US$6000); plus 5 Tempe, Arizona “Tempe Tea Party” (January awards of merit, NZ$2000 (approximately 27-March 26, 1995). Juried from slides. Entry US$1200) each. Contact Fletcher Challenge fee: $20 for up to 5 works; maximum of 15 slides. Ceramics Award, Post Office Box 33-1425, Awards: $ 1000. For prospectus, send self-addressed Takapuna, Auckland; or telephone/fax (649) 445- mailing label and stamp to Tempe Arts Center, 8831 or (649) 480-6369. Post Office Box 549, Tempe 85280-0549; or telephone (602) 968-0888. National Exhibitions December 9 entry deadline WestChester, Pennsylvania “Frozen Sculpture” October 7 entry deadline (January 6-30,1995). Juried from slides. Fee: $12 Downey, California “California” (November for up to 3 entries. For prospectus, send #10 SASE 10—December 23), open to work representative of to Frozen Sculpture, Janet L. Smith, The Potters current trends and realities. Juried from slides. Gallery, 415 Roberts Lane, West Chester 19382- Jurors: Adolfo Nodal, general manager, Cultural 5621; or telephone (610) 429-4796. Affairs, City of Los Angeles; and Scott Ward, December 15 entry deadline executive director, Downey Museum of Art. Fee: Memphis, Tennessee* Does It All” (March $10. For prospectus, send SASE to Downey Mu­ 18-April 29, 1995). Juried from slides. Juror: seum of Art, 10419 Rives Avenue, Downey 90241; Richard Shaw, artist. Fee: $20 for up to 2 entries. or telephone (310) 861-0419. For application form, send SASE to Nancy White, Art Department, Jones Hall 201, University of Send announcements of juried exhibitions, fairs, fes­ Memphis, Memphis 38152. tivals and sales at least four months before the event’s December 16 entry deadline entry deadline (add one month for listings in July and Mesa, Arizona “Con-Text” (March 21-April two months for those in August) to Call for Entries, 15, 1995), open to works employing the written Ceramics Monthly, P. O. Box 12788, Columbus, word. Juried from up to 4 slides. Entry fee: $20. Ohio 43212-0788; or telephone (614) 488-8236. For prospectus, contact Con-Text, Galeria Mesa, Fax (614) 488-4561. Regional exhibitions must be Post Office Box 1466, Mesa 85211-1466; or open to more than one state. telephone (602) 644-2242. Continued

62 CERAMICS MONTHLY October 1994 63 Call for Entries

January 3, 1995, entry deadline Ames, Iowa “Octagon’s Clay, Fiber, Paper, Glass, Metal and Wood Exhibition” (March 5- April 23, 1995). Juried from up to 2 slides per work; up to 3 entries. Juror: Jim L. Zimmer, director, Sioux City Art Center, Iowa. Entry fee: $35. For entry form, send a #10 SASE to Clay, Fiber...Exhibit, Octagon Center for the Arts, 427 Douglas Avenue, Ames 50010-6281; or telephone Didi Reyes Watson (515) 232-5331. January 10, 1995, entry deadline Nashville, Tennessee Solo and group exhibi­ tions (1995-96). J uried from 10-20 slides, artist’s statement, resume. Send SASE to JoEl Levy Logi- udice, Sarratt Gallery Director, Sarratt Student Center, Vanderbilt University, Nashville 37240. January 13, 1995, entry deadline Saint Charles, Illinois “Interior Inspirations ’95: An Eclectic Collection for the Home” (May 1995). Juried from slides. For prospectus, send LSASE to Maxine Prange, The Fine Line Creative Arts Center, 6N 158 Crane Road, Saint Charles 60175; or telephone (708) 584-9442. West Chester, Pennsylvania “Texture” (Febru­ ary 3-27, 1995). Juried from slides. Fee: $12 for up to 3 entries. For prospectus, send #10 SASE to Texture, Janet L. Smith, The Potters Gallery, 415 Roberts Lane, West Chester, Pennsylvania 19382- 5621; or telephone (610) 429-4796. February 1, 1995, entry deadline Lancaster, Pennsylvania “Third Annual Strictly Functional Pottery National” (April 29-May 25, 1995). Juried from slides. Juror: Chris Staley. Cash, purchase and business awards. Fee: 1 entry, $10; 2, $15; 3, $20. For prospectus, send #10 business-sized SASE to Third Annual Strictly Func­ tional Pottery National, c/o 1005 Oak Lane, New Cumberland, Pennsylvania 17070-1329. February 10, 1995, entry deadline Mesa, Arizona “Reassembly Required” (May 30-July 1, 1995), exhibition highlighting collage and assemblage. Juried from up to 4 slides. Entry fee: $20. For prospectus or further information, contact Reassembly Required, Galeria Mesa, Post Office Box 1466, Mesa 85211-1466; or telephone (602) 644-2242. WestChester, Pennsylvania “Weather, Lamb or Lion” (March3-April3,1995). Juried from slides. Fee: $12 for up to 3 entries. For prospectus, send #10 SASE to Frozen Sculpture, Janet L. Smith, The Potters Gallery, 415 Roberts Lane, West Chester, Pennsylvania 19382-5621; or telephone (610) 429-4796.

Regional Exhibitions November 25 entry deadline Sioux City, Iowa “53rd Annual Juried Exhibi­ tion” (April 23-June 11, 1995), open to artists residing in Illinois, Indiana, Iowa, Kansas, Michi­ gan, Minnesota, Missouri, Nebraska, North Da­ kota, South Dakota or Wyoming. Juried from slides. Fee: $20 for up to 3 entries. For prospectus, contact Sioux City Art Center, 513 Nebraska Street, Sioux City 51101-1305; or telephone (712) 279-6272. December 12 entry deadline Saint Paul, Minnesota “Minnesota Hot Dish” (March 10-April 28, 1995), exhibition of casse­ roles and covered baking dishes; open to potters residing in Iowa, Minnesota, North Dakota, South Dakota, Ontario or Manitoba. Juried from up to 3 slides per work. Fee: $15 for up to 4 works. Juror: Judy Onofrio. For prospectus, contact

64 CERAMICS MONTHLY October 1994 65 Call for Entries

Northern Clay Center, 2375 University Avenue, West, Saint Paul 55114; or telephone (612) 339- 6151.

Fairs, Festivals and Sales October 14 entry deadline Washington, D.C. “1995 Smithsonian Craft Show” (April). Juried from 5 slides. Jurors: Will­ iam Daley, ceramist, former professor of art at the University of the Arts, Philadelphia College of Art and Design; Bruce Pepich, director, Charles A. Wustum Museum of Fine Arts, Racine, Wiscon­ sin; and Joanne Rapp, founder/owner, Joanne Rapp Gallery/The Hand and the Spirit, Scottsdale, Arizona. Entry fee: $25. Booth fee: $825-$975. For entry form, send a self-addressed mailing label to Smithsonian Women’s Committee, A&J 1465, Smithsonian Institution, Washington, D.C. 20560; or telephone (202) 357-4000. Gaithersburg, Maryland “Sugarloaf s Spring Gaithersburg Crafts Festival” (April 7-9, 1995). Juried from 5 slides, including 1 of display. Booth fee: $350-$450. No commission. For applica­ tion, send 3 loose stamps (87<£) for postage to Sugarloaf Mountain Works, 200 Orchard Ridge Drive, Suite 215, Gaithersburg 20878; or tele­ phone (301) 990-1400. Timonium, Maryland “Sugarloaf s Spring Timonium Crafts Festival” (April 28-30, 1995). Juried from 5 slides, including 1 of display. Booth fee: $425. No commission. For application, send 3 loose stamps (87<£) for postage to Sugarloaf Mountain Works, 200 Orchard Ridge Drive, Suite 215, Gaithersburg, Maryland 20878; or telephone (301) 990-1400. Novi, Michigan “Sugarloaf s Spring Novi Crafts Festival” (April 21-23,1995). Juried from 5 slides, including 1 of display. Booth fee: $425. No com­ mission. For application, send 3 loose stamps (87<£) for postage to Sugarloaf Mountain Works, 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, Maryland 20878; or telephone (301) 990-1400. Somerset, New Jersey “Sugarloaf s Spring Somerset Crafts Festival” (May 19-21, 1995). Juried from 5 slides, including 1 of display. Booth fee: $425. No commission. For application, send 3 loose stamps (87<£) for postage to Sugarloaf Mountain Works, 200 Orchard Ridge Drive, Suite 215, Gaithersburg, Maryland 20878; or telephone (301) 990-1400. Fort Washington, Pennsylvania “Sugarloafs Spring Fort Washington Crafts Festival” (March 17-19, 1995). Juried from 5 slides, including 1 of display. Booth fee: $425. No commission. For application, send 3 loose stamps (87

66 CERAMICS MONTHLY October 1994 67 and Associates, 1142 Auahi Street, Suite 2820, Drive, Suite 215, Gaithersburg, Maryland 20878; Call for Entries Honolulu, Hawaii 96814; or telephone (808) or telephone (301) 990-1400. 422-7362 or fax (808) 423-1688. Novi, Michigan “Sugarloaf s Fall Novi Crafts December 1 entry deadline Festival” (October 27-29, 1995). Juried from 5 work plus 1 slide or photo of booth. Booth fee: Blacksburg, Virginia “24th Annual Brush slides, including 1 of display. Booth fee: $425. No $75. Awards: first place, $150; second, $100; Mountain Arts and Crafts Fair” (April 7-9,1995). commission. For application, send 3 loose stamps third, $75. Contact Winedale Historical Center, Juried from slides or photos. Booth fees vary (87<£) for postage to Sugarloaf Mountain Works, Post Office Box 11, Round Top 78954; or tele­ (standard size, $125). For application, send SASE 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, phone (409) 278-3530. to Brush Mountain Arts and Crafts Fair, The Maryland 20878; or telephone (301) 990-1400. October 30 entry deadline Voluntary Action Center, Post Office Box 565, Somerset, New Jersey“Sugarloaf s Fall Somerset Norman, Oklahoma “A Christmas Fair” (De­ Blacksburg 24060-0565; for further information, Crafts Festival” (September 29-October 1,1995). cember 2-4). Juried from 4 slides or photos, telephone Julie Earthman (703) 552-4909. Juried from 5 slides, including 1 of display. Booth resume and artist’s statement. Booth fee: $50 for December 22 entry deadline fee: $425. For application, send 3 loose stamps an 8x10-foot space. Send SASE to Firehouse Art Gainesville, Florida “SFCC Spring Arts Festi­ (87<£) for postage to Sugarloaf Mountain Works, Center Christmas Committee, 444 South Flood, val” (April 1-2,1995). Juried from 3 slides. Entry 200 Orchard Ridge Dr., Ste. 215, Gaithersburg, Norman 73069; or telephone (405) 329-4523. fee: $12. Booth fee: $100. Contact Spring Arts Maryland 20878; or telephone (301) 990-1400. November 1 entry deadline Festival, 3000 Northwest 83rd Street, Gainesville Fort Washington, Pennsylvania “Sugarloaf s Fall University Park, Pennsylvania “Holiday Orna­ 32606; or telephone (904) 395-5355. Fort Washington Crafts Festival” (October 20- ment Juried Sale and Exhibition” (November 18- January 13, 1995, entry deadline 22, 1995). Juried from 5 slides, including 1 of 20), open to works up to ½ pound. Juried from Gaithersburg, Maryland “Sugarloafs Fall display. Booth fee: $425. For application, send 3 actual works. Entry fee: $10 for up to 5 orna­ Gaithersburg Crafts Festival” (November 16-19, loose stamps (87

