February 1991 1 William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Robert L. Creager...... Art Director Kim S. Nagorski...... Editorial Assistant Shawn R. Hiller...... Staff Assistant Mary Rushley...... Circulation Manager Mary E. Beaver...... Circulation Assistant Connie Belcher ...... Advertising Manager Spencer L. Davis...... Publisher

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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 the magazine address label as well as your new address to: Ceramics Monthly, Circulation Offices, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, announcements and news releases about ceramics are welcome and will be consid­ ered for publication. Information may also be submitted on 3.5-inch microdiskettes readable with an Apple Macintosh™ com­ puter system. Mail submissions to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. We also accept unillustrated materials faxed to (614) 488-4561. Writing and Photographic Guidelines:A booklet describing standards and proce­ dures for submitting materials is available upon request. Indexing: An index of each year’s articles appears in the December issue. Addition­ ally, Ceramics Monthly articles are indexed in the Art Index. Printed, on-line and CD-ROM (computer) indexing are available through Wilsonline, 950 UniversityAve., Bronx, New York 10452; and from Information Access Co., 362 Lakeside Dr., Forest City, Califor­ nia 94404. These services are available through your local library. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, and the Sugges­ tions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Co­ lumbus, Ohio 43212. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, Michigan 48106. Back Issues:When available, back issues are $4 each, postpaid. Write tor a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested.

Copyright © 1991 Professional Publications, Inc. All rights reserved

2 Ceramics Monthly February 1991 3 4 Ceramics Monthly Volume 39, Number 2 • February 1991 Feature Articles Spirited Designs German Industry Challenges Students...... 34

Electroplating Ceramics by David, DeSalvo with Shari Collins ...... 37

The Allure of Slipwareby Irma Starr ...... 42

Art Out of Need Spirited Designs Students from the Academy of Applied Arts, Vienna, Austria, Don Reitz, An Autobiography ...... 47 and from Parsons School of Design, New York City, savored the taste of “real life” when given an opportunity to take their Island Pottery in the Baltic work from design through production at by Hans Munck Andersen and Gerd Hiort Petersen ...... 53 the Villeroy & Boch factory in Germany. Among them was Parsons student Moise Bruni, shown with his French Revolution- The Lorena Stoveby Alan McNiel ...... 58 inspired teapot; see page 34. Plaster Molds Electroplating CeramicsA few potters have experimented with electroplating ce­ Slip Casting, Part 2 by Gerald Rowan ...... 82 ramics, but none as extensively as David DeSalvo, who uses it as the principal sur­ facing for his full-time studio work. DeSalvo shares the process and shows some of its potential starting on page 37. Up Front

Ruth Duckworth...... 14 Ohio Selections ...... 22 United Nations Volunteers Amy Brower...... 24 by Sheila Davey ...... 14 Dick Evans...... 26 Historical French Ware in Atlanta ...... 16 West of the West ...... 26 Gayle Fichtinger...... 16 Jeffrey Chapp...... 26 Arnold Zimmerman...... 18 More Chinese Figures Unearthed...... 26 Frank Boyden Workshop by Sandra Johnstone...... 18 Ceramics and the Horla Angela Verdon...... 20 by Gilberto Paim ...... 28 I San Diego Craftsmen ...... 20 George Ohr Abroad ...... 30 Luckenbach Juried National...... 20 Sandy Brown/Takeshi Yasuda...... 30 The Allure of SlipwareInspired by early Findings ’90...... 22 Martin Smith ...... 31 English potters who decorated their ware with trailed slip, Missouri potter Irma Starr has rediscovered their secrets and adapted them to modem purposes; page 42. Departments The coverArizona potter Don Reitz, of­ ten called “the king of salt glaze, the work­ Letters...... 8 Suggestions...... 80 shop king, the Kenzan of American Classified Advertising...... 84 ceramics, etc.,” has continued along a path Call for Entries ...... 62 of risk and change. In the autobiography, Comment: beginning on page 47, Reitz writes can­ Questions...... 68 Threatened Gifts didly about his life and evolving work. by Lili Krakowski...... 86 Photo: Joakim Eskildsen. Calendar ...... 72 Index to Advertisers...... 88

February 1991 5

Letters a sexual metaphor itself with its womblike & Snap-on’s calendars). Everyone I showed aperture, its sloshing and splashing, its the ad to got a laugh out of it because it was whipping and frothing, its pushing and pull­ quite obvious. I think the ad degrades the ing. genre more than it does women. 4. The phalliclike proboscis placed cen­ Soldner makes an obvious joke, and all trally on Mr. Soldner’s face will certainly the humorless, knee-jerk claimers of the arouse repressed sexual feelings in some. moral high ground miss it and complain. I No Recession Here In conclusion, not only do I object to this find that funnier than the ad. C’mon, if you I just wanted to let readers know that ad, I intend to forward a copy of my letter to lighten up even a little, you’ll at least get to pottery lovers in this area have not yet suc­ that great intellectual and protector of the laugh at the obviousjokes. Besides, laughter cumbed to the media’s recession hysteria public morality, Senator Jesse Helms, in the is often a better force for change than com­ [see “Commercial Warfair” in the December hope that he might get Congress to censure plaint. 1990 CM]. Our students just held their 15thMr. Soldner for his lewdness, lasciviousness My own message to Soldner is: hang in annual pottery sale. In 3 days, 133 advanced and licentiousness. there, tell jokes in your ads if you want, and ceramic technology students sold 16,784 Douglas Johnsondon’t feel bad if a few people don’t under­ items for $215,000. This is up $29,000 from River Falls, Wis. stand. last year. Jon Wexler Charles Blosser I find the Soldner ad on page 83 of the Los Angeles Oakland Community College December [1990] CM to be very offensive Royal Oak, Mich. on several levels. Not only does it show a very Are They Serious ? dangerous situation where someone could Upon reading the December letters Free Will be seriously hurt (improper eyewear, dan­ chastising CM for running the Soldner ad, I I’d like to comment on William Camp­ gerously worn and nonprotective footwear, had to dig back through to find what caused bell’s letter in the September 1990 issue plus a neglected shovel that is cracked and the ruckus. Good grief! Are they serious? [advising efficient firing and a switch to could splinter at any time with dire conse­ Thank goodness Embree De Persiis (page modern combustion systems on kilns]. First quences), but it is border-line pornographic! 50, December issue) was thoughtful (or of all, I feel he is trying to impose his will on I find it extremely objectionable that the lucky) enough to place her forearm strate­ all potters. Second, some of us potters choose man in the ad is showing so much skin— gically, so as not to upset anyone! this field for its freedoms and its diversity. especially above the eyeline! And, as if that By the way, [in his December 1990 letter In our rural New Mexico area, we can wasn’t bad enough, look at what his hands to the editor] Ronald Ramsden said, “we study ancient pottery from scattered are doing! Soldner’s ad is designed to titil­ feel.” Is he speaking for the entire school shards. As for the waste factor: ancient Indi­ late the prurient fantasies of older middle- district? ans had a 50% success rate in firings, giving aged women potters. Loren Langager us wonderful examples to freely study and Name ivithheld by request Saint Paul, Minn. appreciate. We have the freedom to go out and Angered and Disgusted Silly Brouhaha collect local clays as the early Indians did. Paul Soldner thrives on controversy and All the brouhaha about the ad in the We also have many natural gas fields provid­ attention. He loves to be the dirty old man of October [1990] issue is so silly. Don’t read­ ing a clean source of fuel for firing. My clay. I suggest that those of us angered and ers have more important things to worry husband works in this gas field and says it disgusted by his advertisements take an­ about? blows more natural gas into the atmosphere other approach—don’t buy his equipment Debra Payne than I can ever use in my firings. or his pots. Philadelphia The point is: potters should go for it. Be Individuals and institutions considering as creative as you like. Practice safety, yes, purchasing equipment should hesitate to Mutilated but not at the costs William Campbell sug­ support an individual or company whose Recently I had an experience I feel com­ gests, unless he intends to finance our views are so demeaning and dangerous to pelled to share with my fellow readers, hop­ equipment. women. Furthermore, Mr. Soldner is heavily ing it will aid them in avoiding the same. I Sandi Sabelman involved in the Anderson Ranch program, had a box of pottery completely, mutilated Lindrith, N.M. which raises the question of its attitude to­ by a motor carrier, as if it had been subjected ward women. While I am sure that they are to an old car demolition en route. This Soldner, Sex and...Tongue in Cheek treated correctly, I wonder at the subtler motor carrier was apparently more inter­ I would like to strenuously object to the messages sent out. Are women not accept­ ested in speed of delivery than the welfare of December 1990 Soldner ad [see page 83]. able if they are not nubile, adoring or both? the merchandise. On a number of levels, Mr. Soldner is selling Attitudes of this nature must be fought My claim was refused on the grounds of one thing—sex, sex, sex. I cite the following: daily, as they harm all of us. I am sure that improper packing. With the upper third of 1. The semiclothed body of Paul Soldner Mr. Soldner will reply that he loves women the box completely bashed in, the adjuster himself [shown in the advertisement]. This and that some of his best friends are still held to the contention that each article man is 60 years plus; the open display of women—expressions I remember from an­ should be put into an individual box, then geriatric gyrations, with its bumpy muscles other time and place. placed inside another box—which is pro­ and wrinkled skin, is offensive—especially Remember, dirty old men are, by defini­ hibitive in both time and cost. to those of us more slovenly plump. tion, abusers of women. Also, forget about marking the package Mapplethorpe’s naked two-year-old has Donna Ragsdale “fragile,” as they ignore this warning en­ nothing on Soldner. Green River, Wyo. tirely, with no package getting preferential 2. The subliminal sadomasochism por­ trayed in the plunging and cutting of the Soldner Should Hang in There Share your thoughts xvith other readers. All letters shovel. How many brutal rapes and stab- In regard to the Soldner ad, October must be signed, but names mill be withheld on bings will have been incited across the na­ 1990, page 17. This ad’s clearly a send-up of request. Mail to The Editor, Ceramics Monthly, tion by this single image? the “cheesecake” tool ad genre, such as Box 12448, Columbus, Ohio 43212; or fax to 3. The Soldner mixer should be seen as manufacturers have had for years (see Rigid (614) 488-4561.

8 CERAMICS MONTHLY February 1991 9 Letters can be aired. Because the editors know the writer’s identity, they seem to be approving her/his underhanded tactics. Isn’t it likely that past issues, which were treatment. In fact, he said the company “anonymously aired to the general good” in would rather “fragile” not be used at all. CM, would have been just as honestly aired George Killinger without anonymity? Isn ’ t the current debate Marion, Va. in the Letters column between Terence Plumb and William Campbell an example NEA Could Help 73, Instead of 31 of people engaged in “frank discussion of I have some thoughts and questions re­ issues in our field”? lating to CM’s article on the National En­ In the future,Ceramics Monthly should dowment for the Arts grants [December refuse to publish letters anonymously or 1990 issue]: letters whose authorship cannot be verified. There are many kinds of fruits in the As CM must know, this position, too, is world. “clearly within the traditions of American Bias is unavoidable in human interac­ journalism.” tion. David Eitel Most of the recent talk about obscenity in Cedarburg, Wis. art ignores that which is obscene. Why are there different sizes of grants? Art Isn’t a Game Who decides the ratio of large to smaller I don’t agree with Franklin Silverstone’s grants? 31 = 14+ 17. That’s 14 @ $20,000 = comment (March, 1990) that “art is a game.” $280,000; 17 @ $5000 - $85,000. $280,000 + The statement is glitzy writing and far too $85,000 = $365,000. The money could help broad a concept to mean anything. How­ more artists/craftspeople if itwas distributed ever, I do agree with the latter part of his in $5000 grants. This seems more demo­ piece, and thank him for it. “Believe in what cratic. $365,000 - $5000 = 73. you do; present only finished work; don’t There must be an incredibly large num­ use Polaroids,” etc.—good advice from a ber of undeserving craftspeople/artists if gallery director. Robert Brady thinks the current system of Becky Jones allocating grant money “was extremely effi­ Riverside, Calif. cient and fair.” I am a little confused by the fact that Concentrate on Science, Not Art “Need, reputation or past grants were not to The debate between aesthetics or func­ work for or against the applicants”; but “the tionalism is immaterial. What should matter amount of the fellowship was dependent on to most potters is the “how to.” I would like ‘professional’ time in the field.” to see CM concentrate on the treatment of Does this mean baloney is a fruit? pottery as a science rather than as an art. Clark Scott Susan Dunham Galesburg,111. Metairie, La.

Thumbs Down on Anonymity Both Art Pots and Functional Sell Ceramics Monthly has no choice but to I support myself and husband with my reverse the policy that permits anonymous pottery. I do 15-20 shows (festivals) a year. publication of letters (or any other material Whether art pots or functional, they all sell. for that matter). [See Letters in the Septem­ I deal with 30 galleries across the country. ber 1990 issue.] CM does a great job mixing the aesthetic Because “frank discussion” is a goal of with the functional—keep it up! the publication, we certainly must question Toni Mann the honesty and intention of a writer who Lake Worth, Fla. will not publicly put her/his name to an opinion. Additionally, consider how effec­ Keep Vitality tive criticism can be by someone who refuses I enjoy the broad range of coverage; even to have the recipient know her/his identity. those subjects that I may not appreciate, Criticism that does not transcend personal someone else does. I particularly enjoy the opinion is barely deserving of attention. strong opinions expressed by many of your How much attention, then, should be given readers. They indicate the vitality of the to anonymous personal opinion? None! magazine. Keep it up! The matter of letter writers using aliases Sim Wilson III is a non-issue. Require name, address and Marysville, Wash. phone number with each letter and refuse to publish any missive whose author cannot Humble Potter Defined be verified. Is a humble potter one who makes sim­ By allowing publication of anonymous ple, plain, unobtrusive pottery? No. A letters, the editors put themselves in a bad humble potter is one who puts the custom­ light. They give the appearance of conspir­ er’s interest above her/his own. ing with the writer by providing a [forum] in Colin Grimes which unsubstantiated personal opinions Silver Spring, Md.

10 CERAMICS MONTHLY February 1991 11 12 Ceramics Monthly February 1991 13 ferent: Working in Nicosia, Cyprus, Yugo­ reviving traditional, geometric designs for Up Front slavian ceramist Branka Uzur influenced tableware. “I tried to go back to old times designs on locally produced pottery—much and houses where people seemed to value of it aimed at the tourist market. Mean­ more handmade things. Decoration was while, Anwarul Alam, an experienced ce­ very simple, but not insignificant.” ramics technologist from Bangladesh, was Uzur believes revival of traditional de­ working in Guyana, where his engineering signs could have a beneficial influence on Ruth Duckworth skills were called upon to develop a variety the tourist market—an important source Since coming to the United States from of ceramic production items, ranging from of revenue, which could double within ten England in 1964, German-born ceramist tableware to various tile designs to years if projections are fulfilled. “Tourists Ruth Duckworth has produced a variety of washbasins. leaving the island would be offered some­ sculptural forms, ranging from large stone­ Uzur studied ceramics and painting at thing more than cheap, mass-produced ware murals to delicately balanced sculp­ the Academy of Applied Arts in Belgrade, souvenirs; [they could instead buy] pots tural vessels that have been widely exhibited then established her own studio in Zagreb. made to be used in daily life, not just for decoration.” In an effort to locate significant design sources, her Turkish Cypriot students were encouraged to collect old pots from the villages and bring them to the center. “In­ fluenced by these pots, and with the idea that people desire not only food but also the enjoyment of eating it well served, they made new things of quite satisfactory qual­ ity,” she said. The resulting ware was later sold at an exhibition opened by commu­ nity leader Rauf Denktash. The idea was to encourage sales to local people (as well as tourists) and to interest more people in learning the craft. Similar exhibitions of work done by these Greek Cypriot potters have been mounted. Reviewing one show for the Cyprus Weekly newspaper, Glyn Hughes described the work as “simple, practical shapes with designs related to the motions of the wheel and with exceptionally good glazes. The influence is as muchBernard Leach as the tradition of pots, dishes and plates, which Stoneware coffee set, coffeepot approximately inches 8 in height, circa 1959, by Ruth Duckworth. are destined for practical use in the home. There are no touristy-aimed forms or mock- ethnic designs or labored ‘repeats’ of the and published. But Ruth Duckworth’s lesser She became a UN specialist volunteer in great archaic. All I saw was extremely covet- known, earlier work (at the Central School September 1988 because she wanted “to able and could be used for display, as much of Arts and Crafts in London) included share knowledge in ceramics, especially as in the kitchen.” solidly functional interpretations. pottery, with other people.” Thousands of miles away in Guyana, Among this early work was a coffee set, Jointly funded by the United Nations Anwarul Alam had no exhibitions, but his shown above, made during the late 1950s. Development Program (UNDP) and the influence on ceramic production was This grouping was featured (along with ce­ International Labor Organization (ILO), equally profound. Alam joined the UN vol­ ramics by other potters of British birth or her project was established to serve both unteer program in 1984 and was assigned connection: Michael Cardew, Hans Coper, the Greek Cypriot and the Turkish Cypriot to the Institute of Applied Science and Rodney Lawrence, David Leach, John Leach, communities. At the Turkish Cypriot pot­ Technology (IAST) in Georgetown. Its Ursula Mommens, Elizabeth Raeburn, Lucy Rie, tery center, Uzur taught nine students and stated aim is to support new and existing Rupert Spira and Geoffrey Whiting) in an ex­ also trained a local counterpart to take over industries in a bid to minimize the country’s hibition titled “Domestic Ware by Artist- the program when she left. Eventually, the dependence on overseas technology and Potters” at Galerie Besson in London center could become a cooperative, while products. Continued through December 20, 1990. continuing to train new potters. At the Greek Cypriot Handicrafts Cen­ United Nations Volunteers ter (where pottery was already being pro­ Pottery made by UN specialist volunteer by Sheila Davey duced and sold), Uzur worked closely with Branka Uzur and her trainees in Cyprus. Two ceramists working as United Nations another local counterpart and advised volunteers are credited with having had mainly about design. She was influential in major impacts on production in Cyprus and Guyana. Both volunteers were involved You are invited to send news and photos in training local craftspeople, applying new about people, places or events of interest. techniques and developing an extended We will be pleased to consider them for range of ware within the nations to which publication in this column. Mail submis­ they were assigned. sions to Up Front, Ceramics Monthly, Box Although they share similar job descrip­ 12448, Columbus, Ohio 43212. tions, their UN assignments were very dif­

14 Ceramics Monthly

Up Front technologists, a senior laboratory techni­ and private collections in France. They cian and seven laboratory attendants. “The document the artistic and technological in­ institute had a well-equipped ceramics novations associated with the region from Alam was an appropriate choice for the laboratory together with pilot-scale facilities, the 18th through the early 20th centuries. job. After earning his science degree in but there were no local personnel trained In the 18th century, faience (tin-glazed Bangladesh, he studied ceramic technol­ in ceramics,” Alam recalled. “It was there­ earthenware) was predominant. These ogy at the Tajimi Technical Institute in fore my responsibility to train both profes­ elaborate tablewares, particularly tureens Japan, then taught ceramic production at sional and technical staff in the basic aspects and platters, found a ready market when the Bangladesh Glass and Ceramic Insti­ of ceramic technology.” Louis XIV and Louis XV insisted that their tute. Part of his concern at the latter was It is hoped that the work of Branka Uzur courtiers turn in their gold and silver wares how to reduce firing losses and improve and Anwarul Alam will be carried on by to the mint to finance the wars. the technical aspects of ceramic products local ceramists in both Cyprus and Guyana. During the early 19th century, methods to exportable quality. It was to prove in­ Only time will tell if these projects have a of production and decoration changed valuable experience for his assignment in long-term effect with real gains for the rapidly (from handwork to machine made) the South American country of Guyana. economy without losses for the aesthetics due to technological advances. Popular de­ Within the first four months, he reduced of local production. But theUN volunteer signs included the historical revival styles the number of ceramic rejects at LAST from program seems to offer a good chance to (medieval, Renaissance, rococo and classi­ an unacceptable 60% to 20% by adjusting meet both goals. cal) and special imported wares from En­ the clay mixture. He also developed a gland, such as jasperware and lusterware. stoneware body and matching glaze using Historical French Ware in Atlanta The latter part of the 19th century saw various local raw materials. “French Ceramics: Masterpieces from artistic reaction to mechanized production, A year later, he was asked to study ex­ Lorraine,” an exhibition of objects from led by designers at L’Ecole de Nancy. tensive production losses in greenware at what was the leading earthenware produc­ Among the most influential was Emile Galle; the Vaneeram Tableware Factory—the only tion area of France, was featured at the though he is best known for his art nouveau such facility in the country. At that time, as High Museum of Art in Atlanta through glasswork, he also designed ceramics. At much as 50% of the output were rejects. January 6. Because Lorraine is the sister his pottery in Nancy, established with his “Such losses were quite unacceptable,” he wrote. “After various machinery adjust­ ments, I have brought down the reject level to 5%.” At the same time, he introduced another measure in the interest of low cost and efficiency—a white tableware body us­ ing only local materials. Although there were a few early “teeth­ ing” problems at IAST—in his first report, Alam noted that water and electricity sup­ plies were poor, some chemicals and raw materials were unobtainable, and there was a lack of equipment and tools for record­ ing and controlling production—none of these deficiencies proved insurmountable. Within the first two years of his assignment, Alam reported that strict quality controls had been established; a sanitaryware body had been developed and a few toilet bowls successfully produced (enough to look promising); bodies and glazes for floor and wall tiles also were being tested. Pleased with the results, the Guyanan government asked for a two-year extension M of his contract. During this period, the tile “The Boulevard,” 11 feet in length, tile mural produced at the Sarreguemines Utzschneider Factory experiments were completed and small- in France; the imagery is adapted from a poster by Theophile Steinlen, dated 1902. scale production begun. The ceramics de­ partment also started producing refractory region of Georgia, the city of Atlanta was father in 1874, designs logically followed ceramic bio-gas burners to replace the more the exhibition’s only venue in the United the same nature-based decorative principles expensive brass ones. Another two-year ex­ States; it has since recrossed the Atlantic that he used on glass. tension followed. for an ongoing European tour. By the turn of the century, it was not During this, his final assignment, Alam “Lorraine is the Staffordshire of France,” uncommon for well-known Parisian artists improved the green strength of the observed Donald Peirce, curator of decora­ to collaborate on decoration with the sanitaryware by adding a small portion of tive arts at the High Musuem. “It was a Lorraine potteries. Shown from the exhibi­ imported ball clay—greatly increasing the major ceramics-making center with inter­ tion is a Sarreguemines Utzschneider Fac­ successful casting rate. He also developed a national significance. The factories pro­ tory tile mural, “Le Boulevard,” which single-fire wall tile (which reduced firing duced works on the same scale as depicts a scene in Paris adapted from a costs) and a clay body for electrical insula­ Staffordshire, yet the products of the region poster by Theophile Steinlen. tors that uses primarily local materials. are largely unknown to Americans, in spite Training is a key aspect of the job de­ of both the commercial and aesthetic im­ Gayle Fichtinger scription of all UN specialist volunteers. portance of the wares.” “New Figurative Clay,” a solo exhibition of During his third assignment, Alam had a The 228 ceramic objects on view in the handbuilt terra-cotta sculpture by Gayle dozen trainees: two research assistants, two exhibition were drawn from both museum Fichtinger, Tempe, Arizona, was featured

16 C eramics Monthly February 1991 17 Up Front specific references are now appearing in his work; Zimmerman simply sees the in­ fluence of Portuguese culture and archi­ tecture as changing the way he approaches his work. For example, Zimmerman has combined their tradition of tiling walls with his previous interest in deeply carved imag­ ery, as evidenced by the 3000-pound seg­ mented stoneware mural installed recently at Objects Gallery in Chicago. The mural also represents another new direction in his work—the expression of potent life images. He thinks of moving water as an image of life, creation, and has become “preoccupied with forms that ooze, flow, are pulled down by gravity.”

