Ceramics Monthly November 2002 1 editor Ruth C. Butler associate editor Kim Nagorski assistant editor Renee Fairchild assistant editor Sherman Hall proofreader Connie Belcher design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation manager Cleo Eddie circulation administrator Mary E. May publisher Mark Mecklenborg

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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. subscription rates: One year $30, two years $57, three years $81. Add $ 18 per year for subscriptions outside North America; for faster delivery, add $12 per year for airmail ($30 total). In Canada, add GST (registration num­ ber R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual support (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PL, Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614)891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Fea­ ture articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through public and university libraries. copies: For a fee, photocopies of articles are available through Customer Service, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; or tele­ phone (614) 794-5890. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clear­ ance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publi­ cations, The American Ceramic Society, 735 Ceramic PL, Westerville, OH 43081, USA. back issues: When available, back issues are $6 each, plus $3 shipping and handling for first issue and $1 each additional issue (for international orders, shipping/han­ dling is $6 for first issue and $2 each additional issue). postmaster: Send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested. Copyright © 2002 Ceramics Monthly November 2002 The American Ceramic Society All rights reserved 2

Ceramics Monthly November 2002 4 NOVEMBER 2002/Volume 50 Number 9

featu res

32 Josh DeWeese Stoneware and porcelain pots at Lill Street Art Center in Chicago

34 Whatever Floats Your Boat by Peter Lange Testing the seaworthiness of kiln design

38 HOW Deepa Life? by John Jessiman Reflecting on the value of a wide variety of artistic experiences

44 Cedar Creek's Fifth Teapot Competition by Kathy watts A juried exhibition of functional and sculptural teapots

48 Preserving a Wedding Dress...Ceramic Style by Jen champiin Technical challenges of constructing and firing a slip-coated-fabric sculpture

50 Tasamaj Mengistu by Ruth Mason Ethiopian emigrant brings her pottery tradition to Israel

53 ScOtt Dooley by Glen R. Brown Austere structures in eccentric postures

58 Bob Reed: Landscape and Motion by vonD. Alien Handbuilt stoneware sculpture

62 James Klueg's Intentional Ceramix by Paul Berger Projected images for compositional precision

65 Sarah Spademan's 95 Species by scott Ruescher Building a wholesale business

92 A Living From Potting? by Henry Bollman From the CM Archives First published in August 1953 (Volume 1, Issue 8) departments

10 letters 12 upfront 24 new books 28 video 68 call for entries 72 suggestions 76 calendar 88 questions 94 classified advertising 96 comment: Thoughts On Cheating by Dick Lumaghi 96 index to advertisers

cover: "Bottle," 27 inches (69 centimeters) in height, wood-fired stoneware, by John Jessiman; page 38. Photo: Taylor Dabney

Ceramics Monthly November 2002 5 upfront

12 Dinnerware in Santa Fe Place settings and serving pieces at Santa Fe Clay in New Mexico 12 Tilework in Minneapolis Nontraditional work at the Northern Clay Center in Minnesota 12 James Campbell Vessels with landscape imagery at Alpha House Gallery in Sherborne, England 12 The Clay's the Thing A performance involving clay and the making process at Noh Space in San Francisco 14 Raven Revel in Baltimore Invitational exhibition of functional ware and sculpture at Baltimore Clayworks in Maryland 14 Pam Lethbridge Mixed-media figures at exploding head gallery in Sacramento, California 16 Claire Salzberg Earthenware sculpture at the Canadian Guild of Crafts in Montreal, Quebec 16 Ingrid Hendrix Sculpture and wall pieces in the Pearl District in Portland, Oregon 16 Contemporary Ceramics in California Invitational exhibition of works by eight artists at exploding head gallery in Sacramento 18 Andy Goldschmidt Sculptural vessels at Steve Elmore Indian Art Gallery in Santa Fe, New Mexico 18 McKnight Recipients Show Functional and sculptural works created by fellows and residents at the Northern Clay Center in Minneapolis, Minnesota 20 Teapot Exhibition in Los Angeles Works by 26 artists at del Mano Gallery in California 20 Barbara Hanselman and Glenn Hudson Handbuilt and wheel-thrown vessels at Gardo’s Gallery in Manayunk, Pennsylvania

Ceramics Monthly November 2002 6 Ceramics Monthly November 2002 7

began the class by throwing teabowls, and letters brought us all back to our own beginnings of learning to throw. In a week, we had enough work to fill a salt kiln—all simple forms, cups, bowls, Grateful for Role Models etc., with simple slips and glazes. Shaner’s I was delighted to see the reprint of Dor­ glazes had long been favorites of mine, and othy Perkins’ article on slip combing in the he shared the recipes freely. He also handed September 2002 issue of CM. I was privi­ out copies of clay body recipes and exercises leged to be one of her students (1955-58 for our backs. Rhode Island School of Design). I remember feeling so at ease with him Dorothy and Lyle Perkins were a re­ as he worked alongside us, talking about markable and dedicated teaching team; they studio life, the Archie Bray Foundation, a opened doors to opportunity I never commission for 50-some teapots for a com­ thought possible. They were my role modelspany to give to its employees. and they helped launch my academic career At the time, I was working full time at a (professor emeritus, Rhode Island College). nowhere job, raising a family and trying The couple set the standard toward desperately to spend some time in my clay which one should strive. I am still trying, studio. That class with David Shaner in­ and shall always be grateful to them. spired me to give notice to my employer a Richard A. Kenyon, Foster, RI few months later, and become a full-time potter. I’ve never looked back. Creative Itch From the 1950s, when I bought my first Today, I don’t hesitate to take on large Ceramics Monthly, I’ve seen a very nice orders for my work. I find I crave the soli­ hobby magazine grow into a first-rate publi­ tude of my studio, a place to center my cation. Its appeal to beginner and profes­ thoughts and ideas. sional is nondivisional. David Shaner inspired me to not be I don’t always agree with some of the afraid of commitment to the studio. He will letters’ philosophical thrusts, but so what? A be missed. new idea is always a creative itch, for which Chris Freyta, Ainsworth Hot Springs most of us are thankful. BC, Canada Gilbert Kulish, Doylestown, PA Larger Type Like most Ceramics Monthly readers, I have No More Crap been a fan for years. I am not yet 40 years I have every issueCeramics of Monthly since old, though, and recently thought that I its beginning. But I have been very disen­needed reading glasses for the first time. Ah chanted lately with the magazine’s choice ofand alas, it’s not my eyes; it’s the magazine’s ugly things called pottery. I would like to new “look.” see intelligent, inspiring wheel-thrown or I’m really not thrilled with the con­ sculptural forms and glazes of museum densed type now in use. I understand about quality. Please, no more crap. saving trees and getting as much info per L. B. Peterson, El Cajon, CA page as is possible but please, not at the sake of my Ceramics Monthly enjoyment. Pushing the Envelope I’ll keep reading. I just didn’t want to I would love to see more cutting-edge, start squinting yet. experimental and expressive workCeram­ in Linda Gossett, Dallas, TX ics Monthly. I would also like to see more mixed-media work that is being done with Continued Enjoyment clay as one of the materials. The new format is stunning! I have been Keep on pushing. subscribing since 1969, and continue to Jonathan Mess, Turner, ME enjoy the articles and discussions. Sue Dean, Fairbanks, AK An Inspiration to All I was saddened to learn in the September In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, 2002 issue of the passing of David Shaner. I the editors welcome letters from all readers; some was lucky to have spent a week with him in editing for clarity or brevity may take place. All letters January 1990, at the Banff Centre for the must include the writer’s full name and address, but they will be withheld on request. Mail to Ceramics Arts in Alberta, Canada. Monthly, 735 Ceramic PI., Westerville, OH 43081; Our group consisted of ten functionale-mail to [email protected]; or fax to potters, all with our own studios. Shaner (614)891-8960.

Ceramics Monthly November 2002 10 Ceramics Monthly November 2002 11 ber 2, the show features tilework by Fuller Cowles and Constance upfront Mayeron, Minnesota; Paul McMullan, Michigan; Annabeth Rosen, California; and Aurora Hughes Villa, Illinois. An assistant professor of ceramics at Siena Heights University in Adrian, Michigan, Paul McMullan creates tiles that explore collage Dinnerware in Santa Fe through the layering of silk-screened, painted and relief imagery. “My “For the Table,” a curated exhibition of functional place settings andwork is a reaction to internal force rather than external,” he explained. decorative service pieces by over 60 ceramists from across the United“It is about the inner workings of a white/working class!first generation States, was on Irish/English/American that can’t stop the pounding in his hands to view through Oc­ make, to collect and organize, to carve and draw.” tober 5 at Santa Fe Clay in Santa James Campbell Fe, New Mexico. Vessels with landscape imagery by James Campbell can be seen through The place set­ November 16 at Alpha House Gallery in Sherborne, England. For the tings, along with most part, Campbell produces functional forms, such as jars, bowls, and candelabra, vases, jugs, then paints their surfaces with slips and oxides. teapots, serving bowls, and plat­ ters, were dis­ played on a 45- foot banquet table complete with tablecloth, flowers and candles. Place settings and decorative service pieces by over 60 The works on ceramists were exhibited on a 45-foot banquet table; view represented at Santa Fe Clay, Santa Fe, New Mexico. a wide range of contemporary processes, from handbuilding and throwing to assem­ bling slip-cast elements, using a variety of clays and glazing techniques.

Tilework in Minneapolis The Northern Clay Center in Minneapolis, Minnesota, invited five artists who use tile in nontraditional ways to present their work in “Breaking the Plane: 3 Dimensions in Tile.” On view through Novem­

James Campbell’s “Leaning Flat Jar,” 49 centimeters (19 inches) in height; at Alpha House Gallery, Sherborne, England. Born and raised in Scotland, Campbell now lives in Wales; the images on his pots reflect both areas. They are dark and moody— imparting a strong sense of the Pembrokeshire coast and the rolling hills, fields, beaches and cliffs.

The Clay's the Thing Conceived by potter/actor Libby Zilber,The Clay Play was recently performed by members of the Theatre of Yugen and Noh Space in San Francisco. “The desire to combine clay and theater has been brewing in my head for many years,” Zilber commented. “Since these are my two forms of expression, I have suspected for some time that they would inevitably interweave. “As we sculpted’ the piece, certain aspects were immediately appar­ ent, whereas others took shape over time. The main character of the

Paul McMullan’s “Not Again,” 15 inches (38 centimeters) in height, terra cotta; piece was irrefutably a potter as Everyman. The subject matter was to be at the Northern Clay Center, Minneapolis, Minnesota. art and art-making; it was to be Zen spirituality and Buddhism’s natural

Ceramics Monthly November 2002 12 Ceramics Monthly November 2002 13 upfront overlap with Noh form. The conflict was Everyman’s: battling the incessant inner voices that hamper our life and work. The conflict was personal: how do I justify the focused, inwardly oriented life as an artist while listening to the cries of suffering from the world?” In the play, “there are three actors who portray Potter and her opposing inner voices—Black and Orange,” Zilber continued. “Black judges every pot the potter throws, second guessing if the walls are thin enough and nagging the potter about her overdue order for nesting bowls. Orange is the Zen priest, moving with meditative grace and reminding Potter to breathe, to connect with the clay....Potter literally wrestles with herself as mud slings between her and Black. Later, Black and Orange sculpt slab masks onto Potters face in a metaphoric search for her identity. A sacred prayer dance (in Noh style) unifies the heart and mind, after which Potter returns to her wheel once more as she completes (and keeps) her final pot.”

Raven Revel in Baltimore In an unlikely pairing, Baltimore Clayworks in Maryland has combinedRon Meyers platter, 16 inches (41 centimeters) in height, earthenware; ceramics and the sport of football, hosting “Raven Revel,” an invita­at Baltimore Clayworks, Baltimore, Maryland. tional exhibition of functional and sculptural works inspired byIn the conjunction with the opening of the show, Donna Billick pre­ raven, the mascot for Baltimore’s professional football team. When sented a workshop on mosaics. On November 9—10, Ron Meyers will also present a workshop on surface and form.

Pam Lethbridge Philadelphia artist Pam Lethbridge’s sculptures—made of clay, fabric, doll parts and found objects—are on view through November 30 at exploding head gallery in Sacramento, California. “My career as a

Stephani Stephenson’s “Raven Tile,” approximately 6 inches (15 centimeters) square, stoneware. directors at Clayworks discovered that California ceramist Donna Billick is the sister of Brian Billick, the Baltimore Ravens’ head coach, they asked her to curate an exhibition that would celebrate both clay and the 2001 Super Bowl winners. Her response was to ask 21 artists from across the country to create work that was inspired by the raven. On view through November 9, the show features everything from functional forms, such as Ron Meyers’ platter, to sculptural tiles, such as Stephani Stephenson’s “Raven Tile.” Pam Lethbridge’s “Water Children Series,” to 221/2 inches (57 centimeters) Along with the usual reception open to the public, Baltimore Clayworksin height, porcelain with hand-welded skirts; at exploding head gallery, invited players from the Ravens team to attend a private event. Sacramento, California.

Ceramics Monthly November 2002 14 upfront psychotherapist and commitment to engaging the personal uncon­ scious has fully influenced my work as an artist,” Lethbridge explained. “I am uncovering shadow imagery, exploring domesticity and ritual in relationship to the unconscious. The assemblage process I use incor­ porates clay, found objects, fabric and, most recently, actual doll parts. The crudeness of my work accurately expresses, for me, the essential­ ness of the psyche’s primary process, as well as its ancestral/familial rudiments. These constructs, which lie beneath it all, are influencing my every move.”

Claire Salzberg Ceramic sculpture by Quebec, Canada, artist Claire Salzberg can be seen through November 2 at the Canadian Guild of Crafts in Montreal, Quebec. Constructed from red or white earthenware and surfaced with

Ingrid Hendrix’s “Loser,” 15 inches (38 centimeters) in height, with underglaze, paint, varnish and polyurethane; in the Pearl District, Portland, Oregon. denominators among human beings. They are models for our existence and affect the way we relate to the world and to each other. “Lately, I have been concentrating on the Good Mother archetype. I use her as a representation of all women. She is both good and evil, nurturing and destructive, and chaste and titillating. She contains many such dualities, as does every woman and every human being. Women, although they are not one-dimensional stereotypes, are often portrayed Claire Salzberg’s “Union Stamp Shoes,” 17 inches (43 centimeters) in height, and viewed that way in our society. earthenware with glaze and oil paint; at the Canadian Guild of Crafts, “With my work, I want to reveal the complexities contained within Montreal, Quebec, Canada. each woman, while, at the same time, showing the connections between underglazes, stains and glazes, most of the pieces in the show “areall women,” Hendrix concluded. “By using archetypal symbolism, I am inspired by the life around me in Montreal,” Salzberg explained. “Theshowing that every woman is connected to elemental ideas seen in myth humor and pathos of certain situations and events inspire me to createand areligion. However, the biases and prejudices we experience do not work. Friends, family, neighbors, store owners and people on the streetcome from archetypal sources. These come from society.” are a continual source for ideas. Working from photos, adding elements of imagination and fantasy, I celebrate the life and personality” of eachContemporary Ceramics in California person. “Approaches to the Art of Ceramics (there’s a method to this madness),” an invitational exhibition of works by eight artists, was presented re­ Ingrid Hendrix cently at exploding head gallery in Sacramento, California. The art­ Sculpture and wall pieces by Oregon artist Ingrid Hendrix were amongists—Eileen Goldenberg, Carol Wedemeyer, San Francisco; Arthur the works on view in “City Fusion,” a multimedia exhibition heldGould, in a Grass Valley, California; Dick Hotchkiss, Nevada City, Califor­ gallery space in the Pearl District in Portland, Oregon. “In my work,”nia; Kathleen Kneafsey, Huntington, West Virginia; Lola Logsdon, Ft. Hendrix observed, “I use the figure, along with religious and animalCollins, Colorado; Jesse Martin, Orangevale, California; Todd Turek, imagery, to explore the depths of human consciousness and its uncon­Alamosa, Colorado—were each asked to contribute eight pieces. scious roots. I try to reveal what lies underneath the surface of everyLola Logsdon characterizes her work as “sculpture using the vessel as human being.” Hendrix also examines “archetypal themes that cansubject be matter. To me, the clay vessel is the most appropriate vehicle for seen in every culture and within every human being. Theseaccommodating archetypes contemporary interactions, contrasts and conflicts be­ are contained within our collective unconscious and serve as commontween the corporeal and the spiritual. Focusing on polarity as comple-

Ceramics Monthly November 2002 16 upfront the essence and spirit of Southwestern cultures both past and present. My artistic production of sculptural vessels has been inspired by South­ western motifs found in pottery, weaving, basketry and petroglyphs.” tion rather than opposition, I intend for my pieces to explore a balance While most of his work is constructed from earthenware, he has of tensions through dichotomous interactions, as well as the obvious“more recently been making more spontaneous stoneware sculptures aspects of organic forms and figurative references. “Considering pottery’s inherent association with physical contact, all of my works have sensual surfaces, which are inviting or intriguing to

Andy Goldschmidt’s “Windscape,” “Summer Dreams” and “Coyote,” to 29 inches (74 centimeters) in height, coil-built and burnished earthenware; at Steve Elmore Indian Art Gallery, Santa Fe, New Mexico. intent on expressing human feelings and emotions in an abstract con­ text. I find great pleasure in the challenge of giving the clay in my hands expressions of permanence, love, birth, growth, wonder and discovery.”

McKnight Recipients Show Vessels and sculpture by 2001 McKnight Artist Fellowship recipients Margaret Bohls and Robert Briscoe (Minnesota), as well as by McKnight Residency recipients Arina Ailincai (Canada), Mika Negishi (Kansas) and Davie Reneau (Kentucky), were exhibited through September 8 at the Northern Clay Center in Minneapolis. Currently an art instructor at Garden City Community College in Garden City, Kansas, Mika Negishi coil builds her forms, drawing on

Lola Logsdon’s “#9142,” 10 inches (25 centimeters) in height, thrown and altered stoneware; at exploding head gallery, Sacramento, California. the touch, and an intimate scale,” she concluded. “I want each to have an individual character, a predominantly benevolent ‘resident presence,’ which may take time to recognize.”

Andy Goldschmidt Sculptural vessels by Corrales, New Mexico, artist Andy Goldschmidt were exhibited through October 20 at Steve Elmore Indian Art Gallery in Santa Fe, New Mexico. The vessels were coil built from earthenware, with a shallow, bisqued bowl used as support. Colored slips were brushed and airbrushed on the leather-hard forms, then the surfaces were burnished with a stone. “Lids” were built by joining the edges of two thin slabs. Finally, the pieces were once fired to Cone 06. Goldschmidt is “intent on finding connections between times and places, between peoples and cultures, and in the timeless metaphors of the vessel and sculpture as the embodiment of man. From many years of restoration of American Indian pottery, I have been surrounded Mikawith Negishi’s “Bridge,” 20 inches (51 centimeters) in height, earthenware

Ceramics Monthly November 2002 18 Ceramics Monthly November 2002 19 upfront her interest in human body parts to create new biomorphic forms. “I intend to create tensions within the form itself,” she explained. “These tensions can be seen as sexual tension or tension between individuals in everyday life.”

Noi Volkov’s “Warhol,” 11½ inches (44 centimeters) in height, $2200; at del Mano Gallery, Los Angeles. ceramics, I was able to employ various textures and dimensions, which perpetuated my quest to expand the limits of art by incorporating different styles, structures and techniques.”

Barbara Hanselman and Glenn Hudson “Elemental Clay,” an exhibition of handbuilt and wheel-thrown vessels by New Jersey artists Barbara Hanselman and Glenn Hudson, was on view through August 11 at Gardo’s Gallery in Manayunk, Pennsylvania. Hanselman uses paper-thin strips of colored clay cut from slabs to create her pots. The clay strips are pinched to form a base, then to each other to make the walls of the piece. The wet surfaces are enhanced with engobes and stains.

Robert Briscoe’s “Vase,” 14 1/2 inches (37 centimeters) in height, stoneware with colored slips and ash glaze; at the Northern Clay Center, Minneapolis. Harris, Minnesota, studio potter Robert Briscoe studied at Kansas State University, then completed three apprenticeships before opening his own studio. He produces functional stoneware with ash glazes. Barbara Hanselman pitchers, to 6Y2 inches (17 centimeters) in height, handbuilt Teapot Exhibition in Los Angeles stoneware with glaze; and Glenn Hudson vessel, 8 inches (20 centimeters) “Hot Tea!” an exhibition of teapot forms by 26 artists, was on viewin height, raku fired; at Gardo’s Gallery, Manayunk, Pennsylvania. recently at del Mano Gallery in Los Angeles. Among the works pre­ Hudson’s wheel-thrown vessels are influenced by his love for nature. sented was “Warhol” by Maryland ceramist Noi Volkov. “My artIn is fact, before he began making pottery, Hudson’s appreciation of generally based on the classics of past generations. When I attended thenature led him to gardening, raising orchids and designing flower Mukhina College in St. Petersburg, avidly visiting Hermitage Museum,arrangements. His latest clayworks replicate classic forms of the past I meticulously studied the works of old masters. My favorite artiststhat evolved from natural shapes—the bud of a peony or any. open lil include Vermeer, Rembrandt and da Vinci. Submissions to the Upfront column are welcome. We would be pleased to consider “In the 1970s, I decided to incorporate famous characters of classic press releases, artists’ statements and original (not duplicate) slides or transpar­ art into my own contemporary pieces, placing these characters into aencies in conjunction with exhibitions or other events of interest for publication. modern setting and surprising scene,” Volkov noted. “Working Mail in to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.