68 CERAMICS MONTHLY October 1994 69 Suggestions From Readers

Adjustable Throwing Stool How many times have you sat at a wheel for hours on end, thinking your back is going to break clean in half? I recently chanced on what may be the best throwing seat I have ever used—all because of my infirm mother-in- law. She needed a shower stool, and when I saw the illustration on the box, I bought two. Made by Frohock-Stewart of Northboro, Massachusetts, it has a nice wide seat; adjust­ able, noncorrosive legs; and, best of all, a nice back rest. I got ours from a warehouse store for about $50 each. Not a bad price for a non­ aching back.—L. D. Jeffries, Boise, Idaho

Slip-Soaked Fabric Appliques Cotton doilies, lace, burlap or other ab­ sorbent fabrics can be soaked in slip, then added to pots or sculpture for interesting surface effects. (The fabric burns out, but the fired slip retains the pattern.) The secret to success lies in the choice of fabric. I prefer to use natural fibers soaked in a very liquid slip laced with vinegar. The fabric is squeezed slightly to make sure it is satu­ rated and to remove excess clay, then spread onto greenware with a stiff brush. Additional slip is brushed on to fill any voids. After drying slowly, the pot or sculpture is bisqued to Cone 04. Then it can be treated like any other bisqueware—high or low fired, rakued, etc.—Clyde Briggs, Sebring, Fla.

Covering Large-Scale Work If you work on a grand scale, the Christ­ mas tree bags you can buy during the holidays are a great alternative to piecing together pieces of plastic to keep the clay moist. If you build on one from the start, you can just pull the bag up from the bottom and tie it closed at the end of the day. These bags also are great as dust covers for work in storage.—Erin Hayes, Lubbock, Texas

Avoiding Mudwresding Today, wrists are receiving a lot of atten­ tion, due primarily to the danger of carpal

Dollars for Your Ideas Ceramics Monthly pays $10for each sugges­ tion published; submissions are welcome indi­ vidually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Mail ideas to Suggestions, Ceramics Monthly, Post Office Box 12788, Columbus, Ohio 43212-0788; or fax to (614) 488-4561. Sorry, but we can’t ac­ knowledge or return unused items.

70 CERAMICS MONTHLY tunnel syndrome. To avoid mudwrestling This method also works for lid replace­ and slide your wheel in. This will not only strain, I sldp wedging (I buy prepared clay, ment. For example, if I wanted to replace a give you a lot more room for wedged clay and and consider its main function to be elimina­broken lid for a friend’s favorite teapot, I thrown work, it will also keep the floor tion of this tedious task) and center loosely. would measure with the fired clay ruler, then cleaner around the wheel.—Bill Blakey, I throw bonsai containers, using between check that figure against the regular ruler to Elizabeth, South Australia 3 and 6 pounds of clay. They are generally calculate an appropriate diameter.—Gale thicker than most functional pots, and the Greenwood, Ulster Park, N Y. Mixing Copper Matt Finishes base is left thick to trim rather than add feet. Does the copper oxide in your copper But I’ve never had a container crack in dryingLots of Table Space matt finish want to float on the surface rather or firing, except for the one I blow-dried. To make a wheel table that gives you lots than mix with the other ingredients? Try But back to wrist conservation. I begin byof work space at the same height as your adding a few drops of liquid dishwashing cutting the clay into a rectangular solid, with wheel, cut down the legs of an old kitchen detergent to reduce surface tension. Just be roughly the same base size as the cylinder I table so that the top fits just under the rim of careful—use too much detergent and you’ll want and a quarter of the height. I then use the wheel tray. Then remove a U-shaped have to contend with bubbles .—Robert Sun­ gravity to round the edges. On the patio brickcutout from the center of one side of the tableday, Rockford, III. outside my studio, I drop the clay on its four edges, then the top and bottom. I place the rounded clay within the radial lines on the wheel head and thump down with my fist as it rotates slowly. Then I dampen the exterior, speed the rotation, affix my elbows at 90° angles to my inner thighs, and push with my forearms. I never center perfectly; invariably, there are bumps (which can be scraped off). The basic shape is then thrown quickly—not only to avoid stress, but also to keep the throwing spirited.—Lorraine Hill, Nanaimo, British Columbia

Eyeglass Protection As a beginning potter, I’ve found that throwing can have a damaging effect on my eyeglasses. To prevent dust and splatters from scratching the lenses, I cover them with clear plastic wrap, such as Saran Wrap. Just unroll the wrap on a flat surface and cut out a piece that is large enough to cover the front of your glasses and leaves ½ to ½ inch extra around the rims (about 7x3 inches). Gently lay your glasses on the wrap, smooth­ ing out any wrinkles, and wrap the edges around the rims. Where the film stretches across the glasses’ bridge, cut a slit. After throwing, simply remove the wrap. No splatters or scratches. It is well worth the few extra minutes and funny looks.—Holly Marshall, Austin, Texas

Calculating Shrinkage An easy method of determining how large to make a pot so that it will end up the desired size is to measure with your own fired-clay ruler. To make one, just press a plastic ruler with raised markings into a slab of your clay. The clay ruler is then dried and fired (first in a bisque, then in a glaze load). Now, whenever you want to make a pot a particular size, say a 6-inch-high vase, just measure 6 inches on the plastic ruler with the clay ruler. The corresponding marks may be 6 actual inches to 6¾ fired inches. Then you know to make the vase 6¾ inches high.