Frank Boyden Workshop Otis, Oregon, potter Frank Boyden incising a by Sandra Johnstone thrown wall platter. In a recent workshop sponsored by the Association of California Ceramic Artists and the ceramics students at Foothill Col­ many sources—for example, a piece of bone lege in Los Altos Hills, Frank Boyden dis­ from the shin of a moose obtained on a cussed his work’s evolution. Boyden began recent trip to Alaska. Other more conven­ with slides of work he has done over the “Nocturnal” 26 inches in height, handbuilt tional tools are a sharpened piece of braz­ terra cotta with dragonfly patterning, by past 10-12 years, as well as showing his ing rod and an etching (drypoint) needle. Gayle Fichtinger. living and working environment in Otis, After completing the drawing, Boyden Oregon. “I’ve been thinking about my work tore open the cylinder and spread it out to recently at Joanne Rapp Gallery/The Hand differently lately,” he explained. “I’ve been create a curved slab form. A first layer of and the Spirit in Scottsdale, Arizona. making more and more prints (on paper), plaster was mixed with iron oxide so that, “Through cryptic narrative,” Fichtinger says, and exploring the transfer of clay to bronze. when the plaster is removed later, the pink “I show tense relationships between people These things are a spin-off from daywork.” color produced by the iron will warn and nature.”Photo: Paul LaFreniere. Boyden then demonstrated some of Boyden that he is close to the surface. these techniques, including making a “waste That initial layer of colored plaster is Arnold Zimmerman mold” for bronze casting, using clay, plaster mixed to a relatively thin consistency so it Recent visits to Portugal have stimulatedand wax. He began by incising a deep-re- will get into the cracks and accurately record new images and forms for New York artist lief drawing on a wheel-thrown cylinder. detail. When it has been applied about a Arnold Zimmerman. That’s not to say that Boyden’s incising tools are collected from half inch thick, Boyden switches to white plaster that has been mixed to a thicker consistency, adding a second layer about 2 “Maede Agua (Mother of Water),” carved and segmented stoneware mural with ash glaze, 9 feet in inches thick. height, $34,500, by New York ceramist Arnold Zimmerman. After all the plaster has hardened, the original wet clay “master” is pulled off and the mold is sprayed with a strong stream of water to remove loose particles of clay and plaster. (An alternative material used in making a mold for bronze casting is polysulfide rubber, a.k.a. “black tuffy.” Though expensive, smelly and potentially toxic, it can be used directly on clay, will record undercuts and may be used to cast multiples.) Boyden recommended soaking the mold in hot water for 30 minutes or heating it with a hair dryer. This makes it easier to brush melted microcrystalline wax (to a thickness of about 3/ie inch) into the mold. Then, a plaster backing is poured to support the wax piece. The last step in preparing the waste mold is to carefully separate the plaster from the wax. It is at this point that workshop par­ ticipants could see the advantage of color­ ing the plaster that is closest to the wax; as the plaster is broken away, more care can then be taken when the tinted plaster is revealed. The result of the process is a wax master or positive, which, with the addition of wax vents and sprues (to allow the exit and entry of molten bronze, respectively),

18 Ceramics Monthly February 1991 19 Up Front vised using a high worktable that does not require the potter to lean over. He also recommended: “If you’re going can then be “invested” for casting in bronze. to throw things big, make it as easy on When asked why he chose to make yourself as possible.” For instance, when bronze sculpture from clay rather than throwing 50 pounds of clay, put 25 pounds firing the clay itself, Boyden responded, on the wheel, pat it as round as possible “Because many of the pieces I am making and center it. “Dry” the top (Boyden does now could not be successfully fired without this with a rib) and put another 25-pound breaking apart. I can make pieces loosely piece on top of the first, centering it as with clay, retaining a very fresh surface. I well. He then used this method to throw a can make very large surfaces without hav­ 50-pound plate. ing to cut them up and fire each piece and As he threw, Boyden discussed aesthetic put it back together. I can have all the concerns: “The aesthetics of the plates have finest qualities of clay and more: color and partly to do with the thickness of the piece— durability.” Perhaps this attitude comes the thickness gives you a feeling there’s partly from the fact that Boyden has fired something inside it.” He is “interested in most of his work during the past six years in translating, after it’s fired, the state in which an anagama; in such a kiln, the loss rate it was when it was wet. A strong edge on a may be very high: 35%-40%. plate suggests a first move when decorat­ The following stoneware clay responds ing. The way the plate looks gives informa­ well (good color and flashing) to wood tion that the plate was thrown. When firing: making a piece and drawing on it, there needs to be a mutual working together of Boyden Stoneware Body the form and the drawing. The degree to (Cone 13-14) which the parts work together equals the Feldspar...... 10 parts “Neo-Classical Figure from the Late 20th degree of success of the piece.” Photo: Rick Ball Clay ...... 15 Century in Quest of the Fern Myth... # 3, ” Sherman. IMCO 400 Fireclay ...... 55 15 inches in height, handbuilt, multifired stoneware, by Les Lawrence , El Cajon. Kaolin ...... 5-10 Angela Verdon Red Clay ...... 0.5-1 Since the spring of 1990, British potter An­ stoneware vessel by Les Laurrence, El Cajon, Grog...... 15-18 gela Verdon has been expanding the scale of California. Photo: John Dixon. 100.5-109 parts her bone china vessels to allow for a freer A pigment that produces a bronzelike Luckenbach Juried National surface on clay when it is wood fired to The recent “National Juried Exhibition of Cone 13-14, but is too refractory for use in Contemporary Crafts” at Luckenbach Mill other types of firings, is: Gallery in Bethlehem, Pennsylvania, drew 422 entries from 34 states. From slides, the Bronze Pigment jurors Sandra ( Bronmlee-Ramsdale, weaver, (Cone 13-14) Philadelphia; Grace Nellis, gallery owner, Copper...... 30% Wayne, Pennsylvania; and Mark Sfirri, fur­ Manganese...... 40 niture maker, New Hope, Pennsylvania) Ball clay...... 10 selected 64 works by 54 craftspeople from Kaolin...... 20 21 states. Of the 69 applications in ceram- 100%

Boyden throws his big plates on 24X/4- “Tulip Vases,” to 26 inches in height, glazed inch Masonite bats tempered on both sides. earthenware, by Lisa Naples, Philadelphia. When cutting a plate off a bat before trim­ ming, he places a small wad of clay under the center of the bat. The slight curve this Translucent bone china bowl, approxi­ gives the bat keeps the wire from riding up mately 8 inches in diameter. and cutting too much clay from beneath the center of the plate. After being trimmed sense of “movement.” Though still paper and dried thoroughly, the plates are bisque thin, the vases and bowls shown at Graham fired standing on edge; they are heated Gallery in New York City through Decem­ slowly over a three-day cycle and after ber 24,1990, nearly double the size of their reaching peak temperature, fired down as predecessors. While patterning is still well, with special care being taken during achievedby piercing and incising, there is periods of quartz inversion. now more emphasis on light passing Because he has dealt with back prob­ through designs flowing from thin to barely lems over the years, Frank Boyden shared existing surfaces. some ways of preventing injury in the stu­ dio. “It’s important to have a wheel that San Diego Craftsmen you can adjust for height,” he stressed. Each “Decade Five,” an exhibition celebrating person is built differently, so a potter’s wheel more than 40 years of professional activity that is not adjustable for height is unac­ by the Southern Califomia-group Allied ceptable. A chair seat 9 inches lower than Craftsmen, was presented recently at the wheel head is best. This height “doesn’t Calhoun Gallery in San Diego. Among the strain your lower back.” Boyden also ad­ ceramic objects on view was this multifired

20 Ceramics Monthly February 1991 21 Up Front fluences and their aesthetic value, as well fancy dirt. Ohio, geological home of some as their diversity.” of the best such dirt, eventually became a center of innovative ceramic art. Ohio Selections “Amazing ceramics were conceived and “Ohio Selections IX,” Cleveland Center produced here, particularly during the so- for Contemporary Art’s annual exhibition called ‘art pottery’ movement. But most of documenting the diversity of work done the producers—from small to factory-scale within the state, included ceramics, paint­ groups—eventually slipped into economic ings, drawings, photography and sculpture ruin from a variety of causes, including by 27 Ohio artists. As guest curator of ce­ technical difficulties, marketing errors,

“Mad Potters Tea Party Teapot,” 7 inches in height, thrown and altered, by Robin Muto, Rochester, New York. ics, 26 were accepted for exhibition, in­ cluding “Mad Potters Tea Party Teapot” by Robin Muto, Rochester, New York, and three “Tulip Vases” (see page 20) by Lisa Naples, Philadelphia.

Findings ’90 Functional ware, nonfunctional vessels and sculpture by 29 ceramists from throughout the United States were presented in “Find­ ings ’90: A Recognition of Ceramic Excel­ lence” at the Society of Arts and Crafts in Boston through November 17, 1990. Guest curatorRobert Reedy (faculty artist at Ringling School of Art and Design in Sarasota, Florida) envisioned this exhibi­ tion as “an opportunity for the viewer to find a variety of visual sensibilities in ce­ ramics.” His intent was to “challenge imagina­ tions and invoke many questions. Sculptor John Chamberlain once told me that the idea is to let yourself be influenced.” Reedy wanted viewers to enjoy “these ceramic in-

“Aditya No. 7,”21 inches in height, handbuilt, glazed, raku fired, $ 1200, by Marvin Sweet, Boston.

Eva Kwong (Kent, Ohio) with salt-glazed stoneware sculpture.

ramics, CM editor William Hunt was asked greed by all concerned, and plagiarism. by museum director Marjorie Talalay to “At the peak of this movement, these present a primarily sculptural selection. potteries’ designers were among the finest Hunt invitedNina Borgia-Aberle, Jack Earl, and most innovative ceramists in the Ban Kajitani, Eva Kwong, Tim Mather, Judith world.... Yet these potteries, if not finished Salomon and Robert Shay to participate. off by the Great Depression, were eventu­ “Ohio has a long-standing tradition of ally brought to ruin by World War II pri­ producing ceramic art, and of undervalu­orities. Thereafter, most of the specialized ing both its aesthetics and worth,” observed knowledge of this grand ceramic movement Hunt in his curator’s statement. “For most was lost, and mosdy visual excreta remained, of our history, clay was just common stuff, until the birth of a new American ceramics

22 Ceramics Monthly February 1991 23 Up Front thetics. A new group of original clay artists Presented here are seven of Ohio’s pre­ has emerged, working in individual studio mier ceramists; however, this portion of or school-supported facilities. At no time in ‘Ohio Selections IX’ represents only the movement in the late 1940s and early 1950s. world history has so much ceramic diver­ tip—a principally sculptural selection of the “Certainly the WPA [Work Projects Ad­ sity, originality and quality been produced major talent currently working in the state— ministration] and Cleveland played a cen­ by a single culture as is now being pro­ of the iceberg. The berg itself consists mostly tral role as a nursery, caring for seedling duced by these ceramists of the studio art of an equally talented, larger group of ce­ clay sculptors who would grow to influence movement. Nor have ceramists ever been ramists working within the ‘vessel’ format.” or teach many of today’s top ceramists. But so knowledgeable about their whole his­ the most significant influences came from tory, so interconnected worldwide, so edu­ Amy Brower Saint Ives in Cornwall, England—Bernard cated or so informed about the skills and A solo exhibition of sawdust-smoked “Shells” with cracklike carbon patterns by Texas ceramist Amy Brower was featured at the Irving Arts Center in Irving, Texas, through December 31, 1990. The network patterning is achieved by dipping hollow bisqueware in deflocculated slip, which cracks as it dries. “The form is then fired to red heat,” Brower explained, “and reduced in saw­ dust. The length of reduction time affects the pattern: less than a minute results in stark contrast between line and back­ ground; longer softens this contrast. After reduction, rapid cooling with water causes the slip shell to pop off, thus revealing the carbon pattern underneath. “There are variables to consider with regard to achieving a slip shell that adheres

Hollow forms from the “Shell Series,” each approximately 5 inches in length, coil built, bisqued, dipped in deflocculated slip, dried, fired to red heat, reduced in sawdust, then rapidly cooled with water.

through firing, but comes off easily during cooling: The form must not be bisqued too high; Cone 010 works well. The ratio of talc and ball clay in the slip determines the size of the crack patterns; a high percentage of talc results in a shell with small dense cracks, while greater amounts of ball clay result in longer, sparser cracks. It is also important to fire only to red heat; higher tempera­ tures can result in the shell fusing to the

Smoked forms, up to5^2 inches in length, “Celestial Quay,” I6V2 inches in height, handbuilt clay, with bronze cones and gut, by Robert Shay, coil built, covered with terra sigillata, Columbus. burnished, fired to red heat, reduced in sawdust, rapidly cooled with water. Leach’s books, tours and pottery. Leach’s processes available to transform whatever ideas struck a resonant chord in the U.S. ideas they wish to clay. and launched tens of thousands of careers “Ohio has again found that rare for­ in clay. mula for ceramic greatness—an array of “Now we are in the midst of a ceramics talent has arrived here; however, the tradi­ renaissance in America. One to three gen­ tion of being important but undervalued erations removed from Leach, large num­ by its own culture continues. This exhibi­ bers of American ceramists have found their tion will go a long way toward helping to own voices, their own styles, their own aes­ set straight the latter part of that equation.

24 Ceramics Monthly

Up Front sively moving toward a greater incorpora­ tion of both ‘styles’ in a single statement. “The colors, forms and figures, both form, thus inhibiting it from popping off literal and abstract, represent the forces, during water cooling. emotions, ideas and thoughts that I feel. I “This process can be altered by chang­ simply try to put them into a visual form. ing slips and utilizing other firing tech­ Rather than identifying a particular subject niques. I have used burnished terra sigillata with a particular goal, I work until it ‘seems’ instead of deflocculated slip, with good re­ right, and try to avoid restrictive alignments sults. Crack patterns in the terra sigillata or comparisons.” did not occur until mid firing, but it rinsed “Nimby #5 (Advance Notice),” 9 inches in off easily after reduction, nonetheless. West of the West height, slip cast and assembled, with low- “I have also fired forms dipped into Eighty years ago, Theodore Roosevelt observed: fire glazes and decals, by Jeffrey Chapp. deflocculated slip in a residual salt firing in “When I am in California, I am not in the a downdraft gas kiln. I used a high ball clay West. I am west of the West.” from fine art, design, plus traditional and slip recipe, as rapid cooling with water That “west of the West” state of mind contemporary craft sources. would be impossible. The higher the ratio was the focus of a recent exhibition at Free­ Composed to attract viewers, “pulling of ball clay, the less likely it will stubbornly hand in Los Angeles. On view were the them in for closer examination, these ob­ adhere to the form. The slip-coated forms freely expressive works of 14 California art­ jects quickly reveal themselves as archetypal were wrapped in salt-soaked cheesecloth, ists, including ceramistsVirginia Cartwright, cups, bowls, vessels and house forms. Sym­ then nestled in vermiculite within saggars. bols of the domestic environment they The result was a pinkish line, instead of the suggest, these archetypes raise questions dark smoke that reduction in sawdust pro­ about how and where we live, and how we duces.”Photos: Tracy Hicks. interact with our surroundings. “I use a form such as the cup to set up a Dick Evans tension between its implied function and A solo exhibition of porcelain wall reliefs its symbolic function. British ceramist Alison by Dick Evans was presented recently at Britton refers to this idea of using functions Elaine Horwitch Galleries in Santa Fe, New as a concept as ‘playing with the gap be­ Mexico. Formerly a faculty artist at the Uni­ “Stoneware Teapot Form,” 20 inches in tween the expectation of use and the actu­ versity of Wisconsin in Milwaukee, Evans length, handbuilt, by Kazuko Matthews. ality of contemplation.’ This ‘actuality of now lives in Santa Fe and devotes full time contemplation’ involves holding the view­ to his art. Pasadena; Les Laxvrence, El C^yon; Kazuko ers’ attention long enough to allow them “Certain ideas and emotions are best Matthews, Kevin Meyers, Los Angeles; Ted to develop relationships with the works’ expressed through narrative means,” Evans Saito, San Diego; Nancy Selvin, Berkeley; form and content. Recognizable form aids observed, “while others are more success­ Helen Slater, Los Angeles; Barbara Takiguchi, the viewers’ ability to participate and inter­ fully dealt with through an abstract or non­ Oakland; and Leslie Thompson, Ojai. Photo: act with the work. objective format. As is so often the case, John Dixon. “I introduce references to basic human something, somewhere, between these ex­ needs into the works so they will speak to tremes or possibly including elements of Jeffrey Chapp viewers less analytically and more emotion­ each is probably true. I therefore use some Cast and assembled sculpture by Jeffrey ally. By taking objects like cups and houses, abstract elements in the more narrative or Chapp, Newark, Delaware, was featured re­ which are both familiar and inviting, and figurative works, and some sense of narra­ cently in a solo exhibition at M.C. Gallery combining them with a convoluted sense tive in the more abstract works. I find each in Minneapolis. Chapp describes his con­ of scale and precarious balance, I create a way of working provides invention, discov­ structions as “crossbred objects that bor­ setting that mocks the domestic tranquility ery and intellectual/emotional material for row freely from a wide assortment of art they represent individually.” the other. I now feel my work is progres­ forms. Elements and ideas are incorporated More Chinese Figures Unearthed Another network of underground vaults at “Nightwalker II,” 100 inches in length, glazed porcelain tiles, mounted on plywood, by Dick Evans. an emperor’s tomb is expected to yield thousands of clay figures from what was one of the greatest periods in Chinese his­ tory. To date, archaeologists have excavated more than 300 of these terra-cotta figures from the 2000-year-old tomb of a Han-dy- nasty emperor. Located near Xian, the ancient capital Of China, the burial site is estimated to contain tens of thousands of additional figures. Believed to be buried with Jingdi, an emperor who ruled from 157-141 B.C., they are said to surpass in quality and quan­ tity the life-size, terra-cotta army found in the tomb of China’s first emperor, Qin Shi Huang Di. So far, all of the Jingdi figures have been male, naked, armless and about 24 inches in height. They were carved in great detail, depicting eyes, eyebrows, nose, lips, ears,

26 C eramics Monthly February 1991 27 Up Front My intention is not to adapt or illustrate cries of enchantment as I watched in stupe­ Maupassant’s story. What attracts me is the fied silence—the fact is I have never been possibility of creating connections between singled out for my manual skills. literature and future contents of the vases April 1979: Coming out of the elevator and pots. Ceramics is not a separate world. into the enormous lobby of the Museum of Ceramics is a unique bridge between Modern Art, I spied two pots in a shop. imagination and something very close to Although one was a vase, I touched it as if it us—the useful object. were a sculpture. But it was the other piece Art critic Ida Panicelli once wrote that that attracted me. A flower vase, small and narration is a kind of Sleeping Beauty in very rough, it had retained the throwing the castle of modern art. Modern art did all marks of the work on the wheel. I took it it could to divest itself of involvement withwith me. fiction; different from the art of the last few The following week, I sought the name decades, less purist, less concerned with and address of its maker: Vicco. The house the “essence” of each medium of expres­ of Vicco and Mieko Ukeseki had a wood- sion. I do not mean to set myself up in burning kiln very close to one of the walls. opposition to modernism; I would simply On the shelves stood pots in infinite shades reconcile ceramics with the rest of my life. of gray. The sobriety of the pieces was so And my life has included the horla. intense—I felt that I had discovered a form All pieces covered with passages from of understatement and asceticism that, far the story are thrown on the wheel from from representing a mortification of the porcellaneous stoneware and are fired to senses, was aimed at their intensification. 2370°F (1300°C) in an electric kiln. The Welcome to the Far East! insides of the pots are brushed with porce­ 1980: The move to Nova Friburgo was lain slips. Inlaid surface images are marbled the right decision—far away from the in­ stained porcelains. On the vases and boxes, ner turmoil that Rio caused me. A well-lit, the text is painted with black porcelain slip; spacious studio was built. however, the following once-fire porcelain At the time of the move, a friend asked, glaze is used on the aquaria: “When there’s no wood left, will you throw the books into the kiln?” Fortunately, the Once-Fire Black Glaze electric kiln averted this risk. (Cone 8) I never had any doubts about the elec­ Dolomite...... 20.0 % tric kiln. Despite my admiration for tradi­ Feldspar...... 50.0 tional techniques of wood firing, I knew Porcelain Clay Body ...... 30.0 that the future of my work would depend 100.0% on the placid atmosphere of oxidation. Add: Cobalt Oxide ...... 1.5% Viewing the monumental retrospective ex­ Iron Oxide ...... 1.5% hibition of Lucie Rie in the Victoria and Manganese Dioxide...... 1.5% Albert Museum in London the following Last year, I had an opportunity to come year, I confirmed the rightness of this mod­ to terms with this story’s marked influence ern option.The kiln goes up to 2370°F then when I published a bilingual study—in takes 36 hours to cool. During the period Portuguese and English—of my work over in which the kiln remains hot and closed, it In the tomb of a Han-dynasty emperor, the past few years. Studio production cer­ more than 300 figures, all naked males tainly suffered during the writing of this about 24 inches in height, have been book, but I also experienced a certain cre­ “Cylinder with Diver” 16 inches in height, discovered—thousands more are expected ative remoteness from the clay. I noted, once-fired, wheel-thrown porcelain, inlaid to be found. with marbled porcelain, with black Top: Wang Xueli, head of the Han-tomb not only in myself but also in other ceram­ porcelain slip text, by Gilberto Paim. archaeological team, displays one of the ists, that pottery can be an art of excessive recently discovered figures. involvement. The potter needs to master abilities and have knowledge of many fac­ ets, as well as to be on the alert for a surprise, hairstyle and muscles. Pieces of silk found good or bad, emerging from the kiln. in the burial site lead experts to believe In this book, I sought to bring together these figures were originally clothed, but memories and reflections of my experience that the outfits have disintegrated over time. with ceramics and the “Horla Series,” some of which I reproduce here. Like Maupas­ Ceramics and the Horla sant’s story, it is in the form of a diary: by Gilberto Paim December 1978: Late afternoon in Rio The Horla, written in diary form by French de Janeiro, I climbed the Lopes Quintas author Guy de Maupassant, is a story about Street, in the Botanical Garden district, the disastrous reception given to a phantom where Alice Felzenwalb was giving pottery from Brazil—the horla—by an aristocrat classes in a stone garage. Ceramics had living on the banks of the Seine, close to awakened my interest. Previously, I associ­ Rouen. Back in Brazil a century later, the ated it only with the Egyptian mask and the horla didn’t come to haunt my studio, but statue my brother had made in school; they rather inaugurated a decisive phase in my had continually been broken and glued work. From 1987 onward, my pots have until they finally disappeared. been covered with passages from the story. Alice threw on the wheel. There were