Ceramics Monthly November 2002 20 Ceramics Monthly November 2002 21

glazing in many books and periodicals,” Rogers new books is convinced that the process is not as harmful as it once was thought to be, but that “making unsubstantiated and often false claims based on Salt Glazing nothing more than conjecture, outdated data or by Phil Rogers ignorance is dangerous.” He points out that “Salt glazing is perhaps the most capricious there are real health and safety concerns when of ceramic processes,” states the author of this firing any kiln, for which precautions should well-illustrated look at contemporary work. “Onalways be taken. the one hand, fundamentally simple; on theThe remainder of the book profiles 27 artists other, requiring meticulous control, an almostwho salt fire their work. Rogers provides back­ intuitive sense of timing and an instinctiveground un­ information on each potter, as well as his derstanding of the mechanics of the firing. Inor the her making, decorating and firing methods. hands of the modern studio potter or ceramicist,Photos of the artists’ works, as well as their the process can be the catalyst for great creativity.working environments, are included, and most The scope for experiment is endless; witness theinclude recipes. 240 pages, including appen­ great variety of approachdixes on firing logs of three potters, recipes, within these pages. analysis of clays from the book, list of materials There is a limitless po­ and equipment suppliers, websites, and cone tential for surfaces andand temperature conversion table; bibliogra­ colors of unsurpassablephy; and index. 255 color photographs; 30 richness and variety.”sketches. ISBN (Great Britain): 0-7136-4821-X. Rogers goes on to ISBN (United States): 0-8122-3689-0. £30/ note that there is “no US$49.95.A dr C Black Publishers, Alderman single way.” Each salt- House, 37 Soho Sq., London W1D 3QZ; see glazing potter has his or her own version, andwebsite www.acblack.com. Published in the United each is likely to insist that her/his way is better.States by University of Pennsylvania Press, 4200 “The truth is that most approaches work, and Pine St., Philadelphia, PA 19104-4011; see website it is the subtle differences of texture and colorwww.upenn.edu/pennpress . between them that mark one potter’s materi­ als, kiln and methods from another. Salt glaz­ The Pot that Juan Built ing is notoriously inconsistent, yet consistencyby Nancy Andrews-Goebel in one’s approach from firing to firing is the This nicely illustrated children’s book tells key to success.” the story ofJ uan Quezada of Mata Ortiz, Mexico, After identifying the clay bodies, slips andin the rhyming format of “The House that Jack glazes suitable for salt glazing, Rogers discussesBuilt,” beginning with “This is the pot that Juan form and decoration. Issues concerning thebuilt,” salt then “These are the flames so sizzling hot/ kiln itself—location, materials used, kiln design, That flickered and flared choice of fuel—are examined next, then the and fired the pot, The construction of a small salt kiln is described beautiful pot that Juan (accompanied by photographs). Diagrams of built,” and so on. specific kilns are also included. As the rhyme devel­ Rogers also addresses environmental con­ ops on the left-hand cerns about salt firing, providing viewpointspages, the text on the facing pages details from several potters who have researched the Quezada’s life and pottery-making methods. effects. “For many years it has been assumedFor that instance, “Juan makes paint out of local salt glazing is both injurious to the environmentminerals, such as black manganese and red iron and to those who come into close contact withoxide. He makes paintbrushes from human hair. the kiln during a firing. I have always takenHe the says that some of his best brushes are fash­ view that in firing my salt kiln eight times a ionedyear, from children’s hair, especially his my contribution to global pollution is trivialgranddaughter’s. in Since very little hair is used to the extreme when compared to the huge scalemake a paintbrush, no one minds giving Juan emissions from heavy industry and the modern-just a snip to design a pot.” day transport systems that are in place through­An afterword provides additional informa­ out the world. tion about Quezada’s career and how he helped “Despite much quoted and often unsubstan­other residents of Mata Ortiz become potters. tiated reference to the harmful effects of salt 32 pages. ISBN 1-58430-038-8. $16.95. Lee dr

Ceramics Monthly November 2002 24 Ceramics Monthly November 2002 25 new books rary materials and processes. “Throwing is aning at historical pots—understanding form and art, an expressive art; moreover, it is the primaryusing the kiln as a design tool. “Ideas represent means of visual communication of some peo­the beginning stage of the process of making ple. Like other artists, potters must become good pots,” he explains. “Not all will be produc­ Low Books, 95 Madison Ave., New York, 7VF immersed in their art to achieve the highest tive or worthwhile, and 10016; e-mail info @leeandlow. com; or see websitelevels of communication; but unlike somethere other are many reasons www. leeandlow. com. arts, pottery is not transient, but permanent—for discarding ideas— and with this permanency comes a formidablethey may by uninterest­ The Art of Throwing responsibility.” ing or too difficult to by Alex McErlain Following a historical overview of thrownrealize....This selective “The complexities of the art of throwing are pottery from various countries, McErlain processdis­ is important: it masked by the simple communicative naturecusses of the development of ideas for thrownis a way of sifting ideas pots,” notes the author of this look at contempo­pottery—through drawings, for instance, or look­until one in particular catches the attention and is developed further, the possibility of its becom­ ing a reality explored, and this measured against other ideas to judge its relative merits.” Where and how to learn to throw are dis­ cussed next, as are types of wheels, clays and tools. McErlain then covers the throwing pro­ cess, plus forming spouts and pulling handles. In the final chapters, step-by-step illustra­ tions demonstrate how to throw lids, plates, dishes, jugs, pitchers, teapots, bottles, jars, double­ walled bowls and pots in sections. 176 pages, including glossary, bibliography and index. 290 color photographs; 17 sketches. ISBN 1-86126- 484-4. $45.The Crowood Press. Distributed by Trafalgar Square Publishing, PO Box257, Howe Hill Rd., N. Pomfrety VT 05053; see website www. trafalgarsquarebooks. com; or telephone (800) 423-4525.

Ceramics for Kids Creative Clay Projects to Pinch, Roll, Coil, Slam & Twist by Mary Ellis “Have you ever held a piece of cool, soft clay in your hand? It’s so easy to start working it with your fingers to make a face, a bird, or a bowl,” enthuses the author of this how-to guide in­ tended for children. “In fact, for thousands of years, people have been doing just that. Go to a museum, and you will probably see pottery from all over the world that dates back many thousands of years. To­ day, people have electric kilns and wheels and other equipment to help them make pottery. But the basics haven’t changed. We still use our hands, and we still use clay from the earth to make more objects than you can imagine—some useful, some beautiful, some weird.”

Ceramics Monthly November 2002 26 Nicely illustrated, the book is written at awere decorated with figures and patterns, othersof a vase painting... child’s level, with notes to teachers and parents,were plain and painted black all over; unpaintedthat readily captures as well as helpful tips, throughout the text. Aftercoarse ware sufficed for cooking. our imagination.” 164 a brief description of the necessary tools, the “The Greeks delighted in images—men andpages, including select book provides step-by-step information (alongwomen, gods and heroes, children, and all man­bibliography, chart of with photos) for 25 handbuilding projects, in­ner of animals or creatures—but their idea vaseof shapes and index. cluding a goblet, animal bank, face jug, whistle,realism was by no means identical to ours. They91 color and 87 black- taco/letter holder, hanging birdbath, dragon, depicted human and mythological figures un­and-white photographs. lantern house and puzzle-top box. 144 pages,ceasingly, yet all but ignored representationISBN of 0-89236-599-4. including glossary and index. 269 color photo­the word in which they moved....In vase paint­$l4.95,softcover.Getty graphs. ISBN 1-57990-198-0. $24.95/ ing, three-dimensionality was hardly a con­Publications, 1200 Getty Center Dr., Ste. 500, Can$38.95. Lark Books, 50 College St., Asheville, sideration: as a rule, figures have no shadingLos to Angeles, CA 90049-1682; telephone (800) NC 28801; see websitewww.larkbooks.com ; or model their forms....It is the story-telling aspect 223-3431; or see websitewww.getty.edu . telephone (800) 805-5489.

Roxanne Swentzell Extra-Ordinary People by Gussie Fauntleroy Santa Clara Pueblo artist Roxanne Swentzell has a “dirt-under-the-nails connection with the living earth,” observes the author of this nicely illustrated mono­ graph. “It’s a quiet declaration of com­ mitment to things that evolve slowly, taking years to un­ fold. It’s the other side of her art, the necessary living of daily life, out of which arise emotions, questions and observations. In an­ swer to these, her hands offer stories and state­ ments in clay.” Following a brief biography and an essay by the artist’s mother, the book focuses on specific sculptures and Swentzell’s reasons for making them. The final section features step-by-step images of the forming process. 93 pages. 85 color photographs. ISBN 0-937206-77-6. $38.95. New Mexico Magazine, POBox 12002, Santa Fe, NM 87504; telephone (800) 711- 9525; or fax (505) 827-6496; see website www. nmmagazine. com.

Understanding Greek Vases A Guide to Terms, Styles and Techniques by Andrew J. Clark, Maya Elston and Mary Louise Hart A look at the historic and cultural context of ancient Greek vases, this guide is divided into two sections: Attic potters and painters, and vase shapes and technical terms. “In ancient Greece, vases were commonplace,” states Andrew J. Clark in his introductory essay. “Ceramic vases served as containers, either for utilitarian pur­ poses in the home or for religious rituals. Some

Ceramics Monthly November 2002 27 medium. You tear off a piece of clay and it is not video smooth. It’s a rough thing. You put your finger into it and it records your fingertips.” This well-produced video was filmed while Yoland Cazenove Natsoulas was making 18th-century-costumed Ceramiste figures for a recent show at the Crocker Museum Subtitled in English, this nicely filmed videoof Art in Sacramento, California. After research­ follows self-taught French ceramist Yolanding the dress of the period, Natsoulas used 12 Cazenove (who is nearly 90) through his dailyfriends as models; each figure holds something working routine at his studio, which has nothat is special to that individual. running water and no electricity. “I don’t careNatsoulas is shown building one sculpture about discomfort,” he says. “What matters is (using the videographer as his model) during the being able to retrieve unique objects from thevideo. In the final minutes, the work is loaded kiln, truly unique pieces.” into vans and delivered to the museum, where On a long wooden board, he presses coils the exhibition is also videotaped. Approxi­ into thin, curved slabs, which are attached tomately a 30 minutes. Available as VHS video- pinched base to create a teabowl. Later that cassette. $23, includes shipping. Steve Bradford evening, he lights his wood-burning kiln—aCreative Services, 2300 N St., Ste. 1, Sac­ hybrid design with an arched chamber and aramento, CA95816; [email protected] . long brick-covered flue channel leading to the chimney. “The magic of the fire has always castCelebrating the Cycle a kind of spell on me,” he explains. “I could neverThe Wood Fired Pottery have worked with electric or propane-fired kilns.of ” Matt Jones When the raku pieces in the channel reach This nicely filmed video features North Caro­ temperature, he removes several bricks from thelina potter Matt Jones as he works through a six- top, takes out a piece at a time and quenches itmonth production cycle, beginning with the in water. He then brushes on additional glazeblunging of his clay body, and the cutting, and returns the pieces to the channel. “Outsplitting of and stacking of wood for the upcoming this batch,” he comments, “some will make it— firing. He then throws several forms on the a miraculous survival, so to speak.” wheel, commenting that “the focus is always on The final moments of the video showhow to make the best possible pot in the mo­ Cazenove and an assistant removing pots mentfrom of its making.” the arched chamber and cleaning them. He is When the pots are leather hard, Jones smooths “not satisfied until I can see that the fire has giventhe bottoms and trims a foot on one. A spout is the color and the material maximum intensity,attached to a teapot, and a handle to a mug. He maximum effect.” also demonstrates throwing a large vessel by Commentary about Cazenove’s work andattaching and throwing coils. career by gallery owners, a collector and museumWearing a respirator, Jones mixes a glaze, curator is interspersed throughout the film. 35then goes on to decorate leather-hard pots with minutes. Available as VHS videocassette. $40,glazes and slips. He also adds some glass shards plus shipping.Societe des Artistes Orleanais, 24, to some forms to develop decorative runs. rue Vandebergue de Villiers, 45 100 Orleans, While loading his three-chambered wood France; e-mail benoit[email protected]. Or kiln, Jones observes that “kiln space is a precious Philippe Gasnier, 10, rue du port, 45430 Bou,commodity when so much preparation goes France; e-mail [email protected]. into each load of pots and great care is taken to use space to the full advantage.” Barococo The first chamber takes advantage of the ash; Ceramiques by Tony Natsoulas the second and third chambers are not held at “People make this mistake when they look at high temperatures for long, so Jones loads the my work; they think that what I’m doing issecond with pots that have more elaborate deco­ making lumpy sculptures,” explains Californiaration and the third with unglazed garden ware. ceramist Tony Natsoulas in this video aboutThe his kiln is preheated for two days, then fired to latest series of figures. “In fact, I’m trying peakto temperature (when salt is added), and make them look handmade and I’m trying tocooled for five days. 32 minutes. Available as show that they’re made of clay, and show thatVHS videocassette. $33.Jones Pottery, Attn: David my mark is on them. I don’t believe that clayJones, 209 Big Sandy Mush Rd., Leicester, NC should be nice and smooth. It’s an expressive28748; see websitewww.jonespottery.com .

Ceramics Monthly November 2002 28 Ceramics Monthly November 2002 29

Josh DeWeese

Salt/soda/wood-fired porcelain and stoneware by Josh DeWeese, director of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, plus works by the 2002 artists-in-residence at the Bray, are on view through November 3 at Lill Street Art Center in Chicago. A resident artist at the foundation during the late 1980s, DeWeese has been its director since 1992. He is “interested in how pots can be used every day to bring art into our lives, enhancing our experience with food, adorning our homes, and provid­ ing a necessary ritual to nourish our souls and minds as well as our bodies. I try to make pottery that is successful in several ways—comfortable to use, enjoyable to look at and interesting to think about. “Comfort of use is the most primal, and perhaps the most complex level of communication. We all marvel at a well-balanced pouringseems pot that to have the right weight, not too heavy nor too light, with a well-engineered spout capable of delivering the liquid into the cup and not able.onto the t

How the pot feels in the hand, the touch of fingers exploring the sensation Servingof plate, 10 inches (25 centimeters) in height, the surface, may evoke thoughts and feelings not reached in other ways.wheel-thrown The and altered stoneware, soda fired. Tureen with tray, 10 inches (25 centimeters) in height, wheel-thrown and fluted porcelain, soda fired.

handle on a cup finds a particular friendship in the right hand, and each hand’s favorite makes its way to the front of the cupboard. It’s a process of natural selection, as the right cup is reached for in the precaffeine hours of the day. “The beauty of a glaze on a form can create a sensuous attraction to a pot,” DeWeese continued. “Often, the color is indescribable—it’s sort of a green or sort of a yellow. The depth of the surface reveals different colors upon further inspection, and the color takes on differ­ ent definitions as the pot is enjoyed.” His wheel-thrown and altered pots are salt, soda andlor wood fired. “I’m drawn to the beauty and mystery of high-temperature melting and the element of chance that occurs in atmospheric firings,” he explained. “Wood firing and salt/soda firing are processes whereby extreme surfaces can be achieved, in the subtle qualities of raw clays and the vibrant depths of a running glaze.” DeWeese theorized that perhaps the greatest power of pottery “lies in its association with the human body and with being human. The language of pottery is the language of the body, with necks and feet, bellies and shoulders, and lips to touch our lips. The intimate rela­ tionship that develops with use strengthens this association.”

Jar, 12 inches (30 centimeters) in height, glazed porcelain, soda fired, by Josh DeWeese, Helena, Montana.

Ceramics Monthly November 2002 33 Whatever Floats Your Boat by Peter Lange

Bricks are often overlooked in perhaps it was always going to the public’s perception of all be a winning combination. that is good and great in clay, I had visited Svend Bayer regarded as useful, low-tech in North Devon, England, in building materials rather than 1995, and sat in his amazing as interesting ceramic objects. anagama, awestruck by the in­ Admittedly, individually, they ternal form. I made two can be pretty boring and re­ flippant comments to him that petitive, but occasionally a day, neither of which (nor my gem crops up, especially from visit) he will probably remem­ old kilns under demolition. ber. One was that it should The collective use of bricks, not be fired but instead en­ what I suppose is called brick­ tered into the Turner Prize for work, also ranges from banal sculpture. The other was that to sculptural. Henry Moore if we turned it over and took used bricks in relief panels, it down to sea, it would prob­ and kilns often take on sculp­ ably float. He wasn’t keen on tural forms. either idea, but I was con­ I love bricks and brick­ vinced that the floating one work, and for some time have Peter Lange astride the completed hull of his brick boat “Anagama.” was worth pursuing when I wanted to make them float. I returned to my studio in have made them float in the past by slip casting them, and placingAuckland, City of Sails, home of the Americas Cup. Alas, I am them in tanks of water, but to make real bricks seaworthy had one of the few New Zealanders who knows nothing about boats. become a minor obsession. If I could not borrow an anagama for research, I would make The successful intersection of physics and art can producemy own. I needed time and money, and that took until last year to strange illusions, sometimes a momentary sensory fillip and oftenaccumulate. (It is now the intersection of four elements: time, downright fun. But it needs more than those to produce a workmoney, art and science—what chance of that in a potter’s life?) A that is also capable of moving on past the initial intake of breath local brickmaker, one of the last to survive the avalanche of to become an enduring sculpture or performance. To be honest,imported bricks, supplied very dense bricks fired to1180°C that aim was the last thing on my mind when I gave myself three(2156°F), difficult to cut, but very strong. If I had not been so months to build a boat from brick that would float for at least an impatient, he would have made them to shape (arch, tapered, hour. That it became a strong sculptural piece is gratifying, al­rolled edges) within three months and saved me most of the though the cynic in me sometimes reflects on the fact that anycutting, but my timetable was set. One day into the cutting, I form roughly in the shape of a boat is going to strike a sympa­regretted turning down his kind offer. I had ordered680 bricks thetic chord within the breast of most observers; on top of that, (commons measuring23x75x100 millimeters); I used676 and in anything made of brick generates a similar warm response, sothe end had to cut about half of those.

Ceramics Monthly November 2002 34 The question of sticking the bricks together was more compli­ cated. Ordinary cement mortar was not going to be strong enough to withstand being squeezed into a sling, picked up by a crane and flipped over. I was not so worried about the forces on the struc­ ture once it was in the water, because the arch shape (no particular type—Norman amidships, moving to Gothic at the ends) would have been under compression, the state arches enjoy most. I have worked in demolition in the past and know how brickwork tends to crack along the mortar joints. I tested strong refractory mortar by jumping on a cantilevered slab (not strong enough and a day lost with a bruised foot), and I tested polyurethane and silicone glues (flexible but expensive), eventually selecting a two-part ep­ oxy that set rockhard and could successfully be filled out with An angle-steel frame defined the gunwales and provided support sand to form a mortar. This time, when I jumped (in boots) on for the courses of brick. the test slab, the brick broke, not the joints. Of course, now that I was using a glue that was stronger than the bricks, whatever shape I formed would have its own structural integrity, a bit like rein­ forced concrete, and would no longer be relying on the properties of the arch. The glue turned out to be the most expensive part of the project. I had an engineer fabricate a 75x75-millimeter angle-steel frame to the oval shape of the gunwales, coming to a point at both ends. Designing a boat like this is seat-of-the-pants stuff. For one

Rolled-edge bricks and thin face bricks were applied over the steel gunwales.

As the hull began to close in, braces were wedged between corresponding bricks on either side of the arch, shortened slightly for each successive course

Once complete, the hull was flipped over by a crane equipped with a rotating sling.

Ceramics Monthly November 2002 35 For stability, the sheet-metal sail was designed specifically The moment of truth...as the boat is lowered into the water, to not catch much wind. Peter Lange is about to learn if “Anagama” will indeed float. thing, there are no books on the subject, and although I am notmost a amazing shape evolved. I say that casually now, but I had no scientist, I pride myself on my fifth form physics exam pass. Soidea what was going to happen, and each row was a delight as I when the engineer asked, “How long?” I said 6 meters, becausewas forced to shape the bricks to fit the form that was virtually out the bit of steel I was looking at at the time was 6 meters long and of my control. it looked about right. I guess there is always going to be a At one point early on, I tried a small variation on the pitch of minimum size for a dense structure like this; any less andthe no arch at one end. It had an incredibly long-reaching effect on combination of dimensions will allow it to float—unless youthe tie shape, but I got away with it—the final shape looks like I 20 inflatable dolls to the sides as suggested by one of my mates. Imeant the boat to have different ends, so one became the bow. suspect 1 meter shorter and it would not have floated using bricks Because the mortar set solid within 30 minutes, I was able to of these dimensions. One-and-a-half meters looked then to beuse the opposite row of bricks to support the row I was working about the right beam, a 4:1 ratio, purely a visual guess. on by fashioning notched sticks that reached across the boat and When it was delivered and laid on its supports, it lookedsupported their opposite numbers as they set into place. I made fantastic. I spent the first three days cutting the first row of bricks,one for each brick and cut them shorter or discarded them as the each cut on a 250-millimeter-diameter diamond saw convertedarch closed over, so no normal internal arch support system was from a bench saw with a Heath Robinson water feed, which needed. I later read that it was a technique used first during the sprayed red slurry all over me. Each day, I would go home withTang dynasty—all I can say is well done Tang team, and I hope red hair (normally gray), red beard and red clothes, a variation youron boats floated as well. the black hair, beard and clothes of my wood firings. My wife The closing-over ceremony involved the insertion of a plug counts herself lucky to have three different men in her hole life, and a small celebration, then a huge crane turned up manned although I suspect she prefers the black of my youth. by a magician who fitted chains, ropes and slings in such an order From then on, it was simply a task of building an anagama,that of within half an hour the 2-ton kiln/boat structure was miracu­ cutting each row to fit, preparing mortar for about 20 bricks at a lously inverted and resting on a wooden cradle. He turned it over time, and laying them to a shape determined by eye—the ad hocwithin two slings; don’t ask me how, because I wasn’t looking approach to design. What happened, of course, was that as long as most of the time. I set a curve at the start on the horizontal plane (the frame shape), Another couple of weeks of finishing, some cosmetic stuff, then introduced a constant curve to the vertical as I went grindingup, the and final sealing of the joints followed. My friend, iron

Ceramics Monthly November 2002 36 sculptor Jeff Thomson, had agreed to swap his skills for some front of a cheering crowd of 200 or so friends, potters and public, firing time. He produced the most wonderful sails—a collapsingthe boat, now christened “Anagama,” and I were lowered into the spinnaker and a reefed mainsail—from roofing iron. He carefullywater, where we wallowed at a line 300 millimeters from the top. made them with minimum surface area, because I was now be­(Bravo to those students!) The rolling was alarming, so 250 kilo­ coming quite nervous about the stability of the boat in anygrams wind. (550 pounds) of ballast was added to the bottom of the With serious brickwork around the gunwales, it had becomeboat; it floated evenly then, but only 200 millimeters (8 inches) quite top-heavy, and while I was fairly confident it would from float the surface. (I’d slip cast a scale model and floated it in the kitchen sink), my “Terracottaman” then took over as captain. He is a busker biggest fear was capsizing in the downtown marina and stoppingwho has a superb ability to stand as a statue, covered in terra-cotta the local million-dollar pleasure craft from letting their owners do slip, for many minutes at a time. This performance taxed his whatever it is that they do in their floating condominiums. nerve to the limit, though. He confided later that he stood so still One of my students, a mathematics professor in real life, hadbecause he was petrified, not being able to swim, dressed in heavy given his class a problem that required them to determine the clothes, covered in clay and rolling around in a pile of bricks over level at which this particular structure would float, givendeep the water surrounded by wires and flame. weight, size, number of bricks, etc. Quite a few came back with an The Maritime Museum provided a steam tug—with a tow estimate of 300 millimeters (12 inches) from the top, a couple rope sensibly 1 meter (39 inches) longer than the depth of the with 10 meters (39 feet) over the top, and one needed to know water—and the “Anagama” paraded around the harbor for two how much beer there would be on board. Another of my stu­hours before being retrieved by the crane. It had floated well, dents, just turned 70, made a 25-kilogram (55-pound) lifebuoyleaked a little, but the visual effect of a brick hole in the water is a for the boat from solid terra cotta. powerful one. The sails were fixed to a mast made from scrap water pipe; To sum up: “If you throw it in the water and it sinks, it’s Art; if concealed inside was a gas line that produced a wonderful flameit floats, it’s Craft.” pennant from the top—after all, the boat is foremost a kiln and a Now, “Anagama” is on dry land, a 2-ton oddity that might celebration of the ceramic culture that has influenced half my eventuallylife. find a home near water, perhaps even on public land. The mast was secured by clothesline wire and turnbuckles. In the meantime, it’ll look just fine beached on my front yard. The New Zealand Society of Potters conference in Auckland was the ideal time to launch the boat. It was also April 1, April The authorPeter Lange is director of the Auckland Studio Potters Fool’s Day, which confused the issue somewhat. However, inTeaching Centre in Auckland, New Zealand.

Terracottaman prepares to board. With its mast proudly “flying” a flame pennant, “Anagama” was towed around the harbor for two hours on April 1.

Ceramics Monthly November 2002 37

How Deep a Life? by John Jessiman

John Jessiman with several works in progress.