October 1994 71 ber 5-26 Yun-Dong Nam. Sugi Kasuaki; at Utah, Logan October 4—December 11 “David Calendar Habatat/Shaw Gallery, 32255 Northwestern Shaner; A Potter’s Work: 1963-1993”; at the Events to Attend—Conferences, Highway, #25. Nora Eccles Harrison Museum of Art, Utah State Michigan, Ferndale through October 22 James University. Exhibitions, Workshops, Fairs Shrosbree, sculpture. October 29-December 3 Washington, Kirkland October 13—November 6 Susanne Stephenson; at Revolution: A Gallery Jim Kraft; at Foster/White Gallery, 126 Central Conferences Project, 23257 Woodward Avenue. Way. Missouri, Saint Joseph October 10-28 Ron Hicks; Wisconsin, Milwaukee through October29 Marnie Hawaii, Honolulu October 13-16 “Second An­ at Gallery 206, Missouri Western State College, Elbaum, functional pottery; at Marnie Pottery, nual Pacific Rim Sculpture Conference” will in­ 4525 Downs Drive. 2711-13 North Bremen. clude lectures, slide presentations, raku demon­ Montana, Billings October 25-November 17 S u- Wisconsin, Sheboygan through October 30 John strations, tours and exhibition. Contact John san Eisen, handbuilt vessels, sculpture and assem­ Snyder, “Truth and Mercy”; at John Michael Natsoulas, John Natsoulas Gallery, 140 F Street, blages; at Northcutt Steele Gallery, University of Kohler Arts Center, 608 New York Avenue. Davis, California 95616; or telephone (916) 756- Montana. 3938, or fax (916) 756-3961. New Jersey, Newark through October 23 Adrian Group Ceramics Exhibitions Illinois, Chicago October 7—9 “Asian Ceramics: Saxe; at the Newark Museum, 49 Washington St. Potters, Users and Collectors in Society and His­ New Mexico, Santa Fe November 4—29 Robert Arizona, Phoenix November 12-December2“Flred tory” will examine ceramics as a means of inter­ Turner; at Okun Gallery, 301 North Guadalupe. Up”; at Shemer Art Center, 5005 E. Camelback. preting ancient societies, with speakers from China, New York, New York through October 8 Elspeth Arizona, Tempe through October31 Exhibition of Japan, Korea, Thailand, England, Indonesia and Owen. Wouter Dam; at Nancy Margolis Gallery, functional ware and sculpture by Donna Anderegg, the United States. For further information, con­ 251 West 21st Street. Wesley Anderegg and Steve Schrepferman; at tact the Field Museum, Roosevelt Road at Lake through November 12 Ryoji Koie, “The Energy of Obsidian Gallery, Saint Philips Plaza, Suite #90, Shore Drive, Chicago 60605; telephone (312) Fire”; at the Gallery at Takashimaya, 693 Fifth 4340 North Campbell Avenue. 922-9410. Avenue. through November 13 “American Potters: Mary Vermont, Bennington February 1—5, 1995 “2nd October 4-22 Kate Katomski, clay and mixed- and Edwin Scheier”; at Arizona State University North Country Biennial Craft Studio Confer­ media sculpture; at A.I.R. Gallery II, 40 Wooster Art Museum, Nelson Fine Arts Center, corner of ence” will include “The Portable Studio: Journal Street. Mill Avenue and Tenth Street. Making and Keeping,” a workshop with Paul us October 12—November 12 “After the Fire: The California, Los Angeles October 9—January 8, Berensohn; and “Functional Pots—Altered Later, Greater George Ohr”; at Kurland«Zabar 7.9.95“Paintmg the Maya Universe: Royal Ceram­ Forms,” a workshop with Ellen Shankin. Spon­ Gallery, 19 East 71 Street at Madison Avenue. ics of the Classic Period”; at the Los Angeles sored by the League of New Hampshire Crafts­ November 28-December 10 Yasuhisa Kohyama, County Museum of Art, 5905 Wilshire Blvd. men and the Vermont Crafts Council. Location: “A Slice of Earth”; at the Toraya Shop and Tea California, San Francisco through October 15 Bennington College. Contact North Country Stu­ Room Gallery, 17 East 71st Street. “Shiwan Ceramics: Beauty, Color and Passion”; dio Conference, 205 North Main Street, Con­ New York, Piermont October 29—November 13 at the Chinese Cultural Center, 750 Kearny Street, cord, New Hampshire 03301; telephone (603) Rosemary Aiello, “New Creations From Fire”; at Holiday Inn, Third Floor. 224-3375 or 224-8558. Piermont Fine Arts Gallery, 218 Ash Street. through October30 “Tomb Treasures from China: Washington, Seattle October 7—9 “Pacific Coast New York, Syracuse through November 13 Matt The Buried Art of Ancient Xi’an”; at the Asian Art Arts and Crafts Exposition” will include lectures Nolen, “Family”; at the Everson Museum of Art, Museum, Golden Gate Park. by David Rago on art pottery and by Jeffrey Hill 401 Harrison Street. Hawaii, Kahului, Maui October21—November27 on Northwest collections and collectors, as well as New York, White Plains through October 5 Har­ “Contemporary East European Ceramics”; at the a sale of arts and crafts furnishings, including tile riet Ross; at Westchester Gallery, Westchester Art Maui Arts and Cultural Center Exhibition Gal­ and art pottery. Fee (all 3 days): $65; fee for sale Workshop, Westchester County Center. lery, Kahului Beach Road. only, $8 per day. For further information, contact North Carolina, Asheville November 19—Decem­ Hawaii, Makawao October 22—November 27 Pacific Coast Arts and Crafts Exposition, Post ber 31 Nancy Humeniuk, “lizard pots”; at the “Contemporary East European Ceramics”; at Hui Office Box 85450, Seattle 98145-2450; or tele­ Folk Art Center and Southern Highland Handi­ No'eau Visual Arts Center, 2841 Baldwin Ave. phone (206) 726-ARTS. craft Guild, Blue Ridge Parkway. Illinois, Chicago through November 6 “British North Carolina, Buies Creek through October 27 Delft from Colonial Williamsburg”; at the Art Solo Exhibitions Robert E. Helsel, sculptural raku; at E. P. Sauls Institute of Chicago, 111 S. Michigan Ave. Gallery, Campbell University. Indiana, Indianapolis November 11-December 9 Arizona, Scottsdale October 7—31 Tommy Simp­ North Carolina, Chapel Hill through October 21 “Clayfest 9”; at Christel DeHaan Fine Arts Cen­ son, “Small Works”; at Joanne Rapp Gallery/The MaryLou Higgins, ceramic sculpture and mixed- ter, University of Indianapolis, 1400 East Hanna Hand and the Spirit, 4222 North Marshall Way. media works; at Somerhill Gallery, 3 Eastgate, Avenue. California, San Francisco October 6—29 Michael East Franklin Street. Maryland, Baltimore through October 8 “In.form.al Lucero, “Dogs and Children.” November 3—26 Ohio, Columbus October 7—November 6 Joan Function,” works by Tsehai Johnson, Suze Lind­ Jun Kaneko, recent works; at Dorothy Weiss Wobst; at the Schumacher Gallery, Fourth Floor say, Adelaide Paul, Margery Pozefsky, Ellen Gallery, 256 Sutter Street. Library, Capital University. Shankin and Diana Thomas; at Baltimore Florida, Winter Park October 7-28 Barbara Oklahoma, Norman October 14—November 14 Clayworks, 5706 Smith Avenue. Sorensen, “Purses, Princesses and Pandoras”; at Keith Ekstam, sculpture; at the Firehouse Art November 18—December 30 “Uncharted Territory: Albertson-Peterson Gallery, 329 Park Ave., S. Center, 444 South Flood. Contemporary Taiwanese Ceramics”; at Decker Georgia, Atlanta through October 2.9Jindra Viko- Pennsylvania, Philadelphia October 7-29 Kevin Gallery, Maryland Institute College of Art. va, figurative ceramic sculpture; at Connell Gal­ D. Mullavey; at the Clay Studio, 139 North Massachusetts, Ipswich October 1—31 “The Boun­ lery, 333 Buckhead Avenue. Second Street. tiful Bake In.” November 12—December31 “Holi­ Georgia, Valdosta October 16-November 9 “Ex­ Pennsylvania, Pittsburgh through October 12 Tom day Traditions”; at Ocmulgee Pottery and Gal­ hibition of Soldner Clay: Retrospective and Re­ Mason, functional pottery, through November 16 lery, 317 High Street-Route 1A. cent”; at Valdosta State University, Department Kirk Mangus, new work; at the Clay Place Gal­ Massachusetts, Northampton through October of Art. lery, 5416 Walnut Street. 30 “New and Emerging Artists Tea Party”; at Michigan, Detroit through November 2 Wesley October 7-28 Aurore Chabot; at the Manchester Ferrin Gallery, 179 Main. Anderegg; at Pewabic Pottery, Stratton Gallery, Craftsmen’s Guild, 1815 Metropolitan Street. Michigan, Detroit through November 2Works by 10125 East Jefferson Avenue. Tennessee, Nashvillethrough November 13 Syl­ Leah Hardy, Beth Lo and Carrie Ann Parks. Michigan, Farmington Hills October 8-29 Janis via Hyman; at the Tennessee State Museum, Polk November 18—December 31 “Holiday Invitational Mars Wunderlich. Arnold Zimmerman. Novem- Cultural Center, 505 Deaderick Street. Show and Sale”; at Pewabic Pottery, 10125 East Texas, Houston November 4—December 8 Vir­ Jefferson Avenue. Send announcements of conferences, exhibitions, ju­ ginia Cartwright; at North Harris College, 2700 Minnesota, Saint Paul through November 4“\Jn- ried fairs, workshops and other events at least two W. W. Thorne Dr. der the Influence of Women,” works by Linda months before the month of opening (add one month November 19-December 17 Don Reitz; at Art- Christianson, Karen Gunderman, Gail Kendall for listings in July; two months for those in August) to ables Gallery, 2625 Colquitt. and Gail Kristensen. November 18—December 23 Calendar, Ceramics Monthly, Post Office Box 12788, Texas, San Antonio December 1—77Linda Talley, “1994 Holiday Market”; at the Northern Clay Columbus, Ohio 43212-0788; or telephone (614) “Colores del Fuego,” handbuilt raku vessels; at the Center, 2375 University Avenue, West. 488-8236. Fax announcements to (614) 488-4561. Southwest Craft Center, 300 Augusta. New Jersey, Newark through June 1995“ Ameri-

72 CERAMICS MONTHLY October 1994 73 Calendar California, Davis October 1-30 Two-person ex­ hibition with ceramic sculpture by Camille Van- denberge; at John Natsoulas Gallery, 140 F Street. California, Los Angeles October 15—November 5 can Art Pottery: An Uneasy Evolution, 1880- “A Gathering: Of Tea,” including ceramics by 19 1930”; at Newark Museum, 49 Washington St. artists; at Freehand, 8413 West Third Street. New York, New York October 5—29*Function,” California, Oakland through January 8,1995“An exhibition of works by Linda Christianson, Impromptu Exhibition of Outdoor Sculpture.” Malcolm Davis, Ann Gabhart and Greg Pitts. “25 Years of Collecting California”; at the Oak­ November 16—December 77 “Annual Faculty Ex­ land Museum of California, 1000 Oak Street. hibition”; at Jane Hartsook Gallery, Greenwich California, Sacramento through November 13 House Pottery, 16 Jones Street. “From Hannibal to St. Augustine: Ancient Art of North Carolina, Charlotte through June 4, 1995 North Africa from Musee du Louvre”; at Crocker “Native American Pottery of the Southwest”; at Art Museum, 216 O St. the Mint Museum of Art, 2730 Randolph Road. California, San Francisco through October 23 Ohio, Columbus through October 30 “Contem­ “The Monkey with the Flaming Tail: Lanka Podi porary Ohio Ceramics”; at Ohio Craft Museum, Festival of Soneput, India”; at the Craft and Folk 1665 West Fifth Avenue. Art Museum, Landmark Building A, Fort Mason. October 3-14 “Clay Archives: Atherton, Baggs, California, Walnut Creek through October 23 Bogatay, Fetzer and Littlefield,” works by ceram­ “Our Natural Surroundings: Celebrating 20 Years ics faculty of the 1920s and 30s—Carlton of Walnut Creek Open Space”; at Bedford Gal­ Atherton, Arthur E. Baggs, Paul Bogatay, Marga­ lery, Regional Center for the Arts, 1601 Civic Dr. ret Steenrod Fetzer and Edgar Littlefield; at Connecticut, Middletown November 26-Dec em­ Hopkins Hall Gallery, Ohio State University. ber 11 “The Wesleyan Potters 39th Annual Ex­ Ohio, Oxford through October 14* Built, Thrown hibit and Sale”; at Wesleyan Potters Craft Center, and Touched: Contemporary Clay Works”; at 350 South Main Street (Route 17). Miami University Art Museum. Connecticut, New Haven November 12-Decem- Oregon, Salem through November 6* Sisters of the ber 24* The Celebration of American Crafts”; at Earth: Contemporary Native American Ceram­ Creative Arts Workshop, 80 Audubon Street. ics”; at the Bush Barn Art Center, Bush’s Pasture Delaware, Wilmington November 18-December Park, High and Mission streets. 17 “A Crumble of Cookies”; at the Delaware Pennsylvania, Philadelphia October 7—29 “Ma­ Children’s Museum, 601 North Market Street. jolica: Contemporary Interpretations”; at the Clay D.C., Washington through October 9 “Beaded Studio, 139 North Second Street. Splendor”; at the National Museum of African Pennsylvania, Scranton through October 9*Clay Art, Smithsonian Institution, 950 Independence Matters,” works by Pamela Earnshaw Kelly and Avenue, Southwest. Matt Povse; at the Contemporary Gallery, through May 1995 “Beyond Paper: Chinese Cal­ Marywood College. ligraphy on Objects”; at Freer Gallery of Art, Texas, Fort Worth November 20-February 12 , Smithsonian Institution. 1995*Tomb Treasures from China: The Buried October 28-February 5, 1995 “Contemporary Art of Ancient Xi’an”; at the Kimbell Art Mu­ Crafts and the Saxe Collection”; at the Renwick seum, 3333 Camp Bowie Boulevard. Gallery of the National Museum of American Art, Washington, Kirkland through October 29 Exhi­ Smithsonian Institution. bition of ceramic sculpture by Eva Kwong, Paul Florida, Belleair through November 13 “Florida Martinez and Jamie Walker; at Kirkland Arts Gulf Coast Art Center Biennial I”; at the Florida Center, 620 Market Street. Gulf Coast Art Center, Shillard Smith Gallery, Wisconsin, West Bend November 4-January 7, 222 Ponce de Leon Boulevard. 1995 “Built, Thrown and Touched: Contempo­ Florida, Daytona Beach October 2-29 “The Bag, rary Clay Works”; at Gallery of Fine Arts. Sack, Pouch, Purse.” October 30-November 26 “Art Furniture: Adorned, Embellished, New, Re- Ceramics in Multimedia Exhibitions Constructed, Revived and Re-Assembled”; at Gallery of Artifacts and Treasures, 222 South Alabama, Huntsville through October .9 “The Red Beach Street. Clay Survey”; at Huntsville Museum of Art, 700 Florida, Jacksonville through November ^“42nd Monroe Street, Southwest. Florida Craftsmen Exhibition”; at the Jackson­ Arizona, Mesa October 11—November 5 “Going ville Art Museum, 4160 Boulevard Center Drive. Home-less”; at Mesa Arts Center, 155 N. Center. Florida, Lake Worth October 7—November 4 Arizona, Scottsdale October 6—26* Third Annual “CHAIR: An All-Media National Exhibition”; at Small Works Exhibition”; at Elaine Horwitch the Humanities Art Gallery, Palm Beach Com­ Gallery, 4211 North Marshall Way. munity College. October 7—31 “The Art of Architects and Archi­ Florida, Tampa November 5-December 27 “All tecture.” “Small Works”; at Bentley Gallery, 4161 Beliefs Accepted—Visual Representations of the Marshall Way. Spiritual”; at Artists Unlimited, 223 North 12th October 13-November 6*Yot the Table”; at Mind’s Street, Channel District. Eye Gallery, 4200 North Marshall Way. Georgia, Atlanta through May31,1995* Atlanta’s Arizona, Tucson through November 5“Dia de Los Consummate Collector: Philip Trammell Shutze”; Muertos,” with clay shrines by Johanna Hansen at Atlanta History Center, 3101 Andrews Dr., NW. and functional clay objects by Susie Ketchum; at Hawaii, Honolulu November 25—December 11 Obsidian Gallery, Saint Philips Plaza, #90, 4340 “Concepts IV,” works by members of the Artists North Campbell Avenue. Group; at Linekona Art Center, 1111 Victoria St. Arkansas, Little Rock October 2-November 13 Illinois, Chicago through October 31 Exhibition “Working in Other Dimensions: Objects and including ceramics by David Furman, Peter Hayes, Drawings II.” November 20—January8,1995*22nd Yih-Wen Kuo, Don Reitz and Susanne Stephen­ Annual Toys Designed By Artists Exhibition”; at son; at Schneider Gallery, 230 W. Superior St. the Decorative Arts Museum, Seventh and Rock. October 8—23 “Currents ’94,” works in clay, metal, California, Berkeley through October 16 “Alle­ fiber, glass and wood; at Lill Street Gallery, 1021 gory: Symbolic Narrative,” three-person exhibi­ West Lill Street. tion with ceramic sculpture by Maria Pauli; at Illinois, Evanston through November2* Lake Side ACCI Gallery, 1652 Shattuck Avenue. Views,” including ceramics by Bill Farrell; at the