28 Ceramics Monthly February 1991 29 Up Front The narrator, however, preferred to remain fixed to his century-old roots. 1989: For the exhibition “Tradition Re­ defined,” which brought together Japanese and Brazilian potters in Rio, I showed ten cylindrical vases of approximately the same height on a white rectangular platform. A visitor commented that he was moved by the serenity of the set. He was not shaken

by the phantasmagoric content of the story Eccentric pitcher,3 V2 inches in height, wheel written on the pieces. During another show, thrown and manipulated, by George Ohr a friend familiar with paradoxes cleared (1857-1918), the self-proclaimed “greatest the matter up: “Your pots are and are not art potter on earth.” possessed by the horla.” 1990: In preparing for an exhibition at Ohr pots have been featured in a solo exhi­ Wilson and Gough in London, the living bition abroad. Over 150 (from two private room was transformed into a photographic collections) were shown recently at Het studio. After two days, the black felt used as Kruithuis Museum for Contemporary Art a backdrop fell down and the whole interior in ’s-Hertogenbosch, the Netherlands. of the house seemed suddenly, exaggerat­ Strangely enough, Ohr had predicted Gilberto Paim, Nova Friburgo, Brazil. edly white. this posthumous success in 1899: “I am In my childhood, I used to spend days making pots for art sake, God sake, the filling notebooks with writings and draw­ future generation and—by present indica­ seems as if the heat dematerializes the pots ings; notebooks in which the stories had tions—for my own satisfaction, but when and takes them far off, on a voyage. I can little to do with the pictures. So many years I’m gone (like Palissy), my work will be not imagine them simply waiting, unmoved later, I am exercising the pleasure of this prized, honored and cherished.” right there inside the kiln during this whole non-coincidence on my ceramic pieces. time. When I finally lift the round lid and Photos: Pedro Lobo. Sandy Brown/Takeshi Yasuda touch the pieces, they still vibrate with the Spontaneous simplicity is the phrase that enchantment or disappointment of their George Ohr Abroad perhaps best describes the wheel-thrown recent adventure. Though he proclaimed himself “the functional ware shown by Sandy Brown and 1983-1984: I don’t remember exactly greatest art potter on earth,” Biloxi, Missis­ Takeshi Yasuda at Kunst 8c Keramiek Gal­ when cutting into my pots no longer held sippi, potter George Ohr (1857-1918) lery in Deventer, the Netherlands, through significance for me, becoming a mechani­ achieved little recognition outside the January 6. While Yasuda’s glaze palette is cal gesture. The moment coincided with United States during his lifetime, and would more subdued than Brown’s, both ap­ the impulse to no longer incise with a blade, probably have remained relatively unknown proach wheel work with the spontaneity but to inscribe pictorially with colors. The to contemporary potters—and collectors— possible after solid instruction/practice in change from working with stoneware to were it not for a fortuitous discovery by production techniques and thoughtful en­ porcelain became an absolute must. In the James Carpenter, an antiques dealer from New couragement. first place, porcelain considerably widened Jersey. During a 1968 search for classic cars, They found these at Daisei Pottery in the spectrum of achievable colors. I was he contacted the Ohr family (Ohr’s sons Mashiko, Japan. Both had been drawn more feeling imprisoned by the earthen tones of had operated an auto repair shop) and was or less accidentally to clay; Yasuda had been high-temperature clays. What’s more, I taken to the family warehouse, where he a student in technical design, and Brown a wanted my pots to be nude and smooth found over 7000 bisqued and glazed pots beauty consultant in Tokyo. without glazes. Porcelain—rebellious and casually stored in boxes. Brown remembers learning “by watch­ less plastic—offered an attractive option. According to dealer/historian Garth ing. They didn’t teach me anything. They Vitrified, it safely dispensed with glazing. Clark, in his appraisal included in the book enthused, encouraged and would occa­ This was a breakthrough: reordering the The Mad Potter of Biloxi: The Art and Life sionally stroll past my wheel and point to a sequence of my production steps and es­ of George E. Ohr, “It took two years of ne­ pot and say, ‘I like that one.’ tablishing a single firing at 2370°F, I sud­ gotiations and a reported $50,000 to ac­ “The people there were free, spontane­ denly felt totally at ease with the whole quire this cache of pots. In 1972, Carpenter ous and weird as well. The combination of manufacturing process. Everything that had made the works available for purchase in family dramas and wild, expressive decora­ previously been uncomfortable for me was an antiques store in a small New Jersey tion was intoxicating,” she explained. eliminated—the porous aspect of the pots town and commissioned Robert Blasberg to “They loved sloshing and pouring glazes, after bisque firing and the glaze bath. And write a monograph about the eccentric and snapping at each other and laughing I now had the dry, firm colors of the porce­ potter.... Historians of the arts and crafts lain slips. The painting itself soon came to movement were suddenly forced to re­ Tureen, approximately 12 inches in height, resemble writing. evaluate Ohr’s importance. Art pottery col­ wheel-thrown, with brushed glazes, 1988: The Horla. The insistent and re­ lectors were startled and intrigued by the by British potter Sandy Brown. peated painting of parts of the story onto ‘new’ work. And New York City’s contem­ my pots revealed the limits of observation. porary art world discovered Ohr, confer­ I constantly surprised myself: where did ring on him the status of cult figure.” this word come from, this expression, this Today, Ohr’s fame continues to grow image—unperceived until now? and his bizarrely shaped “children,” as he The meaning of the horla multiplied: called them, are changing hands for astro­ the unknown, the unconscious, a distant nomical sums (the January issue of Metro­ culture, another social class, modernity, politan Home magazine lists one tall vase wilderness. That which terrifies us (the for $40,000) en route to private and mu­ horla) is also that which puts us into motion. seum collections. And, for the first time,

30 Ceramics Monthly Wheel-thrown stoneware pitcher, approximately 14 inches in height, by Takeshi Yasuda. loudly. It was all up front and natural,” Brown noted. After three years at Daisei Pottery, Brown and Yasuda moved to England, where they set up a joint studio with a grant from the British Crafts Council. By 1981 their indi­ vidual careers were firmly established, and Brown set up her own studio. In the past five years, both have managed to attract international attention, resulting in exhibi­ tions in Australia, Germany and the United States, as well as the Netherlands.

Martin Smith Spheres, cylinders, cones and cubes are the basic components of the work of British ceramist Martin Smith. Using a red earth­ enware body textured with fine sawdust (which burns out in the firing), Smith press molds or jiggers the component parts. Af­ ter firing to 1975°F (1080°C), they are cut with a diamond saw, ground and polished, then assembled with epoxy adhesive. The final step is the application of metal leaf. A solo exhibition of Smith’s vessel sculpture was presented at Galerie De Witte Voet in Amsterdam through December 29, 1990.Photo: David Cripps.

Red earthenware “vessel” with copper leaf, 8V2 inches in height, by Martin Smith.

February 1991 31

Spirited Designs German Industry Challenges Students

A LEARNING PROGRAM sponsored by Villeroy Sc Boch (third largest producer of ceramic tableware in the world) has resulted in “Spirit of the USA,” a collection of tea sets by ten students at the Academy of Applied Arts in Vienna, Austria, and “Spirit of Europe,” a companion collection by ten students at Parsons School of Design in New York City. The idea was to give “these candidate designers an early chance to familiarize themselves with industrial practice,” “Liberty ” ware by Margit Denz (a master­ explained Wendelin von Boch, managing director of class, product-design student at the Villeroy Sc Boch. Academy of Applied Arts in Vienna, The Viennese students found inspiration in such Austria) is based on the “symbol of liberty in the Free World’s city of cities— Americanisms as skyscrapers, football, astronauts and the New York. Colossal. Willful. Crown Statue of Liberty. In turn, the students from Parsons School proudly pointing. Interplay of light and of Design were influenced by a variety of European im­ shadow ages and events, ranging from the French Revolution to the upcoming unification with the establishment of a common market in 1992. At their respective schools, students first prepared pre­ sentations of their ideas complete with technical draw­ ings. Next came prototypes and production models in plaster, periodically reviewed by a representative from the For “Unity”Alejandra Mark (a Bolivia- sponsoring firm. born student at Parsons School of Design The models were then shipped to the factory (housed in New York) combined “Old Europe with the new by using modern forms with old in an old monastery) in Mettlach, Germany, and the stu­ imagery. The flag of the Common Market dents soon followed. There, they made molds and began is emerging from the old image of Europe, production, using the factory’s facilities for casting, assem­ and the interlocking pieces symbolize the bling, designing and making decals, glazing and firing. joining of the countries” Each student produced approximately 30 sets; each set consisted of a teapot, sugar bowl, creamer, two cups and saucers and a cake plate or tray. Their work was fired along with the standard factory output—bisqued at Cone 6, glazed at Cone 04, then refired to Cone 018 in a muffle kiln for decals or lusters. “It was both exciting and informative to witness the enthusiasm with which the young artists went to work on—and ultimately mastered—the problems they en­ countered along the way,” von Boch commented. “View­ points on both sides were questioned and scrutinized, and the range of alternatives was constandy modified and expanded.” The “Spirit of USA” collection was introduced at the 1988 international design fair in Frankfurt, Germany, where it took first place in the Design Plus competition. Two years later, the “Spirit of Europe” collection also made its debut at the Frankfurt fair, then began a U.S. exhibition tour at the Villeroy Sc Boch store in New York City, travel­ ing to Chicago, Los Angeles and Washington, D.C., before returning to New York for the concluding show at Parsons last November.

34 CERAMICS MONTHLY The “Coca Cola ” ware of Klara Obereder With “Fly High ,” Michaela Lange (Vienna Academy) was inspired by “‘the (Vienna Academy) realizes “high-flying pause that refreshes.’ Pouring culture all ambitions, high tech out in space. over the world. From West to East: Marx, Making discoveries. Competing with his kids and Coca Cola. Trademark as strong rivals. Feeling the power of the guarantor of entente. Boundless. Free thinking big. The fascination of of conventional properties. Free for new interdisciplinary technology. The goal: styles. Lots of fun.” progress. The destination: forward.”

“Arches and Ruins ” designer Bette Anne “Little Symphony” by Niwat Domilici (Parsons School of Design) says Hatthavichitkul (a Thailand-born the “repeated arches of old Europe student at Parsons): “The orchestras of seemed to run into infinity, but today Europe impressed me with the beautiful, they run into the ruins of Rome. This harmonious melodies they produce and image brings you from ancient times, by their gorgeous appearances. The great with the perfect arches, and leads into composers of Europe created magnificent the present day with the broken edges.” music for all of us”

February 1991 35 Each of the students began the design process with drawings, Next came prototypes and production models in plaster, such as this “Arches and Ruins” sketch by Parsons student which were then shipped to the factory (housed in an old Bette Anne Domilici. monastery) in Mettlach, Germany.

Villeroy & Boch manager Wendelin von Boch (left) took an The program challenged “candidate designers,” such as active role in encouraging the students to take advantage of Parsons student Aaron Lown, to adapt their ideas and work first-hand experience with industrial facilities. habits to industrial processes.

Alejandra Mark discussing the seating of the lid on her Wh ile at the factory in Germany, each student completed “Unity ” teapot with Marek Cecula, coordinator of the approximately 30 sets; each set included a teapot, sugar ceramics department at Parsons School of Design. bowl, creamer, two cups/saucers, and a cake plate or tray.

36 CERAMICS MONTHLY “Spheres ”7 inches in height, wheel thrown, carved, glazed and fired twice, coated with Nickel Print (nickel powder suspended in an opaque lacquer base) so the form’s surface will conduct electricity, electroplated with copper, sprayed with automotive lacquer, by David DeSalvo, Cudahy, Wisconsin.

Editor’s note:Electroplating’s often spectacular surfaces involveriences and methodology can actually serve a twofold potentially hazardous materials and electrical current that may purpose. First, verbalizing thought processes and meth­ pose a danger to those new to the process or unfamiliar with its ods frequently opens the door to many new ideas. Second, safety requirements (eye protection, protective clothing, etc.). If sharing techniques decreases the “comfort zone” and en­ you intend to use electroplating with your own ceramic work, seek courages growth. expert advice locally (as did the author); plating technologists are Electroplating is a relatively simple, straightforward widely available. In addition, local chemistry teachers often have process. However, as in all creative areas, experience is the a sound knowledge of plating, and may make good technical and best teacher. I have spent and continue to spend about safety advisors. Finally, ask for the opportunity to tour a commer­ 40% of my time developing ideas and researching equip­ cial plating business. Before you commit to your own plating ment, methods and materials from slip and clay to cast equipment, it’s a good idea to have a few works plated profession­ paper and acrylic plastics. ally to see if the process meets your expectations. Five years ago, working with electroplating was not a conscious goal. After I earned an M.A. at the University of WHEN ASKED to share technical knowledge, some ceram­ Wisconsin in Madison, Don Reitz (who taught there) rec­ ists experience inner conflict or discomfort. With this ommended I contact raku potter Russell Kagan to apply article on electroplating, however, I hope to dispel the for an apprenticeship. My fresh-from-school idealism and notion that sharing useful information has the potential unrealistic cockiness earned me the position, but the real­ to obscure an artist’s creativity or originality. Sharing expe­ ity of my abilities and fortitude became immediately ap­

February 1991 37 parent in the world of production. Russell demanded electroplating, I could retain forms, including the or­ technically sophisticated, precise pots in large numbers to ganic, sensual shapes of the clay medium, but improve accommodate his wholesale trade. Eighteen months later, durability and keep the finished work affordable. Trial- my technical and marketing skills had grown immensely, and-error eventually produced positive results, and I was but (as Reitz had warned me) I had lost all personal further encouraged when there proved to be a market for feeling for my work. this new work. Then, the Pine Lake mine closing led to technical It was a long, tedious and often frustrating process to difficulties with the raku, so I decided to pursue an M.F.A.arrive where I am today, and I have much left to resolve in at the University of Wisconsin in Milwaukee and renew a electroplated art. Trading some pieces with electrochemi­ search for personal expression. I began to look into elec­ cal technicians has been essential to my plating success. troplating during graduate school, but the concept origi­ These technicians have shared considerable information nated during my apprenticeship with Kagan when we and advice about the process, and their experience and were working to produce copper matt finishes. knowledge have saved me costly errors. Experimental bronze workshops and other indepen­ Electroplating requires an understanding of basic dent studies at the university, coupled with experiences chemistry. Although numerous references discuss plating with raku, prompted me to question the validity of creat­ nonconductive objects, the difficulty lies not only in proper ing an actual metal shell on the surface of clay. By doing maintenance of the electrolyte solution (the balance of

Inside David DeSalvo’s studio, works in progress from his “Ancient Man Series” await aesthetic evaluation. After glaze firing, surfaces may be masked with wax, paper stickers or latex before spraying with Nickel Print.

left “Crane” 9 inches in height, electroplated copper over glazed clay, sprayed with clear lacquer.

right “Lost in Space,” 8 inches high, wheel-thrown sphere with plastic figure, electroplated overall with copper (except for glazed areas masked with paper stickers), then patinated.

38 Ceramics Monthly chemicals within the solution), but also in regulating the In plating, sealing the object is all-important. Sulfuric flow of electricity. After months of experimentation, I acid is a highly corrosive chemical even in a diluted state. have begun to diagnose, analyze and correct imbalances Just one pin-size gap will permit the acid to penetrate. within the system with some confidence. When this happens, a large crystalline growth breaks The electroplating solution must be consistently main­ through both the inner and outer surfaces of the object, tained to ensure proper plating. The solution calls for regardless of the metal plate’s thickness. Wax, shellac, copper sulfate, sulfuric acid, hydrochloric acid, chemical lacquer, synthetic resins or, in my case, a good fit between brighteners and distilled, deionized water. Copper sulfate clay and glaze (as well as double glaze firings) ensure the provides copper ions, and normally is added only during necessary protection. the initial mixing of the solution. Thereafter, the break­ The second plating step calls for a conductive surface. down of the copper anodes (pieces of copper suspended There are several ways to render a conductive surface on a in the solution) replenishes the copper supply. Sulfuric nonconductive object, including the application of fine acid provides conductivity, and contributes to the dissolu­metal powders (bronze or silver) mixed with a suitable tion of the anodes. Hydrochloric acid supplies chloride binder, or powdered graphite, wet or dry. A more sophisti­ ions that assist in the transfer of the copper molecules cated method requires the precipitation of a metallic film. from the anodes to the cathode (object). Chemical The electronic circuit board industry uses a special metal brighteners ensure an even, bright and ductile deposit. paint called Nickel Print to repair broken circuits. Nickel

February 1991 39 At the top of a reinforced, rubber-lined For air agitation, PVC pipe is drilled Distilled water (60 gallons) is agitated tank, holes are drilled to accommodate with small holes, mounted in the tank, slowly while adding sulfuric acid (200 copper pipe anode bars. then connected to a compressor. cubic centimeters per gallon).

Once the copper sulfate (160 pounds) is The copper anodes are bagged in From a 25-amp electroplater, a negative dissolved, distilled water is added to polypropylene fabric to catch lead connects to the conductive object, achieve the final volume (80 gallons). impurities as they form. and a positive lead to the anode bar.

is relatively inexpensive, and the paint (nickel powder The electroplating process occurs on the molecular suspended in an opaque lacquer base) can be ordered level and is not visible to the naked eye. It takes hands-on through any electronics supplier. Once sealed and coated experience to judge the interaction of the two compo­ with conductive material, the ceramic object is ready for a nents—chemical and electrical—necessary for successful soak in the plating tank. results. Because the time required to plate an object is When using the plating tank, specific conditions re­ measured in hours, not minutes, the maximum ampere- garding electrical current, temperature, filtration and per-square-foot ratio is an essential component of the chemical mixing must be met. The negative current ap­ imbalances in the bath’s chemistry. To maintain a large plied to the cathode can vary from 10 to 90 amperes per plating window, accurate chemical analysis should be con­ square foot, depending on the size and shape of the ducted monthly. Locate a qualified electrochemical com­ object. To arrive at the proper amperage for the piece, pany that conducts testing and provides brightener agents. conduct a simple experiment: Increase the current until The ceramic object’s size and shape both affect electro­ small hydrogen gas bubbles form on the surface of the plating. The artist must also be able to recognize subtle submerged piece, then slightly reduce the current. This differences in the flow of electricity through individual will be the optimum plating amperage for that piece. forms. More importantly, high and low current density A simple, electric fish tank heater and a canister-type areas should be identified, and copper anodes adjusted to fish tank filter work well to control temperature, and to these areas. Shadowing, a technique that employs a plastic filter impurities in the bath. Maintain the bath tempera­ barrier to inhibit the flow of metal molecules to the piece, ture between 70°F and 90°F. Filter the bath continuously should be used to manipulate the metal deposit as the with a minimum of one turnover per hour. Phosphorized molecules flow to areas of least resistance. copper anodes require the least amount of attention be­ Although I prefer to use clay as my primary medium, cause they have fewer impurities to filter. To use scrap the electroplating process can be used on any type of copper, attach polypropylene anode bags to catch the material in any size or shape—the most obvious benefit metallic impurities that are released as the scrap copper being the ability to create an object of size and substance dissolves. Finally, to decrease plating time, the solution without the visually implied weight of cast copper or bronze. should be continuously agitated with a low pressure, oil- Thus, the possibilities for the electroplating technique are less air pump. as intriguing as they are limitless. ▲

40 CERAMICS MONTHLY “Industrial Valley ,” 8 inches in height, electroplated copper over wheel-thrown bowl and plastic objects, with ammonium chloride patina; exposed black glaze results from latex resist.

“Oil Spill ” 9 inches in height, thrown, plastic ship additions, electroplated with copper, cupric nitrate patina, exposed glaze, by David DeSalvo.

February 1991 41 The Allure of Slipware by Irma Starr

I’M A POTTER, not a sailor, but I was spiring subsequent research on and the relaxed, flowing, slip-trailed lines. seduced by a mermaid all the same. reproduction of 17th-century slip- The Staffordshire potter who created My particular sea siren reposes on an decorated earthenware. her, Ralph Toft, is so strongly linked English slipware plate high and dry in That mermaid plate is folk art all in name to English slipware that it’s a specially designed case at the Nelson- over, from the uneven, thrown dish to sometimes referred to as Toft ware. Atkins Museum of Art in Kansas City. My research turned up few details She became my senior project at the above Slipware potter Irma Starr in her of Toft’s life. There are 35 dishes (re­ Kansas City Art Institute (KC.A.I.), in­ well-organized Kansas City studio. corded to date) with his name as part

42 CERAMICS MONTHLY of the border decoration—the potter’s thing around him—popular mytho­ way to identify himself and, perhaps, logical figures like the mermaid or attract some new customers. The di­ unicorn, religious symbols and the ameters of his plates vary; some mea­ monarchy. He also repeated designs sure 17 inches—the average length of from commonplace objects, such as a man’s forearm, which, for a potter tobacco wrappers, snuffboxes, etched working at a wheel with wet arms and glassware and pieces of embroidery, slippery hands, is a convenient way to as well as birds, animals and flowers. measure a soft clay dish in progress. Framed by a trailed trellis pattern, Toft probably was inspired to draw the mermaid holds the props of her the mermaid, a popular icon in those vanity—a mirror and comb. Along­ seafaring days, after seeing her on a side her are strands of floating sea­ tavern sign or a wood engraving. He weed. On that day I first saw her, I took plate decorations from every­ entertained the notion that the little lady was admiring herself in the mir­ below Plate for the 1989 NCECA ror. Later, when my fascination with Original inspiration: a mermaid dish meeting, 32-inch diameter, thrown on a slipware had led me to study mythol­ by Staffordshire slipware potter Ralph fiber-glass mold, trailed, glazed overall. ogy, I discovered the mermaid’s mir- Toft, 18-inch diameter, circa 1660-1680.