While young, we are confronted with a variety of choices major that impact, Val was my mentor. I became his teaching assistant, shape our thought processes, as well as our ethical, spiritual andand throughout my career he has continued to be very supportive. aesthetic philosophy. Over the course of my career, I have often Shortly after I arrived at Alfred, Val took me into the Glory been asked why I chose a particular solution. Why do I attack theHole, a room filled from floor to ceiling with clayworks by all the surface with lines and additions? Why not use more color? Whyformer graduates, plus pieces by famous clay artists. For the first do I mostly stay within the constraints of the vessel? Why time, do I I saw and handled the work of Hamada, Leach, Soldner, wood fire? How do I regard function? In response to such difficultAutio, Takaezu, Price, Shaner and many others. I also saw histori­ questions, I began to examine my artistic journey to understandcal pieces from China, Japan and Korea, and was overwhelmed by the choices made along the way. the diversity of which I had previously been unaware. I was convalescing from a serious auto accident when I beganWhen I recall that first visit to the Glory Hole, I remember to draw as a means of therapy. The drawings that resulted were being intrigued by pots by the Japanese potter Rosanjin. I was my ticket to art school. Marv Reichle, my first ceramics teacher, particularly taken by a cylindrical vase about 12 inches high. It was very inspiring. The two things I remember most about hishad a rough, unglazed, scarred surface, was dark grayish black and teaching were his insistence on being critical and that skill/tech-was very heavy for its size. I had no understanding of the histori­ nique was never the final criterion. I had little trouble with criticalcal, cultural or philosophical issues that this pot represented, but assessment, but his belief regarding skill ran contrary to myof all the wonderful work in that room, it was this vase and the preconceptions. other Rosanjin pieces that I was most drawn to. Marv was critical, but he also was aware of my naivete and the Robert Motherwell wrote that one does not have to under­ need for nurturing. He began to build my confidence, helpingstand me fully to receive pleasure, and this truly was the case for me. develop a critical attitude and a willingness to fail. I entered theVal explained that it was a wood-fired piece of the Bizen tradition. Ball State art program as a young man with no previous At art that time, few art students had seen Japanese wood-fired pots. training, but through the right balance of criticism and under­I loved this new-found work, yet I could not explain why. Cer­ standing was provided a chance to succeed. Looking back ontainly the pot was, according to my standards, much too heavy. It these experiences, I realize I had an excellent teacher. More im­had no glaze, a rough surface and was not symmetrical. Neverthe­ portantly, I came to understand the fragility of early exposures,less, if I could have kept any piece in that room, it would surely and that understanding guided me in the way that I interactedhave been that vase. with my students. Through that experience, I came to understand what Marv Val Cushing was one of the first people I met upon arrivingReichle at had said. Technique is not the final criterion. This pot had Alfred for graduate study. Although all the teachers there had aspirit, life, and embodied a culture. Even though I could not

Ceramics Monthly November 2002 39 identify with or understand all this, it had spoken to me. Thislove and greatly admire his work, but his staircases and furniture experience changed forever the way I look at all art. From thatwere built from preconceived patterns and he had little to do with point on, I no longer judged work by the skill with which it wastheir conception. Art will always go beyond skill, and will reflect created, but began to think of other virtues. the depth and complexity of experience. Craftsmanship can be used to define any well-constructed,During my first year at Alfred, I had the opportunity to skillfully decorated object. My grandfather was an excellent crafts­rebuild a kiln for Dan Rhodes after a firing mishap. While work­ man, who built many of the elliptical and circular staircases in ingthe at his home, I became aware of his tremendous knowledge of elaborate southern Rhode Island homes. He also built wonderfulAsian philosophy and art history. He talked to me about Zen furniture, cutting dovetail joints and fitting them together Buddhism, with­ Bizen ware and the other Japanese traditions, as well out glue or nails. I grew up with a great respect for his workman­as other Asian periods. Dan’s career and life were greatly influenced ship, and struggled when I could no longer consider it art. I stillby his knowledge and love of Asian cultures, but his work was never derivative. He was very inventive and devel­ oped new ways of building large forms. He taught us not to be content with what is known about working clay, but to look for new methods. He believed in the tremendous importance of idea, but he also conveyed the belief that idea must be com­ bined with the properties of material and process. One day, I was at my wheel in Binns Merril Hall when a Volkswagen pulled up under my window. Out stepped Paul Soldner and Ken Ferguson, and my work was soon the subject of a spontaneous and positive critique. That afternoon, Val asked if I would like to ride with Paul and Ken to Wayland, New York, to visit the studio of Ruth McKinley. At Ruth’s studio I saw, for the first time, a wood- fired kiln. Unlike the pots of Rosanjin, Ruth’s ex­ quisite porcelains were quite controlled and delicate, with beautiful patterns from the flames as they rolled through the kiln. The process was similar but the outcome was personal, and although I could not have intellectualized this experience at the time, it has resonated in my memory and has been a source of enrichment. When I started teaching, I was so concerned about being successful that I attempted to answer too many questions and solve too many problems. Although this might have resulted in a lot of work for the student shows, it was very bad and stifling teaching. I learned that the goal must be to develop inquisitive minds. A successful teacher answers ques­ tions by raising new questions and challenges. We as teachers are there to assist students on their artistic journeys, but should never determine the destina­ tion. We should never teach from a specific aesthetic point of view, but should present materials in a broad and general manner, allowing the students to develop their own points of view. Throughout my teaching career, I often recalled that the teachers who meant the most to me were

Bottle, 26 inches (66 centimeters) in height, wood-fired stoneware, with natural ash glaze.

Ceramics Monthly November 2002 40 those who left me challenged, in search of new answers. Despite the fact that some critiques might be negative, the good teacher leaves the student with a desire to search for another an­ swer, to dig deeper. As a teacher, I learned not to provide an­ swers, but rather to raise new questions and try to give the students the tools to find answers. Providing answers deprives them of the discov­ eries that might uncover unanticipated solutions. At each critique, I reminded students that if their work was continuously successful, they were stagnating, and that to be successful as artists meant they must embrace failure. To make the piece made yesterday and repeat the solutions found yesterday may appear to those on the outside of the art world as success, but for the artist, it is stagnation. When I was teaching, I often heard students complain about the art curriculum. They would wonder why they had to take drawing or art history or design. These questions would occur because the students were unable to compre­ hend the value of the experience and thought they were being diverted from their primary goals. I tried to reassure them that it was in their best interest, explaining that I had had the same questions. Ted Randall, for example, conducted a required seminar course that included exten­ sive reading and discussion, and many of my peers initially failed to see its value. They hadn’t come to Alfred to sit around a table talking about philosophy. Years later, I came to credit this course, plus several undergraduate coursesStoneware teapot, 11 inches (28 centimeters) in height, wood/salt fired. in art history, literature and philosophy, with building my intellectual confidence and curiosity, andhave greatly to look at the paintings of Rubens? Picasso? Miro? Mother- enhancing my ability to engage students and colleagues inwell? discus­ Rothko? The obvious answer to all of these questions is no. sions on various subjects. We can sit at our wheels and spin out pots all day, but without a I grew up in a very small town in New England, anddepth had of experience and an intellectual curiosity, our work cannot expected to pursue a life in farming, logging or sawmilling. Duehave richness, diversity and the sensuality that great art demands. to my work schedule, I had little time for school and was a poor My thoughts are summed up in one line from James Joyce: “Out student. When I entered college, I had not read a novel or seenof how a deep a life does this art spring?” movie. I would retreat into a shell and not allow myself to become As artists, we must avoid the preconceived cliche and the engaged in discussions about them. Later, when I encounteredcleverness of easy solutions. Superficiality has no place in art. students asking why they had to study art history, or whyWork they that depends more on technical proficiency and cleverness had to read novels or philosophy, my experiences and the realiza­than on vitality and personal vision will be hollow and uninspiring. tion of their value provided me with some answers. The very word craftsmanship denotes skill, but skill in and of Herbert Read once wrote that “Art is not created in a void, butitself can never be a value judgment in any of the arts. It is simply is inextricably bound to all of our life experiences.” The something more that allows us to accomplish a task with certainty, experiences and exposures we have, especially in our formativedirectness and economy; in that sense, De Kooning, Motherwell, years, the more we have to draw on as artists. Kline, Stella, Voulkos, Autio and Arneson are equal in craftsman­ Do we have to read and attempt to understand Shakespeare?ship to Rembrandt, Renoir, Wyeth, Duckworth, Rie, Hamada Keats? Harding? Proust? Do we have to listen and attempt toand Binns. The style or genre of the work is different, but the skill enjoy Mozart? BB King? Miles Davis? Hank Williams? Do weis adequate in each example to convey idea or meaning.

Ceramics Monthly November 2002 41 Marguerite Wildenhain wrote that “tech­ nique alone has no meaning: as in poetry, the most perfect rhyme and verse without a valuable thought and emotion would not make a poem.” During critiques, I often asked my stu­ dents to explain their problems. Invariably, they would say they weren’t able to make the form thin enough or they were having trouble making the piece tall enough, the shape round enough or getting the lid to fit. Almost never would I have a student question the content of the work. Our stu­ dents (and perhaps our culture in general) are fixated on technical virtuosity and un­ prepared to search for thought. Originality is likewise difficult, and as with technical proficiency, there is no easy answer. When starting art school, I was taught that originality of idea and style was the most important achievement. The very concept created an elitist separation between the artist and society. We were taught that present-day art was new, personal and a total break from tradition. We saw the works of Pollack, De Kooning, Warhol, Rothko, Nevelson and Motherwell as liberating. Some years later, after reading the writ­ ings of Motherwell, Picasso, Miro and oth­ ers, I began to see things differently. I came to understand the many influences in their development. For Picasso and Matisse, it was the discovery of African art; for Motherwell and Rothko, it was the art of the American Indian; and for Henry Moore, it was pre-Columbian figures. I have since come to view originality as an outgrowth of tradition, rather than ne­ gating or contradicting it. Ted Randall once said that he had stopped trying to make the pot that had never been made, but wanted to make the pot that recalled all pottery. Wood-fired stoneware lidded jar, 10 inches (25 centimeters) in height, with natural ash glaze. I have often heard potters complaining that they are not taken seriously in the art Several years ago, I was listening to an interview with Arturworld, and many attribute this problem to the belief that func­ Rubenstein on the radio. He had just returned from an invita­tional requirements trivialize their work. Pottery, painting, sculp­ tional concert tour throughout the Soviet Union, from whichture, he architecture and all other forms of art can be trivial or had been exiled most of his adult life. The interviewer asked himprofound; that judgment has little to do with function. We need how he found the state of music and the piano in particular. onlyHis drive through suburbia to see architecture and sculpture that answer was quite startling, as he said that he had found countlessis trivial and uninspired. The most important point to make with students who could play better than he could. The interviewerour students is to stress working with intensity and conviction. was taken aback and questioned the sincerity of his answer. ThenMiro once said, “Painting or poetry should be made as we make Rubenstein added that although they play extremely well,love. they A total embrace, prudence thrown to the wind and nothing had not yet learned to make music. held back.”

Ceramics Monthly November 2002 42 Originality in my work comes from a balance of producingliving in Japan during the 14th through the 16th centuries; definite conclusions and exploring ideas in the language ofhowever, form. as British critic Philip Rawson wrote, “with the modern Each piece must be a collaboration with the clay, reflecting its versions of such wares, potters are shaping authentic-looking properties with every mark on the surface. Bob Turner taught exteriors.”me Would we give any credibility to a Japanese potter to allow the form to speak, to not be too imposing. He encour­ working in Williamsburg copying Native American pottery or aged me to allow the clay to be fresh and responsive. Early American salt-glazed crocks? I came to believe that a great pot is a collaboration between Japan’s rich and diverse ceramics history should be of interest potter, process and clay, a dialogue rather than an imposition.to all working in clay. The casual informality of Bizen ware has The work must spring from within, and find expression throughamazed and inspired me, but through it all I have attempted to the derived sensibility of process and clay; all the effects of thatspeak with my own voice and reflect my own time and culture. I journey should be a visual part of that expression. recently had the opportunity to spend a few days with Ryoji Koie My forms grow not from an intellectual plan but from sponta­and was quite amazed to learn that the primary influences on his neous and intuitive decisions that must be played out work through were Voulkos, Soldner and abstract expressionist painters. countless series of pieces over an extended period of time. TheThe influences, however, never were imitated, and he quite suc­ work must mature, slowly from series to series, with changes cessfully translated them into a personal vision. occurring naturally. When forced or overly influenced, myFor work the first time in history, we have access to great artworks is self-conscious and awkward. from every culture and time. Students have a great opportunity to On a visit to the Everson Museum with a group of students,study I these diverse works and to find that which inspires and found myself admiring a piece by Peter Voulkos. One studentinfluences. My greatest hope is that someday an aspiring potter asked why it is considered good. As I pondered the question, Iwill view one of my works as I did Rosanjin’s and find in it a realized that the meaning in the Voulkos piece did not rely on anyquestion, an answer or an inspiration to embark on his/her own reference to the anecdotes or paraphernalia of this student’s world. personal journey. As I considered my answer for this student, I came to realize that whatever meaning this piece had was not to be found in easyThe author Since retiring from New York State University, Cortland, visual references, but its meaning was accumulated from allJohn the Jessiman has built a large studio in Appomattox, Virginia; it is activity that went into its making, with the decisions for each lineequipped with a 100-cubic-foot gas kiln, a 90-cubic-foot salt kiln or tear. Like a time-lapse photograph of a dance, it captured the and a 500-cubic-foot, three-chambered wood kiln. history of its making. Peter Voulkos was one of my favorite artists. I love the brutality he brought to his forms. As have many others, I tried on occasion to emulate that force, but met with failure each time. I eventually accepted the fact that I am a different person and that I have better results when I coax and caress introspectively. That wonderful brutality that I loveso much just doesn’t work for me. Students often asked me for the recipes for specific glazes, slips and clay bodies. Although always happy to share such information, I tried to emphasize that a new glaze recipe or firing process is not the solution to most problems. The answer has to be in the totality of all the elements working together in support of the idea. I love wood-fired surfaces, but I would not define my work by that one process. Potters must always remember that it is only the skin. The pot has to have a heart and soul under the skin to be compelling. We must not be­ come so absorbed by the process of firing that we forget the bigger picture. David Shaner very appropriately stated that “what is under the ash is most important.” There seems to be a strong desire for many contempo­ rary wood firers to emulate the work of the medieval Japanese. While this work has been a constant source of enrichment and inspiration, it is of a distant time and a culture that is foreign to me. Teabowls, water jars andLidded jar, 11 inches (28 centimeters) in height, wheel-thrown and incised stoneware, storage vessels had a relevant place in the lives of peoplewood/salt fired, by John Jessiman, Appomattox, Virginia.

Ceramics Monthly November 2002 43 CEDAR CREEK'S Fifth Teapot Competition by Kathy Watts

Inside a rustic gallery in the woods outside of Creedmoor, North “In this show there were over a dozen pieces deserving of an Carolina, 255 teapots by 187 artists from throughout the Unitedaward. With only six awards, [I had] to bring into focus every States and Canada were exhibited through September 15. Accord­ ounce of knowledge acquired over 50 years, plus be open and ing to juror Sid Oakley, who founded the gallery with his wife Pataccepting of the wild and wonderful energy of the unexpected.” more than three decades ago, this was “the biggest and the best” of Oakley began the award-judging process by grouping the de­ the gallery’s teapot shows, which it holds every three years. The sixserving pieces together; he then spent time with each piece until $500 awards, three each in functional and nonfunctional catego­he made his decision. His six selections range from traditional ries, are a big drawing card, he said. teapots to sculptural interpretations. Oakley retired as director of Cedar Creek Gallery this year, Val Cushing’s turquoise-glazed stoneware “Teapot with Cups” handing that title to his daughter, Lisa Oakley, a Raleigh, Northis “akin to some of the paintings that Matisse did in Nice,”

“Outlaw Biker Tea Set,” 10½ inches (27 centimeters) in height, $520, by Ron Koehn, Colorado Springs, Colorado.

Carolina, glassblower. He plans to spend more time making pot­ Oakley remarked. “It is like having an old friend at breakfast with tery and painting. you. Matisse said that his paintings when he was in Nice were like When Oakley settled down in front of a brick fireplace to a good rocking chair, something you can relax around.” discuss the show, he looked more like a weary contractor for Lisa’s A ceramics professor for 40 years at the New York State new glassblowing studio than a judge for a teapot competition. College of Ceramics at Alfred University, Cushing wants his “A long time ago, when I was exhibiting pots, I thought thatvessels “to communicate an emotional warmth, a feeling for being a judge of a show would be the most wonderful job in thehumanity and a sensuous connection to all the intimate, per­ world,” he said. “Well, it isn’t. It’s some of the hardest and most sonal and human implications inherent in pottery forms.” stressful work that I have ever done. Hiroshi Sueyoshi’s “Teapot with Tray” is a dark colored clay

Ceramics Monthly November 2002 44 “My Little Dog,” 26 inches (66 centimeters) in height, $1500, by Jim Budde, Boise, Idaho.

Ceramics Monthly November 2002 45 with a texturing of crawled white glaze. “The direct simplicity of this pot was incredible,” Oakley said. “This ring here [on the rim of the teapot] and this ring here [on the rim of the tray] repeat the pattern and make the whole piece work.” An emigrant from Japan now living in Wilmington, North Carolina, and teaching at Cape Fear Community College, Sueyoshi works mainly in thrown and handbuilt porcelain, using the Japanese neriage and nerikomi techniques of sand­ wiching and faceting colored clays. His designs reflect interest in human form and movement in nature. Don Davis of Johnson City, Tennessee, made his “Black and White Teapot with Cups” from porcelain. The three- footed teapot has a seashell imprint where the handle joins the body of the pot. The off-round cups are glazed creamy white inside, with a textured black-to-gray surface outside, repeating the glaze treatment on the teapot. Oakley described Davis’ work as “the essence of sensitivity. It just feels like everything“Rocker is IV,” 12 inches (30 centimeters) in height, whiteware with copper, $1200, right with this teapot. It’s not pretentious.” by Eric Van Eimeren, Helena, Montana. Although conceptual issues remain “most important, it seems natural that my pots remain functional; a teapot will pour, a bowl will hold salad,” Davis commented. “The form is the heart of the work, but I am also drawn to pattern and color. Coaxing these three elements—form, pattern and color— to work together is a challenge. I strive to create visual tension, contrast and, ultimately, a sense of harmony in each piece....I want my finished pots to retain something of the sensuous essence of moist clay.” Helena, Montana, artist Eric Van Eimeren’s “Rocker IV” teapot is made from whiteware. Copper spikes protrude from the two spheres that form the body. It is “a great example of letting one’s imagination flow without preconceived restrictions,” Oakley said. “It just makes you feel good.” Van Eimeren enjoys “the challenge of finding innovative solutions to the centu- ries-old problems regarding functional ce­ ramics. I am inspired by the fact that despite thousands of years of pottery making, we can still leave our studios today having cre­ ated something new. My approach employs both ‘Flintstone’ technology and the preci­ sion of mechanical engineering. The idea of form following function still rings true; how­ ever, I believe that function can, at times, be persuaded to follow sculptural form, thus creating an interesting dialogue between util­ ity and sculpture.” The burly biker of Ron Koehn’s “Outlaw Biker Tea Set” has big hands: the teapot “Teapot with Tray,” 91/2 inches (24 centimeters) in height, stained porcelain with crawled glaze, $250, by Hiroshi Sueyoshi, Wilmington, North Carolina. spout is an arm with an eagle tattoo and the

Ceramics Monthly November 2002 46 “Teapot with Cups,” to 6 inches (15 centimeters) in height, glazed stoneware, $340, by Val Cushing, Alfred Station, New York.

the clay itself, seeing how far I can push it. Fire adds the finishing touch, which is always sur­ prising and unpredictable. The final result is beyond anything I could possibly have imag­ ined. Each work is an exciting new adventure into the unknown.” Jim Budde’s “My Little Dog” teapot repeats a woman’s features alternately with a dog’s to create an entertaining sculpture that is also a teapot. The body of the teapot is a woman’s head, and a woman sits on the head with a dog in her lap. The dog’s tail is the spout. “The combination of creative vision and fine crafts­ manship merged and gave us fine sculpture,” Oakley said. “There are just so many different things, and they’re not really related, but he puts them together and makes them work.”

“Black and White Teapot with Cups,” to 10 inches (25 centimeters) in height, “Life is full of mystery, and communication glazed porcelain, $350, by Don Davis, Johnson City, Tennessee. through visual art is also mysterious,” stated Budde, a Boise State University professor. “In­ handle, which is the other arm, sports a snake tattoo. “This pot tentions are altered or perhaps even found through a dialogue went beyond realism to capture the essence of a preconceivedwith the medium, especially one as versatile as clay. When I arrive image of a biker,” Oakley said. at a new place through dialogue, it sends me to that wonderful The biker’s head is the teapot top, and turning his head—as if place where intentions and experience converge. to glance slightly to the side—secures the top on the teapot body. “‘My Little Dog’ combines my love of animal and human “It’s a great idea for a teapot top,” Oakley observed. forms. This combination has a long history in art making, espe­ Koehn, of Colorado Springs, Colorado, likes “the challenge of cially in ceramics. The intent was to create spirit and strength seeing human and animal forms as utilitarian objects, suchthrough as the relationship.” teapots, cups and vases, then freely adjusting their shapes andA “slide show” of all the teapots featured in the exhibition can features to fit those functions. I also enjoy exploring the limitsbe viewed of on the gallery’s websitewww.cedarcreekgallery.com at .

Ceramics Monthly November 2002 47 I was one of the millions of women caught up in the “Cinderella” pageantry of my wedding. As a girl, I had never enjoyed playing dress-up, experimenting with makeup or curling my hair. I was much more inclined to make mudpies and build snow forts. But, like so many women who decide to exchange vows, I was over­ whelmed when it came to my wedding and the task of choosing the perfect wedding dress. I was truly seduced by the billowing of Preserving A Wedding Dresssilks and taffetas, not to mention necklines dripping with rhine­ stones and faux pearls. ... Ceramic Style With price tags ranging from $100 to $10,000, wedding by Jen Champlin gowns really do make the bride feel and look the part of a princess—even if she has never thought of herself as such. Even­ tually, however, all brides are faced with the question: What do I do with this cumbersome yet sentimental pile of silk and lace? I desperately wanted to do something different with mine. I was not satisfied with the vision of my wedding dress being stuffed into my already-cramped closet, lost in a box deep in an attic corner or shoved under a bed with the dust bunnies. I envisioned my wedding dress as an opportunity to experiment with clay and the firing process. A sculpture incorporating my wedding dress was completed for my master’s thesis show at Syracuse University. The concept of “Till Death Do Us Part” fit well with my interpretations of vanitas—the brevity of life. These works portrayed human fragil­ ity and depicted the moralizing aspects of worldly desires and pleasures. I did not intend them to be heavily morbid and de­ pressing but, instead, to cause the viewer to reflect upon death as a universal experience, making us all equal. My wedding dress seemed an appropriate symbol regarding life and death accompa­ nied by the phrase “so long as I may live.” With some simple firing tests, a quick lesson with the MIG welder and enough nerve to burn my ceremonial dress, I ventured into the realm of ceramic sculpture. After taking my body mea­ surements, I welded a steel armature using ½-inch steel rods. The initial frame was made a tad smaller, as I would be attaching hardware cloth to support layers of slurry-soaked fabric. The wire armature was created in two parts: a bodice and a large hoop skirt. Having the top and bottom as separate pieces facilitated transpor­ tation and allowed the pieces to fit into the 100-cubic-foot kiln. Once the armature had been wrapped with hardware cloth, I placed it in the kiln and added the first layer of fabric. I chose a heavy felt that readily absorbed the clay slurry. This was placed over the whole armature. Its purpose? To provide an extra layer of clay and strength. This first layer was smoothed and pressed rather hard onto the mesh. Next, I applied layers of slightly crumpled, slurry-saturated newspaper. This served as a cushion­ ing barrier between the first layer of felt and the final layer of silk. Then came the dress. I prepped it by separating the bodice

A steel and hardware cloth armature provided from the skirt and cutting the skirt down its side. This made it support for the slurry-soaked garment. much more manageable to drape over the armature. The dress fabric did not absorb the slurry as readily as the felt and newspa­ per, as it was primarily silk, lace and sequins. A friend assisted

Ceramics Monthly November 2002 48 The armature was MIG welded from 1/4-inch steel rods.