74 CERAMICS MONTHLY October 1994 75 Calendar New Jersey, Montclair through October 30 “New New York, New York through October ,9“Bauhaus Jersey Arts Annual: Crafts.” through December 4 Workshops: 1919-1933.” October 20-February “When Attitudes Become Form: Selections from 26, 1995 “Revivals! Diverse Traditions: 1920- a Contemporary New Jersey Collection.” through 1945: The Second Exhibition in the History of

Evanston Art Center, Center for the Visual Arts, June 25 y 1995 “Patterns in Culture”; at the Twentieth-Century American Craft: A Cente­ 2603 Sheridan Road. Montclair Art Museum, 3 S. Mountain Ave. nary Project”; at the American Craft Museum, 40 Kentucky, Louisville November 8-]anuary 8,1995 New Jersey, New Brunswick through October 22 West 53rd Street. “The Ideal Home: 1900-1920”; at J. B. Speed Art “The Art of New Jersey Designer Craftsmen at the October 7-January 15,1995“An Enduring Legacy: Museum, 2035 South Third Street. Zimmerli”; at Jane Voorhees Zimmerli Art Mu­ The Mr. and Mrs. John D. Rockefeller 3rd Col­ Massachusetts, Lexington October4—29“Beyond seum, Rutgers, the State University of New Jersey, lection”; at the Asia Society, 725 Park Avenue. Clay”; at the Lexington Arts and Crafts Society, corner of George and Hamilton streets. New York, Shady through October 10 “Water 130 Waltham Street. New Jersey, Newark through December 31 “Project Works: Landscape Sculpture Inspired by Water,” Massachusetts, Northampton November 12—De­ 3: Artes Magnus,” functional tableware by artists including ceramics by Mary Frank, Jan Harrison, cember 31 “Culinaria II,” functional work for use commissioned by the company Artes Magnus; at Alan Hoffman, Jolyon Hofsted, Mary Roehm, in the kitchen; at Ferrin Gallery, 179 Main. the Newark Museum, 49 Washington Street. Jeff Shapiro, Grace Bakst Wapner, Elena Zang New Jersey, Millburn October 15-November 12 New York, New Rochelle through October 5 “The and Richard Zelens; at Elena Zang Gallery, 3671 “Abstractions 3,” three-person exhibition with New Rochelle Art Association 80th Annual Open Route 212. ceramics by Bob Smith; at Sheila Nussbaum Gal­ Juried Exhibition”; at the New Rochelle Public Ohio, Columbus October 17-28 “New Works: lery, 341 Millburn Avenue. Library, Library Plaza. Department of Art Faculty Exhibition, Part One,” with ceramics by Robert Shay; at Hopkins Hall Gallery, the Ohio State University. Oklahoma, Norman through October9“Firehouse Art Center Faculty Exhibit: Mixed Media.” No­ vember 25-December 30 “Christmas Gift Gal­ lery”; at the Firehouse Art Center, 444 S. Flood. Oregon, Eugene November 1—December 24 “Le Petit II”; at Alder Gallery, 160 East Broadway. Oregon, Portland October 6—30 “Current Work by BFA Faculty,” including ceramics by Jim Koudelka and Garrett Masterson; at the Oregon School of Arts and Crafts, Hoffman Gallery, 8245 Southwest Barnes Road. Pennsylvania, Pittsburgh through November 5 “Bridge III,” three-person exhibition with ceram­ ics by Adrian Arleo; at the Society for Contempo­ rary Crafts, 2100 Smallman Street. Tennessee, Nashville October 15-November 12 “Vaanguard ’94,” regional juried exhibition; at Vaanguard Gallery, 324 Broadway. Texas, Denton through October 28 “Materials Hard and Soft”; at the Greater Denton Arts Coun­ cil Center for the Visual Arts, 207 S. Bell. Texas, San Antonio December 1—17 “Endeavors 6,” juried exhibition of works by program partici­ pants; at Southwest Craft Center, 300 Augusta. Vermont, Manchester through October31 “Bowls”; at Frog Hollow at the Equinox, Historic Rte. 7-A. Vermont, Middlebury through October 17 “Pat­ terns, Patterns, Patterns”; at Frog Hollow, 1 Mill St. Vermont, Shelburne through October 10 “Envi­ sioned in a Pastoral Setting”; at Shelburne Farms, 102 Harbor Road. Vermont, Waitsfield through October 10 “Art in the Round Barn”; at the Joslin Round Barn, East Warren Road. Wisconsin, Madison through November 13“ South­ ern California: The Conceptual Landscape,” with ceramics by Gifford Myers; at Madison Art Cen­ ter, 211 State Street.

Fairs, Festivals and Sales Alabama, Birmingham November 19—20 “22nd Annual Alabama Designer/Craftsmen Fall Art Show”; at Birmingham Botanical Gardens. Arkansas, Eureka Springs October 14-16 “29th Annual Arkansas Craft Guild Fall Show and Sale”; at the Four Runners Inn Convention Center. California, Berkeley November 26—27, December 3-4, 10-11 and 17-18 “Berkeley Artisans 1994 Holiday Open Studios”; throughout South and West Berkeley. For maps, send SASE to Artisans Map, 1250 Addison Street #214, Berkeley 94702; or telephone (510) 845-2612. California, Los Angeles October 15—16“ Interna­ tional Festival of Masks”; at Hancock Park. December 2—4“ Art Los Angeles 1994”; at Univer­ sal Studios Hollywood, Spartacus Square. California, San Diego October 14-16and21-23

