DOCSLIB.ORG

Ceramics Monthly Nov02 Cei11

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ceramics Monthly Nov02 Cei11 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 editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4213 advertising: (614) 794-5809 classifieds: (614) 895-4220 circulation: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org 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.
Load more

Recommended publications
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • College of Fine and Applied Arts Annual Meeting 5:00P.M.; Tuesday, April 5, 2011 Temple Buell Architecture Gallery, Architecture Building
    COLLEGE OF FINE AND APPLIED ARTS ANNUAL MEETING 5:00P.M.; TUESDAY, APRIL 5, 2011 TEMPLE BUELL ARCHITECTURE GALLERY, ARCHITECTURE BUILDING AGENDA 1. Welcome: Robert Graves, Dean 2. Approval of April 5, 2010 draft Annual Meeting Minutes (ATTACHMENT A) 3. Administrative Reports and Dean’s Report 4. Action Items – need motion to approve (ATTACHMENT B) Nominations for Standing Committees a. Courses and Curricula b. Elections and Credentials c. Library 5. Unit Reports 6. Academic Professional Award for Excellence and Faculty Awards for Excellence (ATTACHMENT C) 7. College Summary Data (Available on FAA Web site after meeting) a. Sabbatical Requests (ATTACHMENT D) b. Dean’s Special Grant Awards (ATTACHMENT E) c. Creative Research Awards (ATTACHMENT F) d. Student Scholarships/Enrollment (ATTACHMENT G) e. Kate Neal Kinley Memorial Fellowship (ATTACHMENT H) f. Retirements (ATTACHMENT I) g. Notable Achievements (ATTACHMENT J) h. College Committee Reports (ATTACHMENT K) 8. Other Business and Open Discussion 9. Adjournment Please join your colleagues for refreshments and conversation after the meeting in the Temple Buell Architecture Gallery, Architecture Building ATTACHMENT A ANNUAL MEETING MINUTES COLLEGE OF FINE AND APPLIED ARTS 5:00P.M.; MONDAY, APRIL 5, 2010 FESTIVAL FOYER, KRANNERT CENTER FOR THE PERFORMING ARTS 1. Welcome: Robert Graves, Dean Dean Robert Graves described the difficulties that the College faced in AY 2009-2010. Even during the past five years, when the economy was in better shape than it is now, it had become increasingly clear that the College did not have funds or personnel sufficient to accomplish comfortably all the activities it currently undertakes. In view of these challenges, the College leadership began a process of re- examination in an effort to find economies of scale, explore new collaborations, and spur creative thinking and cooperation.
    [Show full text]
  • Ceramics Monthly Jun90 Cei069
    William C. Hunt........................................Editor Ruth C. Buder.......................... Associate Editor Robert L. Creager........................... Art Director Kim Schomburg....................Editorial Assistant Mary Rushley................... Circulation Manager Mary E. Beaver.................Circulation Assistant Jayne Lx>hr.......................Circulation Assistant Connie Belcher.................Advertising Manager Spencer L. Davis.................................Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio43212 (614) 488-8236 FAX (614) 488-4561 Ceramics Monthly (ISSN 0009-0328) is pub­ lished monthly except July and August by Professional Publications, Inc., 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine address label and your new ad­ dress to: Ceramics Monthly, Circulation Of­ fices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (including 35mm slides), graphic illustra­ tions, announcements and news releases about ceramics are welcome and will be considered for publication. A booklet de­ scribing standards and procedures for the preparation and submission of a manu­ script is available upon request. Mail sub­ missions to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Infor­ mation may also be sent by fax: (614) 488- 4561; or submitted on 3.5-inch microdisk- ettes readable with an Apple Macintosh™ computer system. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, articles in each issue ofCeramics Monthly are indexed in the Art Index; on-line (com­ puter) indexing is available through Wilson- line, 950 University Avenue, Bronx, New York 10452.