Placed directly on the car kiln bed, the skirt half of the armature was draped The finished piece was sealed with white glue mixed with acrylic paint. After the with slurry-soaked felt (which was pressed into the hardware cloth), then with top and bottom pieces were assembled in the gallery, the gap between the two crumpled, slurry-soaked newspaper, and finally the slurry-soaked skirt. was filled with paper and sealed with the same acrylic mixture. with the final positioning of the skirt, as its large sections weighed tinted it with shimmering acrylic paint. This quickly permeated well over 30 pounds and were difficult to handle. I made surethe the layers, keeping everything intact and adding substantial bottom edges, which were touching the kiln shelves, were sub­strength. The blushing pink dress was ready to be removed from stantially thicker, by padding them with more slurry-saturatedthe kiln. newspaper. Finally, the bodice was wrapped around the torso and After tediously chipping away at the reinforced bottom of the the sleeves pulled onto the armature. dress, I was able to pry it up with a crowbar. It took six people to I then closed the kiln and candled it a full 24 hours beforeget the skirt safely out of the kiln. Four people held long boards, firing it to Cone 08. During the firing, I kept peering through whichthe had been carefully shimmied underneath the bottom hoop, peephole, checking to make sure the armature wasn’t collapsing. I while two others helped guide us. When the skirt was out in the knew the next obstacle was to somehow get this large, paper-thin, gallery, I placed the bodice on top of the skirt, sealed the tiny gap yet well over 120-pound, life-size dressout of the kiln. with handmade Kozo paper and, with the same tinted glue, closed Opening the kiln revealed that one top layer of the skirt hadand secured the space. severely cracked and flaked. I assumed this area had not been “Till Death Do Us Part” was a rewarding and challenging thoroughly saturated, making it too thin and weak. Nevertheless,method of preserving my wedding dress. And I say to those I found myself impressed with the detail captured from the lace women who have a crumpled mound of sentimental satin and and sequins. They had burned off but left wonderful designs.lace, don’t be too disappointed if after having it dry cleaned and With the top layer being so fragile, I decided to use a famous stored, you find it molded or moth-eaten 20 years later. Don’t room-temperature glaze. I bought a gallon of Elmer’s glue and despair. Dip it and burn it.

Ceramics Monthly November 2002 49 Tasamaj Menoistu by Ruth Mason

It was a bright day in June when ceramics artist Debbie Sullum was walking in Mevasseret Zion, a Jerusalem sub­ urb, and something caught her eye. Looking across several backyards, Sullum saw a woman sitting on the ground hand forming a clay vessel, so she jumped over a couple of low fences and made her way across the lawns to get a closer look. “I felt like I was seeing a vision,” exclaimed Sullum. “You just don’t see women sitting on the ground building pots. It looked like something out of the ancient past.” Fascinated by what she perceived as a completely dif­ ferent way of doing her craft, Sullum decided she had to know more. That was the first of many conversations between Sullum, herself a recent emigrant from Allen­ town, Pennsylvania, and Tasamaj Mengistu, who had come to Israel from Ethiopia 13 years earlier as part of Opera­ tion Moses. Feeling as though she had discovered a lost treasure, Sullum brought a stream of friends, relatives and students to see Mengistu’s work. “I buy clay in a bag and have it delivered,” said Sullum. “This woman finds the clay, digs it, mixes it with grog (fired, powdered clay), which she grinds from pieces of red roof tiles or old clay pots she finds. Imagine being that connected to the earth and what you’re doing!” Using only her hands and found materials, such as a bone, a corncob, a pencil and matchsticks for decorating, Mengistu produces cooking and water pots, jugs, pans, and other containers. Like almost all Ethiopian Jewish women, Mengistu made pottery in the old country. But while most made only the pots they needed for their own cooking and storing, Mengistu earned her living from her craft. Her mother and grandmother before her had also made pot­ tery, and she had learned by watching them. “My mother would make a pot without the neck and leave it to go to the market,” Mengistu says. “When she came back, I would have shaped the neck and finished it.”

Tasamaj Mengistu grinds old roof tiles to make grog to add to her clay. Mengistu married at 15 and gave birth to her first child at 17. She started making her own pots after the birth of her second child. Her reputation spread, and soon people were coming from villages all over the area, bringing sacks of food in exchange for a good pot, sometimes waiting days for their orders to be filled. “I couldn’t keep up with the demand,” Mengistu recalled.

Ceramics Monthly November 2002 50 After the grog is worked into the clay, a disk is patted out and placed into an old frying pan for support. From this base, the walls are built up as the frying pan is turned, then a corncob is used to stretch the wall. Once a neck has been added, the surface is smoothed with a rounded bone.

“People here buy pottery more for decoration than for use, butored basket that took Mengistu a year to make. The small bed­ Tasamaj still talks about how strong a piece is, rather than its room, crowded with three beds, is overflowing with pottery: jars, aesthetic appeal,” said Sullum. jugs and pitchers. In her native Burgmaski village in the Gurava region of Ethio­As she talked, Mengistu was chopping onions on a cutting pia, Mengistu fed her 15 children with the proceeds from her board. Her gray hair was braided into corn rows and held back pottery sales. When she began making money from selling pot­with a red leather band decorated with gold buttons worn around tery, she bought a cow, some goats and then more cows, whichher forehead. She wore a nubby, gray-striped T-shirt, a print skirt, started multiplying. Her family plowed a field and grew their ownred plastic slippers, gold earrings, and copper and silver bracelets. wheat and vegetables. “We had more than we needed,” said Around her neck was a tattoo of a necklace and an old Ethiopian Mengistu. “What we couldn’t use, we kept in containers forcoin the on a string. Her hands, arms, lips, neck, head and eyes next season.” accompanied her sing-song voice in constant, graceful movement. In Israel, Ethiopian-made items were a novelty at first, and Is she happy she came to Israel? Mengistu did sell some pots, but sales have since plummeted. “Coming here was not in my control,” she replied. “God said, Now, when she’s not making pots, she can be found cooking,T will disperse you and I will gather you in.’ Everyone begged me embroidering or weaving. “She has magic hands,” says Sullum,to stay. They asked what more can you have than this? Riches? looking around Mengistu’s small apartment at piles of wheatHonor? I had lots ofbracha (blessing) in my home; it was always being fermented for beer, stacks of injera (Ethiopian bread), full of food.” mounds ofberberie (hot red pepper paste) and a huge, multicol­ Does she miss Ethiopia?

Ceramics Monthly November 2002 51 Mengistu lifted her shoulder to her cheek and smiled. “I her corncob and picked up an old, rounded bone, smoothing out milked my own cows. I made my own butter. Of course, I miss theit. corncob lines and making the neck narrower still. I didn’t want to leave. My husband sent the elders to convinceWhen me. she was satisfied with the way it looked, Mengistu put To think of the future and not just the present.” the piece aside. Once the clay is bone dry, in about five days, she Mengistu got a faraway look in her eye. “The children arewill fire it in the yard. The fire will be built within a circle of doing well. They are earning. They have homes. But for mestones it (about 4 feet in diameter) and fueled with discarded wood would have been better there.” from all over town (old doors, crates, broken furniture, etc.). After coffee and a taste of injera and berberie, MengistuIsrael has a shortage of wood, so as Sullum observed, “In a way, demonstrated how she works. She sat on the floor of her back she’s in the business of recycling, through and through.” porch, knees apart, and with a brick began to grind bits of Then she will carefully nestle the pots—up to eight at a discarded roof tiles into grog. She then teased water onto a pile of time—inside and on top of the stones. To avoid thermal shock, clay in an old, handleless frying pan, and added the grog she (for will put a small ember of wood inside each to warm it slowly. strength). Pouring in more water, she began to knead, integratingOnce they are warm, Mengistu will place wood scraps around the the grog with the clay. pots and light the fire. In the early stages of firing, she will rotate The kneading was hard work and Mengistu grunted a bit,the pots to make sure they are heating evenly. She will stoke for a stopping every few seconds to remove an impurity and flickwhile, it then let it burn down. aside. She repeatedly picked up the clay and slapped it down into When cooled, the pots are removed from the stone circle. The the floor until it was uniform in consistency. Then she pattedones the to be used to hold water or coffee are filled with milk and clay into a round pie. boiled over a gas burner. The fat from the milk acts as a sealant. Mengistu worked quietly, steadily, with total concentration.“Modernity has passed her by,” commented Shula Volk, a She shaped the clay into a bowl, then using pressure, pats andceramist and senior lecturer at the Bezalel Academy of Art and sweeps from her fingers and the flat of her hands on the outsideDesign. “Tasamaj Mengistu continues doing today what her an­ and inside, she built up the sides, adding bits of clay everycestors so did thousands of years ago. We all work on wheels. Instead often. When the piece was about 12 inches tall, she used a wet of the wheel turning, she turns the clay. It takes a lot of skill. It’s corncob to pull up the clay and shape a lip. Next, she put downimportant to preserve this kind of work.”

The finished jar, approximately 12 inches (30 centimeters) in height, was fired with scrap wood in an open bonfire.

Ceramics Monthly November 2002 52 Scott Dooley by Glen R. Brown

“Two Teapots,” 12 inches (30 centimeters) in height, handbuilt porcelain, with oxides and glazes.

The impression of austere structures collapsing into eccentricegy, chiefly employed in literature and films, through which fear postures generates in the porcelain vessels of Scott Dooley theof the dispassionate and amoral machine is allayed in images of kind of whimsy that one privately savors when ordinarilylovable androids or computers with endearing personality quirks. standoffish personalities are caught in moments of awkwardness.Dooley takes the intimidating forms of colossal boilers, towering To a certain degree, this comical effect depends upon the viewer’sgrain silos or massive oil tanks and cuts them down to size. In his anthropomorphization of the vessel, a tendency that has longworks, warping, sagging, slouching—the effects of time on any been exploited in the history of ceramics. Spouts and handlesform that is subject to the constant strain of gravity—are mim­ naturally suggest gesticulating arms. Rims and lids, with a icked little with the intent of evoking in the object not the profundity help from the imagination, resemble heads. As the tide in con­ of the abject but simply a recognizable human fallibility. Dooley’s temporary American ceramics has surged increasingly toward thevessels are ingratiating to the degree that they are recognized to narrative, it is hardly surprising that a droll genre of the “dancingpossess limitations like our own. teapot” should have evolved to take advantage of these visualDooley’s feeling for the intimations of humanity in aging analogies to the human form. On one level, Dooley’s work clearlymachinery, especially equipment associated with agriculture, is succumbs to this vogue. tied, in ways that he is still exploring, to a more personal sense of Beyond their less-interesting modish aspect, however, Dooley’sidentity. Now an assistant professor at Wittenberg University in vessels engage in an important contemporary practice that couldOhio, he grew up in Hutchinson, Kansas, in the agrarian heart of be described as the humanizing caricature of technology—a strat­the country. The open landscapes—and the occasional man-made

Ceramics Monthly November 2002 53 “Double Spouted Pouring Vessel,” 16 inches (41 centimeters) in height, handbuilt porcelain, with oxides and glazes.

Ceramics Monthly November 2002 54 structures that dot themso sparsely as to augment the impression of natural infinitude—were in a sense only an unconscious part of his horizon until he left to study ceramics at Arizona State University. Three years in the semimountainous environment of the Southwest would render his native flatlands strange in comparison. “The change of scenery when I returned to Kansas made me see things that I had never really seen before,” he remembers. “I noticed how the silos and oil rigs out in the middle of nowhere have a strongly vertical relationship to the landscape. There are very few trees, so you can see those things scattered everywhere. I also thought about how my dad had grown up on a farm. There’s a family history there, but I was part of the first generation to grow up in an urban environment. I realized that I didn’t know what [the pur­ pose for] any of that farm equipment was!” Feeling the affinity of heritage for a kind of machinery whose function was mystifying to him, Dooley perhaps naturally focused his attention not on its utilitarian aspects but rather on the formal properties of its contours. “Those structures have an obvious geometric language to them,” he observes. “They’re based on cylinders and cones. On closer inspection you can see the overlapping of the seams of the sheet metal used in their construction. Their surfaces are obviously very beautiful too, and a feeling for that kind of beauty has always been a part of ceramics. I really started to think about how to make the surfaces of my work more interesting after looking at the corrosion and other signs of aging on the surfaces of these structures.” Dooley’s explorations of texture began with the practice of pressing found objects, such as old gears or other ma­ chinery parts, into the leather-hard surfaces of his vessels. His studio shelves gradually accumulated an array of metal funnels, rusty oilcans and dented mufflers that he used as “Double-Fisted Whiskey Decanter,” 20 inches (51 centimeters) in height, reference material or, more directly, as stamps. The most handbuilt porcelain, with oxides and glazes. important object, and the one on which he has come to rely in the articulation of surfaces in virtually all of his at current the joints of the vessel. During the final firing, the copper burns work, is a 2-inch-square fragment of concrete that he picked up inthrough the layer of glaze, emphasizing the shadowy pockets of a parking lot in 1998. “I use it to impress the surfaces,” he the impressed texture, the seams where slabs are brought together explains. “It can get into all the nooks and crannies. Some peopleand the circular indentations around the false rivets that Dooley stamp their slabs when they’re flat and then start to build withoccasionally incorporates into his vessels. “With these works, them. I normally construct the vessels first and then add firing the is a one-time thing,” he observes. “The oxide fades substan­ texture. When I’m cutting and joining the slabs, I don’t havetially to if I have to refire it, so most of my pieces make it in the first worry about messing up the surfaces. The concrete fragmentfiring, or they get thrown out.” allows me to add texture to even the smallest areas of the com­ Dooley’s range of color has gradually expanded to include pleted form.” terra cotta, green, red, blue, yellow and white glazes. Ordinarily, The textures of Dooley’s works are essential for the distinctiveone is applied as the principal hue, and another serves as an tonal contrasts that he achieves in the coloration of his surfaces.accent. A dry, pale green—the color of a eucalyptus leaf—is Following the bisque firing, he brushes on a mixture of blackobviously a favorite and is generally employed, Matisse-fashion, copper oxide and water, then lightly sponges off all but thein concert with its complement, a low-saturation red. The accent vestiges remaining in the crevices. Next comes a thin spraycolors of are usually confined to areas defined by small irregular Cone 5 glaze colored with commercial stain. A thicker applica­ fragments that have been torn from thin slabs and applied ran­ tion of oxide is generally applied to the areas that represent bandsdomly to the surface of the vessel. “The first of these little color

Ceramics Monthly November 2002 55 “Teapot,” 14 inches (36 centimeters) in height, porcelain, with oxides and glazes.

Ceramics Monthly November 2002 ~~ 56 patches was the result of an accident,” Dooley explains. “I was At the same time, Dooley does not envision abandoning the texturing a piece that had gotten too hard and that had a thin spotvessel altogether. To do so would undoubtedly eliminate the in it. I actually pressed through the wall and had to stick anothercharacteristic eccentricity of his work. What appears wonderfully slab on top of it to cover up the hole. The effect was interesting,satirical in a teapot might be painfully prosaic in a sculpture. so I did it five or six more times on the same piece, and started Satire depends upon a norm that can be transgressed for humor­ using different glaze combinations to emphasize them. Now I useous effect, and even whimsy requires a banality against which it them most of the time.” can distinguish itself. Dooley’s works are not uproariously comi­ Although Dooley has taken a cue from the corroded metal andcal, but the element of humor is undeniably fundamental to chipped paint of weathered agricultural equipment, he has con­them. “I think,” he speculates, “that their self-deprecating quality sciously avoided trompe l’oeil effects, partly out of the concernis an essential part of what they are. Before I started making them, that he might find himself seduced by technical challenges. AI took myself very seriously as a potter. I was making thrown work similar uneasiness is behind his gradual movement away that from I envisioned being used by someone every day, making them utility. “My early work was strictly functional,” he explains,a better“and personI because they had reconnected with the earth. Now actually worked for a production potter for about a year. But thatthe I have distanced myself from that kind of self-consciousness, idea of making something for its formal as opposed to functional my work is a lot more successful. Now when I get to work, I just qualities seemed really freeing to me. I was ready to leave functionthink about having fun.” behind and start exploring forms that were angular and chunky, without worrying whether a spout was going to pour well or a Thelid authorA frequent contributor to CM, Glen R. Brown is an was going to fit perfectly.” The process of constructing a form outassociate professor at Kansas State University in Manhattan, Kansas. of smaller geometric components had begun to seem valuable in itself. To a certain degree, a constructivist aesthetic has always appealed to Dooley, and the decision to handbuild all of his vessels from slab-formed compo­ nents occurred naturally as an extension of practices long familiar to him. “I was a child raised with Legos and Erector sets,” he recalls. “When I was in grade school and got bored during lectures, I would plan spaceship models in my head. I’d have all the details worked out so that I could go home in the afternoon and build the spaceship out of Legos. That kind of conceptual process is still second nature to me. When I’m not in the studio, I’m constantly manipulating shapes in my head, playing around with them and asking, what can happen if I cut this at an angle and reattach it? My brain is constantly playing that way.” This quality of playfulness is what perhaps above all else accounts for the distinctive character of Dooley’s vessels. If the materials and forms referenced by his work—the heavy steel drums of storage tanks or pres­ surized vats; the angular, tapering shapes of spigots and funnels; the flapping caps of steam whistles; the sharp bends of jointed pipes—compose a robust vocabulary suitable for disquisitions on labor and the virile sensi­ bility of the machine age, the capricious manner in which they are arranged creates a burlesque of their blunt dignity. Dooley plays the balmy professor, con­ structing fantastic networks of beakers, tubes and fun­ nels while seeming to forget the raison d’etre of his“Teapot,” 12 inches (30 centimeters) in height, porcelain, with oxides and glazes, apparatus out of sheer love of its creation. The analogyby Scott Dooley, Springfield, Ohio. is apt, since Dooley has, after all, neglected efficiency in the utilitarian aspects of the vessel in order to ex­ plore purely formal possibilities.

Ceramics Monthly November 2002 57 Reed’s more complex forms, like the overhanging rim shown here, are strengthened with interior support.

Bob Reed: Landscape and Motion by Von D. Allen

Working in natural light from two skylights, Bob Reed humsthe Distinguished Flying Cross, he chaired the department of softly to himself as he leans forward to inspect the broad rim of Aerospace Studies at San Jose State, and was engineering program one of his large softly curving forms. With surgical precision,manager he for the nation’s intercontinental ballistic missile force. slides a small thin slab of clay into a gap of exactly the same size Being in the Air Force, Reed says, “was a bit like being a and shape, tapping it into place with satisfaction. New-age music professional nomad.” One evening while walking on a beach in fills the studio. Outside, the wind picks up and the summerCalifornia during his final Air Force assignment, he contemplated temperature begins to drop as evening approaches. He takes a sip the many worlds he had visited and the life choices he had made. of diet soda and begins to scrape the sculpture’s surface with aAs he inspected the stones and weathered rocks along the shore, fettling knife, using smooth, even strokes to remove barely visiblehe began to realize that he had come to a turning point in his life. seams and imperfections. His new interest in comparative religion and poetry was affecting Reed’s path to clay was not only unusual, it was highlyhis un­way of being in the world, and he could feel his values shifting. likely. Although he signed up for a ceramics class at Indiana StateHe began taking ceramics classes again and was excited to learn in 1962, he went on to spend the next 27 years as a careernew methods and approaches to glazing. Then, in a mid-life professional in the military, earning the rank of colonel in the decisionAir of mind-boggling consequences, he decided to leave the Force. After flying more than 150 combat missions and earningmilitary early and become a clay artist.

Ceramics Monthly November 2002 58 Early retirement shook up his world even more than he imag­demanding career schedule, he can nourish his creativity with ined, and in 1991, he landed in Flagstaff, Arizona, reinventinglong afternoons walking among the aspen groves in local canyons himself as a ceramics student at Northern Arizona Universitynear his Salt Lake City home. (NAU). He settled about 30 miles south in the small town of Reed begins each form by creating a series of small Plasticine Sedona, happy to be in a stunning geographical environmentmodels that before deciding on the one that he wants to develop. allowed for the growth, contemplation and peace of mind he was Next, he creates a full-size base, building it upside down to serve seeking. Reed speaks wistfully about his two terms at NAU. The as a prototype for a plaster press mold. Once he has pressed a new place was crawling with talent and energy, and Reed soaked up baseall and removed it from the mold, he has a leather-hard form on the information he could before family problems forced him back which to work. He can then begin to build up the outer walls and to the Midwest. By 1996, he had completed a B.F.A. in ceramics eventually to install inner walls, forming a delicate network of at the University of Nebraska, and four years later he receivedinterior an chambers. This webbing supports the thin slabs that M.F.A. from Brigham Young University in Utah. make up the outer shell of the vessel, which are laid over the From the beginning, Reed’s work has reflected his interest inexterior skeleton like a skin. This process allows Reed to build up landscape as a spiritual metaphor. His vessel shapes reveal the a large form that is hollow and lightweight but appears to be influence of a lifelong fascination with the fluid forces of solid. the The curving bottoms on the vessels let light underneath the natural world. The aeronautical and mechanical aspects of hisundulating forms, lifting them up and adding movement. The early years have been absorbed into a new and larger visionsurfaces that are scraped and eventually sanded until they are perfectly heralds the softer elements of life. No longer tied down to a smooth, like the weathered rocks of the desert landscape.