76 CERAMICS MONTHLY “Harvest Festival”; at the San Diego Concourse, Third Avenue and B Street, downtown. December 3-4 and 10-11 “Celebration of Crafts- women”; at Fort Mason Center, Herbst Pavilion. California, Santa Barbara October 22-23 “Santa Barbara Artwalk ’94 Festival of Art”; on the grounds of the Santa Barbara Museum of Natural History, 2559 Puesta del Sol Road. California, Santa Monica November 4—6 “Con­ temporary Crafts Market”; at the Santa Monica Civic Auditorium, 1855 Main St. at Pico Blvd. Connecticut, Danbury November 25-27 “Holi­ day Art and Craft Expo”; at the O’Neill Center, Western Connecticut State University. Connecticut, Westport November 19-20 “19th Annual Westport Creative Arts Festival”; at Staples High School, 70 North Avenue. Florida, Coral Gables November 12-13 “Coral Gables International Festival of Craft Arts”; along Alhambra Plaza and Ponce de Leon Boulevard. Florida, Gainesville November 19-20“ 13th An­ nual Downtown Festival and Art Show”; on South­ east First Street and the Community Plaza. Florida, Starke October 1-2 “Ninth Annual SFCC Andrews Center Starke Festival of the Arts”; along West Call Street, downtown. Florida, Tampa December 2-4“ ACC Craft Fair”; at the Tampa Convention Center. Georgia, Atlanta November 11—13 “26th Annual High Museum Antiques Show and Sale”; at Buckhead’s Phipps Plaza, 3500 Peachtree St., NE. Illinois, Chicago October 20-23 “SOFA 1994,” exposition of sculpture, objects and functional art; at the Sheraton Chicago Hotel and Towers, Columbus Drive. Illinois, Evanston November 4—6“ The Midwest Clay Guild’s 22nd Annual Holiday Exhibit and Sale”; at Midwest Clay Guild, 1236 Sherman Ave. Illinois, Winnetka November 4—6“The Modern­ ism Show: An Exposition and Sale of 20th-Cen­ tury Design”; at the Winnetka Community House, 620 Lincoln Street. Indiana, Indianapolis November 19-20 “Best of the Season”; at the Exposition Hall, Indiana State Fairgrounds. Maine, Portland November 4—6 “Portland Craft Show”; at the Holiday Inn by the Bay. Maryland, Gaithersburg October 14-16 “19th Annual National Craft Fair.” November 18-20 “Sugarloaf Craft Festival”; at the Montgomery County Fairgrounds. Maryland, Timonium October 7—9 “Sugarloaf Craft Festival”; at the Maryland State Fairgrounds. Massachusetts, Worcester November25-27“ 12th Annual Festival of Crafts”; at the Worcester Cen­ ter for Crafts, 25 Sagamore Road. New Jersey, New Brunswick October 22 Auction of works from the exhibition “The Art of New Jersey Designer Craftsmen at the Zimmerli.” Lo­ cation: Jane Voorhees Zimmerli Art Museum, Rutgers, the State University of New Jersey, cor­ ner of George and Hamilton streets. Fee: $20; contact Zimmerli Art Museum (908) 932-7203, M-F, 9 A.M.-4 P.M.; or New Jersey Designer Craftsmen (908) 246-4066, M-Sa, noon-6 P.M. New Jersey, Washington Township October 15- 16 “Bergen County Crafts Festival”; at the YM- YWHA of Bergen County, 605 Pascack Road. New Mexico, Albuquerque November 10—13 “22nd Annual Southwest Arts and Crafts Festi­ val”; at the New Mexico State Fairgrounds, Ex­ hibit Hall. New York, Herkimer November 12—13 “19th Annual Herkimer County Arts and Crafts Fair”; at the Herkimer County Community College campus. New York, Long Island November 18-20 “20th Harvest Crafts Festival”; at Nassau Coliseum. North Carolina, Asheville October 20-23 “Craft

October 1994 77 Calendar California, Walnut Creek October 22 Demon- stration/slide presentation with Michael Simon. Fee: $40. For further information, contact the Walnut Creek Civic Arts Education Program, Fair of the Southern Highlands”; at the Asheville Post Office Box 8039, Walnut Creek 94596; or Civic Center, Haywood Street, downtown. telephone (510) 943-5846. Ohio, Archbold October 8-9 “Historic Trades Connecticut, Brookfield October 8—9 “Majolica and Contemporary Crafts Fair,” includes demon­ Ceramics” with Sarah Bernhardt. November 6 strations; at Sauder Farm and Craft Village, State “Tax Issues for Artists” with Kim Butler. For Route 2. further information, contact Brookfield Craft Cen­ Ohio, Beachwood November 6-7 “Agnon Fine ter, Post Office Box 122, Brookfield 06804; or Art and Craft Exhibition”; at the Agnon School, telephone (203) 775-4526. 26500 Shaker Boulevard. Connecticut, New Haven October 75-/<5 “Raku Ohio, Cincinnati November 25-27 “Crafts Af­ Workshop” with Ann Tsubota. Participants must fair”; at the Cincinnati Convention Center, down­ bring 6 bisqued pots/objects. Fee: $85; Creative town. Arts Workshop members, $77. For further infor­ Ohio, Columbus December I—^“Winterfair”; at mation, contact the Creative Arts Workshop, 80 the Multi-Purpose Building, Ohio State Fair­ Audubon Street, New Haven 06510; or telephone grounds. (203) 562-4927. Ohio, Dayton November 5—6 “ 11 th Annual Day­ D.C., Washington November 12—13 Workshop ton Art Expo”; at Sinclair Community College, (November 12) and lecture (November 13) with Building 12. Don Reitz, constructing large vessels on the wheel. Pennsylvania, Pittsburgh October 20-23 “Holi­ Fee: $50; James Renwick Alliance members, $45. day Market”; at the Shops at Station Square. Workshop location: George Washington Univer­ Texas, Gruene (New Braunfels)October 22-23 sity. Lecture location: Renwick Gallery. Contact “Texas Clay Festival”; on the grounds of Buck James Renwick Alliance, c/o Mary George Pottery, Gruene Historic District. Kronstadt, 4414 Klingle Street, Northwest, Wash­ Virginia, Richmond November 11-13 “30th An­ ington, D.C. 20016. nual Craft and Design Show”; at the Richmond Florida, Saint Petersburg November 12 “Expres­ Centre, Third and Marshall streets, downtown. sive Function” with Jenny Lou Sherburne. Fee: $50; Arts Center members, $40. Registration Workshops deadline: November 4. Contact the Arts Center, 100 Seventh Street, South, Saint Petersburg 33701; Arizona, Phoenix October 22-23 A session with or telephone (813) 822-7872. Pete Pinnell, kiln firing and opening, slide presen­ Georgia, Valdosta October 16-17 Lecture/slide tation and discussion. Fee: $35; Arizona Clay presentation, demonstration and raku group fir­ members, $30. Contact Marie Challinor, Arizona ing with Paul Soldner. Fee (includes glazes and Clay Workshop Chairperson, 725 East Harmont firing): $85, two days; $45, one day. For further Drive, Phoenix 85020. information, contact the Department of Art, California, Concow December 27-January 6,1995 Valdosta State University, Attention: Stephen “Wood-fire Workshop” with Nolan Babin, mak­ Andersen, Valdosta 31698; or telephone (912) ing work and firing a 200-cubic-foot kiln; or 333-5835. participants can bring own work (7 days). Fee: Illinois, Winnetka October 31 “Landmarks of $350/full session or $250/partial; includes mate­ 20th-Century Design,” slide lecture with Marga­ rials, firing and lodging. All skill levels. Contact ret Hiesinger, author/curator of 20th-century Nolan Babin, 13191 Mullen Way, Oroville decorative arts at the Philadelphia Museum of Art. (Concow), California 95965; or telephone (916) Fee: $10. Contact the Winnetka Community 534-9137. House, 620 Lincoln Avenue, Winnetka 60093; or California, Hesperia November 12 “Earth and telephone Jane Sample or Brenda Gude, (708) Ceramic Architecture” with Nader Khalili, de­ 446-0537. signing, constructing, glazing and firing houses, Indiana, South Bend October 22—23 A session domes, vaults, apses built from adobe, bricks, with Robert Briscoe, exploring hand-formed, utili­ extruded ceramics, etc. Instruction in English, tarian pottery with an organic aesthetic. Fee: $88; Persian and Greek. All skill levels. Fee: $100, museum members, $70. Contact South Bend includes materials and lunch. Contact Nader Regional Museum of Art, 120 South Saint Joseph Khalili or Iliona Outram, Cal-Earth, 10225 Baldy Street, South Bend 46601; or telephone (219) Lane, Hesperia 92345; or telephone (619) 956- 235-9102. 7533 or telephone/fax (619) 244-0614. Massachusetts, Cape Cod, Dennis October 28- California, Rancho Cucamonga October 22 A 30 “Throwing and Surface Decoration” with session with Brian Ransom, fabricating, firing and Robin Hopper. Contact Cape Cod Potters, Box playing traditional and contemporary clay musi­ 76, Chatham, Massachusetts 02633; or telephone cal instruments. Fee: $30, includes lunch. Prereg­ (508) 896-6189. istration is recommended. Contact Chaffey Ce­ Massachusetts, Williamsburg October 8-10“Tiles ramics Club, Crispin Gonzalez, do Chaffey Col­ and Mosaics: For Large Installations and Small lege, 5885 North Haven Avenue, Rancho Projects” with Sandy Farrell. October22-24“Nz- Cucamonga 91737-3002; or telephone Crispin tive American Forming and Firing Techniques” Gonzalez (909) 941-2776. with Connie Talbot. For further information, California, Santa Ana November 19 Lecture by contact Horizons, 108-P North Main Street, James Danisch on alternative clay bodies; vessels Sunderland, Massachusetts 01375; or telephone of Burma, India, Nepal and Thailand; and primi­ (413) 665-0300. tive rituals of pottery. Fee: $30. Contact Patrick Michigan, Auburn Hills October 14 “Michigan Crabb, Rancho Santiago College, 17th and Bris­ Mud,” series of ceramics workshops with such tol streets, Santa Ana 92706; or telephone (714) guest artists as Bill Daley, Josh DeWeese, Craig 564-5613. Hinshaw, Jerry Hollister, NawalMotowabi, Diana California, Torrance October 15-16 A session Pancioli, Carrie Ann Parks, Robert Piepenburg with Michael Simon. Fee: $35. Contact Neil and Mary Roehm. Sponsors: Michigan Potter’s Moss, El Camino College, 16007 Crenshaw Bou­ Association and Oakland Community College levard, Torrance 90506; or telephone (310) 390- Auburn Hills Campus. Contact Henry Tanaka, 0941 or (310) 660-3540. Ceramics Department Head, Oakland Commu-