February 1991 43 ror is not just a cosmetic item, but a to authentically duplicate the color of Ken Ferguson, Victor Babu and reminder to us that there are things the original slips, the clay body, the George Timock, helped me work out more important to worry about than glaze, decoration and firing tech­ an earthenware body identical to the sagging jowls and baggy eyes. niques used by those early slipware original: silica sand and fireclay added I laughed when I saw the next slip- potters. The Nelson Museum’s cura­ to Cedar Heights Redart clay. Match­ ware plate at the Nelson-Atkins. Made tor of decorative arts, Ross Taggart, ing slips to the originals took longer, by another member of the Toft family who is now retired, allowed me to but through study and experimenta­ (Thomas), it depicts William of Or­ spend numerous hours in the mu­tion, I was able to replicate the colors. ange wearing funny pantaloons and seum’s private holding area, touching The original slipware potters coated pointy shoes. Simple slip lines create the pots, drawing them, tracking the the inside of each dish with a layer of a smile that looks as if it could turn elaborate designs and detailing the white slip to provide a surface of satis­ into a laugh. The exquisitely drawn various techniques of trailing, mar­ factory color and texture on which to hands are graced with dainty lace cuffs bling and feathering. decorate. Next, outlines of the design to proclaim his royalty. William was a He also directed me to the book, were done in dark brown slip poured popular king, and Toft may well have English Slipware Dishes, 1650-1850 by from a spouted jug or can. Where picked up his likeness from a “Daniel’s Ronald Cooper. This, along with Tag­ narrow lines or dots were required, Best Tobacco” or perhaps “Escounts... gart’s own The Burnap Collection of En­the slip was passed through quills of It’s Good Tobacco” wrapper. glish Pottery, and A Potter’s Book by different sizes fitted into an opening Nearby, I saw Adam and Eve on Bernard Leach, was an excellent ref­ in the side of the slip-can; the flow was another plate. It was the fatal tempta­ erence. Leach’s book was especially controlled by covering a hole in the tion scene—the notoriously sly snake, important because he and Shoji top of the can with the thumb. Broad with an apple in its mouth, wrapped Hamada were the first potters to re­ areas were then filled with orange- around a tree; the familiar narrative discover the 17th-century techniques. brown slip, and the original outlines was surrounded by a fence pattern on Leach wrote: “There was no one, ornamented with dots of white slip. the rim. My eye then flashed to slip- for example, who still had the secret ware figures of a “Hare Jumping overof feathering but [I] eventually redis­ right “God Bless the Archie Bray ,” His Plate” and “A Mother Pelican in covered most of the old techniques. It 32-inch diameter, earthenware, with Her Piety” feeding her fledglings. took me ten years to master slip trail­ trailed and fea th ered slips depicting (The mother is said to represent Christ ing.” I, too, was determined to redis­ beehive kilns at the Archie Bray on the cross; the fledglings, mankind.) cover these intricate techniques. Foundation in Helena, Montana (where Inspired by these pieces, I decided The ceramic instructors at KC.A.I., it was made in 1989), by Irma Starr.

“Mermaid Jar,” 14 inches in height, thrown and slip- trailed earthen­ ware, depicting a twin-tailed mermaid, which was a Greek symbol for opposites, such as ere a tor/des troy er, love/hate, etc., by Irma Starr.

44 CERAMICS MONTHLY below William of Orange portrait The final step was the application cream colored, buff, warm red or rich (possibly copied from a tobacco of a lead glaze. In reproducing this dark brown. wrapper) plate, 18 inches in diameter, glaze, my primary source was Ronald With the reproduction of Toft’s circa 1688-1690, by Thomas Toft. Cooper’s book: According to one mermaid plate, I completed my se­ story, every Friday at a pottery in nior project and, coincidentally, Derbyshire, one workman roasted launched a career. I began to repro­ pieces of scrap lead over a brazier to duce slipware for the Nelson-Atkins calcine the metal oxide. Meanwhile, Museum; it was sold through the mu­ another workman swept up the dried seum bookstore for many years. clay that had dropped to the floor. Part of my fascination with slipware One bucket of powdered lead “ox­ has been the challenge of mastering ide” added to three buckets of floor the various techniques. Reproducing sweepings made sufficient glaze for a the museum’s Burnap collection al­ kiln batch. I experimented with ratios lowed me to become adept at fine of white lead to Cedar Heights Redart feathering patterns, slip-trailing and clay and found a close match. The marbleizing. There is a spirit in these iron from the clay gives the transpar­ pots that prods me to further experi­ ent glaze a more or less yellow tone, mentation. I am now extending my causing the underlying clay to appear reach by carving intricate patterns in

February 1991 45 hump molds and marbleizing vari­ now retired. He introduced me to Pat at the pottery for feathering trailed ously colored clay bodies. Halfpenny, the keeper of ceramics, slip. I sent a pot with one of these In 1972, on a research trip to Stoke- who gave me a complete set of mu­ sample glazes to the City Museum, on-Trent in Staffordshire, birthplace seum slipware slides. where it remains in the permanent of slipware, I met Arnold Mountford, On the advice of these two slip- collection for reference. director of the City Museum and Art ware experts, I visited Winchcombe The mermaid still lures me onward. Gallery. He gave me authentic slip- Pottery (founded by Michael Cardew) As the Staffordshire slipware potters ware shards, along with old seashells, and met Ray Finch, Winchcombe’s did in the 17th century, I continue to which were used for the border pat­ director and potter-in-residence. From tell stories on wheel-thrown plates and tern. I gave the museum my clay and Cardew’s notebook, he copied the jars, signing my work with my name slip recipes. “nontoxic” lead glazes that Cardew trailed across the bottom—sdll a good Last summer, I again visited Stoke- used in his later years. Finch also gave way for potters to advertise and, hope­ on-Trent and met with Mountford, me old turkey feathers that were used fully, attract new customers. ▲

To produce marbled slip A contemporary version of Feathering, another wet-on-wet process, is accomplished by decoration, the clay is marbling involves layering trailing lines of slip on slip-covered slabs (once the coated with slip, then lines and dots of light and decoration is complete, the slabs are shaped by pressing over contrasting slip is dropped dark slip; this yields unique hump molds). The tip of an actual feather is used to “comb99 along the edge and the form hairline separations between (perpendicularly) through the lines of wet slip; Starr uses a tilted to encourage flow. the colors. raised board as a straightedge and to steady her hand.

Editor’s note: Traditionally, slipware For a dark brown, add 1% manga­ Amber Yellow Glaze potters used lead (often in its most harm­ nese dioxide and 3% red iron oxide. (Cone 03) ful forms) as a glaze flux because of re­ Gerstley Borate ...... 10% liability, color and surface quality. Starr’s Lead Glaze Lead Bisilicate...... 70 Nevertheless, only those with a thorough Ball Clay ...... 20 knowledge of ceramic toxicology and stu­ (Cone 06) 100% dio hygiene should undertake experi­ White Lead...... 75% Add: Iron Oxide...... 3% ments with lead glazes. Cedar Heights Redart Clay ...... 25 100% Apply three coats with a 2-inch multi­ Slipware Body head hake brush. (Cone 03) Barium Carbonate...... 1 lb. Nonlead Yellow Glaze Cardew Clear Glaze Talc...... 18 (Cone 06-03) (Cone 03) L.ead Bisilicate...... 63 % Cedar Heights Redart Clay... 165 Gerstley Borate ...... 10% Frit 3134 (Ferro)...... 13 Fireclay...... 37 Leadless Frit 3289 (Ferro)...... 80 Kona F-4 Feldspar...... 10 Silica Sand...... 37 Ball Clay ...... 10 258 lbs. 100% White Slip (dry) ...... 13 Add: Spanish Iron Oxide ...... 4% Flint...... 1 White Slip 100% Custer Feldspar...... 15% A fired sample of the following lead Apply two coats with a 2-inch multi­ Ball Clay ...... 30 glaze was determined to be safe ac­ head hake brush. For a green glaze, Georgia Kaolin...... 40 cording to an accredited laboratory add 1% copper oxide; apply three Flint...... 15 test; the glaze showed a lead release coats with a hake brush. The green 100% of only 0.31 mg/1 (ppm). Potential variation tested no higher than 1.48 toxicity to potter or user may vary mg/1 (ppm) lead release. The FDA Brown Slip depending on source of ingredients, limit for lead in earthenware was 7mg/ Cedar Heights Redart Clay ...... 100% studio practices and firing conditions. 1 (ppm) at the time of this test.

46 CERAMICS MONTHLY

Editor’s note:This is the fourth in a series needed movie money, I went down to So I quit wishing, and decided to go of autobiographies by well-known potters the river and hunted arrowheads, then to art school. I went to New York, but and ceramic artists, selected and compiled sold them to Doc Cummings. That was couldn’t see myself working in a city for CM by Carl Paak of Albuquerque, Newreal. Sometimes pretending is the only environment—just too claustrophobic. Mexico. reality you have. A friend of mine, who realized my After high school, in 1948, I joined two loves were people and art, suggested MY ART has always come out of a need. the Navy—I was involved in damage I become an art teacher, and that I Not everyone may like what I do, but I control, firefighting, carpentry and sal­ check out Kutztown State Teacher’s can only make what I feel in my heart. vage diving. I’m really good at doing College in Pennsylvania. You have to have courage to put outthose things where I’m my own boss. At Kutztown, they asked me why I what you know to be truth. After that, I went to Maine to work wanted to be an artist. No one had ever I always wanted to be an artist, but on a fishing boat. I pulled in fish nets asked me that before; I had never asked thought that was probably something I for a week, and decided that was a dumb myself that. I couldn’t think of a good would not be able to do because of my thing to do. My fantasies in school were answer. I just said, “It smelled right when background and the work-ethic I grew quite different from everyday realities. I walked in here.” They accepted me into up in. Art wasn’t considered a job—you Then I got married and settled into the program. weren’t really working, just playing the meat-cutting business, a profession After graduation, I went to Dover, around. But was it something that came I enjoyed. In a way, it is an art. You have New Jersey, to teach art in the public naturally to me. to know how to cut and display your schools—kindergarten through high Before zeroing in on art as a career, product, everything from putting boo­ school. We had great fun, but being a I did many things, including working as ties on lamb chops to arranging a crown public school teacher is a 24-hour job. a truck driver, lumberjack, meat cutterroast. I could cut rosettes on a ham so You chaperone dances, the football and diver—all physical jobs. Experi­ that when it was baked, they opened up games, and much more. I didn’t quit ences such as these, particularly the in beautiful patterns. the meat market for that. things I have heard and seen, became I was also dealing with people. I had Soon my bursitis and ulcer started part of me and are the references for to understand their needs in order to acting up; I was eating pureed baby food. much of my art. cut meat for their tables—not too dif­ “What should I do?” I wondered. The I enjoy art that has something to say, ferent from making personal pots for doctor’s advice was “Don’t do that.” It or questions to ask. I enjoy knowing I someone’s home. became a good working philosophy—if am the sum of all that has gone before. In retrospect, the meat was my can­ it hurts, don’t do it. Through art, I am able to make the vas, and the showcases my galleries, but During my junior year at Kutztown intangible tangible, release my subcon­ my heart was always in the arts. Frus­ State, Harold Mantz had introduced me scious and give physical reality to emo­ trated, I satisfied myself by lettering to clay. I went down to the pot shop one tional conditions. trucks, painting signs, pictures in bars day, and just started to throw. It was Public school was difficult for me, and landscapes of Blairstown and Bel- never a problem for me to center. He and to say I did not excel is an under­ videre, New Jersey. asked if I had ever worked with clay statement. I always received three A’s: One valuable part of my life, worth before. I said no, but it seems like a gym, shop and art. I think I was also in emphasizing at this point, was time spent logical thing to do. nearly every school play; I enjoyed pre­ (after the service) with the Algonquin I loved clay. And when I went to tending, taking on other identities. I Indians in Canada. I lived with Charlie, Dover, I set up this kerosene-fired kiln really got through school pretending who was 70 something then. We ran in the backwoods. I didn’t know much that I wasn’t there. School was a frustra­ trap lines, and he taught me a great about it—just fired it up, got the pots tion, an excuse to fantasize, a roadblock deal about life. Through Charlie, I saw hot, stuck a metal rod in to see if they to reality, a place to rest before the ma­ that art was what I had to do. He gave were sticky, and, if so, got them the hell jor event of the real workday. When I me courage to start a new life at age 30. out of there.

preceding page Thrown stoneware lidded jar, 10 inches in height, lightly sprayed with Shino glaze, wood fired (beginning with alder, finishing with fir) to Cone 12 in an anagama built by Frank Boyden, Tom Coleman and Nils Lou, 1990.

right Don Reitz in his Clarkdale, Arizona, studio— brush ing slip on a vessel to be fired (in oxidation) in a 160-cubic-foot kiln, then lightly salted (about 4 pounds) at Cone 05.

OPPOSITE page: top Thrown and wood-fired stoneware platter, 21 inches in diameter, 1990.

bottom left Reitz adding slab “handles” to a tall vessel form wheel-thrown and constructed from a high manganese-iron earthenware body.

bottom right Teapot-inspired form, 37 inches high, manganese/iron earthenware, fired to Cone 05 in oxidation, salted, 1989.

48 CERAMICS MONTHLY February 1991 49 right Stoneware lidded jar, 24 inches in height, wheel thrown, incised, sprayed lightly with Shino glaze, wood fired in an anagama (single-chamber, climbing kiln), by Don Reitz, 1990.

OPPOSITE page: top left Wood-fired stoneware lidded jar, with ash deposits, 10 inches in height, 1990.

top right Low-fire-salted jar, 10 inches in height, wheel thrown from manganese/iron earthenware, brushed with slips, 1989.

bottom Don Reitz with his recently fired work inside Yukio Yamamoto’s anagama in Japan.

I was doing handbuilt pottery at the first handful of salt. It started to snap, more spontaneous. They were finally time, and had pieces all over the place, crackle and pop, and burned little holes about Don Reitz. so I thought I might as well try selling in my shirt. When I work, I am a loner. I can’t them. I made a sign, “Hand-Made Pot­ This was one of the elements that have anyone in the studio. It’s a very tery” and set it beside the highway with had been missing—physical confronta­ personal and private place. I am pre­ my work. I thought it was really good, tion with the process, the drama, the tending in there. Recently my wife, but nobody ever stopped. I also had a mystery and magic. I remembered what Paula Rice, said to me, “I’ve figured it big garden; so I took vegetables down Peter Voulkos once said: “There are no out. You never have anyone around there to sell, too, and changed the sign rules, only concepts.” I was living my when you work, and you work 24 hours to read “Hand-Made Pottery and Fresh life this way, but I had been living art by a day. So you are always alone.” But I’m Vegetables.” People would stop to buy the rules. Salt changed that for me. never lonely, and I love involvement vegetables, and I’d give them my pots. After Alfred, I planned to go to the with people. That’s why I do workshops. It made me happy, and some of them Archie Bray Foundation in Montana The University of Wisconsin encour­ actually liked the pots. and work with David Shaner, but a aged me to do many workshops— Obviously, it was time to learn more teaching job came up at the University sometimes three a month. For a while, I about this business, so I enrolled in the of Wisconsin, which I accepted. I became known as the workshop king. I summer session at Alfred University. It thought I might stay there for a year, feel I’ve done some of my best teaching was overwhelming. There were tons of then move on. The fact was, I was at workshops, because it is such a con­ materials, lots of kilns, and the studio brought in to free Harvey Littleton so centrated, high-energy time. was open 24 hours a day. It seemed like he could start the glass renaissance. And In 1975, after a divorce from my first heaven. Subsequently, with the help of I was free to teach as I pleased. We were wife, I began living and working in my Val Cushing and Bob Turner, I was ac­ hired as artists who also teach, not as studio at the university. I had no privacy cepted as a student in the graduate pro­ teachers who were formerly artists. Be­ at all. The only private space was inside gram. cause of this philosophy, I stayed for 26 my big jars. I didn’t want anyone in­ In the late 1950s, ceramics was going years. truding there, so I began tying the lids through a period of tremendous change We graduated some damn good stu­ down. The tie-downs also added an ele­ and experimentation. Old rules were dents. I didn’t produce them. All I did ment of intrigue. Still, these jars were being broken. Reduction firing and was provide an atmosphere that was vessels—sculptural in nature, but ves­ raku were in their infancy. It was no conducive to learning. I really didn’t sels in form. longer considered bad to have iron spots give advice to anyone. It is useless to WTien Paula and I got married, we on the glazes. give advice. People don’t follow advicebought a place in Deansville, Wiscon­ I became discontent with glazing anyhow. Why should they? I wouldn’t. sin. I built a bigger salt kiln, and my pots. There was always a sense of loss. You have to find out for yourself. work became larger, more active, using My marks, my scars, my signature were In 1962,1 moved to a 120-acre farm less salt, more fire flashing. I was not gone, covered by glaze. I began to leave out in Dodgeville, Wisconsin. This gave concerned about making aesthetically pots unglazed, revealing the color of me freedom of space to work in and pleasing forms. They were and are in­ the clay. However, I soon tired of this, the type of environment I am best suited tended as vehicles to convey feelings and tried wood firing. That was okay, for. So, in addition to teaching, I was and emotions. but... Next, I tried the terra sigillatas making pots, running a farm, training Then, on the way home from Pen- that John Tuska was developing, but horses, salt glazing, everything. land in 1982,1 totaled my truck. I found that didn’t work either. At that time, most salt-glazed pots myself with many broken bones and Then one day I came into the kiln were gray or brown, but I wanted color. the real possibility of losing the use of room when Dick Leach was firing a salt Through the use of slips, stains, engobes my left arm and leg. Life seems to be a kiln. He was just sitting there smoking and fuming, I introduced more vibrant series of tests. This, I thought, is a situ­ his corncob pipe, periodically throwing colors to the salt-glazing process. As I ation similar to a bad kiln firing. I’ve handfuls of salt into the kiln. I will never experimented with these color possi­ always said there is no such thing as a forget the rush I felt when I threw in my bilities, my pots became more fluid, bad firing; it’s only bad if you don’t

50 CERAMICS MONTHLY

learn from it, and turn adversity into tures. The childlike imagery was a search or the five-chambered noborigama at positive energy. for basic truth. Northern Arizona University. I realized that, just before my acci­ I worked with this color palette and I’ve also been working in Japan peri­ dent, I had not really been content with imagery until my physical and spiritual odically, using native clays and firing my work. It was good and everyone liked self no longer required these things be Yukio Yamamoto’s anagama and no­ it, but it wasn’t on the edge. In search­ done in clay. Political and social com­ borigama. Yukio, Jim Leedy, Don Bendel ing for a new aesthetic, I decided to mentary are now delegated to paint and and I have just completed a large wall break pots and reassemble them. In re­ paper, which seems more appropriate. mural for the Nippon Castle Research ality, I had to put myself back together. Having come full circle, my daywork Center in Himeji City, Japan, where we With the help of my 5-year-old niece, again centers around wood-firing and also had exhibitions of wood-fired pot­ my wife, graduate students and friends, salt-glazing techniques. tery and sculpture. I did just that. It is a tremendously exciting time Then, too, I occasionally drive work The drawings my niece sent to make for me. In 1987, Paula and I moved toto Oregon to fire with Frank Boyden in me feel better started me on a search Arizona. Now I live beside the Verde the anagama he, Nils Lou and Tom for myself. Unable to physically con­ River, back in a red rock canyon, sur­ Coleman built. struct larger forms or work on the wheel, rounded by ancient Indian ruins that But I really enjoy being alone in my I began to do paintings on clay, using seem to be an endless source of energy. studio, firing my new salt and wood brightly colored slips at low tempera­ Sometimes I fire work in the anagama kilns. I’m alone again, but not lonely. A

Manganese/iron earthenware platter, 25 inches in diameter, slip decoration, Cone 04 salted, 1988, by Don Reitz.

52 CERAMICS MONTHLY Island Pottery in the Baltic by Hans Munck Andersen and Gerd Hiort Petersen

BORNHOLM, the most easterly of the with woods and lakes in between) also we were advised to buy a house and Danish islands, is strategically placed have something to do with it. set up a shop as many others had between Denmark, Germany, Poland, We established our pottery on a done. We had to make a decision Sweden and the U.S.S.R. During the farm in the northeast corner of the quickly. After just ten days in Ireland, summer, there is an invasion of tour­ island in 1973. Before that, we had we decided to return to Denmark. A ists from the surrounding countries worked as studio artists at the Royal month later, we were the proud own­ (especially from Germany), who sub­ Copenhagen Porcelain Factory (in ers of the farm on Bornholm. stantially enhance the incomes of the Gerd’s case, for eight years) when we A grant from the Danish National 60 potteries that dot the island. were invited to apply for jobs at the Bank helped us equip the studio, then Bornholm is small, roughly a 25-mile Kilkenny Design Center in Ireland. the big question arose: How were we square, so it is often only a stone’s But, on arrival, we found there were going to support ourselves? We con­ throw between potteries. no jobs for us. sidered getting jobs or playing it safe Tourism is not the only reason for At this time, the Irish government by starting a production line. But when the plenitude of potters. The pres­ was encouraging artists to settle in the friends and colleagues encouraged us, ence of local kaolin, as well as the country by financing much of the ini­ we decided to make the things we island’s natural beauty (stretches of tial expense. As a result, there was were really interested in. This deci­ white sand beaches and flat farmland quite a large international artists’ sion turned out to be the right one to the south, craggy rocks to the north, colony in and around Kilkenny, and for us; thus we have managed to sur­

With an equipment grant from the Danish National Bank , Hans Munck Andersen and Gerd Hiort Petersen established their pottery at a farm on the northeast comer of Denmark’s Bornholm Island in 1973.

left Large windows in the studio allow Gerd to take advantage of working in natural light.