“In Memory Of,” 34 inches (86 centimeters) in length, handbuilt red stoneware, with Michelle’s Bubble Glaze, fired to Cone 04. Surface treatments of all kinds have always interested Reed, who claims “if it crawls, bubbles, craters, crystallizes, goes matt or satin...I like it.” The challenge is to find just the right textured

“Offerings,” 6V2inches (17 centimeters) in height, handbuilt surface for the curving vessels, and that search is never ending. It white stoneware, with Bob’s Blue-Black Crater Glaze, fired to Cone 1. is important to absorb light and soften the form, enhancing the three-dimensional quality of the vessels. Reed says he begins with a James Chappell glaze recipe, adding silicon carbide to achieve some cratering. He also has experi­ mented with a Daniel Rhodes Cone 1—6 base glaze, as well as the lichen glazes of Mark Bell and Lana Wilson. He does some variations using Virginia Scotchie’s engobes and also some glazes that are primarily frit and cryolite. When a piece turns out too shiny, he treats it with hydrochloric acid to roughen up the surface. On the few occasions when a glazed surface turns out to be too highly textured and seems to distract from the form, it is sandblasted. Reed continues to do hundreds of tests each year, and enjoys the process of researching and developing glazes. This is a person who has clearly found himself in the ceramics studio. Moreover, he seems to have a keen sense of urgency regarding his daywork, as if to say, “It took a long time to get to this point, and now there is no time to waste.” Reed’s chosen path is unique and yet it echoes the decisions so many other contem­ porary ceramists have made. Working with clay is often a difficult choice, and yet in retrospect, seems inevitable. Reed’s mid-life trans­ formation also points to the vibrancy of the adult education programs where people deep in a certain career path are given a peek at other op­ tions. When he stood at the crossroads of life, considering the tempt­ ing option of a lucrative postmilitary career in the aerospace industry, but was moved by the possi­ “Redemption,” 28 inches (71 centimeters) bility of a full and cre­ in length, with Chappell’s SEG 1a Glaze, ative life in the clay studio, Bob Reed took a chance. It was a fired to Cone 6, refired to Cone 04 with Virginia Scotchie Beads Glaze, then sandblasted. choice he has not regretted, a choice that has added richness and depth to his life. The authorCeramics sculptor Von D. Allen is an associate professor at Brigham Young University in Provo, Utah.

Ceramics Monthly November 2002 60 “Abundance,” IV2 inches (19 centimeters) in height, handbuilt stoneware, with Albany slip base glaze and Chappell’s SEG 1a Glaze, fired to Cone 6, then sandblasted, by Bob Reed, Murray, Utah.

Bob's Blue-Black Crater Glaze Chappell's SEG 1a Glaze thick, fires pewter oil spot. Not intended for (Cone 1) (Cone 6) use on food or beverage surfaces. Fire in well- Whiting ...... 15.65% Whiting...... 11.5% ventilated kiln. Frit 54 (Pemco )...... 34.26 Zinc Oxide...... 9.5 Nepheline Syenite...... 43.13 Nepheline Syenite...... 58.0 Virginia Scotchie Beads Glaze Bentonite...... 1.74 EPK (Edgar Plastic Kaolin)...... 19.0 (Cone 04) Silicon Carbide...... 5.22 Silica (Flint)...... 2.0 Borax...... 26.67 % 100.00% 100.0% Gerstley Borate...... 33.33 Add: Chromium Oxide...... 0.87 % Add: Bentonite...... 2.0% Magnesium Carbonate...... 33.33 Cobalt Carbonate...... 4.35% Silica (Flint)...... 6.67 A translucent white matt. Add 1 teaspoon Manganese Dioxide...... 1.74 % 100.00% CMC per 100 grams glaze to wet batch. Titanium Dioxide...... 8.70% Add: Zircopax...... 6.67% Vanadium Pentoxide...... 8.70% Michelle's Bubble Glaze Add desired Mason stain (5-10%). Apply over (Cone 04) A modified James Chappell recipe. For sus­ fired SEG 1a Glaze. Test for thickness to Frit 3195 (Ferro) ...... 30% pension and workability, add 1 teaspoon CMC achieve desired bead effect. Not intended for EPK (Edgar Plastic Kaolin)...... 30 per 100 grams glaze to wet batch. Apply food or beverage surfaces. Cryolite...... 40 thickly by brush for dramatic cratering. Not intended for use on food or beverage sur­ 100% faces. Fire in well-ventilated kiln. Add: Manganese Dioxide...... 5% Applied thin, fires bubbly, crusty brown. Ap­ plied medium, fires glossy pewter. Applied

Ceramics Monthly November 2002 61 James Klueg's Intentional Ceramix by Paul Berger

Many artists yearn for a studio with good natural light; for Minnesota ceramist James Klueg, the opposite appar­ ently is true. “I work in a studio with huge windows that overlook a picturesque creek that flows through an aqueduct under the building—a gorgeous pros­ pect. And I’ve got the windows papered over.” It’s not that he’s the nocturnal sort. Klueg surfaces his earthenware vessels by projecting found and self-generated images, which are then translated with various stains and oxides. “It started as a way to enlarge sketches,” he ex­ plains. “At the time, I was doing my surfacing with linocut gouges, like the many prints I’d made in high school. Before I started projecting, every piece was like what printmakers call a ‘sui­ cide block,’ so I started to use the projected image as a guide. I noticed right away that it made the work more compositionally precise; I could make adjustments prior to rendering.” For the last seven years, Klueg, who teaches at the University of Minnesota, Duluth, has worked on refining a particular flattened slab-built vase form. “It’s an amalgam of many I’ve seen: Tamba pots, pots by Hans Coper, Margaret Israel, Harris Deller—they’re all in there, somewhere. I’m really a modernist until it comes to the surface. What I ultimately like best is that the form allows for a variety of compositional strategies; the form gives continuity to my tendency to wander stylistically.” Right. If a modernist in form, tone and con­ tent, and with a mixture of high and low cultural sources, Klueg is decidedly postmodern. Victorian text and imagery on one piece might be followed another with letter forms that appear to be out of a computer or filled with pop- imagery. Sober content with abstract form on one work contrasts with sardonically wry ob­ servations on another.

“Books and Me,” 18 inches (46 centimeters) in height, handbuilt earthenware, with projected imagery in stains and oxides over clear glaze, fired to Cone 03.

Ceramics Monthly November 2002 62 “The ideas drive the pieces—I love to brainstorm and juggleby the way in which nuanced humor of various types is used to bits, but I don’t work until I’ve a pretty nailed-down idea,”refer he to larger issues. “While I admire it in others’ work, I could explains. “Sometimes, it’s the text that comes, sometimes an never do straight-on serious issue content. I usually think about image. I’ve got fragments on my studio bulletin board that stickmy work as a kind of comedy of manners—about relationships around for months, waiting for the right part for completion.and social mores, personal and public—and try to suggest a When I’ve just got to touch clay, I make vase forms for later use.”bigger idea through small specifics, in much the same way that the His recent work is distinctive in that it generally features Seinfeldtext television show was supposedly ‘about nothing.’ A vase that he writes. It rarely uses text merely as an evocative or sym­is a domestic object, and the things I want to say are domesti­ bolic design element, although he has a designer’s eye for typogra­cally scaled.” phy and composition. “I’ve always loved the written word; I readTechnically, Klueg’s surfaces are layered stains and oxide washes compulsively. Throughout my career, I’ve tried to make dayworkover a Cone 03 clear glaze. He often prepares graphics digitally, that drew from other areas of style or thought as well as the clay but unlike ceramists who rely on silk-screen, decal or transfer tradition; concurrently, I’ve taught a fairly diverse range methods,of visual Klueg prefers to transcribe projected images by sgraffito subjects in my university career. But I’ve always felt that, incising.whatever “I doubt many artists are going to flock to the tech­ I was doing, I had one foot somewhere else, that I could nevernique—it’s pretty time-intensive. But I do think it unites the text quite put it all together. With the current work, I feel like I’veand image with the form in an organic way that I don’t see in a lot finally found my visual voice.” of the genre out there. It doesn’t look stuck on; it’s more concep­ It’s a voice that includes a liberal helping of humor. Ironic,tually and compositionally fused, analogous to the fired surface gently mocking, droll, puckish—Klueg’s work can be distinguisheditself.” For this reason, Klueg sometimes incorporates the distor-

Front and back views of “Machinery Frontiers,” 16 inches (41 centimeters) in height, earthenware, with sgraffito of projected imagery and text in stains and oxides over clear glaze, fired multiple times to Cone 03.

Ceramics Monthly November 2002 63 tion inherent in projection onto an irregular sur­ face into the final design. Using a software program to manipulate imag­ ery and text has been influential to his working approach, Klueg notes. “Working in layers digi­ tally and building up layers of color through suc­ cessive firings has gradually led me to reconsider how I approach the ceramic surface, leaving areas to be developed later with additions of imagery and text, or putting washes of color on that I subtract words out of with sgraffito. I bounce back and forth between thinking about combinations I get on the screen and how they might get fleshed out on the clay. Now, if only I could get that undo button on the digital kiln!” Finally, about that “intentional ceramix” tag. Klueg presses it into service as one of the stamps he uses to sign his pots. “I give my friends a lot of good-natured chaff about happy potting and kiln accidents as a working method. I don’t really mind the bonuses, but for me, I’d rather have the con­ trol, albeit with a kind of blunt directness you might expect an aging punk to appreciate. I’ve always been pretty DIY about my aesthetic. My biggest compliment to date in this regard was from a woman at a workshop I gave who came up to me afterward and sort of stammered, ‘I mean this in a good way, but your work looks like you learned how to make pots in prison.’ Man, I howled over that one; I knew just what she meant.”

“Tortuous Graphic,” 15 inches (38 centimeters) in height, handbuilt earthenware, with sgraffito through stains and oxides over a clear glaze, fired multiple times to Cone 03.

“Amateur Ceramist,” 15 inches (38 centimeters) in height, earthenware, with stains, oxides and clear glaze, fired to Cone 03, by James Klueg, Duluth, Minnesota.

Ceramics Monthly November 2002 64 Holstein mugs, 5 inches (13 centimeters) in height, slip-cast earthenware, with underglazes and glaze.

SARAH SPADEMAN'S 95 Species byScott Ruescher

Sarah Spademan was late for her appointment, but not becausecreasingly crowded ark she helms today. “I was part of the cow she was having a bad case of artistic temperament or something. craze,” she confesses, recalling the time in 1987 when a store Just as she was about to set out, someone from California tele­owner in Maine, who’d been carrying her line of black-and-white phoned her home in Cambridge, Massachusetts, to place an order three-footed mugs, encouraged her to append udders. for 300 bunny mugs. “Bunny mugs?” you say. Yes, bunny“I was mugs. reluctant at first,” Spademan recalls, “but the udders The buyer on the phone, who will sell Sarah’s bunny mugswere unique.” And before she could say, “Moo,” the fecund cow through a catalog for as much as $22 a hop after ordering them cups were begetting enormous herds. It seems she had found from her by the litter at $ 10 per piece, said she had seen an ad for commercial success by tapping into the fertility archetype of the the mugs in theCrafts Report. Maybe the cataloger’s warren of collective unconscious. 300 bunnies will end up doing in the realm of marketing whatNot expecting the sudden success, and unprepared to handle rabbits are known to do best? And the sales made to individualsthe new orders, she tried a number of methods of increasing could potentially result in each bunny mug giving birth production.to sales of She hired potters in upstate New York and New another 30—or even 300—bunny mugs. Hampshire to throw mugs and bells, and ship them to her. “I Bunnies aren’t the only mass-reproducing creaturesthought in it was important that they were hand-thrown because of Spademan’s ceramics menagerie, either. She currently producesmy background as a potter, and I bent over backwards to keep some 95 species of animal mugs. Theoretically, each of these them handmade. Finally, though, after a foray into hydraulic- creatures is capable of generating a small business of its own,pressing, I got realistic and had them cast.” creating a trend that might catch on—as one particularly bovineShe contracted with Vito’s Ceramic Supply, a family-run hobby line of products did already for Spademan. ceramics outfit, to make molds for the mass reproduction of all Her first venture into the commercial realm involved anthings ani­ Holstein—including mugs, pitchers, creamers, sugars, tea­ mal that now maintains an inconspicuous presence on thepots in­ and bells.

Ceramics Monthly November 2002 65 Spademan smoothing mold seams on greenware.

Vito’s crew did the on a contingency basis; the lawyer threatened ac­ casting, and Spademan tion in court against the unknowing merchants, Pottery did the paint­ and the cases were settled. “Let’s just say I was ing and firing. Soon she rewarded,” she says, adding that she might have was able to hustle a few had the lawyer pursue the cases more vigorously hundred pieces out the but chose to move on instead. door per week. Orders When the cow craze finally ended in the mid were shipped to cata­ 1990s, the huge catalog orders she’d come to rely log warehouses, big- on dried up, but she “was kind of relieved by the city museum shops, cow crash” and looked forward to the opportunity and tourist-town craft for artistic and commercial growth. shops. “People couldn’t At the same time, she needed to keep the rev­ get enough of the enue flowing so she could pay her staff and keep cows!” she remembers. her own soy-based larder loaded, “so it was nice Bunny mug, 4 inches (10 centimeters) in width, While Spademan slip-cast earthenware, with underglazes and glaze. when a buyer asked me to put a calf inside the may agree that imita­ mug.” Once she had added the new product to her tion is the sincerest line, she found its sales were eclipsing those of the form of flattery, when the cow craze was at its peak, she was other cow styles. Then she developed the “polar” series—mugs dismayed to find discounted, lower-quality knock-offs of with her a penguin, polar bear, walrus or seal looking up from the uddered breakfastware appearing in some of those shops. “My bottoms. Before too long, she was having her crew of three or four design was ripped off by five different manufacturers!” she fill re­ orders for skunk, lobster, sheep, armadillo, fish, dinosaur, duck members. “The retailers weren’t even aware that the $5 mug theyand teddy bear mugs. were selling was a knock-off, an exact replica of my cow mug.” “I started out simply as a potter, and after trying lots of True to the exploitive patterns of globalization, these under-approaches to marketing and production over the years, I have priced mugs were made in countries where labor is much cheaperevolved this business,” Spademan says. Initially, she had been than in the United States. “Some unscrupulous people wouldgetting get by as a potter by making bowls, lamps, teapots and bells, the mugs made for next to nothing in China, and then distribute“in porcelain mostly,” she adds, “with incised geometric designs,” them to large department stores and specialty shops.” and sold at retail shows. After knock-offs of Spademan’s mugs were spotted on shelves She had traded pots for labor to have the garage behind her as far away as the Netherlands and Bolivia, Sarah hired a lawyerapartment house converted to a studio, heating the renovated

Ceramics Monthly November 2002 66 space with a coal stove and using water from the garden hose. “ItTianov and Aksana Volfson, illustrators from Moscow, have joined was very cozy, and I made enough money to eventuallyher get crew a more too. sophisticated heating and plumbing system, but I was caught Four or five members of the crew are at work each weekday. between artwork and business, doing neither one as well asDepending I on the current orders—say, a kiln’s worth (approxi­ might have. So I decided to separate artwork from business.” Still, mately 200) of bunny mugs—the crew coordinates activities to the artist is evident in each of her designs. keep the line of prepared mugs at the kilns from getting too long “The opportunity to make a modest living in ceramics,” saysor the line of unglazed mugs too short. Sarah, became possible soon after she started doing wholesale “We can cast each animal mold maybe three times a day, and shows. “I’ve been going to wholesale gift shows since 1989. I use each mold for more than 100 castings,” Spademan says of the always exhibit in the Handmade section of the New York show.supply beneath her worktables. Which, even for a rabbit, is a I’ve also done Dallas, Atlanta, Boston, San Francisco and Losfairly efficient rate of reproduction. Angeles. These shows offer artists a piece of the bigger gift market, exposing them to buyers who don’t buy just crafts.” Her business is capable of a degree of mass production, so these shows are perfect for her products. “There’s never any ques­ tion whether attending the New York show is worth it,” Sarah notes. “My minimum number for an order is very low so I can get a lot of small new accounts, some of which grow. And this is also where I pick up cata­ log orders.” Last year, she started offering a display rack with the purchase of at least 24 mugs, which “increased my orders. Retailers seemed more likely to order if they had a ready-made display. As a craftsperson, I had resisted prioritizing anything other than making a high-quality product—but mar­ keting is nearly as important.” Being a good employer is important to Spademan as well, and it has been easier for her to be one since November 1997, when she moved her small business into the three- room bottom floor of a freestanding brick “Taper Tapirs,” approximately 3 inches (8 centimeters) in height, slip-cast earthenware, studio building. Formerly a brewery, with the glaze, by Spademan Pottery, Cambridge, Massachusetts. complex was renovated by a neighborhood development corporation to encourage entrepreneurship in women“It all sounds straightforward,” says Sarah. “But there are and people of color. The move from her garage workshop added always problems. Most of them involve the slip or equipment. We expenses—more electricity and increased rent—but the condi­used Cone 6 stoneware slip for years, but changed last year to low- tions are better. fire slip, eliminating wear on the kilns and some firing defects.” Sarah currently has seven part-time employees. Each works on Introducing new products helps maintain her enjoyment of a flexible schedule, and all make between $12 and $15 an hour.being in the pottery business. Recently, Spademan has added Tam Selig, who on her own time creates swarms of colorful paper planters, fancy vases and tapir candle-holders, affectionately known butterflies, has cast animals and handled the shipping for Spademanas “Taper Tapirs,” to the studio line. There’s also the creature Pottery since 1990. Brian Adams, painter, collage artist and bird­comfort that comes from getting an order from the Brooklyn house builder, has served as glazer and kiln loader for four years.Museum gift shop for hippo mugs. Why hippo mugs? The gift Richard Salvucci, an illustrator of birds in the Audubon tradition,shop wants them to sell during a show of artwork from ancient does all the painting on the animal mugs, dotting eyes, stripingEgypt, back when Cleopatra floated down the Nile, under purple fins, etc. (“I know it sounds awful,” Spademan says, “but I can’tsails, imbibing nectar on a “barge like a burnished throne.” hire anyone who doesn’t paint the animals exactly the way I want“The Egyptians definitely did make frog mugs,” says Spademan. them to.”) Nellie Rodriguez, a decorative painter of antique fur­“Not, apparently, hippo mugs.” But hippos it will have to be. niture, also works in the studio, as does art teacher Rebecca Maybe this order will be as profitable, if not as prolific, as the Davidson. Painter Javier Gonzales from El Salvador, and AlexHolsteins of yore.

Ceramics Monthly November 2002 67 January 13-February 7, 2003, entry deadline November 23, 2003), open to ceramic spoons no call for entries Icheon, South Korea "The Second World Ceramic larger than 40 centimeters (approximately 16 Application Deadlines for Exhibitions, Fairs, Biennale 2003 Korea" (September 1-October 30, inches). Juried from 2 transparencies and a short Festivals and Sales 2003), open to works in 2 categories: use and curriculum vitae. Awards: City of Carouge Prize expression. Preliminary selection from 2 slides per 2003, 10,000 chf (approximately US$6700); plus entry; up to 3 entries. Final selection from actual 2000 chf (approximately US$1300) and 1000 chf International Exhibitions works. Cash awards. Contact Office for Interna­ (approximately US$670). Contact Musee de tional Competition, Exhibition Dept., WOCEF, Carouge, PlacedeSardaigne2, CH-1227 Carouge; November 29 entry deadline Icheon World Ceramic Center, Gwango-dong San e-mail [email protected] ; see website Cheney, Washington "Two by Two: Small-Scale Ce­ 69-1, Icheon, Gyeonggi-do, South Korea 467- www.carouge.ch ; telephone (41) 22 342 33 83; ramic Sculpture Biennial" (February 20-March 17, 020; e-mail [email protected]; see fax (41) 22 342 33 81. 2003). Juried from slides. Jurors: Marilyn Lysohir and website www.ceramicbiennale.org or Elisa Nappa. Fee: $25 for up to 3 entries. Cash www.worldceramic.or.kr; telephone (82) 31 631 United States Exhibitions awards. For prospectus, sendsase to Gallery of Art, 6512; or fax (82) 31 631 1614. ART 140, Eastern Washington University, Cheney May 2, 2003, entry deadline November 15 entry deadline 99004-2401; e-mail [email protected]; Carouge, Switzerland "International Ceramics Nyack, New York "Salad for 12" (March 29—April or telephone (509) 359-7070. Competition: A Ceramic Spoon" (September 20- 19, 2003), open to functional and sculptural ce­ ramic bowls, minimum size 11 inches. Juried from slides. Jurors to include Les Richter, curator of "American Shino Show." Fee: $15 for up to 3 slides; each additional entry, $5. For prospectus, send SASE to the Klay Gallery, 65 S. Broadway, Nyack 10960; or telephone (845) 348-6306. La Crosse, Wisconsin Juried one-person exhi­ bition (January 22-February 21, 2003), open to ceramics artists; must install and tear down show, attend opening, and present two-day workshop. Juried from 10-20 slides. Entry fee: $ 15. Awards: $1000 honorarium. Forfurther information, e-mail Gerard Justin Ferrari at [email protected]; or telephone Ferrari at (608) 796-3757. November 16 entry deadline Sacramento, California "Affinity for the Cup" (February 6-March 1, 2003), open to functional or sculptural ceramic cups. Juried from slides. Juror: Richard Hotchkiss. Entry fee: $15 for 3 slides. Awards. Commission: 50%. For prospec­ tus, send SASE to exploding head gallery, 924 12th St., Sacramento 95814; or e-mail explodingheadl @aol.com. December 15 entry deadline La Jolla, California "The Word Made Clay: Ce­ ramic in Its Own (W)rite" (February 22-March 29, 2003), open to clayworks using an interpre­ tation of the book format; surfaces should re­ flect a storytelling (narrative) perspective with the written word, implied word andlor illustration on the clay. Juried from slides. Juror: Richard Shaw. Cash awards. Entryfee: $25. For entry form, contact the Tile Heritage Foundation: e-mail [email protected]; telephone (707) 431-8453; or fax (707) 431-8455. January 4, 2003, entry deadline Ft. Myers, Florida "Frontiers: i2artContemporary 2003" (August 9-September 14, 2003), open to works in all media that address the frontier as a critical or dominant theme. Juried from 1-3 slides and optional 250-word statement. Juror: Mark Coetzee, director, Rubell Family Collection. For prospectus, send SASE to i2art, PO Box 112139, Naples, FL 34108; or apply online at www.i2art.com. January 10, 2003, entry deadline Kirksville, Missouri "13th Annual National Art Competition" (March 24—April 15, 2003), open to works in all media. Juried from slides. Juror: Kathryn Hixson. Awards: $1500. For prospectus, sendSASE to 13th Annual National Art Competition, Truman State University, Division of Fine Arts, 100 E. Nor­ mal, Kirksville 63501; or [email protected] . January 15, 2003, entry deadline Lancaster, Pennsylvania "The 11th Annual Strictly Functional Pottery National" (April 26-May 26, 2003). Juried from slides. Juror: Wayne Higby. For