78 CERAMICS MONTHLY October 1994 79 Calendar

nity College, Auburn Hills Campus, 2900 Featherstone Road, Auburn Hills 48326-2845; or telephone (810) 340-6500. Michigan, Detroit October 15 A session with Josh DeWeese. Fee: $20. October 27“Marketing for a Small Ceramics Business” with Tim Drexler. Fee: $7. Registration deadline: October 15. November 14 and 77 “Making a Tile Mural” with Carolyn Wilson, hands-on workshop for teachers. Fee: $30. Registration deadline: November 1. For fur­ ther information, contact Education, Pewabic Pottery, 10125 East Jefferson, Detroit 48214; or telephone (313) 822-0954. Missouri, Saint Joseph October It? Slide lecture with Ron Hicks. Contact Jim Estes, Missouri Western State College Art Department, 4525 Downs Drive, Saint Joseph 64507-2294; or tele­ phone (816) 271-4424. New Mexico, Cloudcroft October 8—9 “Clay in the Clouds II,” demonstrations, discussions and slide presentations with Randy Broadnax, Don Ellis and James Watkins. Fee: $50. Contact Don Ellis, McMurry University, Ceramics Department, Box 8, Abilene, Texas 79697; or telephone (915) 691-6309. New Mexico, La Madera October 2-7 “Native American Traditional Pottery Making” with Felipe Ortega, digging clay, coiling, scraping, burnish­ ing, open pit firing. Fee: $390, includes materials, firing, lodging and meals. Contact Owl Peak Pottery and Studio, Felipe Ortega, Post Office Box 682, La Madera 87539; or telephone (505) 583-2345. New Mexico, Santa Fe November 12-73 “Shining Clay” with Paulus Berensohn. Fee: $ 115 plus lab fee. For further information, contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; or telephone (505) 984-1122. New York, New York October 4 or 8 “Basketry for Potters” with Nancy Moore Bess. October 5, No­ vember 2 and 5 “Raku” with Bobbie Hodges; lecture (October 5), glazing (November 2) and firing (November 5). Fee: $165; members, $135. October 12 and 15 Lecture (October 12) and “Variations on the Vessel” workshop (October 15) with Anne Hirondelle. Fee: lecture only, $6. October 22 “Pit Firing” with Liz Biddle. October 29 “Glaze Workshop” with Arthur Gerace. Fees (unless indicated above): $80; members $65. For further information, contact YWCA of the City of New York, 610 Lexington Avenue, New York 10022; or, for information and catalog, telephone (212) 735-9732; or, to register, telephone (212) 751-3335. North Carolina, Brasstown October 9—15 “Pot­ tery Decoration” with Barbara Joiner. October 22—28 “Handbuilding and Slab Construction” with Judy Robkin. October 30—November 12 “Wood Firing Stoneware and Porcelain” with Marcia Bugg. Intermediate and advanced; fee: $410. All other workshops: $205. For further information, contact John C. Campbell Folk School, Route 1, Box 14A, Brasstown 28902; or telephone (800) 365-5724. Ohio, Archbold October 8-9 “Historic Trades and Contemporary Crafts Fair,” juried/invita­ tional festival including demonstrations/lecture by William Hunt and demonstrations by resident potter Mark Nafziger. Fee (includes admission to festival): $8.00; students, $3.75. Location: Sauder Farm and Craft Village, State Route 2. For further information, contact Carolyn Sauder, Sauder Vil­ lage, P. O. Box 235, Archbold 43502; or tele­ phone (800) 590-9755. Oklahoma, Norman October 21-22 Slide lecture

80 CERAMICS MONTHLY and workshop with Peter Beasecker. Workshop fee: $40. Lecture (October 21) is free. For further information, contact the Firehouse Art Center, 444 South Flood, Norman 73069; or telephone (405) 329-4523. Oregon, Portland October 8 “Starting a Small Business” with Alan Zell (9 A.M.-noon); “Copy­ rights” with Kohel Haver and Regina Hauser (1— 4 P.M.). Fee per session: $25. October 9 “Con­ tracts and Consignment Agreements” with Amy Richter (9 A.M.-noon); “Alternative Dispute Resolution and Forms of Doing Business” with Amy Estrin and Larry Reichman (1-4 P.M.). Fee per session: $25. November 5-6 “The. Figure in Clay” with Donna Polseno. Fee: $118. Contact the Oregon School of Arts and Crafts, 8245 Southwest Barnes Road, Portland 97225; or tele­ phone (503) 297-5544. Oregon, Salem October 8 Participatory workshop focusing on natural materials with Nora Naranjo- Morse. Fee: $71; members, $65. October 22-23 Discussion and demonstration of the single-fire process with Steven Hill. Fee: $108; members, $98. Contact the Salem Art Association, 600 Mission Street, Southeast, Salem 97302; or tele­ phone (503) 581-2228. Pennsylvania, Pittsburgh October 21-23 Lecture and workshop with Aurore Chabot. Contact Manchester Craftsmen’s Guild, 1815 Metropoli­ tan Street, Pittsburgh 15233; or telephone (412) 322-0800. Texas, Dallas October 21-23 A session with Val Cushing. Contact the Art Department, Univer­ sity of Dallas, Dan Hammett, 1845 East North- gate, Irving, Texas 75062; or telephone (214) 721-5319. Texas, Houston November 4-5 A session with Virginia Cartwright. Fee: $30. Contact Roy Hanscom, Art Department, North Harris Col­ lege, 2700 W. W. Thorne Dr., Houston 77073; or telephone (713) 443-5609. Texas, San Antonio October28—30“Putting Funk into Function” with Deborah Groover. Fee: $ 150. Contact the Southwest Craft Center, 300 Au­ gusta, San Antonio 78205-1296; or telephone (210) 224-1848. Virginia, Arlington October 7-9“Focus on Form: Hands-on Handbuilding” with Mikhail Zakin. For further information, contact the Lee Arts Center, 5722 Lee Highway, Arlington 22207; or telephone (703) 358-5256.

International Events Australia, Buccarumbi January 15-20, 1995 “Summer Workfest, ” workshop with Sandra Tay- lor and guest artist Virginia Hollister, creating large-scale works. Fee: Aus$785 (approximately US$584), includes materials, lodging and meals. Contact Sandra Taylor, Blackadder, Buccarumbi NSW 2460; or telephone/fax (66) 494 134. Canada, British Columbia, Kelowna October 7— 8 “A Taste of Clay,” exhibition and sale of ceram­ ics by Anita DeLong, Peter Flanagan, Jack Forbes, Elaine Hughes-Games, B. J. Jassmann, Bob Kingsmill, Des and Peg Loan, and Gillian Paynter; at First United Church Hall, 721 Bernard Ave. Canada, Ontario, Don Mills October 75“Fusion: The Ontario Clay and Glass Association’s 7th Annual Silent Auction”; at the Civic Garden Centre, Edwards Gardens, 777 Lawrence Avenue, East, at Leslie Street. Canada, Ontario, East York November 18-20 “Potters’ Studio Fall Sale”; at the Potters’ Studio, 2 Thorncliffe Park Drive, Unit 16. Canada, Ontario, Toronto through October 22 “Plates and Platters”; at Prime Gallery, 52 McCaul Street. through January 22, 1995 “Home Sweet Home:

October 1994 81 Calendar

Pastille Burners of the 19th Century”; at George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. Canada, Quebec, Quebec through October 9 “Biennale Nationale de Ceramique”; at Centre d’Exposition, Bibliotheque Gabrielle Roy. England, Chichester October 9-14 “Handbuild- ing and Throwing” with AJison Sandeman. No­ vember 4-tT‘Throwing and Turning” with Alison Sandeman. December 9—11 A session with Alan Saunders, sculptural modeling using terra-cotta techniques. For further information, contact the College Office, West Dean College, West Dean, Chichester, West Sussex PO18 OQZ; or tele­ phone (24) 381-1301. England, London through October 1 Exhibition of ceramics by Walter Keeler; at Crafts Council Shop at the V&A, Victoria and Albert Museum, South Kensington. through October 18 Two-person exhibition with ceramics by Mary C. Barclay; at Ali-Hallows by the Tower, Byward Street. October 14—November 2 Exhibition of ceramics by Mike Dodd; at Amalgam Art Limited, 3 Barnes High Street. England, Stoke-on-Trent through April1995“ The Robert Pinchon Collection of Studio Pottery”; at the City Museum and Art Gallery, Arnold Mountford Study Gallery, Hanley. France, Allegre November 14-19 “Raku,” work­ shop with Simonot Michel. Beginning and inter­ mediate skill levels. Instruction in French and English. Fee: 2400Fr (approximately US$444). For further information, contact Simonot Michel, Mas Cassac, F-30500 Allegre; or telephone (66) 24-85-65. France, Vallauris through October 31 “XlVth In­ ternational Biennial of Ceramic Arts”; at the Castle Museum. Netherlands, Delft through October 8 Ceramics by Dimitrios Xanthopoulos. November 10—De­ cember 11 Exhibition of ceramics by Yvonne Kleinveld; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer October 9-November 5 Ceramics by Marion Askjaer-Veld and Eric Astoul. November 13-December 24 Exhibition of ceram­ ics by Felicity Aylieff and Takeshi Yasuda; at Loes and Reinier International Ceramics, Korte Assenstraat 15. Netherlands, Oosterbeek through October ^“Brit­ ish Ceramics II,” works by Colin Pearson and Gary Wornell. through October 10 Exhibition of ceramics by Maggi Giles. October 23-November 20 “Keranova,” exhibition of works by about 25 Dutch ceramists; at Galerie jAmphora, Van Ouden- allenstraat 3. Netherlands, ’s-Hertogenbosch through Novem­ ber “Signals of Color from South Africa,” three- person exhibition with ceramics by Norman Trapman. Exhibition of ceramics by Magdalene Odundo, “African Beauty”; at Het Kruithuis, Municipal Museum of Contemporary Art, Citadellaan 7. New Zealand, Surfers Paradise October 8-No- vember 6 “13th National Gold Coast Ceramic Award”; at the Gold Coast City Art Gallery, 135 Bundall Road. Spain, Agost (Alicante) through October 30 “Conexiones en Blanco y Negro,” exhibition in­ cluding ceramics; at Museo de Alfareria. Switzerland, Geneva through January 25, 1995 “De 1’eclectisme a l’Art Nouveau,” exhibition of late 19th- and early 20th-century objects; at Ariana, Swiss Museum of Ceramics and Glass, 10 Avenue de la Paix.