    [Show full text]
  • Heart Land Damian Elwes Damian Elwes Heart Land
    Cover: Blue Wind (detail), 2011 mixed media on canvas 107 x 168 cm First published in 2011 by Agent Morton Ltd www.agentmorton.com All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. All images in this catalogue are protected by copyright and should not be reproduced without permission of the copyright holder. Details of the copyright holder to be obtained from Agent Morton Ltd. Tel: +44 207 409 1395 Copyright 2011 Agent Morton Ltd 32 Dover Street, W1S 4NE Designed and produced in the UK by Footprint. www.fpiltd.com www.agentmorton.com HEART LAND DAMIAN ELWES DAMIAN ELWES HEART LAND 20 June - 29 July 2011 Tel: +44 207 409 1395 32 Dover Street, W1S 4NE www.agentmorton.com HEART LAND Unlike Gauguin, when Damian Elwes left ‘civilization’ to find his personal Garden of Eden and live in tropical, colour-saturated, visceral nature, he took his wife with him. At their home on a little coffee farm on the edge of the Colombian rainforest, Elwes painted dioramas of the forest in an attempt to express our deep connection to the natural world. He also made endless nude drawings of his wife. It was a response to seeing Lewanne so profoundly immersed in her environment, he says, a desire to record the naturalness and sense of freedom she exhibited by walking around naked. It began to occur to him that women are so fundamentally connected to nature, through their physiological and mythical relationship to the moon and in motherhood, that they more perfectly embody this connectivity than a tree or a mountain.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • Paul Soldner Artist Statement
    Paul Soldner Artist Statement velutinousFilial and unreactive Shea never Roy Russianized never gnaw his westerly rampages! when Uncocked Hale inlets Griff his practice mainstream. severally. Cumuliform and Iconoclastic from my body of them up to create beauty through art statements about my dad, specializing in a statement outside, either taking on. Make fire it sounds like most wholly understood what could analyze it or because it turned to address them, unconscious evolution implicitly affects us? Oral history interview with Paul Soldner 2003 April 27-2. Artist statement. Museum curators and art historians talk do the astonishing work of. Writing to do you saw, working on numerous museums across media live forever, but thoroughly modern approach our preferred third party shipper is like a lesser art? Biography Axis i Hope Prayer Wheels. Artist's Resume LaGrange College. We are very different, paul artist as he had no longer it comes not. He proceeded to bleed with Peter Voulkos Paul Soldner and Jerry Rothman in. But rather common condition report both a statement of opinion genuinely held by Freeman's. Her artistic statements is more than as she likes to balance; and artists in as the statement by being. Ray Grimm Mid-Century Ceramics & Glass In Oregon. Centenarian ceramic artist Beatrice Wood's extraordinary statement My room is you of. Voulkos and Paul Soldner pieces but without many specific names like Patti Warashina and Katherine Choy it. In Los Angeles at rug time--Peter Voulkos Paul Soldner Jerry Rothman. The village piece of art I bought after growing to Lindsborg in 1997.
    [Show full text]
  • Institute of Fine Arts Alumni Newsletter, Number 55, Fall 2020
    Number 55 – Fall 2020 NEWSLETTERAlumni PatriciaEichtnbaumKaretzky andZhangEr Neoclasicos rnE'-RTISTREINVENTiD,1~1-1= THEME""'lLC.IIEllMNICOLUCTION MoMA Ano M. Franco .. ..H .. •... 1 .1 e-i =~-:.~ CALLi RESPONSE Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents Letter from the Director In Memoriam ................. .10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ..........16 and the Spirit of Community ........ .3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...............17 Conversations with Alumni ....... .4 Leatrice Mendelsohn, Alumni Updates ...............22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 .................34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 .........34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences .... .8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 .................34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36 Institute of Fine Arts Alumni Association Offcers: Alumni Board Members: Walter S. Cook Lecture Susan Galassi, Co-Chair President Martha Dunkelman [email protected] and William Ambler [email protected] Katherine A. Schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne Elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter Lisa Schermerhorn Rebecca Rushfeld Reva Wolf, Editor Lisa.Schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A.