Ceramics Monthly November 2002 68 Ceramics Monthly November 2002 69 call for entries Las Vegas, Nevada "Jackpot!" (May 2-30, 2003), open to functional or sculptural teapots that use clay as the primary medium and that do not exceed 36 inches in any direction. Artists may submit up to prospectus, send business-size SASE to Market 3 teapots. Juried from up to 2 slides per work. House Craft Center/SFPN, PO Box 204, E. Peters­ Juror: Mark Burns. Entry fee: $20. Commission: burg, PA 17520; or download application from 40%. Awards: grand prizewinner receives a week­ www.art~craftpa.comlsfpnapp.html. end trip to Las Vegas and a Mark Burns teapot. For January 17, 2003, entry deadline further information, contact Contemporary Arts Cambridge, Massachusetts "Cambridge Art Asso­ Collective, Attn: Jackpot!, 101 E. Charleston Blvd., ciation National Prize Show" (May 5-June 25, Ste. 101, Las Vegas 89104; or telephone (702) 2003), open to works in all media except video. 382-3886. Juried from slides. For prospectus, send SASE to April 11 entry deadline CAA, 25 Lowell St., Cambridge 02138; or see Lancaster, Pennsylvania "CraftsNational" (August website www.cambridgeart.org. 9-September 14, 2003). Juried from slides. Juror: February 1, 2003, entry deadline Holly Hotchner, director, American Craft Museum. Chicago, Illinois "14th Annual Teapot Show: On Awards: $2000. For prospectus, send SASE to the Road Again" (April 6-May 19, 2003), open to Lancaster Museum of Art, 135 N. Lime St., Lancaster functional, fun, funky, bright and colorful teapots 17602; or telephone (717) 394-3497. in all dimensions and media. Juried from up to 2 slides per work (with SASE); up to 2 works. Entry Regional Exhibitions fee: $20. For prospectus, contact Joan Houlehen, A. Houberbocken, Inc., PO Box 196, Cudahy, Wl November 15 entry deadline 53110; or telephonelfax (414) 481-4000. Indianapolis, Indiana "Clayfest 2003" (January February 2, 2003, entry deadline 17-February 14, 2003), open to ceramics artists Louisiana, Missouri "Make Shroom" (May 1-18, who are current or former residents of Indiana. 2003), open to work related to mushrooms. Juried Juried from slides. Fee: $20 for 3 entries. For from 3-6 slides. Entry fee: $10. Awards: best of further information, contact Clayfest, Dept, of Art show, plus best of class in 3 divisions. For prospec­ and Design, University of Indianapolis, 1400 E. tus, send SASE to the Old School, Dixon Gallery, Hanna Ave., Indianapolis 46227; or telephone 515 Jackson, Louisiana 63353; e-mail teres@big- (317) 788-3253. river.net; or telephone (573) 754-5540. February 10, 2003, entry deadline Fairs, Festivals and Sales Guilford, Connecticut "Ceramics 2003" (July 6-August 23, 2003). Juried from slides; include December 11 entry deadline 1 full view and 1 detail of each piece entered. Ann Arbor, Michigan "Ann Arbor Street Art Fair" Applicants may enter up to 3 pieces. Entry fee: (July 16-19, 2003). Juried from slides. For further $15. Awards: first place, $1000; second, $500; information, e-mail [email protected]; see website third, $250. Commission: 40%. For prospectus, www.artfair.org; or telephone (734) 994-5260. contact Guilford Handcraft Center, PO Box December 15 entry deadline 589, Guilford 06437; or see website Guilford, Connecticut "Expo 2003" (July 17-19, www.handcraftcenter.org. 2003). Juried from slides. Entry fee: $30. Late February 21, 2003, entry deadline entry deadline: January 10, 2003; fee: $50. For Lincoln, California "Feats of Clay XVI" (April 26- application, e-mail the Guilford Handcraft Center May 25, 2003), open to artists working in the at [email protected]; see website United States and its territories. Juried from slides. www.handcraftcenter.org; or telephone (203) Juror: Joe Mariscal, ceramics instructor at San 453-5947. Joaquin Delta College, Stockton, California. Fee: January 15, 2003, entry deadline $15 for 1 entry; $25 for 2; $30 for 3. Cash place Frederick, Maryland "The 10th Annual Frederick and merit awards. For prospectus, send #10SASE Festival of the Arts" (June 7-8, 2003). Juried from to Lincoln Arts, 540 F St., Lincoln 95648; or see slides. Cash awards. For application, contact Jas­ website www.lincolnarts.org. mine N. Sneed, Executive Director, PO Box 3080, March 3, 2003, entry deadline Frederick 21705; e-mail [email protected]; see Kent, Ohio "Third Annual National Juried Cup website www.frederickarts.org; telephone (301) Show" (May 14-June 14, 2003), open to ceramics 694-9632; or fax (301) 682-7378. artists. Juried from slides. Juror: William Brouillard, February 1, 2003, entry deadline ceramics department chair, Cleveland Institute Ypsilanti, Michigan "Royal Oak Clay and Glass of Art. Cash awards. For further information, Show" (June 14-15, 2003). Juried from 3 slides of send SASE to Anderson Turner, Director, Gallery work, plus 1 of booth. Entry fee: $15. Booth fee: 138, 138 E. Main St., Kent 44240; e-mail $225. For further information, contact DROA, 268 [email protected] ; see website http:// Taft, Ypsilanti 48197; e-mail [email protected]; dept.kent.edulartlgalleryl 38. see website www.ciayandglass.com; or telephone March 15, 2003, entry deadline (734) 216-3958. Louisiana, Missouri "Red, White and Blue" (May 22—July 6, 2003), open to work related to patrio­ For a free listing, piease submit information on juried tism, the United States, or the colors red, white exhibitions, fairs, festivals and sales at least four and blue. Juried from 3-6 slides. Entry fee: $10. months before the event’s entry deadline (add one Awards: best of show, plus best of class in 3 month for listings in July and two months for those in divisions. For prospectus, send SASE to the Old August). Regional exhibitions must be open to more School, Dixon Gallery, 515 Jackson, Louisiana than one state. Mail to Call for Entries, Ceramics 63353; e-mail [email protected]; or telephone Monthly, 735 Ceramic PI., Westerville, OH 43081; (573) 754-5540. e-mail to [email protected]; or fax to March 31, 2003, entry deadline (614) 891-8960.

Ceramics Monthly November 2002 70 Ceramics Monthly November 2002 71 suggestions From Readers

The 3001st Use for Duct Tape If you have duct tape and some spare scrap lumber, you can make a press mold for slab building. Construct a hollow form with the

wood and tape, then press the clay on the inside. Dusting the wood with dry clay before starting helps with easy removal.—Michele Jianakoplos, St. Louis, MO Scoring Tool For a great scoring tool, cut a small bundle of stiff copper or aluminum wires and insert into the end of a stick of bamboo, securing with some clear quick-setting epoxy. Wires from inside a piece of clothesline or electrical cable work well. —David Sexton, Portland, OR

Centering When teaching beginners to center clay on the wheel, have them find the elbow bone in their left arm and place it against their left hip bone. It is sometimes tough to keep them in place, so it is important to stress that the bones must touch. By simply adjusting their left hip, their arm will move 4-6 inches. In other words, they should use their body weight to center, not just their arms and shoulders. Next, have them find the bone in the heel of their hand that naturally rests against the wheel head (draw an imaginary line down their pinky, along the edge of their palm to their wrist). This is the tool they will use to center. For kids, have them grab their left wrist with their right hand to help with steadiness. Once the bottom is centered, have the stu­ dents place their fingers gently around the clay,

Ceramics Monthly November 2002 72 Ceramics Monthly November 2002 73 suggestions with their left thumb on top. Gentle, steady pressure with the thumb will help the clay conform to the curve of the hand.—Lynn Seydel, Mt. Vernon, LA

Kinky Wire To uncurl or unkink a cutoff wire, secure one end in a vise and hold the other end by the wooden handle with heavy gloves or pliers. Pull the wire just enough to straighten it. With a

propane torch, heat the wire at one end to red heat and move down the wire to the other end. Do not linger in one spot, as it will overheat the wire.—Rick Klump, Florence, OR

Breaking a Brake A good place to start looking for steel wire is an auto-mechanic shop or a junkyard. The emergency brake cable from most vehicles is made up of many very fine intertwined wires, each one of which can be used separately. The “wave” in the wire leaves an interesting pattern when used for cutting. If you leave three wires attached to the terminal, you can twist them, making a perfect cutoff wire.—-Jorge Nabel, Buenos Aires, Argentina

Free Cobalt Blue For a cool shot of cobalt blue in the bottom of decorative pots, crush up blue beverage bottles and put the pieces in a raw-glazed pot. Fire to Cone 6 and you have a free source of cobalt blue.—Susan Dimm-Fry, West Chatham, MA

Polishing Power Use a battery-powered toothbrush to finish polish the inside of handbuilt pieces. It is cheaper than a Dremel tool and leaves the surface very smooth.—Mary Pechacek, Duluth, MN

Share your ideas with others. Previously un­ published suggestions are welcome individu­ ally or in quantity. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly November 2002 74 Ceramics Monthly November 2002 75 ber 29 Ruth Duckworth, "A Decade of Large Scale calendar Works"; at Garth Clark Gallery's Project Space, 45-46 Events to Attend—Conferences, 21st St. New York, New York through November 2 Babs Exhibitions, Workshops, Fairs Haenen. November5-30 Nicholas Rena. Martin Smith; at Garth Clark Gallery, 24 W. 57th St. through February 9, 2003 "China Refigured: The Conferences Art of Ah Xian"; at the Asia Society, 725 Park Ave. November3-23 David W. Thomas, ceramic masks; Vermont, Bennington January 29-February 2, at CJG Projects, 135 W. 29th St., #500. 2003 "North Country Studio Conference" will include New York, Port Chester November 1-23 Susan 14 workshops, 2 of which are ceramics by Jeff Oest- Halls, "Extraordinary Birds and Beasts"; at the Clay Art reich and Arnold Zimmerman. For further information, Center, 40 Beech St. see website www.northcountrystudioconference.org ; North Carolina, Charlotte through November30 or telephone (802) 785-2245. Byron Temple, "A Tribute to Fifty Years"; at W.D.O., Hearst Plaza, Ste. 1, 214 N. Tryon St. Solo Exhibitions North Carolina, Creedmoor through November 10 Val Cushing; at Cedar Creek Gallery, 1150 Fleming Rd. Arizona, Scottsdale November 1-30 Bennett Bean; North Carolina, Seagrove November 1-30 Pete at Gallery Materia, 4222 N. Marshall Way. Knickerbocker, pottery; at Blue Moon Gallery, 1387 Arizona, Tempe through December 14 Farraday Hwy. 705, S. Newsome Sredl, "Embracing Night"; at the Ceramics Ohio, Springfield through November 8 Gregg Research Center, Arizona State University Art Mu­ Luginbuhl, sculpture and wall works; at Ann Miller seum, Tenth St. and Mill Ave. Gallery, Wittenberg University. California, Gualala through December 31 Jillian Pennsylvania, Erie through December 1 Kathy Banks, sculpture; at StewartlKummer Gallery, 35290 King, "Nursery of My Indecision"; at the Erie Art Old Stage Rd. Museum, 411 State St. California, San Francisco November 5-December Pennsylvania, Pittsburgh through November 13 7 Robert Brady, wood and ceramic sculpture; at Daryn Lowman, "Objects in Place." November 15- BraunsteinlQuay Gallery, 430 Clementina. January 1, 2003 Kirk Mangus, recent work; at the Clay California, Santa Monica through November 16 Place, 5416 Walnut St. Ron Nagle, "Variety Show: Smoove Wares, Thin Fins, Tennessee, Knoxville through November2 Debra Snuff Bottles." November30-January 11, 2003 Peter W. Fritts, "Figurative Ceramic Sculpture"; at Bennett Voulkos; at Frank Lloyd Gallery, 2525 Michigan Galleries, 5308 Kingston Pike. Ave., B5b. Tennessee, Smithville through November3 Janice Florida, West Palm Beach through November 23 Basiletti, fantasy sculpture; at Appalachian Center for Debbie Weinstein, functional and sculptural ceramics; Crafts, 1560 Craft Center Dr. at the Robert and Mary Montgomery Armory Art Texas, Houston through November30 B\\\ Dennard; Center, 1703 Lake Ave. at Goldesberry Gallery, 2625 Colquitt St. Georgia, Athens through January 12, 2003 Earl Wyoming, Buffalo November 29-December 31 McCutchen, "Craftsmanship in Ceramics and Glass"; " Rotation," installation by Bronwyn Minton; at Margo's at the Georgia Museum of Art, 90 Carlton St. Pottery and Fine Crafts, 1 N. Main. Georgia, Atlanta November 1-30 Deanna Ranlett, "Hidden Treasures"; at MudFire Pottery Center, 1441 Group Ceramics Exhibitions Dresden Dr., Ste. 250. Hawaii, Honolulu November 13-30 Hideo Okino; Alabama, Montgomery November 2-January 5, at the Honolulu Academy of Arts, Academy Art Cen­ 2003 "The Artful Teapot: 20th-Century Expressions ter, 900 S. Beretania St. from the Kamm Collection"; at the Montgomery Mu­ Maryland, Cockeysville November 1-24 Susan H. seum of Fine Arts, 1 Museum Dr. Gladstone, "Hot Fire," raku pots; at Clay Orbit, 10918 Arizona, Mesa through November23 "Steeped in York Rd. Tradition: The Contemporary Art of Tea," juried exhi­ Massachusetts, Boston November 29-December bition; at the Mesa Arts Center, 155 N. Center St. 31 Hanako Nakazato, pottery; at GenoveselSullivan Arizona, Scottsdale December 1-31 "Trompe Gallery, 47 Thayer St. I'oeil," works by Elizabeth Farson, David Furman, Sylvia Massachusetts, Lexington through November24 Hyman, Marilyn Levine, Richard Newman, Richard Joan Carcia, "Touched by Fire," saggar-fired vessels Shaw and Victor Spinski; at Gallery Materia, 4222 N. and dwellings; at Depot Square Gallery, 1837 Massa­ Marshall Way. chusetts Ave. California, Los Angeles through November 10 Michigan, Ferndale through November 30 "Tony "Centering: Clay and the Midwest Influence," curated Hepburn @ 60," retrospective exhibition; at Revolu­ exhibition of works by 21 potters; at Freehand Gallery, tion Gallery, 23257 Woodward Ave. 8413 W. Third St. Missouri, Kansas City November 1-23 Jane California, Santa Rosa through January 31, 2003 Shellenbarger, thrown, altered and assembled pot­ " New Ceramic Horizons," sculpture by Hedi-Katharina tery; at Red Star Studios Ceramic Center, 821 W. 17 St. Ernst, Sarah Kotzamani, Clara Lanyi, Inya Laskowski, Missouri, St. Louis through November 9 Bennett Penny Michel, Scott Parady, Dharma Strasser, John Bean; at R. Duane Reed Gallery, 7513 Forsyth. Toki, Re-Cheng Tsang, Christiane Vincent; at Paradise Montana, Helena November 7-January 15, 2003 Ridge Winery, Paradise Wood Sculpturegrove, 4545 Jun Kaneko, ceramics and paintings; at the Holter Thomas Lake Harris Dr. Museum of Art, 12 E. Lawrence St. Illinois, Chicago through November 3 Peter New Jersey, Demarest November 4-25 John Beaseckerand Maren Kloppmann. "The Work of Josh Caspar, ceramic installation; at the Old Church Cul­ DeWeese, Director, and the 2002 Artists in Residence tural Center School of Art, 561 Piermont Rd. from the Archie Bray Foundation"; at Lill Street Art New Jersey, Surf City through November 4 Rick Center, 1021 W. Lill St. Parsons; at m. t. burton gallery, 1819 Long Beach Blvd. through December 13 "Visual Perspectives: 14 Years New York, Brooklyn through February 9, 2003 of the Virginia A. Groot Awards," ceramics by 36 artists; Judy Chicago, "The Dinner Party," installation of por­ at the Groot Foundation Space, 215 W. Superior St. celain plates depicting important women in history; at November 16-December 31 Jeff Oestreich and Brooklyn Museum of Art, 200 Eastern Pkwy. Michael Simon. Sam Clarkson and Allegheny Mead­ New York, Long Island City November2-Decem- ows; at Lill Street Art Center, 1021 W. Lill Ave.

Ceramics Monthly November 2002 76 Illinois, Urbana November 29-December 24 Ce­ ramics by Chris Berti and Laura O'Donnell; at Cinema Gallery, 120 W. Main St. Indiana, Ft. Wayne November 23-December 21 "Cup: The Intimate Object," juried national; at Charlie Cummings Clay Studio, 4130 S. Clinton St. Iowa, Iowa City November 1-31 Randy Johnston and Jan McKeachie-Johnston; at AKAR, 4 S. Linn St. Kentucky, Richmond November 4-27 Ceramics by Julia Galloway and Susan O'brien; at the Eastern Kentucky University, Giles Gallery, Campbell Bldg. Maine, Gorham through December 7 "Pushing Clay"; at the University of Southern Maine Art Gallery, 37 College Ave. Maryland, Baltimore through November 9 "Raven Revel," national invitational of raven-inspired work. through November23 "Teaching and Talking Through the Clay II." November 16-December 23 "Winterfest 2002"; at Baltimore Clayworks, 5707 Smith Ave. Massachusetts, Boston November 9-January 5, 2003 "Our Cups Runneth Over"; at the Society of Arts and Crafts, 175 Newbury St. Michigan, Ann Arbor November 5-December 24 " Figure It Out," paper-clay works by Marcia Polenberg and Ted Ramsay; at Washington Street Gallery, 215 E. Washington St. Michigan, Royal Oak December 7-January 18, 2003 "SpinningTales," narrative ceramics by Ed Eberle, Cindy Kolodziejski, Paul McMullan and Kurt Weiser; at the Sybaris Gallery, 202 E. Third St. Minnesota, Minneapolis through November 2 "Breaking the Plane: 3 Dimensions in Tile," works by Fuller Cowles and Constance Mayeron, Paul McMullan, Annabeth Rosen, and Aurora Hughes Villa. November 17-December28 "2002 Holiday Exhibition and Sale"; at the Northern Clay Center, 2424 Franklin Ave., E. through January 12, 2003 "Kakelugnar of the American Swedish Institute," 11 porcelain tile stoves; at the American Swedish Institute, 2600 Park Ave. New Jersey, Newark through December 29 "El­ egy in White: The Karen McCready Collection of White Porcelain"; at the Newark Museum, 49 Washington St. New Jersey, Surf City December 7-January 6, 2003 "Third Annual Holiday Show"; at m. t. burton gallery, 1819 Long Beach Blvd. New Mexico, Santa Fe through November9 "Figu­ rative Sculpture Exhibition," curated exhibition of works by Russell Biles, Christyl Boger, Jim Budde, Sara Lisch, Louis Mendez, Cara Moczygemba, Cheryl Tall, Maryann Webster and Arnold Zimmerman. November 15-De­ cember 16 "Contemporary Maiolica," works by 35 artists; at Santa Fe Clay, 1615 Paseo de Peralta. November 17-September 7, 2003 "Ceramica y Cultura: The Story of Spanish and Mexican Mayolica"; at the Museum of International Folk Art, 706 Camino Lejo at Milner Plaza, off Old Santa Fe Trail. New Mexico, Silver City through November 20 "Colors of Mexico," decorative functional ceramics by DaNisha Sculpture; at Eklektikas Gallery, 703 Black St. New York, Garrison November 30-December 22 "Passionate Fire: Wood-Fired Ceramics from the Hudson Valley," with works by Roger Baumann, Paul Chaleff, Pascal Chmelar, Rich Conti, Jane Herold, Grace Knowlton, Tony Moore, Tim Rowan and Jeff Shapiro; at the Germaine Keller Gallery, 17A Garrison's Landing. New York, New York through January 5, 2003 "From the Kilns of Denmark: Contemporary Danish Ceramics"; at the American Craft Museum, 40 W. 53rd St. through February 9, 2003 "From Court to Cara­ van: Chinese Tomb Sculptures from the Collection of Anthony M. Solomon"; at the Asia Society, 725 Park Ave. November 13-December 4 "Innovations in Clay: Recent Hungarian Ceramics." "Innovations in Clay: Recent American and Hungarian Ceramics"; at the Hungarian Cultural Center, Hungarian Consulate, 223 E. 52nd St. Continued

Ceramics Monthly November 2002 77 "Clay Show," works by Juliellen Byrne, Richard Garriott- (see Fairs, Festivals and Sales) of works by over 200 calendar Stejskal, Tom and Karen Markgraf, Tom Radca, and artists. December 6-24 "The Holiday Exhibition"; at Denise Romecki; at A Muse Gallery, 996 W. Third Ave. the Clay Studio, 139 N. Second St. Ohio, Kettering November 4-December 6 "Earth Rhode Island, Providence through November 17 December 4-January 4, 2003 "Tea, Blood and in Balance," juried regional exhibition; at Rosewood "Anagama," exhibition of wood-fired ceramics; at Opium: The Artful Teapot"; at Garth Clark Gallery, 24 Gallery, 2655 Olson Dr. Peck Gallery, 424 Wickenden St. W. 57th St. Ohio, Lancaster through January 5, 2003 "Seven Texas, Dallas through January 5, 2003 "Treasures North Carolina, Asheville through December 77 Contemporary Ohio Potters," curated exhibition of from an Unknown Reign: Shunzhi Porcelain"; at the " Potters of the Roan," works by 14 potters; at Odyssey works by Curt Benzie, Cary Hulin, Mark Nafziger, Tom Trammell and Margaret Crow Collection of Asian Art, Gallery, 242 Clingman Ave. Radca, Gail Russell, Justin Teilhet and Tom Turner. 2010 Flora St. North Carolina, Chapel Hill November 25-Febru- "Traditional Ohio Pottery," curated show of 1940s November 1-December 21 "Texas Mud: Ceramic ary22, 2003 "Glamorous Pots"; at Green Tara Gallery, and '50s ceramics; at the Decorative Arts Center of Artists in Texas," works by over 50 artists; at the Dallas 1800 E. Franklin St., 18b Eastgate. Ohio, 145 E. Main St. Center for Contemporary Art, 2801 Swiss Ave. Ohio, Cincinnati through January 5, 2003 "Un­ Oklahoma, Tulsa through December 14 "Red Texas, Houston November 3-March 3, 2003 common Legacies: Native American Art from the Heat: Contemporary Work in Clay"; at the University "The Wilson Potters: An African-American Enter­ Peabody-Essex Museum"; at the Cincinnati Art Mu­ of Tulsa School of Art, 600 S. College Ave. prise in 19th-Century Texas," 14 pieces of pottery seum, 953 Eden Park Dr. Pennsylvania, Philadelphia through November made between the 1840s and the 1880s; at the Ohio, Grandview Heights through November 30 10 "Mastery in Clay: New Work," exhibition/auction Museum of Fine Arts, Caroline Wiess Law Bldg., 1001 Bissonnet St. Virginia, Alexandria through December 1 "Folds and Molds," functional and decorative pottery and sculpture; at Scope Gallery, Torpedo Factory, 105 N. Union St. Washington, Vashon Island December 2-21 "Piece by Piece," tiles and mosaics; at Blue Heron Art Gallery, Vashon Hwy. Wisconsin, Sturtevant November 13-December 6 "Alpine 60th Anniversary Exhibition," juried na­ tional; at A.R.T. Studio Clay Co., 9320 Michigan Ave.