February 1991 53 right Inspired by rock formations, Gerd’s stoneware vessels are slab built and textured, inlaid with white slip, then brushed with colored slips.

vive and maintain our independenceflat stick. The edge is also beaten to fifties. Inspired by these works, I set these past 17 years. thicken it. At the leather-hard stage, out to develop a technique that would Gerd: Of the two of us, I am more colored slips are applied. allow me to combine rolls of colored directly influenced by the natural sur­ On the porcelain vessels, I work clays, yet maintain a measure of con­ roundings. Particularly, I am inspired graphically. Wheel-thrown forms are trol over the final pattern. My first by rock formations. With the rough, incised and inlaid with dark and pas­ rough work using this technique was iron-bearing clay (a mixture of Born­ tel colors. produced at Royal Copenhagen. holm stoneware and fireclay), I can After bisque firing, both the stone­ By the time we had established our express myself. ware and porcelain forms are glazed, own studio on Bornholm, I had de­ Large platters start out on the slab then reduction fired to 1280°C (Cone veloped an interest in Minoan pots, roller. (Earlier I bought big extruded 9) in a gas kiln; during high firing the glass beads and vases from the Ro­ pipes in the wet stage and cut them platters are supported with bricks and man era, and glass from the Jugend- lengthwise to open into slabs.) The clay, while the porcelain vessels are stil period. My subsequent work owes surface is then textured with a saw- placed in bowls filled with sand to much to these inspirations. blade and brushed with white slip. prevent warping. Gold or platinum The bowls are not merely vehicles On scraping, slip remains in the luster details are then fired to 700°C for decoration. I build form and grooves formed by the blade [a vari­ (Cone 018). decoration together. The stained por­ ation of mishima]. Hans: In 1970, I came across the celain rolls are twisted and pressed Next, the textured/slipped slab is marbled daywork of Jean Gaugin, a into a plaster mold. As the bowl laid over an inflated inner tube and sculptor at the Bing and Gr0ndahl “grows,” there is room for the acci­ shaped by beating with a stone and a porcelain works in the forties and dental; these accidents I liken to the

right Colored slips are applied at the leather-hard stage.

54 CERAMICS MONTHLY Inlaying involves scraping with a A loop tool drawn across the surface Placed on an inflated inner tube, the sawblade, then brushing on white slip. removes excess slip. slab is shaped by beating with a stone.

Porcelain bowl, approximately 10 inches in diameter, wheel thrown, inlaid with slips, fired in reduction to Cone 10, detailed with platinum luster and refired to Cone 018.

left Gold-lustered bowl, approximately 10 inches in diameter, wheel-thrown porcelain, with inlaid slips and sgraffito, by Gerd Hiort Petersen.

February 1991 55 small deviations and variations found in nature, divergences within the pat­ Recipes terns and principles of growth. When the bowl is sufficiently dry to remove from the mold, its exterior Basic Slip Transparent Glaze is refined with a razor blade. After (Cone 9, reduction) (Cone 9-10, reduction) bisquing, the interior is retouched with Nepheline Syenite ...... 29.2% Whiting ...... 12.5% emery paper and coated with a trans­ Ball Clay...... 15.8 Zinc Oxide...... 8.8 parent glaze (clear or colored). Dur­ Bentonite...... 2.0 Feldspar...... 68.7 ing the subsequent firing, the bowl Kaolin...... 16.2 Flint...... 10.0 rests on a separate support filled with Flint...... 36.8 100.0% ceramic fiber or sand. The work is 100.0% Add: Iron Sulfate...... 1.25% fired in reduction between 1475°F and Color variations of the previous slip Applied thinly over slips and col­ 2350°F (800°C and 1280°C), then in are possible with standard additions ored porcelain body. oxidation to Cone 10 (1300°C). of oxides and/or commercial stains. We both work rather slowly. Hans’s Blue Ash Glaze yearly production is limited to 30-35 (Cone 9, reduction) Black Slip pieces; he sometimes takes up to ten Magnesium Carbonate...... 1.8% (Cone 9, reduction) days to complete a bowl weighing just Potassium Oxide...... 1.3 Aluminum Oxide...... 3.7 % over a pound. Gerd works on a larger Whiting...... 34.5 Chrome Oxide ...... 3.7 and heavier scale, but her production Potash Feldspar ...... 30.9 Cobalt Oxide ...... 7.4 runs about 80 pieces a year. Kaolin...... 25.0 Iron Oxide...... 11.1 Prices are relatively high. While Flint...... 6.5 Ball Clay...... 74.1 some pieces are purchased by visiting 100.0% . % tourists, most are sold through exhi­ 100 0 Add: Cobalt Oxide ...... 0.4% bitions to collectors, and some find Used on porcelain. Copper Oxide ...... 0.4% their way into museums, institutions and large firms. ▲

Hans Munck Andersen refines the surface of a vessel (held upright by the base section of its press mold) coil built from colored clays.

56 CERAMICS MONTHLY PHOTOS: MOGENS GAD, OVE HECTOR, KOCH, VITA LUND

above and right Rolls of stained porcelain are twisted together, then coiled inside a four-piece mold—three wall pieces key to a separate base. Additional modules may be stacked and keyed above the previous three. “As the bowl ‘grows,’ there is room for... accidents I liken to the small deviations and variations found in nature” below right “Penta Yellow” and “Autumn,” each approximately 8 inches in diameter, stained porcelain, coil built inside a sectional mold, bisqued, glazed on the interior, high fired in reduction then oxidation, by Hans Munck Andersen, Denmark. below During the glaze firing (in a reduction atmosphere between 1475°Fand 2350°F, then in oxidation to Cone 10), the bowls are placed on ceramic fiber or sand inside individual, perforated, coiled-clay supports.

February 1991 57 The Lorena Stove by Alan McNiel

BASICALLY a modeled block of un­ sive means of controlling draft and pot (which should fit snugly into its fired clay, the lorena stove was first more accurately directing heat to the hole). Tunnels are scooped out be­ developed as a means of conserving cooking vessel, fuel wood consump­tween the holes, underneath which fuel in the severely deforested high­ tion is reduced by as much as half. wedgelike baffles direct heat up. Every lands of Guatemala. The name lorena It is imperative that a high-quality vessel should be located at a turn in combines the Spanish words for mud clay/sand mixture be used for the the tunneling, causing turbulence in and sand. The design is now a part of stove’s construction. About 15%-25% the burning gases directly under the a worldwide effort to reduce the ef­ powdered clay (with little or no silt cooking food or heating water. fects of a rapidly escalating fuel wood and from a source without substantial Interior dimensions should allow crisis. (See “A $10 Million Stove” in shrinkage problems) is mixed with the burning gases to pass through the June 1984 CM.) 75%-85% sand before adding water. easily, but not be so large that they Nine-tenths of the people in most Any sand already in the clay should rush past the cooking vessels without poor countries depend on wood as be considered in calculating the heating them enough. The diameter their primary fuel. An increase in the proper proportion. (Sand can be set­ of the human fist is roughly appropri­ burning of dung, which is desperately tled out of a known quantity of clay ate for tunneled passages. Creosote needed as fertilizer, could prove agri­ slip and measured.) A rammed stove deposits accumulate less rapidly in culturally disastrous in the not-too- will require considerably less water in larger diameter stovepipes. Therefore, distant future. Lorena stoves andthe clay/sand body than a form that a large stack (8 inches in diameter) numerous other ceramic or ceramic- is trowel built in layers. will require less maintenance and pose lined stoves have demonstrated a po­ As soon as the block is completed, less fire danger than a smaller one. tential for easing this crisis. By holes are carved for the firebox, While the firebox, passages, damp­ providing the user with an inexpen­ damper, chimney and each cooking er and flue should be constructed to

58 CERAMICS MONTHLY left A colorfully decorated lorena (unfired clay and sand) stove in Quezaltenango, Guatemala; easy to build and fuel efficient, ceramic stoves are part of a worldwide effort to reduce the escalating fuel crisis in underdeveloped countries. In some nations, it is not uncommon for two days of every week to be devoted to the search for wood. Fuel-efficient stoves can reduce the quantity needed for cooking by as much as 50%. right Another decorative stove variation with sheet-metal chimney pipe; the stove shape can be adapted to suit available space and favorite cooking pots, which should fit snugly into their holes. below Based on several ancient designs, such as this West African (Mali) beer stove, buttressed with recycled cast-iron caldrons, the first lorena stoves were built in Guatemala during the 1970s.

February 1991 59 PHOTOS: DOT DOTSON, IANTO EVANS AND COURTESY OF APROVECHO INSTITUTE

An unusually flat lorena stove holds just three cooking pots. The base may he formed of adobe, brick, stone or any other solid/fireproof building material.

These small windows are the primary ventilation openings Ideally , every cooking pot is located at a turn in the of this home in Mali. When a lorena stove replaced an open tunneling; turbulence results in maximum heat reaching the fire, air quality improved significantly. pot. Dampers and interior baffles also help control heat flow.

60 CERAMICS MONTHLY maximize fuel efficiency, the “mass” radiating through the thermal mass. mistic to expect clay stoves to single- of unfired clay surrounding those Stove building is a sort of logarith­ handedly reverse world deforestation parts can take on a variety of appear­ mic development. The early processes patterns. Serious reforestation prac­ ances. Exterior surfaces may be hard­ of finding and digging the clay, pul­ tices and realistic attitudes toward ened by applying mixtures of ash and verizing it and preparing the mixture timber harvesting are imperative. The dung, powdered clay, paint or varnish. may require days of labor. Building lorena stove and its relatives are highly Other materials, such as stone, brick, the block goes faster. As the cooking promising complements to such ef­ metal or fired clay, may be incorpo­ pot holes and tunneling are formed, forts. For potters, they also represent rated. Some stoves have a built-in seat every scoop of the spoon creates a an unusual variety of functional forms or even a bed—this is possible be­ remarkable change. whose aesthetic potential has only be­ cause of the gentle nature of the heat Of course, it would be overly opti­ gun to be realized. ▲

Decisions about positioning cooking vessels, stack The lorena stove block is built from a m ixture of and firebox are made before construction is begun. 15%—25% clay and 75%-85% sand.

The clay/sand mixture is shoveled and tamped into Once the basic block is formed, a finishing coat of a cavity formed by unfired clay/sand bricks. clay/sand is troweled smooth.

Cooking pot holes and connecting passages are A tall chimney provides sufficient draft, while an marked on the stove top, then scooped/tunneled out. iron damper at the firemouth controls air intake.

February 1991 61 February 27 entry deadline Bethlehem, Pennsylvania “The Dining Experi­ Call for Entries ence/A Craft Expression” (August 10-Septem- Exhibitions, Fairs, Festivals and Sales ber 22). Juried from up to 3 slides per work; up to 3 works. Jurors: Harriet Friedberg and Rita Greenfield, co-owners of Gallery 500, Elkins Park, Pennsylvania. Cash awards. Send sase for pro­ spectus to Lynn Berkowitz, Luckenbach Mill Gallery, 459 Old York Road, Bethlehem 18018; International Exhibitions or telephone (215) 691-0603. February 28 entry deadline February 12 entry deadline Northfield, Illinois “New Visions—Forms with San Angelo, Texas “Sixth Annual MonarchTile Function” (April 6-27), open to all ceramists. National Ceramic Competition” (April 18-May Juried from slides. Juror: Martha Schneider, di­ 26), open to artists working primarily in clay, rector, Schneider, Bluhm, Loeb Gallery, Chi­ residing in Canada, Mexico and the United States. cago. Entry fee: $18. Cash and purchase awards. Not limited to tile. Juried from 2 slides per work; For prospectus, send business-sized SASE to up to 3 works. Entry fee: $15 for up to 3 works. Northfield Gallery, 1741 Orchard Lane, Awards: first place, $1500; second, $1000; third, Northfield 60093; or telephone (708) 446-3470. $500; Best Tile, $750. Juror: Martha Drexler March1 entry deadline Lynn, Assistant Curator of Decorative Arts, Los Boston, Massachusetts Exhibition of functional Angeles County Museum of Art. Contact the San studio furniture (September 28-November 16). Angelo Museum of Fine Arts, Box 3092, San Juried from drawings, slides and/or photos. Ju­ Angelo 76902; or telephone (915) 658-4084. ror: Patricia Kane, curator of American Arts at March 19 entry deadline Yale University Art Gallery. Contact Julie Golden, Colorado “North American Sculpture Mansfield, Executive Director, Society of Arts Exhibition” (May 12-June 25), open to artists and Crafts, 175 Newbury Street, Boston 02116; or residing in Canada, Mexico and the United States. telephone (617) 266-1810. Juried from 8x10 black-and-white photographs. March 8 entry deadline Jurors: Bill Barrett and William Nettleship. Entry Goldsboro, North Carolina “11th Annual Na­ fee: $10 per entry; up to 3 entries. Awards: $6000. tional Fine Arts Exhibition” (March 16-April Contact the Foothills Art Center, 809 15 Street, 26). Juried from up to 2 actual works. Juror: Golden 80401; or telephone (303) 279-3922. Linda Roscoe-Hartigan, National Museum of April 12 entry deadline American Art, Washington, D.C. Entry fee: $15 New York, New York “International Art and for up to 2 entries. Cash awards. Commission: Craft—10th Anniversary Competition” (May 29- 25%. For prospectus, contact Community Arts June 15). Juried from a minimum of 3 slides. Council, 901 East Ash Street, Goldsboro 27530; Entry fee: $8 per slide. Awards: $30,000. Jurors: or telephone (919) 736-3300. Nadine Grabania, Frick ArtMuseum, Pittsburgh; March 15 entry deadline Ruth Meyer, Taft Museum, Cincinnati; Marla Dexter, Michigan “Farrington-Keith National Price, Modern Art Museum, Fort Worth; Roger Juried Exhibition” (April 13-May 15). Juried Selby, Boca Raton Museum of Art, Florida; and from slides. Juror: Robert Bailey. Entry fee: $10, Lynn Zelevansky, Museum of Modern Art, New $5 for each additional entry; up to 5 entries. York. Contact Art Horizons, Department RCM, Awards: best of show, $1000, plus merit awards. Box 1533, Ridgewood, New Jersey 07450; or Send sase to Farrington-Keith Creative Arts telephone (201) 487-7277orfax (201) 488-4004. Center, Box 8418, Ann Arbor, Michigan 48107; April 22 entry deadline or telephone (313) 426-0236. Ann Arbor, Michigan “World Peace Monu­ March 31 entry deadline ment International Design Award” (permanent Lenexa, -Kansas “Dimensions ’91” (June 7-9). site). Juried from a maximum of 3 slides, draw­ Juried from slides. Fee: $20 for up to 3 works. ings or photographs of the design itself or of a Contact Dimensions ’91, c/o Parks and Recre­ model of the design. Entry fee: $12. Awards: ation, 13420 Oak, Lenexa 66215; or telephone $2500. Send sase for prospectus to Design Com­ Mark Hall Dunlap (913) 541-8594 or fax (913) mittee, Monument to World Peace, 317 South 492-0374. Division #80, Ann Arbor 48104. April 1 entry deadline May 3 entry deadline Milwaukee, Wisconsin “Under the Big Top” Onehunga, Auckland, New Zealand “1991 (June 7-July i3). Juried from 5 slides. Fee: $10. Fletcher Challenge Ceramics Award” (opening Send resume and sase to A. Houberbocken, 230 summer, dates tentative). Juried from actualWest Wells, Suite 202, Milwaukee 53203; or tele­ works. No entry fee. Awards: premier award, phone Joan Houlehen (414) 276-6002. NZ$10,000 (approximately US$5870); plus up April 5 entry deadline to 5 merit awards, NZ$5000 (approximately Lincoln, California “Fourth Annual Feats of US$2935) each. Con tact Fletcher Challenge, Box Clay” (June 1-29). Juried from a maximum of 3 13-195, Onehunga, Auckland; or telephone (09) slides; works should not exceed 24 inches. Juror: 643-622. Rudy Autio. Entry fee: $10. Over $4000 in place, purchase and merit awards. Send sase to Dick National Exhibitions Ketelle, Lincoln Arts, Box 1166, Lincoln 95648; or telephone (916) 645-9713. February 11 entry deadline April 15 entry deadline Valley City, North Dakota “17th Biennial Na­ Middlebury, Vermont “The Ubiquitous Bowl” tional Juried Art Exhibit” (April 2-26). Juried (July 26-September 3). Juried from 3 slides. Ju­ from actual works due February 16. Juror: Rich­ ror: Julie Mansfield. Send sase to Director, Ver­ ard Helzer, sculptor/educator, Bozeman, Mon­ mont State Craft Center, Frog Hollow, Middle­ tana. Fee: $15 for up to 3 entries. Commission: bury 05753; or telephone (802) 388-3177. 25%. Awards: approximately $2000. Contact 2nd April 26 entry deadline Crossing Gallery, 200 North Central/Straus Mall, University Park, Pennsylvania “Crafts National Valley City 580/2; or telephone Stretch Rogers 25” (July 6-28). Juried from slides. Juror: Carol (701) 845-2690 or 845-3657 or Cynthia Hagel Sedestrom Ross, founder/developer of Ameri­ 845-3601. can Craft Enterprises. Entry fee: $20 for 3 entries. For prospectus, send sase to Crafts National 25, Send announcements of juried exhibitions, fairs, festi­Zoller Gallery, 102 Visual Arts Building, Penn vals and sales at least four months before the event’s State University, University Park 16802; or tele­ entry deadline (please add one month for listings inJuly phone (814) 865-0444. and two monthsfor those in August) to Call for Entries, April 30 entry deadline Ceramics Monthly, Box 12448, Columbus, Ohio Chicago, Illinois “The 5th Annual Great Lakes 43212; or telephone (614) 488-8236. Fax announce­Show” (June 15^July 21). Juried from slides of up ments to (614) 488-4561. to 2 entries. Entry fee: $20. Cash awards. Contact

62 CERAMICS MONTHLY February 1991 63 28-30 and July 4-7). Juried from 4 slides. Entry Call for Entries fee: $25. Booth fee: $145-$230. Cash awards. Contact Boston Mills Ski Resort, Box 175, Penin­ sula 44264; or telephone (216) 657-2334or (216) 467-2242. Lill Street Gallery, 1021 West Lill Street, Chicago February 15 entry deadline 60614; or telephone (312) 477-6185. SanAntonio, Texas'" 1991 Fiesta Arts Fair” (April May 1 entry deadline 20-21). Juried from 3 slides. Booth fee: $100 for Milwaukee, Wisconsin “Vessels” (July 19-Sep- a 10x10-foot space; $70 for a 5x10-foot or shared tember 7). Juried from 5 slides. Fee: $10. Send space. Awards: first prize, $200; second, $125; resume and sase to A. Houberbocken, 230 West third, $75; four $50 honorable mentions. Con­ Wells, Suite 202, Milwaukee 53203; or telephone tact Southwest Craft Center, 300 Augusta, San Joan Houlehen (414) 276-6002. Antonio 78205; or telephone (512) 224-1848. June 30 entry deadline February 22 entry deadline Richmond, Virginia Place setting exhibition Valhalla, New York “Clearwater’s Great Hudson (January 10-February28,1992) Juried from 10- River Revival” (June 15-16) .Juried from 5 slides. 20 slides. Send resume and sase to Place Settings, Booth fee: $100 for a 10x10-foot space. Contact Hand Workshop, 1812 West Main Street, Rich­ Clearwater’s Great Hudson River Revival Crafts mond 23220; or telephone (804) 353-0094. Committee, c/o Joan Silberberg, RFD #2, Pud­ July 6 entry deadline ding Street, Carmel, New York 10512; or tele­ Gatlinburg, Tennessee “From All Directions” phone (914) 454-7951. (October 17-December 14). Juried from slides February 23 entry deadline of up to 3 works. Juror: John McGuire, Geneva, State College, Pennsylvania “25th Annual Side­ New York; and John McQueen, Alfred Station, walk Sale/Central Pennsylvania Festival of the New York. Entry fee: $15. Cash awards. Contact Arts” (July 11-14). Juried from 5 slides (1 of Arrowmont School of Arts and Crafts, Box 567, booth). Entry fee: $15. Booth fee: $200. Awards: Gadinburg 37738; or telephone (615) 436-5860. $4100. Contact Central Pennsylvania Festival of the Arts, Box 1023, State College 16804; or tele­ Regional Exhibitions phone (814) 237-3682. March 1 entry deadline February 15 entry deadline Greeley, Colorado “28th Annual National Art Calgary, Alberta, Canada “Cups” (May 7-25), Mart” (May 3-10) Juried from 3 slides. Entry fee: open to any clay artist who has worked in Alberta $10. Awards: $500 plus patron purchase prizes. at any time in the last 20 years. Juried from up to For prospectus, send postcard to Greeley Art 2 slides per entry (with 3 copies of each slide); up Mart, 2510 51 Avenue, Greeley 80634; or tele­ to 3 entries. Awards: first overall functional piece, phone (303) 330-8632. $750 worth of clay; first overall sculptural piece, Saint Paul, Minnesota “Minnesota Crafts Fes­ $750 value on return airfare and 2 nights accom­ tival” (June 15-16). Juried from 5 slides. Entry modation; plus, top 6 entries receive a piece of fee: $10. Booth fee: $190 for a 12xl2-foot space; pottery partly cast from a Martin Brothers mold. $125 for Minnesota Crafts Council members. Contact “Cups,” Alberta Potters’ Association, Box Awards: over $1500 in cash. Send sase to Min­ 5303, Station A, Calgary T2X 1X6 nesota Crafts Council Festival, Suite 308, 528 February 18 entry deadline Hennepin Avenue, Minneapolis, Minnesota Norman, Oklahoma “Platters: Functional and 55403; or telephone (612) 333-7789. Decorative” (May 4-June 30), open to residents March 3 entry deadline of Arkansas, Colorado, Kansas, Missouri, New Guilford, Connecticut “34th Annual Crafts Ex­ Mexico, Oklahoma and Texas. Juror: Warren position” (July 18-20) Juried from 5 slides. Entry MacKenzie. Juried from slides, up to 2 different fee: $15. Cash awards. Contact 34th Annual views per work; maximum of 3 works. Entry fee: Guilford Handicrafts Expo, Box 589, Guilford $15. Awards: $1800. Send sase to Platters, 06437; or telephone Fernn Hubbard or Wendy Firehouse Art Center, 444 South Flood, Norman Renz (203) 453-5947. 73069; or telephone (405) 329-4523. March 15 entry deadline February 20 entry deadline Clinton, Iowa “Art in the Park” (May 18-19). Las Cruces, New Mexico “From the Ground Up Juried from 5 slides. Entry fee: $5. Booth fee: $50 X” (March 3-25), open to clay artists residing in for a 10x10-foot space. Send sase to the Clinton Arizona, New Mexico and Texas. Juried from Art Association, Box 132, Clinton 52733; or tele­ actual works; up to 3 entries. Sendsase to Karen phone Carol Glahn (319) 259-8308. Ni, 4809 Falcon Drive, Las Cruces 88001; or Birmingham, Michigan “Art in the Park 1991” telephone (505) 522-2005. (September 14-15). Juried from 5 slides. Entry March 10 entry deadline fee: $15. Booth fee: $180 for a lOxlO-foot space. Baltimore, Maryland “National Museum of Awards: six best-of-show awards of $400 each. Ceramic Art First Regional Juried Exhibition” Contact Art in the Park/Common Ground, 751 (June 25-September 22), open to residents of Hendrie Boulevard, Royal Oak, Michigan 48067; Delaware, District of Columbia, Maryland, New or telephone (313) 543-3050. Jersey, New York, Pennsylvania, Virginia and Madison, Wisconsin “Art Fair on the Square” West Virginia. Juried from up to 4 slides. Jurors: (July 13-14 ). Juried from slides. Entry fee: $20. Frederick Brandt, curator, 20th-century art, Vir­ Booth fee: $200. Cash, invitational and purchase ginia Museum of Fine Arts; and William Daley, awards. For prospectus, contact Art Fair on the artist/teacher. Entry fee: $20 for up to 4 slides. Square, Madison Art Center, 211 State Street, Send sase to the National Museum of Ceramic Madison 53703; or telephone (608) 257-0158. Art, 250 West Pratt Street, Baltimore 21201; or March 29 entry deadline telephone (301) 837-2529. Salem, Oregon “42nd Annual Salem Art Fair May 1 entry deadline and Festival” (July 19-21). Juried from 6 slides. Manitou Springs, Colorado “Sculpture in Booth fee: $60 for a lOxlO-foot space. Commis­ Manitou” (July 12-14), open to artists residing in sion: 20%. Send sase to 1991 Prospectus, Salem Arizona, Colorado, Kansas, Nebraska, New Art Fair and Festival, 600 Mission Street, South­ Mexico, Oklahoma, Utah and Wyoming. Juried east, Salem 97302. from slides of at least 2 but no more than 6 works. April 1 entry deadline Entry fee: $20. Cash awards. For prospectus, Morristown, New Jersey “15th Annual Morris­ contact Darpino, Alliance of Professional Artists town CraftMarket” (October 11-13) .Juried from Association, 513 Manitou Avenue, Manitou 5 slides. Jurors: Albert Green, S. Ann Kruppa, Springs 80829; or telephone (719) 685-1861. Steven Mackintosh, Dick Muller, Susan Neal, Sybil Robins and Craig Zweifel. Entry fee: $15. Fairs, Festivals and Sales Contact the Morristown CraftMarket, Box 2305, Morristown 07962; or telephone (201) 263-8332. February 9 entry deadline Garrison, New York “22nd Annual Arts and Peninsula, Ohio “Boston Mills Artfest” (June Crafts Fair” (August 17-18). Juried from slides.