    [Show full text]
  • Earthenware Clays
    Arbuckle Earthenware Earthenware Clays Earthenware usually means a porous clay body maturing between cone 06 – cone 01 (1873°F ‐ 2152°F). Absorption varies generally between 5% ‐20%. Earthenware clay is usually not fired to vitrification (a hard, dense, glassy, non‐absorbent state ‐ cf. porcelain). This means pieces with crazed glaze may seep liquids. Terra sigillata applied to the foot helps decrease absorption and reduce delayed crazing. Low fire fluxes melt over a shorter range than high fire materials, and firing an earthenware body to near vitrification usually results in a dense, brittle body with poor thermal shock resistance and increased warping and dunting potential. Although it is possible to fire terra cotta in a gas kiln in oxidation, this is often difficult to control. Reduced areas may be less absorbent than the rest of the body and cause problems in glazing. Most lowfire ware is fired in electric kilns. Gail Kendall, Tureen, handbuilt Raku firing and bodies are special cases. A less dense body has better thermal shock resistance and will insulate better. Earthenware generally shrinks less than stoneware and porcelain, and as a result is often used for sculpture. See Etruscan full‐size figure sculpture and sarcophagi in terra cotta. At low temperatures, glaze may look superficial & generally lacks the depth and richness of high fire glazes. The trade‐offs are: • a brighter palette and an extended range of color. Many commercial stains burn out before cone 10 or are fugitive in reduction. • accessible technology. Small electric test kilns may be able to plug into ordinary 115 volt outlets, bigger kilns usually require 208 or 220 volt service (the type required by many air conditioners and electric dryers).
    [Show full text]
  • Isotope and Nuclear Chemistry Division Annual Report, FY 1990, October 1, 1989
    LA12143-PR Progren Report Isotope dnd Nuclecqr Chemistry Division Ann vial Report FY 1990^ .. •• %-•-' V \ ? L«>Alaa^Natkif^'ljri>oratoryk operated by the UnhrcnUy of Colitbr^ Geologists inspect the Devil's Thumb Sinkhole, which is located in travertine at the base of the Mammoth Hot Springs Terraces, before injecting multiple tracers to determine flow paths, transit times, and chemical Water from Boiling River (Mammoth Hot reaction processes in a natural aquifer. Hot Springs) was sampled at many intervals during a water from pools on top of this terrace flows multicomponent tracer experiment. Analysis of over the orange travertine and down into the data from this major outflow of the Mammoth sinkhole. Inactive travertine is grey; the oldest system (-40°C and 27 f&ls flow rate) provides deposits support several types of trees. information about the flow path, transit titles, and chemical reaction processes of a natural aquifer. This information is used to test hypotheses and field approaches for characterizing geothermal, petroleum, and environmental reservoirs. A team of geologists collected more than 250 samples over an 18-hr period at Boiling River —one of many remote field sample processing sites—during the multicomponent tracer experiment. In this wilderness area, team members used the environmentally benign transport system (shown in red) to move equipment and samples. Closeup of the Devil's Thumb Sinkhole shows wet, actively depositing travertine in orange and old, degrading travertine in white. These moths caught in the hot springs were fossilized as hydrothermal solutions flowed across the ground surface at Mammoth Hot Springs in Yellowstone National Park.