Ceramics in Multimedia Exhibitions

Arizona, Tucson through November 2 "Dia de los Muertos Invitational Exhibition." November9-Decem- ber 28 "Holiday Exhibition and National Ornament Show," including functional ceramics by Jeanne Bisson and Ikuzi Teraki; at Obsidian Gallery, St. Philip's Plaza, Ste. 90, 4340 N. Campbell Ave. November3-15 "Divine Earthworks," two-person show with functional works and large figurative gar­ den sculpture by Carla Prinster; at DeGrazia Gallery in the Sun, 6300 N. Swan Rd. Arkansas, Springdale November 11-January 2, 2003 "Eighth Annual Regional Art Exhibition"; at the Arts Center of the Ozarks, 214 S. Main St. California, Kentfield through November 7 "Opaque/Transparent: Clay/Glass"; at the College Art Gallery, College of Marin, 835 College Ave. California, La Jolla through December 6 "Festival of Lights," exhibition of menorahs. November 16- December 31 "Holiday 2002"; at Gallery Alexander, 7925-A Girard Ave. California, Sacramento November 7-30 Two- person exhibition including clay and multimedia works by Pamela Lethbridge; at exploding head gallery, 924 12th St. Colorado, Denver through December 7, 2003 "Chinese Art of the Tang Dynasty from the Sze Hong Collection"; at the Denver Art Museum, 100 W. 14th Ave. Pkwy. Connecticut, Guilford November2-December24 "Artistry 2002," juried exhibition; at the Guilford Handcraft Center, Rte. 77. Connecticut, New Canaan November 17-Decem- ber22 "Craft USA 2002," juried national exhibition; at Silvermine Guild Arts Center, 1037 Silvermine Rd. Florida, West Palm Beach through November 23 "October International Competition"; at the Robert and Mary Montgomery Armory Art Center, 1703 Lake Ave. Florida, Winter Park through January 5, 2003 "Art Nouveau in Europe and America: From the Morse Collection"; at the Charles Hosmer Morse Museum of American Art, 445 N. Park Ave. Georgia, Atlanta through November 2 "Being Human: The Figure Expressed"; at the Signature Shop and Gallery, 3267 Roswell Rd., NW. Illinois, Chicago through November 30 Two-per­

Ceramics Monthly November 2002 78 son exhibition with ceramic sculpture by Esther Shimazu; Fairs, Festivals and Salesat the Concourse Exhibition Center, 635 Eighth St. at Ann Nathan Gallery, 212 W. Superior St. California, San Jose November 29-December 1 Illinois, St. Charles through November 16 "Hid­ Arizona, Tucson November 1-3 "Fifth Annual "25th Annual Harvest Festival"; at the San Jose Con­ den Faces: An Exhibition of Masks"; at the Fine Line Harvest Festival"; at the Tucson Convention Center, vention Center, 150 W. San Carlos. Creative Arts Center, 6N158 Crane Rd. 260 S. Church St. California, Santa Monica November 1-3 "Con­ Kentucky, Louisville November 7-December 28 California, Pomona December 6-8 "18th Annual temporary Crafts Market."November 9-10 "LA Deco­ "Holidazzle"; at the Kentucky Art and Craft Gallery, Harvest Festival"; at the Fairplex, LA County Fair­ rative Arts Fair"; at the Santa Monica Civic Auditorium, 609 W. Main St. grounds, 1101 W. McKinley Ave. 1855 Main St. (on the corner of Pico Blvd.). Massachusetts, Boston through November3 "The California, Sacramento November 22-24 "28th California, Stockton November 1-2 "San Joaquin 2002 Artist Awards Exhibition," with ceramics by Annual Harvest Festival"; at Cal Expo, 1600 Exposi­ Potters Guild Sale"; at the University of the Pacific, Nancy Hayes and Jeanee Redmond; at the Society of tion Blvd. 3601 Pacific Ave. Arts and Crafts, 175 Newbury St. California, San Diego November 9-10 Biannual Connecticut, Danbury December 7 "Wooster Massachusetts, Worcester December6-23 "Third sale of works by 40 members of the San Diego Potters' Community Art Center Fifth Annual Holiday Pottery Annual Faculty Show and Sale"; at the Worcester Guild; at Balboa Park's Spanish Village. Sale"; at the Wooster Community Art Center, 73 Miry Center for Crafts, Krikorian Gallery, 25 Sagamore Rd. California, San Francisco November 9-10 "San Brook Rd. Michigan, Ann Arbor through November 10 "An­ Francisco Clay and Glass Festival"; at Ft. Mason Cen­ Connecticut, East Hartford December 7-8 and nual All-Media Exhibition"; at the Ann Arbor Art ter, Herbst Pavilion, Buchanan St. and Marina Blvd. 14-15 "27th Holiday Open Studio"; at Greenleaf Center, 117 W. Liberty St. November 15-17 "30th Annual Harvest Festival"; Pottery, 686 Tolland St. Continued Minnesota, Bloomington through November 16 "27th Annual Members' Juried Exhibition"; at the Bloomington Art Center Gallery, 10206 Penn Ave., S. Minnesota, Minneapolis December 20-March 16, 2003 "Eternal Egypt: Masterworks of Ancient Art from the British Museum"; atthe Minneapolis Institute of Art, 2400 Third Ave., S. Mississippi, Biloxi November 8-January 3, 2003 "George E. Ohr National Arts Challenge"; at the Ohr- O'Keefe Museum of Art, 136 G. E. Ohr St. Montana, Helena through December 31 "New Acquisitions from the Permananent Collection," in­ cluding ceramics, prints and paintings; at the Holter Museum of Art, 12 E. Lawrence St. New Hampshire, N. Conway November 1-30 "League of New Hampshire Craftsmen's Retail Galler­ ies 2002 Traveling Exhibition"; at the League of New Hampshire Craftsmen, 2526 White Mountain Hwy. New York, Buffalo through December 15 "Craft Art Western New York 2002"; at Burchfield-Penney Art Center, Rockwell Hall, Buffalo State College, 1300 Elmwood Ave. New York, Corning December 6-January31,2003 "Clay and Glass," invitational exhibition including ceramics by Linda Arbuckle, Sam Chung, Josh DeWeese, Jeremiah Donovan, Anne Elliot, Anne-Bridget Gary, Jason Hess, Matt Kelleher and Matt Long; at the Atrium Gallery, Corning Community College, 1 Aca­ demic Dr. New York, Long Island, Hempstead through December 13 "Tabletop 2002"; at Emily Lowe Gallery, Hofstra Art Museum, 112 Hofstra University. North Carolina, Charlotte through April 6, 2003 "Coming of Age," the evolution of the museum's collection of 20th- and 21 st-century crafts; at the Mint Museum of Craft + Design, 220 N. Tryon St. Ohio, Cleveland through January 5, 2003 "Mag­ na Graecia: Greek Art from South Italy and Sicily"; at the Cleveland Museum of Art, 11150 East Blvd. Ohio, Columbus November 10-December 23 "Gifts of the Craftsmen"; at the Ohio Craft Museum, 1665 W. Fifth Ave. Pennsylvania, New Castle through November 15 "2002 Hoyt MidAtlantic Juried Exhibition"; at the Institute of Fine Arts, 124 E. Leasure Ave. Pennsylvania, Wayne November3-25" Fall Mem­ bers Juried Exhibition." December 6-January 20, 2003 "Craft Forms 2002," national juried exhibition; at the Wayne Art Center, 413 Maplewood Ave. Vermont, Burlington through November 3 "Ital­ ian Connections"; at Frog Hollow/Vermont State Craft Center, 85 Church St. Vermont, Manchester through November 24 "Asian Origins"; at Frog Hollow/Vermont State Craft Center, Rte. 7A, Equinox Shops. Washington, Moses Lake November 15-Decem- ber 31 "2002 Holiday Show"; at the Moses Lake Museum and Art Center, 228 W. Third Ave. West Virginia, Hurricane November 9-January4, 2003 "Fourth Annual Guild Competition"; at the Museum in the Community, 3 Valley Park Dr.

Ceramics Monthly November 2002 79 calendar

Connecticut, Middletown November 30-Decem- ber 14 "Wesleyan Potters 47th Annual Exhibit and Sale"; at the Wesleyan Potters GallerylShop, 350 S. Main St. (Rte. 17). D.C., Washington November 15-17 "15th An­ nual Washington Craft Show"; at the Washington Convention Center, 900 Ninth St., NW. Florida, Gainesville November 9-10 "21st An­ nual Downtown Festival and Art Show"; on S.E. First St., downtown. Florida, Inverness November 16-17" 31 st Festival of the Arts"; downtown. Florida, Sarasota December 6-8 "ACC Craft Show Sarasota"; at the Robarts Arena, Sarasota County Fairgrounds, 3000 Ringling Blvd. Georgia, Roswell November 1-5 "Works in Clay"; at the Roswell Visual Arts Center: The Clay Collective, 10495 Woodstock Rd. Illinois, Evanston November 75-7 7 "Midwest Clay Guild 30th Annual Exhibition and Sale" of works by members Xiaosheng Bi, Christine Dugan-Schiff, Linda Fox Firstman, Suzanne Horwitz, Linda Kramer, Wyatt Lane, Kat O'Reilly, Mary Seyfarth, Laurie Shaman, with guest artists Les Orenstein and Stephanie O'Shaughnessy; at the Midwest Clay Guild, 1236 Sherman. Illinois, Winnetka November 2-3 "The Modern­ ism Show: Exposition and Sale of 20th-Century De­ sign, 1890-1970"; at the Winnetka Community House, 620 Lincoln Ave. Indiana, Bloomington November 1-2 "Potters' Guild Holiday Pottery Show and Sale"; at St. Mark's Methodist Church, 100 N. Hwy. 46 Bypass. Indiana, Ft. Wayne November 6-10 "Holiday Art Fair"; at the Ft. Wayne Museum of Art, 311 E. Main St. Massachusetts, Boston December 6-8 "Crafts at the Castle"; at the Castle at Park Plaza, Arlington St. and Columbus Ave. Michigan, E. Lansing November 14-16 "Greater Lansing Potter's Guild Annual Fall Sale"; at All Saints Episcopal Church, 800 Abbott Rd. Missouri, Kansas City November22-23 "Holiday Open House"; at Red Star Studios Ceramic Center, 821 W. 17th St. Nevada, Reno November 1-3 "Digging Deep," the Wild Women annual exhibition and sale of works; at NMA Underground, 100 S. Virginia St. New Jersey, Demarest December 6-8 "28th An­ nual Pottery Show and Sale"; at the Old Church Cultural Center School of Art, 561 Piermont Rd. New Jersey, Morristown December20-22 "Holi­ day Crafts"; at the Morristown Armory, Western Ave. New York, New York December 6-8 "Holiday Crafts Park Avenue"; at the Seventh Regiment Ar­ mory, 67th and Park Ave. December 13-15 "Holiday Crafts New York"; at Columbia University. North Carolina, Charlotte December 13-15" ACC Craft Show Charlotte"; at the Charlotte Convention Center, 501 S. College St. North Carolina, Marion December 7 "Appala­ chian Potters Market," sale of works by 50 potters; at McDowell High School, 70 West. North Carolina, Winston-Salem November 15- 17 "39th Annual Piedmont Crafts Fair"; at M. C. Benton Convention Center, Fifth and Cherry sts. Ohio, Lewis Center November22-24 Annual sale of functional pottery by Gail Russell and Tom Turner; at Peachblow Pottery, 2425 Peachblow Rd. Telephone (740) 548-7224. Pennsylvania, Philadelphia November 8-10 "Mastery in Clay: New Work," benefit weekend and auction of works by over 200 artists. Contact the Clay Studio, 139 N. Second St., Philadelphia 19106; see website www.theclaystudio.org ; or telephone (215) 925-3453.

Ceramics Monthly November 2002 80 Rhode Island, Newport November30-December 1 "Sixth Annual Holiday Show and Sale" of works by Potters of Newport County; at the Newport Elks Lodge, Bellevue Ave. and Pelham St. Rhode Island, Providence November 1-3 "7th Annual Fine Furnishings Providence Show"; at the Rhode Island Convention Center, Halls A and B, 1 Sabin St. Texas, Dallas November 1-3 "Proton Road Arts Festival"; at the Craft Guild of Dallas, 14325 Proton Rd.

Workshops

Arkansas, Mountain View March 24-28, 2003 "Second Annual Ozark Folk School" will include "Fir­ ing a Wood-Fired Groundhog Kiln." Participants will have approximately 5 square feet of space for bisqued, Cone 10 objects up to 9 inches in height. Also will include "Beginning Pottery and Slip Decorating." Instructors: Judi Munn and John Perry. Fee: $200. Living accommodations available. Contact Kay Thom­ as, Ozark Folk Center, PO Box 500, Mountain View 72560; e-mail [email protected]; ortelephone (870) 269-3851. California, Camarillo November 9-10 Demon­ stration with Matt Long on the sculptural elements of functional pottery and extreme surfaces applicable to soda firings. Fee: $60; Ventura County Potters Guild members, $50. Location: Studio Channel Islands Art Center, California State University Channel Islands. Telephone Ruth Smith at (805) 482-2404. California, Walnut Creek November 9 "Organic Wall Reliefs Workshop" with Ellen Sachtschale. Fee: $50. November 10 "Throwing Big Pots" with Coreen Abbott. Fee: $50. February 22, 2003 A session with Jenny Lind and Allan Walter. Contact Walnut Creek Civic Arts Education, PO Box 8039, 1313 Civic Dr., Walnut Creek 94596; or telephone (925) 943-5846. Connecticut, Brookfield November 1-3 "Getting Artwork Online" with Nancy White Cassidy. Novem­ ber 15-17 "Pottery of Mata Ortiz" with Monico Co­ rona and Anna Trillo. Contact the Brookfield Craft Center, PO Box 122, Brookfield 06804; e-mail [email protected]; or telephone (203) 775-4526. Connecticut, Guilford November 2-3 "Surface Options," textures with Mary Barringer. For further information, contact the Guilford Handcraft Center: see website www.handcraftcenter.org; e-mail [email protected] ; or telephone (203) 453-5947. Connecticut, New Haven November 9-10 "Por­ celain Pottery Workshop" with Mark Bell. Fee: $120; members, $108. Contact Creative Arts Workshop, 80 Audubon St., New Haven 06510; see website www.creativeartsworkshop.org; or telephone (203) 562-4927. Florida, Melbourne January 31-February 3, 2003 "Wood-Fire Workshop" with Jeanette Rakowski and McKenzie Smith. Fee: $200. Telephone (321) 255-3285. Illinois, Chicago November 16 A session with Sam Clarkson and Allegheny Meadows. Contact Lill Street Art Center, 1021 W. Lill Ave., Chicago 60614; or telephone (773) 477-6185. Illinois, Sugar Grove February 19-22, 2003 A session with Jason Hess. Forfurther information, e-mail Doug Jeppesen, Waubonsee Community College, [email protected]; see website at www.waubonsee.edu ; or telephone (630) 466-7900, ext. 2505. Kentucky, Richmond November 1 A session with Susan O'brien. Free. Location: Eastern Kentucky Uni­ versity Art Dept. [email protected]; ortele­ phone Joe Molinaro at (859) 622-1634. Maine, Portland November 9 "Asymmetrical Forms" with David Orser. November 16 "Understand­ ing Glazes and How They Work" with Maureen Mills. Fee: $40 per session; 4 or more, $35 each. Contact Portland Pottery, (207) 772-4334; or see website at www.portlandpottery.com. Continued

Ceramics Monthly November 2002 81 calendar

Maryland, Baltimore November 9-10 A session with Ron Meyers. January 11-12, 2003 A session with Michael Sherrill. January 28-31, 2003 A session with Nick Joerling. Contact Baltimore Clayworks, 5707 Smith Ave., Baltimore 21209; or telephone (410) 578-1919. Massachusetts, Stockbridge January 13-15,2003 "Throwing Pottery Forms" with Phil Rogers. Fee: $305, includes materials. Intermediate and advanced.March 24-28, 2003 "Elegant Handbuilding, Elegant Firing" with Donna Polseno. Fee: $425, plus materials fee. April 12-13, 2003 "Glazing!" with Angela Fina. Fee: $215, includes materials. May 17-18, 2003 "Trea­ sures from Shards: Making Mosaics" with Marlene Hurley Marshall. Fee: $215, includes materials. Con­ tact IS 183, Art School of the Berkshires, PO Box 1400, Stockbridge 01262; e-mail [email protected] ; see website www.IS183.org ; telephone (413) 298-5252; or fax (413) 298-5257. Massachusetts, Worcester November 9-10 "Gen­ erating Ideas for Making Pots" with Peter Beasecker. For further information, contact the Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; see website www.worcestercraftcenter.org; or telephone (508) 753-8183. Michigan, Detroit December 14 "Precious Metals Clay" with Kim Wilson. Fee: $200, includes materials. Contact Pewabic Pottery, 10125 E. Jefferson Ave., Detroit 48214; see website www.pewabic.com; tele­ phone (313) 822-0954; or fax (313) 822-6266. Mississippi, Biloxi November 9-10 "A Weekend with Paul Soldner." Fee: $75. For futher information, contact the Ohr-O'Keefe Museum of Art, 136 G. E. Ohr St., Biloxi 39530; e-mail [email protected] ; telephone (228) 374-5547; or fax (228) 436-3641. Missouri, Kansas City November 2-3 A demon­ stration with Jane Shellenbarger. Fee: $100. For fur­ ther information, contact Red Star Studios Ceramic Center, 821 W. 17 St., Kansas City 64108; see website www.redstarstudios.org; ortelephone(816)474-7316. New Jersey, Lodi November 1 "Glaze Decorat­ ing" with Audrey Jones. Fee: $40. November2 "Forms Fit for Fire" with Peter Callas. November 4 "Decora­ tions for Plates and Trays" with Sharon Klinger. Fee: $40. November 8 "Wheel in the Classroom" with Stephen V. Jaskowak. Fee: $40.November 9 and 22 " Handbuilding and Clay in the Classroom" with George Critelli. Fee: $40. November22 "Seasonal Color" with Audrey Jones. Fee: $35. November 23 "Mold Making" with Dan Mehelman. December 7 "A Day with Chris Staley." December 14 "The Glaze Doctor" with Jeff Zamek. December 21 "Throwing for Size and Alter­ ing" with Stephen V. Jaskowak. Fee (unless noted above): $93. For further information, contact the Clay Education Center at Ceramic Supply, 7 Rte. 46 W, Lodi 07644; or telephone (800) 723-7264. New Mexico, Santa Fe November 9-10 "Figura­ tive Sculpture" with Richard Garriott-Stejskal. Fee: $135, plus supplies. November23-24 "Handbuilding with Paper Clay" with Judy Nelson-Moore. Fee: $90, plus supplies. For further information, contact Art + Clay, 1804 Espinacitas, Santa Fe 87505; or telephone (505) 989-4278. New York, New York November2 " Decorate with Color" with Liberty Valance. Fee: $120; members, $105. November 9 and December 7 "Basketry Tech­ niques for Potters" with Nancy Moore Bess. Fee: $215; members, $200. November 16-17 "Wheel Throwing: Combined Components—Intermediate" with Manioucha Krishnamurti. Fee: $215; members, $200. December 16-17 "Ceramic Decal" with RimasVisGirda. Fee: $215; members, $200. December 18-20 "Color and Line: UnderglazelWax Inlay" with RimasVisGirda. Fee: $310; members, $295. Contact the Craft Students League, YWCA-NYC, 610 Lexington Ave., New York 10022; or telephone (212) 735-9731. Continued

Ceramics Monthly November 2002 82 Ceramics Monthly November 2002 83 calendar

November 21-22 "The History, Philosophy and Making of Teapots" with Peter Pinnell. Fee: $205. January 13-16, 2003 "The Challenge of the Simple Pot" with Clary lllian. Intermediate and advanced throwers. Fee: $420. To register, telephone (212)415- 5500; for further information, telephone (212) 415- 5562. Or see website www.92ndsty.org. New York, Port Chester November 2-3 "Beasts and Figures in Clay" with Susan Halls. Fee: $120. November 10 "Raku Opportunities" with Denis Licul. Fee: $75. December 10 "Birchbark Ceramics" with Peter Lane. Fee: $75. December 12 "By My Hands Alone" with Barbara Walch. Fee: $75. Contact the Clay Art Center, 40 Beech St., Port Chester 10573; telephone (914) 937-2047. New York, Rochester November 4, 11, 18 "Pre­ cious Metal Clay" with Elizabeth Agte. E-mail Genesee Pottery at [email protected]; telephone (585) 271-5183. New York, White Plains November 8 "Whistle Workshop" with Connie Sherman. Fee: $40; currently enrolled students, $25. Contact the Westchester Art Workshop, Westchester County Center, 196 Central Ave., White Plains 10604; telephone (914) 684-0094. North Carolina, Durham January 6-10, 2003 "Shino," hands-on session with Malcolm Davis. Fee: $335, includes materials and firing. Contact Claymakers, Inc., 705 Foster St., Durham 27701; e-mail [email protected]; see website www.claymakers.com; or telephone (919) 530-8355. North Carolina, Penland March 9-May 2, 2003 "Porcelain Pots: Food and Culture" with Silvie Granatelli and Leah Leitson. Contact Penland School of Crafts: telephone (828) 765-2359; or see website www.penland.org. North Carolina, Wentworth January25-26,2003 "Form and Function," hands-on session with Ellen Shankin, throwing and altering pots. Fee: $150; mem­ bers, $130. Telephone Molly Lithgo at (336) 275- 1202; or e-mail Marcy Maury [email protected] . Ohio, Westerville November 15-16 A session with Dannon Rhudy at The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081. Fee: before November 1, $99; after, $125. See website www.ceramics.org; or telephone (614) 794-5890. Oklahoma, Norman December 14-15 Slide lec­ ture and workshop with Julia Galloway. Fee: $101, includes registration fee. Limited to 20 participants. Contact the Firehouse Art Center, 444 S. Flood, Norman 73069; or telephone (405) 329-4523. Pennsylvania, Philadelphia November8 Lectures with Robert Brady and William Daley. Fee: $5.January 18, 2003 "Web Site Basics" with Cisco Griffin. Fee: $10. March 22, 2003 "Slide Documentation Basics" with John Carlano. Fee: $10. April 4, 2003 A lecture with Patti Warashina. Fee: $5. May 3, 2003 "Basic Business Practices for Artists" with members of the Philadelphia Volunteer Lawyers for the Arts. Contact theClayStudio, 139N. SecondSt., Philadelphia 19106; e-mail [email protected] ; see website www.theclaystudio.org ; ortelephone(215)925-3453. Texas, Houston November 2-3 A session with Jason Hess. Fee: $50. Contact Roy Hanscom, Art Dept., North Harris College, 2700 W. W. Thorne Dr., Houston 77073; or telephone (281) 618-5609. Washington, Suquamish November 16-17 "Sculpting Heads and Faces" with Tone Orvik. Fee: $50, plus clay and modeling fees. Beginning and intermediate skill levels. Limited to 10 participants. Contact ClaySpace on Puget Sound, Brenda Beeley, PO Box 1339, Suquamish 98392-1339; e-mail [email protected]; or telephone (360) 598-3688. Wisconsin, Fish Creek November 6-9 "Introduc­ tion to Raku" with Brian Fitzgerald. November 11-15 "Coiling with the Wheel" with Prisca Benson. Decem-