64 CERAMICS MONTHLY February 1991 65 Call for Entries

Entry fee: $5. Booth fee: $175 for a lOxlO-foot space. Send sase to the Garrison Art Center, Box 4, Garrison 10524; or telephone (914) 424-3960, Monday-Friday. Spring Green, Wisconsin “22nd Annual Spring Green Arts and Crafts Fair” (June 29-30) .Juried from slides. Entry fee: $60. Awards: $3000, cash; $6000, purchase. Contact John Hess, Cochair- man, Arts and Crafts Fair, Box 96, Spring Green 53588; or telephone (608) 588-7082. April 10 entry deadline Layton, New Jersey “Peters Valley Craft Fair” (July 27-28) .Juried from 5 slides. Entry fee: $12. Booth fee: $175 for a 10x10-foot outdoor space, $250 for a 10x10 tented space. Contact the Peters Valley Craft Fair, Layton 07851; or telephone (201) 948-5200. April 12 entry deadline Vail, Colorado “Vail Arts Festival 8” (July 13- 14). Juried from 4 slides plus photo of booth. Entry fee: $12. Booth fee: $125 for a 10x10- or 8x12-foot space. 10% commission. Cash awards. Send 450 sase to Pamela Story, Box 1153, Vail 81658; or telephone (303) 476-4255. April 17 entry deadline Greensburg, Pennsylvania “Westmoreland Arts and Heritage Festival” (July 4-7). Juried from slides. Entry fee: $10. Booth fee: $125. Cash awards. Send legal-sized SASE to WAHF-CM, RD#12, Box 203, Greensburg 15601; or tele­ phone (412) 830-3950. May 1 entry deadline Philadelphia, Pennsylvania “15th Annual Philadelphia Craft Show” (November 7-10). Ju­ ried from 5 slides. Entry fee: $20. Cash awards. For further information contact the Philadelphia Craft Show, Box 7646, Philadelphia 19101; or telephone (215) 787-5448. May 10 entry deadline Beaver Creek, Colorado “Beaver Creek Arts Fes­ tival 4” (August 17-18) .Juried from 4 slides plus photo of booth. Entry fee: $12. Booth fee: $95 for a 10x10- or 8xl2-foot space. 10% commission. Cash awards. Send 45£ sase to Pamela Story, Box 1153, Vail 81658; or telephone (303) 476-4255. June 1 entry deadline Gaithersburg, Maryland* 16th Annual National Craft Fair” (October 18-20) .Juried from 5 slides. Entry fee: $10. Booth fee: $225, $290 or $350. For further information contact National Crafts Limited, Noel Clark, Director, 4845 Rumler Road, Chambersburg, Pennsylvania 17201; or tele­ phone (717) 369-4810. July 5 entry deadline Auburn Hills, Michigan “Golden ’90s Exposi- tion-Auburn Hills” (October 11-12) .Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. “Golden ’90s Exposition-Auburn Hills” (No­ vember 15-16). Juried from 3 photos, 1 of dis­ play. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 8/7, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Port Huron, Michigan “Golden ’90s Exposi- tion-Port Huron” (November 1-3) .Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Rochester, Michigan “Golden ’90s Exposition- Rochester” (November 29-30). Juried from 3 photos, 1 of display. Booth fee: $195 for a 10x11- foot space. Contact Michigan Cultural Associa­ tion, Box 877, Sterling Heights, Michigan 48311; or telephone (313) 795-4258. Taylor, Michigan “Golden ’90s Exposition- Taylor” (October 18-20). Juried from 3 photos, 1 of display. Booth fee: $135 and up. Contact Michigan Cultural Association, Box 8/7, Sterling Heights, Michigan 48311; or telephone (313) 795-4258.

66 CERAMICS MONTHLY February 1991 67 fiber pad and subjected to additional Questions dishwashing cycles, the lead released was Answered by the CM Technical Staff 94% greater than that in the initial analysis.” Different studies on lead release have produced varied results. Therefore, CM continues to recommend that lead glazes not be used on any ware that might come in Q What do you know about the effect of automatic contact with food. Furthermore, ceramics dishwashing on lead release from glazes?—G.S. of unknown glaze content, particularly folk One of the most comprehensive studies earthenware and nonvitreous products from of dishwashing and lead release appeared the earthenware period of the American recently in the ‘Journal of the Association of studio potter (about 1940-1975), should be Analytical Chemists” (Volume 73, Number suspect until proved otherwise with a lab test 3). Published by five scientists at the Food or home lead test kit. and Drug Administration’s Division of Con­ The March 1990 Ceramics Monthly Ques­ taminants Chemistry (Washington, D.C.) in tions column contains information on two 1990, the study concludes that its limited readily available lead testing kits that can findings “indicate that single or multiple help identify problem ware. Since then, a passive leachings or multiple dishwashings third test, the Frandon Lead Alert Kit™ has and scrubbings can not reliably predict the been brought to our attention (it sells for future lead-release characteristics of typical $29.95, plus $2.50 shipping and handling). glazes and decorations. In general, how­ This kit appears to have the highest rating so ever, the lead levels released by ware with far for accuracy, and is relatively easy to use: initially low leach levels did not increase, A “test paper” is placed on a smooth hori­ and the lead levels released by ware with zontal surface of the item to be tested. Six initially high leach levels decreased after drops of “leaching solution” are applied to multiple automatic dishwashings and different areas of the test paper, then allowed scrubbings. ” to dry (normally 30 minutes or less). The The study stated: “Air drying of ceramic- test paper is then removed from the item ware after detergent washing appears to and placed on a clean, white viewing surface stabilize or reduce lead release. Further where two or three drops of “indicating investigation is needed to document this solution” are spotted in different areas of effect, which may increase protection from the paper, which turns rose to rose red if lead exposure for the consumer.” lead has been released by the leaching solu­ Conversely, the scientists noted “a posi­ tion. Because the pattern of the redness tive correlation between lead content and corresponds exactly to the location on the corrosion of overglaze colors as a result of surface where lead has been released, it is dishwashing. Evidently, some components possible to tell that lead is coming, for ex­ of dishwashing detergents formed com­ ample, from the decoration as opposed to plexes with components of the applied col­ the glaze, or from a certain color of the ors. These complexes extracted the lead glaze, etc. (The Frandon Lead Alert Kit™ and left behind a soft and easily damaged also is useful for testing household plumb­ silica matrix. ing, seams on food cans, paint, etc.) For “Young et al. studied multiple dishwash­ further information, contact Frandon En­ ing in an automatic dishwasher of a ‘corro­ terprises, Inc., 511 N. 48 St., Seattle, WA sion resistant’ and a ‘less corrosion resistant’ 98103; (206) 633-2341. glazed enamel. The dishwashing caused surface corrosion of both enamels, and Q We had to sxmtch from Cone 10 gas firing to components of the detergent were found Cone 5-6 electric; are there any tricks to getting incorporated into the surfaces of both good results ? Oxidation glazes look garish, and eroded enamels. After washing, more lead their surfaces are so flat looking at Cone 5-6; was leached from the ‘corrosion resistant’ surely there must be a general path of experimen­ than from the ‘less corrosion resistant’ tation to follow.—M.L. enamel. Young postulated that during the There are two philosophies on making dishwashing cycle the ‘corrosion resistant’ the transition from reduction to oxidation: enamel retained lead that was released dur­ either imitate reduction glazes; or exploit ing the lead leach test. The ‘less corrosion oxidation’s own, unique characteristics. resistant’ enamel continuously released lead, Good glazes, even some spectacular ones, which left less lead available for extraction can result from both directions. in the lead leach test. If you select the former, you might want “Wallace performed three dishwashing to take the purist’s path of introducing sili­ cycles on an underfired ceramic plate. con carbide powder into oxidation glazes Dishwashing enhanced the lead release by for local reduction. That means that reduc­ about 10% relative to the initial leaching. tion actually takes place within the glaze, but Wallace also observed the same decreasing not in the firing chamber’s general atmo­ lead release in subsequent repeated leach­ sphere. Only a small percentage of silicon ings that is often observed in underfired carbide is needed, but be sure to experi­ ware. When the ware that had been repeat­ ment with a range of silicon carbide grits, as edly leached was scrubbed with a plastic different particle sizes will produce differ-

68 CERAMICS MONTHLY February 1991 69 Questions

ent results. Larger grits will tend to produce craters and bubbles, while smaller grits will tend to turn copper glazes red whereas they otherwise would be green. You can even get celadons this way. The speckling of reduction glazes and clays can be mimicked using the granular forms of manganese, ilmenite or rutile. This spotting tends to break up flat-looking sur­ faces, although it never appears exactly like reduction speckling. Adding various amounts of powdered rutile (notgranular) has a tendency to break up flat areas of color the way reduction glazes tend to do. Try anywhere from 0.5% to 5% for initial experiments. (It’s possible to include as much as 10%.) Remember that rutile has a naturally brown coloring effect that will mute otherwise bright colors, fur­ ther mimicking the glazes common to re­ duction. Itwon’t look exactly like reduction, but it can be nice. Ultimately, though, “fake reduction” has its own distinctive look. That’s why so many oxidation ceramists eventually turn to the best of purely oxidation qualities for their glazes. These include crystals, both micro and macro, encouraged by slow cooling of glazes containing zinc, low in alumina, sometimes saturated with compounds of iron or other metal oxides. Another oxidation approach is to use substantial quantities of Albany slip, its lookalikes or other slip clays (even local ones). Or try any of the barium-influenced colors, like barium and cobalt or barium and copper; add some magnesium to this for further changes in surface or color. Use dipping and particularly spraying for application of oxidation colors; clear glazes may be brushed. In fact, use colored clays or colored slips to put color just where you want it—they will be unaffected by the vagaries of the kiln atmosphere—then overspray this clay or slip decoration with clear glaze, commercial or otherwise. These are but a few standard ways to get the most out of oxidation firing. There are many handsome results for those willing to try them or combine them with more un­ usual mineral combinations, such as small quantities of fluorine and lithium com­ pounds, in addition to the previous recom­ mendations. The possible effects are endless. Source books for your experimentation should include the currently out-of-print “Illustrated Dictionary of Practical Pottery” (Van Nostrand Reinhold, publishers) and “The Ceramic Spectrum” (currently avail­ able through the CM Book Department).

Subscribers’ questions are welcome and those of general interest mil be answered in this column. Due to volume, letters may not be answered person­ ally. Address the Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212.

70 Ceramics Monthly February 1991 71 Pennsylvania, DoylestownApril 12-13 “The Arts and Crafts Legacy of Henry Chapman Mercer,” a Calendar tile symposium with slide lectures, panel discus­ sions, demonstrations and tours. For further Conferences, Exhibitions, Fairs, information contact the Tile Heritage Founda­ Workshops and Other Events to Attend tion, Box 1850, Healdsburg, California 95448; or telephone (707) 431-8453.

International Conferences Conferences Australia, Queensland, BroadwayJuly 1-5 “Arts: Alabama, BrewtonFebruary 15-17 “The Magic of Industry Interface—Sixth National Ceramics It All,” Alabama Clay VI Conference, includes Conference” will include seminars, panel discus­ workshops on wheel-throwing techniques, glaz­ sions, workshops and gallery tours. Location: ing and decorating—“Functional Stoneware: Griffith University. Fee (US$ equivalents ap­ Cone 6” with Susan Brown Freeman, and “Ma­ proximate): Aus$335 (US$250), students jolica Dinnerware” with Kathey Ervin. Location: Aus$200 (US$150); on-site Aus$360 (US$270), Jefferson Davis Junior College. Fee: $45; stu­ students Aus$220 (US$165). Contact the Na­ dents, $20; senior citizens, $25; family, $75. tional Ceramics Conference, Box 231, Broad­ Contact AJabama Clay VI, Larry Manning, Box way, Queensland 4006; or telephone (07) 358 958, Alco Drive, Brewton 36427. 5121 or Phil Greville, Conference Manager (07) Arizona, TempeApril 3-6 “NCECA 25 Years: Past- 553 4419. Present-Future,” National Council on Educa­Canada, Alberta, CalgaryMay 17-19 “Ceramics tion for the Ceramic Arts annual meeting, will International” will include keynote speech by include panels, lectures, demonstrations and Jennifer Opie, curator of 20th-century ceramics, workshops. Locations: Arizona State University Victoria and Albert Museum, London; studio and Sheraton Mission Palms Hotel. Contact demonstrations by Susan Baslov and Pat Regina Brown, Executive Secretary, Box 1677, Matheson; plus ceramic exhibitions throughout Bandon, Oregon 97411. the city. Guest artists will be Ralph Bacerra, California, DavisApril 11-14 “California Con­ Jeannot Blackburn, Nina Borgia-Aberle, Ann ference for the Advancement of Ceramic Art” Cummings, Lindsay Dumas, Torbjorn Kvasbo, will include lectures, demonstrations, tours; with Ronna Neuenschwander, Matthias Osterman an emphasis on the making, teaching and col­ and Bruce Taylor. Location: Alberta College of lecting of ceramic art. Participating artists in­ Art. Contact Kirsten Abrahamson, Leisure clude Rudy Autio, Robert Brady, David Gilhooly, Learning Services, Third Floor, Dr. Carl Safran Jim Melchert, Richard Notkin,Jeff Perone, Rose Centre, 930 13 Avenue, Southwest, Calgary T2R Slivka, Paul Soldner, Peter VandenBerge and 0L4; or telephone (403) 245-4944. Patti Warashina. Send sase for prospectus to Canada, Ontario, MississaugaMay 24-26 “Out of Natsoulas/Novelozo Gallery, 140 F Street, Davis the Fire” will include clay workshops by Curtis 95616; or telephone (916) 756-3938. and Suzan Benzie, and Susan and Steven D.C., WashingtonFebruary 21-23 “College Art Kemenyffy; glass workshops; lectures and dem­ Association Annual Conference” will include onstrations; as well as the Fusion (Ontario Clay sessions on such topics as art censorship, East­ and Glass Association) annual meeting. Fee ern European art in Western perspective, (includes meals and accommodations, before teaching strategies, the use of computers, the March 1): $195-$225; Fusion members, $190; harmful impact of art materials on the environ­ Glass Art Association of Canada members, $170; ment, and nonfunctional crafts. Contact College students/seniors, $125. Location: Brindale Art Association, 275 Seventh Avenue, New York, campus, University of Toronto. Contact Fusion, New York 10001; or telephone (212) 691-1051. 140 Yorkville Avenue, Toronto M5R 1C2; or Florida, TampaMarch 22-24 “Florida Crafts­ telephone (416) 923-7406. men 40th Anniversary Exhibition and Confer­ New Zealand, RotoruaJune 14-16 “Clay AZ Art ence” will include workshops in clay with Don International Conference: Ceramics, Weaving, Reitz and Patti Warashina, as well as keynote Spinning” will include preconference salt-glaze speeches by Dennis Barrie, Marcia Manhart and firing with Barry Brickell; demonstrations by Wendy Rosen. Location: Tampa Museum of Art Brickell, Don Reitz and others; plus lectures and and the University of Tampa. Send SASE to tours. In New Zealand, contact Mark Chadwick, Florida Craftsmen, 235 Third Street, South, Saint 100 Town Point Road, Maketu, RD 9, Te Puke; Petersburg, Florida 33701; or telephone (813) or telephone 0164 753 2102. In the U.S.A., con­ 821-7391. tact Northern Arizona University Art Gallery, Mississippi, Jackson March 14-17 “American Box 6021, Flagstaff, Arizona 86011; or telephone Crafts Council Southeast Regional Conference” Joel Eide (602) 523-3471; Donald Bendel 523- will include seminars, panel discussions, slide 2398; or Paula Rice 523-2622. lectures and demonstrations. For further infor­ mation contact Andrew Young, Conference Co­ Solo Exhibitions ordinator, 142 Millsaps Avenue, Jackson 39202; or telephone (601) 353-2497. Arizona, ScottsdaleFebruary 1-March 10 Karen North Carolina, Winston-SalemApril 12-14 Karnes, wood-fired stoneware; at Joanne Rapp “Color Symposium” will include hands-on or Gallery/The Hand and the Spirit, 4222 North technical instruction in clay, glass, photography, Marshall Way. fibers and painting; slide lectures; demonstra­ California, San FranciscoFebruary 7-March 2 tions; panel discussions and round-table ex­ Stan Welsh, new work; at the Dorothy Weiss changes. Contact Color Symposium, Sawtooth Gallery, 256 Sutter Street. Center for Visual Art, 226 N. Marshall St., Win­ Connecticut, Middlebury February 1-28 Louise ston-Salem 27101; or telephone (919) 723-7395. Harris Emerson, raku-fired wall masks/vessels; Ohio, Columbus April 27-28 “Midwest Craft at Westover School Gallery, Whittemore Road. Conference” will include workshops with Karen Florida, Miami ShoresFebruary 15-March 26Angi Karnes. Contact Ohio Designer Craftsmen, 2164 Curreri, clay and drawings; at Barry University Riverside Drive, Columbus 43221; or telephone Library Gallery, 11300 Northeast Second Ave. (614) 486-7119. Georgia, Atlantathrough February 23 Doug Jeck, life-size figures; at Connell Gallery/Great Send announcements of conferences, exhibitions, American ju­ Gallery, 333 Buckhead Avenue. ried, fairs, workshops and other events at least two Illinois, ChicagoFebruary 15-March 22Ann Agee; months before the month of opening (add one month at for Objects Gallery, 230 West Huron. listings in July and two months for those in August) Indiana, to Notre Damethrough February 26 Marilyn Calendar, Ceramics Monthly, Box 12448, Columbus, Lysohir; at the Hammes Gallery, Saint Mary’s Ohio 43212; or telephone (614) 488-8236. Fax an­ College. nouncements to (614) 488 4561. Kansas, Great BendFebruary 4-22 Jim Estes,