82 CERAMICS MONTHLY October 1994 83 China Diary Continued from page 61

so vast. How could you lose something Cone 05 in a kiln fueled by coal, with that big? Thousands of sculptures wait­ the second to Cone 015 also in a wood- ing to be rediscovered.” burning kiln. This terra-cotta army took some 30 The new Shaanxi Provincial Museum years to construct; 720,000 people were is well worth a visit. There are several involved. The Chinese are uncovering floors of well-lit displays. We were espe­ it slowly and carefully, aware that it is a cially interested to see the circular clay treasure. At some point, peasants had molds for the roof tiles, which we had broken in, stolen the bronze weapons seen punctuating the eaves in the For­ for an uprising, and set the tomb on bidden City. fire. This may have been what caused Hangzhou is on everybody’s travel the roof timbers to crash down, damag­ itinerary because of its beautiful West ing the terra-cotta figures, horses and Lake with its gardens of exotic trees bronze chariots. Each warrior takes a drooping to the water. The Chinese call month to restore; apparently, the spe­ it “Heaven on Earth.” Just outside of cial glue used in the restoration comes town, via an alarming one-lane tunnel from France and is very costly. through Tortoise Mountain, is a pot­ In addition to the four separate vaults, ters’ heaven: the site of the Southern there is a small museum area contain­ Song dynasty Guan kiln. A small mu­ ing several of the different warriors that seum, not officially open at the time of you can look at close up, but they are our visit, houses three exhibition rooms frustratingly behind glass. Here, too, and the kiln, excavated in 1985. It was was a fascinating sculptural frieze de­ opened especially for us, despite a na­ picting the making of the warriors, also tional holiday. The products of this firmly behind glass. Guan kiln include the serene jadelike Our next stop was the obligatory celadons that had enticed many of us to visit to a terra-cotta factory that pro­ ceramics so many years before. duces reproductions of the warriors, During a short stay in the town of horses, etc. The workrooms and kiln Wuxi, we again encountered an unusual yards seemed familiar, full of partially Chinese clay body. It was a dark, smooth assembled figures, until we came upon clay that was so hard when it dried they the roomful of pieces freshly glazed in didn’t bother to fire it, apparently a tra­ red lead. We felt a real kinship with the ditional technique from Ming times. potters when we saw a horse kiln god The clay was hand sculpted and molded above the flue of a big wood-burning into amazingly intricate figurines with kiln. Apparently the first firing is to tiny delicate parts: little battling sol­ diers with arms outstretched, fingers dis­ tinct, looking so fragile they would break if we had blown on them. Some are left the natural clay color, while others are garishly painted with something resem­ bling poster paints. As potters, we doubted this unfired clay would survive long enough to be purchased, let alone survive the trip home on the back of a bicycle. We also saw a rice-bowl factory, which we dubbed potters’ hell. Every­ At a Wuxi domestic ware factory, a cart where we looked were pyramids of stacked high with clay pugs is wheeled stacked rice bowls, hundreds of thou­ to the production area. sands, some tied in bundles with thick

84 CERAMICS MONTHLY After raw-glazing, the ware is loaded into saggars and fired in a coal-burning kiln.

The road was only half completed; we Vessels are quickly jiggered (or jolleyed) and released, then placed drove on one half while the other half on a conveyor belt to the glazing area.was broken rocks. We got lost and had to retrace our route, arriving in Yixing at the start of a huge “commodities fair,” twine (apparently the only packing ma­ which resulted in a change in accom­ terial used). It was dark and dusty, and modations from the new Yixing Hotel everyone was working at break-neck to the delightful Yixing Agricultural speed. In one large room, they were Hotel. The entire staff was there to meet jiggering, finishing and raw glazing with us, and from their shy demeanor, we the aid of an enormous Rube Goldberg- had the feeling they had not had many like network of conveyor belts, both Westerners stay there; they stood when­ horizontal and vertical. The potters ever we entered a room, giggled when­ seemed to be simply cogs in a mechani­ ever we left, and were far more attentive cal system. They barely looked up. The than staff in the large modern hotels. next room was equally dark and dusty, Our rooms were equipped with little, but also hot. Here the workers loaded hard beds with heavy kapoklike com­ each bowl into a saggar with a suction forters; old, very serviceable plumbing device of some sort, then stacked the in contrast to the obviously new televi­ saggars on a cart, all right next to an sion set; and George Jetson orange tele­ enormous car Idln that stretched the phones connected to nothing. On our length of the building. Upstairs we saw nightstands were a complimentary botde a vast pyramid of fired rice bowls, and of rice wine, a rose and a bowl of fresh people applying decals and double bands fruit—nice welcoming touches. of gold luster. They were apparently Our first priority was to visit the paid by the piece and were worldng at official teapot factories. They are actu­ an unbelievable rate; they looked pretty ally located in Dingshu where 80%- grim. From there the bowls were loaded 90% of the population is employed in into large rectangular trays and put ceramics production of one sort or an­ through a continuous luster kiln. One other. Everything was made of clay. little human touch: the workers tea­ Along the streets, we saw huge jars, or­ pots stacked against the luster kiln to nate trash cans, furniture—even the keep warm. Pierced porcelain was pro­ street lamps on the center median were duced in another building. The work­ ceramic. Occasionally, we passed the ers there seemed somehow to be the wall of a house made entirely from huge elite. Their workrooms were smaller and stacked jars. Armed with letters from lighter. The pieces were slip cast with Professor Zhang, we went first to the the minute pattern for piercing clearly No. 2 Purple Clay Factory where we visible, then pierced by hand, one hole were greeted by Xu Xiutang and his at a time. brother Xu Hantang, both master pot­ Our journey to Yixing by bus was ters. After the now familiar routine of our first experience of really rural China. endless cups of tea (much appreciated!)

October 1994 85 China Diary

in a reception room, followed by a tour of the facility, Xu Xiutang explained that it was only fairly recently that they had opened the factories to foreign visi­ tors, as they realized that the Zisha clay body was unique and that connoisseurs would be able to discern the difference in the event of copying. Under the windows in the largest workroom was a long line of cubby­ holes occupied by women, each mak­ Slabs for Yixing teapots are pounded ing a different part of a teapot. The out, then cut to size with a tool with one process made an immediate impression fixed and one adjustable blade. on us, especially when we saw that they didn’t roll the clay out, but pounded it sculpted frog in the base of each teacup with rectangular wooden mallets. A and lotus petals in colors shading from curved strip was then cut from the slab cream to red. The teapots came in a (with a cutting tool that had one fixed large variety of colors, ranging from and one adjustable blade) and pressed cream through reddish terra cotta to into a mold. We were told that press the classic dark purple brown. We also molds had only been in use since 1970, saw a surprising teal color that we and that prior to then each piece was thought might be the result of the addi­ entirely made from scratch. Elsewhere tion of copper. After burnishing, the in the same room, workers were pop­ teapots are fired inside saggars in a long ping handles and decorative pieces out tunnel kiln to 1180°C [2156°F]. The of molds, and burnishing finished tea­ kiln is preheated, then fired over 24 pots with pieces of water buffalo horn. hours. Saggars stood everywhere in high Upstairs, there were smaller studios stacks ready to be loaded. with two or three of the more accom­ The museum displays at both Purple plished potters working in each. It Clay Factory No. 2 and the adjacent seemed as though each potter here made No. 1 factory housed fantastic collec­ the entire teapot, rather than the assem­ tions of incredible diversity. We had bly-line work done on the floor below. seen slides of Yixing teapots during We saw a woman working on a lotus flower teapot set, complete with a

Once the handle and spout are attached, a circle is cut from the solid top to seat the lid.

Each factory worker is responsible for a different part of the teapot; here, buffalo horn is being used as a burnishing tool.

86 CERAMICS MONTHLY At the Porcelain Research Institute, vessels are thrown with walls up to an inch thick, then trimmed drastically. Large forms are thrown in sections; once they have been trimmed, slip is spooned onto the edges.

Zhang Shouzhis lecture at the acad­ train to Jingdezhen; the train was easily emy, and now we were seeing in person our favorite form of transportation in the best examples of what imagination China. Our group had been split in two and hundreds of years can do within for this particular trip because of a foul- the tight constraints of a tradition. The up with the tickets. We were ushered tremendous appeal of their whimsical into the soft-seat waiting room to await individuality is immediate: of all the the second group and serenaded over incredible ceramics we saw in China, the public-address system with “Ru­ these were the most easily accessible to dolph the Red-Nosed Reindeer.” (It was our minds. In fact, we found them so the beginning of October.) appealing that within a day and a half Arriving by bus at the Porcelain Re­ our group had acquired almost 200 from search Institute, we were greeted by the the factory salesrooms and street stalls, sight of thick black smoke belching from and were showing no signs of stopping. a tall chimney; the scene was somewhat That night we spread them out in a reminiscent of pictures of the industrial hotel room for an impromptu show: it revolution. Professor Zhang’s friend Qin seemed as though everyone’s personal­ Xilin welcomed us (yet another letter of ity was reflected in the pots they had introduction); we were served tea in a chosen, and yet we were all envious of reception room while he described the each others’ purchases. work of the institute. Apparently they Just outside Factory No. 1, we es­ had regular ceramic exchanges with Ja­ caped our guide long enough to shop at pan, and he accentuated the fact that a street stall selling potters’ tools—an unscheduled slice of fim. The woman peddler had large wooden mallets for pounding clay into slabs; strips of water buffalo horn for burnishing; tools made out of horn; and other little gadgets for cutting, smoothing and scraping. Not one was familiar, but we immediately knew uses for them all. This was prob­ ably more business than the tool ped­ dlers had seen in a month; we were definitely off the beaten track, and mak­ ing a spectacle of ourselves. It was the first of many occasions that we drew a crowd. Evidently a group of 20 Ameri­ cans is still highly unusual—people would crowd in close, sometimes touch­ The sections are pressed together, ing us, and watch our every move. then the seam is smoothed From Yixing, we traveled by steam as the wheel rotates.

October 1994 87 China Diary

they were eager to learn from outside. The dining room was one of the Their research covers industrial and art least appetizing places we encountered applications; 500 people work there, in all of China, with the possible excep­ though we saw only a few. tion of the Great Wall. By this point we In the showroom, we saw severe por­ automatically produced wet-wipes and celain shapes that seemed to serve only cleaned every utensil in sight. The dingy, as badcground for brush decoration. Qin smoke-filled room served as a suitable Xilin spoke of one-of-a-kind pieces, and stage set for our Bogart—a lone West­ said one of his had received a prize and ern figure, loolung very mysterious and would sell for about $10,000. How very unhappy. We learned later that he much of that would actually go to him? was an English entrepreneur trying to To what extent was it his pot? As de­ set up a new factory, and struggling signer and decorator, perhaps, but we mightily against a tremendous resistance felt fairly sure that the throwers we saw to change. He was wooing the best work­ later were simply throwing to someone ers with far superior working condi­ elses specification. tions and wages. No wonder he dined alone. Our Jingdezhen guide suggested and arranged a side trip out into the coun­ tryside to see the original kaolin mines on Gaoling mountain—presumably the origin of the name kaolin and the birth­ place of porcelain. We journeyed up a one-lane dirt road; near the top of the mountain, the dirt changed from brown to white. The mine was up a woodsy path. We enjoyed the clean, moist air— In Jingdezhen, a “house” of firewood for the kilns was stacked to dry; windowlikea relief after so much dust (and worse) openings facilitated air circulation. in the cities. When the guide undammed the millstream, we could see how the two water-powered hammers had been We expected to find porcelain that used to pound large lumps of kaolin had been improved through research into smaller pieces. over thousands of years into a wonder A little further on foot, we came to body the likes of which we had never the tiny thousand-year-old village of seen before. Instead, we saw potters Gaolin. Along every step of our way, throwing vessels up to 1 inch thick to porcelain shards were embedded in the be trimmed to specification; 12-inch- ground; they were far too numerous to tall pots were thrown in three very thick investigate thoroughly, though we did sections, trimmed drastically and luted our best. We were walking on ceramic together. history. In the village itself, all work The old hotel in Jingdezhen was ceased as we approached. The further straight out of an old Humphrey Bogart in we went, the more people emerged movie: dark, musty, warped wood floors, from their houses to look at us. Later, intermittent lighting and water supply. we were told that probably only a few We had damp, mildewy rooms up three of these villagers had ever seen a for­ flights of stairs, all the domain of Sophie, eigner, let alone a sizable group. an enormous spider with enough We were invited into one of the old­ strength to cling to the underside of the est houses in the village. It felt medi­ lavatory seat despite repeated attempts eval, like a family compound that had to flush her down. solidified over centuries. We came first