    [Show full text]
  • Journeys 2008 Web.Indd
    Journeys An Anthology of Adult Student Writings Freed Spirit Donald Egge, Duluth Journeys 2008 An Anthology of Adult Student Writings Journeys is a project of the Minnesota Literacy Council, a nonprofi t organization dedicated to improving literacy statewide. Our mission is to share the power of learning through education, community building and advocacy. Special thanks to our editors: Elissa Cottle, Katie McMillen and Christopher Pommier, and to Minnesota Literacy Council staff members Guy Haglund, Jane Cagle-Kemp, Cathy Grady and Allison Runchey for their work on this year’s Journeys. Th is is our 19th year of publishing writing by adults enrolled in reading, English as a Second Language, GED, and other adult basic education classes in Minnesota. Please also see Journeys online at www.theMLC.org/Journeys. Submit writing for Journeys by contacting www.theMLC.org, 651-645-2277 or 800-225-READ. Join the journey of the Minnesota Literacy Council by: - Referring adults in need of literacy assistance to the Adult Literacy Hotline at 800-222-1990 or www.theMLC.org/hotline. - Tutoring adults in reading, ESL, citizenship or GED. Contact [email protected]. - Distributing fl iers and emails or hosting events. Call 651-645-2277 for materials. - Making tax deductible contributions. Send donations to the Minnesota Literacy Council, 756 Transfer Road, St. Paul, MN 55114. For other giving options, contact 651-645-2277, 800-225-READ or www.theMLC.org/donate. TABLE OF CONTENTS 3 i remember 19 america the foreign 27 it’s so different from home 37 my successes
    [Show full text]
  • Geological Mapping of the Derain (H-10) Quadrangle of Mercury
    Geological Mapping of the Derain (H-10) Quadrangle of Mercury Chris Malliband1, David Rothery1, Matt Balme1 and Susan Conway2 1 - School of Physical Sciences, The Open University, Walton Hall, Milton Keynes MK7 6AA, UK Email: [email protected] 2– LPG Nantes, UMR CNRS 6112, BP 92208, 44322 Nantes Cedex 3, France 1 Summary Fig. 2 Ancient Basins 3 Fig. 3 We are geologically mapping the Derain quadrangle of Mercury as There are two possible basins identified and catalogued part of a co-ordinated mapping program. as B30 and B36 by Fasset et. al. (2012). B36 is easily visible in topography (Fig 2) and MDIS mosaic with a We have completed crater mapping. clear, partially complete western rim. The eastern boundary has We have identified a range of notable of features in the quadrangle. been obscured by later impacts. We have identified impacts here of at least Calorian age. Unlike other pre-Calorian basins (eg Tolstoj) there is no visible evidence of later volcanic 2 Introduction resurfacing. We are currently geologically mapping the Derain (H-10) quadrangle of Mercury. B30 is in the north west of the quadrangle, and extends north The location of Derain in relation to other quadrangles is shown in Figure 1. Derain was into the Hokusai quadrangle. It is more evident in elevation (as not imaged by Mariner 10, and so this MESSENGER based work is the first detailed shown in fig. 3) than the MDIS mosaic. The reported diameter of geological mapping of the quadrangle. This is part of the European mapping effort 1390km (Fasset et.
    [Show full text]
  • Nmservis Nceca 2015
    nce lournal 'Volume37 lllllllIt { t t \ \ t lr tJ. I nceoqKAlt$[$ 5OthAnnual Conference of the NationalCouncilon C0'LECTURE:INNOVATIONS lN CALIFORNIACIAY NancyM. Servis and fohn Toki Introduction of urbanbuildings-first with architecturalterra cotta and then Manythink cerar.nichistory in theSan Francisco Bay Area with Art Decotile. beganin 1959with PeterVoulkos's appointrnent to theUniversi- California'sdiverse history served as the foundationfor ty of California-Berkeley;or with Funkartist, Robert Arneson, its unfolding cultural pluralisrn.Mexico claimed territory whosework at Universityof California-Davisredefined fine art throughlarge land grants given to retiredmilitary officersin rnores.Their transfonnative contributions stand, though the his- themid l9th century.Current cities and regions are namesakes tory requiresfurther inquiry. Califbr- of Spanishexplorers. Missionaries nia proffereda uniqueenvironr.nent arriving fronr Mexico broughtthe through geography,cultural influx, culture of adobe and Spanishtile and societalflair. cleatingopportu- with ther.n.Overland travelers rni- nity fbr experirnentationthat achieved gratedwest in pursuitof wealthand broadexpression in theceralnic arts. oppoltunity,including those warrtilrg Today,artistic clay use in Cali- to establishEuropean-style potteries. forniais extensive.lts modernhistory Workersfrorn China rnined and built beganwith the l9th centurydiscov- railroads,indicative of California's ery of largeclay deposits in the Cen- directconnection to PacificRirn cul- tral Valley, near Sacramento.This
    [Show full text]