72 Ceramics Monthly February 1991 73 Calendar Florida, Vero Beachthrough March 17 “The 28th Ceramic National: Clay, Color, Content”; at Center for the Arts, 3001 Riverside Park Drive. Georgia, Atlantathrough February 24 ‘Japanese Porcelain: The Jacobs Collection”; at High Mu­ “Sculptural Spirits in Clay and Wood”; at the seum of Art, 1280 Peachtree Street, Northeast. Fine Arts Building, Barton County Community Indiana, IndianapolisFebruary 9-28 “Clayfest VII,” College. juried regional exhibition; at the University of Louisiana, Alexandriathrough February 16 Gina Indianapolis, 1400 East Hanna Avenue. Bobrowski; at River Oaks Square Arts and Crafts Michigan, Detroitthrough February 10 New work Center, 1330 Main Street. by Graham Marks and Tom Phardel; at Detroit Minnesota, MinneapolisFebruary 23-March 30 Institute of Arts, 5200 Woodward Avenue. Monica Rudquist, porcelain; at Anderson and through February 23 Sculpture by Sally Brogden, Anderson Gallery, 400 First Ave., N, Suite 240. Janet Ayako Neuwalder and Anat Shiftan; at February 23-April6Gail Kendall, soup tureens; at Pewabic Pottery, 10125 East Jefferson Avenue. Javier Puig Decorative Arts Gallery, 118 North Michigan, Royal Oakthrough February 9 Sculpture Fourth Street. by Nina Borgia-Aberle and Roy Cartwright. Feb­ New York, New YorkFebruary 5-March 2 Anna ruary 16-March 16 Works by Tony Marsh and Siok, “Sea Relics”; at the Jane Hartsook Gallery, David Regan; at Swidler Gallery, Washington Greenwich House Pottery, 16 Jones Street. Square Plaza, 308 West Fourth Street. February 7-21 Chick Schwartz; at Jay Johnson Minnesota, Duluththrough February 25 “Porcelain Gallery, 1044 Madison Avenue. by Six,” with works by Martye Allen, Donna February 23-March 23 Stephen Fleming, sculp­ Getsinger, Janel Jacobson, Shirley Johnson, tures and paintings; at Nancy Margolis Gallery, Monica Rudquist and Denise Tennen; at Tweed 251 West 21 Street. Museum of Art, University of Minnesota, 10 Oklahoma, Normanthrough February 24 Dean University Drive. Bloodgood, ceramic pictures; at the Firehouse Minnesota, Minneapolisthrough February 21 Art Center, 444 South Flood. Primitive-fired works byjil Franke and Kirk Lyttle; Oregon, Ashlandthrough March 10 “Strong Tea: at the George R. A. Johnson Gallery, Breck Richard Notkin and the Yixing Tradition”; at the School, 123 Ottawa Avenue, North. Schneider Museum of Art, Southern Oregon Minnesota, Saint Paulthrough March 2 Works by State College. Robert Briscoe and Cheryl Husby; at Northern Oregon, PordandFebruary 7-March 3 Patrick Clay Center, 2375 University Avenue, West. Horsley; at Oregon School of Arts and Crafts, Missouri, Kansas CityFebruary 1-March 9 “Que- Sales Gallery, 8245 Southwest Barnes Road. becois Clay,” exhibition of works by Jeannot Pennsylvania, PhiladelphiaFebruary 2-March 2 Blackburn, Leopold Foulem, Paul Mathieu and Walter Hall, “Organic Rigidity”; at the Clay Stu­ Richard Millette; at Garth Clark Gallery, 855 dio, 139 North Second Street. Rockwell Lane. Pennsylvania, Pittsburghthrough February 24 Missouri, Saint Louisthrough February 28 “The Amara Geffen, sculpture; at Pittsburgh Center Evasive Vase” and “Teapot Invitational”; at Pro- for the Arts, Mellon Park, 6300 Fifth Avenue. Art, 1214 Washington. through February 27 Gerald Wagner; at the Clay New Mexico, Albuquerque through March 15 Place, 5416 Walnut Street. “2000 Years of Contemporary New Mexico Ce­ Tennessee, Cookeville through February 8 Tim ramics,” including works by 15 artists, with some Stavinger; at Tennessee Technological Univer­ prehistoric ceramics; at the Jonson Gallery, Uni­ sity Art Gallery. versity of New Mexico Art Museum, 1909 Las Texas, Wacothrough March 1 Harding Black ret­ Lomas, Northeast. rospective; at the Martin Museum of Art, Baylor New York, Brockportthrough February 17“NCECA University. February 27-March 28 Mary Visser, Juried Members’ Exhibition”; at Tower Fine Arts “The Intimate Dance,” computer-assisted, large- Gallery, S.U.N.Y. College at Brockport. scale sculpture; at the University Art Gallery, New York, New York through February 9 ‘Japa­ Hooper/Schaefer Fine Arts Center, Department nese Archaeological Ceramics”; at IBM Gallery of of Fine Arts, Baylor University. Science and Art, Madison Avenue at 56 Street. New York, OswegoFebruary 24-March 20 “NCECA Group Ceramics Exhibitions Juried Members’ Exhibition”; at Tyler Art Gal­ lery, S.U.N.Y. College at Oswego. Arizona, ScottsdaleFebruary 21-28 “The Perfec­ North Carolina, Winston-Salemthrough February tion of Southwest Pottery,” with works by Bar­ 8 “Common Ground: Diverse Expressions in bara Gonzales, Russell Sanchez, Jacquie Stevens, Clay”; at the Sawtooth Center for Visual Art, 226 Lu Ann Tafoya, Dorothy Torivio and Dora Tse North Marshall Street. Pe Pena; at Gallery 10, 7045 Third Avenue. Ohio, Cantonthrough March 3 “Fourth National California, Claremontthrough March 31 “47th Ceramic Invitational,” with works by 17 Cana­ Scripps Ceramic Annual”; at the Lang Gallery, dian and American artists; at the Canton Art Claremont College. Institute, 1001 Market Avenue, North. California, Los AngelesFebruary 2-27Exhibition Ohio, DaytonFebruary 23-April 7 “17th-Century of works by Chris Gustin and Cindy Kolodziejski; Chinese Porcelain from the Collection of Sir at the Garth Clark Gallery, 170 S. La Brea Ave. Michael Butler”; at the Dayton Art Institute, California, Montereythrough April 21 “The Forest and Riverview Avenues. Quiet Eye: Pottery of Shoji Hamada and Ber­ Texas, DallasFebruary 2-22 “The Clay Vessel: nard Leach”; at Monterey Peninsula Museum of Visions and Revisions,” with works by Lee Akins, Art, 559 Pacific Street. Barbara Brault, Randy Brodnax, Lisa Ehrich, California, West Hollywoodthrough March 2 Barbara Frey, Dan Hammett, Mary Hatz, Leslyn “From New York to L.A.,” with works by Yoshiro Kirkpatrick, Susie Moody, Michael Obranovich, Ikeda, Robert Shenfeld and Rodney Tsukashima. Joe Ray, Marty Ray, Eilene Sky, Connie Smart “New Talents,” with works by Ingrid Lilligren, and Beth Thomas; at D-Art Visual Art Center, Frank Matranga, Susan Sapareto and Karin 2917 Swiss Avenue. Swildens. February 8-March 2 Exhibition of works Utah, Loganthrough March 10 ‘Walls: Large-Scale by Mary Ichino, Cliff Jacobs and Bill Shinn; at Ceramic Sculpture, Eight Variations, ” with works MOA Art Gallery, 8552 Melrose Ave. by Stephen DeStaebler, Ruth Duckworth, Viola Colorado, GoldenFebruary 24-March 30 “Colo­ Frey, Deborah Horrell, Jun Kaneko, Elizabeth rado Clay”; at Foothills Art Center, 809 15 Street. MacDonald, Don Reitz and Robert Sperry; at Florida, Saint Petersburgthrough March 9 “Clay the Nora Eccles Harrison Museum of Art, Utah as Utilitarian Object,” with works by Steve Davis- State University, 650 North 1100, East. Rosenbaum, Alec Karros, Geoff Pickett, Virginia, AlexandriaFebruary 9-March 4 “The McKenzie Smith, Kathy Triplett and W. Mitch Ceramic Guild’s Annual Juried Show”; at Scope Yung; at the Florida Craftsmen Gallery, 235 Third Gallery, Torpedo Factory Art Center, 105 North Street, South. Union Street, Old Town. Continued

74 Ceramics Monthly February 1991 75 Calendar America House Gallery of Contemporary Crafts, 466 Piermont Avenue. Oregon, Portlandthrough February 9 Dual exhi­ bition featuring clay figures by Margaret Synan Russell; at Contemporary Crafts Gallery, 3934 Washington, SpokaneFebruary 15-March 24 Southwest Corbett Avenue. “Ashen Beauty: Wood-Fired Ceramics,” with Pennsylvania, Lancasterthrough February 23 works by Frank Boyden, Peter Callas, Paul “Contemporary Expressions...Clay, Wood and Chaleff, Chuck Hindes, Karen Karnes, Eric Fiber,” featuring claywork by Scott Jones; at Nelson, Jeff Oestreich, Carol Roorbach, David Lancaster Designer Craftsmen Gallery, Market Shaner and Jack Troy; at Cheney Cowles Memo­ House Craft Center, Queen and Vine Streets. rial Museum, West 2316 First Avenue. Pennsylvania, Philadelphiathrough March 31 “Contemporary American Crafts”; at the Phila­ Ceramics in Multimedia Exhibitions delphia Museum of Art, Parkway at 26 Street. South Carolina, SpartanburgFelmiary 16-March Arizona, Mesathrough February 23 “13th Annual 15 “Tri-State Sculptors,” works by 15 sculptors, Vahki Exhibition”; at Galeria Mesa, 155 North including ceramists, from North Carolina, South Center. Carolina and Virginia; at Spartanburg County Arizona, ScottsdaleFebruary 14-21 “Distin­ Art Association, 385 South Spring Street. guished Leaders of Innovation,” with pottery by Tennessee, Gatlinburg Felmiary 22-May 18 “Re­ Jody Folwell; at Gallery 10, 7045 Third Avenue. gional Selections: Defining Ideas,” work by 12 California, Pomonathrough February 9 “Ink and Southeast artists, including ceramics by Jim Clay XVH”; at the California State Polytechnic Connell and Roddy Reed; at Arrowmont School University, 3801 West Temple Avenue. of Arts and Crafts. California, San DiegoFebruary 23-June 3 “All Is Tennessee, NashvilleFebruary 6-March 10 “Ritu­ More Beautiful,” including clayworks by Nathan als and Primitive Origins”; at Vanderbilt Univer­ Begay, David Groat, Lucy Leuppe McKelvey, sity Sarratt Gallery, 402 Sarratt Center. Thomas Natseway and Richard Zane Smith; at Wisconsin, MadisonFebruary 2-March 24 “Irish the San Diego Museum of Man, 1350 El Prado, Decorative Arts from the National Museum of Balboa Park. Ireland”; at the Elvehjem Museum of Art, Uni­ California, San Franciscothrough March 3 “From versity of Wisconsin, 800 University Avenue. Folk to Fine: Highlights from the Permanent Wisconsin, Milwaukeethrough February 28 “Na­ Collection”; at the Mexican Museum, Fort Ma­ ture-Based Themes by Four Wisconsin Artists,” son, Building D, Laguna and Marina Boulevard.with ceramic reliefs by Karen Gunderman; at D.C., Washingtonthrough March 17 “Paper and Tory Folliard Gallery, 233 N. Milwaukee St. Clay from Modern Japan”; at the Smithsonian through March 2 “The Third Annual Teapot Institution, International Gallery and Arthur M. Show,” clay/paper; at A. Houberbocken, 230 Sackler Gallery. West Wells, Suite 202. Florida, GainesvilleFebruary 24-April 21 “Next Generation: Southern Black Aesthetic”; at Fairs, Festivals and Sales Samuel P. Harn Museum. Illinois, Chicagothrough February 12 Three-per­ Florida, Coconut GroveFebruary 16-18 “28th son show featuring ceramic sculpture by David Annual Coconut Grove Arts Festival”; along Crane and Gretchen Wachs. February 15-March McFarlane Road and Bayshore Drive. 19 Multimedia show with ceramics by Jeff Irwin, Maryland, BaltimoreFebruary 22-24 “ACCCraft Suzanne Stephenson and Vicki Stone; at Fair”; at the Baltimore Convention Center. Schneider-Bluhm-Loeb Gallery, 230 West Supe­ Massachusetts, IpswichFebruary 1-28 “Annual rior Street. Seconds Sale”; at Ocmulgee Pottery and Gallery, Indiana, Indianapolisthrough February 28 “Afri­ 263 High Street. can Household Arts”; at Indianapolis Museum of Art, 1200 West 38 Street. Workshops Kansas, Great BendFebruary 4-22 “Art, Inc., Ju­ ried Exhibition”; at the Fine Arts Building, Barton Arizona, MesaFebruary 9 Demonstration, dis­ County Community College. cussion and slide presentation with Karen Karnes. Louisiana, New Orleansthrough March 24 Fee: $20. Location: Mesa Arts Center. Contact “Yoruba: Nine Centuries of African Art and Sue Abbrescia, C.L.A.Y. Workshop Chairman, Thought”; at the New Orleans Museum of Art, 5110 N. 73 St., Scottsdale, Arizona 85253; or City Park. telephone (602) 949-9165 or (602) 644-2242. Massachusetts, Bostonthrough April 14 “Collect­ April 1-2 Demonstration and slide lecture with ing American Decorative Arts and Sculpture, Wayne Higby. Fee: $30; students/senior citizens, 1971-1991”; at the Museum of Fine Arts, 465 $25. Location: Mesa Arts Center. Contact Ari­ Huntington Avenue. zona Designer Craftsmen, c/o Jane Metzger, Missouri, Warrensburg through February 22 136 East Voltaire, Phoenix, Arizona 85022; or “Greater Midwest International VI”; at Central telephone Jane Metzger (602) 863-1212. Missouri State University, Art Center Gallery. Arizona, PhoenixMarch 23-24 Demonstration, Newjersey, MontclairthroughJune 23 “Signs and discussion and slide presentation with Robin Symbols in Native American Art”; at the Montclair Hopper. Fee: $30; C.L.A.Y. workshop member, Art Museum, 3 South Mountain Avenue. $20. Contact Sue Abbrescia, C.L.A.Y. Workshop New York, AlbanyFebruary 2-March 31 “Art That Chairman, 5110 North 73 Street, Scottsdale, Ari­ Works”; at the Albany Institute of History and zona 85253; or telephone (602) 949-9165. Art, 125 Washington Avenue. California, IrvineFebruary 23-24 A session with New York, New Yorkthrough February 28 “Sculp­ David Shaner. Fee: $80. Contact the Irvine Fine ture,” with daywork by Jaime Suarez; at CDS Arts Center, Heritage Park, 14321 Yale Avenue, Gallery, 13 East 75 Street. Irvine 92714; or telephone (714) 552-1018. through March 31 “Sacred Mountains of China”; California, Santa AnaMarch 11 Slide lecture with at the Metropolitan Museum of Art, Fifth Avenue Les Lawrence. No fee. March 14 Slide lecture with at 82 Street. Elaine and Tom Coleman. No fee. March 16 February 6-March 13 “Asian Studies,” three-per­ Pottery workshop with Elaine and Tom Coleman. son exhibition with clay vessels by Laura Wee Fee: $35 pre-registration, $40 at door (includes Lay Laq; at Bellas Artes, 584 Broadway. lunch). March IS Slide lecture on contemporary February 26-April 27 “Design 1935-1965: What ceramics with Martha Drexler, assistant curator Modern Was”; at the IBM Gallery of Science and of 20th-century decorative arts, Los Angeles Art, 590 Madison Avenue. County Museum of Art. No fee.March 19 “How New York, Piermont-on-Hudsonthrough March to Deal with Hazardous Art Materials” with Joyce 16 “Ancient Origins,” featuring daywork by Dina Van Ert. No fee. Preceding lectures and work­ Angel-Wing, Norman Bacon, Susan Eisen, David shop in conjunction with the art week festival, Norton, John Shedd and Barbara Takiguchi; at “Craft Currents: Beyond Tradition” (March 11-

76 Ceramics Monthly February 1991 77 Calendar lecture by Paulus Berensohn. March 1 7 “Offer­ ing and Receiving, with Clay,” hands-on work­ shop with Paulus Berensohn. Fee: $40; Clay Stu­ dio members, $35. Contact Clay Studio, 139 N. Second St., Philadelphia 19106; or telephone 22). For further information contact Patrick (215) 925-3453. Crabb, Art Department, Rancho Santiago Col­ Pennsylvania, RichboroMarch 2 “Promoting lege, 17th at Bristol Streets, Santa Ana 92706; or Yourself and Your Craft” with William Hunt. telephone (714) 667-3000. Fee: $55. March 16-17 “Thrown and Altered California, Walnut CreekMarch 10 “Low-Fire Forms” with Ron Meyers. Fee: $85. April 5 Glazing Methods” with Sherry Karver. Fee: $30, “Airbrush for Ceramics” with Barbara Bauer. seniors $25. March 23-24 “Images in Clay and Fee: $75. Contact Pennsylvania Guild of Crafts­ Raku” with Susan and Steven Kemenyffy. Fee: men, Box 820, Richboro 18954; or telephone $70. For further information contact the Civic (215) 860-0731. Arts Education, Box 8039, Walnut Creek 94596; Pennsylvania, WyomissingMarch 24 “Craft Show or telephone (415) 943-5846. Booth Construction and Marketing Techniques” Florida, MiamiMarch 23-24 A session with with Bruce Baker. Fee: $30. Location: the Inn at Toshiko Takaezu. Contact the Ceramic League Reading. Contact the Pennsylvania Guild of of Miami, 8873 Southwest 129 Street, Miami Craftsmen, Box 820, Richboro, Pennsylvania 33176; or telephone (305) 233-2404. 18954; or telephone (215) 860-0731. Florida, Vero BeachFebruary 8-10 “Clay Surface Tennessee, Gatlinburg March 4-8 “Functional Design and Techniques” with Roddy Reed. Fee: Porcelain” with Peter Beasecker. March 11-15 $160; members, $140. For further information “Inlaid Colored Clay/Handbuilding Tech­ contact the Vero Beach Center for the Arts, 3001 niques” with Virginia Cartwright. March 18-22 Riverside Park Drive, Vero Beach 32960; or “Eccentric Pottery: Form and Color” with James telephone (407) 231-0707. Lawton. March 25-29 “Pottery and Salt Glaze” Georgia, AtlantaMarch 23-24 “Pottery” with with Michael Simon. Fee: $ 160/week. Room Cynthia Bringle. Fee: $100. Registration dead­ and board: $130 and up. Contact the Arrowmont line: February 23. Contact the North Arts Center, School of Arts and Crafts, Box 567, Gatlinburg 5339 Chamblee Dunwoody Road, Atlanta 30338; 37738; or telephone (615) 436-5860. or telephone (404) 394-3447. Texas, HoustonFebruary 21-22 A session with Indiana, IndianapolisMarch 1-2 Demonstration Chris Staley. Fee: $20. For further information and slide lecture with Cynthia Bringle. Fee: $65. contact Roy Hanscom, North Harris County Limited to 40 participants. Contact American College, 2700 W. W. Thorne Dr., Houston 77073; Art Clay Company, 4717 West 16 Street, India­ or telephone (713) 443-5609. napolis 46222; telephone (317) 244-6871 or Utah, LoganFebruary 7Discussion and workshop (800) 428-3239 or (800) 358-8252. with Don Reitz and Robert Sperry. Contact Nora Massachusetts, HadleyFebruary 9 Demonstration Eccles Harrison Museum, Utah State University, and slide lecture with Elsbeth Woody. Fee: $35; Logan 84322; or telephone (801) 750-1412. advanced registration, $30. Contact the Amherst Virginia, Front RoyalMarch 8-10 “Skyline Potters Supply, 47 East Street, Hadley 01035; or Potter’s Weekend,” with Anne Fournier-Ander- telephone (413) 586-4507. son and “The How-to of Wholesale Craft Shows.” Massachusetts, WorcesterMarch 9-10 A session Fee: $175. Contact B. Blauvelt, Northern Vir­ with Karen Karnes. Contact the Worcester Cen­ ginia 4H Educational Center, 400 Harmony ter for Crafts, 25 Sagamore Road, Worcester Hollow Road, Front Royal 22630; or telephone 01605; or telephone (508) 753-8183. (703) 635-9909. New Jersey, DemarestFebruary 4 and 6“Whisdes West Virginia, RipleyMarch 1-3 “11th Potters and Ocarinas” with Bea Bloom. Fee: $80; mem­ Gathering,” demonstration, lecture and discus­ bers $55. Contact the Old Church Cultural Cen­ sion with Ron Meyers. For further information ter/School of Art, 561 PiermontRoad, Demarest contact Cedar Lakes Crafts Center, Ripley 25271; 07627; or telephone (201) 767-7160. or telephone (304) 372-7005. Newjersey, MoorestownMarch 16 “The Painted Surface/Porcelain’’with Linda Shusterman. Fee: International Events $20. Contact the Perkins Center for the Arts, 395 Kings Highway, Moorestown 08057; or telephone Canada, British Columbia, Vancouverthrough (609) 235-6488. March 24 “Choosing Clay,” works by 14 British New York, New YorkFebruary 22 Slide presenta­ Columbia ceramists; at the Canadian Craft Mu­ tion and lecture with Stephen Fleming. Contact seum, 1411 Cartwright Street. the Greenwich House Pottery, 16 Jones Street, Canada, Ontario, Torontothrough March 31 New York 10014; or telephone (212) 242-4106. “Chinese Treasures of the ROM: 4000 B.C.-A.D. New York, West NyackMarch 9 “Colored Clay.” 907.” through May 26 “Art Nouveau-Art Deco: Fee: $80; materials, $15. Contact the Rockland Selections from the Bernard and Sylvia Ostry Center for the Arts, 27 Greenbush Road, West Collection”; at the Royal Ontario Museum, 100 Nyack 10994; or telephone (914) 358-0877. Queen’s Park. Ohio, OxfordMarch 5 “Ceramics from the World February 17A slide presentation and demonstra­ of Islam” with Esin Atil, curator of Islamic art, tion with Anne Hirondelle. Fee: $50; members, Arthur Sackler Gallery, Freer Gallery of Art, $45; students, $25. For further information Smithsonian Institution. For further informa­ contact Deborah Black, George Brown College, tion contact the Department of Art, Miami Uni­ Box 1015, Station B, Toronto M5T 2T9; or tele­ versity, Oxford 45056; telephone (513) 529-2900 phone (416) 928-0702. or 529-2232 or 529-6010. England, Londonthrough February 7 “Gallery Oregon, PortlandFebruary 2 and 16 “Drawing on Pots,” exhibition of selected pots from a private Clay” with Suellen Johnson and Roberta Kaser- collection, 1960-1990; at Galerie Besson, 15 Royal man. Fee: $98. February 23-24 “Business of Being Arcade, 28 Old Bond Street. an Artist Workshops.” Fee: $40/one workshop; February 1-March 9 Exhibition of new works by $60/two or more. March 9-10 A session with members; at Contemporary Applied Arts, 43 Frank Boyden. Fee: $98. Contact the Oregon Earlham Street, Covent Garden. School of Arts and Crafts, 8245 S.W. Barnes Rd., England, OxfordFebruary 11-March 13 “Figura­ Portland 97225; or telephone (503) 297-5544. tive Ceramics,” solo exhibition by Philip Eglin; Pennsylvania, BedfordFebruary 23-24 “Craft at Oxford Gallery, 23 High Street. Photography” with Lee McMakin. Fee: $75. Netherlands, Deventerthrough February 25 Arne Contact Pennsylvania Guild of Craftsmen, Box Ase and Poul Jensen, “Ceramics from Norway”; 820, Richboro, Pennsylvania 18954; or telephone at Kunst and Keramiek, Korte Assenstraat 15, (215) 860-0731. Secretariaat. Pennsylvania, PhiladelphiaFebruary 15 Rudy New Zealand, AucklandFebruary 23-April 7“Mau Autio lecture. Location: Philadelphia Museum Mahara: Our Stories in Craft”; at the Auckland of Art. March 15 “Clay and the Environment,” Museum, Private bag.

78 Ceramics Monthly February 1991 79 Suggestions fects originate in the body, and glaze colors are profoundly affected by the fluxes and From Readers colorants in the clay.— Lili Krakowski, Con- stableville, N. Y.

Drawing with Tape Use the narrower graph tape (Me to ½2 Broken Peephole Plug Removal inch) to “draw” resist decoration on pots. Occasionally a peephole plug breaks off (Wider tape does not work as well for tight when one tries to remove it to check the bends or curves.) inside of the kiln during firing. To safely and Once the design is complete, the pot is sprayed with slip or glaze; as soon as that dries, remove the tape for a sharp edge. Fine-line tape drawing also works well with layered slips or glazes.— Hypatia Walsh, Tucson, Ariz.