Ceramics Monthly November 2002 84 Ceramics Monthly November 2002 85 November 7-30 Exhibition of two 14th- and 16th- calendar century Chinese porcelain fish jars, plus other Chinese works of art; at Eskenazi, 10 Clifford St. England, Sherborne through November 16 James ber 2-4 "Beginning Throwing" with Rich Higdon. Campbell, ceramics and drawings.November 23- January 16-18, 2003 "Ceramic Teapots" with David January 11, 2003 "Winter Exhibition"; at Alpha House Caradori.February 10-12,2003 "AstheWheelTurns— Gallery, South St. Function and Beauty" with Jeanne Aurelius. Contact England, Stoke-on-Trent through November 3 Peninsula Art School, PO Box 304, 3906 County Hwy. F, "The Jerwood Applied Arts Prize," ceramics by Felicity Fish Creek 54212; e-mail [email protected]; Aylieff, Alison Britton, Lubna Chowdhary, Edmund de seewebsitewww.peninsulaartschool.com; or telephone Waal, James Evans, Elizabeth Fritsch, Walter Keeler, (920) 868-3455. Carol McNicoll, Nicholas Rena; at the Pottery's Mu­ seum and Art Gallery. International Events England, near Winchester November 1-Decem- ber 31 Ceramics by John Berry; at Alresford Gallery. Anguilla, Island Harbour December 9-14 Work­ France, Saint-Quentin-la-Poterie through Novem­ shop on pinch pottery with Jimmy Clark. Fee: $750, ber 11 "Passages," with ceramics by Jean-Paul Azais and includes materials, lodging, breakfast and lunch, and Claire Debril; at Galerie Terra Viva, rue de la Fontaine. ground transportation. For further information, con­ Italy, Certaldo April 28-May 9, 2003 "Single-Fire tact the Arawak Beach Inn, (877) 427-2925; see website Workshop" with Steven Hill. For further information, www.arawakbeach.com; or e-mail Jimmy Clark at e-mail Lynne Burke at [email protected]; or see [email protected]. website www.potteryabroad.com. Belgium, Brasschaat (near Antwerp) November May 23-June 7 "Architectural Ceramics Workshop" 22-24 "Raku Dolce" with Giovanni Cimatti; or "Mar­ with Marcia Selsor. Fee: $1900, includes some meals quetry and Inlay in Porcelain" with Mieke Everaet. For and lodging. Contact Marcia Selsor: e-mail further information, contact Atelier Cirkel, Patty [email protected]; or telephone (406) 671-8557. Wouters, Miksebaan 272, 2930 Brasschaat (near Italy, Nove (Vicenzo) through December "Inter­ Antwerp); e-mail [email protected]; see website national Competition of Ceramics"; at Museo Civico http:!!users.pandora.belatelier.cirkel; telephonelfax della Ceramica, Piazza de fabris 5. (32) 36 33 05 89. Japan, Kyoto and Shigaraki May 11-June 11, Belgium, Zulte through December 15 Claudi 2003 Four-week study program sponsored by the Casanovas and Takeshi Yasuda. Walter Keeler and University of Georgia. For further information, contact Colin Pearson, English studio pottery. Piet Stockmans, Glen Kaufman: e-mail [email protected]; tele­ ceramics and glass; at Centrum Goed Werk, phone (706) 542-1660. Moerbeekstraat 86. Japan, Mino through November 4 "The Sixth Canada, Ontario, Burlington through November International Ceramics Competition Mino, Japan"; at 3 "The Burlington Potters Guild Annual Juried Exhibi­ Ceramics Park Mino Exhibition Hall. tion." through January 26, 2003 "Circumnavigation," Mexico, Oaxaca December 15-21, February 2-10, ceramics by Enid Legros-Wise; at the Burlington Art 2003, or March 16-24, 2003 "Oaxacan Clay Work­ Centre, 1333 Lakeshore Rd. shops, " digging clay, handbuilding, burnishing, tumble- Canada, Ontario, Hamilton November 1-3 "Pot­ stack bonfiring, etc. E-mail [email protected]; or ters' Guild of Hamilton and Region Fall Sale"; at see website atwww.manos-de-oaxaca.com . Dundas Community Centre, King and Market sts. Netherlands, Amsterdam through November 2 Canada, Ontario, Toronto through November 13 "Re-inventing Rituals," ceramics by Michelle Huang; Eric Wong; at the Gardiner Museum of Ceramic Art at Droog Design, Rusland 3. Museum Shop, 111 Queen's Park. through November 16 Jan de Rooden, recent through January 12,2003 "Gods, Saints and Heroes: works; at Carla Koch Gallery, Prinsengracht 510 sous. Ceramic Masterpieces of the Italian Renaissance"; atthe Netherlands, Delft through November 23 Victor Gardiner Museum of Ceramic Art, 111 Queen's Park. Greenaway, wheel-thrown porcelain with celadon November 7-December 24 "Tis the Season: The glazes. November2-December 7 Ross Emerson, clocks, Holiday Collection"; at the Guild Shop, 118 Cumberland vases and bowls. November 30-January 11, 2003 St. (Yorkville) Exhibition of candlesticks by Simone Haak, Daniel Canada, Ontario, Waterloo through December Levi, JAS-MV and Pauline Wiertz; at Terra Keramiek, 24 "Biennale Nationale de Ceramique"; at the Cana­ Nieuwstraat 7. dian Clay and Glass Gallery, 25 N. Caroline St. Netherlands, Deventer through November 23 Canada, Quebec, Montreal through November 2 Ceramics by Gilbert Portanier; at Loes and Reinier, Ceramics by Claire Salzberg; at the Canadian Guild of Korte Assenstraat 15. Crafts, 1460 Sherbrooke St., W. Netherlands, Leeuwarden through December 1 England, Bath through November 16 Nicholas "Floating Objects," ceramics installation by Ben Arroyave Portela, recent works. November25-Decem- Sleeuwenhoek. through January 5, 2003 Gertjan van ber23 "Studio Ceramics: A Christmas Selection from der Stelt, "Vaulted Reverberations." "Princesses and Gallery Ceramists"; at Beaux Arts-Bath, 12113 York St. Mistresses of the Far East: The Female Image in Orien­ England, Leicester November 15-January4, 2003 tal Art," including ceramics; at the Princessehof Mu­ Juried exhibition of works by artists who livelwork in seum, Grote Kerkstraat 11. the East Midlands; at the City Gallery, 90 Granby St. Spain, Leon through December 31 Jose Antonio England, Liverpool through November2 "Handle Sarmiento, "Anagama"; at Galena Azul, San Cibrian with Care," porcelain forms by Sophie Cook, Emmanuel de Ardon. Cooper, Joanna Howell, Chris Keenan, Peter Lane, Spain, Valencia through January 6, 2003 "2 Sarah-Jane Selwood, Daniel Smith, Gilda Westerman Culturas, un dicilogo—2 Kulturen, ein Dialog," works and David White; at Bluecoat Display Centre, Bluecoat by 18 ceramists; at Museo Nacional de Ceramica, Chambers, School Ln. Poeta Querol 2. England, London through November 16 Ken Eastman; at Barrett Marsden Gallery, 17-18 Great For a free listing, submit announcements of confer­ Sutton St., Clerkenwell. ences, exhibitions, workshops and juried fairs at least two months before the month of opening. Add through December 22 "Under Mussolini: Decora­ one month for listings in July; two months for those tive and Propaganda Arts of the Twenties and Thirties" in August. Mail to Calendar, Ceramics Monthly, from the Wolfson Collection in Genoa, including ce­ 735 Ceramic PL, Westerville, OH 43081; e-mail ramics; at the Estorick Collection of Modern Italian Art, to [email protected]; or fax to (614) 39a Canonbury Sq. 891-8960.

Ceramics Monthly November 2002 86 Ceramics Monthly November 2002 87 questions Answered by the CM Technical Staff

Q I am in charge of firing Cone 10 reduction ware at my local craftsmen's guild. From time to time, we have trouble with pots that carbon/ black core during firing. I have heard several theories regarding the cause of such a flaw, but I am not quite convinced of any of them. So here are my questions: At what stage in the firing does carbon coring occur? Is it primarily a bisque- firing or a high-firing problem? Does an overly long body reduction cycle cause the problem, or does it occur earlier in the firing process? Does the clay body itself have anything to do with it?—C.M. I will answer your question in three parts. Yes, it might seem like a dissertation, but it’s compli­ cated and the three parts are all necessary. Part one has to do with the role of Fe O (red iron oxide) in clay bodies and what happens2 3 when it is reduced. Part two will be black coring defined. Part three will explain how to fire to avoid black coring.

Iron in Clay Bodies To understand black coring, we first have to understand what happens with red iron in a clay body—particularly when it is reduced. Red iron is not much of a flux, but when it is reduced to FeO from Fe O , it becomes a very strong flux. An example2 of3 this is iron spots from fireclay coming through a glaze in a reduction firing. The iron specks are actually melting the glaze and coming to the surface. In some cases, they even move a bit down the side of the piece. It is the same in glazes; reduced iron (FeO) helps to melt glazes more than raw red iron oxide (Fe O ). If you understand this part, the next few paragraphs2 3 will be easier to follow.

Black Coring Defined Black coring is a description that means two things to me. First, it seems to describe how some clay looks when a pot is broken after being fired in reduction. When there is iron present in the clay body, there might be different shades of gray (or even black in high-iron bodies) in the cross section of the wall of the pot. The clay should be the same color all the way through. It is a mistake if it is uneven in color. If the body is different colors (for instance, lighter gray outside and darker in the middle) the clay surface has been reoxidized. What probably has happened is that the clay was reduced properly before the glazes sealed over, but some of the clay was reoxidized before the glaze had sealed enough to prevent oxygen from getting back in. The solution for this is to keep the kiln in reduction longer. Having the clay unevenly fluxed because reduction was not held long enough cre­ ates layers of different stresses in the ware that will affect the life of the ware. Keep in mind that there is no such thing as overreducing iron. OOnce Fe is reduced to FeO, it cannot be reduced further2 3 at the temperatures at which we work. Black coring is also the term used to describe a kind of bloating. This fault is different than simple

Ceramics Monthly November 2002 88 Ceramics Monthly November 2002 89 questions overfiring, which usually looks like many small bubbles all over the outside of the ware (this is actually called blebbing). If this is what is happen­ ing, remove some of the flux from your clay body. In black coring, gases from overfired clay create pockets within a body that show as blisters. These are sometimes quite large and are more abundant where the walls are thicker. When the ware is broken, it looks like webbing inside the cavity. This is due to improper bisque firing. The iron in the body gets reduced during bisque firing. It becomes a strong flux and contributes to the overfiring of the body during the glaze firing.

Firing to Avoid Black Coring Black coring usually happens where clay is thicker, because the carbonaceous material does not get properly oxidized. This can happen for a number of reasons. The bisque firing might be too fast between 700°C (1300°F) and 950°C (1750°F). Slow down and make sure there is excess oxygen in the kiln to burn away the combustibles in the clay; for instance, carbon and sulfur. This is more im­ portant with heavier cross sections of clay and bodies with higher amounts of iron. Where the ware is placed in the kiln can be a factor as well. If burners and/or dampers are not adjusted for a strictly oxidizing atmosphere, you will make the problem worse by not supplying enough oxygen. The resulting carbon or carbon dioxide will look for oxygen anywhere it can get it. Fe O gives up oxygen easily and turns to FeO. 2 Keep3 in mind that different clays have different amounts of carbon and sulfur present and the raw clays we use sometimes have more than normal amounts. Because we cannot tell exactly how much is present by looking at them, our firings have to be tailored to the worst possible situation in order to maintain consistently successful results. If wood or cardboard (anything that will burn) is inserted into the kiln and will not burn, then there is no excess oxygen and the air/fuel ratio needs to be adjusted. This kind of thing does not happen with porcelain simply because there is not enough iron to upset the fluxing. Remember: the more iron present, the more careful you have to be. Sometimes, this problem with reduced iron shows up in glazes. Those bits of iron we like so much, when reduced in a bisque firing, will result in localized overfiring of the clay body in the form of blisters. When refired, they get worse. That is when we know for sure the culprit is reduced iron. Once iron is reduced, it is very difficult to “unreduce.” Don’t think you can undo the process by simply adding more oxygen later. Ron Roy Ceramics Consultant Brighton, Ontario, Canada

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be an­ swered personally. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly November 2002 90 Ceramics Monthly November 2002 91 from the cm archives Originally published August 1953 (Volume 1, Issue 8)

simply signing his name. He attaches to each of his articles a tiny folded tag like a miniature book, in which he sends for the hobbyist turning "pro," a few his message direct to the buyer. In a few friendly words he tells about the fine materials used, how he fashioned precautions and words of advice them in his studio using his own de- signs—in short, his whole story. In that way he accompanies his product right before you attempt to make.... out of his shop, over the counter, and into the hands of his customer. Freedom and Flexibility. Another of the ways the ceramic craftsman can ANY A hobby potter becomes a I believe he has a chance if he is set his work apart and above the mass- professional the way our neigh' willing to make a realistic analysis of made product is by taking advantage of Mbor, little Willie, tried to walk himself and his whole setup. He can get his freedom and flexibility. For in- the tightrope. Willie came home from a true picture applying certain specific stance, he may get an idea which de- the circus determined to become the tests to know whether his product is rives its vitality from an unusual source. best tightrope walker in the world. So actually ready to sell and whether he is In a matter of hours or days he can Willie emptied his savings bank and ready to sell it to advantage. The first come out with a finished item. It would bought a professional tightrope, which thing is to check on a list of some of take weeks, or even months perhaps, he stretched across the backyard. the plus factors a craft product must for a large manufacturer to design, Willie was a smart boy and had a have in order to compete successfully. place into production, and bring to good sense of balance. He got as far as We’ll take them up in a minute. market a similar piece. the middle of the rope; then, excited The ceramic craftsman is flexible in and proud of his achievement, he UT FIRST let me recommend that the matter of color, too. An individual yelled, "Look at me!” B you rate your product not only as a worker can blend and mix colors in At the same moment he took his eye thing in itself but by comparing it with ways that are quite impractical to a off the rope and looked up at Mary what others are making. You can do large producer. Subtle shades can be created in small batches by hand. Even Jane, his six-year-old sweetheart, in the this by looking at similar articles in a rather simple and commonplace de- window of the house next door. Of shops of all kinds—gift shops, specialty sign can be made original by distinc- course, he landed in his mother's to- shops, decorators' showrooms, depart' tive coloring. mato patch and had nothing to show ment stores, and wholesale salesrooms for his pains but a scolding from his if you have access to them. Similarly, processes which are simple for the hand are impractical for a mother, jeers from his girl friend . . . Attend exhibitions of contemporary and red-stained britches. industrial design. Naturally, study machine: glaring the edges of tiles, for Now if Willie had made better magazines of every kind—household, preparations and done some practicing women's art and design, hobby and with sneakers instead of leather shoes, craft, and any others that come your and plenty of rosin on the rope, and a way. Most of all, don't overlook the long balancing pole in his hands, he trade magazines that apply directly to might have become a successful tight­ ceramic arts and crafts. The trade in- rope walker. formation enables the ceramist to plot Similarly, the hobbyist, when he has a course which will not conflict with or A living produced a piece of beautiful pottery, duplicate familiar trade patterns. From is apt to clap his hands and shout with the trade he can learn, too, what to pride, thinking he has turned out an produce and what to keep away from. article that will make his fortune. Like Now for the list of plus factors on instance, which are left untouched by Willie, he decides to try the uncertain which to rate your pottery: a spray gun. Such decorative details tightrope that leads to commercial Individuality. This is the first and make hand-crafted pieces stand out to success. And like Willie, he gets only biggest asset of your ceramics. So be great advantage over machine-made halfway across and then lands on the sure your ware embodies just that. It ceramics. And the casual bits of free- ground, bruised and disillusioned. must have a quality and meaning which hand decoration, which come so easily How, then, can the hobbyist who consistently represents you. The point to the artist, may be well-nigh im­ feels he is ready to become a com- in which you excel may be design, exe- possible to reproduce by any machine. mercial potter, either as an avocation or cution, or originality, but in any case it Texture. Another point where craft a vocation, be sure he will have any is essential that your creation be dis- ceramics can give machine-made articles measure of success? How can he avoid tinctive in some way that only you can a run for their money is in texture. the pitfalls of others who have had make it, and not a mere duplication of "You can tell it's handmade by the their '‘baptism by fire”? other work. feel," is a remark often heard when a And, to point up the fact that your customer runs his hand over your ware. ceramics are yours, it is advisable to Thus it is important for the ceramist Mr. Bollman, a professional potter, sign all your work, either with your to preserve his precious finish whenever owns and operates the Henry Bollman full name, your initials, or some other possible. Buyers usually look for it as Potteries, Gloucester, Mass. Li\e many original and distinctive mark that will the first thing that gives value to such a potter, he is hard at wor\ on his identify that article with yourself. articles. In spite of this, many craft Christmas orders. One ceramist has gone farther than people go to great pains to obliterate

Ceramics Monthly November 2002 92 all trace of the texture of their ceramics. materials may seem small on the first duced a few attractive samples which This is sometimes a costly mistake, be' few pieces, but it mounts up rapidly as led to larger orders than they could fill. cause it means both throwing away a quantity increases. So you should add In such a case, you find yourself far sale and wasting labor. the cost of packing into your total cost, behind on deliveries; and customers, not The human touch. There is some' unless you decide to make an extra waiting beyond a reasonable time, can' thing about the human touch that charge for packing, as is often done. cel their orders. gives an article a kind of value, and The cost of your principal materials Your supply of raw materials, too, makes it an heirloom. This tendency to is easy to determine, you think. You plays a large part in affecting your out' preserve the craft product imposes a have but to look at the bills that are put and reliability. Have a trustworthy kind of obligation on the ceramic awaiting payment, or those that you source for your clay, glazes, and other craftsman. If he is creating heirlooms, have paid, you say, and then divide by supplies. Find out whether or not any he should have in mind designs and the number of articles produced. But of the materials (particularly investi' decorations that are sound and pure, in estimating the cost of materials, gate ceramic colors) are on short sup' and not too much in the passing mode, don’t forget to allow a fair percentage ply because of government needs. Do or likely to go out of style soon. for experimentation and unavoidable not start across the tightrope unless So don't copy, don't skimp on ma' waste. The scraps that fall on the floor you are sure of being able to get enough terials; strive to make your ceramics add up to a tidy sum at the end of the materials to fill orders. better in the way that you alone are year. As the adage goes, “It’s the little Be sure you have the right equipment suited to do. things that count.” Do not neglect them to help you produce your ceramics effi­ if you wish to cross that tightrope ciently and economically. Some crafts' HEN YOU can honestly say you safely. men start operations with nothing more W have a good saleable product, Now then, how about the labor cost? than a lump of clay, a modeling tool, not a duplicate of anything else, you Are you working entirely alone, as and the two hands that nature gave are ready for the second set of tests. most craftsmen do at the outset? Credit them; and they manage to fashion some From here on, you are not the crafts' yourself with a good living wage, but beautiful articles. But when you want man, but the businessman. Your pro' do not ask too much for your services. to make a living from ceramics, you duct, you conclude, is all right on the Then, try to keep close track of the to' can't depend on odds and ends of tools score of quality and sales appeal. What tal amount of time you actually spend and supplies. Get the best tools and ma' next? Are you ready to sell it? on each piece. There may be a dozen or chines available. What you spend will Let’s start with the price. You say it more operations with each article, and soon be saved in labor cost. is all right, as far as your competition if you are producing a variety of is concerned. But is it high enough to ceramic objects, you probably have to ET'S go back, now, to Willie cross' cover your costs and give you a fair keep all of them in process at one time, L ing the tightrope. He was so return on your labor? which means loss of time in change' anxious to start his career that he did Don't make the mistake of placing a over. not prepare himself in advance. But thing on the market at too low a price. It's a good idea to give each piece a Willie was not a quitter. He got off the

FROM POTTING? by

You may get a lot of orders, then, as number, and write down the time spent ground and took his scolding without you go along, find that you have over' on each from start to finish. The total resentment. Then he went to the public looked several cost factors that did not time may not be a true picture of the library where he borrowed a book called loom large in the first samples, but labor costs, however, because there are How To Be a Tightrope Walter. He which look larger and larger as you in' delays and interruptions. The express' learned the necessity of the sneakers, crease output. In this way, you may man brings a package, the mailman de' the rosin, the balance pole, andpractice. find you are doing what little Willie livers the mail and passes the time of Finally, one bright day he called to his did in the middle of the tightrope. day, a neighbor drops in to see how mother and neighbors, “Want to see Conversely, don’t price too high. In you are getting along. Though costly something?" Calmly, he walked right the sample pieces you may be tempted in loss of time, interferences should not across the rope from one fence to the to apply more decoration than you can be charged up to the labor cost. other, amidst the cheers of the audi' afford in time and money. Many a pot' On the subject of costs, be sure to ence, including Mary Jane. ter's ware costs too much for that very figure on general overhead, such as After proper preparation, you can reason. Thus, while it is a thing of rent, insurance, heat, light, power, and walk across that tightrope to success in beauty, it is beyond the price range of depreciation. the sale of your ceramic products. With prospective customers. But besides the cost factor, there is confidence in your product, and your And don't overlook the cost of pack' the question of reliability. You should ability to turn it out economically and ing your products. This is especially be able to turn out enough of your reliably, you can build a craft business true of highly fragile pottery. The time ceramics to meet any demand that you based on the best foundation in the you spend and the cost of wrapping might create. Many craftsmen have pro' world—your own proven abilities.

Ceramics Monthly November 2002 93 Ceramics Monthly November 2002 94 Ceramics Monthly November 2002 95 Comment I thoughts on cheating by Dick Lumaghi

Some time ago, I read about a potter who ash-glazed pots. He wondered why those perhaps, important to note that the other had devised a scheme for decorating plates bumps hadn’t interfered with the throwingcanoe was going with the tide) and one of with a swirl of oxide. Instead of doing theof the pots. The answer came back, “Oh, we the paddlers, seeing the motor, yelled, “Hey! swirl directly on an already-glazed piece (andtake those out...and put them back in afterThat’s cheating.” At the time, I thought, “Ah, thus risking a mistake), she practiced brush­ the pot is thrown.” the cry of the purist.” But then I reasoned ing the oxide on newspaper until a goodIt also occurred to me that sincerity isthat if he had thought of it first, he might swirl was produced, then cut it out and placedgenerally held to be a high value in the mod­have felt differently, that lurking behind his it gently on a glazed plate. In the kiln, theern crafts movement, and the sincerityindignation of might be jealousy or grudging paper would just burn off and the oxide reallyde­ good pots is somehow connected toadmiration for my resourcefulness. sign would transfer to the glaze. limited craftiness. The word sincere, after all, And finally, when I told a potter friend When I mentioned this technique to has a its roots in the Latinsine cere “without about the oxide-on-paper trick, he reminded friend, she said, “That’s cheating.” I thoughtwax,” referring to the sign that the (presum­me that Shoji Hamada, when glazing, would the technique was merely crafty, but her ably)re­ honest potter would display to tell thespend the lion’s share of the day decorating sponse made me think about what it is to be Roman public that no wax was used onstandard his ware; only in the evening would he an artisan (one who is practiced in artifice),pots to hide cracks; i.e., the ancient potters decorate his one-of-a-kind pots. In other and where the limits lie between craft and could draw the line somewhere. words, the standard ware “took the hit,” while craftiness—or whether there even are limits. To make this judgment call even morethe best pots benefitted from the more re­ First, I questioned the “cheating” I do allcomplex, one of the oldest justifications forlaxed, masterful strokes. the time: the throwing marks I restore with a fudging on sincerity is difficulty. For instance,Still, those brushstrokes at the beginning wooden tool to the base of trimmed pots, the I have a wickedly hard solitaire program on of the day were on pots, not just newspaper, tiny cosmetic crack between a handle andmy a home computer, and I routinely cheatand by that would call for real focus and com­ pitcher’s neck filled with ground-up bisquepeeking at cards before playing them (or not).mitment. Perhaps, in this case, “cheating” just before glazing, the extruded handles givenI justify this behavior because the program meansis that the potter who eliminates some one or two swift pulls to look more hand­ so darn difficult. Whatever the objective, it’sof the risk factor in glazing might also elimi­ made, etc. human nature to justify the use of toolsnate and the opportunity to more deeply develop And, as far as other potters go, I remem­ techniques that make a tough job easier. his or her own skills; i.e., that the one being bered a delightful story about a guy whoTwo more stories: One day, while canoe­cheated might just be the potter. asked a modern Japanese potter about those ing on San Francisco Bay, I was paddling little white bumps of pure feldspar that occa­ against the tide with the help of a little troll­ The authorDick Lumaghi maintains a pot­ sionally protruded from the surfaces of hising motor. Another canoe passed by (it is,tery in Abiquiu, New Mexico.

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