88 CERAMICS MONTHLY October 1994 89 China Diary

upon a large rectangular sunken firepit, Shanghai seemed far more cosmo­ with the corresponding open smoke hole politan than any other city we visited in in the roof above. The rafters above the China, yet all around us were tremen­ firepit were hung with drying food. Off dous contrasts. There were people do­ to the right was a wooden wall with ing ballroom dancing and tai chi on the cupboardlike doors leading to bed­ sidewalk early in the morning before rooms; opposite was a door leading to a work. In the driveway of our ultramod­ pigpen. As we left the village, followed ern, high-rise hotel were several ped­ by the crowd, we were asked to sign our dlers in Tibetan-looking costume, names in a book at the town hall, and furtively selling some kind of animal there was much picture-taking beneath bones with medicinal properties. The a huge, ancient tree outside. modern skyscrapers were taller than in That evening back in Jingdezhen, Beijing, but juxtaposed with remnants we were guests at the opening banquet of colonial European settlements, each of the “3rd Jingdezhen Pottery and Por­ quite distinct in architecture. celain Festival.” We dressed in our finest We found the best, most compre­ and were ushered to a long table. A hensive ceramics collection it was our video camera recorded the speeches and, pleasure to see in China at the Shanghai being the most exotic people in the Museum of Art—a Victorian building room, we were photographed smiling (formerly the headquarters of a bank­ and clapping. When the speeches and ing corporation). It had a whole floor honors were over, the speaker ap­ devoted to ceramics, fabulously dis­ proached our table and gestured us to­ played in chronological order; it served ward the buffet. We smiled politely and as a beautiful summary of everything started to move. Too late. The buffet we had already seen. table was quickly surrounded by push­ Leaving China proved to be every ing and shoving people five deep. They bit as exhausting as getting there. It were fearlessly serious about getting their took us fully two hours to inch our way dinner first. After dinner (including song through the lines at Shanghai Airport, bird on a stick, snake, a cooked and thankfully onto our jet. As a flight gelantinous disk with something brown attendant was helping us stow our copi­ inside, peanut-butter-tasting pastries and ous carry-on luggage, we mentioned that leaf-wrapped bundles), a few brave souls we were hoping for a smooth ride home changed clothes and went out to enjoy since we probably had close to 200 clay the opening fireworks. teapots amongst us; she blanched. ▲

Fog lends an air of mystery to the already exotic scenery at West Lake (“Heaven on Earth”) in Hangzhou.

90 CERAMICS MONTHLY October 1994 91 Questions Answered by the CM Technical Staff

Q I would like to have a Cone 6 crackle glaze recipe to fire in an electric kiln. Can you recom­ mend any?—B.B. Crackle glazes are those that are encouraged to craze (because of a difference in the rate of contraction between the body and the glaze) for decorative effects. As the glaze cools, a network of cracks develops. To enhance the craze pat­ tern, the cracks are sometimes stained with carbon (as in postfiring reduction smoke) or oxides. For a two-tone crackle pattern, one oxide may be rubbed onto the glaze immedi­ ately after firing and another when the pot is completely cool. Another two-tone crackle ef­ fect is achieved by staining the crazed lines, then refiring the pot; the original crazing becomes somewhat distorted (fuzzy) and new craze lines will develop. The following Cone 6 recipe was included in Richard Behrens’ article on crackle glazes in the October 1969 CM: Crackle Glaze VI (Cone 6) Volcanic Ash...... 62.3 % Frit P54 (Pemco) ...... 28.3 Kaolin...... 9.4 100.0% You may also want to try a recipe given by Harold McWhinnie in the February 1980 CM: Hals Clear Crackle Glaze (Cone 6-8) Borax...... 1% Soda Ash...... 28 Whiting ...... 10 Kona F-4 Feldspar ...... 50 Flint ...... 11 100% It is also possible to develop your own crackle recipe based on one of the glazes you are currently using. (Relying on a family of related glazes helps keep purchasing of materials to a minimum.) In his book Clay and Glazes for the Potter, Daniel Rhodes observed, “It is an easy matter to adjust any glaze to make it craze.” The simplest way is to add feldspar in 10% incre­ ments until you are satisfied with the result. “For a wide crackle,” said Rhodes, “the glaze should be adjusted so as to be poised between fitting and crazing... .The more serious the crack­ ing, the closer together the network of craclts will be.”

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

92 CERAMICS MONTHLY October 1994 93 94 CERAMICS MONTHLY October 1994 95 Comment and what to do about them, was a tex- enemy and he is us!” In recent years, I tured experience, from which I emerged have been on the other side of the jury more aware of the responsibilities an in­ system several times, and have been asked The Jury System: dividual has to her or his community. to judge, assign value and ultimately of­ Since that time, my own work has fer opportunities to some artists, and not Guilty or Not Guilty? been judged by many juries: for craft to others. For the most part, I believe by Susan Nowogrodzki fairs, gallery shows, catalogs and in aca­ that juries do the best they can, given the demics. Almost without exception, my information presented to them. work has been judged using only one One must wonder, however, whether When I was called for jury duty in Lane sense (the visual) and two dimensions a slide of a simple teabowl would be County, Oregon, in 1977,1 was delighted. (on slides). Even the most revealing slide accepted by many juries. This is unfortu­ I had just completed an M.F.A. program of a three-dimensional object can show nate, since one of the most important in ceramics at the University of Oregon, little more than half the object. responsibilities of craftwork in society is and had taken a job as a barmaid to tide A slide cannot allow the viewer to to assert that there are other values be­ me over until more interesting and lucra­ approach the work, to hold it and feel the sides the visual. Substance, function, tive offers came along. Taking part movement and depth are all neces­ in the justice system seemed appro­ One of the most important responsibilities sary to our lives as individuals. And priate and timely, given as I was these values are married to the tra­ then to weighing and balancing the ofcraftwork in society is to assert dition of crafts in the larger envi­ various choices I saw for myself in that there are other values besides the visual ronment of society. A jury viewing the future. images of craftwork cannot be ex­ As I soon learned, deciding the fate of air breathed into it. A slide cannot reveal pected to use these values as criteria for another human being was far more com­ how well it suits its function. A slide acceptance or rejection. Juries are placed plicated than deciding whether to start cannot be tapped to hear it sing. But in the difficult position of having to judge my own pottery business or look for a lifting a teabowl to sense how it fits in the work when they have only partial, and teaching job. So many factors had to be hand is an important aspect of the total sometimes erroneous, information. considered—I was obliged to look at all form, integral to how the object exists Thus, it is important to recognize that, the information presented from several within its environment. Such factors de­ while image is important, any judgment different perspectives, to listen and, fi­ serve to be addressed in any judgment of based solely on appearance must be ques­ nally, to discuss. Most importantly, per­ a works value. tioned. There is always another dimen­ haps, I had to look at the person on trial I make this point not to denigrate sion to consider. within the larger environment of society, juries. The system is made up of all of us, where the actions in question took on a and we are responsible for its ability to The author Susan Nowogrodzki, now a form that expressed a personal reality. function, as well as for the quality of the ceramist in East Greenbush, New York, voted Deciding what form these actions took, process. As Pogo said, “We have met the “notguilty” in the Oregon trial

Index to Advertisers

A.R.T. Studio...... 25, 28 Creek Turn...... 86 Kiln Sitter...... 66 Sapir...... 89 Aesthetech...... 64 Damico...... 66 Kraft Korner...... 87 Scott Creek...... 73, 87 Aftosa...... 79 Davens...... 91 Laguna Clay...... 76 Sheffield...... 81 Amaco ...... Cover 3 Dedell...... 87 Leslie...... 83 Shigaraki Park...... 73 j\mherst Potters...... 85 Del Val...... 66 Lockerbie...... 64 Shimpo...... Cover 2 Anderson Ranch...... 75 Skutt...... Cover 4 Dolan ...... 82 Marjon...... 85 Axner...... 13 Soldner...... 67 Douglas ...... 92 Miami Clay...... 81 Spectrum ...... 83 Bailey...... 1, 6, 7, 21 Duralite...... 90 Mid-South...... 2, 17 Standard...... 89 Bennett’s...... 3 Euclid’s...... 78 Mile Hi...... 90 Strictly Functional...... 80 Bluebird...... 26 Evans...... 92 Minnesota/Midwest...... 9, 79 Brent...... 69 Studio Potter...... 84 Falcon...... 92 National Artcraft...... 66 Brickyard...... 82 Tara...... 74 Geil...... 22, 23 NCECA...... 66 The Guild...... 77 Cajun...... 19 North Star...... 93 Georgies...... 82 Thomas-Stuart...... 91 CeramiCorner...... 87 Giffin...... 11 Olsen...... 89 Trinity...... 77 Ceramics Monthly...... 27, 70, 83 Great Lakes Clay...... 75 PaperClay Pulp...... 66 Tucker’s...... 15 Classified...... 94 Great South Clay...... 90 Clay Factory ...... 64 Paragon...... 73 U.S. Pigment...... 79 Handmade Lampshade...... 90 Clay Studio...... 66 Peter Pugger...... 82 Univ. North Carolina...... 24 Highwater Clays...... 68 Coburg Hills...... 64 Peters Valley...... 92 Venco...... 63 Hood...... 80 Contemporary Kilns...... 82 Philadelphia Pottery...... 82 Ward...... 62 Continental Clay...... 71 IMC...... 92 Piedmont Pottery...... 82 Westerwald...... 91 Corey...... 86 International Technical...... 88 Potters Shop...... 92 Wise ...... 90 Cornell...... 64 Jepson...... 65 Pure & Simple...... 84 Wolfe...... 92 Creative Industries...... 75 Kickwheel...... 4 Rings &C Things...... 64 Worcester Center...... 88

96 CERAMICS MONTHLY