Recycled Milk Bottles Plastic milk bottles are wonderful for use easily gain access to the broken plug, gently in the studio not only to haul and store water screw in a lag bolt, then slowly pull the plug and slip, but also (when cut in two) as a good out.—Hanna Lore Hombordy, Ventura, Calif. source for scoops, funnels and small con­ tainers. A horizontal cut just below the Avoiding Brick Debris handle yields a funnel and a container. A When firing to Cone 10 in a gas kiln with vertical cut yields a scoop with handle, plus a a brick door, I used to have a problem with long scoop suitable for use with a gram scale; small pieces of brick falling onto my pots as the curved end (what was once the bottle’s the door was bricked up. To avoid this, I now shoulder) remains flexible and can be hang sheets of newspaper from the shelves. pinched to form a funnel when adding mea­ Just place the top edge of the paper under sured ingredients to a glaze/slip batch.— the nearest pot on the shelf, then let the Susan Bemauer, Jackson, Mo. sheet hang loose. Any debris from a brick will be deflected by the newspaper and fall Pot Chocks harmlessly to the bottom of the kiln. Of For pots that are too big or too hard to course, the newspapers bum during the hold with one hand while pulling a handle early stages of the firing but have no effect with the other, I use chocks made from 2x4s. on the fired surface of the ware.—Theresa Quarter-circle arcs were cut from the ends of Yondo, Cleveland

Recycled Commercial Crystals Save the inevitable leftover crystals from commercial crystalline or fancy glazes for use in your own studio-mixed recipes. The effects are equally (or more) interesting, as the crystal size and quantity can be better controlled. It is important, however, to stay two 6-inch lengths, and the contact surfaces within the temperature range of the original covered with pieces of old towels glued to glaze (or test at higher temperatures). And the wood. Easily adjusted to any diameter, remember that these crystals are generally the chocks keep the pot from rolling around not food safe—to be sure, check the original while a handle is pulled from the side.—Gary glaze container or contact the manufac­ Hess, Coming, N. Y. turer.—Ilisa Slavin, Atlanta Repairing with Egyptian Paste Checking Cooling Kiln Temperature Try saving cracked or broken ware by If you don’t own a pyrometer, there’s an filling the crack(s) with similarly colored inexpensive way to check if a kiln is cool Egyptian paste and firing to Cone 07. Be­ enough to open. Place a wood-burning cause of Egyptian paste’s extremely low stovepipe temperature gauge over the topshrinkage, it will not separate or crack.— peephole of the kiln for a reading up to Sandy Closs, Marietta, Ga. 900°F. Such gauges are available from wood stove supply stores for $6-$ 10.—GregZeorlin, Dollars for Your Ideas Wellsville, N. Y. Ceramics Monthly pays $10 for each suggestion published; submissions are welcome individually Avoiding Problems with Scrap Clay or in quantity. Include an illustration or photo When working with reclaimed or scrap to accompany your suggestion and we will pay clay of uncertain origin, it’s a good idea to $10 more if we use it. Mail ideas to Suggestions, make a few simple tiles on which to test Ceramics Monthly, Box 12448, Columbus, Ohio potential glazes. This is a quick, easy way to 43212; or fax to (614) 488-4561. Sorry, but we avoid disappointments, as many glaze de­ can’t acknowledge or return unused items.

80 CERAMICS MONTHLY February 1991 81 Slip Casting, Part 2 Plaster Molds by Gerald Rowan

Editor’s noteThis is the second in a se­ smooth surface for release). It is held and plaster of paris sold under the ries of articles on slip casting by Pennsyl­ together with clamps (C-clamps or bar trade name Quick Set Gauging Plaster. vania potter Gerald Rowan. The first clamps work well) and the joints are I prefer the latter because it does about appeared in the January 1991 issue. sealed with a thick coil of clay to avoid the same job and is less expensive. leakage. Brushing the inside face of Because water is its “curing” agent, PRODUCING work in plaster molds ini­ the dam with mold soap (available always try to buy fresh plaster. The air tially involves making a clay model, from your ceramics supplier) before in potters’ studios is usually damp. then casting its mold by surrounding assembling it will encourage clean re­ Plaster exposed to this air will become that “positive” with a “dam” and pour­ moval of set plaster from the dam. increasingly poor for casting molds, ing plaster to encase the original. Af­ A large mold may require as much so be sure to store any unused plaster ter the plaster cures, the model is as 75 pounds of plaster. This much in a plastic bag. removed and the mold allowed to dry weight exerts a good deal of pressure The amount of water and plaster thoroughly. Multiples can then be cast on the dam joints at the bottom. Leaks in a mold ranges from 60 to 75 parts by filling the mold with slip, allowing are a real mess. One way to avoid big water for each 100 parts of plaster. A the mold to draw water from the clay clean-up messes is to make the mold mold made from a 60:100 ratio will be nearest the mold, pouring out the re­ on top of a garbage bag-draped stool denser, stronger and less absorbent, maining liquid slip, allowing the form in the center of a plastic drop cloth. but I prefer the 75:100 mix because of to dry somewhat, then removing the In the event of a major spill, this fast build-up of wall thickness; plus, I clay casting. method ensures that the mess is con­ don’t make large numbers of castings Any good-quality earthenware or tained and that the stool won’t take a from each mold. stoneware clay can be used to make lot of time to clean. When trying to determine the positive models to be cast. Remem­ There are a large number of plas­ amount of plaster necessary, it is a ber, though, that flaws in the original ters and gypsum cements on the mar­ good idea to obtain a “Gypsum Ce­ will appear in the mold and be trans­ ket; however, molds made from ment and Plaster Volume and Mix mitted to every casting from that mold. gypsum cement are not as absorbent Calculator” (from United States Gyp­ The simplest way to make sym­ as plaster. The two best products for sum, 101 West Wacker Drive, Chicago, metrical models is to form them with studio situations are #1 pottery plaster Illinois 60606; or one is included with a template. Forms with undercuts (ar­ eas that prevent removal of the clay original from the mold) will require multipart molds. Clay positives often are destroyed during removal. I don’t find this a problem because in working with theme and variation, I have never found it desirable to go back and recast the same shape into a second mold. Properly made and cared for, molds can last for years and produce several hundred castings. So far, I have lost interest in the form long before exhausting the mold’s ability to cast. Positives can also be made from plaster or Styrofoam. Plaster is a good material to consider if you plan to make more than one mold from the same positive form. A dam to contain the liquid plaster Plaster molds of simple forms with no undercuts can be made from clay positives until cured can be made from %-inch shaped with a profile template. To pour the mold around the still-moist positive, a plywood painted with two coats of plywood dam is assembled (held together with clamps and sealed with clay). good quality varnish (protecting the Coating the interior walls of the dam with mold soap ensures easy release once the wood from warpage and providing a plaster has set. The clay positive is usually discarded.

82 CERAMICS MONTHLY Don Frith’s book, Mold Making for Ce­ There are three factors in getting ramics), than to figure out both mold good, consistent castings from plaster volume and water/plaster ratios. This molds: First, the mold itself should be calculator works like a slide rule and clean and dry. Second, a slip that has can yield the necessary information been tested and adjusted for optimum within seconds. It is always a good results should be used. Just as there is idea to mix more plaster than neces­ no single clay body that satisfies all sary. To avoid waste, any surplus can throwing requirements, no single slip be cast as hump molds inside plastic will cast well in all applications. Of bowls or other suitable containers. equal importance is repeatedly fol­ Before casting, weigh the necessary lowing the same procedure when water and plaster carefully. Cold wa­ casting a particular mold. Specific ter will allow more working time be­ forms vary in their requirements; large fore the plaster begins to set. I find it forms usually have very different cast­ impossible to mix substantial amounts ing requirements from small forms. of lumpless plaster by hand. A power The following procedure works well mixer (such as a ½-inch electric drill for consistent quality castings: with a Jiffy Mixer attached) is nearly a The mold and casting slip should necessity. Add the plaster to the con­ be at room temperature. Extremely tainer of water a little at a time to warm or cold temperatures will affect avoid lumps. Once the plaster and the quality of the casting process and water have come into contact, you the finished product. have about five minutes working time, The molds should be clean and so be sure everything is ready for dry. Multipart molds should be pouring beforehand. aligned carefully and firmly bound I usually mix plaster in a 5-gallon together with mold straps. Misalign­ plastic bucket. It is large enough to ment or looseness almost guarantees avoid splashing and easily washes up the failure of that particular casting. afterward. The wash water is allowed Remix the casting slip thoroughly, to settle overnight, then the clear wa­ then fill the mold completely; avoid ter is drained off, and any remaining splashing slip or trapping air bubbles. plaster knocked out. Hard plaster can Top off with additional slip every be removed by pounding on the few minutes. As water is absorbed by bucket exterior with a rubber mallet. the plaster, the level of slip in the Care should be taken when mix­ mold cavity will fall. If topping off is ing and pouring to avoid causing/not done often, the wall thickness at trapping unnecessary air bubbles. the mouth of the mold will be thinner Vigorously tap the pail of liquid plas­ than the rest of the casting. ter several times on a hard surface to When the desired wall thickness release air bubbles; however, you has built up, invert and drain the mold should try this only as a last resort quickly and completely. Molds are with a plaster-filled dam—its clay seal­ usually left in their inverted position ing coils may spring leaks. until the casting can be removed. A After about an hour, the mold dam casting should not be left in the mold and the positive can be removed. until dry. As the clay shrinks, gravity (Originals made from clay of a nor­ would cause the casting to lay in the mal handbuilding consistency should bottom of the mold, but other sur­ separate from the plaster mold eas­ faces would not have equal contact. ily.) Then place the mold in a sink, Therefore, further water absorption flood it with water and sponge out would not be equal throughout and any remaining clay. the casting is likely to crack. The mold interior can be dressed It is best to remove a casting from by smoothing it with 0000-grade steel the mold as soon as it is leather hard. wool. This allows very smooth cast­ After draining, water will continue to ings. I also scrape any sharp corners be absorbed from the casting. As it on the exterior of the mold that might approaches leather hardness it will eventually chip. shrink. This shrinkage will usually re­ Molds may take as long as two weeks lease the form from the mold. to dry after being saturated with wa­ Castings should be removed care­ ter. To speed this process, I usually fully, then stored in a draft-free place place them on top of a firing kiln to to dry slowly. Any scrap or “flashings” dry. You can also use this method after should be allowed to dry; then pulver­ molds become damp from use. ize and reuse in new slip batches. ▲

February 1991 83 84 Ceramics Monthly A Potter’s T ourof England and Wales, July 8-22, 1991. Eight important potters in their work­ shops; museums and galleries. Potters Festival in Wales. Contact Turner Tours Sc Events, 1304 Columbia, Lafayette, IN 47901. (317) 423-1371.

Summer Residency Program. Archie Bray Foundation. Application deadline: March 1, 1991. Send SASE (business-size envelope) for application and information to: Carol Roorbach, Director, 2915 Country Club Avenue, Helena, Montana 59601. Longer term residencies of­ fered as well. Write for information.

Promote Your Workwith the visual impact of full-color cards. At Mitchell, we specialize in producing affordable, full-color direct mail and postcard products. For your free sample pack­ age and product catalog, please call Mitchell Color Cards, toll-free (800) 841-6793.

Female Potter, 29, desires to meet male potter. 1616 18 th Street, Apartment 103, NW, Washing­ ton, DC 20009.

Custom Molds, models, production systems, product development. Geoffrey Meek, Hudson Valley Clay Works, 7 West Main Street, Middle­ town, NY 10940. (914) 344-1599.

Summer Job Opening for male camp counselor in Maine. Will instruct crafts and/or fine arts or woodworking, and be role model for athletically oriented boys. (717) 292-9576.

House, Studio—North Louisiana. 5000 square foot, 3-floor, handmade log cabin. $150,000. Studio, 200 square foot, $15,000. (318) 251-2061.

Resident Potter Position. Vermont State Craft Center at Frog Hollow seeking resident potter to head ceramics program. MFA required. Position available July 1, 1991. Send resume by March 1, 1991 to: Executive Director, VSCC, Frog Hollow, Middlebury, VT 05753. (802) 388-3177.

Jordan Clay Wanted,any amount. Will pick up. Call (216) 884-1394. Leave message.

Come to New Hampshire for summer. Out­ standing brother/sister camps. 22-mile lake near “On Golden Pond” site needs head arts/crafts (ceramics). Transportation paid. 1271 Mill, Meadowbrook, PA 19046. (215) 884-3326.

Ceramic Fiber (zirconium), less shrinkage, more durable for reduction firing. 50-sq.-ft., 1-inch- thick roll, 8-pound density, 2700°, $85 per roll; 2200°, $75. In stock, fast delivery. References. No purchase orders. Call Lois Clark (703) 466- 8410.

Ceramic Technician—Nicaragua.Person expe­ rienced in solid fuel kiln technology, clay and glaze formulation, shop organization and mar­ keting, some Spanish. Stipended volunteer, 1-2 year commitment. Send resume: Potters for Peace, Post Office Box 5206, Hyattsville, MD 20782. Information: (301) 699-0042.

February 1991 85 Comment

Threatened Gifts

by Lili Krakowski

When one is worried, one talks first to less they were born with or married family and friends. This comment is into wealth, intellectuals accepted Sim­ written in that spirit. What worries me plicity as part of their calling. Every city is the increasing difficulty of living poor had a haven where they lived cheaply, as a craftsperson or artist in America. formed their own circles, met at restau­ This is not another diatribe about rants and bars that were “theirs.” Plenty unwed mothers, the homeless and such. of cheap space for living and working These are social sorrows wise charity was available—all of it near colleges, can alleviate. What I am worried about museums, libraries and concert halls. is the fate of that voluntary poverty some When intellectuals had children, they religious orders espouse, which (in moved to suburbs within affordable some circles) is called Simplicity. reach of their former haunts. Voluntary poverty and Simplicity are Although some universities, then as not identical, nor precisely what I have now, prided themselves on high fees in mind. Nevertheless, I will borrow masquerading as selectiveness, most the latter term to describe that anti­ excellent schools were free or very materialism, which (in pursuit of an cheap (e.g., New York City’s colleges, ideal) puts possessions and costly luxu­ the state universities). Even in the late ries last on the list of priorities. 1940s and early ’50s, when I was in Once, Simplicity was a recognized, college, a year’s work at minimum wage even admired, lifestyle. The Puritans bought a year of school, room and and many other board included. sects anticipated (I am not sug­ the Flower Chil­ Simplicity is...a necessity of gesting every­ dren in seeking a thing was swell. life stripped of the craftsperson’s life. There were very fripperies (which few scholarships wasn’t difficult in for incoming stu­ times of great scarcity). The explosive dents or freshmen; no special college growth of wealth and slacking of reli­ loans; no Medicaid; and universal, of­ gious reins in the 19th century began ten extreme, sexism and racism. I cer­ to push Simplicity into the eccentric tainly haven’t forgotten all these column. Technology redefined the negatives as I write.) economics of egalitarianism. The poor This is not the place to analyze why could buy goods accessible only to the everything changed. But it did, radi­ wealthiest a short time before. Simplic­ cally. Much of what Jane Jacobs pre­ ity reached a fork in the road. Some dicted in The Death and Life of Great continued to preach it as part of resig­ American Cities has outstripped her worst nation to one’s “station in life,” want­ nightmares. In our cities today, one can ing to maintain a class structure pursue every possible human lifestyle, disingenuously described as God-given. except Simplicity. Others preached Simplicity as an ideal Colleges no longer offer a refuge of stewardship, of “living lightly on the for dreamers. Three years of work at Earth” (as some in our own time would minimum wage barely buys a year’s tu­ say). The first variety of Simplicity ition at a distinguished college. In less readily merged with snobbism, and than a decade, college costs have risen need not concern us. The second is my twice as fast as the cost of living, 80% theme. faster than median family income, and Throughout the 19th century, life a full 10% more than “outrageous” for those who chose Simplicity re­ medical costs. Any but “the child that’s mained feasible within the confines of got his own” leaves school saddled with that Simplicity. Intellectuals of all sorts— a burden of debt that makes Simplicity artists, writers, academics, physicians, impossible. lawyers, ministers—all were poor. Un­ If that seems a whimsical statement,

86 C eramics Monthly alas, it is not. Every society has a mini­ lage, where electronic media, inter- mum level of consumption below which library loan systems and worldwide one is cut off from life in that society. delivery services bring all one needs to This subtle barrier is repositioned con­ one’s door. What is lacking is a stantly. One even might say that the “community of scholars,” and access to greatest impact of technological change major art collections, research librar­ is the redrawing of that line. Two ex­ ies, concert halls and theaters. Perhaps amples: If we hear of Americans who shoptalk is the worst loss. can change their underwear, socks and The French have a point with the shirts only every other day, have no saying, “To live happily, live hidden.” Yet, bath or shower facilities, and only one being in the right place and meeting toilet for five or six adults, we are horri­ the right people remain important in fied at such “deprivation”—until we achieving artistic recognition. Living hear that such is the life of astronauts hidden could handicap one’s career. aboard the space shuttle Columbia. Yet, Workshops, conferences, shows and less than a century ago, even the middle guest-artist stints are a partial solution. class lived that way full time. And in the They are not universally possible, pricey late 1940s, college term papers were (when all costs are tallied) and ex­ accepted in longhand. A fountain pen tremely time-consuming. I can not cost about 90 minutes work at mini­ imagine that they replace community. mum wage; a steel nib, pen holder and For those who (and I am borrowing ink about 40 minutes. Today, instructors from David Shi, who borrows from insist on typed papers. Some colleges, Wordsworth) pursue “high thinking I’m told, want computer-printed ones. and plain living” and want to live their Note the huge rise in expenses, with­ beliefs, these are troubling times. Ours out any rise in return. is a culture where proverbs such as “Use It seems that what I call, for want of it up, wear it out, make it do or do a better term, the Simple Standard of without,” once were a national ethic. Living is beingjacked up alarmingly. In Today, wasteful consumption is the ral­ 1991, Thoreau would be required tolying cry. have a specific size of zoned lot, build­ For instance, despite all the babble ing permits, indoor plumbing, a septic about waste disposal, irresponsible tank or leachfield, maybe even an envi­ shoddiness remains the watchword of ronmental impact survey! So the young manufacturers. Clothing seams are debtors of whom I write must take well- made in such a way as to prevent re­ paying jobs that will pay off what they pairs or alterations. Typewriters and owe. Such jobs require a certain level cameras can be serviced only by fran­ of wardrobe, cosmetics and walking- chised dealers, making shipping costs about money. Delicious movie satires alone prohibitive. Car repairs that once like Working Girl and Big poke fun at the took 15 minutes of leaning over a fender briefcases, apartments, lunches, cars and messing with any old wrench, now and other paraphernalia of young ex­ require hours of dismantling and the ecutives. But it isn’t funny. If, at 23, youuse of specialized tools. Because of the owe $50,000, you play the game. time involved, “free estimates” have dis­ The Simple Standard of Living can appeared. Replacing a 40£ part on a not be maintained in major cities, even $100 tool may cost half as much as a by the debt-free. Inexpensive neigh­ new tool. And so it goes. borhoods have become so dangerous Much of the problem stems from that anyone, with any choice, leaves. society’s failure to integrate or under­ Even if a potter were willing to risk stand what the change from a one- muggings, burglaries and perhaps death ear ner-two-adu It household to the in such neighborhoods, it is a price one two-earner-two-adult standard has can not ask of one’s family. meant to the American family. The per­ The alternative is the town or vil­ ception remains that such a household

February 1991 87 Comment ries, perfectly good space that a little only $15, or whatever, but two nights at elbow grease and freedom from absurd a hotel, two days of eating out, not to codes would turn into usable living andmention transportation? must be twice as rich as a single-earner working areas at moderate cost. 4. The media and politicians must one, and things are priced accordingly. 2. Tuition aid should be given di­ be cured of stereotyping poverty as Criteria for standards of living are based rectly to students, not to institutions. sociopathy. It sickens and enrages me on the gross income of two earners, Government assistance, right now, is to hear “poor” used as a label for the and reality be damned! The truth is, given to the colleges, who parcel it out drug-addicted, drunken, layabouts and however, that the transformation of the as scholarships; but there is no govern­ sundry misfits. Nevertheless, many poor American household brought such new ment control of where the money goes who live the Simple life, and many who expenses as childcare, two adult work­ at the college. (For a clear, full exposi­ elect to live simply, spend far less than ing wardrobes, two adult transportation tion, see “Why College Costs Are Ris­ the sociopaths. Nineteenth-century costs, lunches, office baseball pools, etc. ing” by John Hood, The Freeman, writers made a clear distinction between The actual quality of life for most fami­ November 1988.) Colleges have no in­ the two groups: There were the poor/ lies has gone down, not up, in the last centive to keep tuition down or to Simple and the poor/improvident/ 20 years. maximize value received. Giving moneymisfit. In my life, never has the time been directly to students would encourage Today’s media do not even know riper for a return to Simplicity. Simplic­ shopping around, raise “productivity” there is a difference—as TV news seg­ ity is part of why I became a potter. It is and lower costs. ments and specials on the “underclass” to me a necessity of the craftsperson’s 3. We must reevaluate our cultural(of all the gross, arrogant appellations!) life. Many potters, many intellectuals, I geography. The city as center of art and reveal. So we, who admire Simplicity, expect, feel likewise. And I think we culture once was the only possibility. must grab every opportunity to criti­ should speak up and air our concerns. But modern technology allows us to cize, remonstrate, scold, heckle and nag Everyone, I am sure, will have per­ decentralize culture. Might we not (I the media proper, misinformed public sonal views and suggested cures. Be­think we would) be better off dividing figures, whomever, until the stereotype cause these, no doubt, will be skewed major museums and research libraries is uprooted and Simplicity’s good name by political bias, and because I hope to into campuses (much like state univer­restored. start a discussion, not a row; I will ex­ sities) so that different collections are Only then can we hope to make press only four of my own: in different places, making it easier and Simplicity a realizable American dream 1. Zoning boards must allow adults more affordable to visit a collection? once more. to live and work in the same spaces. For Meanwhile, might we not demand that potters, this is unhygienic, but it is highly major museums and libraries provide The authorA frequent contributor to feasible for other artists. Our cities hostel-type accommodations for visitors? Ceramics Monthly, Lili Krakowski main­ abound with old warehouses and facto­ It is fine that admission to a show costs tains a studio in Constableville, New York.

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88 C eramics Monthly